Showing posts with label horses. Show all posts
Showing posts with label horses. Show all posts

4/22/2012

Flash (1997) Review

Flash  (1997)
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This is a family movie in the most wonderful sense. So often, people use that phrase to mean "no swearing" or "no nudity", but so many "family" movies are just watered down nothingness, no story, no interesting characters...
This movie has spirit and heart. Lucas Black is an amazing young man, a wonderful young actor who carries the entire movie all by himself. After his grandmother's death, Conner (Black) decides to embark on a journey from Georgia to New York to meet his father's ship as it returns to port. He confronts danger and many of life's challenges along the way.
What I especially like about the movie is that it doesn't tiptoe around some hard issues. Conner deals with his grandmother's death all alone...he confronts an abusive adult with heart and bravery. I think this movie is wonderful because it shows a nice, good, brave kid who isn't unreal the way so many kids are in movies and on TV today. He's polite and smart and respectful and still super cool. Way to go Disney and Lucas Black.

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The idyllic life of Connor Strong (Lucas Black, SLING BLADE), his dad (Brian Kerwin), grandmother (award-winning actress Ellen Burstyn), and horse Flash changes overnight when financial pressures force Connor's father to leave home and find work. Connor is forced to sell Flash, and then is heartbroken to discover that the new owners are cruel to his beloved horse. Connor rescues Flash, and together, they set off cross country to search for Connor's father. In classic Disney tradition, the adventures they have along the way will forever touch the hearts of young and old alike.

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2/26/2012

Straight From the Heart (2003) Review

Straight From the Heart (2003)
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I'm more of an "Aliens" sort of girl than a romance fan, but I have to admit to absolutely loving this movie. I guess I'm just a sappy romantic at heart. This film's been airing on the Hallmark Channel, and I find myself watching it over and over, to the point where I came here to find out if it was on DVD. Thank goodness it is!
I particularly appreciated the cinematography and settings, and well... okay. I really appreciated Andrew McCarthy in his jeans. :) As a mustang adopter and advocate, I can't say that the depiction of mustangs and the BLM (called the "DLM" in the film) is really terribly accurate, but I'm EXTREMELY gratified to see a film even approaching the question of wild horse management in such a positive way. (Of course, when it comes to training mustangs, I wouldn't try this at home; while we see Tyler using some pretty decent training methods, he's also working with a domestic quarter horse rather than a range-fresh mustang; the real thing doesn't tend to go that fast or easy. ;))
I think they did a nice job of making the characters both believable and likeable, and the various conflicts and situations actually make sense, unlike too many films where things could just be resolved if the characters would stop behaving like morons. :) Andrew McCarthy does a really nice job as a gruff cowboy type... and he certainly sits a horse well, too.

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Item Name: Straight from the Heart; Studio:Good Times Video

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11/11/2011

Thicker Than Water (2006) Review

Thicker Than Water (2006)
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A very good family movie. I loved Lindsay Wagoner and Melissa Gilbert but the other gal in the movie (her name escapes me) was also terrific and believable. I appreciate a movie with no violence, bad language, or sex content. To some that means a boring movie. Thicker Than Water had several messages to get across and did that without all the hipe. Great movie!

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Item Name: Thicker Than Water; Studio:Platinum Disc

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11/07/2011

IMAX: Horses--The Story of Equus (Full Ac3 Dol) Review

IMAX: Horses--The Story of Equus (Full Ac3 Dol)
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1 Disc Widescreen, released June 8, 2010
"Horses: The Story of Equus" was financed by the Australian Film Finance Corporation and is the story of three horses: The Chestnut being trained for racing, The Bay being trained for movie stunts, and The Black who on his way to a stud farm gets into an accident and escapes into the wild joining a herd.
The cinematography on this film is breathtaking capturing every beautiful muscle of the horses galloping. Horses are speedy and graceful and always alluring to watch. The stories while clearly set up are very different and give the horses a chance to show their personality in their circumstances.
The Chestnut has issues connecting with its rider and throws her sensationally into a lake. The Bay has a fiery spirit that prevents it from getting close to anyone till the end of the film. The Black gets the most exciting journey of all getting to run free across gorgeous landscapes that are a feast for the eyes.


