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Synopsis A young female Mexican worker, Dani Ramos, is hunted down by a virtually indestructible terminator from the future called a REV Tim Miller. Enrique Arce as Vicente. Pete Ploszek as Ackers. Rochelle Neil as C-5 Co-Pilot. Tech specs p. BLU p. WEB 1. English 2.
English 5. Login to leave a comment Login to leave a comment. Home Browse Login. The heart of the movie is essentially a flashback, as Changyu Yusheng and Di's son returns to the village after his father's death and from that visit the story of his parents early love is told. Director Zhang Yimou used a very effective technique of filming the "current" scenes at the beginning and end of the movie in black and white, while the flashback portion was filmed in vivid colour.
Essentially a story about the power of love, it is a simple story, not filled with excitement, but rather with a sort of innocence as these two young people fall in love with each other. This would have to count as truly one of the better romances I've ever seen. Not a lot happens in The Road Home. This is a romance that lacks the typical trappings of Hollywood romances. There are no misunderstandings, no passionate scenes, no talk of fate, little drama of any sort. You are never in doubt these two get together, because you are told over and over that they do.
The movie is not about suspense, but simply about watching something unfold. What you have is a simple, pretty little movie about a young girl who develops a crush on a new schoolteacher in her village.
She throws herself at him in a very chaste way, and a tremendous amount of the movie is pictures of the pretty young girl in beautiful fields and forests looking at him from a distance with happiness or anxiousness. In hindsight it's a little silly, but it works. I found the first half of the movie a little slow, although by the halfway point, as the movie moved from non-eventful to slightly eventful, it became increasingly touching. It's not really a great love story.
The girl basically just thinks the guy is pretty. A hand reaches down, picks up the newspaper, and a blond housewife Davis strolls back through the door. What it is, boys and girls, is an imitation of one of Hitchcock's swooping introductions, ripped off shamelessly from "Psycho" and "Frenzy", and that newspaper on which so much attention is lavished and which was of significance in "Psycho" plays no further part in the plot.
Other Hitchcock ripoffs, just from the opening few minutes: 1 The shots inside the house show the blond's mean-looking, greasy-haired, scowling husband Logue eating his breakfast. The camera clearly shows us the slice of ham, the scrambled eggs, the two slices of toast, which the ugly husband is buttering wordlessly.
Meanwhile the TV in the background is telling us about the murder of a prostitute. It all mixes food, sex, and murder, as so many Hitchcock movies did, only this is without taste or humor. She holds an abnormally large glass of orange juice.
So she can lift it and drink out of it and we can see the distorted image of hubby through the bottom of the glass, just as in Hitchcock's "Spellbound. The sound is blurred except for one word, repeated several times, which leaps out loudly at the view -- "knife. I'd rather examine the contents of a spitoon. But let me get a few other annoyances out of the way. Periodically, for no discernible reason, the director shoots scenes in fast motion. Accelerated motion has its place. It was used to good symbolic effect in movies like "Koyaanisqatsi" and even the otherwise dreary "The Bonfire of the Vanities.
Every shot of freeway traffic shows us vehicles speedily zipping by instead of crawling along in a state of fury. There are two scenes of Hope Davis doing housework -- speeded up. And this is not a comedy! Another scene has the camera strapped to Davis's chest, a device which tends to keep the subject at the same distance from the camera and relatively stable in image, while her environment revolves in a jarring manner around her.
Well, it's one of those mysteries that must remain unsolved, like the Jack the Ripper murders. A man sits at his desk in silence. A hand reaches in from out of frame and grabs his shoulder, accompanied by a loud sting on the sound track -- but it's just a friend, who chuckles at having scared his buddy.
Thirty-five minutes into The Road to Edmund, I thought this was going to be another failed Christian road trip movie, along the lines of Extreme Days. The beginning was slow, awkward, forced, and self-conscious. But I kept watching, and something happened.
It got good! Don't expect Hollywood polish and razzle-dazzle, but for an indie movie that's mostly conversations, it's quite good and very refreshing. I really wish I had been able to see this movie maybe forty years ago or so, when I was an adolescent dealing with these issues and my faith conflicts.
Kudos to the writers! Login Register. Loading, please wait. Quality: All p p p 3D.
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