Sex is currency. It commands power and can instill fear. Tom, a young man with a troubled past finds himself sucked into a seedy underworld by George Norris, a now super villain with a ... See full summary »
Gentle Colin 'Col' Lawes happily lead a quiet life, running a news agency with his spoiled-rotten wife Sandra and playing competition darts in the Atletic Arms team. Colin catches her ... See full summary »
The skilled pilot Denis Hopkins lives with his pregnant wife Valerie and has a comfortable lifestyle. When the gang of criminals headed by the sadistic Ricky Barnes breaks in his seaside ... See full summary »
Brad Mayfield (Kurt Angle) is a vicious criminal who takes pleasure in kidnapping, assault and deranged murder. Officer Dan Burk is trying to stop his lust for blood, while the stakes of ... See full summary »
The true story of Graeme Obree, the Champion cyclist who built his bicycle from old bits of washing machines who won his championship only to have his title stripped from him and his mental health problems which he has suffered since.
At the beginning of the movie it clearly shows that the speedometer is at 0 while driving down the road. See more »
When the IRA decided to negotiate a peaceful solution to the Irish conflict, they secretly turned to the ANC
[African National Congress]
for advise on how to do it. They are now advising Hamas on the same strategy.
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Performed by Scanners
Written by Sarah Daly and Matthew Mole
Courtesy of Influx Music Ltd./Dam Mak Records/Rhino Independent
By Arrangement with Warner Music Group Film & TV Licensing See more »
Empty account of the release of Nelson Mandela following over twenty years of political incarceration, brokered by mining expert Michael Young (Miller) in a series of 'tense' meetings between Thabo Mbeki (Ejiofor), social justice academic (Hurt) and president F.W. de Klerk's brother (Huff) among others. The heavy emphasis on symbolism masks a disappointing lack of suspense in the narrative in what could have (and should have) been a fascinating examination of the beginning of the end of apartheid. Instead, Travis' picture manages to make a globally recognisable subject esoteric, and at times, incoherent.
Miller doesn't look convincing in his key role as a master facilitator, nor do other more experienced performers (Hurt, Peters, Jacobi) look especially like their recognisable subjects. It may not always be necessary to employ lookalikes when 'covering' historical figures, but it helps if the characterisations are otherwise realistic and believable, and these (in my opinion) are not. The dialogue is laboriously slow and consequently tawdry, each line treated like God's nectar, framed by emotive expressions from the cast, before the next great revelation can be uttered.
The result is a lethargic dramatisation of the events, which fails to do the subject matter appropriate justice, considering its significance. It's a monotone picture that needed more attention to pace and climax to engage the audience. "Invictus" or even the Poitier-Caine telemovie "Mandela & de Klerk" would be benchmarks on the subject matter, but give this one the swerve.
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