All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Cool Hand Luke
What we've got here is failure to communicate.
Luke Jackson is a cool, gutsy prisoner in a Southern chain gang who, while refusing to buckle under to authority, keeps escaping and being recaptured. Nevertheless, the camp staff actively works to crush Luke until he finally breaks.
Any man who doesn't like this movie gets a night in the box.
Paul Newman was a legendary, gifted actor, and when I hear his name the first thing that comes to mind is Cool Hand Luke. The film is more than just a prison story, it is a fantastic character study about a man whom is incapable of conforming to the rules of society, both in and out of lock up. When we first see Luke, he is intoxicated and destroying parking meters by cutting off their heads. When the police arrive his reaction makes him seem merely like a drunk making a dumb decision, but as the film goes on it is obvious he simply cannot stop himself from breaking the rules, especially when faced with the strict routine of prison life.
Brilliant performances by the entire ensemble, but Paul Newman as Luke and George Kennedy as Dragline are clearly the stars here, stealing every single scene. A great film that I had not revisited in years.
Tells the stations of the cross of Luke who gains an undeniable Christian stature at the end of the road. You may have some fun by counting the blatant and the less obvious allusions to the Life of Jesus left by the screenwriters here. Academy award (well deserved) earned by George Kennedy in the Best Actor in a Supporting Role category. Masterpiece.
When he's eating the eggs and starts doing squats and the camera rocks back and forth with him, oh, it's just the best thing ever. Conrad Hall, what a champ.
"What we've got here is failure to communicate".
Paul Newman has the bluest eyes of anyone I have ever seen. On blu ray they sparkle like diamonds just like this film. The quintessential chain gang movie this follows ex-war hero Newman on his road to self-destruction. Southern hospitality doesn't come much meaner than this as our Paul becomes the ultimate anti-hero in a cinematic landmark. Directed with aplomb by Stuart Rosenberg with a stellar supporting cast and a blistering performance from it's star man this is a wonderful film. Harry Dean Stanton,Dennis Hopper,Joe Don Baker,Anthony Zerbe and Oscar winner George Kennedy make up a cast of memorable screw-ups amid the baking southern heat. Newman brings to life one of the…
What a strange film. It's kind of like the Birdman of Animal House, or Shawshank of the Nerds. A prison film, but with the heart of a frat house comedy. I'm still not sure what to make of it.
I liked Newman a lot, though I can't say I was totally sold on some of the emotional beats that come for him part way through the film. As the quiet, but cocky, sly guy who could essentially run the joint without really saying a word, I thought he was awesome. He represents strength and hope to everyone there and you can see how invested they become in him later in the film.
There are some great sequences here, like when…
For the most part Cool Hand Luke is expertly told; its editing is, at times, mesmerizing, and it looks fantastic, splaying the rough and sweaty textures of southern prison life across a wide and searingly bright canvas.
Paul Newman is at his absolute best: loose, charming, and spirited, but also driven by a barely suppressed pain.
Its only flaw is its tendency to veer into heavy-handedness. Director Stuart Rosenberg hits most notes just about perfectly, but, unfortunately his clumsiest moves pile up at the very end, which even concludes with a completely unnecessary sentimental montage, as if the audience might have forgotten the movie they just watched.
Essential prison classic...
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I want to be Paul Newman when I grow up
Such an awesome counter culture vibe without a hippie in sight. And the technicolor! Love it.
One of these very entertaining movies, that make prison look like a fun place to stay. Well, until the guards start torturing you.
Anyway, I miss the days when you could make a drama and inject lots of humor in it, without turning it into a comedy. This kind of filmmaking got somehow lost over the last decades.
Also if this movie would have been made today, I’m sure lots of critics would pile up on it as some kind of “Obey and don’t question the authorities or something awful will happen to you” propaganda movie. (Kinda like they did with FORREST GUMP.)
Cool Hand Luke is one of the most fascinating prison movies you'll ever see. Paul Newman is truly something else and George Kennedy deserved his Oscar on every level. On the surface, this film is about how Luke struggles to conform to society, inside or outside of prison. He likes to do things his way and cannot stop himself from breaking the rules.
However, it's also a compelling pseudo-allegory to the life of Christ, which is pretty blatant at times, but also is more hidden and deeper at other times. Dragline also falls in line with Peter, further enhancing that allegory. The imagery is wonderful and the music is even crucial when examining those ideas.
Overall, while a deeply layered film with wonderful acting, it's also pretty funny at times with some iconic scenes and dialogue that will surly stand the test of time.
A bit too obvious in parts, overlong, and too many things to say about too many different things (war, class systems, counterculture, religion, etc.), but nonetheless a very memorable film strengthened by great performances, interesting cinematography and classic scenes.
Un bel film perchè no. Il protagonista è un uomo che non si piega e nemmeno non si spezza. Una persona che non trova la propria strada, la propria liberà e che non vuole stare alle regole della società. Il risultato è un film con un gran personaggio.
Only made a few changes to what I wrote the first time; this is quite entertaining albeit dated, but it sags badly in the midsection, especially during the bizarrely long egg-eating sequence (worse than anything in 'Antichrist'; I gagged three times). I found George Kennedy somewhat annoying on this pass but let my old praise of him stand because maybe I just wasn't in the mood. And I really don't know what the finale is driving at; it's clearly not a straightforward anti-establishment or anti-crime message but I can't convince myself it isn't somehow meant as instructive. It's very difficult not to read the Kennedy character's final celebration of individuality as some sort of self-delusion; how that fits more broadly…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!