Basic Tsukamoto

Basic Tsukamoto is a new movie of N/A. The released year of this movie is 2003. You can check list actors in this movie torrents, for example Paul Bartel, Rose Wood, Carol Saltus, Ida Hempstead, Liz Torres, Mike Sullivan, John La Fleur, Don Calfa, Pam Brazier, Roz Kelly, Ann Peterson, Sandy Light, Aaron Fire, Chuck Newman, Jeri Archer, Mikako Ichikawa, Shin'ya Tsukamoto. Movie' genres are Comedy, Documentary. This movie was rated by 6.7 in www.imdb.com. This is really a good movie to watch. Share with your friends and watch this movie together

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Download   Basic.Tsukamoto.2003.DVDRip.XviD DVDRip 36 43 699.63 MB
Download   Baring It All 2011 DVDRip XviD-NOSCREENS DVDRip 39 40 698.45 MB

Users reviews


Aaron B (nl)

An all-around decent film. Culkin gives a distinguished performance because he understands the dark humor and knows the right amount of emotion to put into a scene. Igby Goes Down is an example of how to put a star-studded cast to good use


Anna N (ca)

Horror = Not interested


Blake P (gb)

But it's a reminder that filmmaking can be, in any form, an exciting craft. It's perhaps too long and perhaps too giddy when it comes to symbolic representation. It has something in the way of comprehensibility, and features a cast more than willing to submit to their uninhibited director's instincts. "Wild At Heart" has a wild heart no doubt, but it works much better than some of Lynch's more indulgent offerings. Also stopping by are Willem Dafoe as a deranged criminal with an array of rotten teeth, Isabella Rossellini as a ratchet-blonde gun moll, Grace Zabrinskie as an aggressive, aging femme fatale, Sherilyn Fenn as a doomed victim of a car crash, and Sheryl Lee, as, yes, Glinda the Good Witch. In one scene, she covers her face in red lipstick in the wake of an increasingly guilty conscience; it could have been laughable, but Ladd makes the ridiculousness masterful in its delivery. Ladd, in a fantastic performance, is a hoot, taking the nastiest components of the bitchy women from "Dynasty", "Dallas", and "Peyton Place" and undergoing an excessive onscreen breakdown. Cage and Dern are as over-the-top as any romantic leads could ever be, Cage taking breaks from metal concerts to lip-synch Elvis Presley's "Love Me", Dern going back and forth between vulnerable and thrill-seeking. How Lynch is able to do this, I don't know; this is one of his finest ensembles. More sensational are the actors; the movie calls for insanity, and they provide nearly all of it. Sure, a genre shift can be jarring, but this is Lynch (more specifically, a Lynch road trip) we're talking about; a sense of aesthetic coherence is a gift from the gods. The main characters are loose cannons, as are the individuals that haunt the small towns they face, so a jump from broad comedy to gory suspense doesn't feel very questionable. Road movies are places in which characters can ramble, where possibilities are endless; the unpredictability of his style is fitting, as tonal shifts manage to feel natural. The framework of a road picture, however, suits Lynch's style perfectly. In some cases, his films have had too many ideas to fit into the space of a normal movie, playing out as monotonous rather than provocative. This is what I've always admired about his work; even at his worst moments, he creates his own world out of all things familiar. Lynch doesn't so much make fun of cliches as he does boil them in acid, turning them inside out and making things once viewed as beautiful oddly freakish. It's one big satire, but it isn't. To be even more specific, it is a satire of Sirkian melodramas, Elvis movies, road pictures, middle-of-nowhere noirs. That was a conventional movie with a vivid way with words, whereas "Wild At Heart" is a satire of the archetypes given to the lovers-on-the-run subgenre. Reading the synopsis I've just written, I'm worried that I've made "Wild At Heart" sound too much like '93's "True Romance". Unleashed is a nightmare of crooks that sets out to destroy Sailor and Lula's seemingly unbreakable love, while Marietta, in the meantime, suffers a breakdown in the face of wrenching guilt. But this doesn't do as much good as she would like -in fact, it does the complete opposite. He witnessed a scandalous event from her past that could ruin her high society livelihood, so, desperate, she hires a hitman to rid herself, and her daughter, of any future harm. The two merely want some time alone to bathe in each other's company through sex, rock 'n' roll, and the freedom of the highway; but Sailor, a cursed individual no doubt, has provoked the psychotic Marietta. Cage and Dern are Sailor and Lula, young lovers on the run from Sailor's parole and Lula's crazed mother, Marietta (Diane Ladd). What follows is a sprawling tale of distinctive criminals and sordid romances, all set to the tune of the road, Elvis Presley, and "The Wizard of Oz". It begins so ferociously that we're immediately determined to figure out why our supposed hero feels so inclined to crack a man's skull in full view, even if the answer is somewhat ambiguous. "Wild At Heart" never gives us the chance to question our curiosity. But if you become lost in its incomprehensibility too soon, don't expect to find your way out of the rabbit hole. If its overwhelming strangeness captures your imagination right off the bat, it will, no doubt, remain beguiling. As is the case with all David Lynch movies, one can tell whether they will enjoy the film within the first half-hour or so. As we will soon learn, "Wild At Heart" is a fearless road movie, unafraid to be abstract, unafraid to shock. Is this supposed to be a scene of camp, or a scene of heinous savagery? Perhaps both, as the carnage is soundtracked by thrash metal and Dern's screams while still managing to disturb the living bejesus out of us. No, we don't know what the hell is going on, and no, we aren't given enough time to react. You, his eyes say. When his opponent is dead and gone, he can do nothing besides light a cigarette and viciously wag a finger at a Southern belle of a woman at the top of the stairs. The man pulls out a switchblade with a wicked grin, ready to slash - sensing danger on the premises, Laura belts out a screechy "NOOOOOOOOO!"; Nick, in the meantime, overpowers the villain, slamming him against the handrail, the steps, the floor, until blood and brains cover the area. You see, he has caught wind of a certain incident (allegedly, Nick attempted to have a tryst with Laura's mother in the bathroom), and has been hired to off him for the preservation of reputation. But a man stops them. We meet it at its exit, Nicolas Cage and Laura Dern trotting down the chandelier lit staircase in an effort to find some fun elsewhere. A party is going on. Guests only come inside for a glass of bubbly and a leather chair to reflect on. One can almost feel the rush of an air-conditioned breeze after a romp in the sun. Capital letters suddenly appear on the screen, announcing that the location of this swing music adoring home is in Cape Fear, somewhere near the border between North and South Carolina. The camera gazes upward at what appears to be the ceiling of a ritzy mansion, swing music frolicking in the background


