A Girl Called Jules
After his Western triumphs, Valerii stepped out of the shadow of Sergio Leone with this distinctly Bergmanesque sexual melodrama.Dionisio is perfect in the title role and this remains her best film, Valerii turns up along the way too. Just when the film hits a period of auto pilot John Steiner turns up in the final reel for a climax that is quite unforgettable. A bit difficult to trace but well worth the effort.
- Stars:Silvia Dionisio, Gianni Macchia, Esmeralda Ruspoli, Tonino Valerii, Maurizio Degli Esposti, John Steiner, Livio Barbo, Roberto Chevalier, Raúl Martínez, Riccardo Garrone, Malisa Longo, Nino Nini, Umberto Raho, Ivano Staccioli, Claudio Trionfi,
- Country:France, Italy
- Director:Tonino Valerii,
- Writer:Marcello Coscia, Bruno Di Geronimo, Mauro Di Nardo, Francesco Mazzei, Milena Milani (novel), Tonino Valerii
Teen girl Jules must deal with her budding sexuality, and the fact that some men and women want her adds to her confusion. . You can read more in Google, Youtube, Wiki
A Girl Called Jules torrent reviews
(fr) wrote: Is it a sign that I am maturing as a movie critic that I can love a film's theme on a deeply personal level and still not love the film? Most reviews that I've seen for The Pet discuss its "shocking" content. For many, no doubt, this will be the case. The Pet deals with the rarely-addressed topic of consensual human slavery, and explores this concept with very good attention to setting, direction and mood. Unfortunately, it fails in most other areas, and because of these, I cannot recommend this film, even not at all being personally shocked by its content. The Pet can best be compared to Secretary, a movie that explored very similar concepts. Both dealt with powerful men looking for someone to train to their purposes, and finding it in a woman on the one hand meek and shy, and on the other full of the strong internal reserve necessary to see her offer for what it is: a chance to leave behind the burdens of an often ugly world with ugly people, and let someone else do the thinking for her, in exchange for her keeper's unconditional love and care. And the Pet does have moments where it shows the beauty of this relationship well. Unfortunately, unlike Secretary, these moments are mostly fleeting. On the whole the Pet is awkward, at times it's awfully contrived, and overall it leaves the viewer with a feeling that they've just watched an amateur film. There are two targets for blame, and the first is Andrea Edmondson, who plays Mary, or eventually "GG". Put bluntly, she can't act. Now let me be clear and say that I'm easier on actors than most movie critics, and I know I probably couldn't do much better. But especially in a movie where the central conflict is a psychological one between her and her owner Philip (Pierre Du Lat), this constantly snaps us out of whatever spell The Pet tries to cast. She's unable to tap into the nuances of emotion that are so important to understanding her choices; and as a result, we are unable to tap into her. A second problem that critically compounds this is the film's screenplay. The Pet does a good job at showing you the elements of GG and Philip's relationship. What it doesn't do well is tie them together. GG goes from perfectly docile to angrily denouncing her treatment to stripping right back down again and (literally) kissing Philip's feet without giving us any of the moments of contemplation in between in which you see her do the math necessary to make these internal adjustments. In Secretary, all of the film's best dialogue was unspoken. It was in the silent but deafening stares between Edward and Lee that their power battle raged. All those are gone here. Combined with Edmonson's emotive problems, this makes her character simply unreachable, and thus undermines The Pet's central goal of understanding why someone would willingly choose this life. All this is not to say that this movie doesn't try. The Pet is filled with sundry images, situations and side characters waiting for a solid foundation from which to hang. Philip is both a bit better realized and acted. Though he could also use more subtlety in all areas, as well as maybe a solid flaw or two, his love for his pets is obvious and seductive. Other characters are even more effective, best among these perhaps being James (Aaron Patrick Freeman) a friend who deals primarily in the non-consensual side, raising his own pet acquired as payment of debt. Perhaps the best "character" in the movie, however is Philip's home. A sprawling castle, he is a modern day Citizen Kane still looking for his Rosebud. When he finds it in Mary, who he renames GG for "Good Girl", and we see her curled out in his gently cruel tetrahedron of a cage, we feel his poetic power, and thus, start to understand her loyalty. His world is one of brilliant beauty. As we sink into it, it's not hard to understand how anyone would want to, especially when contrasted against her frat-boy jerk of a boyfriend. But then in some of these