A five-year-old Indian boy gets lost on the streets of Calcutta, thousands of kilometers from home. He survives many challenges before being adopted by a couple in Australia. 25 years later, he sets out to find his lost family.
While waiting for their big breaks, two proper L.A. dreamers, a suavely- charming, soft-spoken jazz pianist and a brilliant, vivacious playwright, attempt to reconcile aspirations and relationship in a magical old-school romance.
Following the assassination of President John F. Kennedy, First Lady Jacqueline Kennedy fights through grief and trauma to regain her faith, console her children, and define her husband's historic legacy.
The story of Ray Kroc, a salesman who turned two brothers' innovative fast food eatery, McDonald's, into the biggest restaurant business in the world with a combination of ambition, persistence and ruthlessness.
John Lee Hancock
John Carroll Lynch
WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people, and becomes the first man in American history to receive the Medal of Honor without firing a shot.
An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
As the United States raced against Russia to put a man in space, NASA found untapped talent in a group of African-American female mathematicians that served as the brains behind one of the greatest operations in U.S. history. Based on the unbelievably true life stories of three of these women, known as "human computers", we follow these women as they quickly rose the ranks of NASA alongside many of history's greatest minds specifically tasked with calculating the momentous launch of astronaut John Glenn into orbit, and guaranteeing his safe return. Dorothy Vaughan, Mary Jackson, and Katherine Johnson crossed all gender, race, and professional lines while their brilliance and desire to dream big, beyond anything ever accomplished before by the human race, firmly cemented them in U.S. history as true American heroes. Written by
20th Century Fox
On the day that the scene was filmed in which Paul Stafford is speaking to the NASA engineers in the Space Task Group office about needing to develop the math for re-entry, there was an extra face in the crowd. Mark Armstrong, son of Apollo 11 astronaut Neil Armstrong, had been invited by actor Ken Strunk to make a cameo appearance in the scene, and joined the other actors who were playing the NASA engineers. See more »
Both a 1959 Plymouth Fury and a 1962 Chevy Nova (already an anachronism since it is set in 1961) appear in the NASA parking lot wearing aftermarket wheels not available at the time. See more »
There are no colored bathrooms in this building, or any building outside the West Campus, which is half a mile away. Did you know that? I have to walk to Timbuktu just to relieve myself! And I can't use one of the handy bikes. Picture that, Mr. Harrisson. My uniform, skirt below the knees and my heels. And simple necklace pearls. Well, I don't own pearls. Lord knows you don't pay the colored enough to afford pearls! And I work like a dog day and night, living on coffee from a pot none of you ...
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Smart black women, white assholes and Kevin Costner
It's 1961, and NASA is engaged in an all-out space race. Just like the title says, there are three kinds of people working there. The black women do all the dirty routine of numeric calculations, the white assholes act all snobby and superior, and Kevin Costner supervises all that hodgepodge with a tired face. Things begin to change when the black women manage to make themselves indispensable and start complaining. Little by little, some white assholes become slightly apologetic, and some black women get promoted. Kevin Costner even takes down a "colored ladies bathroom" sign with a huge crowbar. But even then, the black women keep doing all the dirty routine work.
I'll be honest, this film has made me feel angry. But not because of the glaringly racist behavior of the white characters towards the black ones. That is probably rooted in reality of the 60's segregated Virginia, and it's been made clear multiple times that even the relatively good people become abusive jerks when they are put inside the broken down system that condones such abuse.
The true source of my anger about Hidden Figures is that it uses that racism theme, sometimes intentionally hyperbolized, to cover (or even promote) its own shallowness and laziness. To excuse the unrealistic bullshit like a black female computer (yes, that was a person, not a machine) who calculates trigonometry on the fly in her mind with a six-digit precision, solely to impress the big brass on an important meeting. To justify a full lack of logic when a person is being reassigned to the aerodynamics division and, in order to get to her workplace, must pass through the aerodynamic tube seconds before a potentially deadly experiment commences. To make us skip the fact that a person from a completely different field may learn how to program a mainframe computer solely by reading a book the size of Alice in Wonderland taken from a two-bit local all-white library, while the dedicated engineers IBM sent to set up the machine are walking around helpless, unable to even plug it in properly. To make us believe that the space flight math is so complicated, but at the same time show us the moments like a think-tank head explaining the orbital trajectory to his colleagues as if they were demented 7-year olds.
And it's not just the technical stuff. It's even the romantic line between the characters of Taraji P. Henson and Mahershala Ali, who basically spend just a few minutes of screen time together before he suddenly proposes. If only all the weak moments of this film were a result of some abrupt and forced development - then I could've said that maybe it's the brutal editing to blame. But, with more than two hours of running time and with so many details messed up, it's not the editing. It's very lazy writing.
As we know, a year ago the black community of the US felt offended by the lack of colored people nominated for the Oscars. They threw a big fit and complained. So, I guess, the numerous high-profile films centering on the black people's issues, past and present, are a response to those complaints. However, despite having gotten their wins and nominations, the people behind these films seem to forget one simple truth the capitalist societies are built on: that only through fair competition the highest quality results are achieved. But if you can win or get nominated simply because you're black or you're telling these whimsical and ridiculous stories about white-collar females at NASA who have to run half a mile simply to find a colored bathroom... Well, that's far from fair. And that's why 12 Years a Slave is a truly epic film, rightfully in the IMDb Top 250, and the likes of Moonlight will be buried and forgotten once the hype lies down.
Come think of it, there's a reason Kevin Costner looks so tired in this film. Being the only white American allowed to be decent in a black power/white guilt flick and being constantly put between the hammer and the anvil of these two extreme opposites is a heavy load indeed.
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