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I'm still waiting for the opportunity to pull that song and dance with the narcan :lol:. Shepard Forum Crew Member. Good movie! Good actors NVRob said:. From the Netflix description Medic Tim said:.

I am surprised they have it. Cdn netflix sucks. And get used to being called an ambulance driver You must log in or register to reply here.

Box Office Mojo. Retrieved March 11, The Record. Bergen County, New Jersey. Archived from the original on November 2, Retrieved January 25, Hartford Courant. Hartford, Conn. Retrieved June 26, Rotten Tomatoes. Retrieved May 19, October 22, Retrieved January 4, Martin Scorsese. Awards and nominations Filmography.

Paul Schrader filmography. Hidden categories: Articles with short description Short description is different from Wikidata Use mdy dates from May Template film date with 1 release date. Namespaces Article Talk. Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June Friday 26 June Saturday 27 June Sunday 28 June Monday 29 June Tuesday 30 June Wednesday 1 July Thursday 2 July Friday 3 July Saturday 4 July Sunday 5 July Monday 6 July Tuesday 7 July Wednesday 8 July Thursday 9 July Friday 10 July Saturday 11 July Sunday 12 July Monday 13 July Tuesday 14 July Wednesday 15 July Thursday 16 July Friday 17 July Saturday 18 July Sunday 19 July Monday 20 July Tuesday 21 July Wednesday 22 July Thursday 23 July Friday 24 July Saturday 25 July Sunday 26 July Monday 27 July Tuesday 28 July Wednesday 29 July Thursday 30 July Friday 31 July Saturday 1 August I feel these similarities are somewhat superficial.

Though Frank and Travis Bickle are both lonely, disenfranchised, ill people, Frank wants to help people; Bickle just wants to clean the "trash" up off the streets.

Bickle lashes out in rage; Frank lashes out in fear and desperation. Schrader's screenplay offers satisfying levels of complexity, so that ultimately, towards the end, when Frank does something totally unexpected and morally ambiguous, we understand exactly why he's doing it and can sympathize.

Of course, from a technical standpoint "Bringing Out The Dead" is flawless. Ace lensman Robert Richardson who previously worked with Scorsese on "Casino" gives the city an appropriately gloomy, sick look, and his work is especially effective in a scene in which Cy dangles from a sixteenth floor balcony while fireworks explode behind him.

Thelma Schoonmaker's expert editing is, as usual, outstanding -- she gives the fast paced scenes the charge they need, and provides some dizzying sped up camera effects during the emergency call scenes. Scorsese's choice of music is great, as is his work with the actors.

Sizemore, Anthony, Curtis, Arquette, and especially Rhames are all good, but it's Cage who must hold the movie together, and he succeeds with a towering performance that is easily his best work since "Leaving Las Vegas". Cage is cast perfectly here; his tortured, implosive Frank Pierce is an indelible character. The movie's lack of a conventional narrative arc will probably confuse and alienate some viewers, and the way it uncompromisingly looks into the darkest corners of human nature with an unflinching eye will disturb others.

Yet these qualities are Scorsese's hallmarks, and this film has links to many of his other works -- the confusion of "After Hours", the emotional indecision of "The Age of Innocence", the alienation of "Taxi Driver", the spiritual search of "The Last Temptation of Christ".

But it's real, and it stays with you. Bringing out the Dead is the most underrated film ever done by Martin Scorsese. It is one of the most well made films I've ever seen and is one of my favorite dramas of all time. The film focuses on a paramedic called Frank played by Nicolas Cage. The film focuses on 48 hours of Frank's life as a paramedic and all the horrific things he has seen.

As well as that Frank is also haunted by spirits of people who he couldn't save, befriends a young women called Mary played by Patricia Arquette and a whole range of strange partners. The actors that Scorsese has chosen are a weird bunch as they're not really in Scorsese's other films and they're not really big name actors. Everyone does a fantastic jobs even the actors who have much smaller roles than others.

