Dante, a middle-aged man, believes he has lost everything: estranged from his family for twenty years, he losses his job and finds out that his wife is dead. He goes to her wake and sees his two children Raffy and Kristine again. While Dante is eager to make amends with them, Raffy does not want him back into his life. When an accident forces Raffy to take Dante into his house, Dante learns how his own failure as a father has made an impact on how his son acts as the head of his family. In his effort to make things right between himself and Raffy, Dante develops a bond with Raffy's wife Gayle and his grandkids, Jake and Tinka. Dante rediscovers his love for music that Raffy's son is also passionate about. With his growing relationship with Raffy's family, Dante begins to glimpse some hope for a second chance. F or how long can Raffy harden his heart? Will Dante finally get his second chance at happiness?
Matthew S (nl) wrote: While Ti West's horror film take on a Jonestown Cult-like situation fails at what it appears to be attempting to do -- it features some unexpectedly powerful and disturbing moments from some of the very talented cast members. Gene Jones is particularly memorable as the leader of the cult. And Amy Seimetz's gives an amazingly realistic performance. It feels like there was the potential here to actually explore the psychological dynamics of a cult from a dramatic perspective. Sadly, West is more intent on trying to make a scary movie. It isn't scary. It is just unpleasant.
Stacy R (gb) wrote: So I watched a show on DOC last night called Patriocracy. It was a documentary about the political divide in this country. They showed individuals from both sides of the aisle from protesters, politicians, media, etc... They tried to make the case that the reason there is such a problem in this country is that there are extremists on both sides and neither side is willing to budge. Additionally, with the Supreme Court's decision on the Citizens United case, the influx of money in our elections is adversely affecting election outcomes. Aside from the part of the thesis that 'neither side is willing to budge'--which is complete BS--the show was pretty good.I'm getting really tired of everyone trying to make this, 'fair and balanced,' false comparison of both sides, when one side continually makes a mockery of FACTS. It's why Bobby Jindal--a Republican and Rhodes Scholar said, after the 2012 election, that they have to "stop being the party of 'stupid.'" And since when did wanting to keep the environment clean, help sick and old people, fight for the equality of every tax paying American citizen, and strive for peace, become 'extreme' positions? This is essentially the Democratic platform in a nutshell. These people aren't 'extremists' by any stretch of the imagination. Wanting to gut regulations that protect consumers, businesses, the environment, leave sick, poor, and old people to die in the streets, start wars to 'preeminent' attacks IS extremist.And finally, this crazy idea that the liberals are unwilling to compromise is nothing short of complete and utter nonsense. Take a look at the healthcare law--"Obamacare." The vast majority of it is a right-wing idea from the Heritage Foundation. It's passage was an exercise in compromise from the liberals. If it was up to the 'extremist' Democratic party, it would have been single payer (i.e. Medicare for all). Furthermore, Obama has tried over and over again to try to include these Republicans in virtually every major policy decision he's made and even implemented their ideas (not all conservative ideas are bad). And if never fails, a day or two after meeting with the guy, he gets peppered with accusations of "not wanting to work with the conservatives."Comparing the two sides, saying both are equally destructive, is, in a word, BS. Personally, I've lost count of the number of conversations I've had with 'conservatives' in person and online and it's always the same. They're either flagrant racists/bigots, woefully uninformed, paranoid anti-government crazies, or cry and complain about government spending but can't name a single damned thing that would make any appreciable difference in the budget deficit.
Asia J (es) wrote: My German teacher showed this to us in the class one day, and since then I really started watching German movies and TV shows. Really worth watching!
Ryan C (us) wrote: Not even sure why I gave this a half star. A pointless plot with awful acting and no scares what so ever. Wild beast? More like scrawny white guy that's just a cannibal. Not to mention the ending...do not waste an hour and a half of your life watching this movie.
Ryan W (it) wrote: I found the storyline original but the film bogs down in a lack of scares
thomas r (ru) wrote: Lots of flesh but otherwise boring
Matty J (es) wrote: preety gd boxing film
Andy C (ag) wrote: An inept attempt at filmmaking. The director has no sense of place, character or time. All the scenes seem to be hacked together in an attempt to hide the fact that there's no story to be told.
Kylie N (mx) wrote: Love it Robbie Amell is hot
Bryan B (kr) wrote: Yeah, I bought the three pack. Have also seen this one previously. Slightly better special effects, although overall feels like they had to work with a lighter budget. Good continuing story. Loses the mentally disturbed feeling that made the first so cool, seems way too well-adjusted. Still, good to see again.
Ecclectic muse (au) wrote: This movie is a Heart warming comedy of errors. I think it makes you appreciate family.
Kenneth L (nl) wrote: This is the first movie in Alan J. Pakula's loose thematic "paranoia trilogy," which later included The Parallax View and All the President's Men and which now seems to have really been on to something about the 1970s zeitgeist. This is probably the weakest movie of the three, but it certainly has its strong elements. The somewhat murky story begins with a private detective named John Klute (Donald Sutherland) who begins investigating the disappearance of his friend in New York City. His investigation leads him to a smart, disaffected prostitute (Jane Fonda), whose history with her clientele might help illuminate what happened to the detective's friend. Despite the mystery structure of the movie, neither the actual mystery nor the detective end up being that interesting; the plot revelations don't have that much impact, and Donald Sutherland seems like he doesn't care about anything in the movie, which is strange since he had just brought such great energy to M*A*S*H* the year before. By far the best part of the movie is the prostitute played by Jane Fonda, a part for which she won a Best Actress Oscar. The character really seems like she could have carried her own movie; I would watch a drama just about her walking the streets. Pakula's direction here is solid, though he would end up making more compelling movies later on. I would say the best way to watch this movie is just to pay attention to Fonda's character, and not worry too much about the other stuff.
Tim W (br) wrote: The tone was alright jumping from horror to film noir, it was unique and not bad, but it just didn't feel right. The acting was weak, or at least the characters were. The main idea of magic vs illusion was a good one; interesting and unique. However, the movie was too campy (or not campy enough).
F B (nl) wrote: Very good but the plot was a bit complex for me to follow in my condition.
Jiawei H (ru) wrote: A lot of times solitude is celebrated. This film doesn't glorify solitude, just as it shouldn't be. It remains what is it...a very personal matter--if solitude is what one chooses, there's no point for it to be shared or complained.Very much impressed with the alarm clock scene when Mr. Manglehorn "opens" and "closes" his ears to hear the alarm. Great sound effects. Beautiful cinematography too, especially during the scene with him and Fanny on the tree.Yes, we're all born to be alone, and we gotta accept the fact and live own own lives, even in the darkest moments. Only when one truly realizes that can one eventually open one's heart--like the clown does. The last scene is very poetic when Mr. Manglehorn as a locksmith locked himself outside of his car. But when he did "open his heart", magic could happen--though it takes a while, a long long while.2015.6.24 IFC
David H (nl) wrote: Fun, but not a classic. Had some decent laughs.