The daughter of a brilliant but mentally disturbed mathematician, recently deceased, tries to come to grips with her possible inheritance: his insanity. Complicating matters are one of her father's ex-students who wants to search through his papers and her estranged sister who shows up to help settle his affairs.
Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.
Stephen Campbell Moore
Aging screenwriter Felix Bonhoeffer has lived his life in two states of existence: in reality and his own interior world. While working on a murder mystery script, and unaware that his brain is on the verge of implosion, Felix is baffled when his characters start to appear in his life, and vice versa.
For 25 years in Invercargill at the south end of New Zealand, Burt Munro (1899-1978) has been working on increasing the speed of his motorcycle, a 1920 Indian. He dreams of taking it to the Bonneville Salt Flats to see how fast it will go. By the early 1960s, heart disease threatens his life, so he mortgages his house and takes a boat to Los Angeles, buys an old car, builds a makeshift trailer, gets the Indian through customs, and heads for Utah. Along the way, people he meets are charmed by his open, direct friendliness. If he makes it to Bonneville, will they let an old guy on the flats with makeshift tires, no brakes, and no chute? And will the Indian actually respond? Written by
Director Roger Donaldson was initially reluctant to cast Anthony Hopkins as the two had clashed constantly when they worked together on The Bounty (1984). However, Donaldson says that it was a totally difference experience and that Hopkins was wonderful throughout the entire shoot. See more »
When Burt Munro is in the United States the tone and type of sirens that can be heard in the background at various times are that of modern day emergency vehicles, and not from the 1960s. See more »
[rolling a distance gauge]
93... 94... 95... 96... 97...
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I saw this film on a plane - I know, I know, the worst place to see any kind of film - and thought I would just fall asleep as I didn't expect it to catch my interest enough to put up with the bad audio and small screens. In any case I dislike feel-good movies, and all the Kiwi-innovator stuff makes me cringe, Kiwis don't have the monopoly on being resourceful. And I'd never heard of Burt Munro. So I was surprised to find within a few minutes I was entranced.
Anthony Hopkins has made a brilliant job of the role, his accent wasn't too bad, and I loved the way he said "Invercarrrrrrgill". Hopkins' talent really shone - without him saying a word or changing his expression, you just knew how Burt felt when confronted by an apparently insurmountable obstacle (I won't spoil it) and his placid acceptance of the inevitable falls, tumbles and injuries told you that for Burt these were a fact of life. The other cast were also flawless, for me there wasn't a weak point in any of the acting. The humour was delivered in the main by Hopkins and with the lightest possible touch. The cinematography was beautiful and conveyed the journey from long quiet light of Munro's idealism in Invercargill, murky 'orribleness of the necessary evil of passing through LA and laying your dream on the line in the harsh open glare of Utah.
Hopkins has done a few of these slightly-disreputable, love-em-when-you-get-to-know-em characters but this is the best. And I'm not a motorcycle fan, and no Kiwi-made-good fan, but I will confess to a tear (almost) at the end when the text came up about Burt's unbeaten record.
If you watch this film at home you won't want to be disturbed by other people talking - you'll want to catch every word, every nuance.
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