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9/15/2011

Quigley Down Under (1990) Review

Quigley Down Under  (1990)
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Like many TV actors, "Quigley"'s star Tom Selleck gave much attention, during and after his small-screen career, to attempting to break into movies. If he'd been born in 1926, instead of 1946, he would probably have gained fame, not as Thomas Magnum, but in Western films and/or TV series like this one. Quigley is the role he was born to play, and in Quigley's adventures he has made, to my mind, the best movie of his career.
This slam-bang actioner, though often labelled a "Western," actually takes place, not in the American West, but in the Crown Colony of Western Australia, probably around 1875 (there are still convicts there). Selleck plays Matthew Quigley, a soft-spoken marksman from Wyoming, who answers an advertisement by Australian rancher Marston (Alan Rickman) for "the finest long-distance marksman in the world." After three months on a sailing ship, he steps ashore at the port of Fremantle, where he promptly gets into a brawl with what turn out to be three of Marston's men, come to meet him, and is mistaken by displaced "native-born Texian" Crazy Cora Cobb (Laura San Giacomo) for her husband Roy. At Marston Water he offers a display of his skill with his primary weapon, a customized Sharps .45 buffalo gun, and impresses everyone, including Marston, who describes himself as "a student of your American West" and is a fast draw, pinpoint-accurate, and quietly proud of it. Only now does Quigley find out that he was being hired, not to kill dingoes (Australian wild dogs) as he thought, but to clear Marston's lands of the native Aboriginies. He promptly throws Marston out the French window of his own house, but is eventually overwhelmed by Marston's crew and, with Cora, taken out to the desert to die. Managing to kill the two men who fetched them there, he recovers his rifle and big Stetson, but loses the buckboard and horses. Trying to walk out, he and Cora are found by a clan of Aboriginies, who take them in, and when a group of Marston's men appears to hunt the natives down, Quigley takes up his Sharps in their defense. Eventually he eliminates Marston and all but three of his men in a sort of one-man "long hunt," climaxed by a shootout in which, though wounded and battered and admitting that he "never had much use" for handguns (he doesn't even carry one), he kills three men so fast that his shots sound like one.
Though there's a good deal of violence in this video--in fact, it will probably be too intense for kids under the age of 12 or so--none of it is gratuitous: each instance either serves to further the story in some way or is portrayed as an inevitable result of the choices and character of the person acting or being acted against. Selleck's Quigley is a '90's version of the classic John Wayne hero: soft-spoken, quietly competent, modest and unassuming (he "spent a night" in Dodge City once, and describes it as "a nice place to get some sleep"), chivalrous toward women and even a little unsure of how to react to them. (His early interactions with San Giacomo's Cora, on the Fremantle docks and in their first outback camp, add a whimsical touch to the movie's tone and should draw laughs from all watchers.) He also has an iron code of behavior, and he doesn't hesitate to learn even from the primitive Aborigines: one of the most delightful sequences finds them teaching him to use a spear-thrower and to suck water out of the sand through a bamboo--after which he repays them by conducting a class in the making and proper use of a rawhide lasso. Rickman is the kind of villain you love to hate: smooth, silky, sneering, yet acting from what seem to him to be completely valid reasons. San Giacomo may be "touched in the head," but she's also earthy, practical, and fiercely loyal to Selleck and to the orphaned Aboriginie baby they find; her story of how she came to be in Australia is touchingly delivered.
And, like most of the best movies, "Quigley" can serve as a starting point for some penetrating family discussion. Parallels will quickly be seen between the Aborigines' situation and, not only the experiences of the American Indian, but the "ethnic cleansing" through which the former Yugoslavia suffered, and which kids may have studied in school. Quigley seems not to be revengeful against Marston and his crew of 20-odd tough English and Irish until they act against the Aborigines who have been his and Cora's friends, and even then a case can be made for his killing as many of them as he can hit: afoot and outnumbered, he doesn't want them in the area and angry at him; after the second Aboriginie drive and the accidental killing of a storekeeper's wife, he is simply resolved to keep them from doing any more harm.
Though action is the movie's keynote, it is above all the story of how three people inspire one another to certain inevitable acts--in short, like all the best stories, it turns on character. And its characters will remain in the memory for a long time to come. (A side-benefit is the blood-stirring score by Basil Poledouris, which was one of the first CD's I ever purchased.) The cinematography gives a powerful sense of the size and loneliness of the Australian outback (filming was done in Alice Springs and other Australian locations), as well as of how important it is that Quigley seems far better able to adjust himself to it than Marston's men are willing to do. Director Simon Wincer, though not of American birth, has turned out a movie which, while not strictly a "real" Western, should become a classic of the genre. By my criteria, it's definitely a 10--or perhaps even a 12.

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7/16/2011

The Black Stallion (1979) Review

The Black Stallion (1979)
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Growing up, I was a genuine horse-freak, and considered myself a connoisseur of all-things-horse, especially movies. The Black Stallion has always been one of my favorites.
Of course, it doesn't hurt any movie to be executive-produced by Francis Ford Coppola (The Godfather I,II,III). But what really shines through in this film is the stunning cinematography and camera work, and the acting by Cass Ole ("The Black"), Kelly Reno (Alec) and of course, Mickey Rooney, who was nominated for Best Supporting Actor.
This film really captures the mood and feeling of the first "Black Stallion" book. There is virtually no dialogue for a good portion of the film, and it is not missed. The on-screen relationship between Alec and The Black is one that could not be expressed in words under any circumstances.
When I first received this DVD, I put it in to watch it with my father on Christmas night a few years ago. During the island scenes between Alec and The Black, I stifled tears; the scenes - the photography is that stunning.
I was enthralled by this movie as a 13-year-old girl with a passion for horses, and I feel the same way as a 36-year-old.
Buy this DVD for your children, or buy this DVD for you, but buy this DVD. It will quickly become a favorite!

