An unhappy businessman finds a new sense of purpose after he's tasked with helping a quartet of ghosts fulfill their last wishes before moving on to the afterlife.
Director:
Ron Underwood
Stars:
Robert Downey Jr.,
Charles Grodin,
Alfre Woodard
As a teen, Faith was told that her destiny is a man named Damon Bradley. Years later - Faith is about to marry another man - a Damon Bradley calls to wish them all the best. Faith blows off the wedding and follows Damon to Italy.
Director:
Norman Jewison
Stars:
Marisa Tomei,
Robert Downey Jr.,
Bonnie Hunt
C.S. Lewis, a world-renowned Christian theologian, writer and professor, leads a passionless life until he meets spirited poet Joy Gresham from the U.S.
Director:
Richard Attenborough
Stars:
Anthony Hopkins,
Debra Winger,
Julian Fellowes
A reincarnated man unknowingly falls in love with his own daughter from his previous life. Once he realizes this, he tries to end their relationship before angels erase his memory.
Director:
Emile Ardolino
Stars:
Cybill Shepherd,
Robert Downey Jr.,
Ryan O'Neal
A recently-deposed European monarch seeks shelter in New York City, where he becomes an accidental television celebrity and is later wrongly accused of being a Communist.
Director:
Charles Chaplin
Stars:
Charles Chaplin,
Maxine Audley,
Jerry Desmonde
The biography of Charlie Chaplin, filmmaker extraordinaire. From his formative years in England to his highest successes in America, Chaplin's life, work, and loves are followed. While his screen characters were extremely hilarious, the man behind "The Little Tramp" was constantly haunted by a sense of loss.Written by
Murray Chapman <muzzle@cs.uq.oz.au>
All his fame couldn't buy happiness. All his success couldn't hide the scandal. And the only thing he really wanted was a woman he could never have. See more »
Johnny Depp did the forks in bread rolls dance gimmick Charlie Chaplin famously does at dinner, in Benny & Joon (1993). See more »
Goofs
Douglas Fairbanks opens a beer with a twist cap. It was not invented until the 1960s. See more »
Quotes
[first lines]
George Hayden:
Ha ha ha ha ha. Come on Charlie stop messing about, we really have to get down to it now. I just hope our friendship survives the day, that's all.
Charlie Chaplin:
Ha George, don't be so melodramatic.
George Hayden:
Well, it's your autobiography Charlie. And as your editor I have to tell you that parts of the manuscript are pretty vague, to say the least. I mean for instance, your mother. Now when did she first lose control? We need to know those facts.
Charlie Chaplin:
It's hard to say. She could be so wonderful, on good days...
See more »
Crazy Credits
The film ends with the final scene of The Circus (1928): Charlie Chaplin walks off into the distance. See more »
Alternate Versions
To receive a 12 certificate the original UK cinema version was cut to remove one use of 'fucking' (during Charlie's homecoming visit to a pub). Later releases were uncut and upgraded to a 15 rating. See more »
An attempt to make a film that is both honest and at the same time shamelessly self-serving about its (auto)biographical subject -- the legendary comedian/director Chaplin -- is pulled off with style. It's fun to see some modern talents inhabit the roles of screen's bygone icons (though in some cases a little less charicature would have been appreciated, especially in the case of Mabel Normand). Kline, surprisingly enough, makes a convincing Fairbanks. The rest of the cast is also well-picked -- X-Files fans should watch closely to catch quite a few glimpses of lower-billed David Duchovny as Chaplin's personal editor.
The direction is very good; I particularly liked how some of the straight scenes were filmed in a comic, surrealist style (Chaplin's escape from the police w/ his cans of "the Kid" reels is staged like a Keystone Komedy), while some of what might have been more comic elements are played straight (Chaplin's attempt to convince his brother that "The Tramp" cannot talk in a movie is both funny and serious, for example). Some of the (perhaps true to life) melodramatic elements are a bit overplayed (the bit with his mom was handled too heavily for my tastes, especially her shouting his name as she's dragged away by the asylum guards), but generally the film avoids genre cliches and "easy" scenes.
Great photography.
Downey Jr. fits the roll well, even rising to many of the physical challenges of the Chaplin mystique.
A superior film of its type, laced with self-conscious humor and self-reflection on the artistic temperament.
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An attempt to make a film that is both honest and at the same time shamelessly self-serving about its (auto)biographical subject -- the legendary comedian/director Chaplin -- is pulled off with style. It's fun to see some modern talents inhabit the roles of screen's bygone icons (though in some cases a little less charicature would have been appreciated, especially in the case of Mabel Normand). Kline, surprisingly enough, makes a convincing Fairbanks. The rest of the cast is also well-picked -- X-Files fans should watch closely to catch quite a few glimpses of lower-billed David Duchovny as Chaplin's personal editor.
The direction is very good; I particularly liked how some of the straight scenes were filmed in a comic, surrealist style (Chaplin's escape from the police w/ his cans of "the Kid" reels is staged like a Keystone Komedy), while some of what might have been more comic elements are played straight (Chaplin's attempt to convince his brother that "The Tramp" cannot talk in a movie is both funny and serious, for example). Some of the (perhaps true to life) melodramatic elements are a bit overplayed (the bit with his mom was handled too heavily for my tastes, especially her shouting his name as she's dragged away by the asylum guards), but generally the film avoids genre cliches and "easy" scenes.
Great photography.
Downey Jr. fits the roll well, even rising to many of the physical challenges of the Chaplin mystique.
A superior film of its type, laced with self-conscious humor and self-reflection on the artistic temperament.