hamza shuja

The Mummy , directed by Stephen Sommers, is a thrilling, action-packed adventure that successfully balances humor, horror, and heart. This reimagining of the classic 1932 monster film introduces a fresh, fast-paced narrative that captivates from beginning to end. Brendan Fraser shines as Rick O'Connell, a charming yet reluctant hero, whose witty one-liners and physical prowess make him the perfect leading man. His dynamic with Rachel Weisz’s Evelyn Carnahan is delightful, with a perfect mix of romantic tension and comedic chemistry. Weisz’s portrayal of Evelyn as the smart, independent Egyptologist adds depth to the film, making her an ideal counterpart to Fraser’s rugged adventurer. The supporting cast, including John Hannah and Arnold Vosloo as the menacing Imhotep, round out a strong ensemble. Vosloo’s portrayal of the ancient mummy is both terrifying and tragic, adding layers to the villain that elevate the stakes. The film also embraces the supernatural with daring set pieces, including curses, ancient traps, and swarms of locusts, delivering nonstop excitement. One of the film’s greatest strengths lies in its visual effects. For its time, The Mummy was groundbreaking, with stunning CGI and practical effects that have aged remarkably well. From the breathtaking sandstorms to the mummy's terrifying transformation, the effects are a spectacle that enhances the sense of adventure. The film’s pacing is spot-on, ensuring that there is never a dull moment. The blend of action, suspense, and humor creates a cinematic experience that keeps you on the edge of your seat, yet still offers plenty of light-hearted moments. The soundtrack, composed by Jerry Goldsmith, complements the atmosphere perfectly, with sweeping orchestral arrangements that amplify the film's epic scale. In addition to its action and visuals, The Mummy offers a genuine sense of fun. It never takes itself too seriously, fully embracing the B-movie adventure spirit while delivering an engaging and well-executed plot. The movie's clever blend of horror and comedy makes it enjoyable for audiences of all ages, and it has become a beloved cult classic for a reason. In conclusion, The Mummy is a masterclass in adventure filmmaking. With its memorable characters, spectacular effects, and infectious sense of fun, it stands as a standout film of the 90s and remains one of the best examples of the genre. It’s an unforgettable, thrilling ride that deserves its place among the great action-adventure films of all time.

Stanley Kubrick directed an epic masterpiece of cinema with his 1960 classic Spartacus. Every shot shows the massive scope or the most intimate emotion. He recreates ancient Rome with painstaking detail from architecture, costumes, language, colors, and hundreds of extras. Creative cinematography reveals Kubrick to be a brilliant director early on in his career. Dalton Trumbo's writing is what makes Spartacus shine! Spartacus is a timeless film that demonstrates the inhumanity of slavery and the heart of an ambitious slave. You get villainous monologues that decipher the motivations of even the most heinous of men, long accounts of Roman history, battle rally speeches to bolster morale, and loving conversations that develop the adorably sincere romance. Spartacus persists as a cinema classic for its harrowing tale of freedom and undying love. It is a genius story told in a careful manner. Kirk Douglas delivers his most well-rounded performance of his career as the titular hero Spartacus. He is quiet as the defeated slave, fierce as the brave gladiator, kind as the devoted lover, clever as the military general, and mindful in his curiosity. He is so subtle, showing Spartacus' pain and longing hardly without words. It is a wonderful display of acting. Spartacus boasts one of the most exhilarating ensembles in cinema. Sir Laurence Olivier is devastatingly cruel and clever as the egotistical and ambitious Crassus, whose devotion to Rome leads to atrocity. Jean Simmons is delightful and so strong as the female lead, Varinia. Tony Curtis is so sweet and charming as the faithful Antoninus. Charles Laughton is so deviously clever is his political scheming as Gracchus. Finally, Peter Ustinov is hilarious as the opportunistic slave merchant Batiatus. Everyone plays their part to perfection. The music is very fitting, and Spartacus remains as having one of the most lovely romance themes in film history. Every time you see Kirk Douglas on screen with Jean Simmons, the strings swell into this heavenly symphony you will love. Watch Spartacus and behold a true masterwork of film.

