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Candy Stripe Nurses torrent reviews
Josh B (ca) wrote: The first one was pretty good, but I wasn't big on the twist ending. This one I kept wondering if it was going to stay in that direction, but it never did. The overall story sucked.
Corey C (ag) wrote: Doesn't work at all, but man, what balls this movie has. Satirizes everything, but forgets the funny jokes.
Benson L (mx) wrote: Very slow movie, characters were one-dimensional. Interesting concept, but poorly executed.
Michael G (mx) wrote: wasnt as good but amazing
Kristina K (nl) wrote: Well played. It's a sad movie, but I find out that being in the army takes a lot of "balls", much more than quitting being a "whore"... so I don't know what was his deal.
Don S (mx) wrote: Maybe the horror that was the last romantic comedy I watched (My Mom's New Boyfriend) leads me to value this one higher than usual, but there is no comparison. This is not to say that this is the best movie ever, but I can say I enjoyed many parts of it. The characters are not really fleshed out, but you still connect with them and the situations for the most part. The acting is okay, though I felt Brittany Murphy was a bit off. Pretty superficial story, but still enough here to make me say give it a try.
Megan T (us) wrote: ??Nobody can be uncheered with a balloon?? Never have wiser words ever been spoken. I loved it! <3
Rakeem M (de) wrote: The actors are all game and, bad lip-syncing aside, they all succeed and elevate the material. But that can't hide the fact that this film is sorely lacking direction, which is a surprise seeing as how this comes from the same director of "Selena" (a better music bio-pic by miles). The script is flawed and doesn't allow for us to really know any of the characters, especially Frankie Lymon (Larenz Tate). The three women shine in their under-developed and under-written roles, but at the end of the film you really don't have anyone to root for and you can't really grasp why they fell in love with this man because he's nothing but an enigma in the picture and they just come off as bitter and greedy. Still, I'd say see the film because it's obvious that these talented actors worked hard to try and create full characters from the little they were given, the music is great, and it's fun seeing these women acting alongside one another.
Don F (jp) wrote: This was a very good movie I thought and all the acting was out standing. It's a story about a 10 year old little girl who's out hustling older men. Trent the yard worker should of loaded her in his pick-up and taken her right over to her parents and told them to keep the little menus out of his yard.
The Movie W (kr) wrote: Following his defection to the United States, a Russian General informs the C.I.A of his nation's plans to position nuclear missiles on the island of Cuba. The C.I.A seek the aid of a French secret agent (Stafford) who manages to steal documents, confirming the plans, from a Cuban official (Vernon) visiting the United Nations in New York. Stafford heads to Cuba to investigate further and also meet up with his mistress (Dor), a leader of the anti-Communist Cuban resistance. Meanwhile, the C.I.A have uncovered information regarding a Soviet spy-ring known as 'Topaz', working within the French intelligence network. Of all his films, 1969's 'Topaz' is arguably the least "Hitchcockian". With it's rambling plot and overly talky script, it resembles the work of a modern Hollywood hack rather than a master film-maker. Hitch had absolutely zero interest in adapting Leon Uris' novel but, following the commercial failures of 'Marnie' and 'Torn Curtain', Universal forced the best-selling book on him. The production was a troubled affair, with scenes being written as late as the night before they were due to be filmed. This infuriated the director, who had spent his career working in a strict, organized manner. He's often quoted as saying how his films were made long before the cameras began to roll, with every last detail worked out meticulously. This was far from the case with 'Topaz'. After a cheap, stock-footage utilizing, credits sequence, Hitch gives us an impressive opening. The defecting general and his family leave the Russian embassy in Copenhagen, planning to rendezvous with the C.I.A men who will aid their escape. Through a great crane shot, it's revealed that they have been seen leaving the building and are followed by two men and the creepiest female Russian agent since 'From Russia With Love''s Lotte Lenya. Hitch builds a suspenseful, dialogue free, set-piece as the family are followed through downtown Copenhagen by the villains. We're on familiar Hitchcock ground here but it's one of the few occasions in this film's lengthy running time. This opening sequence apart, there's about two minutes at best of classic Hitchcock on display in 'Topaz'. The film's most famous moment comes when Dor is discovered to be a traitor by Vernon, who holds her in his arms before shooting her. When he releases her lifeless body from his grip, she collapses to the floor, her purple gown spilling out like a pool of blood, all shown in a stunning overhead shot. (Spielberg paid homage to this moment in 'Munich', replacing the gown with a shattering milk bottle). Just as he used the roar of a jet engine to prevent us from hearing plot details in 'North by NorthWest', here Hitch has two characters hold a discussion behind a thick sound-proof door. We can see them but can't hear a word they say. For the most part, 'Topaz' is a humorless affair but there are a couple of moments of absurd comedy. They both feature Hitch's great love - food! In one scene, Vernon is searching for a document he seems to have misplaced. He finds it doubling as a napkin for a half-eaten burger, its text smeared with grease. (Once again America has meddled with Cuban affairs). The second comes courtesy of photographic equipment, hidden by spies inside baguettes. When seagulls fly off with the bread in their beaks, it alerts the villains as to the whereabouts of the spies. These brief sprinklings of note are rare and mostly only of interest to Hitch buffs. On the whole, the film is a terminal bore, like watching a Bond movie under the influence of heroin. The plot seems to ramble on for an age, eventually leading to an unsatisfying conclusion. Three endings were filmed as Hitch and his screenwriter Samuel Taylor struggled to wrap it all up. The final line of the movie comes from Stafford, "That's the end of Topaz". It's a relief to hear it.
Giovanni M (jp) wrote: The single Chevy Chase-iest movie ever made.
Tony J (ag) wrote: I love Hellraiser, but avoid anything after number 4
Ryan H (mx) wrote: Holy cow Denzel! Fantastic! I'm not going to say that you deserved the Oscar for it, but I get it.
Mason B (jp) wrote: Why do I keep seeing Juno Temple in bad movies? She's a very actress, but after Jack and Diane and The Dark Knight Rises, I'm beginning to think she can't see a rubbish script when it's given to her. Cracks suffers from many of the same problems as Jack and Diane: it's aimless, plotless, lacks any real drama or tension. In addition Cracks has annoying, badly thought-out characters. Central to this is Eva Green's Miss G, a diving instructor at the all girl's boarding school where the film takes place. She becomes obsessed with Fiamma, the spanish exchange student, much to the jealousy of Temple's character. Miss G. is meant to be the wise free spirt with the dark secret, but comes off as a pretentious idiot; there's really no reason for the audience to feel any sympathy for her. Neither is there any sympathy for Temple's character or Fiamma, because there's no character for them beyond their initial roles in the film. The lack of any decent character highlights the glaring flaws in the rest of the film. It is a tedious, ponderous, cliched, and agonizing mess that provides the viewer with little if any substance.