A Beautiful Mind (2001)

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The Nobel Prize champ John Forbes Nash Jr. still instructs at Princeton, and strolls to grounds each day. That these typical articulations almost conveyed tears to my eyes proposes the energy of "A Beautiful Mind," the narrative of a man who is one of the best mathematicians, and a casualty of schizophrenia. Nash's revelations in amusement hypothesis affect our lives each day. He additionally accepted for a period that Russians were sending him coded messages on the front page of the New York Times.

"A Beautiful Mind" stars Russell Crowe as Nash, and Jennifer Connelly as his significant other, Alicia, who is pregnant with their youngster when the main manifestations of his ailment wind up noticeably evident. It recounts the tale of a man whose psyche was of colossal administration to humankind while in the meantime deceived him with terrifying daydreams. Crowe breathes life into the character by evading sentimentality and working with little behavioral points of interest. He demonstrates a man who plunges into franticness and afterward, surprisingly, recaptures the capacity to work in the scholarly world. Nash has been contrasted with Newton, Mendel and Darwin, but at the same time was for a long time only a man mumbling to himself in the corner.

Chief Ron Howard can propose a center of goodness in Nash that motivated his better half and others to remain by him, to keep trust and, in her words at his breaking point, "to trust that something exceptional is conceivable." The motion picture's Nash starts as a calm however arrogant young fellow with a West Virginia complement, who step by step transforms into a tormented, hidden distrustful who trusts he is a covert operative being trailed by government specialists. Crowe, who has an uncanny capacity to adjust his hope to fit a part, dependably appears to be persuading as a man who ages 47 years amid the film.

The early Nash, seen at Princeton in the late 1940s, serenely tells a grant victor "there isn't a solitary original thought on both of your papers." When he loses at a session of Go, he clarifies: "I had the main move. My play was great. The diversion is defective." He knows about his effect on others ("I don't much like individuals and they don't much like me") and reviews that his first-grade instructor said he was "conceived with two helpings of mind and a half-aiding of heart." It is Alicia who causes him discover the heart. She is a graduate understudy when they meet, is pulled in to his virtuoso, is touched by his depression, can acknowledge his concept of romance when he advises her, "Custom requires we continue with various dispassionate exercises previously we engage in sexual relations." To the extent that he can be touched, she touches him, albeit frequently he appears to be caught inside himself; Sylvia Nasar, who composed the 1998 memoir that educates Akiva Goldsman's screenplay, starts her book by citing Wordsworth around "a man perpetually voyaging through interesting oceans of Thought, alone." Nash's schizophrenia takes a strict, visual frame. He trusts he is being sought after by a government specialist (Ed Harris), and envisions himself in pursue scenes that appear to be enlivened by 1940s wrongdoing motion pictures. He starts to discover designs where no examples exist. One night he and Alicia remain under the sky and he requests that her name any question, and after that interfaces stars to draw it. Sentimental, however it's not all that sentimental when she finds his office thickly papered with incalculable bits torn from daily papers and magazines and associated by frenzied lines into nonexistent examples.

The motion picture follows his treatment by an understanding specialist (Christopher Plummer), and his horrifying courses of insulin stun treatment. Medicine causes him enhance to some degree - yet just, obviously, when he takes the pharmaceutical. Inevitably more up to date tranquilizes are more compelling, and he starts a provisional reentry into the scholastic world at Princeton.

The motion picture interested me about the life of this man, and I looked for more data, finding that for a long time he was a hermit, meandering the grounds, conversing with nobody, drinking espresso, smoking cigarettes, paging through heaps of daily papers and magazines. And afterward one day he paid a very customary compliment to an associate about his little girl, and it was seen that Nash appeared to be better.

There is a momentous scene in the motion picture when an agent for the Nobel panel (Austin Pendleton) comes going to, and indicates that he is being "considered" for the prize. Nash watches that individuals are normally educated they have won, not that they are being viewed as: "You came here to see whether I am insane and would mess everything up on the off chance that I won." He did win, and did not mess everything up.

