The story takes place in Carhaix, in the heart of Brittany. A small hospital, with a calm maternity clinic, where few births take place. Mathilde, a mid-wife, Firmine, a pediatric nurse, and Louise, the owner of the Carhaix bowling alley, are all friends and lead a happy existence. Catherine, director of the establishment's Human Resources, is sent to restructure the hospital and, most importantly, to eventually shut down the maternity clinic, which is losing money. Four women whose age, personalities, and origins are different, but who will form a quartet overflowing with humanity and humor as they join forces to save the clinic. Life, love, friendship, Brittany and... bowling.
Writer:Marie-Castille Mention-Schaar (screenplay), Jean-Marie Duprez (screenplay), Jean-Marie Duprez (story)
A HR director is sent in to restructure the hospital? a task which involves closing down the loss-making maternity unit. Four women of different ages, backgrounds and convictions will ... . You can read more in Google, Youtube, Wiki
Alex r (mx) wrote: Engaging biopic about the rise of power of Adolf Hitler, Hitler: The Rise of Evil features a brilliant tour de force performance by actor Robert Carlyle in the lead role. The film chronicles the early years of Hitler's life right up to his prominent rise in politics. Now, the film is pretty inaccurate, but in terms of being a biopic, this is sure to appeal to viewers interested in the subject. In terms of an entertaining biopic, this is a very good film. However if you're expecting an accurate portrait of the facts, you'll sadly be disappointed. But the cast here are great and each bring something unique to the screen that makes this film standout. Do go into this film expecting an accurate portrait of Hitler's life, you won't find it here. The filmmakers do get many aspects of his rise correctly, the fiction overshadows the truth. There are far better films detailing Hitler, and I would suggest to viewers wanting an accurate portrait of events , should watch the film that focuses on the last ten days of his life, Der Untergang (Downfall). Carlyle delivers a stunning performance here, and with that performance alone, you are captivated by his screen presence. Hitler: The Rise of Evil is flawed, but it does have its strengths as well. One is the storyline, which is engaging and entertaining, the other is the acting, from terrific actors. If you're interested in history, then this is the film watch. You may not get the facts, but it can spark interest in a riveting subject matter. Robert Carlyle is a great choice to play the lead role of Adolf Hitler, and along with Bruno Gantz who played the part in Der Untergang is one of the most impressive actors to play one of the most evil historical figures of the 20th century. Hitler: The Rise of Evil is imperfect, but as a whole, it's a good try at capturing Hitler's life on film. With that being said, the most definitive biopic on Hitler has yet to be made.
Leigh D (ru) wrote: Thought-provoking, great soundtrack.
Matt D (it) wrote: Such a good start. Lags in the middle then picks up again for a decent ending. Not by any means classic Argento.
Jesse O (mx) wrote: I remember wanting to see this film, back when I saw Nightmare 2, because it was the only film in the main Elm Street series that had anything remotely resembling positive reviews. This film definitely brings things back to basics with Freddy simply haunting the 'teens'' dreams and how they choose to fight Freddy in their dreams rather than Freddy, like in Nightmare 2, using the main character as a vessel for him to come to the real world, which was against the character's original intentions. Wes Craven, along with Frank Darabont, Bruce Wagner and Chuck Russell, came back to write this movie so that, definitely, helped to put things back on track and the film tries, perhaps not as successfully as in the original film, to make Freddy a terrifying figure. Again, it doesn't always work perfectly, I think the nature of it being the third movie in a horror franchise didn't do it any favors, because how do you make this character, already established, into something that's fresh and terrifying again. They certainly tried to, and in a way it worked, but, like I mentioned, not nearly as effectively as the original film. Another thing that surprised me about this film, and perhaps the most surprising thing about this, is the fact that this was a really tame when it comes to blood and gore. There was this pretty cool scene at the beginning that was the coolest death I've seen in a horror film in a long time. Like there was this guy that was a puppet master and his death, obviously, involved what he does. So he essentially became a living puppet, with string, slicing his arms and legs open and then sticking from out of his hands and feet, with Freddy as the puppet master. The visual was actually really fucking cool. But it's also about as gruesome as the film gets. There's a decapitation scene that happens off-camera and then Freddy brings the dismembered it, belonging to Kristen's mother, into frame where the head then proceeds to berate Kristen for something. That's, honestly, about as violent as the film gets. And, you know what, it actually kind of works because the surrealist scenes involving Freddy Krueger are cool. I mean the acting isn't exactly what one would call great, at least from Heather Langenkamp, who seems even worse than she normally was. It's not awful, outside of Heather, and they do offer some interesting backstory into Freddy's origin, at least from what led to his birth. So that was cool. Overall, while the film probably hasn't aged as well as the original Elm Street, I thought that this was a good sequel, the best in the franchise. And that's even including the reboot, A New Nightmare, though I wouldn't include it as part of the original franchise. It's something completely different. But, anyway, the point is that this film isn't exactly as creative or inventive as A New Nightmare, but as far as being a solid horror movie, this one works better than the reboot. It's a solid film. It's not perfect and it doesn't age as well as one would expect, but all in all, it's a perfectly solid horror movie. I'd recommend it if it ever came on Netflix, as I DVR'd this. But, yes, it's a solid horror movie and probably as good as the Elm Street sequels would ever get.
Jared H (gb) wrote: the opening is promising. crazy effects. wonderful colors. a young d. hopper. but once the queen is found, boredom ensues. i fell asleep.
Wallace Z (kr) wrote: Not the best of the A & C monster movies, but still a fun time. Karloff, as always, is a treat to watch, and Lou's childish panic attacks will leave one in stitches. However, the only scary thing about this movie, is the budget. Rather than the wonderful make up jobs we have seen on Karloff in the past, here we get a very cheesy looking rubber mask, that doesn't even move its lips. Don't expect the boys finest work, and one can enjoy this ghoulish romp.
Adam S (es) wrote: Following "Fury", Fritz Lang continues his American odyssey into early Film Noir with this tale of doomed lovers on the run, partially inspired by Bonnie and Clyde, with sympathetic bank robber Henry Fonda dragging down sweet innocent Sylvia Sidney when a prison break goes horribly wrong and a priest gets shot. Fonda, in one of his first starring roles (though Sylvia is top billed), is dynamic playing, in all essence, the good-bad guy, a tough stiff who just can't catch a break in the world, and when he finally does, it's mitigated by ironic circumstances (shrouded in Lang's expressionistic use of fog) leading to murder, and no way out. Like in "Fury", there's a notion of impending doom and chaos, that no matter which way the characters turn, be it trying to go straight, trying to beat a frame up, or live long enough on the lamb to see your baby born, nothing will work, and I'm sure in 1936, having declined Hitler's invitation to run the German film industry and all it's propaganda efforts, fleeing to France, then America, Lang sympathized with the displaced and unjustly accused, and there's just enough of his home country expressionism to quell the treacly romance with necessary dread. Lang's American output is problematic, and even this early effort, produced independently by Walter Wanger, was cut down by 20 minutes because of what was thought to be unnecessary violence, but what remains is an occasionally brilliant, occasionally clunky hard luck melodrama, evincing themes of justice, persecution, and the perception of good and bad key to the director's entire canon.