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...team makes the rounds of the capital. On a narrow, unpaved Baghdad alleyway lined with raw sewage, eight of Dhahir's colleagues set out to find two men who allegedly killed a shopkeeper. There's little doubt when they reach the right house. Scrawled in red paint across the length of a mud-brick outer wall is a warning: THIS HOUSE IS WANTED FOR BLOOD. Abdul Aziz Salman, a local grocer, says he painted the message after he watched the two men who live there gun down his brother at his cigarette stall just across the narrow lane. Salman looks...
...lavish detail. In the end, all that gore tends to blunt not only the story's natural power but even the sense of horror at what a god-man has to endure to save all men. The Passion may be unique in movie history in devoting most of its length to the torture of one man who doesn't fight back. He takes a flaying and keeps on praying. This is Gandhi as Rocky. It's Bloodheart...
...relentless, near pornographic feast of flayed flesh. Gibson gives us Christ's blood, not in a Communion cup, but by the gallon. Blood spraying from Jesus' shackled body; blood sluicing to the Cross's foot. This Passion begins just before Jesus' arrest. It ends with a blink-length Resurrection. The bulk of his ministry, miracles and post-Resurrection appearances are absent, and his preaching of love flicked at in telegraphically brief flashbacks. Meanwhile, his scourging, handled in all four Gospels in a total of three sentences, takes up nine full minutes of film...
...Here is the first major film on the Jesus story, and probably the earliest feature-length film - 1hr.12min. in its restored version - made in America. Directed by Sidney Olcott (who made 18 other shorter films that year) and written by its Mary Magdalene, Gene Gauntier, the picture was shot in Palestine and Egypt. One charming shot shows Mary and Joseph sitting in front of the Sphinx. Virtually every shot is a static scene, a tableau, illustrating the intertitles...
It’s the chemistry that counts in Starsky and Hutch, the feature-length comedy remake of the classic 1970’s “buddy cop” television series of the same name from director Todd Phillips, whose previous projects include Road Trip and Old School. While old fanatics of the original show may rush to the theaters in a mix of nostalgic excitement and careful curiosity to see their favorite quirky cops reunited, younger audiences will be drawn in to see the principal Ben Stiller-Owen Wilson duo—the comedic force responsible...