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Flag of our Fathers VIDEO!

Flag of our Fathers VIDEO!

New Flag of our Father stills! Starring Ryan Phillippe, Jesse Bradford, Adam Beach, Paul Walker, Jamie Bell, Barry Pepper, and John Benjamin Hickey. Check out all of the pictures in the gallery and the videos [.mov] below!

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  • chong

    FIRST YB!!!!

  • anustin

    his cute really…i dont like the chin of his wife,reminds me of brads x wife.

  • Hil

    Wow. Thanks for sharing all of those clips. I really enjoyed them. I hope the film is good!

  • shy

    If anyone is interesting what this film is about – you can go to thus site.
    The reviews of the film are saying that it is super-puper good movie. So everyone go and see it. Here are some excepts from the site.

    Variety and Hollywood Reporter Raves Flags
    From Todd McCarthy’s Variety review–
    Ambitiously tackling his biggest canvas to date, Clint Eastwood continues to defy and triumph over the customary expectations for a film career in “Flags of Our Fathers.” A pointed exploration of heroism — in its actual and in its trumped-up, officially useful forms — the picture welds a powerful account of the battle of Iwo Jima, the bloodiest single engagement the United States fought in World War II, with an ironic and ultimately sad look at its aftermath for three key survivors. This domestic Paramount release looks to parlay critical acclaim and its director’s ever-increasing eminence to strong B.O. returns through the autumn and probably beyond.
    Goes on:

    One way to think about “Flags” is as “The Man Who Shot Liberty Valance” of this generation. That 1962 John Ford Western is famous for its central maxim, “When the truth becomes legend, print the legend,” and “Flags” resonantly holds the notion up to the light. It is also a film about the so-called Greatest Generation that considers why its members are, or were, reticent to speak much about what they did in the war, to boast or consider themselves heroes.
    Skillfully structured script by William Broyles Jr. and Paul Haggis throws the audience into the harrowing action of the Iwo Jima invasion as a personal memory that can never be softened or forgotten. But the brutal fighting is eventually juxtaposed with the government’s use of the celebrated image of the Marines raising the flag on Mount Suribachi for propaganda and fund-raising, with scant ultimate regard for the “heroes.”

  • shy

    The same as Private Ryan? Not on Eastwood’s watch:
    Such is the carnage at the initial landing (the Americans suffered 2,000 casualties that first day alone) that there will be some temptation to compare the scene to current co-producer Steven Spielberg’s justly celebrated D-Day invasion sequence in “Saving Private Ryan.” But Eastwood does it his own way, impressively providing coherence and chaos, awesome panoramic shots revealing the enormity of the arrayed armada and sudden spasms of violence that with great simplicity point up the utter arbitrariness of suffering and death in combat.

    Good ink for Beach:

    Given this dramatic, wrenching arc, Hayes’ story becomes the heart of the movie, and Beach, who previously played a Native American in the Pacific campaign in “Windtalkers,” unquestionably takes the acting honors with it, delivering a full sense of the character’s pain and sense of entrapment in an absurd situation. Other perfs are thoughtful, credible and deliberately unspectacular, although Pepper supplies special power as the leader the young men need as they come face to face with the enemy.

    Likewise, The Hollywood Reporter’s Kirk Honeycutt was equally impressed–opening with:
    “Flags of Our Fathers” does a most difficult and brave thing and does it brilliantly. It is a movie about a concept. Not just any concept but the shop-worn and often wrong-headed idea of “heroism.”
    The movie performs this task amid the fog of war on Iwo Jima in 1945, when the Associated Press’ Joe Rosenthal took the iconic photograph of six American servicemen raising Old Glory on Mount Suribachi. The movie deconstructs that moment, shattering it into a jigsaw puzzle of flashbacks and flash-forwards, to explore how that photograph turned into a major prop of the U.S. government’s war bonds campaign and how the government designated the three surviving flag raisers as “heroes.”
    From a boxoffice standpoint, this might be a rare instance of having your cake and eating it, too: The film also takes a hard, unblinking look at the cynicism and PR manipulation that went into the war bond tour and what we today recognize as the nascent fluttering of the cult of celebrityhood, when the three surviving flag-raisers were among the most famous men in the U.S.

  • shy

    Goes on:
    Cinematographer Tom Stern shoots in washed-out colors, much like old color film long faded so that only blues, grays, browns and flesh tones prevail. This situates the film in a hallucinatory no-man’s-land between Iwo Jima and a peaceful U.S., where no one has any concept of the horrors these men endured.
    There are many astonishing moments. A Japanese soldier lies dying next to a critically injured Yank, the two men now linked in death. A search of caves deep within the island causes American soldiers to realize the surviving Japanese are committing suicide with their grenades. The persistent racism Ira faces is so casual that everyone is blithely unaware of the demeaning nature of their remarks.

    “Flags of Our Fathers” — At 76, Eastwood gets better with age, delivering his third major Oscar contender in four years after “Mystic River” and “Million Dollar Baby.” Along with his wins for “Million Dollar Baby,” Eastwood took the best-picture and director Oscars for his 1992 Western “Unforgiven.” Now he’s crafted a remarkably rich war film that seamlessly flits from the ghastly chaos of battle to life on the homefront, the story examining the hollowness of heroism manufactured in the name of flag-waving propaganda. Another directing win would make Eastwood one of only four directors to receive three or more Oscars (John Ford won four and Frank Capra and William Wyler each won three). Adam Beach and Ryan Phillippe are the standouts among a terrific ensemble that includes Barry Pepper, Jesse Bradford and Jamie Bell

    Screen Daily Reviews Flags
    Oscars mentioned (natch): On the awards front, Eastwood is a beloved figure especially among AMPAS voters and could garner support for another Oscar nod, possibly pitting him again against Martin Scorsese (The Departed), who he beat out two seasons ago for best director.
    Cinematographer Tom Stern’s work behind the camera, meanwhile, similarly seems a shoo-in for Academy recognition. Of the cast, Adam Beach is a legitimate runner: other nominations could follow if the film enjoys (likely) early critical support throughout the autumn, smoothing a path for commercial success.

  • Pheebs

    Aaaaaaaaaaaaaaaaaaa… I love Paul! You must be kidding me. There’s gotta be more scenes with him in it! :X Thanks so much for the pix.

  • Robbin

    I agree with PHEEBS … I love Paul Walker!! He’s a sexy blue-eyed hunk! Ya baby …