The story of one man's triumph over adversity: cameras followed the comedian on a very stressful comeback tour and caught the story behind some of his best loved material en route. Prior to his Sexie tour in 2003 and under extreme pressure to write, he delved into his own life for inspiration. So began an accidental voyage into his past that paralleled his world tour and culminated in a moment of revelation about the source of his relentless drive. Film contains exclusive never-before-seen footage including the famous 'wolves' material, his first student sketches and unicycle-riding as a street performer in Covent Garden. Hilarious and moving by turns, an inspiring tale of how tragedy can be turned to laughter.
Chronicles comedian Eddie Izzard's rise to fame from early influences - losing his mother to cancer at a young age before being sent with his brother to boarding school - to his close relationship today with his father. . You can read more in Google, Youtube, Wiki
Brandon A (jp) wrote: Beautiful in nearly every technical aspect, plus songs, but so vapid and predictable it would have been painful to watch without the decent sounds and sights.
Spandana S (mx) wrote: it's avg and good at comedy
Paul W (mx) wrote: Another South Korean thriller from the director of The Chaser, the 2008 movie that turned me into a Korean film addict. Initially I wanted to rate this the equal of the first, a four-star movie (which is about as high as I ever go), but in the second half of The Yellow Sea the violence becomes unrealistic: no one, not even the brutal Myun, could possibly survive so many knife stabbings and axe cleavings (but hey, watch any Bruce Willis action flick and you'll say the violence here is far more realistic). Apart from that small objection, everything here is fresh, authentic, and absolutely gripping. It's like the Koreans are starting over from scratch, making movies without all the Hollywood crap. Great acting, great story, great old-fashioned film-making. I want more. Finally, a word of warning: if you see a Korean gangster with a bloody great ox femur in his hand coming at you, run!
Anna S (nl) wrote: I had to put myself through this movie as I love anything to do with sharks.... but this was bad... really bad! Directing a low cost production can't be easy I'm sure, but good god this is awful. It is too long, the sharks are not scary, there are no thrills. The characters are one dimensional, boring, and poor acting is sprinkled all over this disasterpiece. Daryl Hannah also has some seriously weird lips that is a reminder to not get plumping or surgery. I can't get my time back that I wasted watching this, so take my word for it and skip it so you don't waste yours.
Cameron M (au) wrote: Good concept, bad story, mediocre acting.
Daniel P (de) wrote: The performances are so bad it's hard to watch the movie at times, the characters are silly, and the plot is simplistic. Basically, this is just not a good movie.
Private U (au) wrote: Que despedida de soltero!, recomendada si la encuentran, y si es en DVD la compran y me la regalan ;)
Casey N (de) wrote: This is a really scary Movie ! Ally Sheedy is buried alive !
Daniel R (br) wrote: My guilty pleasure film! Lol. Okay, I know... This film is my guilty pleasure film. Lol.
Darren B (it) wrote: don't get it? probably not. watch the interview for some insights into this genre. and yeah, it's from the early 80s, not some recent "Ichi the Killer" flick. If you understand that, than this is a pure art porn campy romp.
Eric B (ca) wrote: "The Mother and the Whore" is a black-and-white, French-language film which lasts over three and a half hours and consists of nothing but intimate, two- and three-person conversations.For most people, the above is all they need to know. Enough said -- forget it! But for more patient viewers, Jean Eustache's career-defining film may prove fascinating. Even if the scenario is hardly the stuff of epics.Alexandre (Jean-Pierre Leaud) lives with Marie (Bernadette LaFont). They love each other, but have a warily open relationship. This means she allows him to chase other women (including Gilberte, a past lover who deceptively seems like a main character at first), but not without dragging him through a testy quarrel. Marie has a dress shop, and it's implied that dandy Alexandre casually lives off her earnings. She ("the Mother") indulges him like a child, and even seems to pick out his clothes.After a final farewell to Gilberte, Alexandre yearns for consolation and quickly spots glum, black-clad Veronika (Francoise Lebrun) in a cafe. He pursues a relationship with her too. Marie gripes as the bond deepens and he spends more time away from home, but she always ends up forgiving him. Eventually, the two women accept each other and even become friends, but one watches the film wondering if it's building to some extreme jolt (perhaps like the similarly lengthy "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles").Obviously, this is a movie about character rather than action. Alexandre is a typical Leaud vehicle: anxious, delicate, boyishly charming and full of self-indulgent ramblings. There can't have been many film roles which include more lines for one actor. He talks and talks and talks, until his companion smiles at his sheer energy. In contrast, Veronika is more quiet and blank-faced. A chain-smoking, heavy-drinking nurse who dresses and styles her hair to minimize her beauty, she has slept with numerous men but draws no real pleasure from it. She discusses sex and her tampons in an oddly frank, nonchalant way. But in a climactic monologue which spans several minutes, she breaks down and tearfully insists that sex is meaningless unless it's for love or procreation. She does say she loves Alexandre, but it's not clear why she should.Marie is the least defined of the three. She is grounded, intelligent and responsible, and represents "home base" for Alexandre. She's rarely seen outside of the apartment they share, and many of her scenes with him have a similar arc: She vents some cutting comments about his infidelities, then abruptly brightens and exchanges a kiss or affectionate line. At one point, she says "You assh*le, you know I love you" -- this just about sums up her half of the relationship.A few other friends pop into the story (here's where the film could be edited), but the bulk of the action revolves around Alexandre, Marie, Veronika and (early on) Gilberte. And this is a post-New Wave work, so of course the dialogue is loaded with nods to other film names including F.W. Murnau, Charlie Chaplin, Marcel Carne, Robert Bresson, Fernandel, Nicholas Ray and Jean-Paul Belmondo. Meanwhile, there is no score at all, but Alexandre's beloved record player supplies diegetic music from Marlene Dietrich, Edith Piaf, Offenbach, Mozart and others (while enjoying the tunes, Leaud also reveals that he happens to be quite a good whistler).Director Jean Eustache committed suicide in 1981, and unfortunately completed just one full-length feature and a few shorter films after "The Mother and the Whore."
Joe S (ru) wrote: Super ending- the quietest and most devastating arrest scene I've ever seen. HItchcock minus the pyrotechnics.
Mrs C (it) wrote: I recall this movie from my childhood and would be curious to see if I still like it.
Robert H (au) wrote: I'm not a big fan of the Ice Age series but this film manages to entertain while putting together a relatively smart re-interpretation of some of the many Christmas traditions we celebrate on the regular every year. Not a bad addition to the regular Christmas movie watching rotation