In the 1950's rock and roll becomes very popular around the world. But in Russia, that kind of music is banned. Only, Alexi, a teenager with great musical talent, receives from his travel ... See full summary »
A fictionalized account of the first major successful sexual harassment case in the United States -- Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
A detective in post Katrina New Orleans area has a series of surreal encounters with a troop of friendly Confederate soldiers while investigating serial killings of local prostitutes, a 1965 lynching and corrupt local businessmen.
Tommy Lee Jones,
In Monroe, Tennessee, Hank Deerfield, an aging warrior, gets a call that his son, just back from 18 months' fighting in Iraq, is missing from his base. Hank drives to Fort Rudd, New Mexico, to search. Within a day, the charred and dismembered body of his son is found on the outskirts of town. Deerfield pushes himself into the investigation, marked by jurisdictional antagonism between the Army and local police. Working mostly with a new detective, Emily Sanders, Hank seems to close in on what happened. Major smuggling? A drug deal gone awry? Credit card slips, some photographs, and video clips from Iraq may hold the key. If Hank gets to the truth, what will it tell him? Written by
In the scene where Hank Deerfield is trying to access his son's financial records via his laptop, he is talking to his wife on the phone. When the camera is on him, he is holding the handset to his ear but when the camera is on the laptop, the phone is visible to the right of the laptop and the handset is on-hook. The logo of a dial-up ISP is displayed on the laptop as it's downloading e-mail. If the laptop is connected to the ISP, he couldn't be using the phone line to make a voice call. See more »
Spc. Gordon Bonner:
What are you doing? Get back in the fucking vehicle man! Mike, get back in the fucking vehicle. Let's go, Mike, now!
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This movie is just about perfect. I love how it starts as a genre movie and then transcends into something deeper and soul-searching. Some people just don't like Paul Haggis, but I'm not one of them. I think he's very smart here; he has no political point of view, he handles Charlize Theron perfectly, and the movie forces everybody to think about the troops in a way that isn't simply political rhetoric. I love that Tommy Lee Jones feels the way so many dads do. He's never been better. Watching the police work happen is interesting on it's own, but I like that Charlize Theron is just out to do the job correctly and just shrugs off the chauvinism coming at her from her department. The movie could've gone somewhere with that, but instead just quietly lets us in on it and moves on.
There have been many very good movies the last few years about Iraq-related themes, but I don't think there is a film that captures the feeling of the national mood as good as this one. It's drained of melodrama and just sort of moves forward on really good performances of the whole cast, who all act according to their natures instead of because of stupid plot requirements.
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