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1. Directed by: Mark Amin
2. Resume: An escaped slave travels north and has chance encounters with Frederick Douglass and John Brown. Based on the life story of Shields Green
3. Kat Graham
4. writer: Mark Amin

Emperor's club full movie. Movie emperor of all maladies. Movie emperor centurion. Emperor movie trailer. Emperor movie in hindi. Gen. Bonner Fellers (Matthew Fox) is the cheerless, angsty romantic lead in a historical drama that could have leaned more toward accuracy in its depiction of post-war Japan. Kirsty Griffin/Roadside Attractions hide caption toggle caption Emperor Directors: Peter Webber Genre: Historical Drama Running Time: 98 minutes Rated PG-13 for violent content, brief strong language and smoking With: Matthew Fox, Colin Moy, Tommy Lee Jones Watch A Clip From 'Emperor' - 'Here's What We Got, Sir' 'Here's What We Got, Sir' Watch A Clip From 'Emperor' - 'The Conclusion Has To Be Ours' 'The Conclusion Has To Be Ours' Watch A Clip From 'Emperor' - 'I Have No Concrete Evidence, Sir' 'I Have No Concrete Evidence, Sir' You'd think that in telling a story whose novelty is in its veracity, retaining some semblance of that truth might be important. But wrestling history into narrative has its challenges, and things can get hazy when it comes to the facts in a historical drama. So it seems like the next logical step in telling a story with a relationship to truth might be that if you're going to fudge things, at least make it entertaining. Please, pull an Argo. Emperor, a tame historical thriller focused on the early days of the U. S. occupation of Japan, takes a different tack, liberally changing details and laying out its tale with a baffling mediocrity. On his arrival in Tokyo following Japan's surrender, Brig. Bonner Fellers (Matthew Fox) is tapped by Gen. Douglas MacArthur (Tommy Lee Jones) to arrest Japan's top leaders for prosecution of war crimes. When the emperor, whose palace grounds haven't been breached by U. troops, is taken off the protected list, Fellers is put in charge of investigating the monarch's role in the war and whether he should be prosecuted. Emperor focuses on Fellers' inquiry into Hirohito — whether the emperor was a figurehead only, or whether he had the power to encourage or stop the militarist factions — and if he did possess direct influence, whether he was responsible for war crimes. Thematically, the film stakes out ambitious territory, exploring Americans' role as conquerors and rebuilders trying to balance the pragmatic needs of a country in ruin with the pursuit of justice and the question of whether such justice can be pursued dispassionately. Despite the promising setup, the filmmakers' execution muddles what's inherently dramatic material. In clunky, as-read-from-a-history-textbook voice-over, Fellers explains the implications of prosecuting Hirohito; then the overwritten script makes him repeat that message early and often, and practically verbatim, to reluctant subordinates and Japanese officials who are well aware of the situation. As a growling, strutting MacArthur, Tommy Lee Jones confidently occupies the shoes of a demanding man with the world at his feet, but he appears in a paltry few scenes, crowded out by a subplot about Fellers' search for his lost love Aya (Eriko Hatsune), a Japanese schoolteacher he met in college in America. The flashbacks to their relationship seem meant to add depth to the bland Fellers, but the romance is as generic as the Army's all-khaki uniforms — and Fox is barely suited to his character's impassioned monologues on justice, much less the qualities of a convincingly lovelorn lead. Given that MacArthur only gives Fellers 10 days to determine the emperor's guilt, it's not as if the man is doing his best work, either: Nearly half his time and energy are spent looking for Aya, which leads of course to some long angry walks in the rain and fights in local bars where he doesn't belong. Gen. Douglas MacArthur (Tommy Lee Jones) may be the biggest military brass in Emperor, but he receives far less screen time than this larger-than-life persona deserves. To his credit, director Peter Webber crisply captures the ravaged streets of postwar Tokyo and pushes the film's tone toward noir procedural: As Fellers enters an unfamiliar world, following leads and shaking down Japanese officials for information, tight close-ups show Fellers' weariness and betray the enormity of what he doesn't understand about his subject — and how uncertain he is about whether he's being manipulated. Yet the writing sabotages again as it glosses over details that might have made the process compelling, opting instead for more grandstanding from Fellers. Worse still, most of the movie, in its broadest strokes, is invention. If it weren't, what's intended as a story of humanity rediscovered in the ruins of war would read very differently — as the story of how the United States put the life of Japan's emperor and the course of the country's rebuilding in the hands of a man whose memory of his Japanese college sweetheart clouded his judgment and sent him into a drunken tailspin. The idea that an audience's experience of a movie is separate from that movie's relationship to history only holds up when the storytelling doesn't actively invite disbelief. Aya? Fictional. Fellers was less of a romantic hero with a special affection for Japan than an expert in psychological warfare who designed MacArthur's strategy to demoralize Japanese troops. The hasty review process? Made up. A timeline as short and arbitrary as 10 days is appealing as an effective ticking clock, but it's laughable as any kind of reasonable period for an investigation in which a people's future is potentially on the line. In truth, the review process took place over five months. And although the film's Fellers appears to be struggling valiantly to find proof that will condemn or save the emperor despite political pressure to let Hirohito hang, the film obscures that the real Fellers' methods may have allowed Japanese leaders time to coordinate their stories and ensure the emperor's exoneration. These artistic liberties don't heighten the drama; they dull it. Emperor sanitizes and simplifies the complicated and interesting ideas at the heart of its story, and while the film's greater disservice is to the unmentioned truth, the facts that so survive seem merely the stuff of Hollywood. The real-life coup attempted by soldiers on the eve of Japan's surrender receives only a passing mention, and when the film finally portrays the first meeting between MacArthur and Hirohito, it's a glimpse into something unmistakably authentic. A better, truer story could have been told.

