Vanessa-Redgrave Movie Reviews

Too bad this one's out of stock, but worse was that the poltical backlash Vanessa Redgrave's Best Supporting Actress acceptance speech detracted from the film's importance. Despite that, "Julia" may well be the best work in Redgrave's and Jane Fonda's impressive bodies of work. For the latter, the film launched the socially-themed works that followed, and Fonda may well have come of age in this one. She plays writer Lillian Hellman to Redgrave's title character, an upper-class rich kid who grows into social activist and lays her life on the line to smuggle condemned Jews from the death camps of Hitler's Third Reich. Redgrave is superlative, and Fonda is rivting as Julia's childhood friend who gradually comes to recognize the evil unleashed by man on man at the time. As Julia's long-time lover, Dashell Hammitt, the late Jason Robards nailed down one of his back-to-back Supporting Actor Oscars ("All the President's Men" was the other), and the raw talent of the Fonda-Redgrave-Robards package helps make "Julia" one of Fonda's best works. The importance of the film's subject matter is so overwhelming that it easily displaces the Vietnam-related controvery that dogged (and may still) Fonda through the '70s and the unpopular words Redgrave used in her Oscar acceptance speech (she was literally booed off the stage). Far from a "chick flic," "Julia" is an important film that delves into but one relam in the darkest of human history, and it's earned a lofty spot among films of its genre.

Its a great movie.The actors are great.
The best performance came from Maximilian Schell
as "Johann",he gave a stunning portrayal of a man
with ideals in the Naziregime.Strong Turns also
by Jane Fonda and Vanessa Redgrave.For me as a german
are this kind of films very important.

PS.
A nice debut from Meryl Streep

This story traces the friendship of writer Lillian Hellmann and her friend Julia, from their times together as adolescents to their very different lives as adults. Jane Fonda is somewhat one-note as Hellmann, struggling to get her first play finished, feeling overshadowed by her lover, the great Dashiell Hammett, well played by Jason Robards. She also tries to keep contact with Julia, played by a glowing Vanessa Redgrave, as Julia becomes more and more mired in the tumultuous politics of 1930's Europe. Eventually, Fonda herself gets pulled into the political upheaval as she tries to help her friend out. There are a number of reasons why I liked the film. The production team does an excellent job of recreating the time period, giving the viewer a real sense of what it would have been like. I enjoyed the insight it gives to the writer's process and the frustrations that go with it. The "adventure" that Fonda goes on to get money to her friend is well played out dramatically, and their meeting is filled with unspoken words, a credit to the screenplay, the actresses, and the fine direction by veteran Fred Zinneman. I don't know how much of the story would prove to be true, but I think there are many truths in it.

well done, it might upset some lovers of the original b/c it doesn't always stay true but it is still a good movie that has some amazing effects and some amazing scenes. if only the sequel and other remakes were this good

I think this is the coolest book ever. Very good descriptions. Ethan Hunt rules!

well done, it might upset some lovers of the original b/c it doesn't always stay true but it is still a good movie that has some amazing effects and some amazing scenes. if only the sequel and other remakes were this good

I think this is the coolest book ever. Very good descriptions. Ethan Hunt rules!

Sad this is so overlooked. It's a well-directed gem, David Hare, I think, and one of Vanessa's best turns in the late 80s as an actress. Yes, it's forlorn and melancholy, but well-observed, too.

Vanessa is a spinster teaching school trapped in a recurring nightmare of unfulfilled romance. The score is quite lovely, too. The film has a curious, Roegian "Don't Look Now" edge to it.
I hope some company releases it on DVD. It's a cautionary tale about grief and grieving, and.... getting on.

I agree with the reviewer SILVOX, this has been an overlooked film. Saw it when the film was first released in the theatres, I own an VHS copy, and I have been looking forward to a DVD release for quite some time. The movie examines human loneliness through the life and love affairs of the various characters. Venessa Redgrave and her daughter, Joely Richardson, were both spectacular in the movie. The music score, the lighting, ..., everything is excellent.

