Car Fairy Tales is a feature-length animated film comprising five 14-minute tales. Each episode has a different production designer and director.
- Stars:Yves Adrien, Lio, Edwige, Aurélie Benchekri, Antoine Capet, Mathieu Chausseron, Sabine Noble, Joris Larochelle, Igor Bares, Lucie Bílá, Hynek Cermák, Eva Holubová, Jan Hrabeta, Pavel Kikincuk, Pavel Liska, Michal Malátný, Petr Nározný, Martin Pechlát, Viktor Preiss, Miroslav Táborský, Ondrej Vetchý,
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Adam J (ag) wrote: Dull and plodding. Fanciful concept sadly amounts to very little.
Donna M (au) wrote: I enjoyed it, lighthearted and humorosL
Paul D (es) wrote: Ambitious reworking of Othello, but less than compelling despite a nice artistic direction.
Amanda D (ca) wrote: I found this hard to follow
Camille L (br) wrote: Flyboys est un film de guerre qui parle de pilotes amricains dpchs dans l'Escadrille Lafayette. Cela devrait tre intressant si seulement le film ne durait pas deux longues heures et quart et si seulement les acteurs avaient tous t du calibre de Jean Reno, plutt pas trop mal ici. A la place, James Franco, Martin Henderson et les autres acteurs principaux (quasiment tous inconnus) sont extrmement mauvais, l'action franchement rptitive et les CGI dgotants. Flyboys est un film bte, long et ennuyeux, trois dfauts assez rdhibitoires, vous en conviendrez.
Mel V (nl) wrote: [I]Andy Goldsworthy ? Rivers and Tides: Working with Time[/I], winner of the Golden Gate Award, Grand Prize For Best Documentary at the 2003 San Francisco International Film Festival, follows Scottish artist Andy Goldsworthy engaging in the creation of ephemeral sculptures from natural, preexisting materials in England, Scotland, Japan, Australia, North America, and even the North Pole. For Goldsworthy, art isn't static, frozen in time, but instead, dictated by changing weather and light patterns, and most importantly, the passage of time. In Thomas Riedelsheimer, the director and cinematographer behind [i]Rivers and Tides[/i], and in Fred Frith, the documentary's composer (himself known for his experimentalism and association with John Zorn, among others), Goldsworthy has found collaborators to perfectly complement the exploration of his artwork. Most of Goldsworthy?s sculptures disappear with the tide or, more slowly, with the changing seasons, dissolving back into the natural world, often leaving no trace of human intervention behind. Goldsworthy chooses to create his ephemeral artwork not in an art studio, but in open fields, beaches, rivers, creeks, and forests (he does, however, photograph his work, paradoxically saving his artwork in a secondary media). For his material, Goldsworthy uses sheets of ice, icicles, snow, driftwood, bracken, leaves, flowers, stones, and sand. For his tools, Goldsworthy uses his hands, unencumbered by gloves, even in frigid, unforgiving conditions. Goldsworthy?s unique approach to sculpture requires an inner awareness and outward manifestation of the connection between art and nature. Goldsworthy rarely works inside an art studio, instead preferring to meld personal expression with nature and natural, sometimes austere, landscapes and bodies of water. His ephemeral sculptures reflect, above all movement, flow, or the potential for movement and renewal. Almost as importantly, by removing the artificial separation between art and nature, and therefore between human creativity and nature, Goldsworthy reproduces the original, primal aesthetic impulse in creating art, of form not just divorced from function, but transcending function into visual, poetic, and spiritual metaphor. Thomas Riedelsheimer films Goldsworthy as he creates his sculptures in often-harsh, outdoor conditions, opening with Goldsworthy at a frozen, winter-time beach, attempting to create a guardian-like sculpture out of loose rock (Goldsworthy metaphorically refers to one, repeating sculpture as a pinecone, due to the similarity in shapes, and the potential for life hidden inside the pinecone). With the tide hours away, the sculpture collapses, not just once, but several times. Goldsworthy expresses his frustration at being unable to complete his sculpture in time, but he also recognizes that his work occurs at the ?edge of collapse? (an idea he returns to several times during the documentary). Finally