A woman attempts to reunite her family by helping her husband escape prison and together kidnapping their son. But things don't go as planned when they are forced to take a police hostage on the road.
About a 1839 mutiny aboard a slave ship that is traveling towards the northeastern coast of America. Much of the story involves a court-room drama about the free man who led the revolt.
Director:
Steven Spielberg
Stars:
Djimon Hounsou,
Matthew McConaughey,
Anthony Hopkins
After an encounter with U.F.O.s, a line worker feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.
Director:
Steven Spielberg
Stars:
Richard Dreyfuss,
François Truffaut,
Teri Garr
Four horror/sci-fi segments directed by four famous directors which are their own versions of classic stories from Rod Serling's landmark television series.
Young Albert enlists to serve in World War I after his beloved horse is sold to the cavalry. Albert's hopeful journey takes him out of England and to the front lines as the war rages on.
Pete Sandich and buddy Al Yackey are daredevil aerial forest-fire fighters. Pete finds True Love with Dorinda but won't give up the job. When he takes one risk too many, Dorinda faces deep grief and cannot easily put her life back together. Written by
Reid Gagle
Pete's plane has the registry number N9425Z. Later in the film, the same number is visible on a different plane when Dorinda takes it out to aid the smoke jumpers; and before her splashdown, her plane now has registry number N4818E. See more »
It has been a while since I have seen this 'Always.' The years, I should say, have done this film justice.
A noted cinephile, I know when to eat my words, and this is one is for the books. Sincere. Honest. Touching. Obviously sparked with a late-eighties, Spielbergian hyper-real, cinematic extensions and flair, these elements do not bog the film downs as, say, with '1941' or 'The Color Purple.' And why should we expect modern filmmakers to be like those of the forties or fifties? Modern filmmakers are just that -- modern.
Holly Hunter is a walking dream and she has talent in droves. I have long had a crush on her and her funny mouth. She is simply enchanting and steals the show. Goodman, for once, is kept under control. Dreyfuss, with the thankless role of revisiting his past and commenting on the future, is the weakest link but only just. Sumptuously photographed by deftly edited, this story of unrequited love is as universal as mothers and babies. If it doesn't bring tears to your eyes, shame on you. The best advice to view this film is to forget it is a Spielberg film. Enjoy it for the love story that it is and sink into its voluptuous and charged charm.
We should all hope we become angels in the mist, able to return to Earth to right all the wrongs of the world.
This may be one Spielberg's most romantic films, next to A.I., which is a supremely magnificent film and, also, equally dismissed when it first arrived on the scene.
I urge all to give this film a second chance.
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It has been a while since I have seen this 'Always.' The years, I should say, have done this film justice.
A noted cinephile, I know when to eat my words, and this is one is for the books. Sincere. Honest. Touching. Obviously sparked with a late-eighties, Spielbergian hyper-real, cinematic extensions and flair, these elements do not bog the film downs as, say, with '1941' or 'The Color Purple.' And why should we expect modern filmmakers to be like those of the forties or fifties? Modern filmmakers are just that -- modern.
Holly Hunter is a walking dream and she has talent in droves. I have long had a crush on her and her funny mouth. She is simply enchanting and steals the show. Goodman, for once, is kept under control. Dreyfuss, with the thankless role of revisiting his past and commenting on the future, is the weakest link but only just. Sumptuously photographed by deftly edited, this story of unrequited love is as universal as mothers and babies. If it doesn't bring tears to your eyes, shame on you. The best advice to view this film is to forget it is a Spielberg film. Enjoy it for the love story that it is and sink into its voluptuous and charged charm.
We should all hope we become angels in the mist, able to return to Earth to right all the wrongs of the world.
This may be one Spielberg's most romantic films, next to A.I., which is a supremely magnificent film and, also, equally dismissed when it first arrived on the scene.
I urge all to give this film a second chance.