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**_Ignore the Columbus-hating critics, this is an artistic historical adventure_** Ridley Scott’s “1492: Conquest of Paradise” (1992) came out seven weeks after “Christopher Columbus: The Discovery” (1992) both of which tackle the same historic tale in celebration of its 500th anniversary. The latter was directed by John Glen who’s no slouch as he helmed five James Bond flicks in the ’80s. This film is more artistic and epic, being longer by 34 minutes, whereas “Discovery” is compact, not to mention it focuses on the set-up to the expedition while “1492” is more concerned with what happens after Columbus hits ground on the other side of the Atlantic. Moreover, “Discovery” sticks to the first voyage whereas “1492” includes additional expeditions. Both bombed at the box office, but they’re each worth checking out and comparing if you like real-life adventure. “Discovery” is more balanced in regards to the three acts and doesn’t bog down with events in the New World, but “1492” is a must if you want to see what happens beyond Columbus’ first voyage. It provides no less than 75 minutes of material beyond the events of “Discovery.” The weakest part of “Discovery” is the voyage itself, which runs half an hour and is twice as long as the same in this film. While it’s difficult to make a long ship journey involving only males dramatically compelling, “1492” is a way more convincing (and artistic) rendition of the Atlantic voyage. While “Discovery” has the superior cast, Gérard Depardieu is more convincing in the role of Columbus compared to Georges Corraface when you consider historic artist depictions. Corraface, by contrast, comes across as the cliched Hollywood version of the explorer, which doesn’t mean he’s not effective. In any case, I like the way each version points out Columbus’ positive AND negative qualities. Meanwhile Armand Assante (Sanchez), Sigourney Weaver (Queen Isabel), Michael Wincott (Moxica) and Frank Langella (Santangel) are all memorable. But don’t expect Marlon Brando or females on the level of Catherine Zeta-Jones and voluptuous Tailinh Agoyo. Speaking of the latter, the women on the islands are overtly top nude, as was the case in “The Bounty”; just a heads up. Monkey-see-monkey-do critics jumped on the hate bandwagon when “Discovery” and “1492” were released as soon as they smelled blood in the water. However, neither film is even close to being awful, as they claim. Like I said, they’re definitely worth seeing if you prefer historical adventure in the mold of “Mutiny on the Bounty” (1962) and “The Bounty” (1984). One of the reasons “Discovery” and “1492” bombed was because Columbus was no longer viewed in a positive light by 1992 due to the preachin’ of Lib academics who denounce the explorer as evil incarnate. But, let’s face it, the European colonization of the Americas was BOTH a blessing and a curse, yet arguably more of a blessing since it introduced to the New World the written language, the horse, the wheel, wagons, stagecoaches, firearms, trains, industry, advanced architecture and so on. And let’s not kid ourselves with the Lib fantasy that the Americas were a Garden of Eden before Euros arrived. There was constant fighting between many “Indian” tribes, who are actually the progeny of settlers from Asia. There was also slavery, massacres, heinous torture of captives, gross human sacrifice in Mesoamerica to nourish their gods and headhunters in the Amazon. Need I go on? The idea conveyed in “The New World” (2005) that AmerIndians had never experienced envy/rivalry and didn’t even know what a lie was is utterly laughable. I’m speaking as part-Abenaki. The movie runs 2 hours, 34 minutes, and was shot mostly in Spain and Costa Rica. GRADE: B+
A valuable medallion believed to prove that aliens from outer space visited Earth in prehistoric times is sought.
A grieving woman embarks on an unexpected road trip as she grapples with the pain of her recent loss and seeks to understand her place in the world.
In the midst of the Hundred Years' War, the young King Henry V of England embarks on the conquest of France in 1415.
The final installment of the Back to the Future trilogy finds Marty digging the trusty DeLorean out of a mineshaft and looking for Doc in the Wild West of 1885. But when their time machine breaks down, the travelers are stranded in a land of spurs. More problems arise when Doc falls for pretty schoolteacher Clara Clayton, and Marty tangles with Buford Tannen.
Milo and Kida reunite with their friends to investigate strange occurances around the world that seem to have links to the secrets of Atlantis.
Old Surehand and his faithful old friend Old Wabble are on the trail of a cold-blooded killer with the nickname 'The General'. The brother of Old Surehand was murdered by him. On the way Old Surehand and Old Wabble are involved in the running conflict between settlers and Comanches who are likely to go on the war path. Old Surehand can count on the support of his friend and blood brother Winnetou, the amiable chief of the Apaches. Written by Robert
On her b-day, settler's daughter Apanatschi receives her father's secret gold mine but greedy neighboring prospectors resort to murder and kidnapping in order to get the gold, forcing the girl and her brother to seek Winnetou's protection.
Firehand and his Apache friend Winnetou are determined to get justice for the murder of four young braves. They set off to track down the gang responsible for the horrendous act.
Three of the original five "young guns" — Billy the Kid, Jose Chavez y Chavez, and Doc Scurlock — return in Young Guns, Part 2, which is the story of Billy the Kid and his race to safety in Old Mexico while being trailed by a group of government agents led by Pat Garrett.
Summoned from an ashram in Tibet, Ace finds himself on a perilous journey into the jungles of Africa to find Shikaka, the missing sacred animal of the friendly Wachati tribe. He must accomplish this before the wedding of the Wachati's Princess to the prince of the warrior Wachootoos. If Ace fails, the result will be a vicious tribal war.
An expansive Russian drama, this film focuses on the life of revered religious icon painter Andrei Rublev. Drifting from place to place in a tumultuous era, the peace-seeking monk eventually gains a reputation for his art. But after Rublev witnesses a brutal battle and unintentionally becomes involved, he takes a vow of silence and spends time away from his work. As he begins to ease his troubled soul, he takes steps towards becoming a painter once again.