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scenesandscreens · 3 months
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The X-Files: Fight the Future (1998)
Director - Rob Bowman, Cinematography - Ward Russell
"Trust no one, Mr. Mulder."
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annoyingthemesong · 2 years
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SUBLIME CINEMA #596 - EASTERN PROMISES
One of Cronenberg’s best films (and probably my favorite) is Eastern Promises. His partnership with Viggo Mortensen started with the excellent the End of Violence, which was around the time that Cronenberg had been venturing towards pensive, dark dramas - Crash and Spider both preceded these films. And their collaboration will continue shortly with Crimes of the Future, his first return to body horror in a long long time. 
I’m so glad he didn’t retire. 
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Shine, 1996
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dadsinsuits · 11 months
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Armin Mueller-Stahl
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moiraiinesedai · 2 years
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THE X-FILES | Fight the Future (1998)
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watchingalotofmovies · 2 months
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Kafka
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Kafka    [trailer]
Kafka works during the day at an insurance company, where events lead him to discover a mysterious underground society with strange suppressive goals.
The movie's trying to create a story about Kafka by using a number of elements from his works and episodes from his personal life.
It's dark and mysterious, and some scenes feel "kafkaesk". But there are also parts like the two "assistants" which I suspect were meant to provide some comic relief. But for the most part are just annoying.
And it switches to colour for a while when it reaches the experimenting with the undead section.
It doesn't quite all fit together. Which is unfortunate since it has a first-rate cast.
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ljones41 · 11 months
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"EASTERN PROMISES" (2007) Review
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"EASTERN PROMISES" (2007) Review Many years ago, I had seen for the first time, the crime thriller directed by David Cronenberg called,”A HISTORY OF VIOLENCE”. Viggo Mortensen had starred in the movie, portraying a happily married café owner, whose Good Samaritan actions against two thugs led to his disclosure as a former mob enforcer. Both Cronenberg and Mortensen reunited two years later to collaborate on another crime thriller called, "EASTERN PROMISES".
Based upon a screenplay written by Steve Knight, ”EASTERN PROMISES” began with a gangland murder and the death of a 14 year-old Russian-born prostitute after giving birth to an infant girl. The two incidents would resonate over the lives of a London hospital midwife of Russian descent named Anna Khitrova (Naomi Watts), a Russian mob boss and restaurant owner named Semyon (Armin Mueller-Stahl), his wastrel son Krill (Vincent Cassel), and the mob boss’ enigmatic chauffeur, Nikolai Luzhin (Mortensen). The plot is a little too complex for me to explain in this review. Needless to say that it centered around the mob boss’ attempt to recover the dead prostitute’s diary, which found itself in the hands of the hospital midwife. I would suggest that one find a way to see the movie. It will not disappoint. I know I found it very interesting. Yes, it has violence, but not as much that was found in ”A HISTORY OF VIOLENCE”. But the amount of blood shown in the film – especially in the gangland slaying and the prostitute’s death – seemed to like a metaphor of the story’s theme . . . and the connection between the major characters. On the surface, ”EASTERN PROMISES” seemed like a typical crime thriller centered around a Russian crime family in London. But the plot – like three of the major characters – turned out to be something quite different than what appears to be on the surface. What seemed like a gang war, turned out to be a lurid family secret that brings down the Russian mobster. As I had earlier pointed out, this theme is also apparent in three of the four major characters: *Krill – who seemed like a crude and murderous monster on the surface, who proves to be more benign *Semyon – a talented cook and mob boss, whose grandfatherly demeanor hides a darker and more ruthless personality *Nikolai – the enigmatic chauffeur, whose practical and cynical nature makes him unsuited to merely be the family’s driver. As in the case of Semyon and Krill, he turns out to be someone very different. And it is through the eyes of the London midwife, Anna that the audience becomes acquainted with the exotic (at least for American and British eyes) world of Russian