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A producer in Sydney optioned the script for a year, but the deal ultimately did not come about. After other failed attempts to get the screenplay produced in Australia from 2001 to 2002, literary agent Ken Greenblat read the script and suggested they travel to Los Angeles, where they had better chances of finding a studio interested in their concept. Wan and Whannell initially refused due to a lack of travel funds, but the pair's agent, Stacey Testro, convinced them to go. To help studios take an interest in the script, Whannell provided $5,000 to make a short film based on the scene of Amanda Young's interrogation, which they thought would prove most effective. Whannell played David, a hospital orderly tested by Jigsaw. Working at the Australian Broadcasting Corporation, Whannell and Wan contacted camera operators willing to provide technical assistance for the short film. Wan shot the short movie with a 16mm camera within two days and transferred the footage to DVDs to ship along with the script. Whannell wanted to play the lead character in the feature film, while Wan intended to be the director.
Lions Gate Entertainment picked up worldwide distribution rights for Saw when the film was shown at the Sundance Film Festival, only days before the film premiered on January 19, 2004. It was the closing film at the Toronto International Film Festival on September 18, 2004. Lionsgate initially planned to release the movie direct-to-video, but due to the positive reaction at Sundance, they chose to release it theatrically on Halloween.
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The battles behind Francis Ford Coppola's surreal war movie are well-documented: the nightmarish, multiyear shoot; star Martin Sheen's heart attack and recovery; a cackling press corps that sharpened its knives for a turkey of epic proportions. Coppola would have the last laugh. So much of the vocabulary of the modern-day war picture comes from this movie, an operatic Vietnam-set tragedy shaped out of whirring helicopter blades, Wagnerian explosions, purple haze and Joseph Conrad's colonialist fantasia Heart of Darkness. Fans of the Godfather director, so pivotal to the 1970s, know this to be his last fully realized work; connoisseurs of the war movie see it (correctly) as his second all-out masterpiece.
Stop snickering: There's a real reason why this sci-fi actioner is so high on our list. Never before (and probably never again) had the monied apparatus of Hollywood been so co-opted to make a subversive comment about its own fascist impulses. Director Paul Verhoeven cackled all the way to the box office as giant bugs were exterminated by gorgeous, empty-headed bimbos; when Neil Patrick Harris showed up near the end of the movie in a full-length Nazi trench coat, the in-joke was practically outed. Source novelist Robert Heinlein meant his militaristic tale sincerely; meanwhile, the blithe destruction of humankind on display here could only be intended as a sharp critique, both of soldiering and of popular tastes. Return to it with fresh eyes.
Rediscovered in 2006 with the fanfare usually reserved for unearthing a lost classic (which was pretty much the case), Jean-Pierre Melville's cool-blue portrait of French Resistance fighters makes a beautiful case for honor among wanted men. Back-room beatings and drive-by shootings spark a mostly conversational film about the sacrifice of spies. Melville's reputation had previously rested on chilly, remote gangster pictures like Le Samouraï (1967), but to see his canvas widened to national politics was a revelation. And the reason the movie had been ignored in the first place Fashionable French critics had dismissed it as too pro-De Gaulle. What comes around...
The director, Anthony Mann, was best known for his Westerns that pinned heroes in uncomfortable, craggy environments. When he tried his hand at a combat film (this was his first), he set the action in a Korean no-man's land where an American platoon led by Robert Ryan finds itself stranded. The result was an uncommonly tough movie for the Ike era.
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully.
No proper war-movie list would be complete without an entry from the revered Polish filmmaker Andrzej Wajda, who produced a masterful trilogy that included A Generation (1955) and Ashes and Diamonds (1958), along with this Cannes prize-winner. It's the first film to (brutally) portray the sewer-based Warsaw Uprising against the the Nazis.
To audience members in love with the sea, this movie, taken from three of Patrick O'Brian's popular Napoleonic War novels, will rank much higher. At its heart is the Kirk-Spock relationship between Russell Crowe's fearless captain and Paul Bettany's thoughtful doctor. The naval battles are an action fan's wet dream.