The motion pictures have a method for pushing psychological sickness into corners. It is unusual, outstanding, adorable, entertaining, adamant, unfortunate or unreasonable. Here it is just a malady, which renders life yet not exactly incomprehensible for Nash and his better half, before he ends up plainly one of the fortunate ones to haul out of the descending winding.

When he won the Nobel, Nash was gotten some information about his life, and he was sufficiently straightforward to state his recuperation is "not by any stretch of the imagination a matter of euphoria." He sees: "Without his 'frenzy,' Zarathustra would essentially have been just one more of the millions or billions of human people who have lived and after that been overlooked." Without his franticness, would Nash have additionally lived and afterward been overlooked? Did his capacity to enter the most troublesome scopes of numerical idea some way or another accompany a cost connected? The motion picture does not know and can't state.
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American Sniper (2014)

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Coordinated by Clint Eastwood in what some may take as alarmingly short request following "Jersey Boys" (which was discharged just a half year back, for hell's sake), "American Sniper" demonstrates the proclamation "never forget about an auteur" by substantiating itself as Eastwood's most grounded directorial exertion since 2009's underrated "Invictus" basically appropriate out of the beginning entryway. Opening with a ruthlessly sensational snapshot of choice for its main character, Chris Kyle, the motion picture sets up everything it will be about—and the things it won't be about—with plain yet practically stunning affirmation.

"Expert rifleman" depends on a genuine story that got more convoluted after Kyle himself let it know in the book that gives the film its title. Adjusted from that book by performing artist turned-screenwriter Jason Dean Hall, the story starts, after its Iraq-set introduction, indicating Kyle as initial a kid and afterward a young fellow. A schoolyard tormenting episode constrains Kyle's dad (Ben Reed) to give an unnerving supper table fire-and-brimstone discourse to Chris and more youthful sibling Jeff about indicating would-be extreme folks who's supervisor ("we ensure our own"); the heaviness of desire appears to stick the two young men down, and in a glimmer forward to the young men as young fellows, they're driving the purposeless existences of wannabe rodeo stars. That all progressions when Chris chooses to apply to join the Special Forces (the film delineates him doing as such in the wake of seeing TV scope of the 1998 assaults on U.S. international safe havens in Tanzania and Kenya). As he's building up another feeling of reason while preparing, he additionally meets future spouse Taya (Sienna Miller). Post 9/11, the war in Iraq gives Kyle something to do as a sharpshooter, and the film portrays his aptitudes around there as practically frightful.

They were so, all things considered, as well, as it happens; Kyle piled on 160 affirmed executes, making him the deadliest such agent in U.S. Naval force history. Eastwood's treatment of different fight situations, incorporating those in which Kyle is constrained to bring down ladies and kids, is commonly hostile to expand for the chief. Dismal, intentional, convincing. Savagery and its connection to both American history and the American character is one of Eastwood's incredible subjects as both a movie producer and a film on-screen character. Be that as it may, he isn't a chief of an excessively expository or intellectualizing bowed, and this ends up being one of this current motion picture's extraordinary qualities. It has nothing to say in regards to whether the war in Iraq was a decent or terrible thought. It just IS, and Kyle is an on-screen character in it, and he's likewise a given spouse and father. However, Kyle is something beyond a performing artist in the war: he's a genuine adherent to what he's doing, and his force in this regard seeps into his connections back at home in ways that can't resist the urge to agitate. At the point when a kindred officer is slaughtered in a strike, Kyle comes back to the U.S. to go to the memorial service.

