Barbie Presents: Thumbelina

Barbie Presents: Thumbelina

Meet a tiny girl named Thumbelina who lives in harmony with nature in the magical world of the Twillerbees that's hidden among the wildflowers. At the whim of a spoiled young girl named Makena, Thumbelina and her two friends have their patch of wildflowers uprooted and are transported to a lavish apartment in the city.

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Barbie Presents: Thumbelina torrent reviews

TheIan E (jp) wrote: Great Documentary about special effects make up.

Ian E (fr) wrote: Derivative and lacking any real adventure, "Brother Bear 2" is entertaining fluff, but one should see its just filler.

Dillinger P (mx) wrote: Johnny Depp is a bit of a strange actor, i dont just mean in the sense that he takes on rather flamboyant or eccentric characters, but he also lacks consistancey in his movies. Sure pirates was awesome, fear and loathing was hilarious and edward scissor hands was a downright master performance. He has somewhat also had his fair share of lows, most of his latter catelogue with Tim Burton and Gore Verbinski, not to mention his box office failures like the tourist. However, when on his A game, he provides sterling performances again and again, always stealing the show and always committed. Here in Secret Window however his performance is rather blase, which when attached to much of the same towards the rest of the movie, makes for a rather boring, non frightening and forgettable show all round. The story follows Mort, a writer who appears to have had a troubling year. Flash forward 6 months and he is in the middle of a divorce, resided to a cabin in the middle of nowhere and having the worst case of writers block imaginable. One day he is visited by an ominous man called Shooter, claiming that Mort stole his work, baffled as Mort is, he soon finds himself locked in a dangerous game, where more than just Mort's life is a stake. Based on the Stephen King novel, by the same name, it plods along, with very little tension or purpose. The opening act is brutally sluggish and drags for an age, thats even with an acceptable performance by John Tutturo playing Shooter, his performance, in a pretty decent cast line up, is the best the movie has to offer. The rest of the film, continues to fall apart after that and before the end, were dissinterested and sick of what were seeing. Depp, is okay as the struggling writer, pulling off some form of a performance, its not his best though, it feels almost lazy. Tutturo does well but hardly has enough screen time to really make his encounters memorable. Maria Bello is pretty poor as Mort's ex wife and Charles Dutton seems likes hes just reading from the page most of the time. Your not gripped as an audience member. That being said, there are a few nice ideas littered throughout to spark off the occasional emotion. The finale, as stupid as it seems, actually has the skeleton of something rather frightening, it doesnt achieve the level it should but at least the thought was there. The camera work is extremely commendable, with some fluid and well planned out shots, weaving continunally not really allowing your eyes time to rest. The score by Philip Glass is pretty decent also, giving a specific feel which is extremely under utilized in this entire outing. The movie lacks any real scares, coming most from jump scare, which is downright lazy and unappealing. The pacing is horrid as well, the film feels half an hour longer than it is and with zero tension thats a massive problem. Having a great cast and a good looking movie wont make your film and thats what this film suffers from, its not given enough care and attention, the source material feels left at a distance, the characters even more so. Yes there is the occasional comedic moment or bizarre encounter but it ends up being all for nothing in this completely okay film. Thats alll i can really say, its not horrendous, but its as far away from a work of art as you can get with the talent involved. Missed opportunity.

Nicki M (au) wrote: Good thriller. Got to admit, it doesn't quite hold up 17 years later, but always liked and still quite enjoy it. The setting of the house is so beautiful. I can tell I'm getting old as it's my first time to fully appreciate that. Haha.

Peter S (ag) wrote: Stunning scenery, great R. Lee Ermey, cool 1977 Cadi Eldorado.

Ava H (ca) wrote: Incredible plot, many flaws

Millo T (ru) wrote: Wonderful, dreaming movie, about the illusions of two young people, and also about how they were affected by Vietnam war. Wonderful work from Alan Parker, who uses again the music as a wonderful instrument, but is also great about developing the story and the shots.

Matthew D (ca) wrote: Interesting film, with great actors and actresses. Worth watching, bets, crushes, love the whole nine yards

Blake P (es) wrote: I've always wanted to live in the shoes of the self-congratulating extrovert, the kind who seems to have an endless number of friends but, in reality, goes from person to person depending on how enticing an offer is, looking at people as pastimes but not ... people. What keeps them awake at night, what their fears are, we can hardly tell: they seem to have it all, being the most-talked about and most well-liked person in the room that, oddly, no one actually seems to know. What is it like being a charismatic user? As an introvert who oft cares too much, the characteristic fascinates me. One such self-congratulating extrovert is "Sunday Bloody Sunday's" Bob Elkin (Murray Head), a bisexual artist carrying on affairs with Daniel Hirsch (Peter Finch), a Jewish family doctor, and Alex Greville (Glenda Jackson), an employment office worker reeling from a recent divorce. To Daniel and Alex, Bob is a real-life Jesus, a youthful free-spirit easily able to heal their self-doubts and everyday frustrations. But to Bob, Daniel and Alex are different kinds of delicacies, appetizing only when the mood is right. They're good times, not individuals with feelings. The second things begin to become real, he drifts to the other. Daniel and Alex know of one another, and are aware that Bob is using both of them, but, being middle-aged and lonely, they'd rather continue lying to themselves that their affair is one of love to feel whole. How much longer they can continue to be pieces of meat to be snacked on during times of hunger they aren't so sure; but the idea of being alone once again is far too terrifying to admit. "Sunday Bloody Sunday" is a coercive character study, one so subtle that we have to find deeper meaning within ourselves, to feel Daniel and Alex's pain through empathy and not bouts of overacting. Schlesinger's direction, choosing understated moxie over explain-it-all, wishy washy artifice, lets human emotion speak for itself. Like in people we'd find roaming around the streets, announced misery is not something to expect; to look into the eyes, the mannerisms, of such individuals is far more revealing than wholesale melodrama. Released at the beginning of the 1970s, among the finest decades in film, it is one of the many cinematic works of the era that chose to make something extraordinary out of the ordinary, not something ordinary out of the extraordinary like so many pieces released decades prior. It is also particularly seminal for the way it treats homosexuality and bisexuality, which are not presented as taboo but rather everyday - sexuality is unspoken, never alienated. Daniel is a successful doctor who isn't much bothered by his sexual orientation; Bob is not defined by who he sleeps with. Because of the film normalizes these features and therefore does not make them focal points, we find ourselves watching a character study regarding desperate loneliness, not out to break any walls. We are enticed by the way it questions how people act when faced with crippling solitude, who they're attracted to less than important. And that, for being released at a time where anything culturally out of the ordinary was pushed aside, is a major accomplishment. But I was most taken aback by the performances, the actors so in touch with their characters that we can identity their personal demons with the ferocity of a clairvoyant. Finch is sensitive and slightly eccentric as a man oppressed his entire life; his character's relationship with Bob is not pulsing alive with love, instead working as representation of one of the few times in his life where he hasn't had to hide who he truly is. Jackson, as authoritative and articulate as she is vulnerable, provides her character with stark acuteness that proves that Alex is so in love with being kissed, being slept with, that she'd rather ignore reality just to have the sensations continue. Quietly villainous, Head convinces in the way his character is thoroughly unaware of his narcissistic ways. There is no climax in "Sunday Bloody Sunday," and there is relatively no designated plot structure to speak of. It burgeons on the complexities of human relationships, sexuality, and the lurking torrent of the mid-life crisis - it creeps up on us, its emotional impact huge but nearly silent.