This new documentary by Ron Howard is a must for anyone who was young in the 1960s -
"By the end, it became quite complicated; in the beginning, things were very simple," Paul McCartney sums up the story in a nutshell. The film captures brilliantly the sheer sugar rush of euphoria surrounding the band at the height of Beatlemania. More than half a century later, it is impossible not to be taken aback by the shrieking hysteria of the fans clamouring for a piece of John, Paul, Ringo and George.
What makes the film magical is the sheer richness of the archive material and the pace at which it has been edited. The documentary never feels like an exercise in nostalgia. Howard manages to make the “live” music sound as fresh as ever. He eschews voice-
Five year old Saroo gets lost on a train which takes him thousands of miles across India, away from home and family. Saroo must learn to survive alone in Kolkata, before ultimately being adopted by an Australian couple. Twenty-
Director Garth Davis, with strong assistance from a cast of dignified, charismatic criers and the music of Hauschka and Dustin O’Halloran, floods the viewer with big feelings. If you have ever been a child, raised a child, lost a child or met a child — or a mother — this movie will wreck you. As a purely emotional experience it succeeds without ever feeling too manipulative or maudlin. A story with this much built-
Everybody knows that this thriller includes one of the most famous car chases ever filmed… but it does actually have a plot: Senator Walter Chalmers (Robert Vaughn) is aiming to take down mob boss Pete Ross (Vic Tayback) with the help of testimony from the criminal's hothead brother Johnny (Pat Renella), who is in protective custody in San Francisco under the watch of police lieutenant Frank Bullitt (Steve McQueen). When a pair of mob hitmen enter the scene, Bullitt follows their trail through a maze of complications and double-
As for that chase scene. McQueen (doing his own driving) is chased by, and chases, a couple of gangsters up and down San Francisco's hills. They slam into intersections, bounce halfway down the next hill, scrape by half a dozen near-
As well as being thrilling this film is a total period piece. Director (Englishman) Peter Yates (and genius cameraman William Fraker) make San Francisco fresh and alive while makingsure we clock such details as the pointy, elongated shirt collars and umpteen other touches that give us a clue that this is very, very firmly rooted in the 1960s