That's right boys and girls (or should I say men and...older men?), SimonW (ME!) is back with a great old "cult classic" from the days when you had not a care in the world...where young boys (and girls) could relax, sit back and enjoy watching some movies they made their parents rent. One such movie (which I can't find online which is a shame) is Tommy Tricker And The Stamp Traveller (made in 1988). This is one of those golden movies that despite being Canadian (believe me you can hardly tell) and mostly about stamps (whoop-dee-fricking-doo!) somehow a likeable movie for both kids and adults (or at least young adults that remember this movie years ago...like me).
Now, I agree at first it may not look like much but once you see it, I guarantee you will love this movie as much as I did (that is if you can find it...I know it is on DVD).
"I knew the $64,000 question was fixed. There's no way anybody could know that much about opera!"
Now, people may be confused. It is true there is a song called "Stand By Me" but there is also a movie of the same name that was made in 1986. Stand By Me is deemed a cult classic and is deemed highly popular over the course of the years. Though it is more of a movie for boys to watch it can also be watched by girls that are tomboys or ones who had a crush on any of the four main stars of the movie. Though a light-hearted yet touching coming of age movie people may be surprised to know that it is based off a short story by Stephen King called "The Body". It is said and confirmed that Stephen King thinks that this is one of his favourite adaptations of one of his books.
The story is centred on Gordie Lachance who is a 12 year old freelance writer and a summer he spent in Castle Rock,Oregan in 1959. He and his friends Teddy, Vern and most notably Chris start on a journey to find the body of a kid called Ray Bowers who went missing. The boys have to deal with trains, a junkyard dog named Chomper, leeches and a gang of older boys led by the psychopathic "Ace" Merrill (who is played by Keifer Sutherland). After going through all that trouble they decide to leave the body and head back home.
Before we start this review I want people to understand that this is a Children's movie. Any errors or statements I make are purely for the benefit of those that take a "realistic" view on things (which for the outrageous movies, believe me is tough).
So, let us begin. Max Keeble's Big Move (made in 2001) is made by Walt Disney Pictures (another Disney movie that I felt was better as a Disney Channel Original Movie). Though one can easily get it confused with the zanier channel called Nickelodeon. I seriously think Disney Channel was trying to keep up with Nickelodeon's "gross-out factor" and more "out-there" TV shows and movies. But, that is a whole different subject and this isn't SimonW's Television Channel Reviews. So, on with the movie!
You wouldn’t think a film with a title as blunt as “Zack and Miri Make a Porno,” would be this season’s mushiest movie, but there is an undeniable charm sprinkled through Kevin Smith’s latest post-Jersey flick, somewhere between the anal sex and bubbles blown from below the belt. Seth Rogen and Elizabeth Banks star as the titular friends driven to smutty creativity by their piling bills. Driven to their inspiration by a disastrous turn at a high-school reunion, the platonic couple decides to invest their remaining cash into an adult feature, using friends as crew and hiring a local cast, all while fervently ignoring the chemistry between them. Rogen (Knocked Up) continues his streak as the believable and loveable schlub that bags the girl eons beyond his league. Banks (W.) is wonderfully charming and cuddly as the fire-cracker best friend, despite not fitting in at all in a cast that uses curse words like punctuation.
A funny but incoherent Craig Robinson (Pineapple Express) is Delaney, Rogen’s fellow employee at a Starbuck’s knockoff, and the porno’s producer, who hires actresses Stacey (Kate Morgan) and Bubbles (Traci Lords) to star in the film and serve as parodies of their real-life porno-star counterparts (both of whom give surprisingly competent performances, despite their resumes.) Deacon (Jeff Anderson) is hired to shoot the film based on his previous experience (he filmed Zack’s high-school sporting events), with Brandon (Ricky Mabe) and Lestor (Jason Mewes) rounding out the cast as the two male leads. Both Brandon and Lestor parody the provisions of adult film acting with visible enjoyment and zest, but they amount to little more outside of the smut scenes. Anderson’s Deacon comes away as the most underused of the film, giving an entertaining performance of a down-to-earth pal everyone wants to have at least one of. The true gems this film has to offer is the gay couple of the wry, impossibly deep-voiced Brandon (Justin Long of Mac ad fame) and the insecure jock Bobby Long (newest Superman Brandon Routh), appearing at the high school reunion with endearing charisma.
