An embittered husband, paralyzed and in a wheelchair, buttonholes a complete stranger and begins to tell him the story of his marriage. The stranger would like to escape, but cannot. For one thing he grows fascinated by the story. For another he is mesmerized by the man's wife, who has perfected that trick of looking a man boldly in the eye until, by looking away, he concedes sexual supremacy.
- Category:Action, Drama, Romance, Thriller
- Stars:Hugh Grant, Stockard Channing, Kristin Scott Thomas, Emmanuelle Seigner,
- Country:France, UK, USA
- Director:Roman Polanski,
- Writer:Pascal Bruckner (novel), Roman Polanski (screenplay), Gérard Brach (screenplay), John Brownjohn (screenplay), Jeff Gross (script collaboration)
British couple Fiona and Nigel Dobson are sailing to Istanbul en route to India. They encounter a beautiful French woman, and that night Nigel meets her while dancing alone in the ship's bar. Later he meets her crippled American husband Oscar, who tells him their story. While living in Paris for several years trying to be a writer, he becomes obsessed with a woman he met by chance on a bus. He tracks her down and they start a steamy love affair. Soon Oscar finds himself enslaved body and soul by her love, and continues to tell Nigel the details of this relationship in various stages over a number of visits to Oscar's cabin. . You can read more in Google, Youtube, Wiki
Bitter Moon torrent reviews
(br) wrote: From our neighbors to the North comes a found footage horror movie that breathes some desperately needed fresh air back into a decaying, near-lifeless genre. Lance Preston is the host of "Grave Encounters," a ghost hunting show. He's a phony. So are his so called "occult" expert Sasha and his psychic Houston. Imagine the shock and surprise of everyone when, in the process of "investigating" a purportedly haunted insane asylum, they actually have an encounter with the paranormal. Several, actually. Each more horrifying than the last. And the worst part is, there's no escape! They're locked in! But even when they manage to break the locks...something even more horrifying is waiting for them behind the door. It is such a great surprise that I dare not spoil it by revealing it here. I'd give this a full 5 stars were it not for the simple fact that there's no one to really root for. We start out with a bunch of fame-hungry douches and a supremely bitchy young lady. As they plunge further into the terrors of the psychiatric hospital, they become worse. (But to be fair, I don't think I'd be in the best mood if I were trapped in a haunted insane asylum either so I can't say that I blame them.) But that's just me nitpicking. Go and watch this movie. You'll be pleasantly surprised.
(au) wrote: Not as bad as some reviews would lead you to believe. You just have to take this movie for what it is...a cheap, cheesy, fun way to kill an hour and a half. It is completely silly and the people making it knew that it was completely silly and it never claims to be anything but completely silly.
(es) wrote: watched it in IMAX. Scenery is breathtaking but too much exaggeration...
(es) wrote: A dumb old divorced loser (Tim Allen) gets his ass kicked on his company's parking lot in front of his daughter. He makes it a point to get a revenge, and in course of preparations he learns the meaning of life and finds strength and interest for living (Julie Bowen). Rather clumsy spirit elevator that should have dated back to 1980s.
(ag) wrote: want this show instead
(fr) wrote: I am so sad that I didn't grow up with this movie. I fell in love with this movie when I saw it. It has a simple story, but I invested in the adventure. I love the characters, especially good old Shadow. Chance and Sassy are also very lovable. The animals who portrayed the characters did well. I also really like the fact that instead of using computer animation, they used voice-overs. I thought that was a nice touch, although I was a little confused about it because their mouths never moved when they talked. The actors themselves do good jobs too I was also really emotionally invested. Every time something bad happened to a character I wanted him/her to be okay. The relationship between the characters is very nice. The film is funny and dramatic. And by Jesus that ending. When they finally returned home to their owners, I burst into tears of joy. I'm not even kidding. That was probably the first time a movie made me cry out of happiness. A film that can do that is definitely considered good in my book. Homeward Bound is a perfect family movie. It has lovable characters, good drama, and a lot heart.
