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All That Heaven Allows (1955)
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Nothing 'Revolutionary' along t ...
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"Director Sam Mendes does not seem to be a big fan of the suburbs. Between his latest film Revolutionary Road and 1999’s American Beauty, Mendes picks at the scabs of suburbia, allowing viewers to gaze at all that oozes from it. Like Beauty, Road focuses on a couple whose relationship luster is fading fast, as youthful aspirations fall wayside to the compromises of adulthood. But where the former film dealt with the struggles of a modern day, middle-aged couple, Road focuses on a '50s-era husband and wife (played by Leonardo DiCaprio and Kate Winslet) at the earlier stages of their domesticity. And for those fans looking forward to the romantic pairing of the leads from a certain movie about a big boat, let's just say they had it ea "
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movie year countdown - round #2 ...
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"This blog entry is part of my “movie year countdown round #2”. Read more about that here. Angst essen Seele auf (Ali: Fear Eats the Soul) This is probably Fassbinder's most seen and acclaimed film he made in his short but highly prolific career. Touted as a remake of All that Heaven Allows (which I have seen), it's really more of an inspiration than a recognizable remake. The basic idea of an older woman forming a romantic relationship with a younger man is compounded by the fact that she is a white German woman and he is a dark skinned Arab. This challenges the views of most of the people in society around them of what an appropriate relationship is including the woman's children. But beyond this connection, the movies are drastically different. The characters have different temperaments and are a little less pure hearted (and more realistic). It's a captivating movie with simple quiet scenes mixed with some of real charged emotion. We are introduced to some ch ... "
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10 Movie Scenes to Put You in a ...
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"Happy autumn! Today marked the fall equinox for the Northern hemisphere, and while the season can be a depressing one for mainstream moviegoers (at least until Thanksgiving ushers in the holiday blockbusters and Oscar-bait releases), it is otherwise a wonderful time of the year. Having grown up in New England, I’ve always had a great appreciation for the changing leaves, the brisk weather, the pumpkin and apple picking and the foodie holidays (as a rather chunky kid, I really only liked Halloween for the candy and Thanksgiving for the stuffing of my face). I even looked forward to going back to school every September. But autumn can be a great season for cinephiles, too, despite the significant lack of worthwhile theatrical releases. For one thing, the colder weather, particularly the colder nights, keeps us indoors more often for DVD watching. For another thing, the season has lent itself nominally and spirtually to some great films by the likes of Ozu, Bergman and Rohmer, among o ... "
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My Year of Fassbinder: Heaven & ...
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"By all accounts, Douglas Sirk’s 1950s melodramas rocked Rainer Werner Fassbinder’s world when he first saw them in the early 70s. In “Imitation of Life: On The Films of Douglas Sirk,” a 1971 essay on Sirk included in the Criterion edition of Sirk’s All That Heaven Allows, Fassbinder presages his own late-career turn towards films centered around female protagonists by marveling at Sirk’s unique way with women. “In Douglas Sirk movies the women think,” Fassbinder writes, as if this plain realization has knocked the wind out of him. “I haven’t noticed that with any other director. With any.” He also marvels at the Hollywood director’s ability to subvert dominant society via low art, sneaking radical critique into “films that people in Germany with his level of education would have smirked at.” What Fassbinder must have seen that those academic stiffs would have missed, was that Sirk needed the smirk in order to mask what he was “really” up to. When Fassbinder reworked Heaven’s basic ... "
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My Year of Fassbinder: Heaven & ...
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"By all accounts, Douglas Sirk’s 1950s melodramas rocked Rainer Werner Fassbinder’s world when he first saw them in the early 70s. In “Imitation of Life: On The Films of Douglas Sirk,” a 1971 essay on Sirk included in the Criterion edition of Sirk’s All That Heaven Allows, Fassbinder presages his own late-career turn towards films centered around female protagonists by marveling at Sirk’s unique way with women. “In Douglas Sirk movies the women think,” Fassbinder writes, as if this plain realization has knocked the wind out of him. “I haven’t noticed that with any other director. With any.” He also marvels at the Hollywood director’s ability to subvert dominant society via low art, sneaking radical critique into “films that people in Germany with his level of education would have smirked at.” What Fassbinder must have seen that those academic stiffs would have missed, was that Sirk needed the smirk in order to mask what he was “really” up to. When Fassbinder reworked Heaven’s basic ... "
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