Of course, the vision and style provides most of the memorable scenes, from the grandiose of the bike riding montage, to the boldness of the western-style, making this enjoyable just through sheer quirkiness, but it works through and through. Butch Cassidy and the Sundance Kid is a funny, smart and endearing film that only increases its enjoyment with each repeated visit. It's so droll as to be uproariously funny, so off-the-wall as to keep you on your toes with its unpredictability. Highly recommended, not only for fans of the two leads, but for people who just enjoy good bravura filmmaking. Employing a bit of self-irony, it goes to show that the lovers of movies will be the sole determinants of which films
And damn 'd be him that first cries 'Hold, enough! '" (Line 32-39, Pg 249). It is surprising in a way that it portrays the positive traits of the hero turned villain, even after we, the readers observe all his evil deeds. While Banquo (arguably the only positive
‘His pursuers had stopped. ’”(Connell 235) This quote basically means Rainsford did everything he could to try to get away from Zaroff and when they finally stopped pursuing him, Rainsford was thrilled. This is why Rainsford is brave. Not only is Rainsford hopeful, he is clever.
The main characters overall seem quite likable, Huck and Jim being the most well liked within the tale. Although this tale seems a tad far fetched it is an intriguing read. The plot seems impossibly unrealistic because it is incredibly difficult to envision a world where a teenage boy is able to fake his own death and live off of the bare minimum for such a long period of time. The obscure nature of this tale is actually what draws me to want to read it. I enjoy the Southern dialect utilized within the dialogue because it makes the novel authentic.
Roger Ebert starts by calling the movie “Jaws” as a sensationally effective action picture and a scary thriller. He explains that it works all the better because it’s populated with characters that have been developed into human beings that we get to know and care about. He then compares the movie to as frightening as “The Exorcist” but he says it’s a nicer kind of fright yet somehow more fun because they’re being scared by an outdoor-adventure saga instead of by a brimstone and vomit devil. 4. Summarize his or her evaluation of the film in
Alfred Hitchcock’s film Vertigo (1958) was voted the “best film ever made” by the 2012 British Film Institute, and for good reason. The plot is elaborate and intriguing and the cinematography is legendary. On top of this, the characters, like good characters should, all have their own needs and wants that are evident in the film. The needs of these characters affect each other and they affect the story and they all follow one common theme: control. Our protagonist, John “Scottie” Ferguson’s wants and needs differ greatly throughout the film, but his only constant is his yearning to get over his acrophobia, or fear of heights.
Also the suitable shots in the movies allows the watchers to see the looks and emotions of the characters more clearly. Miller gives Elizabeth a shot with an entangled face to show her confusion of saying the truth or tell the lie in order to save John. Technical knowledge is necessary for a splendid movie. In short, “The Crucible” has the attractive aspect, the responsible actors, and the unique effects to become one of the successful movies by Hollywood. After reading or watching “The Crucible”, it makes people to ponder and reflect
More than any director Hitchcock depended on his actors for his films. Hitchcock’s ambivalent films required complex characterisations and we have seen the most brilliant performances through Teresa Wright as Charlie in The Shadow of a Doubt (1943), Jessica Tandy as Mrs Brenner in The Birds (1963). Hitchcock utilized the flexibility and range of actors like Cary Grant and James Stewart which made the characters memorable. Excellent character delineations of Cary Grant can be seen in films such as North by Northwest (1959) and To Catch a Thief (1955). And James Stewart in films like Rear Window (1954), Vertigo (1958), Rope (1948) and the American version of The Man Who Knew Too Much (1956).
This shows Doodle has terrible habits that stem from good talents. All this goes to show is Doodle is at heart, a talented, though strange, boy. Doodle tried so hard to be like the others boys. He worked at it but could see results, so he asked his
The dialogue of spy fiction’s role in regards to detective fiction does tie somewhat into realism, which is connected to the useful properties of American detective fiction. It still, however, stands apart because the focus is on the lack of realism and the glorification of violence. Though these things are not wholly removed from the topic at hand, the—fairly lengthy—discussion feels misplaced. The result of the long detour to spy fiction is that it is “no more a clouded mirror than any other” (9). While this conclusion is intriguing, it seems as though it could be another article in its own right, and it lessens the strength of the thesis.