Albert est méchant

Albert est méchant

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Patrick Lechat, dont la situation financière est au plus mal, apprend la mort de Jo, son père, qu'il n'a jamais connu. Le défunt laisse derrière lui une fortune colossale, qui revient malheureusement à son demi-frère, Albert Moulinot. Patrick lui rend visite au fin fond de la Dordogne, afin de tenter d'obtenir une partie de l'héritage. Rien de plus simple, puisqu'Albert déteste l'argent, tout comme le travail d'ailleurs. Pourtant, Patrick n'est pas au bout de ses peines. Il doit en effet convaincre Albert de le suivre à Paris, où il signera sa renonciation à l'intégralité de l'héritage. Mais le vieil homme, d'un naturel odieux, est bien décidé à rendre la vie impossible à ce neveu qu'il méprise... . You can read more in Google, Youtube, Wiki

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Albert est méchant torrent reviews

John C (de) wrote: I thought I would love this, seeing as how I believe the Star Wars prequels are abominations. But this just made me depressed. I may not like the movies, but I don't think George Lucas made them to personally insult me, as it send many of the people in this documentary do. George Lucas didn't rape my childhood, he just made some bad movies. Really bad movies.

Kate M (mx) wrote: It's fun! it's like a music vdo and a story that we can dance while watching. Can see a view in England in Indian's eyes!!!

Robert B (ca) wrote: S&Man (J. T. Petty, 2006)Note: while I'm sitting here writing a review, I'm going to start off by telling you not to read it. Tru fax. If you haven't yet seen this movie, and you have ANY interest in seeing it whatsoever, I will advise you as strongly as possible not to read anything at all about it before you watch it, because while nothing anyone says will be a "spoiler" in the way we know the term, knowing nothing at all about even the structure of this movie before you start will greatly increase your pleasure at the discovery of said structure. And given that there is really no way to talk about the film in any intelligent or meaningful way without discussing its structure...you get the point, I trust. Go watch the movie, THEN read the reviews.Thus, insert another couple of lines of spoiler space. Seriously, I'm going to blow it for you with my very first sentence. So go watch the movie. Don't read this.Okay, now that that's out of the way: in the eighties, the Chinese government wanted to bankroll a documentary about the then-still-secret(-and-officially-denied) hijinks got up to by the infamous Japanese military Unit 731. Problem was, back then there was so little solid evidence to go on (after all, since Unit 731 killed every Chinese national they came into contact with, pretty much, in order to cover their activities, doing non-fiction about them was pretty much impossible until they themselves started talking) that the director they hired, Shaw brothers exploitation specialist Tun Fei Mou, had a lot of conjecture and a bankroll. So he ended up making a new kind of mockumentary-one that wasn't meant as a comedy, but was meant to pass as a real documentary, or at least a real docudrama. The result, Man Behind the Sun, to this day ranks as one of the most over-the-top, extreme horror films of all time. More importantly, especially as relates to S&Man, it kicked off an entirely new subgenre of film, especially of horror film-the fictionalized documentary, which was brought to wordwide prominence a decade later with The Blair Witch Project (itself a knockoff of another American mocko, The Last Broadcast). S&Man takes us a little closer to the Man Behind the Sun roots of the subgenre, at least if Petty's voice-overs are to be believed; he started out with the idea of making a documentary about a peeping tom who lives in his neighborhood and how voyeurism relates to horror films. When the peeping tom refused to be on camera, Petty, like Mou, found himself with an idea and a bankroll. So he continued on with the documentary angle, but changed the focus somewhat, heading into the territory of the long-thought-mythical snuff film.And even telling you that much is telling you too much about this movie, despite my not having gotten to the real "spoilery" bits. In fact, there's not a great deal I can say otherwise aside from telling you that Petty's interview subjects include Carol Clover (author of Men, Women, and Chain Saws, a look at the voyeurism-in-horror phenomenon), Fred Vogel, and Bill Zebub. (If you don't know those last two folks, this is probably not the movie for you.) There's some great footage of Bill at work, a great deal of solid interview footage with Vogel (who comes off a whole lot less creepy and a whole lot more frat boy than I would have ever guessed), and all kinds of other stuff that makes this well worth watching. But I can't give you the real skinny on why you want to watch this. That would be cheating. Let's just say Petty does some inventive things with the mocko genre that keep the veracity of the actual documentary footage intact while still managing to make this into something more than it would otherwise be. It's an inventive little film, and I quite liked it. *** 1/2

Mark F (it) wrote: I just watched this again and needed to change my review. I love so many things about this movie. The way Atom becomes almost human, the way the underdog that everyone considered too small, obsolete and weak triumphs over adversity, the way that mirrors Charlie's own story, the way Charlie finds redemption, the joy as he does so, the way his relationship with his son develops...I think the most powerful thing for me though is how Atom shows what it means to take punishment but never quit. That is perhaps the best metaphor for life there is. So yeah, I may have cried a bit. You're really going to find yourself rooting for that robot.