secondary characters the film starts to fall apart again. Charles is such an utter prick that we can't even imagine how anyone would want to date him. And James's pet Taps was Nicky, and Nicky's boyfriend is so eager to just fork her right over as partial payment for his debts (and she is so quick to accept) that our disbelief unsuspends. Over and over we see what the elements of this world, but over and over again, they are thrown in with so little thought about flow that we can't accept them. This is a true shame given that the film attempts to further address this concept by throwing in a audacious subplot. Philip is shown to be part of a powerful and sinister subculture of human trafficking. It shows, in other words, what actual slavery looks like, and how dangerous a game it is to keep these two worlds apart. And if it wasn't obvious just from the story itself, the movie's opening and closing title screens leave nothing to the imagination. Slavery is not having a choice, it boldly preaches, following with a long list of countries and what is believed to be their role in this trade, including the US. Few movies are as clear about their message as this one, and in that sense, it does make its point effectively. "Those are the slaves. Leave this girl alone," The Pet indirectly implores us. We're hard-pressed in watching this to come up with an effective reason to ignore this admonishment and stick our nose in where it appears its clearly not wanted by anyone involved. This side story factors into the movie's conclusion, and the shame of the movie's shortcoming's becomes apparent then, as a ending of true poignancy is dulled by how forced the plot was in arriving at it. And as we see final shots of GG playing naked on the beach, we see The Pet's central missed opportunity. Whatever her other flaws, once Edmonson goes all the way, we truly see a pet. She embodies it. We want to love her the way we love any pet, and we feel Philip's pride and affection for her. But since we really can't feel how she got there, we ultimately miss out on that chance. If you want to see a movie that explores the complexities of the chosen unequal relationship, see Secretary. Only see The Pet if you want to specifically see what could be so attractive about being one, and you're willing to wade through some very well-meaning but ultimately flawed cinema to get there.
(jp) wrote: A Touch of Sin (Tian zhu ding) Chinese film, written and directed by Jia Zhangke. Film was nominated for Palme d'Or at Cannes Film Festival 2013 - where the director Jia who also wrote the screenplay won the Best Screenplay award. Starring Jiang Wu and Zhao Tao (Jia's wife and frequent-collaborator). A Touch of Sin is based on four major real violent-stories set in contemporary China.The opening shot shows a biker brutally shoots dead three assailants in a rapid gunfire, while sitting on his motor-bike. We then see, Jiang Wu a miner in a small town who works at a factory, where the boss to arrive is his former class-fellow. Wu gets frustrated with status that his ex-colleagues, who have purchased lavish and cozy vehicles. He sees the lack of honesty among top-management for the oppressed workers. He tries to amend these issues when the boss of factory arrives to takeover before heaps of workers - which embarrasses his boss. Wu is attacked on spot by the security with an iron-rod strikes on his head. He is relieved of his job, and given an apology letter along with sum of amount (extra amount in fact) to leave the area. Dejected and frustrated, he goes to his sister for advice; after receiving no proper reply, he takes it on himself to clean the town of corrupt people by picking up his favorite gun.Zhao works as a receptionist at a sauna, she's been flirting with a married man. She suffers the worst at her lover's wife, and new pervert customers who want her for their massage. A young lad loses salary for couple of weeks at a factory, for causing an incident in which another employee almost got his hand cut. He's suffering from domestic financial problems, which compels him to commit suicide. Three estranged brothers gather in their village - each one of them possess a personality that is unacceptable to how they were raised as child.Jia's film draws your attention to certain critical events that happen, not just at the mercy of the Chinese government but how the society has let it slip from under their hands (just like a sand in your fist). The need to reclaim your rights from money-grabbing cronies, who do not give a darn about people's financial conditions, and sufferings. While they accumulate vast portion of wealth the poor get poorer. Excellent action sequences (especially the opening scene with Jia's story). As we get deeper into this, we witness mild stories BUT now without the violence and blood in it - and of course central subject being 'money'. Breathtaking photography, although Jia was supposed to brush off some the last two segments, they feel bleak and subtle for new-comers.
