Calendar Girl

Calendar Girl

Like many adolescent boys, Roy Darpinian had the hots for movie divas, and one in particular was his wet dream as half of America's in the 1950s: Marilyn Monroe. The difference is, one summer holiday he actually decided to enlist his spineless buddies, Scott Foreman and Ned Bleuer, to actually drive all the way to Hollywood and make as many desperate attempts as it takes to meet her or get arrested trying, and no setback or embarrassment (even publicly bare-ass) can stop or distract him. Against all odds, he finally even got a chance to help her...

Three young men go on an end of the summer trip to Hollywood, CA. Their quest: to fulfill the fantasy of meeting Marilyn Monroe. . You can read more in Google, Youtube, Wiki


Calendar Girl torrent reviews

javier l (gb) wrote: good hindy indy movie

Faisal M (it) wrote: with a star cast like naseeruddin shah, paresh rawal, om puri and boman irani u expect the movie not to be good but to be great. This movie was a complete failure at the box office but still i gave it a try cause i can NEVER EVER rely on bollywood box office. well for once i agree with them, i didnt like the movie at all. the story was good but somehow the execution was really bad and didnt create any excitment in the movie. naseeruddin shah was the only one who acted well the rest were just pretty ok! tara sharma was as usual very irritating. anywyas i was highly disspointed with this movie!

Col S (us) wrote: could`ve,should`ve been so much better...shame about Skippy......

Aidan H (es) wrote: One of the most hilarious attacks on modern psychology concerns a group of handicapped losers finding themselves while letting it all hang out during a weekend seminar that goes wrong in spectacular fashion. Despite its easy laughs, there is an underlying message for all of us in these therapy-friendly times. Highly recommended, TAoNT goes where very few films dare to go and does so brilliantly.

Hannah (jp) wrote: jake t austin is so hot i love him

Esther v (kr) wrote: In an engaging encounter between fantasy and reality, screenwriter Zach Helm in his 2006 American film, Stranger than Fiction, brings to life the journey one embarks on when finding themselves confronted with fate. Will Ferrell plays the main role of Harold Crick, a monotonous, average ISR auditor. Starring with him in this dramatic comedy are actresses Emma Thompson and Maggie Gyllenhaal and actor Dustin Hoffman. The film opens in a narration by Karen Eiffel (Emma Thompson) discussing the mundane, tedious details of Harold's robot-like scheduled life until one Wednesday morning when Harold begins to hear the voice narrating everything he does. The action rises as Harold begins to deal with the panic and bewilderment that accompanies his revelation. Harold is forced to step out of his safe and familiar everyday life into a world of uncertainty and excitement as he struggles to find out the truth behind the voice narrating his life. He meets rebellious baker, Anna Pascal (Maggie Gyllenhaal) and ventures into new territory as their romantic relationship unfolds throughout the film in a quirky and heart-warming way. Soon after meeting her, he finds himself at the door of Professor Hilbert (Dustin Hoffman), an expert in literature, to find answers about what the voice in his head means. Professor Hilbert helps Harold define the meaning of the voice by learning that the narrator is all-knowing because of a line Harold repeats out loud to him, "little did he know". The professor narrows Harold's fate into two options; his story is either a tragedy or a comedy. While Harold continues on his quest to define his story, the audience is shown that the voice in Harold's head belongs to writer, Karen Eiffel. Eiffel is a chain-smoking, strung-out author who is struggling with a bad case of writer's block as she tries to figure out how to end her story about Harold Crick. She is set with the fact that Harold must die eventually but cannot find it in herself to write his fate. As this action plays out the audience is confronted with questions about whether or not Harold will figure out Karen Eiffel is the narrator in his head, and above all whether or not he will ultimately be able to find a way to direct his fate. One aspect of this film that is particularly well done is the on-screen special effects that enhance the portrayal and impact of characters and their actions in a concrete way. The audience is able to literally see the calculations of Harold's mathematical brain as he counts every tile in the bathroom and performs mathematical calculations at work. The unique use of criss-crossing diagrams that detail the mundane, boring facts down to the number of times Harold brushes his teeth (76 times) helps the audience understand his personality and the structure of his monotonous life. Another aspect of the film that created an overall effective and endearing experience was the phenomenal performance of Will Ferrell as Harold Crick. In a more dramatic role than his typical well-known comedic previous roles, Ferrell pulls off the character of Harold Crick through effectively portraying each emotion experienced on Harold's journey to take control of his fate (bewilderment, panic, and uplifting liberation). The psychological trauma his character goes through is so effectively revealed in his facial expressions throughout the movie. An example of the way Ferrell portrays Crick's awkward social dynamics so perfectly occurs in a scene where he is talking to Anna Pascal at her bakery. He so obviously misses social cues with a straight face and rigid demeanour that leaves the audience laughing in true comedic fashion at his inability to understand her actions. Overall the film Stranger than Fiction is thoughtfully executed and stands in its own category of ingenuity. It strikes the true discerner and intellectual with the resonating message that our lives are impacted in all sorts of ways, in all sorts of small moments. This film shows that when we break free of the dull, mundane cloud of grey that can control our lives, we experience creativity and inspiration and reach a new height of living through learning what it really means to be alive. I would recommend this feel-good film to anyone looking for a heart-warming, light yet impactful film offering a fresh perspective on life and fate. I rate this 4 cigarettes out of 5 in honour of Karen Eiffel: Penny Escher: And I suppose you smoked all these cigarettes? Kay Eiffel: No, they came pre-smoked. Penny Escher: Yeah, they said you were funny.

