Cañitas. Presencia

Cañitas. Presencia

The movie that tells the story of a very famous poltergeist that allegedly really happened to a family in Mexico city

Based on the novel by Carlos Trejo - which is supposedly based on true events -, the film retells the story of a group of friends that played the Ouija one night together and started to die one by one in mysterious ways. The only survivor was the real-life author, Carlos Trejo. -Edgar Cochran- . You can read more in Google, Youtube, Wiki

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Cañitas. Presencia torrent reviews

Cameron J (ca) wrote: Oh, Jeff Buckley was indeed the spitting, '90s-esque interpretation of his father, and I've always had enough trouble calling him "TimBuckTwo" without him doing a set of his father's songs, but I think I'm going to back off of that, as cheesy puns is not helping ease the suffering of either the Mali city of Timbuktu or, for that matter, the Buckley family. Look, let's just call it as it is, "Greetings from Tim Buckley... and Beyond the Grave"! Oh, come on, it's hard to not think of that, considering that this film is about that neat little 1991 performance in which Jeff Buckley sang in the place of his father, which is ironic in retrospect, as Jeff didn't live that much longer than his father. Ah, the tragedies of Tim and Jeff Buckley are considerable, as both of these musicians were artists who never quite saw full recognition... so it's only fitting that this film also be so low in profile that no one is keeping up with it. Shoot, this film makes the Buckleys look like pop sensations, in terms of popularity, because no one is talking about this project. Well, I can't say I'm too surprised, because this film is evidently so uninteresting that I had to resort to making an unbelievably bad Timbuktu pun because I can't think of much to talk about in regards to this film. No, folks, I like this film and find it adequately intriguing, even if it doesn't offer much material to talk about, with what topics of discussion there are often being not all that flattering to the final product. The film interprets potentially refreshing subject matter with hardly anything new in the way of material, which often devolves into bona fide trappings which betray the sense of realism of this subject matter with a sense of cinematic manufacturing to storytelling. This sense of manufacturing isn't exactly helped by moments in characterization that are hard to fully buy, from such questionable scenes as an obnoxiously fluff one involving a mocking singing session by Jeff Buckley in the middle of a record store, to histrionics to what depth there is to this drama. Perhaps the histrionic approach to actual scenarios would feel more genuine if this film felt more fleshed out, as immediate development is lacking and gradual exposition is thin, as if writers Daniel Algrant, Emma Sheanshang and David Brendel expect you to already feel associated with recognizable real-life figures. To be such a meditative character study, this film boasts a sense of underdevelopment that grows all the more glaring the more storytelling wastes opportunities for characterization on mere meanderings, which bloat the film with draggy, maybe even aimlessly repetitious material that is bland enough without a certain directorial coldness to the air. When Algrant, as director, doesn't liven things up to a certain degree with a still rather dry folksy soundtrack, his storytelling gets to be subdued to the point of being kind of cold, if not dull, though not exactly to the point of abandoning a perhaps overly weighty sense of ambition. The ambition charms, of course, and often ignites true inspiration, but the desire to make an ethereal character study gets to be carried away, plaguing momentum with a limpness that is exacerbated by some questionable and undercooked writing elements, until the final product falls as underwhelming. Regardless, this film certainly endears, ultimately engaging adequately, no matter how far it falls shy of potential, which is very much there. The film is backed by a minimalist, but still interesting story concept that meditates both on how Jeff Buckley lived his life and interpreted his father, and on the youth of Tim Buckley himself, thus making for an intriguing idea that is betrayed by flawed scripting, which still has its fair share of strengths. Daniel Algrant's, Emma Sheanshang's and David Brendel's writing is formulaic and uneven in pacing, with limited expository depth and even some histrionics, or at least questionable aspects, but it's still reasonably comfortable enough in its structuring of the flashback, Tim Buckley segments to avoid focal inconsistencies, while keeping things going more with plenty of sharp dialogue that sustains a degree of liveliness. Less lively and more thoughtful is Algrant's direction, which may often be blandly ethereal, but attracts with a subtly handsome visual style, in addition to enough genuineness to the thoughtful storytelling to draw a degree of resonance. Of course, the direction may be most engaging when it utilizes the predominantly Tim Buckley soundtrack, whose tracks are rather dry by their own right, but genuinely written and performed folk classics that add to the heart of this film, as well as some entertainment value. Really, there's just not that much to compliment here, but the subtle storytelling strengths have a certain charm about them, as well as some effectiveness, though not as much as the performances. Granted, the performers only have so much to work with, but they succeed greatly in complimenting the human core of this factual character study, and that especially goes for leading man Penn Badgley, who captures the dry charm of a subdued, but still approachable Jeff Buckley, until incorporating some genuine emotive layering to capture the depths that Buckley was well-known for as a sharp, but flawed artist. Badgley is among the more worthy sellers of worthy subject matter, but he's not the only inspired force in a flawed, but heartfelt drama that engages enough to do justice to the late artists it pays tribute to, even if it does only so much justice to its full potential. In the end, formulaic and sometimes rather histrionic, as well as undercooked and draggy, maybe even near-dully dry storytelling betray the full potential of promising subject matter and render the final product underwhelming, but the point is that this is a worthy story which is done enough justice by some written and directorial sharpness, a solid soundtrack and engaging performances - particularly the one by leading man Penn Badgley - for "Greetings from Tim Buckley" to stand as a charming and sometimes portrait on a well-known estranged father and son in the folk music business. 2.5/5 - Fair

