How much did the conspirator make

DVD and Blu-ray Releases for August 16th, August 16th, It's a deceptively busy week, as there are several significant releases hitting the home market on Tuesday. You need a Frames Capable browser to view this content. The market share is converted into a weekly sales estimate based on industry reports on the overall size of the market, including reports published in Media Play News.

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For more information, please contact us at research the-numbers. Samuel L. All rights reserved. Google Play. April 15th, Wide by Roadside Attractions. Show all releases. August 16th, by Lionsgate Home Entertainment. PG for some violent content. So, does the film have to tell us this, or even give us a hint about it? By eliding the issue, and casting Secretary of War Stanton as a vengeful zealot reminiscent of a Dunning School historiography that no professional historian takes seriously anymore, does the film perpetuate persistent ideas about a noble South defending its honor?

I first thought it did. I paid more attention to what the film was trying to accomplish, especially to its brilliant and evocative treatment of the legal issues that stand at its center in a way the Civil War itself does not. What matters, in the end, is that The Conspirator raises these questions. And by doing so, it cogently, provocatively, and accessibly offers historians not only a fruitful resource for the classroom, but an enticing opportunity to engage public culture through reviews, blogs, and letters to their newspapers.

Please read our commenting and letters policy before submitting. So heavily allegorical does this movie become, so entrenched is it in the ideas it stands behind, that at times it ceases to be a picture about real people. For minutes I waited for any meager throwaway gesture from Aiken to show me what kind of man he is—think of the disbarred, down-at-the-heels Paul Newman downing a raw egg at the beginning of The Verdict—anything to show me his character is more than a pawn in the protracted history of American jurisprudence.

The absence of those personal details makes it hard to believe the characters really exist outside the trial. Whenever the film ventures from the confines of the courthouse or Surratt's prison cell—to the posh Century Club from which Aiken has been blackballed for his defense of Surratt , to the parlors of friends, to the private lives of our protagonists—the acting stiffens into starchy reenactment.

It would be better to limit the story to two sets, court and prison, and adapt it for the stage. A more troubling result of the film's myopia is the curious absence of any mention of slavery, as Ta-Nehisi Coates and A.

Scott have mentioned, as well as the absence of any war-wrought destruction, on the glistening city or the minds of the characters. Yet if Redford directs slight characters with a heavy hand, it's at least partially because of the weight of his themes, which are in essence his leading roles. Though less subtle, The Conspirator might do for our era what The Crucible did for the McCarthy years: remind us, with a glance at the past, that witch hunts remain a part of the present.

In the last scene, we see a black-clad Surratt silhouetted against the lichened walls of the penitentiary.