Word: lifes
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Dates: during 1990-1999
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...innocent man - yet there is nothing that he can legally do to prevent it. Edgecomb himself expresses fear of damnation, for how could God forgive him for killing one of his messengers? Needless to say, Edgecomb's emotional turmoil is palpable, and his final decision forever impacts his life...
...such rapper. Nastradamus, his newest album, cements his reputation as urban troubadour or, as "Come Get Me" announces, "America's foremost young poet." From "The Prediction" to "The Outcome"--prophetic and apocalyptic spoken-word joints from poet Jessica Care Moore--Nas' album is a gritty mural of ghetto life at the turn of the millennium...
...miracle takes place in a 1935 Southern prison, where the head guard on death row, Paul Edgecomb (Tom Hanks), is given a new perspective on life, fittingly, by a man sentenced to death--a larger-than-life inmate named John Coffey (Michael Clarke Duncan). Convicted for the unthinkable murder of two little girls, Coffey is placed on the Green Mile, the stretch of walkway that brings death row prisoners from their cells to the electric chair (usually called the last mile, but this particular one has green floor tiles). The unique bond that evolves between the sympathetic Edgecomb...
Forget the braggadacio of "Hate Me Now" and the "damn I've got money now" sentiment that seems to have infected every other major hip-hop artist; Nas has started wrestling with the issues at the core of life in places like the Queensbridge Projects, where he grew up. This is not to say that he has completely abandoned mindless thug banter, such as the "Kill, Kill, Kill/Murder, Murder, Murder" refrain of "Shoot 'em up," but he has certainly clawed his way into hip-hop's most elite circles of lyricism. Any doubters should check out "Project Windows," a track...
...Shawshank Redemption: tight close-ups, wide establishing shots, innovative camera angles. Darabont is a master of filming grand, sweeping epics in relatively confined spaces, and he stays true to form here. The pacing is deliberate, allowing the audience to fully experience all the tensions and hardships of life on Death Row. Still, Darabont is careful not to waste any screentime on dull moments; there's plenty of action to offset the unusually long running time. As the film progresses, the tone remains predominantly serious (befitting a story set on Death Row), interspersed with lighter scenes of optimism and hope. Edgecomb...