The Judge (2014) is a David Dobkin directed Robert Downey Jr. starrer where he plays the role of Hank Palmer, a successful though unethical defence lawyer. The movie takes the forma of a small- town courtroom thriller when Hanks’ father, played by Rovert Duvall, is charged in a hit and run case and the father and son duo must put their differences and egos aside to defend the father. Central to the movie is also the theme of the jury’s biases towards a respected judge in a small town. The movie opens with a scene at a courtroom where Palmer while in a trial, receives a phone call from his brother Glenn informing him that their mother had passed away. Palmer leaves for his hometown, Carlinvile, Indiana to attend the funeral of his mother. He meets his elder brother Glenn, his estranged father Judge Joseph Palmer and his dyslexic younger brother Dale. After the funeral, at night Judge Palmer leaves the house to buy groceries and run some errands. The following morning, the brothers notice that their father’s car is substantially damaged from what looks like a hit from the night before. Soon, the Sheriff takes in Judge Palmer for questing as he was the prime suspect for hit and run case wherein the victim, now dead, was …show more content…
His testimony would be categorised as oral evidence, that is the statements that the Court requires the witness to make in all truth of facts. The Deputy Sheriff told the cCourt that Judge Palmer had stated, while in custody, that nobody else was allowed to drive his car, the 1971 Cadillac Deville and he was in fact driving his car the night of the accident. It is important to note here that these statements were made by the Judge in the police station however in many jurisdictions, including India, such statements are only admissible when made in front of a Magistrate of First class or Second class, when empowered by the State
Anyone can teach others from leading by example. Showing others what you can accomplish establishes confidence in others to try out their own dreams, wishes, and goals. A great example of leading by example is Gus, Clark, and Richie in the movie The Benchwarmers. These men meet Nelson, a stereotypical nerd that is bullied by baseball jocks every day just because he wants to play with them. This little boy inspires the men to show others that everyone should have the same opportunity to play baseball, no matter the skill level.
This week’s readings of the reviews of Spike Lee’s ‘Do the Right Thing’ and Marilyn Fabe’s “Political Cinema: Spike Lee’s ‘Do the Right Thing’, raised a number of questions regarding not only the moral issues the film addresses but also the intention of the artist. This dialectical opposition, which Pamela Reynolds suggests “challenges the audience to choose” (Reynolds, p.138) between the narrativized hostility shown between that of the hero and villain. More specifically Lee’s portrayal of violence vs passive opposition. This can be perceived through Lee’s technical employment of contradictory quotes from Martin Luther King, Jr and Malcom X at the conclusion of the film, which not only highlights this concern but also deluges further into themes of political opposition. Marylin Fabe discusses this where she states that Spike Lee’s film carries a “disturbing political message” (Fabe, p.191). Arguably, ‘Do the Right Thing’ acmes themes of racism (Black vs White); with underlining motifs of imperialism (colonisers’ vs colonised), psychoanalytic (power vs powerlessness) and even Marxist theory (ownership vs public space/consumption), with Clarence Page stating that Lee provides a “public service… (not trying) to provide all the answers, but raising the questions.” (Reid, P.144). In saying this we explore this concept of the role of the artist, with Georgopulos stating that the role of the artist is to create a consciousness within the audience by revealing a fraught set of truths about the human condition. Thusly, the reactions and responses to the films reveal Lee to be successful in conveying his intentions, which back in its zenith, explored this issue of racism in a way that had rarely been seen, and presented the ways in which t...
On Friday April 24th J.P. Walker, Preacher Lee, Crip Reyer and L.C. Davis got into Reyer’s Oldsmobile and they took off on a mission to kill Mark Charles Parker. (3 other cars of men followed) They went to the courthouse/jail in Poplarville and they could not get in. So they went to Jewel Alford’s House (The jail keeper) to get the keys to the Jail. Alford went with the four men to the courthouse. When he got there he went in and down the hall to Sheriff Moody’s office and got the keys to the jail. He opened the door to the jail and Lee, Reyer, Davis, Walker followed Alford into the jail. Alford then opened Parkers cell and Lee and Davis pulled Parker out of the jail and courthouse to the Reyer's Oldsmobile. Alford then left and the men got into the car.
The group wrongly identifies a lone car as belonging to a mutual friend and flashes their headlights in a sense of good fun. Hiding from those who would find him and carry out the wrath of vengeance upon him, the protagonist plans his escape. About to dive into the rancid water and swim for it, a body in the shallows abruptly stops him. The bloated and decomposing corpse pulls the narrator back from his adrenaline-induced frenzy.
The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film.
...r as if they were in the courtroom of a murder trial. In some ways, the use of advanced diction could cause problems for the reader to comprehend it, however the author has worked in small descriptions of what some of the more advanced judiciary terms are. Finally, the author uses a very advanced characterization of virtually all the characters mentioned within the story, from the mature and well-respected Theodore Boone to the every-so opinionated office secretary Elsa. Without a doubt, Theodore Boone: Kid Lawyer entices the reader into the mystery that is will Mr. Duffy be proved innocent or guilty? John Grisham does a great job into hooking the reader into wanting more of this eye-opening crime and drama novel.
