Madison Avenue executive Graham Marshall has paid his dues. A talented and devoted worker, he has suffered through mounting bills and a nagging wife with one thing to look forward to: a well-deserved promotion. But when the promotion is given to a loud-mouthed yuppie associate, Graham unleashes his rage on an overly aggressive panhandler, who he accidently kills by pushing him into the path of an oncoming subway train. He re-thinks his problems with an entirely new solution. First, he arranges an "accident" for his annoying wife. Then he creates another "mishap" for his boss. It seems like the world is once more Graham's oyster…but a missing cigarette lighter and a prying police detective may change all that.
Writer:Simon Brett (novel), Andrew Klavan (screenplay)
Graham Marshall already celebrates his anxiously awaited promotion in an advertising company, when he learns that Roger Benham, one of his subordinates, will be promoted instead of him. ... . You can read more in Google, Youtube, Wiki
Eugene B (gb) wrote: Writer Taylor Sheridan pens another impressive story in Hell Or High Water. Led by solid performances by Jeff Bridges, Chris Pine & Ben Foster, the film is an intimate and striking tale that can hit home easily and keep the audience engaged. 4/5
Jack G (es) wrote: The kind of movie you either will like or you won't. I liked it quite a bit for what Michel Gondry was experimenting with, which was a cinema that is both very real and yet fantastic at the same time; when the kids tell their stories, be they funny, dramatic, sad, strange, it carries those qualities Gondry can bring to elevate the material through his grungy-magical (is that a term? I just made it up so there) aesthetic. When we see the teenagers driving a beat-up old car, it's shot to look a little warped as if from a camera phone, but not just any phone. This isn't reality TV. It's writing and filmmaking and while you won't get stellar acting across the board from these non-professionals, all acting under their own names, some of them are quite good and are able to bring the text to life. It's almost like Speed meets My Dinner with Andre, if that makes sense - you're stuck on this bus for the long haul, and it'll be suspenseful... there will also be a lot of talk, and buffoonery, and, really, genuine emotion at this turning point of the end of a school year with some betrayals and bewilderment going around. And while the first two-thirds are mostly a lot of fun, the final third, when the bus crowd thins out, becomes even more interesting than it was before when it focuses on Michael and Teresa, and another kid who we haven't seen much of (wrapped up in a comic-book and in headphones), and that scene in particular is great for these guys having (or thinking they have) grown up just on this bus ride alone. It's a heart-to-heart scene that shows after all of the bluster and big talk from the group-in-the-back, being down to earth is the tough part and what makes kids into the outcasts and bullies and bystanders and so on. It's sometimes rambling, sometimes unfocused, but that too is part of the charm. And, in a sense, this becomes Gondry's most surprising feature in the sense that he isn't with star-power team-ups (Jim Carrey, Kate Winslet, Gael Garcia Bernal, Seth Rogen, etc), or with his large grab-bag of surreal/magic-fiction camera and mis-en-scene tricks. Not to say there aren't exceptions - at one point, if I'm not mistaken, Jesus comes on to the bus to break up what could be an escalation-cum-fight on the bus - but it's really just a bunch of slices of life strung together, maybe not too unlike Spike Lee's Get on the Bus but without the baggage of the Million-Man-March message. What is it like to be a teenager, not just in the Bronx but anywhere? Teenagers especially would do well to watch a movie like this, which paints a more captivating and, for me at least, entertaining portrait of life than an MTV show could do. It doesn't stop for a chance to be funny, sometimes with ridiculous results, but its got a big heart and that's what is always wonderful about this director.
Perrine B (de) wrote: petit rappel de l'etat de mortel dans lequel chacun de nous se trouve. Antoine a choisi une maniere plutot singuliere de tuer ses derniers jours, on y adhere, ou pas.
Josiah S (br) wrote: Most of this was absolutely hysterical but some parts did lack the laughs. Ron White was not that good in this one but Bill Engvall was on his game that night. It was very funny! In the end they all just take a seat and start talking to each other and then to make it that much worse they show pictures of when they were younger and it had me roaring! Not the best of the Blue Collar but a good one
Little B (mx) wrote: I thought this was a less "sick" ending to events depicted in the TV series but I was very wrong. I have no idea how to rate this stuff!
Buggy B (kr) wrote: Edward James Olmos directed and stars in this tale of gang life in east los Angeles, following 3 friends from juvenile hall to Folsom prison
Claudia S (gb) wrote: I loved the way it played with reality and fiction. Although Wenders makes use of many features of documentary, he makes clear from the beginning that the movie isn't a documentary and by doing so he poses the question about what can be considered real in a film. The movie is constantly crossing lines in this respect. Sometimes you have the feeling of seeing something that was captured in a totally spontaneous way. Other times the movie follows the structure of a documentary, but it deliberately looks too staged. The scene of Nick Ray looking directly to the audience and saying ??cut?? it's absolutely amazing, so strong and shocking. The half star that I kept?I felt the epilogue wasn't necessary.
Patrick L (ca) wrote: Killer samurai flick
Jeremy Paul H (au) wrote: This film is as spirited as a horse. I love every second of it. Some of life's greatest lessons can be learned from this movie.
Matt M (mx) wrote: Reefer Madness tells the story of a group of young people who are led to violence, death and madness by marijuana, and is one of the most infamour propaganda films ever. It is still cited in the news and in popular culture, though its reputation as a cult hit is hardly justified by the quality of the movie, that swings from laughable to dull, and only occasionally genuinely interesting.
Eric G (mx) wrote: One of my favorites. It's quirky but not at all self-serious. Natasha Lyonne is as close to perfect as possible in this role.