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Driving Miss Daisy (1989)
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All reviews for Driving Miss Daisy
Sweet, but not as good as I hoped
by
The_MOW
in
The_MOW Blog
lost interest.
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"A black chauffeur is hired to drive an elderly woman in the late 1940's because she is unable to drive due to her age. The movie then moves on to various times during their time together, showing how their friendship blossoms over the years. The movie jumps from decade to decade frequently, and the only way you know the time has advanced is the makeup jobs on the actors. Other than that, there is no way to really tell that they are in a different decade/year. The acting, if you can handle the thick southern accents, is the only thing that I liked about this movie. Jessica Tandy, and especially Morgan Freeman are good in their roles. Dan Aykroyd, who isn't in the movie as much as I thought he was when I saw the promos for it, fails at his attempt in creating an authentic sounding Southern accent. Other than the acting, there is nothing that really makes this a good movie, in my opinion. It's slow, and the script is fair as a whole. The directing is also fair, as are the visuals. The ... "
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Clothes to the Future. Clip of ...
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"Today’s clip isn’t exactly film-related, but it does tie into Kevin’s list from earlier about unsuccessful movie prophecies. Plus, its title somewhat references Back to the Future, and anything paying tribute to BTTF immediately sparks my interest (this tie-in may have even influenced my vote for president). The comedy short comes from FunnyorDie.com and stars Paul Scheer of Human Giant (and Bride Wars, just to make this more movie-related) in two roles. One role, really, but its divided into two parts, “Alex” and “Future Alex.” And the whole thing is a play on the idea of fashions of the future. Anyway, the video made me think of the Oscars’ usual ignorance of science-fiction costumes, particularly of designs for films set in the future (meaning < "
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An Idiot’s Guide to the Magical ...
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"Out of all the cinematic staples, the so-called “magical negro” is the worst to define and discuss due to it being the mother of all loaded terms. A catch-all phrase used to describe how African-Americans in film tend to be superhuman physically, spiritually or both, it’s currently in the midst of the pop cultural zeitgeist thanks to a crappy song and New Year’s faux-pas. Anytime someone sees a black character used as a story tool in a film — in the case of The Curious Case of Benjamin Button, Queenie (Taraji P. Henson) originally didn’t exist in Fitzgerald’s story — there is a mild cry of “There! There! I see a magical negro in the distance! Yes! There!” One should wonder why Eric Roth deemed it necessary to suddenly introduce the character as a fra "
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