The story is a spunk-filled re-telling of a classic idea, how sex affects previously platonic relationships. Not the strongest of prologues, but, as in all of Smith’s work, the film’s draw is its dialogue, and thankfully “Porno” doesn’t disappoint. Though not as sharp a wit as Smith’s earlier work, like “Chasing Amy” and “Dogma,” the film’s banter still serves in immediately establishing the characters and their personalities. The film’s script maintains a sense of simultaneous immaturity and wisdom, leading the audience to eventually fall in love with everyone appearing on screen. The line between Smith’s love of scripted word and Rogen’s improv tendencies is practically invisible, and the film acts as a nice mesh of the two schools of delivery. Some running gags (like Delaney’s bitch of a wife) don’t have as much staying power as the production team thinks, but generally the plot moves on at a smooth and funny pace. The film ends up buried in sappy cliches towards the end of the two leads’ romantic angst, but thanks to a wonderful turn by cinematographer David Klein – who makes suburban Pittsburgh look idyllic - the dated fluff is given a new visual life.
There are a few nitpicks; Kevin Smith’s love of Star Wars leads to a funny but useless pornographic parody of the saga, and his odd fascination with dance sequences has our cast thrown onto stage at one point for a pointless montage; but the film cannot be denied its overall magnetism, especially given the possibilities of its subject matter. I doubt we are going to get another Kevin Smith film as biting and sarcastic as we have come to expect, but Silent Bob has found an entertaining second home as the re-imaginer of the mushy love stories you can take your drinking buddies or your girlfriend to. Way to f**k, Zack.
One Word Review:Snug
One Sentence Review:Its not as sharp as 'Dogma', but you can't deny Smith and Co.'s charm, even in the most taboo circumstances
"Adventurers Beware: Do not begin unless you intend to finish."
If you were a kid in 1981 you might have seen a book called Jumanji in your local bookstore. Since I was born after the fact, I had no knowledge of the book and only recall Jumanji, the 1995 movie that is based off the book and stars Robin Williams. As usual, when people think of this film they remember the dangers that face our adventurers including giant wasps, crocodiles, bats, monkeys, a lion and a game-board guzzling pelican! Though despite all this the most horrible thing I saw was Peter getting turned into a monkey! Seriously, that freaked me out when I was younger!
Anyway, the people that were responsible for the special effects (ranging from animatronics to CGI) was Industrial Light & Magic (ILM for short), the people that grew famous after doing the Star Wars Saga. And you have to be in awe after watching this movie, because they were able to create astounding things kids can only dream of if the Jungle came to a modern town. UTTER CHAOS (and we got to love it)!!!
So, think Bill and Ted are done? NO WAY! They come back in a sequel that is as crappy as it is corny called Bill And Ted's Bogus Journey (1991).
The main story is that Bill and Ted are entering some rock concert and have to practice to win. The main villain comes from the future who wants to change it for some unknown reason, maybe to rule the world...What? Expecting a certain Nostalgia Critic joke in there? Well, sorry but I don't steal other people's jokes. Anyway, he makes two robots that look exactly like Bill and Ted on the outside but after pulling back their skin they reveal to be robots. These robots are evil versions of Bill and Ted and kidnap the "babes" from the previous movie and then they kill Bill and Ted, which is one of their main purposes and that is the end of the movie...not really. Bill and Ted "wake up" to find they have died and meet a pale guy called Death (or The Grim Reaper). They run away after using the old "your shoelaces are untied" trick and give him a Melvin...Wait, a WHAT??? Is this a Toxic Avenger reference or something? I don't know what a "Melvin" is but what they gave him was certainly a "Wedgie". After escaping Death they try to take down the evil robots but the robots don't notice as they...lounge around??? How exactly is that evil??? A normal teenager does that...then again they are renditions of Bill and Ted and they are lazy as well.
Back in the end of the eighties and the dawning of the nineties, there came a movie that was a success and a "cult classic" as the years rolled by, mostly due to the fact Keanu Reeves went on to become a big movie star. With its old-fashioned (but still funny) comedy and its simple premise, Bill And Ted's Excellent Adventure (1989) is now deemed a cult classic and rightly so. Though some people may view this movie as "so bad it is good", I think it has its stupid moments, sure, but what movie doesn't? I shall get to the stupid parts later in this review.