At the graveside, a relative of the trooper's understands one of his last letters, communicating uncertainty and frustration about the war. On the commute home Chris asserts to Taya that what murdered his companion was "that letter." Taya doesn't know how to react; the watcher likely doesn't, either, or if nothing else shouldn't. The part of Taya (all around played by Sienna Miller; this and her hand over "Foxcatcher" speak to a discharge from Movie Jail for the performing artist) could have been another stock Complaining Military Wife in different hands. In this film, she's more unpredictable; she obviously realizes that the qualities she respects/cherishes in Kyle—his unbending faithfulness and sharp concentration, his assurance to see his responsibilities through—are inseparable from his way of life as a military agent. Be that as it may, even a warrior as committed as Kyle can't evade being disturbed by his central goal. As the film proceeds, and the expert sharpshooter's rep develops more fearsome, the nature of his achievements gets messier and messier, and when the rifleman has finished his visit, the watcher has justifiable reason motivation to be a bit, or all around, alarmed by the person. Be that as it may, Taya isn't. This puts the entire story on a strangely suspended note that, as it happens, is settled by a genuine closure that is not exceptionally Hollywood.

Star Bradley Cooper does some of his best acting ever here. Built up to influence himself to look like, regarding body shape, a substantial scale nine-volt battery, Cooper smothers the actorly knowingness he's conveyed to the greater part of his earlier screen parts and gives his character here a synchronous gullibility and edge. He feels like a hazardous person—yet not a malignant one. His absence of self-question never puts on a show of being estranging in its endurance, even at minutes when it appears as though it's lost, as when Kyle discovers for the last time that he can't generally be his sibling's manager. Minutes, for example, that one, and they are strewn all through the motion picture, are what make "American Sniper" one of the more extreme disapproved and successful war pictures of post-American-Century American silver screen.
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Cinderella (2015)

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The nearness of another "Cinderella," the most recent of a long line of TV and dramatic motion pictures about the children's story girl (and one fellow, in the event that you include Jerry Lewis 1960's "Cinderfella"), made me understand that there is by all accounts an adjustment in the attitudinal breeze with regards to well known excitement.

The critical side winks, knowing smiles, return references and empty jokes that are signs of post-current culture are by and large amenably poked aside by a rising re-valuation for antiquated earnestness and the joys of just playing it straight.

Essentially, warmth is gradually turning into the new cool.

One of the principal indications of this turnabout may have been Tim Burton's way to deal with a year ago's "Enormous Eyes," a biopic about Margaret Keane, the mid-century kitsch ruler of the workmanship world, and her battle to recover credit for her work from her rascal spouse.

Given the inborn unpleasantness of Keane's starving stray pictures, many expected Burton's hilariously vile sensibilities to saturate the radical period conflict of low workmanship and high dramatization. Be that as it may, put something aside for a couple "Strange place"- style dream arrangements, the movie producer clung to recounting the genuine story practically as it happened and concentrated on building sensitivity for its primary subject.

This evident genuineness recovery went worldwide when it landed as Lady Gaga's Oscar-night execution of a mixture of Rodgers and Hammerstein tunes out of appreciation for "The Sound of Music's" 50th commemoration.

Nobody would point the finger at anybody for expecting the pop vocalist, referred to for such abnormal tricks as wearing a meat dress at a MTV grants appear, to infuse some amusing editorial about the wistful exemplary into her execution. A two-piece wearing religious woman spread with schnitzel with noodles would not have been not feasible.

Rather, Gaga appeared as a lilting vision of flawlessness in a floaty lily-white gown and conveyed close ideal versions of "The Sound of Music," "My Favorite Things," "Edelweiss" and a taking off "Climb Every Mountain" with a splendidly determined worship.

What's more, the Twitter-verse, which has clearly supplanted the Gallup Poll as a gage of popular assessment, detonated with deafening endorsement.

Into this moving climate waltzes "Cinderella," Disney's stunning no frills form of its 1950 enlivened exemplary. Other late retellings of storybook top picks by the studio, for example, "Alice in Wonderland" and "Wrathful" reshaped the material for 21st century tastes, transforming Lewis Carroll's courageous woman into an ace dynamic warrior and overhauling the abhorrent pixie in "Dozing Beauty" into a misconstrued casualty. Indeed, even the current "Into the Woods" highlighted a frustrated Cinderella played by Anna Kendrick.

