Regels:
- Je mag maar 1 keer stemmen per battle.
- De winnaar van elke battle zal vetgedrukt zijn!
- Je mag alleen stemmen op de battle die op dat tijdstip aan de gang is (in deze thread).
- Een battle duurt maximaal 48 uur.
- Graag je keuze onderbouwen en dikgedrukt maken.
- Je mag alleen stemmen als je beide films gezien hebt.
Winnaars B:
In the Heat of the Night
Aliens
Fight Club
Leon
Fargo
2001: A Space Odyssey
Glory
Vertigo
The Pianist
The Godfather Part II
Se7en
Raging Bull
Singin' In The Rain
Det Sjunde Inseglet
One Flew Over The Cuckoo's Nest
On the Waterfront
The Matrix
Network
Strangers on a Train
O Brother, Where Art Thou?
Psycho
12 Angry Men
Clash of the Titans Battle Thread: Ronde 2 B
-
DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
Clash of the Titans Battle Thread: Ronde 2 B
Laatst gewijzigd door DarkoDonnie op 14 jan 2005 16:21, 10 keer totaal gewijzigd.
-
DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
The Adventures of Robin Hood (1938)
(High Artistic Quality, High Production Values)
Is there nothing England's king can grant the outlaw who showed him his duty to his country?
All Movie review:
The Adventures of Robin Hood is one of the screen's greatest adventure films and an excellent example of how the studio system's production-by-committee method could create synergistically what, in that era, likely could not have been created by any single force. The hero behind the camera is co-director Michael Curtiz, who was installed by the corporate chiefs at Warner Bros. midway through production. Curtiz had little to do, though, with the impeccably selected cast. Errol Flynn may not have been the studio's first choice, but he is the screen's greatest Robin Hood. Among the film's many pleasures, you can watch for the meticulous attention to detail that was a hallmark of Curtiz's work. Incidentally, if you're wondering how the special effects were done on the split arrow stunt, there were no special effects. The astonishing shot was performed by professional archer Howard Hill who needed only one take.
VS
In the Heat of the Night (1967)
(High Historical Importance, High Production Values)
They call me MISTER Tibbs!
All Movie review:
Norman Jewison's In The Heat of the Night was one of the unlikeliest hits to come out of 1967. Few issues were more provocative or dangerous to discuss in private, much less on screen, than race relations in the United States, and that went double for the Deep South, where the movie (based on John Ball's book) was set. Additionally, the country didn't seem to be clamoring for that kind of discussion: to this day, Roger Corman's The Intruder (1961) is the only theatrical film ever made about school integration in the South. Jewison defied every piece of industry wisdom and won out, mostly because he played it straight and honest, with a cast led by two actors who could hardly have been improved upon for the parts they played. The thematic set-up was surprisingly similar to The Defiant Ones, in which Poitier had co-starred for Stanley Kramer nine years earlier, but the directorial touch was smoother and the film was filled with an enviable range of wonderful supporting performances. In The Heat of the Night was successful enough to generate a brace of films that tried for the same mix of topicality and drama (as well as two sequels, They Call Me Mister Tibbs and The Organization that were more action-oriented), among them William Wyler's The Liberation of L.B. Jones (which came from the same screenwriter), Lamont Johnson's made-for-television My Sweet Charlie, and Ralph Nelson's Tick Tick Tick, all of which opened race relations to more honest and straightforward cinematic exploration.
(High Artistic Quality, High Production Values)
Is there nothing England's king can grant the outlaw who showed him his duty to his country?
All Movie review:
The Adventures of Robin Hood is one of the screen's greatest adventure films and an excellent example of how the studio system's production-by-committee method could create synergistically what, in that era, likely could not have been created by any single force. The hero behind the camera is co-director Michael Curtiz, who was installed by the corporate chiefs at Warner Bros. midway through production. Curtiz had little to do, though, with the impeccably selected cast. Errol Flynn may not have been the studio's first choice, but he is the screen's greatest Robin Hood. Among the film's many pleasures, you can watch for the meticulous attention to detail that was a hallmark of Curtiz's work. Incidentally, if you're wondering how the special effects were done on the split arrow stunt, there were no special effects. The astonishing shot was performed by professional archer Howard Hill who needed only one take.
VS
In the Heat of the Night (1967)
(High Historical Importance, High Production Values)
They call me MISTER Tibbs!