The 1989 film Do the Right Thing displays a story about racial tension in a predominantly African-American neighborhood. Spike Lee not only directed and produced this film but he was also the main character, Mookie. In spite of maintaining these three jobs, Lee incorporated cinematic techniques that allowed his film to unlock controversial ideals for both Caucasian and African-American viewers. Through the use of camera elements Lee was able to display emotions and tone of the scene without using stating it directly. Lee exhibited film methods such as low-angle shots, close ups, slow motion and panning.
Incohesive, long, and dialogue-heavy, Inherent Vice has all the potential to flounder. Yet under the steady (or rather, wild) hands of director Paul Thomas Anderson, the film becomes a psychedelic, incredibly enjoyable ride brimming with wit and melancholy. The film follows Larry ‘Doc’ Sportello (played in routinely magnificent fashion by the now ever-reliable Joaquin Phoenix), and his exploits to help his ex-girlfriend, Shasta Fey (Katherine Waterston, also exquisite) investigate a kidnapping of notorious real-estate billionaire Mickey Wolfmann. From there, the plot descends (or ascends, depending on your perspective of the film) into sumptuous lunacy; a mystery involving the coveted and secretive
poster typically has the white cowboy large, presented front and center, with the antagonists and co-stars all behind him. An iconic western, The Good, The Bad, and the Ugly, has a poster picturing the white cowboy alone. Clint Eastwood stands there tall, stoic, and singular. Typical of most other westerns, the white cowboy is the center of attention. Here, however, there are two non-white figures presented: Bart, the Black cowboy, and a large Native American chief. This movie poster has the same style as other westerns with the color and layout, but is unique in the fact that a black man is presented where a white man would normally be dominating. Once again, this makes a statement about racial improvements. Previously having a black man at
In the film, “Simple Justice” the ‘separate but equal’ of Plessy v. Ferguson (1896) to the unanimous 1954 overturn of Plessy in Brown v. Board of Education of Topeka without discussing the tortuous legal and political path that resulted in eventual public school desegregation. It caused a huge diversity among the schools, for whites and blacks but it wasn’t enough because people kept questioning about Plessy v. Ferguson, especially of Jim Crown laws regarding the changes they wanted to have. Therefore the film “Simple Justice” indicates the Supreme Court ruled in Brown v. Board of Education that segregated schools were unconstitutional, and something necessary was needed to be done.
The film Sunset Boulevard, presented in 1950 is a black and white film. The film is about Norma Desmond an old actress, who has issues accepting that she is becoming old. The main actor in the film is Gloria Swanson, who plays Norma Desmond, an older woman who believes she is still young. Desmond is not content with the fact that Hollywood has replaced her with younger actresses. The next actor Nancy Olson, plays Betty Schaffer who falls in love with Gillis despite being engaged to his friend. The third actor is William Holden who plays as Joe Gillis, who has financial problems and decides to turn himself into a gigolo to earn money. The dilemma with Joe is he does not want Betty to know about his job because he knows he might lose Betty as
District 9 is a film that takes us into a realm of a different world from the one that we know now. It combines extraterrestrial life with immense science fiction to illustrate a story we could only imagine to ever actually occur. Although it was created for entertainment purposes, the motion picture can be compared to many different types of individuals and situations. District 9 displays many underlying concepts throughout the movie about racism, prejudice and discrimination. While studying and analyzing the plot and characters, these concepts became more translucent to me, the viewer. This paper will discuss the treatment of District 9 residents and equate their treatment to people with disabilities.
For this assignment, I decided to do my film review on To Kill a Mockingbird (Mulligan, R., & Pakula, A. (Directors). (1962). To Kill a Mockingbird[Motion picture on VHS]. United States of America.) I have a personal connection to this film because it is one of my most beloved novels by Harper Lee. I have never watched the film so it was a nice experience to see the characters I have loved for years come to life just before my eyes. The film particularly focuses on a white family living in the South of the United States in the 1930s. The two siblings, Jem and Scout Finch, undergo major changes while experiencing evil and injustice in their small town of Maycomb. Jem and Scout’s father is named Atticus and he is a well-respected man in the town as well as being a lawyer.
Alex Garland’s movie, Ex Machina, seems to be another fantasy based film where humans create machines that are able to behaves as humans, but this film looks beyond behavior and into deeper concepts such as control of the mind and not just the body. A scene that displays this idea is when Caleb slashes into his arm and begins to push the blood out to ensure that he is still human and not a machine. Throughout this movie, especially in this particular scene, demonstrates main interaction with a robot, which then leads to minimal human interaction and sleepless nights. While this scene could have just been for attention or to add dramatic effect to the movie, but seeing the scene through a different perspective of other intellectual minds,
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’