This is much more surreal film than most other Scorsese films as we go into Frank's mind. The reasons why this films succeeds is just that you really care about this characters and while the film dosen't really have much of a story it grips you the whole way through. It also has a great soundtrack which includes artists like Van Morrison, R. M and the Who. Overall the film is quite different to what you're usually expecting but it grips who the whole way though and it gets a full 5 star rating form me.

As an emergency physician and film buff, this film is one of my favorites. Martin Scorcese utilized excellent film technique with his inventive camera shots integrated with a dark comedic plot check out the triage nurse to create a bright modern cinema masterpiece with rich characters, comedic irony, and a sense of perseverance against overwhelming angst and the dark underbelly of modern urban life. This film is a classic on a par with Harold and Maude, and the King of Hearts. Three thumbs up- I'm dysmorphic In any case, this movie deserves to be watched by anyone involved in healthcare and anyone involved in EMS activities.

Director Martin Scorsese and screenwriter Paul Shrader, these two names alone stand for excellence and brilliance, put them together and you havebrilliant film making history as witnessed by their former collaborations "Taxi Driver", "Raging Bull" and "The Last Temptation of Christ". Add the totally compelling and very real "Bringing Out the Dead" to that list. Based on the novel by Joe Connelly, a former EMS worker, "Bringing Out the Dead" follows three long nights in the life of New York City paramedic Frank Pierce Nicholas Cage as he navigates through the life and death situations of the last era of the "mean streets" of New York City, the early 90's, all the while attempting to hold on to his sanity by a thread.

Scorsese creates a very real New York before the gentrification of the Giuliani era that is rarely seen in films. This is not the flashy and glitzy New York that is often shown in most movies. He goes deep into the psyche of a city that is crammed with 9 million people, some who are struggling just to stay afloat. As the character Mary says, "You have to be strong to survive in this city.

Nicholas Cage, one of our finest actors working today, gives a brilliant performance of great emotional range that is draining to watch. You literally see him coming unglued piece by piece. This is his best performance since "Leaving Las Vegas". Patricia Arquette Cage's wife gives a very moving and subtle performance of a person who has been to hell and back while struggling to maintain some balance in the jungle.

Goodman, Rhames and Sizemore turn out good performances as always playing Cage's co-pilots in the nightly journeys. Also standing out are Latin singer, Marc Anthony as a homeless crazy and Cliff Curtis as a drug dealer who provides an "oasis" for the stressed-out individuals of the city. An excellent director and a great script are a perfect formula for producing top-notch performances by actors and Scorsese and Shrader bring out the best in theirs.

With it's story of the lead character Frank cruising the streets making narrative comments about life in the city, comparisons will be made naturally to Scorsese's other brilliant work "Taxi Driver" with it's main character Travis Bickle, but those comparisons are normal and stop right there. Where Travis Bickle wanted to save people who did not need saving, Frank Pierce reaches out to people who desperately need saving, but does not always have the power to save as in the case of the homeless girl Maria, who haunts him constantly.

Also Scorsese is too highly intelligent, creative and the ultimate professional to retread the same waters, he never takes the easy road. A Scorsese film is like any great film, it takes time to take it in and digest, because there are so many different layers added that need to be looked at long after the last reel finishes.

This is a powerful piece of filmmaking proving once again that Martin Scorsese is one of the all-time great directors of this century. Highly Recommended. Movie 24 November That is something that does not come naturally in the world of film. Movies glamorize almost everything they face matters with; whether it's violence, drugs, sex, or other behaviors.

Movies persuade, advertise, and sell incorrect messages to hungry and excepting pedestrians. Not only is "Bringing Out The Dead" an anti-violence, drugs and glamour film, it also manages to deliver its message through one of the most talented actors in Hollywood clearly and understandably.

This is one of the year's most unsettling and uncompromising productions, and also one of the year's best. But there is no actual need for a plot here, due to a strong, precise narrative through-line and focused point of view seen through its central character.

He is Frank Pierce Nicolas Cage , who narrates the film with a sense of depravity. They live a life full of stress, sweat, and desperation. Frank often comes to work pleading for his boss to fire him.

