“I tried to show the human side of these people, and their dignity,” he said in an interview from Los Angeles. “Their dignity is the essential thing.”
“In football today, people forget very, very, very quickly who you are, and what you can do,” Fabregas said. “Hopefully now I can get a run of games in the team.”
“Your politics are cute,” says Charlotte, a wealthy white girl from Connecticut.
“This is a win-win for both the seniors and the young adults,” said University Settlement CEO Eric Weingartner.
“I supposed I was raped,” Michele later tells her friends over dinner. Everyone’s jaws drop. She’s ready to hear the dinner specials.
“It is hard to take your eyes off the fire that burns deep under our feet,” Herzog intones in his dreamy German accent during such a sequence. “Everywhere — under the crust of the continents and sea beds. It is a fire that wants to burst forth and it could not care less about what we are doing up here.”
“The Birth of a Nation” is cinematically competent with a clear message of Christian values at its core. And just like “The Passion of the Christ,” this film hinges so much on what’s been written about its maker.
The novelty of the embellished, finer points of Morris’ transition to adulthood make Hartigan’s film a worthy exercise in storytelling.
The recounting of the Sully story — from takeoff of US Airways Flight 1549 through the vindication of the second-guessed aviator — is every bit the cinematic version of Joe Friday expected from Eastwood, clinically taut and didactic.