A young photographer is entangled in a terrorist plot against a right wing politician in an election campaign.
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Leon B (ru) wrote: Review:I'm really not a fan of Harry Hill so I wasn't looking forward to this movie. I'm not into his sense of humour and I really don't find his jokes funny. The movie was really silly and the storyline was ridiculous. It's about his long lost brother trying to kidnap his hamster, which gets more stupid as the story unfolds. The movie was what I expected, although I did singalong to some of the songs. Julie Walters put in a great performance, but it wasn't enough to save the movie. Personally, I was just glad when it was over. Terrible!Round-Up:If your into Harry Hill's TV shows, then you will enjoy this movie, but I couldn't stand it. It amazes me that movies like this can get a budget and get released in the cinema. I can't see how studios can get excited about a hamster puppet getting rescued by its owner. Anyway, Harry Hill has got his own audience which must have enjoyed this movie, judging by the money that it made. I just hope that there isn't a sequel because there are much better concepts out there that are struggling to get a budget or a studio to back them. Budget: N/AWorldwide Gross: 2.6millionI recommend this movie to people who are into the Harry Hill TV series and that like comedies about A puppet hamster getting kidnapped. 1/10
Brian R (fr) wrote: Great movie, Proves you would really do anything for family.
Jonathan P (it) wrote: Gasland is insightful and entertaining (which is a must for documentaries) and other than Mr. Fox's odd and slightly annoying accent (somewhere between redneck hillbilly and Yale Law graduate) was one of the better documentaries i have seen. Some of the footage of flaming water really makes you wonder and the lack of responsibility that the gas companies showed was enough to bring your anger to a boil. GasLand is a film that should be seen by all to get informed on a situation that will surely be covered up my those with money and those with votes.
Reylen J (mx) wrote: Memorable lines and a great take on life.
Vincent T (au) wrote: Petite comedie sympathique avec Jackie mais bien un peu trop long (2h10).
Paul M (mx) wrote: Those looking for an all out gore fest will be sorely disappointed as this is more of a low budget student art film dealing with the internal collapse of a group of student demonstrators/revolutionists. The first half is quite slow and hard going but this is just to catch you off guard when the second half kicks in to one of the most nihilistic and graphic films going.
Sylvester K (au) wrote: Don't ever watch it!
Tiberio S (de) wrote: I'm in the early stages of my Kurosawa journey, and to say that this is his best work so far is a spiritless understatement. As I will see, Takashi Shimura (Watanabe) is to Kurosawa what Jack Nance is to a David Lynch film, and where I'd left off at Drunken Angel with him concerning over another's disease, here he is now the afflicted one in a performance so emotionally riveting that it's transcendent. There's a moment near the end of the film where he's standing up to authority, and the way his eyes dart, fearful of the consequences but relentless in his pursuit, is so honest that it goes beyond what an actor embodies.In my journey thus far, Kurosawa has painted such a human portrait of Japanese culture that I often forget I'm watching a foreign film. I've learned that the culture is very much American, the music and dance, the attitude on the streets, prostitutes and gangs, singing "happy birthday" in English, certain words printed in public places in plain English. If Watanabe's suffering is evident enough by the bored way he sits there doing his work, or by how pathetically overwhelmed he is to nightlife, it becomes painfully clear when he starts for fall for a young girl who was inspired by him to quit their mutual workplace. Here we see her giggly girlishness contrasted against his old "mummy" mannerisms, and his foolish fascination with her youth. Eventually she's not so childishly happy with him, but creeped out by his leering - we can only feel sorry. But he's inspired, he's going to make a change that will carry him through the remainder of his days. And he acts on the good of his community, making him a saint in the eyes of many. This is foreshadowed much earlier when his nightlife friend calls himself a Christ figure, but having nothing but knowing he'll die to back it. But the film is grounded in neorealism. Our protagonist is shockingly dead with more than forty minutes of film left. The rest of his journey will be dealt with in flashbacks as his coworkers get drunk at his funeral and start to consider the idea that this new park in town happened because of him, something they only consider more seriously after the deputy mayor and other authorities have left. One coworker had flat out stated that it was in fact, but the rest, bound by the great system, were too afraid to see it this way. After they each share their stories and piece the puzzle together, they see clearly that this is Watanabe's park, and swear to uphold his honor and act as he did. The opportunity is presented in the following scene, and nobody acts as Watanbe would've, but follow suit with the system. Our one defender stands up, his chair falling over, but to no avail. He returns to his seat, and the camera focuses on the paper stack of work all are encumbered by. Later he returns to the park in memoriam of Watanabe, and we hear that Life is Brief tune for the third time, but more faint and without the lyrics. Whereas so many films struggle to have good endings, this is a brilliant note. He walks away on the bridge, and an odd frame of that, the sky, power lines, and the top of the park's swing set fill the frame.I'm taken by the film's honesty, by the mesmerizing performances, by the sadness of life, systems, destined behaviors, missed opportunities, that the right thing comes at great hardship and sacrifice. This is a journey story, the time slot allows for us to get that in a huge, satisfying serving. We get so lost in the idea that he's left his job, and the absurdity that two weeks goes by, that we forget about the idea of what would happen if he returned. We get all of it here. Watanabe is a Christ figure, he does carry the cross on his back in the form of burden. Christ died at age 30, Watanabe hasn't missed a day of work, or lived life, in 30 years. This is the thing a 30 year old like me needs to see! He does this to protect his son. We get a devastating flashback to his wife's funeral procession, his son flinging himself into his arms, crying as the Hearst turns a corner and he confronts the reality that he'll never see his mother again - watch Watanabe's face, it's awe-inspiring to see such rich emotion from an actor, experiencing the pain of this loss. In the end, he makes sacrifices for his family and then his community - they love him, and they weep for his passing.
Joe M (jp) wrote: Thoroughly enjoyable old chestnut of a film that begins at Christmas and then just goes on a roller coaster of emotions from there. Endearing and very good performances by some of Hollywoods B actors.
Jordan K (ru) wrote: RV is heavily based off of elements deriving from National Lampoon's Vacation. Albeit with an impressive cast of hilarious actors, the movie falls short in comparison to Vacation, mainly because of its overdone repetitiveness and overall corny, overly zany atmosphere.A workholic dad who has felt like he has lost touch with his family cancels a vacation to Hawaii in exchange for a cross country RV trip to Colorado, but the cheapness of the RV added in with meeting an annoying hick family adds into zany predicaments.RV is, in two terms, zany mishaps and feel good family payoffs. The strong point is the cast - Robin Williams is great as ever, and at times I even liked Jeff Daniels' annoying hick family, which for the most part was funny but at times was used too often in times where he wasn't needed. The story, the little there of, is enjoyable, memorable, and is most remnscient to that of Vacation. The comedic aspect, though, is just in lack of a better word bad. I laughed maybe two or three times but most of it is "whoops, uh oh, look what we got into this time" scenarios where Williams' character is either hurt, the subject of a fart or poop related mishap, or strangely even struggling to connect to the Internet, which is a recurring theme for a remainder of the film so that his consistent workaholic undertones are still there. And at the end of the day, RV really tries to have a warm fuzzy ending to it, which is fine but it can't make its mind up sometimes on where or how it wants to go. And how many times did we use the joke where the RV is moving on its own and ultimately crushes whatever is ahead of it? RV is ok for what it is. Accurately captures the 2000s Robin Williams movies where he deteriorates in quality.
Tomer H (de) wrote: The leads are great, and the tension makes you want more.