(de) wrote: Robert Altman's insightful dissection about Nashville, the cradle of American country music, astutely captures the zeitgeist of 1970s and deploys a kaleidoscope of motley characters. A red hot country superstar (Blakley) who is plagued by her feeble health condition and the straining relationship with her agent-husband (Garfield), who has to cater to another country diva (Black) who comes to supplant his ailing wife for a public concert; a pompous and loudmouth BBC journalist (Chaplin) who comes to shoot a documentary about Nashville; an uprising folk trio TOM, MARY & BILL (Carradine, Raines, Nicholls) with their chauffeur (Arkin) while Tom is the sleaze-bag philanderer and the married Mary and Bill undergo some connubial crisis; A housewife and gospel singer (Tomlin) whose husband (Beatty) is an agent who tenaciously introduces a politician lobbyist (Murphy) to the music moguls in order to get some big names to sing publicly for the presidential candidate and his main target is a honorific but over-the-hill country star (Gibson) with an astringent wife (Baxley) and an unworldly son (Peel), and fellow musicians (Brown, for example) as wellThere is also a glut of ordinary people, two young singers-wanna-be, one is a runaway wife (Harris) seeking for an opportunity to sing in front of a large audience, another is a southern beauty (Welles) who optionally chooses to ignore her unmusical voice and insists on carrying her pipe dream at all hazards (a striptease in a local bar is just the beginning for the poor dim gal) albeit the eloquent persuasion from her friend (DoQui); two young lad, one is a reticent Pfd. soldier (Scott) who is obsessed with Blakley, the other one is a self-claimed musician (Hayward) totes his guitar box where conceals a dangerous weapon will later trigger the awesome finale; the last pair is a local old man (Wynn) and his vampy niece (Duvall), who flirts with every young man she meets including a weirdo-looking tricycle rider (Goldblum), never care too much about her dying auntie in the hospital.To engineer and channel a huge cast like this is Altman's strongest suit, the assemblage of hustle and bustle inducts audiences into a multivalent prism which bravely refracts an ideological society status, with whimsical banters abound and of course the music renditions. Despite that I have no honky-tonk root and my upbringing is immune to the genre, and from a standpoint of now, its traditional sense of worth oozing from the songs is grating and behind the times, the live-performances never cease to purvey vim and vigor to be appreciated. Notably from Blakley and Black, not to mention Carradine's Oscar enthroned folksy I'M EASY, magnificently stipulates the high bar of music's sex appeal. Performance wise, Oscar-nominated Blakley is also in the top-tier, whose sensitivity is so authentic and whose aftermath could not be more shocking (god bless Loretta Lynn); Tomlin (owns her Oscar nomination simply by her gaze towards Carradine during his solo show), Chaplin (so obnoxious is the character but she is superb in presenting her into a wacky laughing-stock) and Wynn (savings the gratuitous nude scene, she manages to squeeze a veritable sense of mettle out of her levity and shallowness) are all great in their respective terrains; Gibson and Garfield are my picks for male counterpart, but it is indeed a female's spectacle. I cannot say it is my favorite Altman's work (GOSFORD PARK 2001, 9/10 still holds the slot), but no doubt it is a monumental achievement at its time and in Altman's career path, the cogent political messages are being propagated from stem to stern, obviously it has a broader insinuation which even today one can hardly pass over.
(nl) wrote: One of the better 1930's musicals. Ginger Rogers is great in it and the music is all really good for the time.
(br) wrote: Dan in Real Life is a delicately balanced comedy with a witty and reflective script, intimate performances, a New England folks-esque soundtrack, and truly original premise. Don't forget the special music for Ruthie Pigface. Such a good movie.
(de) wrote: A stupid B-grade flick with an awful screenplay and lamest of dialogues. This disgrace of a movie make even actors like Kevin Bacon or Hounsou come across as a bunch of talentless performers.
(fr) wrote: An amazing look at the greatest film never made. Designed, storyboarded, and cast, Hollywood didn't want to take a risk on the maniac director from South America. English, Spanish, French, German, Dali, Pink Floyd, Giger, it was decades ahead of its time. A shame it wasn't made, but it's cool to see how parts lived on through other films and in print.
(kr) wrote: Stupid movie, but the overlords are still kinda frightening to watch! Hey, at least it got me interested into checking out the comics!
(ru) wrote: i absolutly love this movie its a classic lol woth some good laughs
(ca) wrote: Not Woody Allens best film but it's still quite good. It's funny to see Scarlet Johansson basically playing a young, female, Woody Allen and she does it very well. The story is a bit daft but Allens dialogue is, as always, very humerous.