The story is about two average rock band teenage slackers named Theodore "Ted" Logan and Bill S. Preston Esquire who need to get an A+ on their History papers or they flunk the grade. They also have a rock band that is basically the two of them in their garage and it is called The Wyld Stallyns. To add more tension or drama, Ted's father says that if his son does not pass the grade, he will move him off to a military academy. So, on a lazy evening the two find an old guy in a phone booth called Rufus and after pressuring them with future selves (gee, you'd think there would be a time paradox, right?), the two decide to join Rufus on a time travelling journey.
"She'll be coming round the mountain when she comes, she'll be coming round the mountain when...she...COMES!"
Yes, this is the last line (sung) in the most ridiculous ghost movie I have ever seen called The Haunted Mansion (made in 2003). Made by Walt Disney Pictures, this movie is made after a ride of the same name in Disneyland. So, let me get this straight...they made a movie based off a ride that was made before the movie came out??? Yes, that is basically the concept of where the movie's origins came from. It is rated as a "Fantasy" movie. Despite the fact it has ghosts (I would call this a "kiddie horror" movie if anything else), which people would assume would be supernatural and bordering on the "Science-Fiction" genre. But, no, it is under Fantasy, though who the fuck knows why when there isn't the faint whiff of magic anywhere! What a load of CRAP!
This is a double review of two classic horror flicks. Let's get started.
Jason has his hockey mask. Freddy has his quick wit. Leatherface has his chainsaw. But, there is one guy who stands out beyond the rest. He's my favorite serial killer. He's the one in the movie whose name is the current holiday. I'm talking about Michael Myers and the classic horror movie ‘Halloween.'
Everybody will be singing/shouting this memorable quote/line from...you guessed it, Pete's Dragon (made in 1977). Believe me, I am one of these people who absolutely loves this musical family movie with a passion! But I will delve into the reasons later...
Now, to get past the technical stuff, Pete's Dragon is a Walt Disney movie based off a story (of course!) about an orphan boy named Pete (played by Sean Marshall...who is known for ONLY this movie by the way) and his dragon (gee, wonder how they figure out the name for this?) named Elliott. It is like Who Framed Roger Rabbit? (which was made later in 1988) using excellent style to make live-action characters interact with animated ones. Which, by the way, was a new concept back in the day.
With an all-star cast of Helen Reddy, Shelley Winters, Mickey Rooney, Red Buttons, Tim Dale and Jeff Conaway, it is easy to see that it was taken in high regard back in 1977 and this film had the best actors doing...what exactly? Make fools of them, of course! Though I do have to say one thing, a big hand for the supporting actors that played the townspeople of Passamaquoddy (a small fishing community/town). Quite possibly the most professional stunt-men and comedic actors reside in this town (just look at the entrance of Pete into the town and the pub dancing scene)! Not to mention their personalities, like Miss Taylor (the strict teacher who can't tell a dragon from a wagon) and The Mayor (an important man where things seem to go wrong every time he steps out of the Town Hall). This town is full of un-imaginitive (aside from Nora and Lampie) people that go about their daily lives where nothing interesting happens...that is until Pete arrives and also the main vagabound (villain) Doctor Terminus returns to town.
Let this movie serve as a lesson to every single soul in the world: if you are going to make a movie on such a well-known, polarizing person, never pull any punches. This seems like preaching to the choir, especially with the infamously left-wing Oliver Stone at the helm; but his latest feature, simply titled “W.,” lacks the fire and venom that made “Fahrenheit 9/11” so potent, and the powerful vision of Stone’s earlier presidential piece, “Nixon,” leaving us with a luke-warm, messy bio-pic that fails to achieve (insert Bush reference here.)
Most of the fault does not lie with Stone on this one, although he does sport an unhealthy love for inappropriately used handi-cam shots; used so much it’s begging for the audience to pay attention to the paper-thin realism of depth-less scenes. Blame should be placed with the writer, whose script takes thousands of pages of political biographies and morphs it into a 3-part episode of a bad sitcom. George W. Bush is painted as an oh-so-misguided preppy boy that would have fit well in the cast of 90210. By the film’s end, the audience gets the impression that the entirety of the Iraq war was undertaken to make ‘poppy’ Bush love Jr.; it’s made into the entire motivation for the character throughout the three acts of the film, entirely implausible when you rearrange the timeline chronologically. This wouldn’t be such an aggravating artistic direction if it was another figure, but when it’s the President of the United States, especially one with a history of illegality and war profiteering, trying to make us pity him is not the right move.
