American car designer Carroll Shelby and driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966.
Years following the events of "The Shining," a now-adult Dan Torrance must protect a young girl with similar powers from a cult known as The True Knot, who prey on children with powers to remain immortal.
Kate is a young woman subscribed to bad decisions. Her last date with disaster? That of having accepted to work as Santa's elf for a department store. However, she meets Tom there. Her life takes a new turn. For Kate, it seems too good to be true.
The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes.
MIDWAY centers on the Battle of Midway, a clash between the American fleet and the Imperial Japanese Navy which marked a pivotal turning point in the Pacific Theater during WWII. The film, based on the real-life events of this heroic feat, tells the story of the leaders and soldiers who used their instincts, fortitude and bravery to overcome the odds.
The wreckage of the Akagi and the Kaga were found the month before the film's premiere. See more »
John Ford was indeed wounded in the arm during the battle while filming for The Battle of Midway. However he was in a much more precarious position, standing on top of the power plant on Sand Island, one of the most obvious targets for the Japanese Navy. He survived multiple attacks. See more »
I've read several of the critical reviews of "Midway"; they seem to reveal more about the cattiness of the reviewer than any understanding of the movie, or its message.
I am part of the growing legion of American moviegoers who have pretty much given up on Hollywierd having any clue how to convince me to actually care enough about any of their offerings to part with the price of admission. I can wait a few months till they show up free on Youtube to confirm my suspicions that I haven't wasted my money.
I made the rare exception this weekend to see "Midway", because I'm a history buff, and the previews I'd seen showed promise that the story would be properly told. That said, I went in with the full expectation that it might fail my already low expectations.
Happy to say that it far exceeded my best hopes. Roland Emmerich has put together a gripping storyline that manages to get in all the important elements of an epic story in 128 minutes. For the story of the American victory at Midway is an epic tale that every American should become familiar with.
Few Americans today can fathom what dire straits the US found itself in in 1942: Our battleships lay in twisted ruins on the bottom of Pearl Harbor; we had four aircraft carriers facing a Japanese navy with twelve, equipped with aircraft which were far superior to anything that was then available to American fliers; those aircraft were piloted by experienced men who had honed their craft in four years of war in China. We helplessly watched as thousands of American soldiers, sailors and Marines in the Pacific Islands and the Philippines were made captive, beyond the reach of our aid.
All the Japanese had to do was to concentrate on Midway, overwhelm our inferior naval and air forces, and Hawaii and the West Coast would be wholly at their mercy.
The essayist Matthew Arnold once said, "Have something to say, and say it as clearly as you can. That is all anyone needs to know about style." Emmerich follows his advice. No actors involved in "Midway" will be nominated for an Oscar. Which is another way of saying that there are no star turns which detract from telling the story. I will say that the actors are very believable in their roles; as the son of a Marine who fought in the Pacific, I found their portrayals pretty convincing.
I'm firmly of the opinion that CGI effects are overused to distract from thin or non-existent plotlines. I credit Emmerich for using them to reinforce an already strong narrative. To those critics who found them overpowering, I inquire: How in hell do you think the shock of modern warfare registered on the men who actually faced it at Pearl Harbor and Midway? They called it "shell shock" for a damned good reason.
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