In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Philip Seymour Hoffman,
Clifton Collins Jr.,
A poet falls in love with an art student who gravitates to his bohemian lifestyle -- and his love of heroin. Hooked as much on one another as they are on the drug, their relationship alternates between states of oblivion, self-destruction, and despair.
A raw, powerful story of two young men, a Wyoming ranch hand and a rodeo cowboy, who meet in the summer of 1963 sheepherding in the harsh, high grasslands of contemporary Wyoming and form an unorthodox yet life-long bond--by turns ecstatic, bitter and conflicted. Written by
Larry McMurtry and Diana Ossana
In March 2006 Randy Quaid filed a lawsuit against Focus Features alleging that the company had misled him into thinking that the film was a low budget, art-house film with no prospect of making money. He saw this as a ruse to get him to lower his salary. At the time of the lawsuit, the film had earned more than $160 million. Quaid dropped the lawsuit in May, seemingly after Focus agreed to pay him a bonus. Focus, however, denied that any such payment ever took place, and Focus spokeswoman Adrienne Bowles was quoted as saying, "the circumstances of him dropping the suit are as mysterious as the circumstances under which he filed his claim." See more »
When Jack arrives at Aguirre's trailer his pickup is parked nose in, but when he and Ennis are back from the mountain and Ennis is helping him get his truck started, it is facing nose out. See more »
You pair of deuces lookin' for work, I suggest you get your scrawny asses in here pronto.
See more »
I'm 23, and I find it hard to write this review. I saw the film exactly one week ago today and not a moment has gone by when I don't ache. It finds me in the shower; it haunts me in bed; it has filled my mind and clings to my thoughts, and it won't let up. I try to lie to myself, to find some solace by saying that it's just a movie, but I know better. Jack and Ennis are alive, and they represent so many aching people, so many untold stories. There is no contrivance, no manufactured importance; there are no tricks. Brokeback Mountain tells, with painful honesty and frankness, the story of two men's lives and nothing more. Whether you are gay or straight, it doesn't hit close to home: it hits you. Brokeback Mountain is a place we all most desperately yearn to go. It's where we can be free.
It feels funny to say that Brokeback Mountain is my favorite film of all time, because I think it almost an injustice to call it a film at all, or to critique its incredible technical sophistication. Somehow Brokeback Mountain transcends that. I could hear a thousand speeches celebrating diversity or read a hundred love stories and not be absolutely broken in just two hours as I was after this film. I've never felt waves of nausea come over me as I did sitting in that theater, my face contorted as I watched truth and honesty spill from the screen and onto moviegoers who had no idea what they were in for.
I am usually the first to point out bias, so I know my words might be mistaken for favoritism or blind loyalty. They should not. This movie will change your existence. I find so many things in my life trivial now in the wake of this film---for me, watching it was truly like having a near-death experience. And am I better for it? Yes. Broken and undone, but better.
For once in my life, I feel hope, and I've seen love.
971 of 1,229 people found this review helpful.
Was this review helpful to you?