ATS [email protected]/?a=<a href=http://3win8.city/download/36-rollex11>rollex11 login</a> Reviews & Opinions
Submit ATS [email protected]/?a=<a href=http://3win8.city/download/36-rollex11>rollex11 login</a> review or read customer reviews:
100 Reviews Found
Watch ATS [email protected]/?a=<a href=http://3win8.city/download/36-rollex11>rollex11 login</a> video reviews and related movies:
Scroll down to see all opinions ↓
Yes, it's good. Yes, it's worth can tell it's not really pure Stephenson. It's not very witty, which we'd agree is his strength. Interesting story, told kinda guess is he developed the plot and handed it over to the other writer. It's not Stephenson.
Being a large fan of both James Cagney and Bette Davis, I thoroughly enjoyed this screwball comedy, which proved their only pairing. Perfect supporting cast, including such legends as Eugene Pallette and Jack Carson, support overcome the limitations of the script and create an enjoyable film.
Who was murdered? He was! D.O.A. is directed by Annabel Jankel and Rocky Morton and adapted to screenplay by Charles Edward Pogue from a story by Russell Rouse and Clarence Greene. It stars Dennis Quaid, Meg Ryan, Daniel Stern, Charlotte Rampling, Jane Kaczmarek and Christopher Neame. Melody is by Chaz Jankel and cinematography by Yuri Neyman. A loose remake of the 1950 movie noir of the same name, the story finds Professor Dexter Cornell (Quaid) staggering into a police station proclaiming that he is dying because someone has poisoned him. Told in flashback by Cornell, we see the happenings that led up to the point he was poisoned, but not who did it, and then track the frantic Professor as he tries to solve the who done it mystery before he keels over and dies. Not as poor as the not good box office returns suggest it is, D.O.A. is still very much a frustratingly shaky experience. Lifting only the primary idea of the 1950 movie, the makers stamp their own tag on the premise but add too a lot of red herrings to the already fishy stew. Some plot developments are daft, as is the casting of Meg Ryan in the key femme role - seriously she is just too cookie cute and homely for this material - while the motive reveal is a bit much to swallow. Yet there's still a lot to have fun and sample here for the neo-noir faithful. Visually the picture is stylish and appreciative to its noir roots. Opening in black and white to set the story in motion, Jankel and Morton then infuse the movie with angled shots and frame distortions. Shadows often come into play, with Venetian blinds and roof rafters impacting, while the addition of a spiral staircase late in the day is most pleasing. Quaid is ever watchable in what is a tricky role that calls for him to garner sympathy whilst not being likable! While elsewhere Stern and Rampling provide amazing characterisations, even if as written the roles are too little given the importance the characters have to the plot shenanigans. A bit over cooked on the page, and basically a race versus time thriller dressed up in neo-noir clothing, D.O.A. is still none the less worthy of a viewing. 6.5/10
Edmond O'Brien is one of my favourite actors of the period, and if you need any startling evidence of why, just check out his performance here in Rudolph Mate's heartily original noir-shocker, 'D.O.A.'. Another amazing reason to check the movie out, the Polish-born director, created a smooth transition from being a amazing cinematographer, and this is probably his most shining triumph helming a picture. If you have ever wondered why 'film noir' has been considered such a consistently rewarding and enthralling body of cinematic work, like the earlier 'Pre-Code' era, check this one out, and others of its ilk. A sheerly delightful movie that holds up well today. Though I haven't checked its 80's remake out, I'm not too curious about it, other than the slight curiosity from its notoriety of it being the movie in which Dennis Quaid and Meg Ryan met and eventually decided to marry. Other than that, I'm more than content simply watching this.