The film follows a mountain man on the run from authorities who survives the winter by breaking into empty vacation homes. He's haunted by a recurring dream of being lost at sea and constantly has flashbacks of his former life of a family man. . You can read more in Google, Youtube, Wiki
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Dixit D (br) wrote: refreshing + visual = a joint affair. You have done it again, Gondry. Bravo!
jing b (es) wrote: all they do is talk. so boring
Hank H (us) wrote: should be watched in church youth groups around the world. unlikely characters yet intriguing nevertheless.
Geoff J (kr) wrote: Another failed comedy drama
Atilamika Z (ag) wrote: Dark,unusual & captivating !
Kan R (ru) wrote: 75%similar to the movie "Hostel"
Charles S (ag) wrote: Depressing take off on bushiepoo and Carl Rove, lifting frequently from their real life background...scarily real
Tony B (ru) wrote: I'm not sure I understood it all but i liked it...
Daniel D (ca) wrote: The beauty of The Red Violin is that it touches so many different phenomenons through the ages. Roger Ebert put it best when saying: "Not many films can encompass a British aristocrat who likes to play the violin while he is having sex and a Chinese woman who risks her life to protect a violin from the martinets of the Cultural Revolution". This violin went through out the film from 1681-1997 and from Vienna to China. It does show the life of an antique. While the multi-story system made it difficult to connect and care for any characters, it allowed the violin to shine through. The music of this was amazing and deserved its Oscar. Technicality wise it's phenomenal, the film was hard to follow personally though.
Twilight L (de) wrote: any movie with jared leto in, i will watch.
David A (nl) wrote: (from The Watermark 05/12/95) It is so wonderful to be a gay moviegoer and see films that deal with gay life. These rarities seldom begin in Hollywood; most often they are foreign or independently made and later picked up by a studio for national release (i.e., Priscilla, The Crying Game, and The Sum of Us). Orion Pictures is the studio brave enough to bring Bar Girls to the mainstream movie houses. Exactly why they chose this picture remains an unanswered mystery, as the film sadly proves to be no jewel in Orion's crown. In Bar Girls, love-hungry lesbian Loretta (Nancy Allison Wolfe) is out to find her Ms. Right. At her hangout spot, the Girls' Bar, she meets an actress named Rachel (Liza D'Agostino) and the two quickly fall in love and move in together. Complications arise when a cop (Camila Griggs) steps into the picture, with her goals set on befriending D'Agostino without Wolfe's company. This causes jealousies and tension to surface, and the two lovers split. Wolfe learns to love herself (just how is never explained or shown), reconciles with her mate, and they live happily ever after. Such a flimsy girl-meets-girl, girl-loses-girl, girl-ends-up-with-girl-anyway plot needs something substantial to make it interesting. Well-developed characters, an interesting atmosphere, and maybe even a strong soundtrack could make it more appealing. Unfortunately, none of these elements are present to lend their help to Bar Girls. Thus, the film is a long-winded and trite account of a bland romance. Directed by Marita Giovanni, the film succeeds technically as far as composition and editing, but the staging is at times too broad and theatrical. Lauran Hoffman?s script, based on her play, has a lot of enjoyably sharp and sarcastic humor. However, the fact that she injects it into every character on the screen leaves little contrast to be found among the ensemble. Aside from the jokes, the dialogue is generally stilted an jaunty. To worsen the effect, the one-dimensional characters are all played by one-dimensional actresses who create no emotion below the surface. For the most part, the performances look like they might wash on stage, but they come off as unprofessional and inexperienced on screen. Wolfe clearly gives the best performance in the film; she handles her material well as the wise-cracking and self-deprecating Loretta. Unfortunately, Loretta's quick wit is present in almost every one of her lines, which weakens her into little more than a quipping wise-ass. When the facade finally does start to peel away, it happens too late in the film, and takes place in the form of a monologue delivered to a mirror - again, a device that would work effectively on stage, but seems corny on screen. The biggest disappointment of Bar Girls is that it does very little to illuminate the ?lesbian condition? to outsiders. The film could have taught both the gay and straight communities a few things about women who love women, but instead we?re shown that lesbians can be as shallow and