The opening scene, which properly induces the desperate and gritty lives of the main characters, features Frank and Larry, being called to the home of Mary Burke, whose unhealthy father is having a heart attack.

They stabilize him, rush the man to their emergency care facility, and go on with their lives. Now, where many "lesser" movies would have developed a romantic subplot with the Mary character and Frank, "Bringing Out the Dead" is too focused and skillful to do that.

There is affection between the two. But Frank is in such a position in his life that he just isn't prone to fall for a woman. Nor does he give in to any of the many hookers standing on the street blocks tempting him to keep them in business. He is on the verge of an nervous break down, and the film never pretends otherwise. While for the most part, this movie didn't give into any major distractions or side-subjects, it did have several flawed and unexplained subplots.

The story featuring Frank constantly being haunted by the ghost of a young girl he lost some time ago isn't really explained enough. Nor does an unusually bizarre scene later on payoff featuring Frank saving lost souls in pain beneath the streets of New York. And there seems to be an extremely dangerous drug featured in the movie, which strangely appears at the overdoes scenes where Frank is called to--this isn't detailed enough to pay off either.

I do realize the purpose of us not knowing about this medical issue; we don't have the knowledge because Frank doesn't. But I still think there may have been a way to inform the audience on the context of this material, without making the hero look stupid. Also, the film is over narrated by Frank, who sometimes describes his interesting past experiences through words, not flashbacks or visions, which would have been much more intriguing. Scorsese makes no sense of the chaotic, unorganized, unsettling medical experiences patients go through in the emergency room where Frank doctors in.

The style he uses to depict the film in is flawless in this justification: the camera angles are mind-warping and fast paced, the atmosphere of the movie is gritty, with blood and vulgarism abound. The characters pace frantically as they travel across one end of the building to the next, not sure to where or whom they are going.

The characters also are injected with a deep sense of lifeless scrounge, as they stare and gaze into each other's eyes, only to discover there is nothing in each other. In some aspects, this film is like "Saving Private Ryan": a tantalizing hell. And Nicolas Cage delivers yet another fascinating performance here. His character is empathized with the entire way through, even if narration is used instead of illusion.

He manages to depict his character through the torment and emotional damnation required. He pursues profoundness in scenes where his character realizes happiness in itself.

Good job, Frank. You saved yourself. Brought to you by Paramount Pictures and Touchstone Pictures. Frank Pierce is a member of the Nork York paramedics, serving the Hell's Kitchen district he is witness to some terrible incidents. As he starts to crack under the pressure of the job, and getting no help from a succession of zany partners, Frank may just find solace with an ex-junkie girl who's father he brought in dying of a heart attack.

Martin Scorsese can never be accused of not being adventurous, after dabbling in Eastern spiritualism with s Kundun, he returns to New York and tackles a wing of America's tortured heroes. Based on the novel by Joe Connelly, Bringing Out The Dead is at times a difficult watch in many ways, but it's haunting poignancy is told with brilliantly adroit ease from one of America's famed directors, whilst it has to be said that the humour that is in there is darkly genius in its execution.

We are along for the ride with haunted Frank for three days and nights as he and his borderline bonkers partners deal with overdoses, heart attacks, drunks and a notably cynical virgin birth!

As Frank starts to see ghosts of people he couldn't save in the past, Scorsese and his team treat us to an adrenalin fuelled nightmare, the editing Thelma Schoonmaker is swift and explosive like, Robert Richardson's cinematography framing certain aspects of this journey with impacting deftness, and then we have the soundtrack.

Scorsese is always a man who takes great care in sound tracking his movies, in fact few modern day directors can touch his knack for a perfect soundtrack. Fusing Motown with 70s Punk Rock would seem an odd combination, but all of it works as the paramedics start to feel the strain and in some cases as the mania takes hold.

Such is the use of early Clash standards as our protagonists feed off each others precarious mental conditions, it's a soundtrack to savour basically. Nicholas Cage plays Frank Pierce, and it's a great performance full of restraint and honesty, it's the sort of performance that his detractors tend to forget about such is its emotive simplicity. Tom Sizemore wonderfully manic , Ving Rhames, John Goodman and Patricia Arquette fill out the cast and all do fine work, but I'm sure they would be the first to acknowledge the excellence of Paul Schrader's screenplay.

