
On American Movie Classics (AMC)
The best and most beautiful things in the world cannot be seen or even touched. They must be felt with the heart. -- Helen Keller
This movie is awesome. There are many reasons but let's start with the most important one- the guys in the movie are Navy SEALs, real ones, from SEAL teams and it shows. There is action in every bit of this movie. It was done by real dudes so it actually looks real and in a lot of cases is real. One of the best examples is when a couple of fast boats come to exfil them from a hostage rescue and the boat guys light up some bad guys and their pick up trucks with miniguns. Almost too beautiful for words.
...The guys who appeared in this film didn't volunteer because they are glory hounds, matter of fact they aren't even named. They all had to be pretty much marched to the set after being told they were gonna take one for the teams. In the credits they just roll the names of all the SEALs killed since 9/11. The guys you see on screeen did their buddies proud and now most of them are back in the fray ventilating craniums and returning scumbags to room temperature. You will especially enjoy the Senior Chief intel dude. He is a world class smart ass and smart guy.You would definitely want him on your team.

So OK. Let’s say you know the novel, you agree with Ayn Rand, you’re an objectivist or a libertarian, and you’ve been waiting eagerly for this movie. Man, are you going to get a letdown. It’s not enough that a movie agree with you, in however an incoherent and murky fashion. It would help if it were like, you know, entertaining?On the other hand, others may see the message differently.
The movie is constructed of a few kinds of scenes: (1) People sipping their drinks in clubby surroundings and exchanging dialogue that sounds like corporate lingo; (2) railroads, and lots of ’em; (3) limousines driving through cities in ruin and arriving at ornate buildings; (4) city skylines; (5) the beauties of Colorado. There is also a love scene, which is shown not merely from the waist up but from the ears up. The man keeps his shirt on. This may be disappointing for libertarians, who I believe enjoy rumpy-pumpy as much as anyone.
From the sneak peak, which was also shown at 120 theaters around the country, the movie appears to combine elements from "Aliens," "Jurassic Park" and even "The Terminator." A crippled Marine veteran, Jake (Sam Worthington, who earlier this summer starred in "Terminator Salvation" with Christian Bale) rolls his wheelchair into a briefing where a senior officer warns about the dangers that lurk far from Earth, on Pandora. "As head of security," warns this tough-looking hombre, "It is my job to keep you alive. I will not succeed. Not with all of you."
A followup scene shows Jake, the Worthington character, submitting to a full-body scan by a scientist (Sigourney Weaver), but after that Jake is on an operating table in a sort of Frankenstein situation in which his human form is replaced by the body of a sleek, elfin, 12-foot alien with superstrength who casually busts out of his environment and roams free. Now we're on Pandora-- a jungly planet where Jake must deal, in the style of "King Kong" and "Jurassic Park," with a variety of terrifying dinosaur-like creatures in a series of life-or-death struggles.
The Hurt Locker is a riveting, suspenseful portrait of the courage under fire of the military's unrecognized heroes: the technicians of a bomb squad who volunteer to challenge the odds and save lives doing one of the world's most dangerous jobs. Three members of the Army's elite Explosive Ordnance Disposal (EOD) squad battle insurgents and one another as they search for and disarm and wave of roadside bombs on the streests of Baghdad--in order to try and make the city a safer place for Iraqis and Americans alike. Their mission is clear--protect and save--but it's anything but easy, as the margin of error when defusing a war-zone bomb is zero. This thrilling and heart-pounding look at the psychology of bomb technicians and the effects of risk and danger on the human psyche is a fictional tale inspired by real events by journalist and screenwriter Mark Boal, who was embedded with a special bomb unit in Iraq. In Iraq, it is soldier vernacular to speak of explosions as sending you to "the hurt locker."


The pivotal scene in director Cyrus Nowrasteh’s new film unfolds slowly, letting the audience absorb every soul-crushing second.L.A. Times
First, a hole is dug in the ground. Then, the accused adulterer is lowered into the empty space and workers bury her up to her waist in dirt.
Then, the woman’s neighbors, young and old — as well as her immediate family — start collecting stones to throw at her until she dies.
The Stoning of Soraya M. is unlike any film we’ve seen before. It’s an unflinching glimpse at the very worst side of Iranian culture, an indictment of a barbaric ritual defended and embraced by an entire village.

"The Stoning of Soraya M." lives up to its title quite literally -- and rightly so, for it is important to understand just how cruel and drawn-out this ancient form of execution is and how prevalent it remains, not just in Iran, the film's setting, but in countries throughout the Middle East and sub-Saharan Africa that follow Islamic Sharia law.The Corner
The timing of the film's release is apt, for it serves as a metaphor for the current protests in Iran against the long-standing oppressiveness of the Islamic Republic.
Based on a true story recounted in the late Freidoune Sahebjam's book, "The Stoning of Soraya M." was filmed in a remote mountain village in an undisclosed Middle Eastern country. Jim Caviezel is cast as Sahebjam, an eminent Iranian journalist based in France who is passing through the village when he is accosted by a distraught woman, Zahra (Shohreh Aghdashloo), who prevails upon him to tape the terrible story she has to tell.
Only the day before, her niece Soraya (Mozhan Marnò) was executed in the town square by stoning. Her husband, Ali (Navid Negahban), who has the village leaders in his thrall, had concocted a flimsy and completely false charge of adultery against Soraya, the mother of their four children, so that he can be free to marry a 14-year-old girl; Soraya had refused to divorce Ali because she had no other means of support.

I saw the movie The Stoning of Soraya M., at a private showing in Washington, D.C. and, although I have seen many pictures of the stoning of the women and young girls by the Iranian Islamic regime, I could not believed that the human race is capable of such cruelty. Apparently our words and cries are not strong enough to raise human-rights awareness, but this movie can help our cause. After all, one picture is worth a thousand words.
As the only Iranian woman is the room, I tried hard to suppress my tears. I kept thinking, “This can not be the country I grew up in! Where have these people come from? They can not be the people I lived among!” No wonder all the old Iranian philosophers have looked at the mullahs as evil beings.