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For Kenneth Branagh's 4th film he chose to return to The Bard that brought him here. He chose Shakespeare's farcical comedy **MUCH ADO ABOUT NOTHING**. I knew one thing going in... Shakespeare's comedies are rarely that funny. I knew something better coming out.. I could not have been more wrong. This film is not only funny and sexy, it is a treasure. This is the first Branagh film that he utilizes stunt casting - bringing in Hollywood talent into roles normally filled by Shakespearian actors. And while it isn't always perfect, there is no complaint. In fact Michael Keaton, Keanu Reeves and Denzel Washington shine some bright light toward the American talent pool. Of course, many of Kenneth's _'Shakespeare'_ friends are still along for the ride - Brian Blessed is amongst my favorites. Branagh's first major achievement with this film is on his screenplay treatment. Like his **HENRY V**, he has cut the screenplay down to a much more manageable Hollywood film length. It is taut and efficient. Nothing is missing for the casual Shakespeare fan. Of course the obsessed will find - or _won't_ find a lot of stuff. Branagh's second major achievement is shared by others in the cast, especially Emma Thompson. Their handle of the language and poetry of Shakespeare shifts what is often muddy and confusing dialogue to crystal clear and modern understanding. In fact you will find yourself smiling through most of their scenes together as they torture each other until their love takes over. In high school readings of any Shakespeare plays, students often get confused as to the social aspect of the stories... They would question why there is a party and why is everyone in the town celebrating it? Why do battles seem to be fought and won amongst only 10 soldiers? Why does it seem that marriages are performed on the same day that the couple first met? So many questions confuse students and the adults who grow from them. Branagh's most masterful achievement here is in answering these questions. During his **HENRY V**, Branagh used an incredibly impressive tracking shot through the death and destruction on the field of Agincourt. Just as impressive is the finale of **MUCH ADO ABOUT NOTHING**, including the audience in the celebration moving through the community and finally, up into the sky with a grand view of the love and excitement of all that are alive to experience it. It is obvious that Kenneth Branagh is a major fan of Shakespeare. I would venture to say that he is more than a fan, he is an artistic peer.
In Disney's take on the Alexander Dumas tale, Mickey Mouse, Donald Duck and Goofy want nothing more than to perform brave deeds on behalf of their queen (Minnie Mouse), but they're stymied by the head Musketeer, Pete. Pete secretly wants to get rid of the queen, so he appoints Mickey and his bumbling friends as guardians to Minnie, thinking such a maneuver will ensure his scheme's success. The score features songs based on familiar classical melodies.
A young woman sabotages her own wedding in order to reclaim her identity and obliterates her life in the process.
Two fathers and a bachelor decide to share a big house to lower expenses and help relieve loneliness, but the children involved are less than happy about the arrangement as friction and humorous problems develop rapidly.
Determined to prove herself, Officer Judy Hopps, the first bunny on Zootopia's police force, jumps at the chance to crack her first case - even if it means partnering with scam-artist fox Nick Wilde to solve the mystery.
Michelle and Allen, who have reached the point in their relationship where they are considering next steps, decide to invite their parents to finally meet and to offer some understanding of why marriage works. Except the parents already know each other quite well, which leads to some very distinct opinions about the value of marriage.
Seven candidates to a high executive position on a multinational company show up for a selection test in a skyscraper at the financial district. Among them, the most disparate personalities: the winner, the aggressive, the insecure, the critic, the indecisive…
A young French teenage girl after moving to a new city falls in love with a boy and is thinking of having sex with him because her girlfriends have already done it.
Thief Gaston Monescu and pickpocket Lily are partners in crime and love. Working for perfume company executive Mariette Colet, the two crooks decide to combine their criminal talents to rob their employer. Under the alias of Monsieur Laval, Gaston uses his position as Mariette's personal secretary to become closer to her. However, he takes things too far when he actually falls in love with Mariette, and has to choose between her and Lily.
Spanning the years 1945 to 1955, a chronicle of the fictional Italian-American Corleone crime family. When organized crime family patriarch, Vito Corleone barely survives an attempt on his life, his youngest son, Michael steps in to take care of the would-be killers, launching a campaign of bloody revenge.
In the continuing saga of the Corleone crime family, a young Vito Corleone grows up in Sicily and in 1910s New York. In the 1950s, Michael Corleone attempts to expand the family business into Las Vegas, Hollywood and Cuba.
In the midst of trying to legitimize his business dealings in 1979 New York and Italy, aging mafia don, Michael Corleone seeks forgiveness for his sins while taking a young protege under his wing.
