The twenty-something Betty comes to a remote small town and strikes a friendship with the fourteen-year old local girl Lea, who is fascinated by her new friend's tales of partying and living in the fast lane in the big city. Betty has ulterior motives for befriending the young girl, however.
- Stars:Carina Caputo, Charlotte Legault, Eliane Gagnon, Patrice Dubois, Marie-Frédérique Ouellet, Thomas Michaud-Morin, Mathieu Bossé, Sébastien Ouellet, Audrey Turcotte, Carla Turcotte, Audrey Caron-Lavoie, Marc-André Roy, David Sirois, Christian Bajouet, Isabelle Demers,
- Director:Rafaël Ouellet,
- Writer:Rafaël Ouellet
The twenty-something Betty comes to a remote small town and strikes a friendship with the fourteen-year old local girl Lea, who is fascinated by her new friend's tales of partying and ... . You can read more in Google, Youtube, Wiki
Behind Me torrent reviews
(fr) wrote: Ewwwww... Can't really recommend this one. It's too much, even for me.
(it) wrote: Great story with a great cast that entertained me throughout the film. Great ending as well. 4/5
(nl) wrote: haha lol ajay's dialogs were hilarious!
(gb) wrote: Un des meilleurs films policiers desannes 90. Chef d'oeuvre d'une noirceur rare.
(jp) wrote: Escape From Sobibor is one big explosive moment. It's about the only successful escape from a concentration camp during the Holocaust, and everything that happens, is said or is done has a direct connection of few degrees of separation. It is two hours long, but the beginning, middle and end flow into each other so completely, the tone so consistent throughout, that we hardly do any thinking back to what happened before. Perhaps it's more a series of pay-offs than any build-up, but then maybe I'm wrong.During October 1943, members of the camp's underground resistance succeeded in covertly killing eleven German officers and a number of Ukrainian guards. Of the 600 inmates in the camp, roughly half escaped. The escape forced the Nazis to close the death camp, dismantling it and planting a forest. And in this concise, streamlined dramatization of this episode in world-changing, paradigm-shifting war, a universal struggle for survival, it's as if all the scenes are the cells composing a body. Each one is clear-cut and specific, reaching a different purpose, but they all rally to cohesion. Transitions occur by shifting time, space, perspective, creating a streaming feeling, avoiding dull or unexciting moments, not that there are a whole lot of those in a concentration camp. The editing, invisible as it is, as editing must be, has a lot to do with the film's impact. It's cut based on time, using the visual composition of each shot, increasing and decelerating the speed of the metric cuts in relation to suspense, which is ceaseless.Escape From Sobibor is not like other TV movies so much in the mawkishness department. It has narration, which I should say in bold print to be sure, but it's never quite redundant. It actually strengthens the movie's cohesion, further encapsulating the events, or event. And the acting is never too far over the top. It just seems that every actor, familiar or not, nobody standing out more or less than anyone else, makes their own choices, director Jack Gold letting himself basically be border patrol for them while they do what takes the most mental interest for them. Alan Arkin and Rutger Hauer are a heroic duo I probably wouldn't have thought of myself, and they're an interesting, engaging pair.
(jp) wrote: I am baffled by learning about Ermanno Olmi's "The Tree of Wooden Clogs" winning the 1978 Palme d'or at Cannes, but not surprised. It's one of those pretentious films ("Satantango," "The Decalogue") that disguise themselves as profound on the outer surface, yet are incredibly hallow underneath. It's set in the late 19th century, covering the everyday activities and traditions of poor peasant families. I have no issue with a director doing this, if only he is able to involve the viewer. I actually come from a farming family, so I admired the landscape images, the farmers planting, telling stories to their neighbors, etc. Olmi uses non-actors and they all perform exceedingly well, particularly the young charming bride. However, the director does absolutely nothing else! We are introduced to several characters; right when you think there will be a relationship explored densely, the camera moves to another person and so on. I would have loved to have seen the innocence and love behind the young bride and her husband, but we never get to see it or anything else for that matter. It's only crafty in its visuals and the way it goes from one character to another. There is an incredible lack of emotion; the director is playing hide n' seek with the viewer, he gives us a bit of hope and then deprives us from it. If people want to see a moving picture that uses non-actors so well and is enormously affectionate while capturing the innocence of children, I suggest a young Kiarostami's "Where is the Friend's Home?" Olmi clogs the viewer's eyes and heart.
(es) wrote: Very funny, well written screwball comedy. Howard Hawks directs Grant and Sheridan in a piece that skirts sex so carefully that its at the forefront of everyone's mind the whole time. The hilarious unlikely romantic chemistry between Grant and Sheridan is splendid from the very beginning. Their spiteful courtship is as charming and the best of all screwball romances. It culminates in a clever farce satirizing the red tape in political systems and loop holes that aren't as conveniant as they seem.
(it) wrote: Yes Man is a disappointing film. It is about a guy who challenges himself to say "yes" to everything for an entire year. Jim Carrey and Zooey Deschanel give terrible performances. The screenplay is badly written. Peyton Reed did a horrible job directing this movie. I was not impressed with this motion picture.