(it) wrote: From the talented mind who brought you White Noise 2: The Light, Mirrors 2, and the forthcoming Leprechaun: Origins and the highly sought after Mexican director of...well, absolutely nothing comes a new vision of a new vision of horror. Fright Night 2, being a remake of a remake, takes the exact same characters as the first film, dumps them in Romania, and instead of continuing the story in any sane fashion, decides it's just easier to start from scratch...again.Jaime Murray as the new Gerri the vampire is completely wasted in this throw away film that lives more for moments than anything else. Particularly impressive is her little sonar bit in the tunnel of a tunnel of a subway. The rest of the cast is absolutely boring. I don't understand why the filmmakers decided not to continue the story from the 2011 (*ahem) blockbuster. Or why didn't they just create a whole new bunch of characters? Or why not try and remake the original sequel-now, THAT would have been interesting.And another thing, why is it that all these low budget straight-to-DVD horror sequels have to be so poorly made? There are plenty of great low budget films. All you need is a writer that cares enough about the story, a director that cares about more than getting another title under his belt or paycheck, and a studio that wants to deliver a quality product to its audience. Is that so hard?
(ag) wrote: The poster art is great - and that's the only good thing that can be said about this film. Predictable plot...uh...twists stolen from the classics. Most of the kills are unimaginative and unbelievable. The script is little more than people walking around yelling someone else's name over and over again. There is nothing worth salvaging in this train wreck. I hope the actors got college credit or something for doing this.
(kr) wrote: With District B13 delivering a mostly satisfactory array of parkour action scenes, a critically popular sequel sounded like an effective follow-up.While District B13 was a film so rushed in pace that it attempted to dash right past the idea of any kind of story, District 13: Ultimatum takes an alternative path and puts greater focus into expanding the universe it established the first time around. Of course, even with greater narrative expansion District 13: Ultimatum there are still story issues. In District 13: Ultimatum, the problem lies in the fact that director Patrick Allesandrin thinks there is a story there. There are concepts and an interesting setting, but there is no real exploration of them that transcends surface value. And the fact that the film pretends otherwise proves to be its downfall. I can certainly respect the fact that Patrick Alessandrin wanted District 13: Ultimatum to be more than the standard over the top shallow action fare, and in that regard his feature certainly takes a different direction to Pierre Morel's. The two films maintain the same story context but are actually two extremely different films as District 13: Ultimatum aspires to be a legitimate dystopian thriller with action themes instead of just a manic exercise in the art of parkour like the preceding film.When it comes to Luc Besson's writing, District 13: Ultimatum may bring over some sporadic moments of slight comic flair in the dialogue, but the rest of the material offers little. Yet the dialogue is not the problem in the writing but rather the story. The surplus of twists and characters in the story effectively conflict with the fast pace and genuinely shallow nature of the tale, ensuring that District 13: Ultimatum is a confusing feature which takes itself a little too seriously. The pace is slower than its predecessor which is slightly more sensible and the intention to focus more on plot has its admirable qualities about it, but it also means that District 13: Ultimatum lacks the relentlessly guilty fun of District B13. District 13: Ultimatum attempts to raise the stakes by balancing focus on Leito and Damien with the antagonists of the narrative and many other supporting characters, giving the film a big scale. This doesn't do it any favours as the plot itself is very basic yet the abundance of characters makes it difficult to keep up with and turns the narrative on a convoluted path, creating an imbalance between simplicity and complication. So frankly, the story in District 13: Ultimatum is what attributes essentially every fault in the film. When comparing District 13: Ultimatum to District B13, determining the superior film boils down to whether viewer prefers a lack of any story or an overly convoluted one, as well as if they prefer a fast and unserious tone against a slightly slower and more legitimate one. For me, I find myself torn between them as the overall feeling is that they are both very different films even though neither of them come with a story worth boasting about. The action in the first film is superior in terms of quality and quantity, but there is more genuine drama in District 13: Ultimatum and genuine sensibility, so I feel that the sequel is superior. Superior as a