Another Man's Poison
Novelist Janet Frobisher, lives in an isolated house, having been separated for years from her criminal husband. She has fallen in love with her secretary's fiancé and when her estranged husband unexpectedly appears, Janet poisons him, but just as she's about to dispose of the body, one of her husband's criminal cohorts also shows up.
- Stars:Bette Davis, Gary Merrill, Emlyn Williams, Anthony Steel, Barbara Murray, Reginald Beckwith, Edna Morris,
- Country:UK, USA
- Director:Irving Rapper,
- Writer:Leslie Sands (play), Val Guest (screenplay)
In an isolated house, mystery writer Janet Frobisher is involved in potentially murderous relationships. . You can read more in Google, Youtube, Wiki
Another Man's Poison torrent reviews
(ag) wrote: Rice does a fine job of juggling so many characters and moving smoothly among flashbacks without losing sight of the main story.
(de) wrote: A colourful, tacky and rubbishy film with rather dreadful acting only made enjoyable by the beautiful Breanne Racano
(gb) wrote: I always love to see people thrown through paper walls.I don't know if Seagal's acting was so good that he made voice sound totally different or if it was some dude's voiced dubbed over.You tend to shut off somewhere in the middle and forget what the movie is actually about. I feel a bit ashamed to admit to the world that I watched this movie to the end. I guessed I pitied the movie.
(au) wrote: Drama y comedia , es la primera plicula que veo de Jim Jarmusch , pense que seria algo mas experimental y aburrido , pero me gusto , buenos personajes y una excelente banda sonora.
(au) wrote: An insteresting look into the dangers of fast-food, but its ok
(es) wrote: I found this movie surprisingly scary. Of course, the Candyman series as a whole scares the crap outta me like no other horror film. Maybe I'm just bias. IMO though, I found this one to be refreshingly reminiscent of the original and the sequel. Tony Todd (as always) super-chills each scene with his tumultuous presence as the hook-wielding, seemingly lonely-ghosted ghoul that just can't voluntarily kill the ones he really wants. Lol
(es) wrote: Heartbreaking and heartwarming. Nell is one of my all time favorites.
(de) wrote: When you see a movie about an artist is because you admire his work and you want to know more and identify yourself with him. This movie does exactly the opposite. Now I care less about Van Gogh than before. Almost no art, no passion, no madness and he doesn't even cuts his ear off! What a scam... I'm giving it 1 star because it made me laugh... a bit.
(au) wrote: An incredibly long, but absolutely rewarding cinematic experience about the process of making art. Nicholas and Marianne are a young couple in love. Nicholas is on his way to becoming a successful artist, while Marianne feels left out. The two are introduced to painter Frenhofer who sees in Marianne inspiration to begin to attempt to craft his masterpiece - La belle noiseuse. Nicholas is excited by the prospect of his girlfriend being the subject of this art, while Marianne is at first not a willing participant. However, she reluctantly agrees and then begins a rather interesting relationship - almost master/slave situation as the painter seeks "the truth". Over time their sessions allow them to come to an understanding; all the while the painter's wife, Liz and Nicholas become increasingly jealous. La belle noiseuse is clearly a metaphor for the filmmaking process and certainly Rivette sees himself as the painter. The length of the film is very much required in order to make the relationship between these two believable and to see the evolution of the artistic process. If I do have a complaint it is that the character with the most important dialogue (in this instance Liz) often speaks her lines in a whisper and in riddles - in a condescending fashion which comes across rather awkward. But nevertheless, La belle noiseuse is a daring inventive film from a filmmaker working at his best.