Riding the crest of an art house wave, Antonioni made an English language splash with this his first commercial movie. It rolled into neighborhoods on the tides of slick photography, trendy themes, and last but not least, the first glimpse of pubic hair on the mom and pop screen (unfortunately deleted in my copy). He had a smash. So why hasn't the movie worn well, as I believe it hasn't. Well, fashions come and go, while the swinging London styles have long since passed into the rag bin. Then too, there's the plot, or what there is of it. That old conundrum about now you see it , now you don't -- is it really real or just make-believe -- is too tired and pretentious to compensate for the other meagre goings-on. A more adept artist could have made the same point without the gimmicky now-you-see-it, now-you-don't, which is why L'Avventura is the better of the two Antonioni films. Moreover, the Hemmings character is simply too vapid for the audience to care what happens. A few enlivening traits would not have been out of place. But then, Blow-up is more a cynical dissertation than a movie, so Hemmings had to be a cypher to fit into the relentless monologue of superficial people in a superficial world. My point is not that Blow-up is without virtues. The revealing symbolism of a disconnected propeller hauled around by a disconnected personality, or the sometimes spooky atmosphere, are good examples. Rather, it's that the film is ultimately too arid and time-bound to get beyond the faddish stage in which it was created. A fruitful comparison is with Hitchcock's (1954) Rear Window, two films surprisingly alike in plot and theme. Where Hitchcock weaves humanized people into a developing story so that the audience cares when the photographer (James Stewart) overcomes his obsessions, does anyone care that Hemmings can't get beyond his. Ninety minutes of preceding screen time have given us little reason to care, or even support for believing he could. Where Hitchcock creates depth in the unusual, Antonioni creates only an intellectual exercise, which is why Hitchcock still dwells in the news stands, while Antonioni only dwells in the archives.

I liked this film overall; although it moves very slow [for a 1960s film] and if you are not in the mood, can be boring, especially to younger audiences. I appreciated what seemed to me to be deliberate "low-key" acting styles to simulate a realistic movie-watching experience, but at times certain characters' actions seemed inappropriate to what was happening around them.
Although it was filmed in England, Blow-Up feels very much like a foreign language film. It's almost peculiar at times that the dialogue does not require subtitles, beacuse it often feels as though it should, even though the characters are English.

The film is extremely well cast. David Hemmings is brilliantly cast in the role of a free-lance photographer and swinging Londoner about town. He's the right age, he's got the right look, and he's so believable in his role as to make it almost impossible to tell where the actor's true identity ends and the character acting begins. Yet he's totally believable in this role, he's good-looking, but also unique looking enough as to seem like a "real" person in a "real" environment living "real" scenarios.

I will give big points to a genuine effort to make a unique film here. This is definately not one of your typical "formula films" of today! It did manage to hold my interest throughout, although I'm still not entirely sure what this film is about, and I have a hunch that some of it is another example of "The Emporer's New Clothes", which is why I can only give this movie 4 stars.

This film was highly influential in it's day and I do recommend it to any fan of 60's culture and art films in general; especially for a rare chance to see both Jimmy Page and Jeff Beck performing together in this short-lived lineup of the Yardbirds.

This film is usually considered Michelangelo Antonioni's best film, although I disagree. I feel that "L'Avventura" is his masterpiece. But I must ask - why is this film not available in a DVD version yet? I can't believe that. C'mon Criterion - get on it!