stupid as anybody else. The only time Bar Girls comes close to saying anything of substance is when Wolfe criticizes Griggs for being a police woman: ?Cops enforce the white male power system.? Aside from this moment, the film tries to portray lesbians as very apolitical and matter-of-fact. In the end it looks more like a trivialization of homosexual love in this heterosexist world. Take, for example, the subplots: One of Loretta's very straight friends decides she wants to become a lesbian. And she does! No contrast of the heterosexual world vs. the homosexual world, no parallels between the two, and no conflicts within the character. In another subplot, Loretta is trying to get a lesbian story worked into an episode of the TV cartoon she produces. The struggle could have paralleled Loretta's journey in trying to make her relationship work; instead, the film turns to the ridiculous by having Loretta kidnap a troll doll from her boss and hold it hostage until she gets her way. As a product of a community with so many things to say and messages to be heard, it is astounding how this film manages to say so little. It is full of seedlings of ideas that could have illuminated and entertained, but none of them are brought to fruition. Now that the demands for mainstream lesbian & gay cinema are starting to be heard, Bar Girls is proof that it's now time to demand better. POST-REVIEW 11/22/2009: I still look back at this as the worst film I had to sit through in my entire 6-year career as a film critic. I equate it to the epitome of amateurism in cinema, from the writing to the directing to the music to the acting... just dreadful on all accounts. I am required to give a % rating in order to post this review, meaning I can't let the Tomatometer read 0%. But know that 10% is not as low a rating as I'd like to give.
Chris D (ru) wrote: A hit and miss madcap parody that echoes the 3 Stooges more than the Marx Brothers.
Drago C (fr) wrote: Noteworthy only for it being Leo DiCaprio's first role Critters 3 moves the critter fun to an apartment building. Other than that the movie is ultimately forgettable even if it is somewhat funny at times.
Owen B (fr) wrote: Out of the films by Tim Burton that I have viewed, Edward Scissorhands is much more heartfelt and emotional than some of his others. I don't believe it's his best work, but when you give the guy the right material, he can do some great stuff. And, don't get me wrong, I love some of his other movies that aren't as deep. I just think that when Burton breaks away from his signature style of freak-show weirdness, it makes for an extremely more compelling experience than some of his more formulaic movies.
Kenjamin H (ca) wrote: What Stephen Chow classic isn't good?.... Stephen Chow succeeds in areas people fail in comedy. While randomness can often be seen as annoying it just isn't the case with the Chowster. Jacky Cheung had great chemistry with Chow. I had no idea Jacky was such a comedian himself. A outrageous cop buddy movie.. and I love it... movies like this makes Rush Hour look like fecal matter.
Michael R (ca) wrote: An exciting return to form for the franchise.
Ya (us) wrote: I loved Pippi when I was younger, she was the best
Tony G (kr) wrote: Would not recommend this film but it entertained a little for a few hours.
Tino P (jp) wrote: Roman Holiday is as funny as it is beautiful, and sets the standard for the modern romantic comedy.
Kevin R (br) wrote: Not only is it impossible but it can't be done.A bunch of shenanigans takes place on a cruise boat when two jealous couples board and fall in love in some back channel relationships. Things get complicated when a singer sneaks on board under a false identify and hopes to launch her career. How will all these stories play out?"Remember when it's your lips getting kissed it is my reputation that is suffering."Michael Curtiz, director of White Christmas, Mildred Pierce, Captain Blood, The Sea Hawks, Yankee Doodle Dandee, Four Wives, Four Daughters, We're No Angels, Breaking Point, The Adventures of Robin Hood, and Kid Galahad, delivers Romance on the High Seas. The storyline for this picture was very interesting primarily due to the wonderfully written characters and sub plots. The musical numbers didn't stand the test of time, but the premise was well done."If I'm overdressed I might as well over eat."I watched this film Turner Classic Movies (TCM )because I am a huge Michael Curtiz fan off. The cast was also impressive and delivered solid performances. The cast includes Jack Carson, Doris Day, Janis Paige, Oscar Levant, and William Bakewell. I will say this film is above average and definitely worth watching; however, I wouldn't call it one of the better Curtiz films due to the dated musical numbers. "Magic is my love for you."Grade: B-