(mx) wrote: i want to c this movie
(kr) wrote: Gorillas in the Mist: The Story of Dian Fossey sound awesome on the surface, chronicling the psychological element of animals and the fighting spirit of the woman Dian Fosseu, as portrayed by my all time favourite actress Sigourney Weaver. It was good, but not without flaws.Mainly, the pacing is inconsistent. The story doesn't really thoroughly develop well enough or characterise Dian Fossey over time in the best manner. To be specific, by the time the movie is practically two thirds finished, the story has developed to about a third of the beneficial amount. Then suddenly it cuts to 5 years later where Dian Fossey has changed, but we do not witness the change. We witness her act the same in both time periods, but when a particular situation arises we see a more brutal side to her. Although its conveyed well, it frankly is too big a jump for the good of the story, and for how it's characterising Dian Fossey, the main focus of the story. Also, we're only given a brief time to embrace the new and changed Dian Fossey, not long enough for us to understand her or comprehend the jump that has happened over the five year change, and then as quick as she's changed, the movie is finished. This really doesn't pay such the strongest tribute to a figure who saved Gorillas from extinction in Rwanda, but rather shrinks the depiction of the real success of what she did to a few scenes and a single period of on screen text at the end which loosely summarises what she did. Basically, Gorillas in the Mist covers two portions of Dian Fossey's life in a very minimalist manner, and doesn't teach nearly as much as it could have. Much of Gorillas in the Mist faces the problem of not being able to tell its story well. It's more focused on achieving beautiful scenery footage with great cinematography than it is in telling its story of Dian Fossey or in establishing an atmosphere half the time. It's atmosphere isn't established much until the intense sequences, and even then its a struggle. Basically, Michael Apted's role as Director doesn't really explore Dian Fossey enough for us to cement her image in our minds as anything much more than "the gorilla lady played by Sigourney Weaver" which although flattering isn't a befitting tribute.But still, Gorillas in the Mist is a powerful biopic with some of the most incredible jungle footage ever filmed.Gorillas in the Mist is a powerful technical achievement because of its astounding cinematography which captures excellent footage if the jungle and of gorillas, assisted in its atmospheric setting by a great musical score. The sound effects and film editing are also great, and it all has a really good nature feel to it which strengthens it immensely.But what leads it all is the excellent work by lead actress Sigourney Weaver in the titular role. Not only does she flawlessly capture the passion of Dian Fossey when working with substandard direction, but she engages with the set, location and amazingly the gorillas in such an organic and natural manner that she absolutely embodies Dian Fossey and gives her the sense of strength and determination which she requires to be a strong character, and this is what Sigourney Weaver single handedly achieves against the adversity of poor storytelling. Her work in Gorillas in the Mist is some of her finest.And Bryan Brown made a charismatic screen presence, bringing over Australian charm and the skill of conjuring fine chemistry to make him a terrific on-screen duo with Sigourney Weaver. He engages really well.Thanks to the charm of the two stars of the film and the great technical accomplishments, Gorillas in the Mist is a film that overshadows its shortcomings at telling its story.
(jp) wrote: Claustrophic and taut espionage tale with an impressive second half and overall enormously benefited by a good measure of romanticism, both in its coastal setting and in its musical score, courtesy of the great Miklos Rozsa, who would sadly go into retirement soon after.
(kr) wrote: Struggling to finish his last novel before cancer finishes him, Clive Langham (John Gielgud), a celebrated writer, concocts an elaborate and spiteful fantasy featuring the members of his immediate family. Where to begin... Both in form and content, this has to be one of the most forbiddingly complex movies I have ever seen! Make no mistake, this is a difficult piece of work, and I won't pretend to have fully digested it after just a single viewing. I'm fumbling in the dark here but I'll try my best...Punctuated by false starts, digressions and revisions, Langham's dreams - which begin as an impotent revenge on his disapproving son (Dirk Bogarde) - are every bit as restless as the ailing author himself, whose spasms of pain seem to manifest themselves as sinister incidental details: an old man collapses in the street, people are rounded up by the military, we see glimpses of concentration camps and there are ominous rumblings of terrorism in the distance. The most startling moment, in a film filled with surprises, comes when we finally get to meet Langham's relatives outside the confines of his imagination, roughly 3/4 of the way through the film; they bear little or no resemblance to the people Langham has introduced us to! This is surely the major theme of the movie: the extent to which Langham's perception of his family has been distorted by pain, guilt and alcohol.My two criticisms of the movie are as follows: 1) Whereas in a film like Cline and Julie Go Boating there is an infectious joy to all the formal experimentation, because the subject matter of Resnais' movie is so dark, Providence manages to be playful without ever being much fun. 2) The scatological vein of humour running through the film undermines much of the sophistication. Bogarde and, especially, Gielgud are brilliant. Mikls Rzsa contributes a gorgeous, darkly romantic score.
(kr) wrote: Even though I'm Christian and have always been brought up considering the act of suicide a 'taboo' subject, I have always held great respect for both the Japanese way of doing so to save face, and the thoroughly romantic notion, say, from the likes of 'Romeo and Juliet' (with Shakespeare's writings being probably the cornerstone of Western thought)--so from two completely different cultural perspectives--that a life without the one you love is not worth living.I had previously only seen two of Masahiro Shinoda's other works for The Criterion Collection--the earlier works 'Pale Flower' and 'Samurai Spy', and I don't know if it was on purpose by the company in selecting the titles, but I marveled at the breathtaking variety of his scripts, all from such a short timespan (1964-69). Being a patron of the theatre (in many different modes) and as anthropologically cosmopolitan in my approach to life as is conceivable, I salute Shinoda with a profound respect, and look forward to investigating as many of his other works as possible.