Be that as it may, chief Kenneth Branagh, the Shakespearean on-screen character who effectively propelled the comic-book-roused "Thor" establishment, shuns any such shadings in his account of the manhandled stranded young lady who wins the core of a great looking sovereign. No dull topics or irritating thoughts. No outright endeavors at embeddings a uber measurements of silly strengthening or the slapping on of a women's activist message. Also, the "Solidified" phenom—the premise of the interesting spinoff short, "Solidified Fever," that plays before "Cinderella"— has basically secured each one of those revisionist princess bases.

Rather than relinquishing the substance of "Cinderella," Branagh strongly grasped each commonplace detail of this sentimental dream: the hearth ashes that give Ella her epithet; the pumpkin that transforms into a carriage; Cinderella's rat closest companions; and, obviously, the glass shoes—obligingness of Swarovski. In the interim, the individuals who have seen everybody from Brandy in the 1997 TV melodic to Anne Hathaway in 2004's "Ella Enchanted" endeavor to advance into Cinderella's shoes may ask why more freedoms weren't taken in this reliable emphasis.

Truly, the vast majority of us will know precisely where this story is heading, which may prompt some monotony. Nonetheless, in the wake of supposing it over, I understand that Branagh and friends are likely making this form not only for us tainted grown-ups but rather for an era of kids who maybe never had an opportunity to see "Cinderella" on an extra large screen. For them, it will be a pristine enterprise. What's more, thus, many guardians will value this somewhat steadfast retelling.

What is included generally raises the enchantment spell cast by this hundreds of years old legend. Regardless of whether it's Dante Ferretti's luxurious generation outlines in invigorating spring-like tones or Sandy Powell's eye-popping if chronologically erroneous ensembles, "Cinderella" offers a variety of richly iced eye cake every step of the way.

Above all, Branagh and essayist Chris Weitz give Cinderella, who had scarcely a wisp of an identity in Disney's toon unique, with motivation to endure being diminished to an abuseed worker in the valued house she once imparted to her late guardians. She could clearly simply flee. In any case, rather she obediently takes after the energetic mantra that her adoring mother go along to her: "Have mettle and be thoughtful."

The treatment of the courageous woman may turn out to be the film's most questionable detail. Some may discover this Cinderella, whose faith in consideration is intended to be her super power and the way to conquering the individuals who remain in her direction, excessively ailing in spunk and desire. A goody-two-shoes, so to speak. However her empathy for others is the thing that makes her extraordinary and spares her from essentially being a casualty needing salvage.

Throwing has a lot of effect, as well, and Branagh has selected the winningly winsome British magnificence Lily James to bring Cinderella to striking life. As ground breaking Lady Rose on TV's "Downton Abbey," James has proficiently drawn out the best in the occasionally tenacious however enchanting young lady who in any case can pay special mind to herself. Also, the on-screen character depends on some of that same female determination here too.

With respect to her ruler, Scottish performing artist Richard Madden (best known as Robb Stark on "Session of Thrones") unquestionably has the dashing illustrious looks and boyish grin to pull off his part, in spite of donning some terrible tight pants. One key expansion to the story is that Cinderella and the ruler meet charming—he puts on a show to be a royal residence student named Kit—well before the game changing ball, which implies they at any rate experience passionate feelings for on second sight.

What's more, one can't say enough in regards to the commitments of Blue Jasmine herself, Cate Blanchett, who guilefully and unpretentiously subverts the thought of the underhanded stepmother so the gathering of people can summon in any event some sensitivity for this astonishing she-fiend. Another in addition to: You can hardly wait to perceive what wheeze instigating, flawless, '40s-style allure ruler troupe she will appear in next. Her Lady Tremaine isn't only a design plate. She is a mold platter.

Checking her absence of parental concern is an out of the blue magnificent depiction by the colossal Derek Jacobi as the debilitated lord, who gives this astute direction to Madden's sovereign: "You should not wed for advantage. You should wed for adoration." As for Helena Bonham Carter as the somewhat loopy Fairy Godmother—I mean, go ahead, who else would you be able to potentially cast?

