A middle-American teenage boy who is affected by 9/11, terrorism, and the war in Iraq becomes involved in an isolated high school altercation that escalates into a hate crime that shocks the entire nation. . You can read more in Google, Youtube, Wiki
A middle-American teenage boy who is affected by 9/11, terrorism, and the war in Iraq becomes involved in an isolated high school altercation that escalates into a hate crime that shocks the entire nation.
You may also like
Anytown torrent reviews
John B (ca) wrote: This film has real heart and passion about it. The friends who create their educational company are represented by fantastic actors who have the audience cheering for them as they take on the top U.S. brass.
Steve D (jp) wrote: A great origin movie for one of my favorite superheroes (Supergirl)/ well adapted and great voice actors. The film has heart and some fantastic scenes. I would love to see this adapted for live action!
Enrique L (nl) wrote: Good 60's (US) history review and interesting revelation of one side of Bob Dylan's personality.
Miki L (ca) wrote: Four stars for sheer entertainment value. The acting was very passable, and the script really quite witty in parts. As in laugh-out-loud-grin-like-an-idiot witty. Although the idiotic grins may be due to the tall blond wonder delivering those witty lines. And even though I'm about as far away from being a dancer as the Amazon jungle is to the North Pole, I do know how to appreciate good hip-hop when I see it. There's a lot to forgive, but if you decide to get past all the flaws (and really, it's a Step Up movie, you shouldn't exactly come in expecting Oscar fare), you'll find that it's really a very enjoyable film.
The Critic (fr) wrote: More graphic gore for fans of the original cult classic, this isn't as satisfying as its predecessor but will please those drawn to the genr. Followed by 'Beyond Re-Animator' (2003).
Paul D (ca) wrote: Ordinary war mission story with a less than exciting runaround on Rhodes.
Brett C (mx) wrote: After watching L'avventura, I had this craving for more Italian cinema, and I thought, who better than Federico Fellini. I had the choice to start off with his well known classics like 8 1/2 or La Dolce Vita, but I decided to start his filmography as early as possible. My local library doesn't have any copies of The White Sheik or Variety Lights, so that meant I had to start off with I Vitelloni. After finishing it, I was left satisfied and wanting more from the director's work.The film was written by Federico Fellini and Ennio Flaiano, with story contributions from Tullio Pinelli. They have written a wonderful film about 5 men, roughly around their late 20s, cruising through life. There seems to be no real plot for the audience to hook onto, but it didn't really bother me as we were given wonderful characters to attach onto instead. The writers depicts these men as people who are still trapped in their youth, never seeming to grow up or take any responsibility for themselves or others. They still rely significantly on their parents for a home and for food, instead of getting a job and feed themselves. When one member of the group does get married and find employment, he can't seem to let go of his old ways; his growth is still at a halt. Throughout the first two acts of the film, these characters just seem to do nothing, but walk around the streets of Italy and have fun together. Normally, I would have found this to be a tad bit tedious, similarly to how I felt about George Lucas' American Graffiti, but these characters are so interesting and filled with personality that I can't help but be entertained. There were a couple of scenes that felt it needed a bit more work, and those are the party sequence and the angel statue fiasco. The scenes did contain a few plot drivers and character development, but it wasn't enough to outweigh the lack of intrigue found in these scenes. I think I may be criticising the scenes too harshly, as it may become moot during subsequent viewings. The film's dialogue was great, with each character seems to have a distinctive style and tone of their own, allowing me to distinguish one from the other.The film was directed by Federico Fellini and this was his third film. Fellini did a wonderful job with this film, truly capturing the essence of youth that is still trapped within these men. He does it through scenes that felt very natural, like as if there wasn't even any sense of acting from it's cast. Fellini doesn't make it obvious that he is judging these individuals as we always walk along with them. We only truly see the consequences of their lifestyle when they walk into these situations; Fellini doesn't cut to let's say Fausto's father to show upset he is, or to Sandra weeping and depressed. We only see the ripples that they make when we actually stumble upon it with them. So by the end of the film, we still end up feeling empathetic rather than looking for some sort of judgement to be struck upon them. It was