Shamus G (br) wrote: Ellen Page portrays the exact opposite of her character in the 2007 film Juno. What made Juno so engaging was Page's ability to conjure empathy from the audience, even in her moments of fault. The only person who can conjure empathy in this film is Patrick Wilson, whom Page's character demonizes ruthlessly. The film gives the audience absolutely nothing conclusive or concrete to justify Page's maniacal torturing of Wilson. It portrays Page as someone who turns the predator (or lack thereof) into prey out of bloodlust, rather than out of pride. Another piece of concrete material that the film refuses to show the viewer is proof that Wilson's character is even half as monstrous as Page thinks she knows he is. Wilson is anything but a predator on the prowl as Page pushes his character to a slow, torture riddled death. The only positive about Hard Candy barely pervades over the film's first act; it's ability to hide from the viewer what is about to unfold next. Not a complete abomination, but certainly a film that makes me clutch my body rather than my popcorn.

Hardy C (br) wrote: A refreshing look at the pretensions and insecurities bedeviling young people trying to "make it" in the art world. The climax of the film perfectly satirizes the modern day phenomenon of "notoriety" art passing for the real thing. Throw in the mix unrequited love, a serial killer and an undercover cop trying to become the next Pollock and you have the ideal send up of the art world with its contrived snobbery. The critics were waaay too hard on this little gem.

Atheer O (fr) wrote: interesting characters, crisp script in the Tarantino accustomed fashion.

Madelaine D (jp) wrote: La mejor pelicula colombiana.... ninguna la ha superado.... y tiene los mejores actores que han habido en Colombia.

Alex W (kr) wrote: old style doc, meaning less dramatic then ones today and pure info and facts and real footage. Its exactly what you expect.

Judge L (es) wrote: Ahhhh..nothing like a stroll down memory lane from time to time. Back in 1986 I was a skateboarding punk so this was an AWESOME movie to me. Much more so than 'Gleaming the Cube' because in Thrashin' the main story was about skateboarding. However, with time this movie has gone from AWESOME to awesomely bad. It was still fun to watch for me since it was one of my favorites from back in the day. But the clothing, skating and acting is so bad it is almost more of a comedy now. I remember wearing some of that 80's skate/surf neon apparel and when I see the neon look trying to make a come back these days I just ask....WHY!????If you grew up in the 80's skating this is a fun watch, but if you did not...just skate on by.

P S (ru) wrote: [b][color=red]JoJo, the film version of Richard Pryor's autobiography does exactly what it is supposed to do-tells the less than stellar portion of his life in honest-to-goodness truth and without pulling any punches. [/color][color=#ff0000]True, many film stars attempt to forget where they came from and what they may have lived through prior to making it big and wouldn't dare share it with the world. This movie tells it like it is, and is done in such a way that it's intended audience can relate to it. [/color][color=#ff0000]I become indignent when so-called sophisticated people call themselves reviewing movies that were never written with them in mind. I'd be willing to bet that some of them have skeletons in their closets, but through the art of pretense, act as though they were born and raised entirely in wealthy surroundings. [/color][color=#ff0000]True, it's no "My Fair Lady". but then again, it's not supposed to be.[/color][/b]

Spencer S (nl) wrote: One of the better received and critically lauded films of Wes Craven's early career; "Swamp Thing" has a long and fortuitous history that I for one never could have foreseen. Originally a DC comic (eventually Vertigo Comic) of the same name, Swamp Thing was billed as an action film, starring the same characters from the comics. Craven has said that this was film was a send-up of the monster movies of the thirties and forties, including "The Creature from the Black Lagoon." The film is definitely more action than horror, containing far more scenes of boats launching off algae covered rocks than anything akin to monster movie magic. The story is set in the swamps of Louisiana, following a group of scientists who are working with plant life. Dr. Alec Holland (Wise) is heading the project, and has just found that he has discovered a way to grow plants on organic materials, including wood. Government agent Alice Cable (Barbeau) appears on the scene, wearing her heels and gender neutral clothing, and falls for the scientist. Inadvertently Dr. Holland is transformed into the mutated being of the swamp thing thanks to the raiding of the compound at the hands of Arcane's henchmen. Most of the film contains swamp thing taking care of the defenseless and frankly ignorant Cable, who keeps getting captured, or run down by boats, and the highly weaponized men atop them. Looking more like a cheap eighties horror film (which it is) than the action film promised, "Swamp Thing" still did surprisingly well with critics and even spawned a nineties television show. Still, there's nothing new or extraordinary about this underwhelming film, except maybe the crafted movie makeup of stuntman Dick Durlock; otherwise it's as trashy as it looks.

El Hombre I (br) wrote: In 1969, this was accepted as science fiction. A year later, the country would be hanging on their seats when a similar thing happened to the astronauts of Apollo 13. The visual effects are very good for their time. Like Stanley Kubrick, John Sturges realizes that the most effective special effects are of the more subtle, artful variety. Marooned may be slow-paced at times, but it certainly is worth investing in and especially for those who are fans of science fiction who also want an intelligent, well made film

Yertle t (mx) wrote: A not especially distinguished John Ford movie, considering something better, such as Drums Along the Mohawk for instance, is not included here.

Bavner D (br) wrote: Hanya karena uang, banyak jiwa melayang, dan semakin memperkeruh rencana jahat Jerry. Dengan ending yang cukup memuaskan buat saya, "Fargo" tampil sebagai salah satu film kriminal cerdas terbaik yang sayang bila dilewatkan.