Ever since I first saw this movie in the late 60's, it seemed clear to me that the whole picture was not really about the veracity of the crime that the photographer supposedly shot, but rather about the unreality of the life of the mod world, and by extension of the pop world as a whole. The two different chromatic tones used by Antonioni to depict the real life, as represented by the flop house, and the illusory pop world, the main theme of the movie, are indicative of the contrasting realities portrayed in the film. Hunger, poverty, old age, diseases, and dead are painted in subdued mate tones. On the other hand, the harlequins, mimes, drugs parties, rock concerts and other happenings populated by those zombies that represent the pop culture, their unreality notwithstanding, are filmed with bright fluorescent colors. These specimens of what now is considered the "beautiful people", are empty of true emotions. And just by chance, to one of its members, the photographer, the opportunity to escape from that unreal world is offered in the form of the photographing of a murder, without meaning to. Confronted with the absolute truth, death, this superficial human being does not know how to behave. That surreal world to which he belongs has ingrained so deeply into his soul, that instead of behaving like a normal person would do by going to the police, he instead unconsciously invents as many circuitous, roundabouts ways as possible to avoid the confrontation of that most real of truths: death. So that is why, after realizing that the corpse has disappeared, he circumambulates aimlessly by the park. And when asked by the mime to return the illusory tennis ball (that is, to reinsert himself anew in the illusory mod or fashion world) he decides to comply, having lost for ever the opportunity to be a true human being. And that is why the unreal tennis ball starts to sound in the final seconds of the movie.
What makes this film a classical masterpiece, besides the formal and structural techniques employed by "el maestro" Antonioni, is his depiction of the banal, sophomoric reality of the mod and pop world. And all banality of that world depicted in the film is as true today as in the 60's (just take a look at the frantic and pathetic lives of all those soulless Hollywood stars).
To say that the film has not aged well just because the white jeans that Hemmings wears are today demodé, is like saying that Battleship Potemkin is an anachronism because the Odessa steps scene sequence has been surpassed by Brian De Palma in The Untouchables. Simply put, classics by definition can not be dated. By the way, Blow-Up is based in a short history by Julio Cortazar("Las babas del diablo"), and has nothing to do with the Zapruder film, whatsoever.
As to some resemblance to the Austin Power movies I can not attest one way or the other, because life is too short to spend two hours seeing such stupid, silly movies (or Titanic, or Gladiator, or Shakespeare In Love, or Pearl Harbor, for that matter).
The jazz score throughout the most appealing scenes and the ominous wind in the park are employed in a masterly way. If any film deserves to be edited in DVD, this is it.

Disturbing look at mental illness, what passes as mental illness, a lack of hope for long term recovery and how human these people really are. Sad, touching, honest, comic moments, and thought-provoking.

I don't usually watch the Oscar's because for many years, people and movies I expect to win, never do. So, when I see a DVD that has "Oscar nominee" or "Academy Award Winner" and even "One of the best films of the year!" on the covers, I tend to say.."yeah, right! Whatever..."

I purchased the DVD of "GIRL, INTERRUPTED" and one of the driving forces for me to buy this is for the acting of Winona Ryder (watch her eyes because those emotions are within the eyes) and Angelina Jolie that is currently the eye candy for many entertainment magazines at this time.

After watching this movie, I must say that I was actually very pleased with the storyline. It's actually a very good story and the interaction among the girls was really interesting. James Mangold said in the director's commentary that it was about adding conflict and the conflicts between Susanna and Lisa or Susanna and her nurse and of course Susanna with Susanna is very well done.

Winona Ryder is a talented actress and again her eyes play a big part in this movie. In fact, the HBO First Look: "The Making of GIRL, INTERRUPTED" goes into that. As for Angelina Jolie, she did a perfect job in playing Lisa. With all the rumors and news going around, sometimes I wonder if Angelina and Lisa share anything in common. She deserves the Academy Award for playing a convincing sociopath.

The video quality of the movie is pretty good but there are noticeable artifacts during the dark scenes. The audio is good and you don't get so much because it's a dialogue driven movie. I think the only time I heard sounds from the speakers is when they rode on the VW van and you hear the engine.

What about the extras? Well, first, let's be thankful they made it anamorphic and they included the director's commentary, deleted scenes and an isolated music score. The HBO making of is very interesting to watch and the theatrical trailers for Winona and Angelina's movies were a nice touch.

So, overall you get a pretty good DVD with a pretty good story. Some might deem this as more of a movie more for women but I think both genders can enjoy this movie. It has a nice blend of drama, comedy and a few dark moments. Check it out!

"Girl, Interrupted", one of the best dramatic films in 2000, brings a darker side of life to the screen, not only referring to the time period, but also to the subject matter. Set in the turbulent late 1960s, a time of drugs, politics, and war, it follows the life of Susanna Kaysen, more specifically her two year stay at the famed McLean Psychiatric Hospital. Diagnosed with a "borderline personality disorder", she chooses not to conform to the wishes of the head nurse (Whoopi Goldberg) and psychiatrist (Vanessa Redgrave), but to instead befriend the resident women around her. Among them, a girl who will only eat her father's chicken, a woman who loves "Alice In Wonderland", and a charmingly charismatic sociopath Lisa (Angelina Jolie), the self proclaimed ringleader of the group. But confronted with the reality of it all and the looming need to be "fixed" Susanna soon realizes that to truly escape and taste her freedom, she will need to confront her biggest fear: herself. Winona Ryder, with an air of innocense and a tremendously realistic range of emotions and talents, has one of the best performances in her career as Susanna, and Angelina Jolie delivers a jaw-dropping (and well-earned Oscar- winning) performance as the troubled Lisa. Although this film is not for the weak at heart (it has disturbing self-mutilation/suicide scenes), it is wonderful in the sense it paints a realistic picture free of inhabitions and boundaries to create a truly remarkable film achievement.