The greatest creases among all these delectable crumpets, be that as it may, are the depictions of Cinderella's stepsisters, Anastasia (Holliday Grainger) and Drisella (Sophie McShera). They are composed in that capacity annoyingly confused ninnies that whatever lighthearted element they should give again and again crashes and burns—an issue not helped by the way that McShera (a joy on "Downton Abbey" as kitchen servant Daisy) could do with some crisper phrasing.

In any case, you can't blame a family stimulation spectacle excessively in the event that it really makes a special effort to incorporate the outfit of a children's story in an Old World European setting with an assorted exhibit of supporting players. Branagh merits an additional bravo only for that. Also, we mean it earnestly.
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Top Model (1988)

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La scrittrice Sarah Asproon sta completando il suo nuovo libro sulla prostituzione d'alto bordo, con la collaborazione dell'amica/agente Dorothy. Per raccogliere materiale autentico, hanno costituito un'agenzia di ragazze-squillo, che sta riscuotendo notevole successo. Mentre Dorothy musical drama come direttrice dell'agenzia, Sarah expect il nome di copertura di Gloria e presto diventa la ragazza più richiesta, finché un cliente, Peter, scoperta per caso la vera identità, inizia a ricattarla con la minaccia di uno scandalo e di denuncia alla polizia, costringendola a cedere alle sue richieste. 

Per tenere in ordine gli appuntamenti dei clienti, viene contattato Cliff Evans, giovane programmatore informatico: è un ragazzo attraente, timido e ingenuo, e Sarah ne rimane colpita. Lo provoca sin dall'inizio mama lui esita, poiché non ha mai avuto prima rapporti con una donna e si ritiene inadeguato; per giunta, si trova in una delicata situazione con il suo amico omosessuale Jason, che vorrebbe essere da lui corrisposto, mama poiché Cliff non sembra ancora completamente deciso, ha scelto di assentarsi temporaneamente, lasciandolo ospite in casa sua, per attendere che l'amico si chiarisca le idee. In realtà, Cliff s'innamora seriamente di Sarah e vorrebbe essere perfettamente normale con lei. 

Mama alla fine l'amore per Sarah scioglierà I dubbi di Cliff, che vivrà una felice e completa esperienza con lei. 

Superati finalmente tutti gli ostacoli, Sarah e Cliff, sventate le minacce di Peter e rifiutate le profferte di Jason, potranno vivere insieme felici, trasferendosi in un'altra città.

Article Source: https://it.wikipedia.org/wiki/Top_Model_(film)

This movie rocks!

I love this movie. Okay, so maybe it looks like just a cheap, italian porn flick but there's so much more to it. There is something vaguely disturbing and sinister about this film that it makes it that much more erotic. Basically, its the story of a paper-back writer who goes undercover as a prostitute to research for her steamy new novel. Along the way, she has sex with lots of greasy, italian men, degrades herself in front of assorted perverts and turns a gay man straight. If anybody could straighten out a gay man it would be Jessica Moore(or whatever her real name is). The sleazy, new orleans ambience of this film is terrific as you can almost feel the heat, humidity and sex. There are some striking, disturbing visuals, like when Moore does some kinky posing with mannequins for a photographer. There are some clowns thrown in, which always gives a film a sinister edge, and lots of homoerotic undertones(or is that overtones?). Anyway, go out and get this movie and wallow in its sleaze and perversity.

beautiful Jessica Moore ( Luciana Ottaviani) and nice director Joe d'Amato (Aristide Massaccessi)

this film has been made by joe d'amato aka Aristide Massaccesi with kind of european sense of social life and interpreted by my favour actress Luciana Ottaviani aka Jessica Moore that she plays a role as top model and in reality she is a writer with the role of Sarah Asproon that Aristide Massaccesi ( Joe d'Amato) wrote in the different names one of is Sarah Asproon it is a very nice film and deserves an excellent as reward. unfortunately it is very sad that Aristide Massaccesi is dead otherwise he would direct other film to let the people to applause his talented trick of magic

Superior example of the genre

In the mid-1980s Joe D'Amato made largely soft pornos and this is one of the better ones, despite being filmed in the US (his Italian films tend to be better). Following the commercial success of "11 days, 11 nights", this was marketed as a sequel, but it is rather more like a remake, and it is a slight improvement on the original. Both films were clearly inspired by "9 and a half weeks" (there is also a nod to Zulawski's Femme Publique) but D'Amato changed the story by putting the woman in control, a modification which works very well. No cinematic masterpiece, but a superior example of the genre.

