Ayn Rand: A Sense of Life

Ayn Rand: A Sense of Life

Ayn Rand was born in 1905 in St. Petersberg, Russia. She escaped to America in 1926 amidst the rise of Soviet Communism. She remained in the United States for the rest of her life, where ...

Ayn Rand was born in 1905 in St. Petersberg, Russia. She escaped to America in 1926 amidst the rise of Soviet Communism. She remained in the United States for the rest of her life, where ... . You can read more in Google, Youtube, Wiki

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Ayn Rand: A Sense of Life torrent reviews

Matt G (br) wrote: This fully entertaining little midnight movie is silly and gross fun, with dialogue and characters that are funnier and better than they have any right to be. This story of a werewolf law-enforcer manages to make even the ubiquitous transformation scenes inventive and terrifyingly visceral, all the while keeping its tongue firmly planted in its cheek. Stupid mystery plot proceedings notwithstanding, this is a gory (and I mean GORY) good time.

Joe W (ca) wrote: a amazing intense scary movie with a good ending

Justin W (us) wrote: I could not warn you enough to stay away from this movie. Horrible acting, horrible camera work, horrible effects, and worst of all, a pointless, convoluted script, that in the end, comes to no actual conclusion. Left me feeling like all the stories needed about 5 more minuets to wrap them up that never happened. Only pick this up if your looking for something to get wasted with friends and make fun of, cause thats about all its worth.

Sulak A (au) wrote: Interesting premise but very poorly acted and terribly executed. A Harry-Potter-meets-Lord-of-the-Rings story.. with Abhishek Bachchan as the Harry-Frodo combo. He has just 2 expressions in the movie... before he discovers he is Drona he has the "poor me, 6 feet tall with a beard, motherless child me!" and after he discovers he is Drona he has the "poor me, 6 feet tall with a beard, where's the nearest toilette, i can't hold it anymore" expression. Drona is protector of the secret to immortality and Priyanka Chopra is Drona's protector. Priyanka is the only saving grace of this horrible movie in her wanna-be-Xena-warrior-princess avatar.Production values are so tacky it's unbelievable. School plays have better sets. Crores of money has apparently been spent on this piece of crap but its hard to tell where ... unless these morons imported all that sand from Egypt!!Total waste of time and not worth even the DVD rental.

Jayden B (au) wrote: Three and a half stars.

Tim C (it) wrote: Liked the first, thought the second was bad, might as well finish out the trilogy some day.

