When his secret bride is executed for assaulting an English soldier who tried to rape her, William Wallace begins a revolt and leads Scottish warriors against the cruel English tyrant who rules Scotland with an iron fist.
A veteran cop, Murtaugh, is partnered with a young suicidal cop, Riggs. Both having one thing in common; hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
It is 1776 in colonial South Carolina. Benjamin Martin, a French-Indian war hero who is haunted by his past, now wants nothing more than to live peacefully on his small plantation, and wants no part of a war with the most powerful nation in the world, Great Britain. Meanwhile, his two eldest sons, Gabriel and Thomas, can't wait to enlist in the newly formed "Continental Army." When South Carolina decides to join the rebellion against England, Gabriel immediately signs up to fight...without his father's permission. But when Colonel William Tavington, British dragoon, infamous for his brutal tactics, comes and burns the Martin Plantation to the ground, tragedy strikes. Benjamin quickly finds himself torn between protecting his family, and seeking revenge along with being a part of the birth of a new, young, and ambitious nation. Written by
The swamp scenes were filmed at Cypress Gardens in Berkeley County, South Carolina. See more »
Many of the soldiers turn their heads when firing their muskets. Although the musket was an inaccurate weapon and this would have made little difference, by 1776 the practice of turning away when firing had more or less died out. In fact, the reason the soldiers here were turning away was because the director didn't think black powder made enough smoke, and decided to use a mix of black powder and magnesium (evident by a blue color to the smoke). This created more of a flash in the pan and made turning away rather a shrewd move. See more »
I have long feared that my sins would return to visit me, and the cost is more than I can bear.
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Not only is this movie consistently predictable (who'd have thought a fight to the finish between the good guy and the embodiment of evil at the end?) but it makes a mockery of US History.
There is one obligatory villan who would never have found his way into the British army as an officer. Then there is the depiction of the happy slave, an insult to the millions of Africans brought here and chains and whipped and raped by their "masters." Anachronisms abound, from what people to say to the weapons of war. The Patriot is what a historical epic directed by Ed Wood would have been like.
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