Disturbing look at mental illness, what passes as mental illness, a lack of hope for long term recovery and how human these people really are. Sad, touching, honest, comic moments, and thought-provoking.

I don't usually watch the Oscar's because for many years, people and movies I expect to win, never do. So, when I see a DVD that has "Oscar nominee" or "Academy Award Winner" and even "One of the best films of the year!" on the covers, I tend to say.."yeah, right! Whatever..."

I purchased the DVD of "GIRL, INTERRUPTED" and one of the driving forces for me to buy this is for the acting of Winona Ryder (watch her eyes because those emotions are within the eyes) and Angelina Jolie that is currently the eye candy for many entertainment magazines at this time.

After watching this movie, I must say that I was actually very pleased with the storyline. It's actually a very good story and the interaction among the girls was really interesting. James Mangold said in the director's commentary that it was about adding conflict and the conflicts between Susanna and Lisa or Susanna and her nurse and of course Susanna with Susanna is very well done.

Winona Ryder is a talented actress and again her eyes play a big part in this movie. In fact, the HBO First Look: "The Making of GIRL, INTERRUPTED" goes into that. As for Angelina Jolie, she did a perfect job in playing Lisa. With all the rumors and news going around, sometimes I wonder if Angelina and Lisa share anything in common. She deserves the Academy Award for playing a convincing sociopath.

The video quality of the movie is pretty good but there are noticeable artifacts during the dark scenes. The audio is good and you don't get so much because it's a dialogue driven movie. I think the only time I heard sounds from the speakers is when they rode on the VW van and you hear the engine.

What about the extras? Well, first, let's be thankful they made it anamorphic and they included the director's commentary, deleted scenes and an isolated music score. The HBO making of is very interesting to watch and the theatrical trailers for Winona and Angelina's movies were a nice touch.

So, overall you get a pretty good DVD with a pretty good story. Some might deem this as more of a movie more for women but I think both genders can enjoy this movie. It has a nice blend of drama, comedy and a few dark moments. Check it out!

"Girl, Interrupted", one of the best dramatic films in 2000, brings a darker side of life to the screen, not only referring to the time period, but also to the subject matter. Set in the turbulent late 1960s, a time of drugs, politics, and war, it follows the life of Susanna Kaysen, more specifically her two year stay at the famed McLean Psychiatric Hospital. Diagnosed with a "borderline personality disorder", she chooses not to conform to the wishes of the head nurse (Whoopi Goldberg) and psychiatrist (Vanessa Redgrave), but to instead befriend the resident women around her. Among them, a girl who will only eat her father's chicken, a woman who loves "Alice In Wonderland", and a charmingly charismatic sociopath Lisa (Angelina Jolie), the self proclaimed ringleader of the group. But confronted with the reality of it all and the looming need to be "fixed" Susanna soon realizes that to truly escape and taste her freedom, she will need to confront her biggest fear: herself. Winona Ryder, with an air of innocense and a tremendously realistic range of emotions and talents, has one of the best performances in her career as Susanna, and Angelina Jolie delivers a jaw-dropping (and well-earned Oscar- winning) performance as the troubled Lisa. Although this film is not for the weak at heart (it has disturbing self-mutilation/suicide scenes), it is wonderful in the sense it paints a realistic picture free of inhabitions and boundaries to create a truly remarkable film achievement.

After the terrific reviews, I had expected better.
The Idea is indeed a good one, but the lead actress is... awfull (I'm sorry to say it, but there it is.) She is whiny, complaining, selfish, and just generally irritating.
While watching the movie, I just kept wondering why any of these people would want to spent time with her, let alone, seek her out or leave their wife for her.
To say something good about the film, the filming locations (Paris, Cliffs of Dover, etc.) were excellent and beautiful. And the rest of the cast could act and was wonderful!

Deja Vu is an intriguing film that is flawed but worth seeing, chiefly for the brilliant acting of Stephen Dillane and the original, compelling premise of the story.

