The Majestic
2001 Directed by Frank Darabont
Synopsis
Set in 1951, a blacklisted Hollywood writer gets into a car accident, loses his memory and settles down in a small town where he is mistaken for a long-lost son. One of the few drama films with Jim Carrey.
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A sweet movie that has no problem being just what it is. Sentimental scenes work because everyone knows what they're doing and have no pompous ideas of being anything they're not. Martin Landau is a clear standout and Bruce Campbell shows up briefly to kick some ass with a sword.
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Even in a movie within a movie, Bruce Campbell is awesome.
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I have always had a soft spot for these kind of dramas. I love the story in this one, except the communist hunt part. I think they should have chosen a different subplot, but that's just me.
I also love Jim Carrey's part in this. It is so nice to see him do a totally 100% serious role for a change. It really fits him perfectly. -
I always love redemption stories anyway, and with the added McCarthyism-related history packed into this movie it was right down my alley. I feel like they could have had more fun with wardrobes, but that's made up for by the amazing sets. All of the interiors of buildings were impressively and appropriately decked out -- particularly the head usher's little apartment.
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A nice little drama about a man mistaken for another after an accident that rids his memory. Fantastic cast and so much bigger than reopening an old movie theater. More about giving hope to a small town that left it behind due to the war.
Cast is fantastic, especially Landau and Holden.
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If you watch this movie with even an ounce of cynicism, it's easy to pick it apart and dislike it. Frank Darabont crafted a film that is a tribute to classic Hollywood as well as a send up to small town Americana. The film is riddled with cliches and it wears its bright red,white, and blue heart on its sleeve.
Borrowing heavily from the third act of Sullivan's Travels, The Majestic works because it is trying very hard to be a certain type of film. Its as much a tribute to film making as something like Grindhouse is; it's just if your not a fan of Capra and Classic Hollywood, it isn't quite as obvious. Carrey tries hard to capture…
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A sweet movie that has no problem being just what it is. Sentimental scenes work because everyone knows what they're doing and have no pompous ideas of being anything they're not. Martin Landau is a clear standout and Bruce Campbell shows up briefly to kick some ass with a sword.
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I have always had a soft spot for these kind of dramas. I love the story in this one, except the communist hunt part. I think they should have chosen a different subplot, but that's just me.
I also love Jim Carrey's part in this. It is so nice to see him do a totally 100% serious role for a change. It really fits him perfectly. -
I understand that this was going for something Capra-esque, but it was just way too cornball.
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I always love redemption stories anyway, and with the added McCarthyism-related history packed into this movie it was right down my alley. I feel like they could have had more fun with wardrobes, but that's made up for by the amazing sets. All of the interiors of buildings were impressively and appropriately decked out -- particularly the head usher's little apartment.
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my favorite character was the white person
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A nice little drama about a man mistaken for another after an accident that rids his memory. Fantastic cast and so much bigger than reopening an old movie theater. More about giving hope to a small town that left it behind due to the war.
Cast is fantastic, especially Landau and Holden.
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Remembered why I loved this movie so much. Though possibly a bit over-simplified during the court scene, that part is always inspirational.
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A near fine motion picture; equal parts "finding yourself touchy feely" cornball drama and "stand up and give em' hell" high drama, we follow Jim Carrey through a first: he's a serious guy through an almost serious perspective (if you'll remember Truman Burbank had that everyman wit while Andy Kaufman was obviously not serious - about anything), the sort of character we root for because we like him, not so much what he does (which works here because most of what Carrey does isn't all that remarkable - even though some of it really ought to be). The melodrama of the fifties is captured in everyone's sharp contrasts between silence and loudness, anger and happiness (especially in the stylistically golden…
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Jim Carrey shows he can be more than a comedy actor. The story is not as interesting as it should've been.