Model Behaviour

Working as a high class call girl in order to gain material for her new book, an esteemed author has to contend with blackmail when a client learns of her secret in this surprisingly well filmed sexually explicit drama. Joe D'Amato's camera almost never sits still, with many tracking shots that voyeuristically follow lead actress Jessica Moore around. There are some thoughtful extreme low camera angles as she undresses too, and in one of the film's most memorable scenes, she makes love to a toy factory owner, surrounded by smiling large toys that -- akin to the lions of 'The Battleship Potemkin' -- are filmed so that it looks like they are reacting to what is taking place! The film is not particularly well plotted though with the blackmailing not seeming to worry Moore at all who is more confounded by her inability to turn on a young computer engineer, played by James Sutterfield, oblivious to the fact that he is gay. The acting here is pretty second rate too with Sutterfield the worst offender, though most of the (mainly) non-professional cast have trouble delivering their lines in a way that does not feel rehearsed. Moore is, however, quite decent and while the narrative might have some deficiencies, it more than makes up for it with a very zany sense of humour shining through at several points. The opening scene, for example, has Moore fingering various mannequins that have been set into explicit poses; later on, she finds a couple of clients who want to be ridden like bulls at a rodeo, and the aforementioned toy store scene occurs on a Santa's sleigh of all places!

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Masitneun sex geurigo sarang (2003)

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In this intimate bedroom romance, Shin-ah is a free spirited modern woman and Dong-gi is a young man searching for something new and exciting. Their chance meeting turns into an unforgettable night. After breaking up with her boyfriend, Shin-ah decides to meet Dong-gi for another passionate encounter. The two 

==> Initial release: June 20, 2003 (South Korea)

==> Director: Bong Man-dae
==> Running time: 1h 30m
==> Screenplay: Kwak Jeong-deok
==> Music composed by: Jeong Won-yeong
==> Director: Man-dae Bong
==> Writer: Jeong-deok Kwak (screenplay)
==> Stars: Seo-hyeong Kim, Seong-su Kim 

Storyline :

(Korean with English subtitles) Shin-ah and Dong-gi hook up for an unforgettable night despite the fact that she has a boyfriend. Shin-ah decides to break up with her boyfriend and hook up with Dong-gi again. The two madly fall in love and the romance begins. But can they build an actual relationship that is more than just an excuse for their steamy sexual escapades?
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Jan Dara (2001)

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The final part of Jan Dara sees the young man taking his revenge against his stepfather. Jan learns that Lord Wisnan, who has abused for 17 years, is not his real father. He flees to the provinces, only to be driven back to Bangkok by his vengeful grandmother to seize power and reclaim the dignity of his clan. Jan is consumed by rage and lust, and orbiting around him are women such as the sexy Boonleung, his promiscuous step-sister Kaew and his respected Aunt Wad.

Actors :

==>    Suwinit Panjamawat as teenage Jan Dara

==>    Santisuk Promsiri as Khun Luang, Jan Dara's father

==>    Christy Chung as Boonlueang

==>    Eakarat Sarsukh as adult Jan Dara

==>    Wipawee Charoenpura as Aunt Waad

==>    Patharawarin Timkul as Kaew

Storyline :

Jan is a boy growing up in 1930s Siam in a wealthy, dysfunctional family where sex has a huge impact on everyone's lives. Jan Dara is viewed by his father, Khun Luang, as cursed, since his mother died giving birth to him. The abusive Luang is a womanizer who has sex with many women in front of the portrait of his late wife.

The younger sister of Jan's mother, Aunt Waad, is brought in to care for Jan. Luang has sexual relations with her, which causes young Jan to be jealous, since he has developed feelings for Waad. Waad and Luang have a daughter, Kaew, who is the apple of Luang's eye. From the beginning, he spoils her and teaches her to hate the "bastard Jan". Waad, in return, treats Jan like her own son and despises the bratty Kaew.

