The story of Dick Cheney, an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.
One of the most celebrated war correspondents of our time, Marie Colvin is an utterly fearless and rebellious spirit, driven to the frontline of conflicts across the globe to give voice to the voiceless.
The true story of Hollywood's greatest comedy double act, Laurel and Hardy, is brought to the big screen for the first time. Starring Steve Coogan and John C. Reilly as the inimitable movie icons, Stan and Ollie is the heart-warming story of what would become the pair's triumphant farewell tour. With their golden era long behind them, the pair embark on a variety hall tour of Britain and Ireland. Despite the pressures of a hectic schedule, and with the support of their wives Lucille (Shirley Henderson) and Ida (Nina Arianda) - a formidable double act in their own right - the pair's love of performing, as well as for each other, endures as they secure their place in the hearts of their adoring public.
When Stan and Ollie arrive in London, their train crosses the Thames River with the Tower Bridge close by in the background. There is no railway bridge near the Tower Bridge that would make that perspective possible. The only railway bridge across that part of the Thames would show London Bridge in that perspective. See more »
Reilly is adorable under mounds of fat. He's a gentleman that you wish to shake his hand. That compares no one wanting to know him for being gluttonous, especially in its time, leads to being irresistible in art. Coogan's narcissism is broken down to further the effect. See the vaudeville as they mention of their past. "Hollowness." Art is the only way for the fringe to be tolerated. Most interesting is how it plays with many layers of artifice. My favorite: "Ah the Eiffel Tower." Two products of early cinema staring out a green screen of digital monuments. That is the future integrating the past inside of this hyper treadmill of infinite brand. We are watching them watching themselves into oblivion. The long tracking shot to start with showing their back (a shorthand for virtuoso directing not realizing theater is how we see and lateral is what reads/rant) attempts immersion while using greenscreen for the very shot. Which is it? These many frames create the effect that their isolation, entrapment, quarreling, all functioning on the same plane as the art to our eyes, therefore both the brand and dreary life become one 'cinema'. In blurring the frame, it's saying art is real living and reality is their stage. This is furthered by its meta casting, Reilly & Coogan, the ones work with Ferrel, the other's British comedy, which in this way it becomes sort of touching as fueled by their direct experience as comics.
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