Not that the film takes too much of a shine to Dubya (Josh Brolin, taking the high road in pushing past imitation into actual talent) and his cabinet. Its made bluntly obvious throughout the film that first and original goal of the Iraq War was dominance over oil reserves (with the administration refusing to move past the ‘freedom’ and ‘democracy’ vernacular in public), that millions of phones were tapped, and that knowledge was never solid on the placement of Middle-Eastern W.M.Ds. Where the film deviates to soften the Bush image is presenting him as an ignorant (believable) outsider to the information (not so believable), truly knowing deep down in his heart that God wants him to be President and that his war is just. This is technique used so far beneath a director of Stone’s resume that it amazes me that he put his name on the credits.
The film isn’t all bad, but what good it has, it seems to shy away from. Performances like Elizabeth Banks as the former-Dixie-Democrat Laura Bush was a charming casting choice, beginning with a wonderful clash of ideology and hormones at a barbeque and somehow devolving into a housewife role that would make Edith Bunker demand to work. Ellen Burstyn’s formidable Barbara Bush is woefully underused as well, scenes between her and Poppa Bush rank among the best in the film. James Cromwell’s Bush Sr. also suffers a romanticizing, making him a just kind-hearted soul archetype without going into any real development (again, we blame the writers.) Most other performances, however, seem more like comedic parodies: Toby Jone’s Karl Rove is a wormy geek, Thandie Newton’s Condoleezza Rice is a disappointing mix of an accent and a facial expression, and Scott Glenn’s Donald Rumsfeld plays a war criminal like a high school bully. The fault of the writer comes up again with Jeffrey Wright’s Colin Powell, who, although convincing as the one good guy in the room, lacks the passion and tortured soul that the role could have really had. Richard Dreyfuss’ Dick Cheney is an admirable attempt, getting both the look and the wit of the Vice President down, but again it comes up shallow without the wickedness and grimace we have all seen in the background of Bush’s speeches. Ioan Grufudd, who, despite being born in the UK, gives Tony Blair an accent so fake I want to give an Oscar to Madonna.
The biggest error was the film’s discontinuous editing, splitting up the three acts of Bush’s life (drunk at Yale, emo Governor of Texas, out-of-his-element President) intermittingly throughout the film, with one scene taking place at a 2002 cabinet meeting, before a fraternity hazing ritual, then briefly running over to a dialogue on the Texas governor campaign. The motivation is to create a sense of overwhelming dismay alongside Bush, making him seem like a dumbass that just got over his head. The real effect, however, is a film that moves at a fragmented, sometimes confusing pace, making it less of a movie and more like a documentary paused and picked up over a few days. It doesn’t help that the movie seems to end before his re-election in 2004, with not a single moment given to Katrina, No Child Left Behind, or anything beyond Iraq. If they wanted to make Bush out to be a poor sap that got legacied into the wrong job, why cut out a war-time disaster that turned his poll numbers permanently down? Perhaps it’s just the rush to get the film out before the 2008 election, but the film feels incomplete, and it’s not because the Bush Presidency hasn’t ended yet.
The film is bookmarked with Dubya in a baseball field, reaching out for a fly ball with a smile on his face. The suggestion is that this is were Bush belongs, not talking with the big kids about oil and miscommunication. As conceivable as this concept is, it’s not acceptable. Not when we as a country went through hell just to try and get a father and son to love each other again. The sole scene of the film dealing with the actual reasons behind Iraq, with Cheney at a board marked with the oil reserves of the Middle East, smiling and talking about how ‘there is no exit strategy [in Iraq], we stay’, the act of imperialism plays off like end of a villain’s musical number in a Disney film, the slow fade out leaving the evil one rubbing his hands together. It’s the microcosm for a movie so flaccid that it would have done well for Stone to have given directorial duties to Chris Crocker. The audience leaves the theater parroting a line given to Cromwell’s Bush Sr., ‘I’m disappointed in you Jr., deeply disappointed.’
One Sentence Review:Despite more than decent lead performances, a movie about the Worst President in American history fails to be anything but a boring mess.