émigrés mingled with the violence and degeneracy of the Vory v Zakone (Russian Mafia). Thanks to Cronenberg’s direction, the world of the Vory v Zakone seemed so exotic and something never seen before. In fact, it seemed so insular that the usual British atmosphere of London almost seemed miles away, despite the presence of Scotland Yard. One sequence that came to mind is the hand-to-hand fight between Nikolai and two Chechen assassins seeking revenge for the gangland murder featured in the movie’s opening scene. The sight of a nude Mortensen viciously defending his life against two burly assassins inside a London bathhouse is one that I will never forget. And I suspect that it will become an unforgettable scene in the minds of moviegoers for years to come. I was also impressed by the performances in the movie. Despite having the least interesting character, Watts managed – with her usual competency – to infuse pathos and spirit into the London midwife. And Mueller-Stahl did an excellent job of portraying a brutal and ruthless man who manages to hide these traits under a veneer of warmth and civility. But I feel that Cassel deserves an Oscar nod for his portrayal of the pathetic Krill, who tries to hide his weaknesses (or what he conceives as weakness) with a crude and extroverted persona. Finally, there is Viggo Mortensen, whose portrayal of the enigmatic Nikolai might finally allow the critics to truly appreciate his skills as an actor. Instead of using words or openly expressed emotions, Mortensen manages to reveal his character to the audience through subtle words (in a Russian accent that surprisingly works), body language, costume and especially in his eyes. What makes Mortensen so remarkable as a film actor is that he has no need for big speeches (which he had attempted in ”LORD OF THE RINGS: RETURN OF THE KING”) or outbursts of emotions to convey to express his characters’ personalities. This certainly seemed true in the scene in which Nikolai has sex with one of the prostitutes, in the whorehouse owned by Krill’s father. Nikolai does not simply have sex with the woman. He IS FORCED to do so . . . on the orders of Krill, who wants Nikolai to prove that he is not a homosexual. The audience was well aware that the prostitute felt violated and exploited. But Mortensen managed to convey through his eyes, Nikolai's feelings of violation, exploitation . . . and disgust at Krill’s desire to watch him have sex with the prostitute. Good performances by Mortensen, Cassel and the actress who portrayed the prostitute. What else can I say about "EASTERN PROMISES"? I do not regard it as one of the best movies from 2007. But I feel that it is a fascinating and emotionally complex story that seems different from the usual crime thriller. Unlike "A HISTORY OF VIOLENCE", it is not capped by a violence sequence that gives us the last word on the protagonist’s fate. Yet, all the same, I found it very tense and emotional.
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moviemosaics · 2 years
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Eastern Promises
directed by David Cronenberg, 2007
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clemsfilmdiary · 1 year
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The Game (1997, David Fincher)
11/19/22
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davidhudson · 1 year
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Happy 92nd, Armin Mueller-Stahl.
Selbstbildnis aus dem Film Music Box, 2011.
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mydarkmaterials · 1 year
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loveboatinsanity · 1 year
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letterboxd-loggd · 2 years
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Eastern Promises (2007) David Cronenberg
May 22nd 2022
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lifewithaview · 2 months
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Jessica Lange and Armin Mueller-Stahl in Music Box (1989)
Dir.Costa Gavras
Hungarian immigrant Mike Laszlo has done well for himself since arriving in the USA over 40 years ago after WWII's end. He is particularly proud of his daughter, Ann, a successful lawyer. Following the release of some secret WWII records by the Russians, Mike finds himself accused of being a notorious war criminal. He's convinced it's a Communist plot to discredit him and insists that Ann defend him in court.
*After the movie was released, screenwriter Joe Eszterhas' own father, Istvan Eszterhas, was accused of war crimes in Hungary for printing anti-Semitic editorials, and even organizing a book burning. When Istvan admitted the charges were accurate, Joe responded by publicly condemning his father, and disowning him as a parent, later writing that he never reconciled with Istvan, and refused to let him see his grandchildren right up to the point where Istvan died of natural causes.
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