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65, 66, and Me torrent reviews
Brandon S (gb) wrote: I love this film. Not because I understand it completely, but because I don't. This is a masterful love story, no doubt, but Spike Jonze is making declarations about love, relationship, and technology that I'm not yet mature enough to understand, I suspect. Nevertheless, this is a masterfully told tale that I look forward to revisiting at a different time in my life.
Champ S (au) wrote: I don't think I will watch this movie if it is not on the plane. But it's not as bad as the rating told.
Musa N (de) wrote: semum is best turkish horror and very good an exorcism story from east ern culture!..
Robyn M (nl) wrote: Anderson, Skarsgard and Cummings pull a triple whammy.Not your run-of-the-mill Londoners, the characters in Boogie Woogie are a gaggle of (take your pick) hugely rich, greedy, sneaky, promiscuous, self-serving, coke-indulging, desperate denizens of the contemporary art world scheming as (again your pick) buyers, sellers, collectors, gallery drones, curators, publicists, creators and wannabes. Mostly all drool around a much-sought-after painting"Mondrian(TM)s Boogie Woogie, the artist(TM)s supposed first work.The film ends with a tragic boom of death, And leaves me staggering in a cloud of confusion , followed by disappointment.
James D (fr) wrote: I thought that the awkwardness of the two characters would not last the entire movie....but it does. It's not even that the actors are bad, but the writing for this thing was atrocious. It just seemed like either the director or the writer was some douche from San Francisco who loved his city and just wanted to film a bunch of stuff aruond town. The dialogue is horrible, the movie is slow, and I couldn't sit through the whole thing.
Adriana A (ca) wrote: Un bodrio de pelicula y la hora y media peor gastada de mi vida.
Jeff M (nl) wrote: wtf didn't the dog die
Carlos N (jp) wrote: Matthew Barney um artista conceptual que desde cedo se sentiu atrado pela limitao do corpo humano e a forma que encontramos para a transcender. A transposio dessa realidade f-la na realizao, nas instalaes de vdeo, na escultura, ilustraes e fotografia. O seu trabalho evolui desde a confrontao do prprio corpo com objectos construdos por ele em performances de superao de obstculos, com a introduo de criaturas fantsticas. Em 1994, Barney comeou a trabalhar no seu `pico` surrealista, `Cremaster`, um projecto dividido em cinco filmes (que vo desde os 40 minutos de durao s 3 horas), acompanhados de esculturas, ilustraes e fotografias. As diferentes partes do ciclo (cuja ordem numrica no corresponde ordem cronolgica) foram finalmente completadas em 2002, com `Cremaster 3`, (aps 9 anos de rodagem dos diferentes segmentos) e o ciclo teve apresentao no Guggenheim Museum. O que definido por Barney como uma srie de `esculturas flmicas` acaba por ser uma sucesso de filmes cujo tema uno: a diferenciao sexual intra uterina que se produz a nvel celular nas primeiras seis semanas de gestao (Barney estudou medicina). O ciclo acompanha desde o processo de `ascendncia` biolgica em `Cremaster 1` at sada, ou `descendncia final` e diferenciao total do embrio em `Cremaster 5`, passando pala maturao e diferenciao fisiolgica e sexual. Numa fuso mpar de cinema e arte contempornea e num universo de contedo prximo da instalao de vdeo e performance, Barney acaba tambm por reflectir tambm sobre alguns episdios da histria norte-americana recente, mitos clticos, rituais manicos, o mundo da arquitectura, a fuso ou cumplicidade homem, animal, mquina e a tnue linha de separao dos gneros masculino/feminino. `Cremaster` que d ttulo srie de cinco filmes/performance, o nome de um msculo que envolve os testculos, protegendo-os e tambm responsvel pelos seus movimentos. Esta acaba por ser mais uma pista (que aponta, discutivelmente no sentido da virilidade masculina) de uma obra que concentra em si, ao longo dos seus segmentos, vrias narrativas subterrneas, que se ligam entre si, formando uma unidade ambgua de sentido e que exigem do espectador que escave alm da superfcie sensorial e que tente penetrar na lgica difusa dos mesmos (o que adverte-se desde j no fcil). A existirem comparaes possveis com este objecto singular s poder ser `Crash` de David Cronenberg em dias de maior desordenao, Lynch nos incios de carreira ou o velhinho e percursor do surrealismo flmico `Un Chien Andalou` de Bunuel. Visualmente liberta uma imagtica que apela constantemente aos smbolos (cada segmento possu uma insgnia prpria, por exemplo) e a uma esttica no domnio ora do grotesco ora do deslumbrante onde cada plano encerra em si uma dimenso quase biolgica da arte. CREMASTER 1 Em `Cremaster 1` passada na cidade natal de Barney, Idaho, 2 dirigveis elevam-se acima de um campo de futebol americano. E dentro destes, jovens andrginas adoram uma escultura de vaselina rodeada de cachos de uvas verdes e prpuras. Uma mulher, Goodyear, habita simultaneamente um compartimento nos dois dirigveis, que se situa debaixo da mesa da escultura. Vai roubando uvas e compondo com elas figuras, metforas das estruturao celular das primeiros dias de gestao, composies estas que so executadas l em baixo no campo por um grupo de bailarinas, coreografando assim um musical inslito.
Ennis Brokeback L (au) wrote: This would get a 4 star rating if they would have given Corey Feldman a bigger role. License To Drive is a fun and funny movie.
Tsubaki S (br) wrote: Kaneto Shindo combines the supernatural with socio-political commentary once more. Crisp gorgeous black and white photography, the real horror here is, once more, not what a ghost can do, but what humans beings do to each other. My favorite thing about this, and other Shindo movies, is how the man always knows how to bring the story to areas you wouldn't consider at all. This movie surprises you more than any given horror film made in the last 10 years.