completed, the incoming tide overwhelms the stone sculpture. Unlike his other, more ephemeral work made from fragile, natural materials, however, the stone guardian returns with the next, outgoing tide. According to Goldsworthy, the stone guardians act as markers on his personal and professional journey as an artist. The stone guardians are also reminiscent of stone cairns, collections or piles of stones used along mountain paths across the world to mark a specific location, but more meaningfully, as makeshift memorials for the dead. Later, again working against the incoming tide, Goldsworthy struggles to build a giant nest-like sculpture (a local describes it as a salmon hole) from driftwood on a beach near swirling tide pools. The driftwood is arranged in an open-ended, coiled spiral, a spiral that reflects both upward movement and the swirling movement of water inside a tide pool. After Goldsworthy completes the sculpture, the camera follows the spiral sculpture as the incoming tide first lifts the nest sculpture from the wet ground, and then carries it around a bend in the river, to re-integrate the materials used to create the sculpture back into nature. En route to Nova Scotia to complete a commissioned work, Goldsworthy talks uneasily about his dislike for traveling (he lives in Scotland with his wife and four children on a sprawling estate). For Goldsworthy, traveling creates a sense of disconnection, not just from his family, but also from a deeper sense of rootedness, contained in his relationship with nature. Once in Nova Scotia, Goldsworthy uses a large stone outcropping as his base, and then uses ice and icicles to create a sinewy trail of ice that appears to disappear and reappear inside the stone. The dawning sun briefly illuminates the new hybrid stone/icicle work, moments before the sun?s rays melt the ice from the stone, dissolving the sculpture into time and memory. The documentary next examines another commissioned work, the Stone King Park in upstate New York. Here, Goldsworthy designed the work, a giant, snaking, stone wall that wends its way across a forested landscape, interrupted only by a river and dirt roads. Due to the size of the project, the physical work was subcontracted to local stonemasons, with Goldsworthy acting in a supervisory role. At completion, a camera installed on crane travels along the length of the stone wall, then rises to tree level to offer a fuller perspective of the interaction between the wall and its natural surroundings. Riedelsheimer also employs an overhead, birds-eye view, via helicopter, that rises into the sky, further delineating the contours and breadth of the stone wall. [I]Rivers and Tides[/I] concludes with two, overlapping segments: the first follows Goldsworthy as he collects red, iron-rich stones, crushes them using another rock as a pestle, and releases the red-ochre powder into a moving stream, a waterfall, and into the wind, generating dense, abstract patterns of light and color; the second, teleports Goldsworthy to a wintry landscape as he throws pockets of snow into the wind. Even in the simplest of actions, resembling nothing more than the actions of a curious, if perceptive, child, Riedelsheimer seems to suggest, Goldsworthy?s creativity connects him inextricably, reverently to the natural world.
Andrew T (us) wrote: who knew the sex industry could be so boring? it's not, but this movie is! some great porno lines, good characters, acting is suprisingly good (except the main pussy, sean), but fuck the story is dull and the moral is... well, moral
Gerry S (ru) wrote: IT"S COWBOY, I HAVE TO SEE IT!
Gracia A (br) wrote: 1/2 star for the shirtless, semi-naked kellan :D *normal girls and gay guys will surely understand!*for its story? meh! a total zero.where should I begin? oh yeah, the storyline... it is waaaay tooooooooooo superficial and lack plausibility. Sultana? what the fuck is Sultana? kind of nut? nevermind, this movie isn't really worth reviewing
Arthur T (ru) wrote: need to see it 2 times
George O (us) wrote: If you're a fan of the television show it's based on you'll love every part of this film. The jokes are cruder, the characters you know and love are just as perfect as ever. The style of comedy is not for everyone but if you're a known fan of Jack Whitehall, you'll love what this film has to offer.