The "Great Sichuan Earthquake" took place at 14:28 on May 12, 2008. In the days after, ordinary people salvage destroyed pig farms in the mountains, collect cheap scrapped metals, or pillaging other victims' homes. Behind the media circus of official visits is an inconsolable grief of families searching for loved ones. As the Lunar New Year approaches, vagabonds and family tell of the ill-handling of rebuilding schemes and misuse relief funds. As they prepare for another visit from a high official, the refugees are swept out of the town and into tent cities. The promise to put a roof over their heads before winter seems impossible to keep.
The "Great Sichuan Earthquake" took place at 14:28 on May 12, 2008. 10 days after: Scenes not seen on official/TV, "survival" is the keyword. Ordinary people are salvaging destroyed pig ... . You can read more in Google, Youtube, Wiki
1428 torrent reviews
(ca) wrote: Excellent movie about an extraordinary true event. A story with meaning for the ages and our current times. We're all the same under the skin.
(de) wrote: This is not really any better or any worse than the first one. It has the same graphic and immature humor you would come to expect from Marlon Wayans. Not very good, but it did make me laugh occasionally.
(au) wrote: A beautiful first effort from Mane and Geerlings production company with gorgeous camera work, excellent acting, and a solid premise. Pacing issues pose some issues along the way, but the strengths make it well worth seeing.
(jp) wrote: It was ridiculous but at the same time, it was fun!!
(nl) wrote: it must not b 2 scary its only rated PG, but it looks alright
(nl) wrote: I was really hoping for some sharp, biting satire on the film industry from Allen, kinda like The Player. But Allen pulls more than a few punches with 'Hollywood Ending'. It's still a solid film, entertaining throughout and you get a couple of good laughs. But i was hoping for more. The guy makes a movie every year so it's okay, not all of them can be masterpieces.
(jp) wrote: Executed on a bare, colourless set through a handful of talented actors, this story slowly gets under your skin and holds a mirror up to every ugly and unnerving bump of our humanness. Nicole Kidman plays very well and John Hurts familiar and homey voice narrating at intervals throughout tie the experience all together.
(es) wrote: What an awful, awful film. I don't know if the screenwriter behind this turd escaped from a mental asylum, but he definitely belongs in one.
(it) wrote: I hate chick-flicks. But this is head & shoulders above all the others as the witty dialogue screams 90's.
(au) wrote: What a Revisionist Western Ought to Be 1964 was smack in the middle of the Western revival that hit television starting in about 1959. In the same year, though, [i]A Fistful of Dollars[/i] came out. It was a time of change for the genre. It was well after [i]The Searchers[/i], which I suppose was John Wayne's first attempt at reconsidering the classic tropes of the Western. John Ford's, too. I think if the revisionist Western had gone this route instead of the [i]Fistful of Dollars[/i], you don't actually like anyone, anti-hero route, I'd like a lot more revisionist Westerns. The whole subgenre was a backlash, it seems to me, a way of recognizing the failings of the movies that came before. This movie chose to look at what was happening to the Indians while we were busy making heroes out of the cavalry, and I think that's a better response than claiming that there weren't any heroes to be had. In 1878, a band of the Northern Cheyenne decided that they were no longer going to live on the reservation with the Southern Cheyenne. The Northern Cheyenne were from Wyoming. The Southern Cheyenne were from what is now Oklahoma. The Northern Cheyenne went home, leaving the reservation in Indian Country. They are led by their chiefs, Little Wolf (Ricardo Montalban) and Dull Knife (Gilbert Roland). The US government considers their leaving the reservation to be an act of rebellion, but really, it was just a wish to go home and live as they always had. It's easier for the Army to police the Indians if they're in a smaller area, and the speculators can then take their land. It's better for everyone, except the Indians. And so Captain Thomas Archer (Richard Widmark) leads his troops to catch the Cheyenne and bring them back. His love interest, Deborah Wright (Carroll Baker), is a Quaker who goes with the Indians. And Secretary of the Interior Carl Schurz (Edward G. Robinson) is the one ultimately responsible for what will happen. There is also a silly and unnecessary interlude, or intermission, with the citizens of Dodge City, Kansas, freaking right out about what will become of them when the Cheyenne come through and kill them all. Their fear is based on the fact that the Cheyenne did battle the cavalry, and nine cavalrymen were killed. And then, it was exaggerated, and then, everyone along the nineteen hundred miles to Wyoming was afraid that the Cheyenne, who mostly just wanted to go home, would kill them, too. And I get that. But instead, we get this whimsical passage with far-too-old Wyatt Earp (Jimmy Stewart) and Doc Holliday (Arthur Kennedy). (Though it is, perversely, one of the few movies to get it right that Doc was a dentist.) This was supposed to stand in for an intermission, though I'm not completely sure how or why. What it mostly does is kill the tone. I think it was intended to be a tension breaker, but there are some things which work for that and some which just destroy the mood completely. It's also worth noting that not a one of the credited actors is even Indian. I mean, this film was in the fiftieth year of Iron Eyes Cody's Big Lie, and they didn't even get him. (He was Sicilian and just claimed to be an Indian.) Their Cheyenne chiefs were Mexicans. (As was "Spanish Woman," played by Dolores Del Rio.) They cast Sal Mineo and wouldn't let him speak a word in English, because his accent was so thick that you couldn't believe him as an Indian. According to Tony Hillerman, the "Cheyenne" extras were all Navajo, and the "Cheyenne" dialogue was as well. (Apparently, if you speak Navajo, the movie is much spicier.) John Ford was willing to work on addressing some of the wrongs he'd perpetrated against Indians in his films, but apparently not by going so far as to actually cast them. At that, Sal Mineo is the first Indian character to get billing, and Arthur Kennedy gets billing over some Indian characters much more important to the plot than Doc Holliday. In that they're important to the plot. Okay, and apparently, Monument Valley stretches from Oklahoma to Wyoming. Fair enough. This whole thing would be done better by other films; this isn't as good as Clint Eastwood's atonement for his own Westerns, [i]Unforgiven[/i]. All of that is true. However, what I think this film does best is show a turning point in how people looked at the West--and show that the American people weren't ready to change that view yet. After all, this movie tanked at the box office. It was long, and the cavalry was compared to the Cossacks. Most of the time, the Indians didn't speak English. This is a complicated film in a lot of ways, and what Americans mostly seemed to want at the time was to sit and watch [i]Gunsmoke[/i] instead. It seems kind of a shame, though I will also say that this is very much a lesser John Ford. One thing this does have in common with both the Westerns which went before and the revisionist Westerns to come was that there isn't much of a happy ending for the Indians.
(mx) wrote: The hardest execution of just comedy genre. Appreciate its effort. Carrey jokes still fresh and intriguing.
(ca) wrote: Another not so interesting by-product of DOWNTON ABBEY.
(ru) wrote: Four stars. The music was outstanding. Joshua Bell has competition.
(fr) wrote: I'm surprised to see that the critics didn't like this movie. I actually enjoyed it very much and it really moved me. And since I'm familiar with that particular war, I didn't need more information on it, as it was criticised.