Advertise Box

Pulp Fiction is a very distinctive film about how 3 people get another chance. Even though contents are very vulgar, Tarantino makes the film very fascinating by complicating the order of the events. The film was nominated for the Best Film in Oscar, 1994. It had been the most successful Tarantino film until “Inglourious Basterds (2009)” came out.

Jules is a very cruel, cold character in the beginning. Even though he is very friendly and chatty to his partner or his boss, he acts just like his reputation as a professional gangster. He kills the target, who ran away with his boss’s soul, without any guilt. He just unloads his weapon when he feels he have to.

[Jules shoots the guy on the couch during Brett's interrogation]
Jules: Oh, I’m sorry, did I break your concentration?
However, Jules gets a second chance. He witnesses a miracle when the guy in the bathroom unloads hand cannon. The bullets don’t him at all. Jules gets astonished, however he gets faith

Michael Corleone has succeeded in making his “family” a top force in Lake Tahoe, Nevada and he seeks to expand his empire to pre-revolutionary Cuba. Meanwhile, the early life of his father, Vito Corleone, is chronicled as he rises to power in the 1920s.
The first Godfather was ambitious. The second film in this legendary series is even more so. With Part II, director Coppola decides that a sequel to his Oscar Award-winning movie just isn’t enough. No. Instead he decides to make a sequel AND a prequel and turn them into the same movie. The film follows Michael Corleone after he has risen to power and moved his operations to Lake Tahoe. From there he must maneuver his way through a web of Mafia politics that include an old co-hort of his father’s, Hyman Roth, and his own brother. On top of this he also survives an attempt on his life, deals with betrayal, escapes Cuba during the revolution and even

Broadly speaking, the first Godfather is a generic gangster film with arthouse trimmings and the second is an arthouse film with generic gangster trimmings, but both blockbusters encompass masterful American adaptations and appropriations of recent Italian cinema. The first and best sequence in the first film, built around a wedding, is indebted to the remarkable, protracted ball in Visconti’s The Leopard (1963) while the stylish, nostalgic handling of period d├ęcor in the second appears to owe something to Bertolucci’s The Comformist (1971); and both would of course be diminished considerably without the catchy music drawn from Fellini’s habitual composer. The outsized success of both Godfathers helped to mark the eclipse of foreign film distribution in the U.S. for the sake of glossy American art movies, a little bit before Woody Allen’s (and Martin Scorsese’s and Paul Schrader’s) mining of similar fields started to take hold.

I’m certainly not claiming that Godfathers I and II lack moral ambiguity and nuance and that cherished hits necessarily lack such qualities.

In 1947, a banker named Andrew “Andy” Dufresne (Tim Robbins) is convicted of murdering his wife and her lover, based on strongcircumstantial evidence. He is sentenced to two consecutive life sentences at Shawshank State Penitentiary in Maine, run by Warden Samuel Norton (Bob Gunton). Andy is quickly befriended by Ellis Boyd “Red” Redding (Morgan Freeman), a fellow inmate serving a life sentence who has recently failed to gain parole. Andy finds Red has connections on the outside who can acquire contraband for the inmates, and first asks Red for a rock hammer in order to maintain his rock collection hobby, which he uses to fashion a home-made chess set. He later asks Red for a full-size poster of Rita Hayworth for his wall, replacing them over the years with ones of Marilyn Monroe and Raquel Welch.

During manual labor, Andy overhears Captain of the Guards Byron Hadley (Clancy Brown) complain about having to pay taxes on a forthcoming inheritance. Andy risks punishment by explaining to Hadley how to circumvent the taxes legally; Hadley accepts Andy’s advice