Think there is nothing worse then Puppet Master 4? Or that there is nothing more "family-friendly" after Curse Of The Puppet Master? Think again, friends. The seventh instalment in the Puppet Master series is called Retro Puppet Master (made in 1999) and is another prequel (according to a reliable source Puppet Master 4, 5, and Curse Of The Puppet Master are prequels as well!) that actually brings me my first gripe with this and the other prequels. Okay, assuming they are prequels and not other stories later on in the Puppet Master series, I would have liked the advertising companies to make that fact better known! Many people assume what I did, that the later sequels after Puppet Master 3: Toulon's Revenge is what happens AFTER the events of Puppet Master 2, but do not think they are prequels themselves!
And this is only the beginning, let me tell you! I have not commented much on the music in the previous films (or at all) and for a good reason. But I have to say this, the music for this is terrible! It does not have the original score during the credits and there are more damn music cues then you can wave a stick at! WHY A STICK??? I DON'T KNOW!!!
What I do know is as soon as we get transported back to Egypt for the teaser intro, the music sounds like something you might hear in The Adventures Of Sinbad or some other whimsical chase scene. I mean it is not even the least bit scary!
Anyway, the story is that Toulon (after the events of Puppet Master 3...yes, folks, it is a sequel prequel of a prequel!) is somewhere in the Swiss region and after Blade finds an old puppet's head ("Cyclops...") we are drifted back to 1902 (after the teaser) when Toulon is a strapping mature lad and he and his friends run a puppet show in Paris. Elsa (the daughter of an Ambassador...or is it THE Ambassador?) decides to go out late and her friend tells her not to go into any open "opium dens"...Wait, what?? Okay...moving along...
In this sequel of a sequel, Puppet Master 5: The Final Chapter (1994) (Yes, it was sub-titled "The Final Chapter" because it was meant to be the last of the series) was shot directly after Puppet Master 4: The Demon. We subsequently see where the aftermath of the last movie led to...Rick being interrogated as a suspect by the police.
It seems rather stupid though, because they have no concrete evidence to charge him with. If I were Rick I'd tell them to test Blade's knife for traces of the woman scientist's blood. But, since we live in an ignorant age, Rick does not do this.
Beside this, Sutek makes a comeback (told you he wasn't dead in number 4!) and says something odd. He says along the lines of "getting Toulon's magic". Now, that is a contradiction to what he said in the previous film, which is a contradiction from the previous films before it! And he has another Totem that he calls "my child". What the fuck???
The new boss of the Omega Project, a psychologist by the name of Dr. Jennings, bails Rick out. Under pressure by some guys in business suits, Dr. Jennings, after learning of the secrets Rick told him, decides to steal the puppets from the hotel with a little "outside help". This help is from three average American guys who are basically in slumps enough to do low criminal acts for money. Their names are Scott, Jason and Tom (Tom, Dick and Harry * rolls eyes*).
Puppet Master 3: Toulon's Revenge (1991) is a prequel, which is rather surprising in a good way. Usually prequels come later in a sequence of film movies, but then again what do I know? NOTHING!!! This is also the first Puppet Master with a sub-title. Toulon's Revenge...sounds mysterious and foreboding.
Set in Berlin in the year 1941...WAIT A MINUTE! In the first movie, didn't Toulon kill himself in the year 1939?? I think he did! Whoops, looks like someone didn't pay attention to their previous movies they made! Okay, granted it is a minor slip that they forgot, so I can accept that...ONLY IF ANDRE TOULON IS ABLE TO TIME TRAVEL!!! Which by the way, he can't. Believe me, if he could, this would be classified as a Science Fiction movie, not a Horror.
Anyway, moving along, we are shown in the "past" (that contradiction is still in my mind) and of course we see Nazis (it is Berlin in 1941...what did you expect to see???).
When people think of puppets, they do not associate the darker side of life like murder and death with them. They are a joy to young and old but to a couple they are evil. Not just the way some puppets look but also how they move and talk. But in this case, those fears are justified when in 1989 a movie from Full Moon Productions made a horror movie called Puppet Master.
Being the first to explore the darker side of marionette puppets, this cult-classic, Puppet Master stood alone due to the fact it has an R rating. Yes, an R rating for a movie with puppets! Though it is understandable why they gave it an R rating back in 1989, especially when there is a very strong sex scene with nudity in the movie.
