Twenty-year-old Cal returns from France to Britain after receiving news that his mother is ill. His finds his home city of Bristol facing hard economic times brought on by the global economic crisis, with poverty and crime on the rise and rioting and looting almost a nightly occurrence. It is not a warm homecoming as his sick mother remains stubbornly homophobic and wants nothing to do with the now openingly gay Cal while his battered Auntie Jane, now living in a run down council house, dulls her stagnation with welfare funded booze and disturbing attempts to sexually seduce her nephew. Navigating his way across this new landscape he meets a young student who needs his help. However his act of kindness brings him into contact with a lawless drug dealing pimp and a race against time to make peace with his mother and get out of town as quickly as possible. An intense tale of a family mired in poverty, angry and lost but still searching for love, respect and acceptance.
Rohan D (gb) wrote: Damn,this really sucked!! Barely had any laughing moments,maybe a couple :PThe only things I enjoyed in the movie was Neha and the chimpanzee,baki sab were BORING!!!
Steve S (ca) wrote: Probably the worst film I have ever seen!
Faal I (ca) wrote: My Rating: 3/5 Stars: Very simple but funny story... :)
Jennifer X (au) wrote: Who would have guessed that a biopic - about Mussolini, no less - could have turned out so avant-garde? Although consistently overshadowed by its (admittedly) superior Cannes counterpart "The White Ribbon," the Italian film "Vincere" still has its strengths, disregarding conventional biopic mechanisms in favor of a taut, yet occasionally overwrought, dramatic storyline.By omitting the traditional "this is where he started" bits, "Vincere" immediately catapults the viewers into the center of the action. The film is remarkably operatic, with clamoring swells and swoops and a soundtrack rivaling the likes of "Amadeus." Director Marco Bellocchio ("Good Morning, Night") makes skillful use of old 1930s film reels, masterfully juxtaposing grainy WWI propaganda with scenes from the film, flashing and fading out of victims in mental hospitals with sunken eyes just as the opera voices billow and subside.Where "Vincere" succeeds most at is exploring the concept of sex as a mechanism of character - before Mussolini comes into power, he is seen subjugating Dalser, foretellingly, in much the same way. In one particularly harrowing scene, Dalser spreads herself naked on a comforter, having sold all her possessions in order to fund her lover's Socialist newspaper. "Say you love me, just once," the needy Dalser begs. In true fashion, Mussolini responds by violently pressing his lips against hers, obscenely ravishing her naked body. The image fades out, and a troop of advancing soldiers marches across the screen, preliminarily connecting the bedroom to the battleground before the historical events happen.Yet the problem with "Vincere" - as with all biopics - is that it comes off as quite one-dimensional, essentially focusing on Mussolini's pathway to power through his character and personal relationships. Once the dictator leaves the film halfway following his abandonment of Dalser to a mental institution, there is fundamentally no more film, leaving us to deal with Dalser's theatrics in the absence of a powerful male figure.As a Mussolini biopic, the melodrama had worked wonders. As an Ida Dalser one, it's a bit too much, as the actress Mezzogiorno screams obscenities, psychotically flinging letters onto the ground and generally raising havoc among the ward. Her performance is powerful, to be sure, but her character is simply not interesting nor sympathetic enough to carry the film by herself. Viewers can neither identify nor sympathize with Dalser's overtly masochistic tendencies, and soon, her hysterics begin to grow a little old. If the first half were taken in isolation, "Vincere" might have been applauded as a greater film, portraying the gripping story of dictator ravenous for all aspects of power, sex and love. While the second half is not terrible, it falters tremendously in contrast, carefully and destructively losing steam with every second it goes over.
Julia H (ru) wrote: I've only seen a few doll horror movies cause I'm afraid of them but this one either cured of worsened my fear.I really hate those ventriloquist puppet things.
Helio A (au) wrote: Notebook, y que Notebook. Si verdaderamente desean ver una pelicula que pueda tocar tantos temas, de una forma armoniosa, agradable e interesante, esta es la pelicula que buscan. Cada personaje esta bien dise~nado, la actriz que interpreto a Norma, tuvo que haber hecho un buen estudio y cada situacion es digna para pensar y reconocer que hay cosas mas importantes en esta vida. Ademas, el dialogo entre Rafael y el sacerdote, no tiene precio. Me la recomendaron en la clase de Derecho de Familia y ha sido de las mejores peliculas que me han recomendado. Notebook no le llega ni a los talones a esta pelicula epica. ALTAMENTE RECOMENDADA.
Linda C (mx) wrote: This was a great movie. I love how they made it different from the book to the movie!!!!!!!!!!!!!!!!!!!!!!!!
Timothy A (nl) wrote: Glossy, but sub-par post-Scream gimmicky horror flick.
Janetta B (gb) wrote: Robert Downey Jr. Is so hottt......
Akira J (br) wrote: One of the most insane, random and funny movies I've ever seen. To me it's a parody of both musicals and the 50s.
Andrew M (es) wrote: What makes a good movie villain? An intimidating presence certainly helps, as does a solid motivation for their devious deeds. Perhaps they're seeking revenge for a past event in their life. Maybe they're hungry for power, and will stop at nothing to become supreme. Or maybe their just anarchists, plain and simple. But, most of all, a good villain is one that's believable, and one that anyone could become under certain circumstances.Such is the distinguishing quality of Alonzo Harris, the main antagonist of Antoine Fuqua's Training Day. The complex relationship between Alonzo and Jake Hoyt (Ethan Hawke) highlights why Alonzo is so utterly terrifying: Alonzo's actions constantly jump from being understandable in this grimy Los Angeles environment to being pushed beyond the line of morality. As Hoyt jumps from trusting Alonzo to not trusting him, we do the same. How can we side with someone profiting off of innocents, often with no regard to their lives? But he's a family man and an established cop: surely he's trustworthy. It's quite a fascinating dynamic that writer David Ayer has crafted up here.Of course, it helps that such a complex character has a talented actor like Denzel Washington behind him. In an Oscar winning performance, Washington goes full-on antagonist, a kind of performance we rarely see from him, and a quality that makes the character dynamic that much more effective. Perhaps he camps it up at times, but Washington's charisma is too infectious to be bothered by any campiness. Alongside him is one of the finest performances from Ethan Hawke. Hawke really sells the struggle of the rookie cop in over his head, and his transformation from rookie to hardened cop is a fantastic showcase for his acting chops.Behind the camera, Antoine Fuqua directs with an appropriate amount of grit and unrelenting tension. Every scene is wound like a guitar string: with nobody to truly trust, you're left with an increasing heart rate as you prepare for the inevitable snap. It's rare for a film to go from zero to sixty so quickly and keep that pace consistent throughout a two hour runtime, but Fuqua does it with impeccable ease. A quintessential crime thriller.
Jacob D (fr) wrote: A really funny movie that has a lot of good music and really funny scenes, it is a really underrated movie.