The goalkeeper of a little-known soccer team is kidnapped by a Argentinean government squad and sent to a detention center. After months of torture, he plots his escape with three other young men. . You can read more in Google, Youtube, Wiki
Buenos Aires, 1977
The goalkeeper of a little-known soccer team is kidnapped by a Argentinean government squad and sent to a detention center. After months of torture, he plots his escape with three other young men.
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Buenos Aires, 1977 torrent reviews
Chris J (fr) wrote: Very entertaining in a sea of name-drops.
Maymay A (br) wrote: You can stay for the action sequences.
Eve A (us) wrote: The wooden acting and odd alternate-universe, meets horror, meets Comic book qualities makes this movie a complete flop. It doesn't seem to know what it should be. And again, the C rating acting is distracting. Combine that with the incredibly staged production design, costume design and direction, it makes for an incredibly lame movie that was doomed from the get go. Poor casting, poor direction are it's major faults.
Ennis Brokeback L (ag) wrote: This movie is about evil raccoons that turn people into raccoon people by putting there excrement in the said persons mouth. Coons has some very funny parts but I still think it could have been better. It comes of like a few friends got together and made a movie with there mounted raccoon collection.
Cameron J (gb) wrote: I love this film's title, because it pretty much tells you just how formal this "sleazy" drama is going to be, seeing as how it is so intellectually ironic that it was once used as the name for some short-lived progressive rock band. Granted, the name was also adopted by some '80s metal band that is about as obscure, but that Savage Grace was power metal, so I reckon that means that you can be only so hardcore with this title before you have to get at least a little bit tasteful, as this film will also tell you. Oh yeah, schizophrenia, family dysfunction, incest and bisexuality, now that is some classy stuff right there, but I'm sure the filmmakers can make it all proper and whatnot, because they were at least intelligent enough to get Eddie Redmayne as Julianne Moore's son. The parts of Redmayne that you can't fully buy into as what you might expect from the baby of Matt Damon and Angelina Jolie are pretty much those of Moore, except Redmayne's still got those blasted big lips, and Moore doesn't have any at all. I think that most of us can at least settle on the opinion that Redmayne and Moore are both still strange-looking people, unless, of course, you look at "The Good Shepherd" and this film and realize that Redmayne must not be too unusual in appearance, seeing as how you can kind of see him as most anyone's kid. Shoot, maybe good ol' Eddie Reddie really is a chameleon or something, and I'm not just saying that because his eyes are about as separated as this film, even though where Redmayne's eyes are physically separated, the dysfunctional family members featured in this drama are anything but "physically" estranged, if you know what I mean, uh-huh, uh-ew.... I don't know if I'm more disturbed by the fact that this is a mother and her son fooling around or by the fact that this is Julianne Moore and Eddie Redmayne fooling around with each other (Shoot, I joke, but Redmayne looks a whole lot better than me, it's just weird that he stole Moore's lips), but either way, something gets under your skin with this pretty decent film, no matter how much the problems cool down some of the heat to this effort. To go ahead and discuss a problem that is as great as any in this promising effort, this film's story concept is kind of limited in potential, being juicy and all, but with relative thin spells that weigh down potential momentum, whose being directed down a somewhat familiar path hardly helps. There's not a whole lot that's unique about this story, and sure, there are plenty of aspects that aren't too formulaic, but there are plenty of other aspects that are borderline tired in their familiarity, though not so much so that you don't feel as though you should probably get to know these familiar characters and their familiar story a bit more. Based on a relatively infamous true story, this film pays little attention to telling you about characters you already know, at least from other films, and I guess that's kind of easy to get over, seeing as how this film is hardly cleansed of expository depth, but there are times where you seriously wish that you knew more about the heart of this character drama, especially when the characters do deeds that are too questionable for you to buy into without reinforced investment. Many are saying that what really undercuts this film is the unlikability of its characters, and I won't go so far as to say that this film's leads are nearly as uncompelling as they say, partially because their portrayals by the performers are so inspired, but there is a touch too much sleaze to people we're supposed to feel sympathy for, and that can work for only so long, which is unfortunate, because, quite frankly, when things aren't sleazy, they're not really all that interesting, at least when you take into account the way Tom Kalin handles things. No, Kalin's direction has plenty of highlights to give you glimpses at what very much could have been, but in one too many places, Kalin coasts with storytelling momentum, hardly ever to where you're faced with the blandness that I was not expecting to be in this short of supply, but decidedly to where some sense of aimless ensues due to limited atmospheric kick, and joins an air of ambition to what really flavored up moments in atmosphere there are in giving you more time than you should be given to notice the natural shortcomings. There are hardly any consequential missteps to this film, but that's largely because there's only so much to this film to begin with, and while that emphasizes the strengths, - of which there are more than a few - it also emphasizes the shortcomings, enough so for the film to limp along until it finally sputters out just short of genuinely rewarding. Nevertheless, the final product comes closer to that than plenty say, doing only so much to flavor up its juiciness, but sustaining a fair bit of investment, while keeping your eyes occupied with decent art direction. This is a pretty minimalist period piece, so art director Deborah Chambers doesn't really have a whole lot to work with when it comes to building a distinguished environment for this drama, but that just makes the subtle touches all the more impressive, because when Chambers delivers, she goes a long way with only so much in selling the lavish lifestyle around which this sophisticatedly sleazy drama is built. At the very least, the production value of this film is mighty handsome, especially when seen