This definitely doesn't seem like a Scorsese movie. The way it's filmed and the way some of the scenes look, is almost like it was forced to remind you it was made in the 90's. I don't how Robert De Niro can be such a psychopath/sociopath and still be likable. He's one of the few who can do that. That scene with De Niro and Lewis at the theater was mesmerizing to watch. Some good acting right there. This movie gets better as it goes along. There's actually some genuinely funny moments in this movie. Which is weird, given that the subject matter is pretty pressing and serious. But it's odd because it's almost like the movie doesn't take itself too serious. It's insane how De Niro's character just toys with him to the point of losing his mind. Psychologically fucking him. It's almost comical how Cady doesn't die. Lol he doesn't want to fucking die! Pretty fucking weird movie at times but it was good. I enjoyed it. i was a good movie certainly not the best movie of scorcese but loved de niro character. i am a huge fan of de niro his is just the best in any role yo gave him.

Funny Face has all the elements that should equate to a movie I love. It has Audrey Hepburn and Fred Astaire, two stars I always enjoy. It is a musical, with a handful of elaborate dance numbers. It has a romantic love story set in Paris, with a rags-to-riches sort of transformation for the lead. There’s so much that I would expect to appeal to me, and yet it never felt like Funny Face knew how to put those pieces together properly. I have seen a number of films in recent months where Hepburn falls for an older man, so I think I was desensitized by the time I saw her with Astaire (who is 30 years older.) I was willing to buy into their relationship, and the romance angle was probably the most successful aspect of the film for me, which I didn’t expect. Sadly, the songs were almost all forgettable, and felt like they were shoehorned in to make this a musical and so they could have a way to transition into a dance routine (which is a surprise since the Gershwins were responsible for most of it.) Perhaps it’s a blessing though, because Astaire’s strong suit has never been his singing, he’s more impressive when his mouth closes and his toes start tapping. It turns out Hepburn is the same way. There were a few good dance numbers that they choreographed with the songs, but none stood out as truly remarkable, and a couple I actively disliked. I was still willing to give Funny Face the benefit of the doubt because it has some charming elements to the story, and most of the singing and dancing isn’t bad, just unremarkable. However, my biggest struggle with the film ran through the whole thing and made it hard for me to get fully engaged by the story. I did not care for the main character. Hepburn starts the film as this mousey and unassuming bookkeeper, and I was excited to see how love and the limelight would break her out of her shell. But then she is revealed to be kind of snobby, and have very strange ideas about life and philosophy. Her character becomes quite convoluted and by the time she is set loose in Paris I could not connect the way she behaved in the clubs to the girl posing for photos with Astaire. I simply can’t empathize with a character who is written this horribly inconsistent, so I don’t find myself wanting to spend my time with her. Later in the film, it felt like they were trying to make the classic move of the man doing something stupid, and needing to atone for his wrongdoing in order to win the girl back, but I actually thought Astaire was mostly in the right. I also have to point out how laughable it is that anyone would describe Audrey Hepburn as having a “Funny Face,” and that anyone would question whether she would make a good model? There’s a semblance of something I enjoyed in Funny Face, but most of the way through it didn’t deliver on its potential.

67 years ago today, Alfred Hitchcock's "Dial M for Murder" got its theatrical release in The United States. In the film, a retired athlete blackmails a former schoolmate into killing his wife who has been having an affair with a crime-fiction writer. When the ex-tennis player's scheme begins to fall apart, he then has to play a game of catch-up to cover his trails. The exposition in this film, while necessary, drags like a snail. But this works to the audience's advantage, because the first half hour of the film sets up several twists that the attentive will revisit, realize, and appreciate. Though "Dial M" is a tad lengthy, patience is definitely key with this slow-burning mystery/thriller. The suspense in this film is both agonizing and staggering. The overall story is smooth like butter, even though the characters in the story have trouble getting their own stories straight. This is one of the greatest crime stories of all time, no doubt. I highly recommend this film if you have the patience for suspense and the love for great mysteriesA retired tennis pro needs money and plots the murder of his unfaithful and independently wealthy wife. Based on a theater play, the film is heavy on dialogue. With dialogue, minimalist cinematography, and sparse but well placed musical score, Hitchcock does a tremendous job of creating suspense. A good movie for 'movie fans' when Hollywood isn't offering up much to watch.