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From its turbulent beginning in a storm-swept sea to its unforgettable horse race finale, The Black Stallion is a modern-day movie landmark. One of the most highly praised productions of 1979,it is "a wonderful experience...for adults and for kids" (Roger Ebert). When a shipwreck leaves Alec (Kelly Reno)a courageous young boyand The Blacka wild Arabian stallion 'stranded on a desolate island, the two share a frightening adventure of survival that forges a lasting bond of friendship between them. Upon their rescue, Alec and the magnificent horse continue their adventures when they join forces with ex-jockey and horse trainer Henry Dailey (Mickey Rooney). Recognizing the winning combination of The Black's remarkable spirit and Alec's unwavering devotion tohis friend, Dailey takes both under his wing and prepares them to go head to head with the world's best thoroughbreds in "the race of the century."

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7/10/2011

The Inheritance (1997) Review

The Inheritance (1997)
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Those who like period pieces will very much enjoy this made for television movie, which is loosely based upon Louisa May Alcott's novella of the same name, which novella she wrote when she was all of seventeen. With an excellent cast and deft direction, this Cinderella-ish, happily-ever-after story is one that the whole family can enjoy.
The film, which takes place in nineteenth century America, focuses upon a wealthy family, the Hamiltons. Mr. and Mrs. Hamilton (Tom Conti and Meredith Baxter) live in elegant splendor on a vast estate with their bookish teenage daughter, Amy (Brigitta Dau), and her slightly older companion, Edith Adelon (Cari Shayne), whom Amy adores, along with a large retinue of servants. Edith has a place in the household that is somewhere between upstairs and downstairs, as she is more than a servant but not quite family.
It appears that Edith, an orphan, has been raised in the household since infancy, when the Hamiltons went to Italy to settle the estate of Mr. Hamilton's estranged older brother. The Hamiltons found the infant Edith abandoned on the Italian estate of Mr. Hamilton's brother and believed her to be the daughter of a servant who died in childbirth. The Hamiltons were so smitten with her that they took her back to America with them and proceeded to raise her.
Now a young woman, Edith's life is thrown into a tailspin when the Hamilton's beautiful cousin, Ida (Bridget Conley Walsh), comes to visit and be introduced to some eligible bachelors. The Hamiltons arrange for a very eligible and wealthy bachelor, James Percy (Thomas Gibson), to stay with them with an eye towards his making a love match with Ida. While shopping, Edith, however, briefly meets a handsome young man by the blacksmith's shop, and when their eyes lock, it is love at first sight. She later discovers when James Percy arrives that he is the young man with whom she has fallen in love and realizes that he is beyond her reach.
The Hamiltons, however, include Edith in their social plans for Amy, Ida, and James, primarily as a companion for Amy so that Ida and James can have some time to get to know each other. When disaster strikes, however, and Edith saves the day, the Hamiltons reward her by inviting her to a ball. There, the host takes offense that the Hamiltons should presume to insult him by appearing with the hired help, and Ida makes sure that Edith knows this, ruining Edith's evening in the process.
This pomposity gets Mr. Hamilton's dander up, and he will brook no insult to Edith. Meanwhile, James has been smitten by Edith, who draws away from him because they inhabit two different worlds, a point that the mean-spirited and jealous Ida wastes no time in driving home. Edith also draws away from him because she believes that there is a budding romance between James and her beloved Amy, whom she would not hurt for all the love and money in the world. Meanwhile, Ida continues creating mischief.
When Edith saves Mr. Hamilton's honor by winning a horserace against the pompous host of the ball that she attended, all is well, more so because she defied convention, riding astride rather than sidesaddle. Then, Mr. Hamilton makes a discovery that shakes him to the core. A deathbed confession to Edith will bring tears to even the most hardened of viewers. This in turn causes Edith to make an unprecedented and noble decision. Unfortunately, on the heels of her potential sacrifice, a mysterious theft crops up, and Ida points the figure at Edith. At this juncture, a deus ex machina appears in the unlikely guise of a servant. Suffice it to say that all is well that ends well.
I absolutely loved this film, despite the fact that it was somewhat predictable. It is just a lovely period film with fine performances by the entire cast. I still cannot understand why Thomas Gibson has not yet become a major star, given his exceeding good looks and talent. Tom Conti is especially endearing as the somewhat liberal blue blood who champions Edith. Cari Shayne gives a luminous performance as the noble Edith, while Meredith Baxter is excellent in the role of the somewhat thoughtless Mrs. Hamilton. Bridgitta Dau shines as the bookish but irrepressible Amy, and Bridget Conley Walsh is well cast as the beautiful but soulless Ida.
This film is well worth having in one's personal collection, if one is a devotee of period pieces or simply a fan of Louisa May Alcott. Moreover, at the price for which it is selling, this DVD has got to be one of the best bargains around.

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