BLACK HAWK DOWN TRAILER : From the director of Blade Runner, Thelma and Louise, and Gladiator. Director Ridley Scott could film the telephone book and I'd go watch it. What gives me pause is his association with Jerry Bruckheimer on this one. Like Pavlov's dog, when I see the image of that tree being struck by lightning I immediately think The Rock, cheesy slow-mo scenes evincing fake emotion; Ben Affleck trying so desperately to be the Big Action Here, before he sticks animal crackers in Liv Tyler's belly button. Bruckheimer'a a hack, and he films trash. I wish auteurs like Ridley would stay away from him (we'll forgive him Hannibal, won't we?). Still, the trailer looks intense, despite the questionable casting of mop-headed Josh Hartnett (here shaved bald at least!). But with Gladiator under his belt (one of the crowning achievements in cinema), and a visual sense unsurpassed by almost all, I am ready for Ridley to prove that gold can be spun from Bruckheimer's wheat. BLACK HAWK DOWN TRAILER : Join the brand new site ENCAPSULATES. Movie reviews for short attention spans:as good as it is, i still think the trailers miss the mark. theimages appropriately conveys intensity, but the voice-over makes itsound like any other war movie and doesn't put front and center bhd'scentral selling point of authenticity.check this out this excellent little article by the man himself, markbowden, [with my 2 cent comments here and there]:Mark Bowden's highly regarded book about a failed U.S. militarymission in Somalia, Black Hawk Down, has been turned into a movie. KEN HIVELY / Los Angeles Times Calendar asked Mark Bowden, the Philadelphia Inquirer reporter whowrote the book on which the film "Black Hawk Down" is based, to writeabout his maiden experience with the Hollywood machine. Bowden isworking on a screenplay based on his latest book, "Killing Pablo,"about the U.S.-assisted campaign to track down and kill Colombian druglord Pablo Escobar, and a new book about the Iran hostage crisis. I first met Jerry Bruckheimer in his Santa Monica office inJanuary 1998. He sat behind a polished wooden desk long enough to makea good start on a bowling lane.[ha!] A huge German shepherd prowledthe office, and before me on the desk was a collection of colorful,expensive fountain pens. He is a small, slender, precise man who usually dresses in darkcolors. He was warmly unpretentious (despite the office). I knew ofhim, of course. He was the impresario of loud, upbeat, visuallyspectacular box-office behemoths like "Top Gun" and "The Rock," moviesthat were like super comic books, and since I'd loved comic books froman early age, I'd always enjoyed them. I had just finished my book"Black Hawk Down," which was in all but superficial ways the oppositeof a Bruckheimer film. While it certainly had a lot of noise, violenceand confusion, the book was serious, dark and disturbing. Bruckheimer told me he thought this was an important story. Itwas something of a departure for him, he said, but in some ways itbuilt on his strengths and experience. He told me he really wanted tomake the movie, and wanted me to stay involved from beginning to end.Though I had contracted to write an original adaptation, Bruckheimerwarned me that "five or six" screenwriters would ultimately work onthe project, so I should not become too protective of my own version.[bruckheimer is crafty, ain't he?] With his help and encouragement, Idid produce a script, but the bulk of the task ultimately fell to KenNolan. I found him to be a young man with boundless enthusiasm andobsessive work habits. I prefer to write on a regular schedule,usually before the keyboard for several hours each morning. Nolan is aprocrastinator. He will agonize over a project for weeks withoutwriting a word, then lock himself in his office, put on movie music toset the mood, and write in a marathon burst of energy, often throughseveral nights and days. Nolan was one of those stealth successes,writers who make a good living but whose scripts never seem toactually become films. "Mark, this one is going to actually get made," he told me whenwe first met. "I'm so excited—honest to God—if they wantme to write flying monkeys into it, I'll do it." He was kidding. Working from a copy of my book that he eventuallyturned black with fingerprints, underlining and notations, Nolanproduced a script that was far more faithful to it than my script hadbeen.[!!!] In the years since, true to Bruckheimer's word, the script wentthrough many drafts. It was reworked by Oscar-winning screenwritersSteve Zaillian ("Schindler's List") and Eric Roth ("Forrest Gump").Prize-winning playwright-actor Sam Shepard, who in the film plays theAmerican commander, Maj. Gen. William F. Garrison, reworked some ofthe scenes, and director Ridley Scott even resurrected some of thescenes and dialogue from my original, but the script has remainedprimarily Nolan's. We talked often by phone. We teased each other about what mighthappen if we actually reached for one of the fancy fountain pens inBruckheimer's office—"I think that's why he keeps the dog,"Nolan said. It was from Nolan that I first learned Scott was consideringdirecting the film. The screenwriter lives in a house directly behindthe acclaimed director, so on the day his script was delivered, Nolancould actually watch as the messenger knocked on Scott's door and thedirector accepted the package. "Ridley Scott was in the doorway holding my script in his hands,"Nolan told me on the phone that night. That the director of "BladeRunner," "Alien," "Thelma & Louise" and "Gladiator" might make ourfilm seemed too good to be true. I own only about 30 films on DVD, andthe four listed above are among them. I met him in Bruckheimer's office in September 2000. He was a fitman with a pink complexion, a short-cropped gray beard and anever-present, massive Cuban cigar. Gruff, blunt, unassuming, profaneand a delightful raconteur, Scott entertained us with stories of histravels and moviemaking, and peppered me with questions about thebattle itself. Why were U.S. soldiers in Somalia? What was Aidid like?Garrison? How badly