Justin R (mx) wrote: Pure lack of will and xanex prevented me from watching this somewhat poorly planned attack by U.S. Armed Forces.
Lina Y (it) wrote: Applying a Marxist- Freudian Critical Lens to Fight ClubBy: Lina Yagan In this review, a political analysis of Fight Club will be conducted under the light of Marxist and Freudian philosophy. Marxism is a philosophy based on a reaction against Capitalism that aims for a fair distribution of wealth among different social classes while Freud targets the motivations of the unconscious mind. Within Fight Club, an interplay of themes regarding the issues of architecture of containment by the mind and deliverance of social justice are addressed. It is critical to note that the character of Tyler Durden constitutes a fabric of the narrator's unconscious as it forces the viewer to reconstruct the narrative. The narrator remains unnamed in Fight Club in order to signify the extent to which he is an insignificant drone, an unmotivated office job worker going through the motions of everyday life to earn money used to purchase temporal possessions. He is depicted as a man with the ideal American lifestyle championed by advertisements. Thus, he is set up as a universal, mundane man, one that the audience can easily connect with, especially in such a market driven society. His character is mainly defined by the contents of his suitcase, his designer clothing, and his IKEA furniture in his apartment. Marx would define his existence as one that is at mercy of corporations and conglomerates. His conformity to consumerism culture inflicts him with emptiness and a lack of meaning in life. He is left in a state primed for a transformation. At a critical turning point in the film when his apartment burns down and he loses all material possessions, he rejects all principles of Capitalism and turns to its binary opposite, Communism. In a Marxist sense, as Tyler or the narrator destroys his own apartment, he is initiating the first step of saving himself from corporate enslavement and materialism. Freud would comment on how his living arrangements symbolize the state of his mind. When his apartment burns down and becomes the site of explosion, the destruction marked by the setting symbolizes the narrator's mind. The build up of unconscious dissatisfaction literally erupted and drove the narrator to tear down his manufactured consumer-self and reduce it to rubble. This shift is accompanied by the prominence of Tyler Durden's role as a character, who is presented as completely emancipated and free of normal social conventions. He has no stable job and is committed to tearing down old established institutions such as banks. Thus, he serves as an anarchistic antithesis to the narrator. Once the narrator moves in with Tyler, in a dark, run down home, the narrator achieves a newfound identity. The house is in disarray which represents how the narrator attempts to navigate the multiplicities of his identity as it is split between himself and Tyler. As the film progresses, the setting becomes overpopulated and filled with volatile soap, foreshadowing the upcoming psychic breakdown of the narrator as he is unable to unify his identity and his sense of fragmentation worsens. Tyler advocates a return to a primal version of masculinity through violence. Violence in Fight Club is a crucial binding component of members as it provides them with a concrete experience of their ability to overcome pain and fear. These acts of violence portrayed in the brutality of the fights and acid burns are glorified for their cathartic release for working class men seeking redemption and justice in a society that consumes them. Fight Club in itself is a destructive movement for the greater purpose of achieving economic equality. Project Mayhem, primarily directed by Tyler, gives these corporate drones a sense of transcendence of strict societal boundaries. This idea of escaping consumerist culture is the main motivation behind joining Fight Club in order to break the monotony of their daily routine. The Club serves as a portrayal of Communism in how all of the members are stripped of their individual clothes, their IDs, and names. They all become part of a homogenized culture denoted as 'space monkeys'. According to Freud, the film gratifies men's repressed rage underneath their civilized faade. In joining Fight Club, these men have reached a certain level of discontent with their surroundings that demands a release of pressure from institutionalized control. Ironically, as it would be detailed by Marx, they have created a new herd led by Tyler after breaking from consumer society. In laying out the rules of Fight Club and illuminating the injustices of corporate society in a speech designed to emotionally move the crowd of space monkeys, the camera zooms in on Tyler's face in several close up shots to suggest that he is speaking for the club and its unconscious ideology. Once the line between redeeming masculine power, cathartic release of pain and murder of one of the members of the club through barbaric acts of terrorism become blurred, Jack realizes that the social order he has created has effectively become more dangerous than the one he set out to replace. When Jack attempts to stop the planned bombings, he is threatened to be castrated by members of Project Mayhem, and by extension threaten to emasculate him. Jack salvages his manhood by confronting Tyler and ridding himself of the immense unconscious control imposed by his dangerous alter ego. Fight Club is a movie that details the pursuit to live free of the external pressures of society. However, the ending of the film notes that such a life does not go without consequences. Although Tyler emerges as the figurehead of Communism, as his ideas become more radical, he is more in alignment with anarchy. The film critiques Capitalism, yet observes how the alternative does not provide a viable option either. Jack is able to liberate himself of his unconscious tension through the creation of Tyler, but ends by reclaiming his civilization. However, when an obscene flash at the end of the movie occurs, which serves as a reference to one of Tyler's part time jobs of changing projectors, the audience is left questioning whether the unconscious influence of Tyler truly subsides or if it could be reawakened. Ultimately, Fight Club's exploration of the sociological to the psychological marks the heavy Freudian and Marxist influence in this film.
Phillip B (ag) wrote: I had my eye on this thing for a while and HOT DAMN, it was everything I hoped for and more. This generation's "The Toxic Avenger" Easily the best Werewolf movie I've ever seen. Funny, violate, BEAUTIFUL practical effects. I love this thing.
Thomas B (br) wrote: It's enjoyable for the most part thanks to the enthusiasm of the cast, but it's a little predictable by the end. Full review later.
Cody C (br) wrote: The worst of the Species movies. There are a couple alright parts but in general it's just a mess. Fun titties tho