All Movie review:
Norman Jewison's In The Heat of the Night was one of the unlikeliest hits to come out of 1967. Few issues were more provocative or dangerous to discuss in private, much less on screen, than race relations in the United States, and that went double for the Deep South, where the movie (based on John Ball's book) was set. Additionally, the country didn't seem to be clamoring for that kind of discussion: to this day, Roger Corman's The Intruder (1961) is the only theatrical film ever made about school integration in the South. Jewison defied every piece of industry wisdom and won out, mostly because he played it straight and honest, with a cast led by two actors who could hardly have been improved upon for the parts they played. The thematic set-up was surprisingly similar to The Defiant Ones, in which Poitier had co-starred for Stanley Kramer nine years earlier, but the directorial touch was smoother and the film was filled with an enviable range of wonderful supporting performances. In The Heat of the Night was successful enough to generate a brace of films that tried for the same mix of topicality and drama (as well as two sequels, They Call Me Mister Tibbs and The Organization that were more action-oriented), among them William Wyler's The Liberation of L.B. Jones (which came from the same screenwriter), Lamont Johnson's made-for-television My Sweet Charlie, and Ralph Nelson's Tick Tick Tick, all of which opened race relations to more honest and straightforward cinematic exploration.
Laatst gewijzigd door DarkoDonnie op 19 sep 2004 20:19, 1 keer totaal gewijzigd.
-
DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
-
hermit elephant
- Regisseur
- Berichten: 6614
- Lid geworden op: 22 okt 2003 18:09
- Locatie: Heerlen
-
Ann McDunn
- Walk of Fame
- Berichten: 19336
- Lid geworden op: 23 aug 2003 12:56
- Locatie: Buitenpost
- Contacteer:
-
DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
-
DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
Platoon (1986)
(High Historical Importance, High Artistic Quality, High Production Values)
Free your mind, your ass will follow..
All Movie review:
Platoon is remembered for the striking realism with which it recreated the Vietnam War from the viewpoint of the U.S. soldier. At stark contrast are the story's two protagonists, played by Tom Berenger and Willem Dafoe, the latter at peace with himself despite the hostilities around him, the former representing the corruption of ideals that defined American participation in the war. The film established Oliver Stone as a major director and boosted the careers of several cast members, including Charlie Sheen, Forest Whitaker, and Johnny Depp. Delivering as the favorite at the Oscars, Platoon took four statues in the seven categories in which it was nominated, including one for Stone and for Best Picture.
VS
Aliens (1986)
(High Artistic Quality, High Production Values)
In case you haven't been paying attention to current events, we just got our asses kicked, pal!
All Movie review:
For big-budget, high-octane showmanship, Aliens (the sequel to Alien, directed by Ridley Scott) is hard to beat. While not as deliberate or interesting as the first in the series, Aliens is a wide-open visual effect bonanza, with enough intensity and thrill for three standard action movies. Director James Cameron again proves himself more than capable when it comes to making the genre pay off. Sigourney Weaver reprises her role as Ripley, but this time she's no mere survivor, she's ready to lay waste to those ultra-nasty creatures from the first movie. She's like Wonder Woman without the skimpy clothes. The female heroine in this series has always been fascinating because of her complete ignorance of her sexuality. This is given an interesting spin at the end of this film when Ripley's goal becomes to destroy the alien eggs in their nest. A slap in the face to traditional motherhood? Anyway, too much shouldn't be read into the proceedings here. The dialogue is often horrendous, and the characters other than Ripley are little more than fodder for some impressive scenes of carnage. But this remains one of the most enjoyable action movies of the mid-1980s.
(High Historical Importance, High Artistic Quality, High Production Values)
Free your mind, your ass will follow..
All Movie review:
Platoon is remembered for the striking realism with which it recreated the Vietnam War from the viewpoint of the U.S. soldier. At stark contrast are the story's two protagonists, played by Tom Berenger and Willem Dafoe, the latter at peace with himself despite the hostilities around him, the former representing the corruption of ideals that defined American participation in the war. The film established Oliver Stone as a major director and boosted the careers of several cast members, including Charlie Sheen, Forest Whitaker, and Johnny Depp. Delivering as the favorite at the Oscars, Platoon took four statues in the seven categories in which it was nominated, including one for Stone and for Best Picture.
VS
Aliens (1986)
(High Artistic Quality, High Production Values)
In case you haven't been paying attention to current events, we just got our asses kicked, pal!
All Movie review:
For big-budget, high-octane showmanship, Aliens (the sequel to Alien, directed by Ridley Scott) is hard to beat. While not as deliberate or interesting as the first in the series, Aliens is a wide-open visual effect bonanza, with enough intensity and thrill for three standard action movies. Director James Cameron again proves himself more than capable when it comes to making the genre pay off. Sigourney Weaver reprises her role as Ripley, but this time she's no mere survivor, she's ready to lay waste to those ultra-nasty creatures from the first movie. She's like Wonder Woman without the skimpy clothes. The female heroine in this series has always been fascinating because of her complete ignorance of her sexuality. This is given an interesting spin at the end of this film when Ripley's goal becomes to destroy the alien eggs in their nest. A slap in the face to traditional motherhood? Anyway, too much shouldn't be read into the proceedings here. The dialogue is often horrendous, and the characters other than Ripley are little more than fodder for some impressive scenes of carnage. But this remains one of the most enjoyable action movies of the mid-1980s.
-
SebastianValmont
- Filmster
- Berichten: 426
- Lid geworden op: 19 mar 2004 12:14
- Locatie: Nijmegen
