What we do in life echoes in eternity.
Beyond cleaning up at the Oscars, the true lasting impact of Gladiator is that it marks the beginning of the longstanding cinematic “bromance” between director Ridley Scott and Russell Crowe. It is also the high water mark for that creative team. They’ve done good work since but not on this level.
If you piss in your pants, you only stay warm for so long.
Despite the “One Degree of Marky-Mark,” this film is not quite the rip-off of The Departed that it appears to be on the surface, but it’s not different enough to make it worth almost two hours of your time. The first-rate cast gives it an illusion of substance that is slightly deceptive, but great performances do not compensate for the run-of-the-mill cop story with a weak villain.
Might I suggest you refrain from playing any tunes that remind them, the inmates that is, that they are in prison?
You think they forgot?
During the last Oscar ceremony, Jon Stewart cheekily referred to Walk the Line as “Ray with white people.” Like all successful humor, the joke has an element of truth to it. There are significant parallels between the two films and the lives of the men at the center of their stories.
There’s always room.
Hotel Rwanda has been compared to Schindler’s List, and there certainly strong parallels between the two films. Both concern the efforts of ordinary men to shelter defenseless people in the face of genocidal insanity. In both cases, the men in question used their skills as businessmen to bribe, stall or otherwise keep death outside their door. Hotel Rwanda does not, however, deal with a man as deeply flawed as Oskar Schindler. There is no mystery about Paul Rusesabagina’s motives, no question that he was a fundamentally decent man. This is not a flaw in the storytelling, just the reality of the story they are trying to convey.