Later, another of Khun Luang's women, the sophisticated nymphomaniac Boonlueang, moves into a guesthouse on the estate, and she teaches Jan his first lessons in the ways of love.

Jan is then framed for the rape of Kaew, who was having relations with the son of one of the family's maids. But it is Jan who ends up punished for Kaew's transgressions. Later, it emerges that Kaew is pregnant, with the seed of her own father. To smooth over the damage to the family's reputation, Jan is asked to return to the family estate and is forced into an arranged marriage with his half-sister Kaew. He does so, as long as he is promised the deed to the estate, which he views as a form of vindication against his father for the abuse he endured from him during his childhood.

Kaew gives birth to Luang's child and curses it after it has emerged from her womb. The child displays classic dysmorphic features found in genetic mutations such as trisomy 21, commonly known as Down's syndrome.

Kaew, meanwhile, enters into a lesbian relationship with Boonlueang. When Jan discovers this, he demands that Kaew give him his own child and forces himself upon her repeatedly. Kaew becomes pregnant with Jan's child but she refuses to have the baby she is carrying, and with Boonlueang's assistance, performs a bloody, self-administered abortion.

Jan subsequently finds himself repeating the libidinous patterns of his father, going as far as to have sex with a maid in his father's sitting room, in front of the portrait of his mother. Jan wonders why he can't escape the cycle of sexual abuse started by his father. Then it is revealed that Jan is the product of a gang rape of his mother.
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Cinderella Man (2005)

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Cinderella Man is a 2005 American drama film by Ron Howard, titled after the nickname of heavyweight boxing champion James J. Braddock and inspired by his life story. The film was produced by Howard, Penny Marshall, and Brian Grazer. Damon Runyon is credited for giving Braddock this nickname. Russell Crowe, Renée Zellweger and Paul Giamatti star.

Actors :

•     Russell Crowe as James J. Braddock
•     Renée Zellweger as Mae Braddock
•     Paul Giamatti as Joe Gould
•     Bruce McGill as James Johnston
•     Craig Bierko as Max Baer
•     Paddy Considine as Mike Wilson
•     David Huband as Ford Bond
•     Connor Price as Jay Braddock
•     Ariel Waller as Rosemarie "Rosy" Braddock
•     Patrick Louis as Howard Braddock
•     Rosemarie DeWitt as Sara Wilson
•     Linda Kash as Mrs. Gould
•     Nicholas Campbell as Sporty Lewis
•     Gene Pyrz as Jake
•     Chuck Shamata as Father Roddick
•     Ron Canada as Joe Jeanette
•     Alicia Johnston as Alice
•     Troy Amos-Ross as John Henry Lewis
•     Mark Simmons as Art Lasky
•     Art Binkowski as Corn Griffin
•     David Litzinger as Abe Feldman
•     Matthew G. Taylor as Primo Carnera
•     Rance Howard as Announcer Al Fazin
•     Robert Norman Smith as reporter

James J. Braddock is an Irish-American boxer from New Jersey, formerly a light heavyweight contender, who is forced to give up boxing after breaking his hand in the ring. This is both a relief and a burden to his wife, Mae. She cannot bring herself to watch the violence of his chosen profession, yet she knows they will have no good income without his boxing.

As the United States enters the Great Depression, Braddock does manual labor as a longshoreman to support his family, even with his injured hand. Unfortunately, he cannot get work every day. Thanks to a last-minute cancellation by another boxer, Braddock's longtime manager and friend, Joe Gould, offers him a chance to fill in for just one night and earn cash. The fight is against the number-two contender in the world, Corn Griffin.

Braddock stuns the boxing experts and fans with a third-round knockout of his formidable opponent. He believes that while his right hand was broken, he became more proficient with his left hand, improving his in-ring ability. Despite Mae's objections, Braddock takes up Gould's offer to return to the ring. Mae resents this attempt by Gould to profit from her husband's dangerous livelihood, until she discovers that Gould and his wife also have been devastated by hard times.

