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    What a star!

    Five great movies that showed Elizabeth Taylor at her best

    Clifford Pugh
    Mar 23, 2011 | 10:22 am
    • Paul Newman and Elizabeth Taylor in "Cat on a Hot Tin Roof"
    • A scene from "Who's Afraid of Virginia Woolf?"
    • Elizabeth Taylor starred with Mickey Rooney in "National Velvet"
    • Elizabeth Taylor as Cleopatra

    For many actors/actresses, it's hard to pick even a couple of great movies they starred in. But Elizabeth Taylor, who died of congestive heart failure today, was no ordinary performer.

    Through her long and illustrious career, from child star in the '40s to film star ever since, Taylor created so many memorable roles that she ranks seventh on the list of the American Film Institute's female acting legends.

    It's difficult to whittle the list to five, but to get a sense of Taylor's on-screen greatness, you can't go wrong renting these films (or look for them on Turner Classic Movies):

    1. National Velvet (1944) — Already a star because of her role in Lassie Come Home a year earlier, the 12-year-old Taylor endeared herself to audiences as a young girl who trains her horse to win the Grand National race. She remained friends with co-stars Mickey Rooney and Angela Lansbury throughout her life. Many of her lifelong back problems are traced to her fall off a horse during the filming.

    2. A Place in the Sun (1951) — A heartbreaking American classic, this film marked a turning point in Taylor's career as she made the transition from child star to acclaimed dramatic actress. Taylor won praise for her role as a spoiled socialite who falls in love with a handsome man from the wrong side of the tracks (Montgomery Clift). She and Clift developed a special bond that lasted until his death in 1966.

    3. Cat on a Hot Tin Roof (1958) — This watered-down version of Tennessee Williams' classic play is worth watching for the sizzling chemistry between Taylor and co-star Paul Newman, who were both in their prime. About a week after shooting began on the film, Taylor's husband Mike Todd was killed in an airplane crash.

    4. Cleopatra (1963) — Taylor, the world's highest paid actress, met the love of her life, Richard Burton, during filming of this movie. They were both married to other spouses at the time and the tabloid press had a field day. (For those too young to remember, they were the Brad Pitt/Angelina Jolie/Jennifer Aniston of their day.) The cost of the movie spiraled out of control and nearly bankrupted 20th Century Fox. The movie is a bit of a clunker, but it's worth it to see Burton and Taylor together on screen for the first time.

    5. Who's Afraid of Virginia Woolf? (1966) — Taylor won the second of two Academy Awards for her portrayal of the boozy wife of a college professor (Richard Burton) in the movie, based on the searing Edward Albee play. Taylor, who shed her glamourous image and gained 30 pounds for the role, won in part because the Academy loves actresses who play against type.

    Her first Oscar, for her role as a call girl in the 1960 movie, BUtterfield 8, is not considered one of her great films (in fact, it's a bit of a camp classic). Taylor candidly admitted she won because of the sympathy vote after she nearly died in a London hospital after a bout with pneumonia and an emergency tracheotomy.

    Others that could easily be on the list include Little Women (1949), Father of the Bride (1950), Suddenly Last Summer (1959), The Taming of the Shrew (1966), Reflections in a Golden Eye (1967) and my personal favorite, Giant (1956), based on the Edna Ferber classic and set in west Texas, in which she stars with James Dean and Rock Hudson (another close lifelong friend). Dean died in a car crash late in the film's production.

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    Movie Review

    Chris Pratt fights for his innocence in popcorn thriller Mercy

    Alex Bentley
    Jan 23, 2026 | 2:00 pm
    Chris Pratt in Mercy
    Photo courtesy Amazon Content Services
    Chris Pratt in Mercy.

    It seems like every other movie set in modern times being released these days includes either a reference to or a plot revolving around artificial intelligence. In the real world, the benefits of the technology compete with its downsides, but when it comes to movies A.I. is almost always seen as a threat, including in the new film Mercy.

    The audience is thrown headlong into the slightly futuristic story involving LAPD Detective Chris Raven (Chris Pratt), who finds himself strapped in a chair in a sparse room, being told that he is on trial for killing his wife. Turns out he’s in a court dubbed “Mercy,” which is overseen by an AI judge named Maddox (Rebecca Ferguson). By the rules of the court, Raven has 90 minutes to provide reasonable doubt of his guilt, or he will be executed on the spot.

    Raven is in a multi-pronged quandary: Not only does he believe he’s innocent despite a trove of evidence pointing to his guilt, but he’s also the poster boy for the law enforcement side of the equation, having arrested the first man who went to Mercy. Anger and disbelief for Raven turn into acceptance, which then turns into him tapping into his detective skills, scrutinizing every shred of evidence the court provides him in a desperate attempt to save his own life.

    Directed by Timur Bekmambetov and written by Marco van Belle, the film is a relatively propulsive thriller despite having a so-so story and even worse acting. The film is told in real time (with a few fudges here and there), so the concept alone of a man trying to prove his innocence in a short amount of time provides good intrigue. Bekmambetov’s use of digital elements as Raven scrolls through files or calls potentially exculpatory witnesses like his partner, Jaq Diallo (Kali Reis), keeps the film visually interesting.

    On the other hand, the swift viewing of videos and documents by Raven, not to mention the high degree of cooperation by Judge Maddox, opens up more than a few plot holes. The filmmakers try to explain away a few leaps in logic by having Raven falling off the sobriety wagon the night before, but they can only use that excuse for so long. They also have the AI judge experience technical glitches along the way, errors that seem to point toward a wider conspiracy until they’re completely forgotten.

    More than anything, it’s difficult to get over the wooden acting of Pratt and the misuse of other usually reliable actors. Pratt has no real presence, especially when he’s confined to a chair, so any emotion he tries to conjure up comes off as contrived. Ferguson is done no favors by a role that shows only her upper body and has her alternating between robotic and oddly sympathetic. Reis earned an Emmy nomination for True Detective: Night Country, but has little to do here, a fate that also takes out Chris Sullivan as Raven’s AA sponsor.

    If you’re okay with turning off your brain for a little while, Mercy can be an enjoyable watch. But if you find yourself scrutinizing why characters make the odd decisions they do, or the wishy-washy way the film approaches AI in general, then you’re likely to find the whole thing lacking.

    ---

    Mercy is now playing in theaters.

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