(es) wrote: OMG!!!! I LUV THIS MOO-V!!! so sad.

David J (us) wrote: "Harry Potter and the Prison of Azkaban" is as enchanting as the first two films in the series and the story is far less stagnant.

Dr N (nl) wrote: After reading the blurb this movie sounded like my sort of thing, ultimately it is. I really identify with the whole gang of mentally ill film nuts and it's something i fantasise over often. Whilst i see everyone else thinks this film is terrible i absolutely love it. 5 stars from me.

Mike T (ag) wrote: An underrated gem in Brando's career that presents an astute approach to character dynamics and suspense. Directed and photographed with expertise, this is a top-notch espionage thriller that engages from its first scene until the grim conclusion. Marlon Brando's understated performance is also immensely underappreciated, and Yul Brynner does a great job too.

Tiberio S (kr) wrote: Fast talking, witty, cold and detached journalists in love with their careers in 1940. Films like this are so important to our future generations because they show that humans have been very much alike for a lot longer than we think. It's easy to lose sight of that in classic literature or theatre compared to modern fast chats online and via text messaging, but when we see a movie, we see this kind of attitude and behavior locked in time, and the film stock no longer matters - there are people who act and think like we do, dealing with the same shit and corruption and paranoia. But Cary Grant is cooler than all of us, he's still someone we'd envy. And women who think they're so unique in 2016 with their career-oriented ambitious attitudes need look no further than Rosalind Russel's Hildy Johnson to realize this is not new. She's the real star, the power of the story, and though she falls into Grant's manipulation, he is still at her mercy, because who wouldn't love a powerhouse of a woman like that? I'm guilty of criticizing ridiculously speedy dialogue on shows like Gilmore Girls, but I kind of like it here. The layers are astounding, several conversations happening at once; a multidimensional experience, too bad this wasn't shot 3D. How the actors handle it must've involved a great deal of practice. How it looked on paper is confounding - after searching for the screenplay, I was disappointed not to find at least two column, if not three column dialogue -- I'm suspicious of it's legitimacy. It's by far one of the fastest-paced, jampacked wit, chaotic circumstantial movies I've ever seen, and yet Howard Hawks manages to smooth it over and deliver it clean.