through Juan Miguel Azpiroz's handsome cinematography, so strictly speaking from an aesthetic point, this film all but stands out, and that does a fair bit in selling a story that does deserve an inspired interpretation, or at least seems to, due to potential's being so frequently betrayed. Near-aimless, rather undercooked and, in some ways, formulaic storytelling betray the full potential of this subject matter, which is, in fact, promising, being rather dramatically thin, to be sure, with questionable character and whatnot, but still with a certain juiciness that is, at times, done a fair bit of justice by Howard A. Rodman's script, whose cleverly organic marriage of sophistication and sleaze brings some life to this drama, at least until director Tom Kalin hits a genuine highlight in his efforts. Kalin's somewhat sparse type of storytelling taints the film with aimlessness that gives you too great of an opportunity to meditate upon natural shortcomings, and a tone of ambition further stresses limitations, but Kalin's efforts are not so steady that they ever truly dull things down, and when they work, they do a fine job of playing up anything from the sophisticated sleaze in Rodman's writing to the tasteful atmosphere of Fernando Velzquez's beautiful score, often to the point of drawing enough intrigue to all but thoroughly compel through all of the story shortcomings and character questionability. At the very least, the film stays intriguing enough to be consistently entertaining, something that I was not expecting this conceptually dry drama to be, at least to this degree, and while that's not enough to nudge the final product into a rewarding state, it keeps you going while intrigue gradually builds, leaving you with latter acts that offer the compellingness that should be consistent throughout the film, but never drifts as far as many say it does. For this, credit is not simply due to the film's entertainment value, but to a certain consistent strength: the acting, which is decidedly most inspired within our leads, who not only deliver on crackling chemistry, but all but compensate for the relative unlikability or lack of intrigue within their roles with committed individual performances. Eddie Redmayne is sharply convincing as a well-intentioned and sharp, but flawed young intellectual struggling under the weight of his questionable relationships, and Julianne Moore captures the anguish of a woman who just downright suffers under the weight of her questionable relationships, - particularly those with a husband who she draws away from, and with a son whose draws too close to - and while I wish that the film is as compelling as the performances of its leads, the inspiration within Moore's and Redmayne's chemistry and acting represents the heart found throughout the film, which isn't frequent enough in its inspiration to truly reward, but is bound to keep the willing going. Once all of the juiciness has run dry, you're left with a promising film that still doesn't offer enough potential for the conventionalism, underdevelopment, questionable characters, aimless storytelling and glaring hint of ambition to not be enough to drive the final product short of rewarding, a point that, through lavish art direction, handsome cinematography, lovely score work and an intriguing story concept, - brought to life by highlights in writing and direction, and strong chemistry and performances between leads Julianne Moore and Eddie Redmayne - is seen in glimpses enough for "Savage Grace" to stand as a consistently entertaining and sometimes effective affair, even with its hefty deal of shortcomings. 2.75/5 - Decent
Jacob F (es) wrote: Being a gamer, this movie was particularly interesting for me. But the way the it was executed was sadly piss poor and ended on an odd cliffhanger
Frances H (fr) wrote: Cute German film that points out how different the future can turn out with just a few small variant factors switched. It's one of those movies in which you can see more every time you look.
Greg B (kr) wrote: Not funny at all. Absolutely stupid, lazy gag writing, with no real clever ideas. Really, really too painful to make it through.
Mike S (nl) wrote: ESPN ranked this as the greatest sports movie of all time. It was all I could do to keep watching it. Probably true to life, but it was just painfully slow.
Senor C (br) wrote: Mr T is a fly lookin cool private dick who doesn't take the lip & will tell ya to got fuck yo mama. Although not up to the standards of Shaft or Superfly Trouble Man is bad ass & greatly befits from having Marvin Gaye do the score. Actually the soundtrax is sometimes the best thing which would explain way the movie was a bomb & the music a hit. Sometimes just more window dressing then substance it still is a hell of a lot better then 70% of the blaxploitation films out there & fans of the genre are sure to enjoy. I wish I could afford $600 suits & look so dope
Spencer S (au) wrote: It's very difficult for me to understand the motivation for Larry David to write and star in this HBO original film. More than anything, this film probably exists because David wanted to do something bigger and more lascivious than his television series, but if you've seen the show than this is more of the same. The premise sounds appealing, but the actual film is just weird. Its plot roves where it pleases with very little care, and there's really no point in the end. The show "Curb Your Enthusiasm" always wrapped up all its incidentals and had a point at the end of every episode. A lot of the film is improvised, like in the show, but without the show's cast of familiar characters this film is just random people being angered by Rolly's (David) antics, and that's not satisfying. There may be forgiveness from fans of the show, who want to see more of the same, but for outsiders this is a strange and unpleasant mess.
Ariel L (fr) wrote: O vov do gnero Gngster. Se voc gosta de O Poderoso Chefo, Os Bons Companheiros, Cassino, entre outros, agradea esse filme. claro que ele tem problemas, estamos falando de um filme de 1931, onde o cinema estava dando seus primeiros passos com o som, j que a poca do cinema mudo tinha terminado poucos anos antes. A narrativa contm furos devido a curta durao da fita, mas isso no incomoda tanto por causa da inesquecvel atuao de Edward G. Robinson. O que realmente incomoda o contraste entre a sensacional atuao de Edward com a dos demais atores, que conseguem ser canastres ao limite. Mas isso tambm deve ser levado em considerao pois o estilo de atuao da poca era nesse estilo.Grande filme, que apesar dos defeitos, no diminui a importncia dele para o cinema.
Karsh D (br) wrote: another weak story lets down yet another JCVD film. American Embassy is under attack from the people of Moldavia - yes that's right Moldavia - lots of shooting, stabbings and explosions but it is all a bit lame