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Napoleon emperor movie. Critics Consensus No consensus yet. Tomatometer Not Yet Available TOMATOMETER Total Count: N/A Coming soon Release date: Mar 27, 2020 Audience Score Ratings: Not yet available Emperor Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Emperor Videos Movie Info Emperor is inspired by the legend of Shields "Emperor" Green, a descendant of African kings turned outlaw slave in the pre-Civil War South. Seeking freedom for his family, Emperor fights his way north, joining the daring raid on Harper's Ferry and helping alter the course of American history. Rating: NR Genre: Directed By: Written By: In Theaters: Mar 27, 2020 limited Cast Critic Reviews for Emperor There are no critic reviews yet for Emperor. Keep checking Rotten Tomatoes for updates! Audience Reviews for Emperor There are no featured reviews for Emperor because the movie has not released yet (Mar 27, 2020). See Movies in Theaters Emperor Quotes Movie & TV guides.

Movies | The American General Who Ruled Japan Movie Review Credit... Kirsty Griffin/Roadside Attractions Emperor Directed by Peter Webber Drama, History, War PG-13 1h 45m Aggrieved and exasperated: that is the signature expression of Tommy Lee Jones, a star who often conveys an attitude of terminal impatience, as if coping with the fools around him were almost more than he could bear. That gruff demeanor suits his character, Gen. Douglas MacArthur, in “Emperor, ” the British director Peter Webber ’s stolid, simplified history lesson about the delicate relationship between the United States and Japan just after World War II. Mr. Jones’s MacArthur is a complicated blend of imperious, arrogant, short-tempered, impulsive and ambitious. But he has redeeming qualities: he’s motivated by an underlying decency, respect for the conquered Japanese people and his desire for peace. He also possesses a down-to-earth directness that cuts through elaborate protocol and Japanese manners. When he finally wangles a meeting with the Japanese emperor Hirohito (Takataro Kataoka), he violates the ground rules, shakes Hirohito’s hand, looks him straight in the eye and insists that they stand side by side in the picture to be taken. Hirohito doesn’t seem offended. The issues are clearly explained in this earnest historical reconstruction, filtered through the perspective of MacArthur’s right-hand man, Gen. Bonner Fellers (Matthew Fox of “Lost”). Fellers is charged with determining whether Hirohito, regarded as a god by his people, should be prosecuted for war crimes. Specifically, was Hirohito, an avowed pacifist, pressured by militants to approve the bombing of Pearl Harbor? MacArthur demands clear-cut evidence. Fellers, given a strict time limit, must infiltrate the emperor’s inner circle to find out. Complicating matters, MacArthur has his eyes on the American presidency, and a strong political faction in the United States wants Hirohito’s execution, whether or not he approved the Pearl Harbor order. Fellers warns MacArthur that the Japanese, even in their vanquished state, will rise up if the emperor is executed. The movie throws in a clichéd love story involving Fellers and Aya (Eriko Hatsune), a Japanese teacher he met when she was an exchange student in the United States, but who is now missing. It plays out — often in intrusive flashbacks — as a hollow, time-wasting convention shoehorned into the story to explain Fellers’s sensitivity to Japanese culture. In the time-honored tradition of East-West movie romances, Fellers and Aya have little to say to each other. Pained looks of thwarted desire, tears and desperate clinches do not a character or a relationship make. The movie follows Fellers’s search to determine if Aya is alive or dead, and throws in a weak subplot having to do with a rival general’s report that Fellers might have arranged for American bombers to avoid targeting the area where she lives. Fox’s stiff, poker-faced performance, though not incongruous with his role as MacArthur’s dutiful underling, doesn’t change when he is out of his boss’s sight. The screenplay, by David Klass and Vera Blasi, has the tone and structure of a well-organized, if elementary, essay in cultural relativism. Fellers is told not to confuse the modern appearance of Japan with its ancient traditions that guide social behavior and in which loyalty and obedience count for more than anything. That modern appearance, however, is not to be seen in this movie. Except for the Imperial Palace and Army headquarters, everything is rubble. There is a brief mention of the fire bombing of Tokyo on March 9, 1945, in which an estimated 100, 000 civilians were incinerated, and we see a distant view of the city in flames. The bombings of Hiroshima and Nagasaki are barely mentioned. The Japanese resentment of the American occupiers is expressed in one scene in which Fellers gets into a brawl after overhearing a group of Japanese describe the Americans as cockroaches that stink. Jones’s performance is the only spark within this otherwise dull, well-mannered exercise. When MacArthur declaims, “Let’s show them some good old-fashioned American swagger, ” he is right in line with Hollywood’s tradition of celebrating America’s military leaders as heroic warriors. “Emperor” is rated PG-13 (Parents strongly cautioned). It has some strong language.

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