At any rate, the movie starts off with a puppet master named Andre Toulon (played by William Hickey) and he has some ancient Egyptian rite that enables him to make his puppets come alive and have no need for strings. He kills himself by blowing his brains out with a gun (no cut scene, we see him blow his brains out...joy!) because the Nazis (two German men in the usual black suits...gee, I guess they must be bad guys) want to steal the formula for their own selfish means. Die, Nazi scum!
Unfortunately, the Nazis don't die but they also can't find Toulon's carefully hidden puppets that are IN THE WALL!!! I mean, geez, all they had to do was knock on the side to find it!
On May 22nd, 2008, George Lucas and Steven Spielberg's cinematic masterpiece, Indiana Jones And The Kingdom Of The Crystal Skull, was released. The film was a smash hit. Fans and moviegoers alike agreed that Crystal Skull was flawless in almost every way and even surpassed the original Raiders Of The Lost Ark in terms of quality. People who had fallen in love with Lucas after seeing what many critics agree to be his best film, Star Wars Episode I: The Phantom Menace, seemed to fall in love with him all over again. George Lucas and Steven Spielberg have officially hit the peak of their careers -- nothing can stop them now.
However, there's a small group of fans who were slightly dissatisfied with the tame direction taken in Crystal Skull. A few of us thought that Spielberg and Lucas had taken the 'realism' route a bit too much. The reasoning works like this: If I wanted to see realism, I'd watch Animal Planet. I wanna see crazy action and stunts and beautiful CGI work in an Indiana Jones movie.
So, thus, I present to you my list of things that I would have changed if I had directed Kingdom Of The Crystal Skull.
Ok, I know I said I was going to review Producers first, but I do not have the DVD in my possession at the moment. A friend is going to let me borrow his copy and I am still planning on reviewing it, but for now I am doing my first review on Little Shop of Horrors. I am currently working on the video and it should be up hopefully by the end of the week.
I really, really REALLY don't want to do this review. I know I said I'd do Critters for you all but since I am unable to find it anyplace, decided to review one of the classic werewolf movies of all time...The Howling (1981).
The reason I don't want to do this review is because I have a fear of werewolves. Though I mostly got over that fear because I know it is all movie-made and not real, I still get a fright at the possibly a werewolf will kill me or stalk me from outside or I'll turn into a werewolf and have those pain-staking joints twisted around... *shudders * (Yes, I know it is in a differant movie, but it still freaks me out!)
At any rate, this movie also atoned to my fear of werewolves for different reasons.
The first reason is that they are indestructible unless killed by a silver bullet. But that is well known anyway. But I think what scared me the most was the way that werewolf/man was stalking the main character in this film and how he was set up in a projector room in the shadows, letting our own imaginations run wild. This disturbing sense of imagery made my heart leap up in fear.
With a movie title like this, you have got to wonder what kind of film this is. You may think it might be about a house burglar that has the mental state of a child or something like that. Or possibly a child going on a killing spree. But, that is not the case. Made in 1988, this cult-classic horror film is about a man named Charles Lee Ray (played by Brad Dourif) who is a wanted murderer and dies after getting shot and lightning hits him in a toy store. But not before he transfers his soul into a Good Guy doll. He is given to Andy (played by Alex Vincent) and is named Chucky. With this simple plot formula that was commonly used in the 1980's, the movie runs its course smoothly as Chucky the doll goes on a rampaging killing spree to get revenge on those who wronged him in his previous life. Though most of the first half is composed of wether Andy could be the killer or not (which if you think about the first scene when Charles Lee Ray is killed, it does not make sense), which tickled my fancy because I am drawn to child killers in movies, despite the lack there of since "The Good Son".
Okay, where shall I begin? Guess the title is the main thing so far. The title of this movie is The Lost Boys, not to be confused with Peter Pan's "Lost Boys", though it has that slight feel of it, hence the name. But, it is completely different. The Lost Boys is a 1987 horror/comedy movie about teenage vampires that live in California.
Directed by Joel Schumacher, this delightful vampire story stars Jason Patric, Corey Haim, and Kiefer Sutherland, and co-stars Jami Gertz, Corey Feldman, Dianne Wiest, Edward Herrmann, Alex Winter, Jamison Newlander, and Barnard Hughes.
Here is the plot from Wikipedia (I left the ending out because if it is known the movie will lose it's glamour):
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