Blake P (it) wrote: Dr. Margaret Ford (Lindsay Crouse) has it all. A world famous psychologist, she has recently become a best-selling author for her acclaimed self-help guide; money visits her bank account like a pestering pack of termites. Most would find her status enviable, but an inscrutable discontent jangles around in her psyche on the daily. She chain smokes not out of enjoyment but out of boredom, as if it's the only sort of release she finds in her comfortably mundane life. A rush of adrenaline comes out of nowhere one afternoon when a young patient admits that his pressing anxiety is not a matter of mental health but of fiscal responsibility. A compulsive gambler, he owes a sinister figure named Mike (Joe Mantegna) $15,000. If he fails to meet Mike's demands, his short life will end with a quick blast and a shallow grave. He's terrified. Seeing opportunity to further her psychiatric knowledge, Margaret decides to take matters into her own hands and confront Mike at the House of Games, a gambling joint stationed in the seedy part of town. Dressed sleekly and clutching her cigarette like a gun, she looks like a femme fatale hungry for an entree of trouble - and, during her consequent meeting with Mike, she maintains an authoritative confidence sexy in its feral sharpness. But Mike isn't impressed by her viciousness, maintaining that her client only owes him $800. So he cuts her a deal: if she assists him during a game of poker, spotting for nervous ticks and catching the bluffs of his main opponent, he will pretend as though her patient's debts were never owed to begin with. Margaret, turned on by the new excitement of the situation, agrees but ends up getting more than she bargained for. After the game ends and her bluff spotting fails, she, reluctantly, is forced to cover for Mike and write a check for $6,000 to his violent rival. Not so fast, though: before she hands the dough over, she notices water dripping from the gun of the adversary. A fake. The entire plan, you see, was a ploy. A con man of the highest intelligence, Mike, in reality, was planning to grift her out of thousands, everyone in the room a part of his slick team. Rather than hold contempt for the man, though, Margaret finds herself erotically infatuated with his level of cerebral strength: the thrill of the con is exactly what her predictable life needs. She begs for more, to become a part of Mike's tricky world of double-crossing. He agrees - but it doesn't take long for the normally icily confident psychologist to find herself way in over her head. "House of Games" is the kind of movie you have to continually remind yourself to pay close attention to, as one quick diversion can completely spoil an eventual twist in the mind games. The repeated cases of whiplash in the plotting are far too ingenious to miss out on. Most grift central films are glittery cases of shimmering fuckery, wrapping their convolutions in packaging so keenly stylish that sly thievery suddenly holds a sort of vogue nonsense too good to be true. But "House of Games", like the best of neo-noir, centers itself in a dark world of Lichtenstein paintings without pop art cheer; we are always aware that danger is lurking in every corner and that everything on display could be part of a complex con. Not once do we feel at ease during its cool 101 minutes - we feel as though Mantegna is pulling a fast one on us once again, that the at-once brilliant and nave Crouse is going to get duped after a stretch of psychiatric safety. The smarmy smoke-and-mirrors attitude of David Mamet, a then-exclusive screenwriter making his directorial debut, is so terrifically confident that he becomes the ultimate con man - if he weren't such a gifted writer/director, he easily could have found his calling tricking wealthy old widows out of their fortunes. The clipped diction of his writing would seem stilted if placed in the hands of an unknowing filmmaker - so dependent on italics and extended metaphors is his screenplay that his actors don't so much act his lines out as they do become them. Mamet is more concerned with the mind games that come along with the plot twist of a con, and so the dialogue, a wily combination of street punk toughness and intellectual zing, makes every situation metamorphosize into something more subversive and more literarily minded, modern art infused into the devious mind of film. Mamet views linguistics as if they were a weapon, not a way to emotionally express one's self. "House of Games" is a psychological series of cat-and-mouse, seduction chasing our common sense away as we find ourselves in the wrong over and over again. Deception isn't normally a fun pastime in the film industry, but Mamet is a master of deceit; we want him to play us like a piano. The excitement never ends - "House of Games" is a masterpiece of the plot twist.

Tor M (us) wrote: This Czechoslovakian piece is probably on my top 10 weirder films list. We witness two young girls "go crazy" when they decide to become bad together. Most of all this film is very playful and avant-garde. The cutting, the colors and the music is one experimental package and it works out really well. The scene with the phantom camera on the train is amazing, especially being completely analog. It's psychedelic but also political and that combination is interesting. I find it a bit hard to grade. It's not a materpeace nor a bad film but there are more positive elements within this film than poorer things. Either way it's definatly something unique.

Sean C (nl) wrote: Noel Coward has the charisma of a mule.

Paul C (nl) wrote: Romantic comedy set among the New York horce-racing and breesing set. Crackling chemistry between Gable and Harlow and fine support from Barrymore and McDaniels. Sadly Harlow's last film, but a worthy legacy.

Taylor T (kr) wrote: I don't understand how this movie is so popular with the audience. And I don't even understand why many people like this overrated film. This movie is a plastic mess, characters dull, directing is bland, action-performances were terrible and presentation is "too many shiny things". But by far the worst thing about "National Treasure" is its nonsensical farce of a plot. There is something that you don't understand everything in this film. It's not a good movie by any means.

Dianna K (de) wrote: My draw to this movie was the incomparable Mr. Pacino. Love and regret are always potent topics and the emotional depiction was unsatisfying...for me. I think I needed to know more about Clara to have more empathy for Mangelhorn. Loved the restaurant scene and Holly Hunters reaction to being invisible to this man. The rejection was palpable. And a great performance by Harmony Korine.