Unfortunately, the lead actress, Victoria Foyt, brought the film down a notch in my eyes. She is whiny and annoying, and doesn't have the kind of compelling presence the part requires. But then again, she is director Henry Jaglom's wife, so I guess she was a shoo-in!

I liked how the characters had to wrestle with their situation - while their attraction was immediate and undeniable, their loyalty to their existing relationships caused them to wrestle with their consciences and really delve into the importance of love, fate and personal fulfillment.

I had not seen Dillane's work before seeing this film, but have since found his acting to be of consistently high caliber. He does not look like a traditional leading man, but has a magnetic, thoughtful quality that is quite compelling.

Deja Vu is an interesting, quirky film, that could have been truly memorable with a different lead actress, some script tightening (hearing the actors exclaim "What are you doing here?" over and over becomes really grating after a while)and editing, but it is still an enjoyable film that is well worth seeing.

I caught this film recently on "WE" cable network and was glued to the tv and completely drawn into Deja Vu's world - I felt as if I were living Dana and Sean's story. I have seen several of Mr. Jaglom's films but this is absolutely the best he has ever created. Vicoria Foyt and Stephen Dillane were so wonderful and believable (the whole supporting cast was so perfect especially Vanessa Redgrave) I must agree with so many of the reviewers who stated that this movie has now replaced Casablanca for them. Ditto for me! This movie has something to teach us all about settling for less than true bliss. Then again, I believe that very few of us ever meet our true love/soul mate. But the whole premise (of true love, serendipity, fate, the choices we make, the consequences we must live with) was beautifully and hauntingly handled in this film. Thank you Mr. Jaglom, for a new classic.

After the terrific reviews, I had expected better.
The Idea is indeed a good one, but the lead actress is... awfull (I'm sorry to say it, but there it is.) She is whiny, complaining, selfish, and just generally irritating.
While watching the movie, I just kept wondering why any of these people would want to spent time with her, let alone, seek her out or leave their wife for her.
To say something good about the film, the filming locations (Paris, Cliffs of Dover, etc.) were excellent and beautiful. And the rest of the cast could act and was wonderful!

Deja Vu is an intriguing film that is flawed but worth seeing, chiefly for the brilliant acting of Stephen Dillane and the original, compelling premise of the story.

Unfortunately, the lead actress, Victoria Foyt, brought the film down a notch in my eyes. She is whiny and annoying, and doesn't have the kind of compelling presence the part requires. But then again, she is director Henry Jaglom's wife, so I guess she was a shoo-in!

I liked how the characters had to wrestle with their situation - while their attraction was immediate and undeniable, their loyalty to their existing relationships caused them to wrestle with their consciences and really delve into the importance of love, fate and personal fulfillment.

I had not seen Dillane's work before seeing this film, but have since found his acting to be of consistently high caliber. He does not look like a traditional leading man, but has a magnetic, thoughtful quality that is quite compelling.

Deja Vu is an interesting, quirky film, that could have been truly memorable with a different lead actress, some script tightening (hearing the actors exclaim "What are you doing here?" over and over becomes really grating after a while)and editing, but it is still an enjoyable film that is well worth seeing.

I caught this film recently on "WE" cable network and was glued to the tv and completely drawn into Deja Vu's world - I felt as if I were living Dana and Sean's story. I have seen several of Mr. Jaglom's films but this is absolutely the best he has ever created. Vicoria Foyt and Stephen Dillane were so wonderful and believable (the whole supporting cast was so perfect especially Vanessa Redgrave) I must agree with so many of the reviewers who stated that this movie has now replaced Casablanca for them. Ditto for me! This movie has something to teach us all about settling for less than true bliss. Then again, I believe that very few of us ever meet our true love/soul mate. But the whole premise (of true love, serendipity, fate, the choices we make, the consequences we must live with) was beautifully and hauntingly handled in this film. Thank you Mr. Jaglom, for a new classic.

When a young Inuit boy mysteriously falls to his death from the roof of an apartment building in Copenhagen, his neighbor (Julia Ormond) sets out to solve the puzzle armed only with the suspicion that his demise was not accidental -- a suspicion arisen from her singular impression of his footprints in the snow. With the help of another neighbor, known only as "the Mechanic" (Gabriel Byrne), Smilla takes on the head of a major mining corporation (Richard Harris) as well as the local authorities in order to put the boy's soul at peace.

