Troublemaking duo Andy Bichlbaum and Mike Bonanno, posing as their industrious alter-egos, expose the people profiting from Hurricane Katrina, the faces behind the environmental disaster in Bhopal, and other shocking events.
A documentary on Michael Ruppert, a police officer turned independent reporter who predicted the current financial crisis in his self-published newsletter, From the Wilderness.
Landing in the paradise, cross-cutting back to the main characters past life in New York, Erik (Matton) a young writer dependent on the love of his life Joanna (Larsdotter), argue and split up in the unfamiliar country of Thailand.
Director:
Bank Tangjaitrong
Stars:
Johan Matton,
Linnea Larsdotter,
Emrhys Cooper
Two paranormal investigators are unexpectedly thrown together in the hope of solving a 100 year mystery. Locked for three nights in a house with a dark and unsettling past, the two ... See full summary »
Director:
David Ryan Keith
Stars:
Michael Koltes,
Paul Flannery,
Steve Weston
LET ME GET MY COAT! [Waar is mijn jas?] Netherlands, 2004 In 1980, Wim Verstappen and Paul Verhoeven, Holland's best-known film makers, were interviewed by film writer Ruud den Drijver. The... See full summary »
Director:
Dirk Rijneke
Stars:
Wim Verstappen,
Paul Verhoeven,
Ruud Den Dryver
Three students went missing in October 2018. Sarah McCormick, Kyle Miller, Joseph Moore. Authorities have now come forward with the information that video surveillance was found inside of ... See full summary »
Directors:
Joseph Mazzaferro,
Joseph Thomas
Stars:
Lisa Arcaro,
Mara Darrow,
Michael Kenneth Fahr
After a random school shootout leaves a scientist's daughter and the shooter dead, he uses nano-robots to look into a psychopath's memories to find reasons for violence and a way to treat it.
The film deals with certain major women issues within Oman and Asia with a focus on Oman and India, and how an Omani conservative society treats it. It is a self-discovery journey and a mixture between drama and road-movie.
Director:
Khalid Abdulrahim Al-Zadjali
Stars:
Noura Al-Farsi,
Ali Al-Amri,
M.R. Gopakumar
When the embodiment of evil rises to destroy Earth and all that we know, can the human race defend itself or will it succumb to the forces of evil. When you enter the world of this terrifying new anthology, things are never what they seem.
Director:
Dallas King
Stars:
Ramon Antonio,
Michael Dionne,
Thai Edwards
Former corporate whiz kid Robert McNamara was the controversial Secretary of Defense in the Kennedy and Johnson administrations, during the height of the Vietnam War. This Academy Award-winning documentary, augmented by archival footage, gives the conflicted McNamara a platform on which he attempts to confront his and the U.S. government's actions in Southeast Asia in light of the horrors of modern warfare, the end of ideology and the punitive judgment of history.Written by
Jwelch5742
Errol Morris invented a device called the Interrotron not for this film. He did indeed use the Interrortron, but he invented it several years earlier, and has used it on several of his other films. See more »
Quotes
[first lines]
[Per contact at the Errol Morris Foundation, the date is 8/5/1964, and the clip is from Press Conference on The Gulf of Tonkin Incident, National Archives #111-LC-48220]
Robert McNamara:
[archival footage from the press conference on the Gulf of Tonkin Incident, 5 August 1964]
Is this chart at a reasonable height for you? Or do you want it lowered? All right. Earlier tonight - first let me ask the TV, are you ready? All set?
See more »
Crazy Credits
Director of Officeland Security: Jackpot Junior See more »
Errol Morris's `Fog of War' may be the best documentary that fuses a controversial historical figure (in this case, Robert McNamara) with his grandest moment (The Vietnam War). `Grand' is ironic because 58,000 dead soldiers cannot be `grand,' the US exit was hardly so, and McNamara's ambivalence about the event and his responsibility give the film an authenticity and humanity that last year was shared only with `Capturing the Friedmans.'
Morris, letting McNamara narrate almost the entire film, cuts between the fit 85 year old Aspen skier recollecting the 60's and 70's and footage from that time when he served as secretary of defense under Kennedy and Johnson. That he is a Harvard--educated, clean-cut, brainy bureaucrat easily changing from leading Ford Motor Company to the Pentagon is obvious. That he allowed the US to go deeper into the war than he personally believed it should is a possible inference from his carefully-crafted dialogue about `responsibility.'
He has no problem admitting his major role in firebombing Tokyo in WWII, killing 100,000 Japanese in one night; his boss, General Curtis LeMay, would have had it no other way. But when he almost wistfully speculates that President Kennedy would not have let the war escalate, it is clear what McNamara also wished. But why he didn't criticize the war after he left the Johnson administration he let's us speculate, hinting only that he had information we don't.
Throughout the interview (Morris now and then is heard asking questions, especially about McNamara's responsibility), Morris keeps him in the right side of the frame, off center as a metaphor for the confusing war and this secretary's ambivalent role. Like any top-rate documentary, applications to human nature and current events abound. The cool necessary to operate under murderous circumstances is reflected in this wonk's slick hair, rimless glasses, and self-serving dialogue. He is animated when he most seems to have missed the point and embraces the romance of evil, which one of his `lessons' says may be necessary to have in order to do good. The parallel to the war in Iraq is painful. He warns in his first `lesson' we must learn from our mistakes. The inference for us could be, if Vietnam was a great mistake, why are we forgetting it again.
For the former secretary, Ernie Pyle's words could hold special meaning: `War makes strange giant creatures out of us little routine men who inhabit the earth.'
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Errol Morris's `Fog of War' may be the best documentary that fuses a controversial historical figure (in this case, Robert McNamara) with his grandest moment (The Vietnam War). `Grand' is ironic because 58,000 dead soldiers cannot be `grand,' the US exit was hardly so, and McNamara's ambivalence about the event and his responsibility give the film an authenticity and humanity that last year was shared only with `Capturing the Friedmans.'
Morris, letting McNamara narrate almost the entire film, cuts between the fit 85 year old Aspen skier recollecting the 60's and 70's and footage from that time when he served as secretary of defense under Kennedy and Johnson. That he is a Harvard--educated, clean-cut, brainy bureaucrat easily changing from leading Ford Motor Company to the Pentagon is obvious. That he allowed the US to go deeper into the war than he personally believed it should is a possible inference from his carefully-crafted dialogue about `responsibility.'
He has no problem admitting his major role in firebombing Tokyo in WWII, killing 100,000 Japanese in one night; his boss, General Curtis LeMay, would have had it no other way. But when he almost wistfully speculates that President Kennedy would not have let the war escalate, it is clear what McNamara also wished. But why he didn't criticize the war after he left the Johnson administration he let's us speculate, hinting only that he had information we don't.
Throughout the interview (Morris now and then is heard asking questions, especially about McNamara's responsibility), Morris keeps him in the right side of the frame, off center as a metaphor for the confusing war and this secretary's ambivalent role. Like any top-rate documentary, applications to human nature and current events abound. The cool necessary to operate under murderous circumstances is reflected in this wonk's slick hair, rimless glasses, and self-serving dialogue. He is animated when he most seems to have missed the point and embraces the romance of evil, which one of his `lessons' says may be necessary to have in order to do good. The parallel to the war in Iraq is painful. He warns in his first `lesson' we must learn from our mistakes. The inference for us could be, if Vietnam was a great mistake, why are we forgetting it again.
For the former secretary, Ernie Pyle's words could hold special meaning: `War makes strange giant creatures out of us little routine men who inhabit the earth.'