4/7/2023 0 Comments Film actio n□ The 25 best martial arts movies of all-timeĬast: Bruce Willis, Alan Rickman, Bonnie Bedeliaīest quote: “Now I have a machine gun. □ The 18 greatest stunts in cinema (as picked by the greatest stunt people) □ 33 great disaster movies that’ll have you running for cover Written by Eddy Frankel, Eddy Frankel, Joshua Rothkopf, Trevor Johnston, Ashley Clark, Grady Hendrix, Tom Huddleston, Keith Uhlich, Dave Calhoun, Phil de Semlyen, Dave Calhoun & Matthew Singer We polled over 50 experts in the field, from Die Hard director John McTiernan to Machete himself, Danny Trejo, along with Time Out ’s writers, and the results show just how awesome and unique the best action movies can be when done correctly. This list of the greatest action films ever made is proof that the genre is more versatile than it appears. The right director can choreograph violence with almost balletic grace, while the right actors actually make you care about the person trying to outrun the bullets and the bombs. But anyone who’s ever allowed their senses to get shattered by the booms, blasts and breaking bones of a truly great action movie knows that there are few moviegoing experiences that can compare.Īlso, not all action movies need be loud and dumb. In a lot of cases – maybe even most of them – that characterisation is certainly true. Among highfalutin cineastes, action movies are too often considered trashy, low-brow junk food, replacing all story and substance with eardrum-shattering explosions and mindless violence. Not that it ever hurts them at the box office – the general public loves them, of course. To clarify: the film was suggested by real events in Bolivia but the film version does not specify a location.Action is one of cinema’s most misunderstood genres. This article was amended on 3 March 2023 because an earlier version referred to the film taking place in a Mennonite community in Bolivia. Women Talking will not win the Oscar, but I would like to imagine a world where it would. But it is refreshing to see a movie envision a response beyond searing rage or cynicism, to reinvigorate thorny, non-linear questions of healing and justice that have felt deadened by tabloid fodder, long court cases, backlash and burnout. Not all of the aesthetic choices pay off, most notably Polley’s decision to desaturate the palette to a flat bluish-gray, which has the effect of making an already distant community feel even farther away. The hayloft scenes play as surprisingly visceral parable – these women, denied an education, cannot read or write (a male teacher, played by Ben Wishaw, records notes) but they can recognise a community-wide scourge, and collectively work to do something about it. Polley renders these questions as urgent, but also fruitful. If you stay, how do you raise your sons so this never happens again? Do you bring any men with you? Do you fight for your family or abandon it? Is forgiveness permission? Has it been? The questions are moral as well as bracingly practical. Foy’s Salome, whose young daughter was raped, burns with fury Buckley’s Mariche is resigned and bitter Mara’s Ona, pregnant by one of her assailants, appears almost serenely philosophical. Each has their own reason for leaning one way or the other, a few shades of the innumerable approaches to survival. There are three options to consider: do nothing, stay and fight, or leave. (The film is based on a real series of rapes in Bolivia by at least eight men, of at least 150 women and girls rendered unconscious by the livestock equivalent of Rohypnol, from 2005 to 2009.)įor all the talking – the film provides at least one hair-raising, if at times too stage-y, monologue per character, and a murderer’s row of supporting performances from Claire Foy, Jessie Buckley, Rooney Mara and Frances McDormand – the women’s focus is predicated on action. Enough to know this is a shared devastation, and that the call is coming from inside the community. The past horrors are relayed in meticulously framed flashbacks, a wise combination of evidence and ellipsis – blood on sheets, bruises on inner thighs, a scream in the morning, the backs of a few perpetrators running off into the night. That aftermath is prodded, stretched and pushed in and around a hayloft within an insular, isolated Mennonite community.
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