The pick of this high standard bunch is undoubtedly Vertigo. From the opening titles, with their circling spiral imagery, to the dramatic final scene this is a movie that takes you to a different time and place. Specifically, to a San Francisco of the past; full of deserted parks, discrete rooming houses, oddly menacing art galleries and florists where the customers enter and exit through the back door. Through this landscape wanders Jimmy Stewart, towering in the lead roll as a former detective recently retired after a bungled arrest leaves him with chronic vertigo. Plot machinations lead him to the alluring Kim Novak (one of Hitchcock's famous "blondes"), the young wife of a friend who has started behaving rather oddly. While the performances of Novak and Stewart are memorable, the movie is really set apart by the intelligent script and the stylistic touches provided by the director. Hitchcock is in his very best form creating hypnotic scenes and a general sense of unease and dread in even the most banal of situations. He is aided in this by the wonderful score of Bernard Herrman. A particular favourite of mine is the extended (largely silent) segment where Stewart follows Novak for the first time. Nothing much happens, but the atmosphere of these scenes is enough to keep you on the edge of your seat! One of the all-time greats. They definitely don't make them like this anymore.

The script writing and the acting of Joaquim Phoenix (on top of being utterly miscast) are at the level of The Room by Tommy Wiseau but without any of the charm. I heard it was bad but decided to wait to watch the director's cut to see if it was the fault of a bad studio edit. The answer is; no, this film is irredeemably bad. The film is like hearing the story of Napoleon told by a drunk man who doesn't remember 90% of the facts and gets the parts he does remember purposefully wrong because he just outright hates Napoleon. The film portrays Napoleon as a charmless, autistic man who only ever did anything for his manic pixie dream-girlboss wife and who everyone around him thought was pathetic and weird. A far cry from the charismatic, military and political genius that he actually was - a man so beloved by his soldiers that they defected to him when sent to arrest him.I think it's a poor movie. A biased perspective. It doesn't capture at all why he is a household name. He was a complicated figure that caused alot of death and that should not be excused but to portray him as a gormless idiot for most of the runtime is a mockery. His tactical and strategic prowess and reformation of law that brillance is completely undeserved. It turned the equivalent of a chess master into a guy who would struggle at pong. A charismatic leader with all the dangers that brought to those that followed him into a buffoon no one one would follow anywhere.

I've always felt this is one of the most underrated Tarantino films and offers one of the more well layered and engaging narratives, with the high level of pleasingly eclectic cast I've come to associate with his work. I am not sure if Tarantino deserves more credit for the writing or if the actors do for bringing these characters to life, but either way there are always roles in his films that you could not imagine anyone else ever being cast for once undertaken. Grier's performance in the titular role was on point and her authenticity was necessary and relied on in order for the plot to work in the audience member's minds. It was Robert Forster that probably takes my MVP this watch and the shots of him and his partner, played by Tony Lister, definitely did not go unnoticed. Fonda has an entertaining turn too and even more impressive that she was acting across de Niro in most of her scenes. Solid as always on a technical level and I don't remember feeling like a single scene was unnecessary or wasted. Samuel L. Jackson Binge: Tarantino and Jackson just click perfectly here (and everywhere else for that matter) as no one is better at giving Tarantino's writing an entertainingly convincing voice. The goatee is just the perfect chef's kiss. n the 1990s Tarantino was one of the biggest Directors around, he had won an Oscar for his writing and audiences were anxiously awaiting his third film. After acquiring the film rights to Elmore Leonard's novel ‘Rum Punch', Tarantino started writing Jackie Brown with the intent on giving the script to another director; however, Leonard loved the script so much Tarantino decided to direct himself. Jackie Brown takes inspiration from Blaxploitation films like Coffy and Foxy Brown, though with a slower pace and using much less action. Pam Grier, star of both the aforementioned films, was Tarantino's only choice for the lead role and to this day he is amazed that she was not nominated for an Oscar. The film is a slow burn compared to Tarantino's previous two movies and does have its issues with pacing and story consistency but does contain more humour.

The Evil Dead is such a cult classic so what more can I add to what's already been said? Stephen King gave this movie such a great review; how can I top that! Ok, the teens (who all look 30) drive a five thousand pound land yacht on a decrepit, old rickety wooden bridge; these people are dumb was obviously my first thought and that's always the best ingredient for a brainless slasher and those happen to be my favorite kind of movies!! I loved it.

'The Bridge on the River Kwai' is, better than an excellent war film, an excellent film which does brilliantly well at a key aspect, characterization, a film showing a sublime and grotesque hero, Colonel Nicholson, who, in a position of weakness, defends his rights, being both right and wrong in front of a Japanese rival, Colonel Saito. Questions of courage and loyalty are raised through different angles in the film, shot in a majestic jungle, featuring a majestic cast and filmed by a majestic Lean who shows is epic aptitude.