In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve a rich and spoiled millionaire playboy, named Dickie Greenleaf. But when the errand fails, Ripley takes extreme measures.
Henry James' classic tale of terror The Turn of the Screw receives yet another screen adaptation in this thriller shot in Spain. A young woman (Sadie Frost) is hired to serve as a governess... See full summary »
The film opens with the cast gathering after the funeral of Jude to see a film he had been working on for two years. It turns out that the film is secret videos of all those gathered ... See full summary »
Set in the near future when artificial organs can be bought on credit, it revolves around a man who struggles to make the payments on a heart he has purchased. He must therefore go on the run before said ticker is repossessed.
In Manhattan, the British limousine driver Alfie is surrounded by beautiful women, most of them clients, and he lives as a Don Juan, having one night stands with all of them and without any sort of commitment. His girl-friend and single-mother Julie is quite upset with the situation and his best friends are his colleague Marlon and his girl-friend Lonette. Alfie has a brief affair with Lonette, and the consequences of his act forces Alfie to reflect and wonder about his life style. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
During the scene at the florist's shop (supposedly in downtown Manhattan but filmed in Liverpool), there is a shot looking into the shop from outside. A couple of small Regency-style terraced houses, clearly inappropriate for the film's setting, can be seen reflected in the window. See more »
You're lucky you know. I rarely allow anyone into my flat.
See more »
The Paramount logo at the beginning of the film is tinted pink. See more »
First of all, I would like to start by saying I HAVE NOT SEEN THE ORIGINAL. A lot of the reviews here of this movie are just snide derision based on a bias set in place by the original film. I will also admit to buying my ticket solely because I had had a bad day and just wanted to relax with a 30 foot tall Jude Law winking at me in the audience and taking his shirt off a lot. I'm not ashamed. But what I got was something far more substantial. And of course there was the pleasantness of a half naked Jude Law, but there was also depth. A glimpse into the nature of the human psyche. What we do and why we do it, and ultimately: what it gets us in the end. Or rather, how it gets us.
As I understand it, Caine as Alfie was a hell of a lot harder and brassier than this modern day version. To the extent at which his sexually-charged chauvinistic ideals would have put major rock stars to shame and surely cost the studio more than a little bank in complaints filed against it by today's slightly more feminist audiences. Some have said that by watering our hero's womanizing tendencies down a bit, the entire heart of the film is lost. I say this is not so. It makes you stop, makes you evaluate where you are in life and where you're going. And what the hell you're doing. Anybody can see a little Alfie in them, and trust me, it's scary as hell. But it's a wakeup call. A tool, if you will. You leave the theater feeling like you've learned something and you'll think about it all the way home. How often do you leave a movie and get that much out of it?
Don't judge it by the original. Trust me, he's still a very bad boy. But he's sympathetic and insightful enough to make you wonder. Let it stand on it's own merit, and not by the standard Caine put in place 40 years ago. They're two different movies. Give it a chance.
3 of 4 people found this review helpful.
Was this review helpful to you?