In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Philip Seymour Hoffman,
Clifton Collins Jr.,
A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past life, from girlhood to British prime minister, intervene.
Richard E. Grant
When two brothers organize the robbery of their parents' jewelry store the job goes horribly wrong, triggering a series of events that sends them, their father and one brother's wife hurtling towards a shattering climax.
Philip Seymour Hoffman,
It's 1964, St. Nicholas in the Bronx. A charismatic priest, Father Flynn, is trying to upend the school's strict customs, which have long been fiercely guarded by Sister Aloysius Beauvier, the iron-gloved Principal who believes in the power of fear-based discipline. The winds of political change are sweeping through the community, and indeed, the school has just accepted its first black student, Donald Miller. But when Sister James, a hopeful innocent, shares with Sister Aloysius her guilt-inducing suspicion that Father Flynn is paying too much personal attention to Donald, Sister Aloysius sets off on a personal crusade to unearth the truth and to expunge Flynn from the school. Now, without a shard of proof besides her moral certainty, Sister Aloysius locks into a battle of wills with Father Flynn which threatens to tear apart the community with irrevocable consequences. Written by
(at around 1h 29 mins) When Sister Aloysius leaves Father Flynn in her office, the lighting, Flynn's facial expression, and the position of Flynn's coat change dramatically after she closes the door. See more »
Normally we give too much credit to actors. They often work for short periods and force myriad takes. Directors manipulate and cajole them. Then the filmmakers spend months choosing the best shots, carving them and stringing them together to make the story (and the long-gone actors) look good.
"Doubt" is an exception, only in that the actors are especially marvelous. The many close-ups and the length of the shots attest to the trust John Patrick Shanley puts in them. Streep and Hoffman are superb. Adams and Davis are remarkable as well.
Still the most credit for this phenomenal effort must go to Shanley.
What a fascinating story, with layers and springbacks that will leave you thinking and rethinking.
Thank you very much to all involved with this fine film.
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