Gregory Peck had already arrived as a magnetic onscreen presence by the time this minutely detailed WWII Air Force drama gave him his most ambitious role to date, as a stern disciplinarian whose leadership transforms a bomber unit into a well-oiled machine. The ultimate praise: The movie was required viewing at military-service academies for decades.
Ryan Reynolds has become one of the most popular movie stars working in Hollywood; here are all the Ryan Reynolds movies (including The Adam Project) ranked from worst to best. An actor, producer, entrepreneur, and family man, Reynolds' status as a superstar has been hard-fought since he began working in the 1990s. His eventual success is a testament to the fact that no matter how big someone seems to get \"overnight,\" it's likely it took years to reach that peak.
After an early career in television - including a leading role on the amusingly titled Two Guys, a Girl, and a Pizza Place - Reynolds made his breakout debut in the 2002 National Lampoon movie Van Wilder, instantly putting him on the map as a disarmingly handsome star with substantial comic chops. For years after, Hollywood would struggle to find the right vehicles for the actor. Ryan Reynolds' movies tend to vary and the actor has an impressive catalog. Much of his career saw Reynolds hopping from genre to genre, from the rom-coms of The Proposal and Definitely, Maybe, to action flicks like Green Lantern and 6 Underground, to more serious fare like Buried and Woman in Gold.
While he was always pegged as an untapped talent even in the biggest of flops, it wasn't really until 2016's Deadpool that he was matched with the perfect vehicle for his very specific set of skills. Now, he's ascended to the type of movie star he's always been destined to be. With 2021 hits like Free Guy and Red Notice in the rearview mirror, it feels as good a time as ever to look back on Ryan Reynolds' movies, ranked from worst to best. Cameos are excluded, however, such as Reynolds' appearance in Hobbs & Shaw. or Harold & Kumar, which spawned Ryan Reynolds' \"But, why\" gif. Also not included are some of the direct-to-video Ryan Reynolds movies, made-for-TV movies, and tiny indie releases made early in Reynolds' career.
A Men in Black-gone-wrong dud about a police force charged with hunting down monsters living among the human race, the Ryan Reynolds movie R.I.P.D. lacks any sense of originality, personality, or genuine humor. It's a shame, given that the pairing of Ryan Reynolds and Jeff Bridges should yield better results. Unfortunately, everything is on autopilot here, from Reynolds' wisecracking sidekick to Bridges' jaded cowboy routine. Unsurprisingly, it doesn't look like an R.I.P.D. 2 will be happening.
A potentially interesting premise is wasted in this nonsensically pointless 2015 sci-fi venture. In the Ryan Reynolds movie Self/Less Ben Kingsley plays a billionaire industrialist who gets cancer and decides to undergo a procedure to transfer his consciousness to a healthy body. That new body is played by Reynolds, but he bizarrely doesn't at all attempt to mirror Kingsley's performance, and the intriguing Twilight Zone premise is fairly instantly dropped in favor of generic action chase beats.
Van Wilder was the Ryan Reynolds comedy movie most responsible for putting his brand of charming crudeness on the map. That said, now that he's a major movie star, there's next to no reason to ever revisit Ryan Reynolds' first movie. Far from the National Lampoon's Vacation series, Reynolds' first movie carries on the spirit of Animal House with an exhausting ignorance as to what made that classic good in the first place. Ryan Reynolds' comedy movie Van Wilder is crude, rude, and obnoxious, the kind of movie that compensates for its lack of wit with a plethora of sexism, racism, and homophobia. Things didn't get any better in the Van Wilder sequels and spinoffs, which Reynolds thankfully declined to return for.
In this Ryan Reynolds movie, the actor plays a novelist who, while visiting his Midwestern family, learns that his mother (Julia Roberts) has passed away, teeing up a grief drama of the dysfunctional family sort. It's bizarre to see such a stacked cast so utterly wasted (Willem Dafoe, Emily Watson, and Carrie-Anne Moss also show up) in Fireflies in the Garden, but the melodrama wears thin quickly, making this ultimately a completely forgettable entry.
Ryan Reynolds leads this horror remake of the not-very-good-in-the-first-place 1979 original. It's the expected collection of jump scares and things th