This piece is far from being a masterpiece, but with it's intensity sitting side by side with a paramedics need for coping, it's clear that Scorsese and his talented team have made one of the most astute and undervalued pieces of the 90s. This film is grossly underappreciated. This represents director Martin Scorsese and writer Paul Schrader at their best.

Yeah, it's a masterpiece, but one that's not easily accessible. Nicholas Cage plays Frank an ambulance driver who hasn't saved anyone in months, a man who is feeling guilty and about to break under the weight of the suffering and sorrow he sees in New York City. Scorsese, always working with religious sensibilities, turns this film into a three day descent into the underworld, with Frank being raised to life on the third day, just like Jesus was.

No story to speak of, but then that's the point--the lives of ambulance drivers are largely plotless. It's got the same strengths as other Scorsese classics--visually stunning, uncompromising in its portrayal of the darker side of human nature, and a dead-on portrayal of people at their most desperate.

Add to that an almost dreamlike quality that makes the streets of New York look like some metropolitan hell. The thing that sets this film apart, however, is a genuine compassion for its characters. Scorsese's an excellent filmmaker, but he could sometimes be accused of portraying his characters a little coldly.

This film is all heart, all the way through. Sometimes you can watch a film and see that all the pieces are there and yet there's still something not quite right about it.


Frank, the protagonist, is at the end of his rope in a rather solitary and stressful job and he often finds escape from the ghosts of his failures through alcohol. June 26, Offering both a chilling and, in some ways, twistedly humorous look into the everyday happenings for a paramedic on the job, and some interesting and again, twisted mind work, the film focuses on Nick Cage's struggles to come to terms with what he lives through day by day, as well as the struggles of his colleagues. Kanita Cynthia Roman While visiting a comatose Burke in the hospital, Frank starts hearing Burke's voice LP his head, telling Frank to let him die but he resuscitates Burke instead. I myself could relate to the emotions of Frank and the disturbing experience watching it being a in the health care profession myself. Bringing Out The Dead - Ambulance (2) - The End Of Our Time (Vinyl Pierce. Added to Watchlist.
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9 thoughts on “Bringing Out The Dead - Ambulance (2) - The End Of Our Time (Vinyl, LP, Album)

  1. Bringing Out the Dead is a American supernatural drama film directed by Martin Scorsese, written by Paul Schrader, based on the novel by Joe Connelly and starring Nicolas Cage, Patricia Arquette, John Goodman, Ving Rhames, and Tom Sizemore.. Bringing Out the Dead was released on October 22, in the United States and was also the final film to be released Music by: Elmer Bernstein.
  2. Oct 22,  · Directed by Martin Scorsese. With Nicolas Cage, Patricia Arquette, John Goodman, Ving Rhames. Haunted by the patients he failed to save, an extremely burned-out Manhattan ambulance paramedic fights to maintain his .
  3. Nov 13,  · Bringing out the Dead - Ambulance Driving 2 - Duration: Rutger H. Cornets de Groot 4, views. Bringing Out the Dead — Saving someone's life - .
  4. Nov 13,  · Another shot of the ambulance driving in "Bringing out the Dead" (Scorsese, ). This clip is part of the serial essay "Apotheoses of Martin Scorsese" http.
  5. Martin Scorsese's hallucinatory adaptation of Joe Connelly's Bringing Out the Dead is driven by a weird mix of rock, R&B, and reggae -- all of which are heard here, on the concise song soundtrack. Not every song from the film is included, but the ones that are indicate what an intense experience it is, as it moves from Van Morrison ("T.B. Sheets") to the Clash ("Janie .
  6. Bringing Out the Dead () Soundtracks. Soundtrack Credits. T.B. Sheets Written and Performed by Van Morrison Courtesy of Columbia Records By Arrangement with Sony Music Licensing. September of My Years Written by Sammy .

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