Tony Benn – Will & Testament Clips
Went to see the film in a small cinema in Liverpool. It’s a deeply personal portrayal of his family life and career which affected the lives of so many in this country and internationally, which had people in the cinema tearing up and standing to clap at the end.
- Tony Benn – A History of the Labour Movement
- Tony Benn vs. The House of Lords
- Tony Benn – A Representative Of The People
Hell or High Water Clips
Brother outlaws aim to payback a loan on their recently deceased mother’s house, with money taken from the predatory bankers who gave out the high interest loan, betting on them never being able to pay and getting to seize the house.
2 sherrifs, one coming up on retirement, the other a first nations person, wrestle with their modern values in relation to what historical values they’re supposed to have and what it is they’re supposed to be protecting.
- Childhood abuse to criminal lifestyle
- What does it mean to be authentic in light of history?
- No place for traditional way of life
- Camanche enemy of everybody
- Capitalists are the new colonisers
Really amazing drama, even just the time-span they manage to cover so well from childhood to motherhood:
Film Description: A single mother in adolescence, Suzanne lives with her father and sister. Her life changes when she falls in love with Julian, a petty criminal.
Can’t recommend the film enough, try to get the directors cut for a long winding road through every facet of the moral challenges a preist is expected to deal with in a modern day village in Ireland.
Film Description: An honest and good-hearted priest (Brendan Gleeson) wrestles with a cynical, spiteful community after he receives a death threat from an unknown parishioner.
Snippet from a review called Calvary: A religious movie for atheists:
Ostensibly a black comedy, Calvary is more often frightening than funny. Father Lavelle (a superb Brendan Gleeson) visits a former pupil-turned-cannibalistic serial killer (played to creepy effect by Gleesons real-life progeny, Domhnall) in prison, and asks what human flesh tastes like; he replies, icily, and with sickening relatability, like pheasant its very gamey. Later, the local doctor, in the form of old-reliable Aidan Gillen, relays the story of a procedure gone wrong, in which a young boy was put under a mishandled dose of anaesthetic for a routine operation and subsequently woke up blind, deaf, dumb and paralysed.
In the horror of a world like that our world Calvary doesn’t treat some unseen force, one which it accepts not everyone can relate to, as the saviour. Instead, it is the good man at the heart of this wicked tale, a man driven by a moral code, who acts as the ultimate hero. Calvary makes the argument that the modern church lives not in the service of God, but in the service of people, and its a film that might even make sense of religion for atheists.
I’ve not become born again after watching Calvary, but McDonaghs film succeeds where Noah didn’t because it tolerates both believers and non-believers equally, and isn’t as violently opposed one way or the other, in the way that, say, The Passion of the Christ was strictly for and PTA’s cynical There Will Be Blood was vehemently against. It takes a long-overdue stand against loud, unglamorous media reports and counters that not all of religion is corrupted. Calvary is a stunning film, not least because it convincingly argues that there are still good people of faith out there, as it successfully speaks to both the religious and non-religious alike.
Ruminations on nature & nurture, existence & essence, belief, social contract and egoist practice.
Snippet from a review by Barbara Barnett:
“Does it bother you that we have no social contract?” House (Hugh Laurie) asks Wilson (Robert Sean Leonard) regarding the unique nature of their relationship in this weeks’ House, M.D. episode, appropriately titled “The Social Contract.” While exploring the necessity of the social niceties and collaborative lies we sometimes need in order to survive in society, the story provides a framework for examining House and Wilson’s personalities and their deep friendship — and their own somewhat perverse “social contract.”
At the end of the episode, House asks Wilson if it bothers him that they “don’t have the normal social contract?” But as their conversation continues (Nick’s life resumes as if it had been merely on “pause”) it is clear that House and Wilson do have a social contract. It’s a bit perverse certainly, but it exists. Although House cannot tell Wilson beautiful lies to make him feel better, he can tell him beautiful truths. And for someone who beats himself up out of guilt, beautiful truths can be much more effective — especially coming from House.
Still not sure how I feel about Jim’s portrayal of Andy, but they’re both amazing comedians & actors in their own right. A lot of people want to find and re-watch a scene like this to figure out what it means to them.
It also got put up in this article of a high profile website interviewing celebrities, so it’s reached 179,884 views anyhow.
Really great film, based on a true story and adapted from a theater play.
“A terminally ill cabdriver picks up an indigenous drifter and a backpacker while traveling through the Australian Outback to get euthanized.”
You can watch the trailer here.
Director: Jeremy Sims
Screenplay: Reg Cribb
Actors: Michael Caton, Ningali Lawford
The original video contained a lot of unverified film theory which I think does hold weight, but for this video just wanted to spread the really great analysis contained within for quick viewing.
Analysis of the film Dead Man, asking why is William Blake in purgatory?:
- Introduction and plot summary
- Purgatory – Who is Mr Dickinson and what do horses symbolise?
- Stupid Fucking White Men – Why does Nobody ask for tobacco? Themes of genocide and broken contracts (land treaties).
- Blake’s Journey – Peyote, spirit quest and new found reverence for culture.
You can watch the original longer version here, with further character analysis, reincarnation theory and more detail on the genocide theme.
When it isn’t luridly statistic and demagogic it’s fortunately boring so Mr. Gibson and his father who both support this they claim sometimes we Catholics but actually they are in rebellion against Rome, they’re members of a right-wing schismatic fundamentalist group as I said, have absolutely assured themselves a wave of publicity by picking a quarrel with the Jews and by recycling the most ancient primitive Christian allegations of Christ killing against the Jewish people. In the film the Roman authorities are – pictured as puppets you know in a Jewish Empire completely without power of their own always having to answer to Jewish high priest enforced to torture to death a man who they believed to be innocent, this is this is a very very old slander and misrepresentation it’s unbelievably crued and irresponsible of Gibson to do so he’s done so in order to try and sell tickets I think it’s a great cultural disgrace.