Dillon L (kr) wrote: no bad but nothing special has some funny moments

Matthew P (fr) wrote: I've never found a Todd Phillips movie particularly funny. Most of them also have structural problems. School for Scoundrels fits into both of these categories. It opens with some promise, which only makes the final two-thirds feel like even more of a waste. If it had actually been about the "School for Scoundrels" of the title, perhaps it would have been worthwhile. It's wasted opportunity. Roger (Jon Heder) is a loser. Or, more correctly, he's a step below "loser" on the totem pole. He pays the bills by handing out parking tickets -- which apparently pays well enough for him to drop $5,000 just like that -- he doesn't understand how to talk to, well, anyone, but especially his neighbor, Amanda (Jacinda Barrett). He volunteers at a big brother program, but has had three children ditch him. He's given a number to call, at which point he is told to bring the aforementioned money to a certain location, and that's it. Apparently he's such a loser that he doesn't even understand the definition of the word "scam." As it turns out -- because this is a movie -- there is no scam. There is a class taught by Dr. P (Billy Bob Thorton) about how one can better himself as a person. Presumably the class is only available to men, because there isn't a single woman in the class. Dr. P initially comes across as the type of drill instructor personality who might just be able to whip these lads into shape. At this moment in the film, directly following our introduction to Dr. P, I thought I might be in for something that's going to be really funny. School for Scoundrels doesn't want to be about this classroom setting. It decides instead to have Dr. P set his sights on Amanda just to assert himself as the top dog. A battle of will ensues between the teacher and the student. Nothing fresh comes of this; they attempt to one-up the other a couple of times, all while not letting anyone outside of the classroom know that they previously knew each other. The "school" must remain a secret, presumably because nothing looks more sad than a grown man going to a class in order to gain more confidence. The film isn't done completely removing itself from its initial idea, either. At the end, we get a slap-dash attempt at hammering in a rom-com. Or, at least, the ending to one. A character runs through an airport in hopes of getting to another character before he or she takes off -- and it comes down to the last second because that's how these things work. It's another change in direction that is very noticeable and doesn't work very well -- in this case because the rest of the film wasn't a romantic comedy. I actually had fun for about the first twenty minutes of School for Scoundrels. It had everyone making fun of Jon Heder -- a generally good idea -- and it had a dark tone to the comedy. Later on, I didn't even see it attempt a lot of jokes. There were some, but the sharpness was lost and it became more about the plot, which kept changing direction unnecessarily. The jokes got lost along the way. The good critic would mention that School for Scoundrels is a remake of the British film from 1960. I haven't seen that film, but I recommend taking the chance on it over this one anyway. There's a very good chance it'll be more worthwhile. If it isn't, at least you can be a hipster and when your friends ask if you've seen School for Scoundrels, you can tell them that you say the British one, which many of them won't know existed. You can educate them! That alone is makes it worth the time, doesn't it? I mean, you like knowing things, don't you? Is it this obvious that I'm already pretty much out of things to say about this version of School for Scoundrels? Oh! Right. Rape gets made fun of. Dr. P has a right-hand-man, Lesher (Michael Clarke Duncan), a very large person with a deep voice. Apparently, he rapes people. So if you hate seeing that subject treated like the butt-end of a joke, there's another reason to dislike this movie. And it's not even like it's a one-time thing, either; it gets brought up three times, if memory serves. Billy Bob Thorton works in his role. He's often a pleasure to watch perform, and seeing him take pot-shots at Jon Heder was a lot of fun. If the film was just that -- nothing more -- for 90 minutes, it would have been better. Jon Heder plays the loser well, too. He was Napoleon Dynamite back when that film was relevant (hint: it never was), so if you wanted to see him made fun of for twenty minutes, start up School for Scoundrels and turn if off after that time. You'll get some enjoyment out of that, at least. School for Scoundrels is not a good movie after it changes direction, which is about twenty minutes in. It begins as a cynical movie whose target is Jon Heder's loser character. It ends as a romantic comedy that forgot jokes belong in comedies. Billy Bob Thorton is fun to watch when he makes fun of people, but that's about the only enjoyment I got out of it. Skip it and watch the original, if only to say that you've seen the original and unleash the hipster within. This concludes the first lesson of "School for Hipsters."

Lee M (fr) wrote: As with the 70's films of Terrence Malick, one of Undertow's producers, the more intoxicated it becomes with rural desolation and fecundity, the more deeply in touch it puts you with its characters' souls.