If the vehement disdain that its critics have heaped upon it is any indication, then this movie may be a severe disappointment to those who have read the novel -- not too surprising since most movies so based are never as good as the book and vice versa. But whereas films of this nature will usually give viewers far too much information initially, leaving only a story line already surmised to plod resolutely to its conclusion, Smilla metes out the details sparingly. We discover new information only when the characters do and are blissfully kept in the dark about exactly what has happened and why until the very end. Due primarily to a superb story line as well as some noteworthy performances from its principal cast members, the movie grabs our attention from the outset and commands it throughout.

Smilla herself comes across as a complex, intelligent, and resourceful woman (a comparative oddity in films today) although she is a self-confessed loner and perhaps not the most pleasant of people. But by far the most compelling character turns out to be that of the Mechanic. Just as we begin to believe that he is trustworthy, one action after another sends us (and Smilla) back to our initial assumption that this is one ambiguous guy with plenty of secrets to hide himself. Yet we fall for his stuttering innocence over and over again.

Despite a few cheesy lines and some minor inconsistencies, when taken on its own merit "Smilla's Sense of Snow" is a thoroughly enjoyable and well-crafted mystery -- one well-worth watching.

"Smilla's Sense of Snow" is an unusual, intriguing thriller that seems to fall in the love it or hate it category. If it seems a bit off center to American audiences, that may be because it's a Danish film in English with an almost entirely English cast. So, its point of view, production values and [alas!] its budget are quite Western European. This means its a bit slower, a bit more interested in character development and a lot more poetic and enigmatic than your ordinary thriller. I like it a great deal. To me, its main fault is that some of the story, especially towards the end, requires a much more spectacular and elaborate treatment than the film's producers could afford. In fact, it would not surprise me if it gets an American remake one day because the story is so interesting and visually complex. [Note: I have not read the novel by Peter Hoeg upon which it is based. It is available in paperback here at Amazon.com.]

The superb Julia Ormond plays Smilla Jeperson, a beautiful, intelligent and tortured young woman living in Copenhagen. She's a scientist specializing in the study of snow. She's also a person of unusual origins, the daughter of a Danish doctor and a native Greenlander mother. When she was six years old, her mother, a huntress in the icy wilds of Greenland, was killed, and Smilla was brought to Denmark to live. She never adjusted. One day she comes home to her apartment building to find a tragedy has occurred. A young Eskimo boy, an immigrant from Greenland, has been killed. Everyone says he fell from the roof, but Smilla quickly figures out he was murdered. She decides to find out what really happened to a boy she loved. Thus begins a detective story full of twists, turns and unnerving surprises.

The great supporting cast includes Vanessa Redgrave, Tom Wilkinson, Jim Broadbent, Richard Harris, Gabriel Byrne and Robert Loggia, but the film very much belongs to Ms. Ormond. The movie was directed by Bille August, whose "The House of the Spirits" and "Pelle the Conqueror" are highly recommended. The cinematography by Jorgen Persson is icily beautiful - filled with shades of blues and while. The haunting and evocative music is by Hans Zimmer and Harry Gregson-Williams.

Based on Peter Hoeg's book (which I haven't read, so I can't compare the two), "Smilla's Sense of Snow" follows Smilla Jaspersen (played by Julia Ormond, one of my favorite actresses), an almost soulless, hard-as-nails half-Inuit, living in Copenhagen, Denmark. One day she returns to her apartment complex to find her 6-year-old neighbor dead due to a tragic "accident," which she spends the entire movie trying to uncover. Her other neighbor (played by Gabriel Byrne) tags along after her like a sad puppy, later becoming her sidekick and lover when her life is almost snuffed out by the men she's trailing. But, even then, she doesn't completely trust him.

I have to admit: when I first saw "Smilla's Sense of Snow" several years ago, I didn't like it as much as I do now, mainly because I wasn't paying too much attention to it, and was confused and irritated by the X-files-like ending. But after watching it again from beginning to end, it's become one of my favorite movies. I loved the cold Danish/Greenlandic setting (just in time for Christmas) and was impressed by the performances and characters in this movie, Julia/Smilla especially. This is certainly one I'd recommend if you're looking for a good dramatic thriller to watch. Rated "R" for language, some violence, and a sex scene.