With a shot at the heavyweight championship held by Max Baer a possibility, Braddock continues to win. Out of a sense of pride, he uses a portion of his prize money to pay back money to the government given to him while unemployed. When his rags to riches story gets out, the sportswriter Damon Runyon dubs him "The Cinderella Man", and before long Braddock comes to represent the hopes and aspirations of the American public struggling with the Depression.

A title fight against Baer comes his way. Braddock is a 10-to-1 underdog. Mae is terrified because Baer, the champ, is a vicious man who reportedly has killed at least two men in the ring. He is so destructive that the fight's promoter, James Johnston, forces both Braddock and Gould to watch a film of Baer in action, just so he can maintain later that he warned them what Braddock was up against.

Braddock demonstrates no fear. The arrogant Baer attempts to intimidate him, even taunting Mae in public that her man might not survive. When he says this, she becomes so angry that she throws a drink at him. She is unable to attend the fight at the Madison Square Garden Bowl or even to listen to it on the radio.

On June 13, 1935, in one of the greatest upsets in boxing history, Braddock defeats the seemingly invincible Baer to become the heavyweight champion of the world.

An epilogue reveals that Braddock later worked on the building of the Verrazano Bridge, owning and operating heavy machinery on the docks where he worked during the Depression, and that he and Mae used his boxing income to buy a house, where they spent the rest of their lives.
Article Source: https://en.wikipedia.org/wiki/Cinderella_Man

More about → Cinderella Man (2005)

Act Naturally (2011)

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Life seemed to be going well for Leah Collins (Katie L. Hall) a tightly wound Business Systems Analyst, before she receives a call one day from a sister she never knew existed. Charlie Tillerman (Liz Lytle), calls with tragic news of their father passing away and informs Leah that it is up to the two of them to go down to Arizona to collect his personal belongings and handle necessary arrangements. Putting a kink in Leah’s busy routine, she agrees to road trip with Charlie in the hopes of making their visit as short but respectful as possible. But we all know that life never pans out in the way we wish and Director JP Riley delivers a true-to-life film about just that—dealing with life’s unexpected pleasures or as for some visiting Bear Lake, living life with simplicity. Arriving at their destination with the address the attorney left them, Leah and Charlie quickly catch on to what the fuss is all about.

But in order to find out what hides behind door number two, they have to succumb to the rules of Bear Lake [a clothes free naturist resort] and strip down before they can get down to business. The sisters quickly learn that their father owned the resort and will inherit something beyond anything they ever would have imagined. In time they learn that they’ll have to broaden their minds and think outside the box in order to come to a mutual decision that affects the fate of not only Bear Lake Resort itself but also the individuals who run it.

This Comedy/Drama brings a new light to a different choice in lifestyle and Mr. Riley does so very tastefully by furnishing an obliging message to viewers that sometimes you have to get completely rid of everything in order to find your self-worth. This is proven through each of the supporting characters’ different backstories that stand testimonial in overcoming low self-esteem and breaking through the barriers of a covetous society. Unlike a standard independent film that does not attempt any sort of challenge, the crew responsible for this movie deserve high accolade for their ingenuity by contrasting their indie counterparts to a gig with a much higher budget. Act Naturally features a supporting cast including Susan May Pratt, Alan Cox, Josh McVaney, Courtney Abbott and Rob Roy Fitzgerald among the other praise worthy performances. It isn’t your average indie with subpar acting, each member of the cast eagerly pulls their own weight in order to establish a well directed production that stands to prove their prodigious skill. The movie contains frequent nudity only intended for a mature adult audience, but I’d also recommend anyone with a delicate ear to steer clear due to recurrent profanity (although commonly used with a humorous inflection) that could possibly make for an uncomfortable viewing experience for some. Its plotline doesn’t stray away from its objectives and affords anyone who watches it with some invaluable lessons on relationships and personal fulfillment.

Article Source: http://www.imdb.com/title/tt1430070/?ref_=nv_sr_1

More about → Act Naturally (2011)