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A devastating and heartrending take on grizzly bear activists Timothy Treadwell and Amie Huguenard, who were killed in October of 2003 while living among grizzlies in Alaska.
Director:
Werner Herzog
Stars:
Werner Herzog,
Carol Dexter,
Amie Huguenard
In the 1950s, a teenage Werner Herzog was transfixed by a film performance of the young Klaus Kinski. Years later, they would share an apartment where, in an unabated, 48 hour fit of rage, ... See full summary »
Director:
Werner Herzog
Stars:
Werner Herzog,
Claudia Cardinale,
Justo González
The career and life of Stanley Kubrick is explored through pictures, clips from his films, his old home movies, comments from his colleagues and a narration by Tom Cruise.
Documentary on Charles Bukowski, author of 'Notes of a Dirty Old Man', 'Love Is a Dog from Hell', and the autobiographical novels, 'Women', 'Hollywood', and 'Post Office'.
Through a focus on the life of Dalton Trumbo (1905-1976), this film examines the effects on individuals and families of a congressional pursuit of Hollywood Communists after World War II. ... See full summary »
Documentary about Fred Leuchter, an engineer who became an expert on execution devices and was later hired by revisionist historian Ernst Zundel to "prove" that there were no gas chambers at Auschwitz. Leuchter published a controversial report confirming Zundel's position, which ultimately ruined his own career. Most of the footage is of Leuchter, puttering around execution facilities or chipping away at the walls of Auschwitz, but Morris also interviews various historians, associates, and neighbors. Written by
ccampbell
All of the states which bought one of Leuchter's lethal injection machines have subsequently stopped using them because they were too difficult to operate and maintain. See more »
Quotes
Fred A. Leuchter Jr.:
The human body is not easy to destroy and it's not east to take a life humanely and painlessly without doing a great deal of damage to the individual's body.
See more »
Leuchter is an expert in execution technology (designer of electric chairs, gas chambers, etc.), whose career was wiped out when he got swept up in the Holocaust revisionism movement (he testified, as an expert witness in a defamation suit, that the Auschwitz crematoria could not and did not serve as gas chambers). In this vivid documentary, Morris lets Leuchter speak for himself (which reveals him to be a man of limited horizons with a - let's say
quirky moral code, likely undone by hubris rather than evil [although
Morris may deliberately be making that as far as possible an eye-of-the-beholder issue]), while providing a blizzard of visual accompaniments that emphasize the lurid raw material of Leuchter's life (a strategy indicated by the B-movie undertone of the title), and flirt with his obvious sense of his own heroism. Leuchter has more than enough rope here to hang himself, and pretty much gets the job done. Morris doesn't try to explore the issue of Holocaust revisionism generally, pretty much taking our revulsion on faith: if anything, from my limited previous reading on the subject, that's doing Leuchter a favor. Anyway, revulsion or not, it's hard not to be fascinated by a man who can calmly chatter about his value-pricing approach to selling death machines (although custom made, he tells us, they're sold at "off the shelf" prices).
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Leuchter is an expert in execution technology (designer of electric chairs, gas chambers, etc.), whose career was wiped out when he got swept up in the Holocaust revisionism movement (he testified, as an expert witness in a defamation suit, that the Auschwitz crematoria could not and did not serve as gas chambers). In this vivid documentary, Morris lets Leuchter speak for himself (which reveals him to be a man of limited horizons with a - let's say
- quirky moral code, likely undone by hubris rather than evil [although
Morris may deliberately be making that as far as possible an eye-of-the-beholder issue]), while providing a blizzard of visual accompaniments that emphasize the lurid raw material of Leuchter's life (a strategy indicated by the B-movie undertone of the title), and flirt with his obvious sense of his own heroism. Leuchter has more than enough rope here to hang himself, and pretty much gets the job done. Morris doesn't try to explore the issue of Holocaust revisionism generally, pretty much taking our revulsion on faith: if anything, from my limited previous reading on the subject, that's doing Leuchter a favor. Anyway, revulsion or not, it's hard not to be fascinated by a man who can calmly chatter about his value-pricing approach to selling death machines (although custom made, he tells us, they're sold at "off the shelf" prices).