destroyed was Somalia? How did the mission get sobollixed up? He spent the better part of a weekend chewing me like theend of one of his cigars. Scott had read my screenplay for the film and wanted to resurrectsome of the scenes I had written with Somali characters. We all agreedthat the movie, like the book, was primarily a story about Americansoldiers told through their eyes, but Scott was determined to conveythat the enemy they faced that day was sophisticated and smart, andhad legitimate motivations of its own. On my next trip to L.A., just two months later, Scott had alreadypicked a neighborhood in Rabat, Morocco, in which to shoot the film,and his art director, Arthur Max, was already constructing models ofthe sets—"The biggest part of directing is being able to makedecisions," Scott says. They were ready to shoot the film just four months after that. Ivisited the set in April, when the Defense Department delivered on itspromise to deploy real Army Rangers and pilots from the 160th SpecialOperations Aviation Regiment to assist with stunts.[and genuine blackhawks as well.] I had spent years working to re-create in words theraid these units had made on the target house in Mogadishu, Somalia,in 1993, and I had a vivid picture of it in my mind. In Morocco I was able for the first time to actually witness it,the AH-6 Little Birds sweeping suddenly over a crowded street, awarning rattle of machine guns and the crowds fleeing in panic, thechoppers dropping right down to the street, kicking up great storms ofdust, the Delta operators leaping off benches into action. Then thebigger, more powerful Black Hawks moving in behind them, ropesdropping from the sides through the cyclone of dust, and Rangersroping suddenly to the street. It was just as I had imagined it, onlymuch more sudden, violent and loud. What viewers will see in the film is without question the mostauthentic depiction of modern soldiering ever filmed. [ > Join the brand new site ENCAPSULATES. Movie reviews for short attention > spans:> > > -- BLACK HAWK DOWN TRAILER : HART'S WARA film review by Steve RhodesCopyright 2002 Steve RhodesRATING (0 TO ****): ***HART'S WAR is an intriguing courtroom drama set within the confines of aprisoner-of-war camp towards the end of World War II. Director Gregory Hoblituses the same low-key and methodical approach that he applied even moresuccessfully in FREQUENCY. He makes the most of a good cast, including BruceWillis, Colin Farrell and Terrence Howard, by having them all slightly underplaytheir roles. But a relative unknown, Marcel Iures, who plays the Nazi campcommandant, ends up stealing the show. (If you can't remember where you've seenhim before, it was probably in MISSION IMPOSSIBLE or THE PEACEMAKER.)The story starts when Lieutenant Tommy Hart (Farrell) is captured while on asupposedly safe mission driving a higher ranking officer around in a jeep. Hart, a second-year law student from Yale, is assigned cushy jobs because hisfather is a senator. After a brutal interrogation, in which he may or may nothave revealed certain military secrets, Hart is sent to a prisoner-of-war campin which Colonel William McNamara (Willis) is the top ranking American officer. McNamara, a graduate of West Point and a fourth generation soldier, is itchingto get back into the thick of combat, but it looks like he is destined to rot inthe camp until the war is basically over. BLACK HAWK DOWN TRAILER : Although the camp is nothing like the one in "Hogan's Heroes," it isn't quite asharsh as one suspects it would have been in reality. The commandant iscertainly an unusual character. A graduate of Yale and a lover of "Negro jazz,"he is absolutely delighted when someone is killed and McNamara insists on afull-blown military tribunal, complete with days full of evidentiaryproceedings. Gleefully, he tells McNamara that it will be "like in yourAmerican movies." And, it is.The movie begins to come apart as it reaches its conclusion. Several actions,major and minor, aren't credible. If you're flexible enough about suspendingdisbelief, however, few of these flaws will matter. The well-timed message ofthe movie, about the meaning of honor, is certainly one that resonates.HART'S WAR runs 2:03. It is rated R for "some strong war violence and language"and would be acceptable for kids around 12 and up.The film opens nationwide in the United States on Friday, February 15, 2002. Inthe Silicon Valley, it will be showing at the AMC and the Century theaters. BLACK HAWK DOWN TRAILER : **************************************** *******************************Want free reviews and weekly movie and video recommendations via Email? Just send me a letter with the word "subscribe" in the subject line.==========X-RAMR-ID: 31026X-Language: enX-RT-ReviewID: 285975X-RT-TitleID: 1112552X-RT-SourceID: 703X-RT-AuthorID: 1271X-RT-RatingText: 3/4Hart's War isn't really the film its trailer implies it to be. It's more ofa courtroom drama than an action flick, and anyone who assumes Bruce Willisis playing the titular Hart would be wrong, even though his is the only namelisted above the title (and his face completely dominates the poster, too).Victims of War's treacherous bait-and-switch advertising will instead betreated to an oddball amalgamation of A Few Good Men, Victory, Men of Honorand Hogan's Heroes (it's not a comedy, though there is a scene where guyslight their farts).War is set in late 1944 and its main character, no matter what the posterwants you to believe, is Lieutenant Tommy Hart (Colin Farrell, AmericanOutlaws), a second-year law student from Yale and son of a U.S. Senator whoarranged a cushy desk job for his son while the children of unconnected menbattle the Nazis mano a mano. Like all post-Saving Private Ryan films aboutWorld War II, War is completely gritty and washed out, with drab blues andgrays juxtaposed against white snow, which only makes the blood that muchmore dramatic when it's blown out of someone's skull, which happens whenHart and a Colonel are ambushed by Germans posing as American soldiers.
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