film, not as an action vehicle.But the action in District 13: Ultimatum remains impressive. It is not as groundbreaking as the first time around or as heavy in quantity due to a more extended story, but the action in District 13: Ultimatum capitalizes on a lot of things. The scenery establishes a good setting for the film which is very convincing for a gritty dystopian context, and the action in the film embraces the world around it to capture a series of excellently choreographed stunts which are well-lit and somewhat realistic. There is strong use of parkour, close combat and plenty of explosions in the film. And on top of this all, the editing has definetely improved since the first film. Though the editing remains rather fast in District 13: Ultimatum's action scenes, the shots themselves are more extensive which make better use of the choreography by not cutting between them all too quickly but rather allowing them to unfold with full emphasis on the dedicated efforts of the cast.The one element of humour that District 13: Ultimatum succesfully brings over from its predecessor is the banter shared between Leito and Damien. Although their relationship has developed to the point that they are much more dramatic in their embrace of each other this time around, David Belle and Cyril Raffaelli once again make an excellent duo out of the roles. Though both actors maintain an amalgamation of the two central action requirements in their roles, David Belle's incredible parkour skills are matched by Cyril Raffaelli's excellent fighting style which makes an awesome pair of action heroes once again. And as well as that, the buddy nature of their relationship manages to add good character to the film. They are shallow figures, but the actors put their natural gimmicks into the roles and take them to the full extents with energetic spirit and passion for the film. Their efforts are very physical, and the dedicated work of both David Belle and Cyril Raffaelli repeat the feat of District B13 in capturing performance art in their roles. They don't have too much to say, but they deliver their lines with strong dramatic impact that retains consistent deadpan comedy. Both actors capture likable characters and fight for the screen with a real love for the material, keeping the film alive.So District 13: Ultimatum may have a slower pace and more confusing story than its predecessor, but its determined effort to be a legitimate thriller while retaining stylish action scenes and passionate efforts from David Belle and Cyril Raffaelli ensures that District 13: Ultimatum is a marginal improvement over the its preceding counterpart.
(de) wrote: This is a really fun French comedy-drama. Thoroughly engaging and funny without being crude or stupid.
(gb) wrote: First of all, it was a real pain in the ass the get this movie playing. After 15 minutes my friend almost shouted that nothing makes sense. So, the guy had a Nazi grandfather and he kept speaking German to his victims who were porn stars, I guess mainly because they look better naked than, say, grannies. And nobody ever caught him. Some flashbacks of some child hanging around on railroad tracks, some doll, naked women being killed in various different ways... Also it's kind of hypocritical that he just could't or wouldn't kill children. Out of all these people, only the 10-year-old girl could fight back and get away, how logical. And the random footage of WTC? Well, I couldn't say I gave a shit what that meant at that point.
(ag) wrote: Police: "Look what we found" *holds marijuana plant*Ice Cube: "Oh, uh, that's for him, ya know, he's got dat lazy eye, glaucoma, squint.."
(nl) wrote: An ultimately sad film, highlighting the subjugation of women within a certain Hassidic enclave in Jerusalem. The film itself is very slow, dark, and quiet. There are scenes of immense tenderness, particularly those between a childless husband and wife, deeply in love, but forced by their community to separate so that the husband can re-marry in an attempt to produce children. But, there are also scenes of fierce brutality and blatant ignorance dictated by an incomplete understanding of the purpose, and intent, of God's Laws. This is not easy to watch, and the sense of sadness that pervades never relents, but it is still fascinating.
(us) wrote: Buscemi on top form in this simple classic.
(ag) wrote: Almost as philosophical as it is funny, a surprisingly accessible treat.
(nl) wrote: A sort of distant cousin to "Reefer Madness." Fun to watch with friends and pretend your doing Mystery Science Theatre...
(ca) wrote: Have seen this movie numerous times in my long life. The first time caused me to abandon my plan of becoming a nun. Forget the mullet -- Flynn is hot in this one!
(us) wrote: An espectacular piece of German expressionism. This is one of the 10 greatest horror movies ever made.
(es) wrote: Steven Spielberg directs a class movie here and starring two outstandingly talented actors Eric bana and Daniel Craig it's a great piece of thriller movie which is based on a true event