Lincoln (2012)
Directed by Steven Spielberg
The revealing story of the 16th US President's tumultuous final months in office. In a nation divided by war and the strong winds of change, Lincoln pursues a course of action designed to end the war, unite the country and abolish slavery. With the moral courage and fierce determination to succeed, his choices during this critical moment will change the fate of generations to come.
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What critics compared Lincoln to
In much the same way that “Lincoln” has made many of us believe that’s what Abraham Lincoln was really like, thanks to Daniel Day-Lewis’ Oscar-winning performance, Oldman pulls off the trick here.
Like Spielberg's Lincoln (2012), Darkest Hour focuses on a time of great political trial for its subject, the better to expose his leadership's essence.
By focusing on one month of Churchill’s life, Wright (Atonement, Pride & Prejudice) is very much working in the mold here of Steven Spielberg’s Lincoln.
Much like Daniel Day-Lewis in Steven Spielberg’s Lincoln , Oldman is the film front to back, taking center stage and never leaving it until the final bow.
Oldman has described Churchill is one of history’s indispensable men, and the movie has echoes of Stephen Spielberg’s Lincoln , whose subject was just as indispensable to the resolution of America’s own great moral and military crisis.
Surprisingly, chuckles do come from choice bits of parental nerdiness; one stupefied neighbor, hearing of their three-hour sex bout, compares it to the movie Lincoln.
They decide (and yes, this is, for some reason, a fairly significant plot point) to use the "Joy of Sex" as an inspiration, going through every single sexual position in the four-decade-old sex manual, which gives their sex tape a real awards season-scope (one characters jokes that, at 3 hours, it's longer than "Lincoln.").
Here's one anyway: It's about Annie (Cameron Diaz) and Jay (Segel), the people who made said home movie—a three-hour epic that their pal Robby (Rob Corddry) says is as long as "Lincoln"—and how unintentionally posting it to the cloud nearly becomes social and professional suicide.
As best friend Robby (Rob Corddry) points out, that's the length of the movie "Lincoln".
The director’s exquisite compositions, the extraterrestrial poetry of the period dialogue and some of the year’s most searing performances combine to make this film a more-than-worthy companion to Spielberg’s monumental Lincoln.
Well-meaning films like “Lincoln’’ and “Lee Daniels’ The Butler’’ merely scratch the surface compared to the deep and painful truths laid bare by “12 Years a Slave.’’
Steven Spielberg ’s Lincoln thoughtfully explored the political wheeling-and-dealing that led to the Emancipation Proclamation, rather than displaying it as a fit of sudden good-heartedness amongst white men.
As was the case with Steven Spielberg’s “Lincoln,” McQueen’s film is impeccable in its period detail, with the production design (Adam Stockhausen), costumes (Patricia Norris), art direction (David Stein) and set decoration (Alice Baker) all estimable.
In contrast, most of the current cycle of historical civil rights movies, including Django Unchained, The Help and Lee Daniels’ The Butler, look as though they were made for and by children (the exception being Steven Spielberg’s Lincoln).
Hollywood tapped into a number of films exploring African American suffering in 2013 (Lincoln, Fruitvale Station, The Butler), but this particular film’s examination of violence and the submissive character reactions has a timeless quality.
Spielberg's back in even stronger form than he exhibited in "Lincoln," his Cold War thriller with its National Security versus justice and American ideals theme startlingly relevant in a post 9/11 world with the Patriot and Freedom Acts.
But as he did in Lincoln , Spielberg lets any comparison with contemporary politics arise in the viewers’ mind on its own, never signposting the parallels too clearly.
Like Lincoln, Bridge of Spies plays a lively game of hide-and-seek with the American present, sometimes by means of parallels (between the inflamed anti-Communist rhetoric of the late Fifties and the inflamed anti-immigrant/anti-Obama rhetoric of today) and contrasts: neither Donovan nor Abel trumpet, advertise, or “brand” what they do—they simply do it.
However, the inspiration for Bridge of Spies, Spielberg’s latest fable of human conflict carries over from his previous film, Lincoln, more than anything else.
With Bridge of Spies , Spielberg continues the project he started with Lincoln : Using history to illuminate his personal vision of American heroism.
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Pick a combination, any combination, of these themes that interest you, and Spielberg’s lovely, sensitive, and often very funny epic—seamlessly co-written by repeat Spielberg collaborator, the great Tony Kushner (“Munich,” “Lincoln” and “West Side Story“)—will fulfill your appetite.
With the passage of time, he is able to look back upon his own youth, fictionalizing it for dramatic purposes — he receives his first writing credit since A.I. Artificial Intelligence (2001), collaborating with writer Tony Kushner (Munich, 2005; Lincoln, 2012; West Side Story, 2021) — and softening the edges, without eliminating entirely the painful stabs of memory that are inherent in recalling any great love.
He co-wrote the film with his “Lincoln” screenwriter Tony Kushner.
In The Fabelmans, Steven Spielberg puts his own childhood up on the big screen, through the Dream Factory, with the help many of his regular collaborators, screenwriter Tony Kushner (Munich, Lincoln), John Williams (Jaws, Indiana Jones, Jurassic Park) and Janusz Kaminski (Schindler’s List, Saving Private Ryan, West Side Story) among others.
This one seems entirely appropriate, and it has been gestating in the director’s head ever since he and his co-writer Tony Kushner started kicking it around during the making of Lincoln over a decade ago.
Reuniting with his Lincoln (2012) scribe, Pulitzer Prize winner Tony Kushner, it’s a tender, if inherently self-indulgent characterization of an upwardly mobile Jewish family evolving along with the changing cultural mores of the 1950s and 1960s.
Goggins is, right now, the screen’s greatest slack-jawed Southerner, whether he’s playing a buffoon (as in Spielberg’s Lincoln) or a wily mastermind (TV’s Justified).
Like Steven Spielberg’s “Lincoln,” “Miss Sloane” is a character study wrapped inside a political battle.
…montage that's used to such mercilessly ironic effect in the film's opening, and ending on the corniest "he's off to meet his death!" scene since the penultimate scene in 2012's Lincoln .
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Off the back of Bridge Of Spies and Lincoln (and even War Horse), The BFG seems like an odd fit for Spielberg until you remember that he directed not only E.T., but also the hugely under-rated Hook and Tintin.
But Spielberg of late has become a far less fanciful filmmaker, specializing in adult-oriented projects such as “Bridge of Spies” and “Lincoln.”
With “The BFG,” Spielberg has taken a break from the serious-minded sweep of his recent political procedurals (“Bridge of Spies,” “ Lincoln ”) and attempted to fashion a new classic of childhood wonderment.
Spielberg’s still as productive as ever and his films often end up in the running for best picture nods, including Oscar nominations for last year’s Cold War thriller Bridge of Spies, Lincoln (2012), and 2011’s War Horse.
Así, en su anhelado regreso al cine de aventuras fantásticas para toda la familia luego de títulos para adultos como Lincoln o Puente de espías, esta incursión en el universo literario del admirado Roald Dahl -más allá de que indudablemente le cuesta tomar vuelo- un espectáculo visual extraordinario y, en ese segundo tramo, una demostración más del esplendor de un director de las inmensas dimensiones, facetas, matices y cualidades como Spielberg.
Yet, the Spielberg–Kushner team’s Lincoln (2012) lost all dramatic interest.
It is very much in conversation not only with Close Encounters of the Third Kind, but with Lincoln and The Post as well.