- An action-packed thriller that follows an elite police battalion (BOPE) tasked with cleaning up a drug-ridden Rio de Janeiro slum in advance of the pope's 1997 visit. A team of trained killers, they struggle to do what's right in a corrupt system and dangerous neighborhood. Format: DVD MOVIE Genre:Â ACTION/ADVENTURE Rating:Â NR Age:Â 796019815482 UPC:Â 79601981
Celebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God" are a place where combat photographers fear to tread, police rarely go and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye, the eye of an ! artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world and ultimately his way out!Like cinematic dynamite,
City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular
favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically ! immediate--that
City of God prompted reforms in socioec! onomic p olicy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away.
--Jeff ShannonA photographer named buscape narrates short stories of his youth growing up in one of the most crime ridden areas of rio de janeiro. The film introduces many characters including a boyhood friend on a path to becoming a drug dealer in one of the worlds most dangerous areas from the late 60s to the early 80s. Studio: Buena Vista Home Video Release Date: 09/01/2006 Run time: 130 minutes Rating: RLike cinematic dynamite,
City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular
favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--li! ke most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that
City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away.
--Jeff ShannonSaint Augustine of Hippo is one of the central figures in the history of Christianity, and this book is one of his greatest theological works. Written as an eloquent defense of the faith at a time when the Roman Empire was on the brink of collapse, it examines the ancient pagan religions of Rome, the arguments of t! he Greek philosophers and the revelations of the Bible. Point! ing the way forward to a citizenship that transcends worldly politics and will last for eternity, this book is one of the most influential documents in the development of Christianity.
One of the great cornerstones in the history of Christian thought, The City of God is vital to an understanding of modern Western society and how it came into being. Begun in A.D. 413, the book's initial purpose was to refute the charge that Christianity was to blame for the fall of Rome (which had occurred just three years earlier). Indeed, Augustine produced a wealth of evidence to prove that paganism bore within itself the seeds of its own destruction. However, over the next thirteen years that it took to complete the work, the brilliant ecclesiastic proceeded to his larger theme: a cosmic interpretation of history in terms of the struggle between good and evil. By means of his contrast of the earthly and heavenly cities--the one pagan, self-centered, and contemptuous of God and the oth! er devout, God-centered, and in search of grace--Augustine explored and interpreted human history in relation to eternity.Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God! prompted reforms in socioeconomic policy. It's a bracing feat! of styl istic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonPaulo Morelli's film is a pacy, bloody thriller that pays warm tribute to a diverse cross-section of American directors including Quentin Tarantino and Michael Bay. Bullets zing across the screen, heavy artillery is deployed at all times, and Morelli makes great use of the twisty favela streets during some frantic chase sequence. Silva and Cunha, who both had roles in CITY OF GOD, carry the picture with impressive ease, and while CITY OF MEN isn't an official sequel to Meirelles's lauded picture, it does serve as a neat continuation of that film's unshakable portrayal of the violence that has beset so many young lives in the slums of Rio de Janeiro.Action-packed and fueled by Brazilian funk, City of Men returns the makers of City of God to the scene of their first success. In this case, the search for family supersedes! the search for identity--not that there isn't a correlation between the two. Though produced by Fernando Meirelles, Paulo Morelli's feature isn't a sequel, but a follow-up to the four-season series of the same name. While Meirelles's movie takes place in Rio de Janeiro's past, Morelli's transpires in the present (not counting flashbacks from the show). Days away from turning 18, boyhood friends Acerola (Douglas Silva) and Laranjinha, a.k.a. Wallace (Darlan Cunha), grew up without fathers. Ace has a wife and child; Wallace has a steady girl. The duo gets along with the gang that rules their labyrinthine hillside neighborhood or favela, but hoodlum life holds little appeal. Ace struggles to raise his young son--his security guard father was murdered during a robbery--while Wallace tries to track down the dad he never knew. With Ace's assistance, Wallace solves the mystery of his genealogy, but at great cost to their friendship (and lives). Despite the South American p! edigree, City of Men suggests the South Central of B! oyz N th e Hood more than City of God. It's not that Morelli's kinetic film looks like John Singleton's more classically composed enterprise, but that it deals with similar inner-city concerns. That said, Silva and Cunha are every bit as charismatic as Ice Cube and Cuba Gooding Jr.--if not more so. --Kathleen C. FennessyAn action-packed thriller that follows an elite police battalion (BOPE) tasked with cleaning up a drug-ridden Rio de Janeiro slum in advance of the pope's 1997 visit. A team of trained killers, they struggle to do what's right in a corrupt system and dangerous neighborhood.
Though José Padilha's action-packed crime drama won the top prize at the Berlin Film Festival, a steady stream of controversy and acclaim has followed in its wake. Some critics have even accused the director of promoting fascism, while Padilha (Bus 174) contends that Elite Squad argues against police brutality. Like Vic Mackey, who heads up The Shield's LA strike force, narrator Captain Nascimento (Wagner Moura) heads up Rio de Janeiro's Police Special Operations Battalion (BOPE). It’s 1997, the Pope arrives for a visit in six months, and BOPE will stop at nothing to reduce crime in the favelas. The way they see it, drug traffickers have them outmanned and outgunned, so there's no point in playing by the rules. With their black uniforms and berets, the Skulls certainly cut an imposing figure. New police recruits Neto (Caio Junqueira) and aspiring lawyer Matias (André Ramiro) turn to Nascimento when their efforts to operate by the book only lead to frustration (Matias was inspired by author/law student/BOPE member André Batista). The burned-out captain sees his salvation in the two childhood friends; as soon as he selects a replacement, he plans to leave the force and spend time with his pregnant wife. Nascimento may find his man, but the ending is far from happy. Brutal and bleakly funny, Elite Squad depict! s 1990s Rio as Danté's Ninth Circle of Hell. Nonetheless, Bra! zilians made the film an even bigger sensation than City of God, to which it serves as an essential companion piece. --Kathleen C. Fennessy