really interesting for a film to have it's complication to be found during it's third act, and still come out satisfying. I'm the type of person who likes problems to arise from the start as it gives a lot of opportunities to gain development in it's characters. Fellini didn't want that, as I think he favored something more naturalistic. He understands that things doesn't just turn out alright at the end, and everyone doesn't change their lives the next day, just because one would want to; the film only contains two characters that come out at the end of this film as "redeemed". The closing scene of the film was beautiful, and the metaphors that it suggests. It was a man saying goodbye to his youth, and even though he doesn't know what comes ahead of him during this transition, he knows it's time for him to move on. This is very similar to what George Lucas has done for American Graffiti, though I can't tell if this was a direct influence on the making of that films. Fellini keeps the tone of I Vitelloni light, almost as if it was a dramedy, allowing this film to gain that sense of accessibility and endearment. Though there are a couple of moments that were heartbreaking to watch, like when Fausto gets hit by his father. It wasn't physical pain that Fausto was afraid of but to be hit by that belt of shame, striking you time and time again by the man that he respects the most. It truly captures the sadness and shame of a child when they have done something wrong. For the most part, I was pleased with the way Fellini paced this film, as it goes around focusing on each member of the group during one sequence, and not really stuck with one character and dragging the film. The film does have it's slow moments, but it's not abundant enough for me to really whine about.The film's directors of photography were Carlo Carlini, Otello Martelli, and Luciano Trasatti. I am not sure why the film had three cinematographers but nevertheless, they did a very good job. The film's photography doesn't break any new ground but it succeeds in capturing the mood of the film. They keep the film looking light with shots, even during the night, appropriately lit and not being overwhelmed with shadows. Even the darkest moments in the film, don't feel and look melancholy. I think most of the film's outdoor scenes are shot on location, and even if they're not, they looked beautiful. Shots like when they were standing on the boardwalk together or when they were walking in the beach, was mesmerizing. The film's last scene was technically done so well that I almost wanted to stand up and applaud, it includes multiple tracking shots representing the train's movement away from the city and the important people inhabiting it.The film's score was handled by Nino Rota. Rota was an amazing composer and he has created some of the most memorable scores of all time. He has worked with a couple of Fellini's films and he has also notably worked with the great Francis Ford Copolla. Rota's score for I Vitelloni was fantastic as it seems to combine both a mature and youthful sound. It connects with these men's lives and the transitions that occurs during the end of the film. He also successfully establishes the tone of the film with his score, with positive upbeat and light tunes. The heartwarming and endearing moments of the film were so impactful because of Rota's score. His work for this film really made the film much better than it already is.The film's acting was top notch, with great performances from Franco Interlenghi and Franco Fabrizi. They carried the dramatic weight of the film, and most of the film's development and focus is on them. If they didn't do justice with their characters, then the last 20 minutes of this film would have been unrewarding. The rest, Albert Sordi, Leopoldo Trieste, Leonora Ruffo, and Jean Brochard, were also great in their roles and they give their character enough personality for them to pop when they come on screen. Though their performances aren't on the same levels as Interlenghi and Fabrizi, they still were noteworthy.I Vitelloni may not be regarded by many as his best work, but one cannot deny that this is a very well made film filled with great acting performances, a delightful and wonderful score, noteworthy photography, and an excellently written tale of trapped youth. It has the potential in the future of being included in my list of Great Movies.
Vadim D (br) wrote: The camera work and perspective is unique, but the film is full of dialogue that is neither entertaining nor engaging. Save for some expressive looks and eyebrows of Audrey Totter who gives a great performance, this movie is thin on the noir or entertainment.
Geoff C (au) wrote: I can appreciate the film as far as it was the first real divergence in Kevin Smith's career from straight up comedy. But it isn't his best. Tusk is his better Thriller. I didn't care for how the film started and I didn't care for how it ended. The stuff in between the beginning and the end.