After a man finally gets over his former girlfriend, who has moved to Los Angeles and become a television star, and falls in love with another woman, the former girlfriend's show is canceled and she wants him back.
A horror-thriller centered on a woman living with "face-blindness" after surviving a serial killer's attack. As she lives with her condition, one in which facial features change each time she loses sight of them, the killer closes in.
Nick, is a young Scottish soccer player living in the big city. He meets Karen, and the two fall in love and move in together. Soon after, Nick exhibits signs of serious illness. As his ... See full summary »
There's little wonder in the working-class lives of Bill, Eileen, and their three grown daughters. They're lonely Londoners. Nadia, a cafe waitress, places personal ads, looking for love; ... See full summary »
A prospector sells his wife and daughter to another gold miner for the rights to a gold mine. Twenty years later, the prospector is a wealthy man who owns much of the old west town named Kingdom Come. But changes are brewing and his past is coming back to haunt him. A surveyor and his crew scout the town as a location for a new railroad line and a young woman suddenly appears in the town and is evidently the man's daughter.Written by
John Sacksteder <email@example.com>
The movie was filmed at Fortress Mountain in the Province of Alberta, Canada. Fortress Mountain, part of the Canadian Rockies, rises to a height of 3,007 meters (9,865 feet). The movie was filmed at a location above 2,440 meters (approximately 8,000 feet). The sets were close to the popular ski 71.5 miles) to the west of Calgary. The film set location was popular with snowboarders, who threatened to shut the production down through hooliganism, according to the official movie Web site. Differences were smoothed over when it was made apparent that the production company planned to return the site to its natural state. As the production neared completion, the producers rejected an offer to preserve the gold-rush town set for tourism, instead burning it down to provide a fitting climax for the film. See more »
At 30 minutes into the movie, Milla Jovovich character is singing "Coimbra, Menina e Moça". This song was created in 1920, more than 50 years after the events shown in the movie. See more »
[first lines - overlapping conversations]
Alright ladies, let's go. I'm Vauneen, I take care of you from this point on. Ya get down, and we're going to get you to work real soon...
Alright gents, let's hand-up your firearms.
It's a town's rule.
These firearms are the property of the Central Pacific Railroad.
That don't matter, Mr. Dillon says no firearms in town, so no firearms in town, come on...
You can't take these weapons...
I said, leave that...
Well then you can't come into Mr. ...
[...] See more »
One of the most remarkable adaptations of a literary work I've seen. Frank Cottrell Boyce completely changes Thomas Hardy's classic The Mayor of Casterbridge - and actually betters it lifting it from its original setting and tailoring it into a tale of the American West during the Gold Rush. Some of Hardy's holes hold (predictable) difficulty for many modern readers, but Boyce's western retelling fills them in and lends strong plausibility. (There's a tad too much "faint, fall ill and die" for me in the Hardy original). Some have complained that Boyce went too far - but this is a movie "based" on the book not claiming to be a faithful retelling.
Director Michael Winterbottom proves to have an enormous eye emerging in bold style at once stylized and natural. He brings us here images that, once seen, burn, linger and haunt forever be it a Victorian mansion hauled across the frozen plains or a horse's immolation as on fire it gallops across the screen.
Winterbottom's cast is a strong one - none remaining as they initially seem, each changing before our eyes. Kinski, first strong and bitter gives one of her most tender heartbreaking performances, Wes Bentley, likable and promising becomes petty and meddlesome. Milla Jovovich serves up, predictably, hearty and hot, yet more delicate than she would like to appear.
In all of this Peter Mullan's Daniel Dillon is the focus and the fulcrum by which the story hinges. He is never less than masterful. To see him early on nearly ravaged by youthful greed then watch him in age yearn for salvation that may never come or come too late, one cannot help but be riveted by his endeavor to make up by his plight and his attempt to change it.
The Claim is a remarkable film which, while it may take a bit of time to warm up to, burns its own unique reward in a way few modern Hollywood films can.
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