Corey B (us)

Movie is basically Cage VS MacClaine and it is enjoyable as that


Cory T (jp)

If nothing else, it is superior to both The First Power and The Horror Show which overlapped the same premise. The Dudes of Wrath and Alice Cooper soundtrack guarantees the film is a heavy-metal guilty pleasure for headbangers and any opportunity to hear a tongue-wagging Michael Murphy shriek "eat shit and die you little fucker" is a succulent treat. Obviously, Shocker should be evaluated with a macabre sense of humor. The showstopper is a gonzo sequence where Pinker and Jonathan hopscotch through different programs from a Leave it to Beaver to a John Tesh newscast to a televangelist set. The flickering, low-res pixel version of Pinker was quite innovative for the time. It might seem that I'm deriding this film but actually I wholeheartedly recommend it. A necklace imbued with the omnipotent power of "love" is the only object that can defeat the electrified Pinker. Jonathan Parker (a vanilla Peter Berg) is a foster child who practically lives in an expensive suburban house all by himself like a Nickelodeon sitcom. Moreso than his other films, rationalization and logic hold no sway over the far-fetched writing in Shocker. Pinker spews sound bytes that could've been pun-intended catchphrases ("Take a ride in my Volts-wagen"). The lines between reality and REM sleep are blurred. The opening is precisely identical to his aforementioned franchise with a repair shop instead of a boiler room. Craven plunders wholesale from his Nightmare on Elm Street template. The boob-tube hypnosis and desensitization to cathode-ray-tube violence would've been a viable outlet for satire but Craven presumably abstains from social commentary for once. For what it's worth, Shocker is a rollicking, albeit cynically synthesized horror-comedy. However, Shocker nosedived at the box office and Craven couldn't capitalize on another Freddy Krueger. In a sidenote, it's an amusing nuance that Pileggi had to mimic the limp of a prepubescent girl who was possessed by Pinker later in the film because she filmed her scene before he arrived on set. A bald serial killer who worships at the throne of channel-surfing, Pileggi hops right on board the gargantuan overacting inherent in the role. Horace Pinker (Mitch Pileggi) was meant to be the next evolution in Wes Craven's horror odyssey


Farah R (ca)

But all in all, Becoming Jane showcases the untold tale behind the timeless love stories. The only defect would be casting Anne Hathaway as the beloved Miss Austen for her dull accent and inadequate acting projected negatively. A charming period drama if not the mother of all Austen's film adapted period dramas with its familiar pleasant visuals and exquisite costumes


Jamie M (kr)

Also has the ability to turn short films into 83 minutes of slow-mo with no action, a feat very difficult to accomplish. While Michael Thelin does have lots of experience, an interesting fact about him is that he still has yet to learn pacing


Jasrick J (us)

wont add any spoilers but, do one thing if you like Action, Comedy, or just love pure entertainment for 2 hrs go watch khiladi 786 and you won't be disappointed but do leave your brain at home!!!. Action and Comedy to the max is what this film provides. Akshay Kumar is back in Khiladi avatar an man is he damn good


Katie R (br)

It's interesting to see a version of this story done at this time period. Ginger's performance is really charming and excellent


Lucas Y (ag)

I like old school Sandler though so overall it worked for me. There are several stupid parts and jokes that fall flat. That's My Boy is not a well made film. Word is that's why he passed on Grandma's Boy. I really admire Sandler for making this knowing before that he was under contract not do drink or use drugs in films to protect his then family friendly image. If you grew up listening to the Adam Sandler CD's like me, you won't hate That's My Boy. Falls into that "so bad it's good" category for me