Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
During the 1900 Boxer Rebellion against foreigners in China, U.S. Marine Major Matt Lewis, aided by British Consul Sir Arthur Robertson, devises a strategy to keep the rebels at bay until an international military relief force arrives.
A knight in the service of a duke goes to a coastal villiage where an earlier attempt to build a defensive castle has failed. He begins to rebuild the duke's authority in the face of the ... See full summary »
Franklin J. Schaffner
Action-packed look at the beginnings of the fall of the Roman Empire. Here is the glory, the greed and grandeur that was Rome. Here is the story of personal lust for power, and the shattering effects of that power's loss. Here is the tale of the plight of a people living on the brink of a political abyss. Written by
This was one of the few Ultra Panavision 70 films not exhibited in Cinerama. See more »
When Commodus and Livius are holding the torch during Marcus Aurelius' funeral pyre, their hands move further away from the flame between shots. See more »
We're in command now Livius, the throne is yours.
Gaius Mettelus Livius, the people are asking for you.
You would not find me very suitable, because my first official act would be to have you all crucified.
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the philosopher Emperor Marcus Aurelius (Alec Guiness) summons the leaders of the Empire to the northern Frontier. he plans to announce his desire to place his power in the hands of his loyal star general (Boyd), rather than to his wild, unpredictable son Commodus (Plummer). He is killed before doing so and the Empire crumbles under Commodus.
"The Fall of the Roman Empire" was the nail in its genre's coffin. Ponderous, expensive, it bombed and put the swords'n'sandals epic in a coma for a good 34 years, until the arrival of "Gladiator", with which it shares quite a few story similarities. But where Ridley Scott's film is lean and mean, Anthony Mann's is slow, stately and overly in love with its production design. It also has undeniable weaknesses. Stephen Boyd is bland and uninteresting, Sophia Lauren is painfully bad in many scenes, and the haughty tone is often overbearing, as if the film were too important to bother with simple, human emotions (though whenever it does, it fails, as the calamitous romantic scenes prove). It never helps that the music is ghastly beyond words.
This epic does have its supporters, however, and a few very precise elements are the cause of that: the sets are indeed sumptuous, John Mason keeps his dignity and his scenes with Alec Guiness are a pleasure to watch. The hero to worship here is Christopher Plummer. Plummer can do dark and ambitious, but he is unnervingly charming and dangerous as Commodus.
So in fewer words: not a complete waste of your time. A film that could have been better with different actors as its romantic leads.
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