Claudette A (ca) wrote: Someone who has everything and then has nothing! What self-destruction and gambling addiction does to people. Plus I think he had multiple personalities disorder.

Lori W (us) wrote: Saw this movie because my daughter chose it. It was horrible. Horrible. We only spent $1 to rent it ... totally not worth it.

Edgar C (us) wrote: This is one of the several films that take a smart and original idea, and end up wasting it. I will not deny the cleverness involved in the concept of comparing paranoia with the senselessness of Vietnam; however, the overall pace lacks credibility and the film does not even have the necessary number of interesting moments it should have had throughout. Make the cinematography an exception. 54/100

Jennifer X (it) wrote: This is the textbook definition of vicious self-satisfaction. Evan Rachel Wood's hilarious deadpan steamrollers over everything she touches. The way she holds herself with such decisive control is impressive at such a young age (I can kind of imagine Dakota Fanning in something of this role in the future, actually) and she is the one that makes this movie THE best out of all its precedents (Heathers, Cruel Intentions). It was necessary for this movie to be independently made because the straight-up racism wouldn't have been approved anywhere else. And the racism and gutsy ventures into taboo territory are what make this movie unforgettable.But even though I really, really enjoyed this movie, it lacked the balls to make the full vitriolic monty, opting for the redemption arc instead, with internal turmoil + tears+ all. Come on people, we don't live in the age of the Hays code anymore - not everything has to end for the good.

David S (ca) wrote: I saw this once and turned if off half way because it seemed endlessly boring, didnt seem to go anywhere and it simply corrupted the famous story. It chewed up the fairytale and spat it out with all these morphs that you forget that you're watching Jack and the Beanstalk.

Ray S (au) wrote: Pretty good, and what makes it so is Michelle Rodriguez's great performance. I can see why James Cameron wanted her for Avatar after he saw this movie.

Charlie 7 (it) wrote: One of the best Batman movies to ever be made.

Sherry L (kr) wrote: This low-budget movie is somewhat unique in a couple of ways. Starrs a very young Juliette Lewis and Brad Pitt (who also were an off-screen couple at the time). Juliette Lewis plays a very debile and infantile young woman called Adele, who is married to a psychopath killer Early (Brad Pitt). Together, the trailor trash couple, answers an ad of another couple who is going to California by car and wants company and someone to share the gasolin money with. The other couple, Carrie and Brian only have one condition; to stop at old murder scenes along the road. Brian (David Duvchovny); to be inspired and get material for the book about psychopath killers he is writing. Carry (Michelle Forbes); to get some nice artsy photos for her future exhibition. After, Early having killed their landlord, Early and Adele are leaving their trailor to join Brian and Carry for the trip to California. Carry's first impression of the couple is not overly favorable. Being a well dressed and very trendy artist, the manners of the trashy couple, remotely sickens her. She befriends Adele, after a few days, and feel very sorry for her, for having such a dominant, mean and abusive boyfriend. Brian, also befriends Early, after a while, and starts to consider his rough, primitive and very trashy manners, charming in some way. What Brian and Carry don't know, is that Early is robbing and killing people along the road to afford paying his share of the gasolin money...Ultimately, when they find out that their company is wanted by the police for murder, it's too late to run away. What I like about this B-movie, is the subtle humour that comes of the contrast between down and dirty wt-couple and the pretentious, sophisticated college couple. Important to point out, though, is that this is nowhere a traditional comedy, but made as a thriller. It's a bit punky, in that certain 90s way, you know, and provoking. It certainly qualifies as a nice, interesting cult movie of the 90s!

Kevin G (us) wrote: I quite enjoyed this. It's sort of an odd little spy comedy. Sure it's implausible that Walter Matthau could be a CIA operative, but surprisingly enough he actually is convincing. I think the fact that he's tricking everyone from the CIA to the FBI to the KGB at a really casual pace is pretty funny. He so effortlessly carries out his plan of releasing CIA information for his autobiography just to piss everyone off. He might not make a very good James Bond, but for comedy's sake this worked well enough.

Dave R (es) wrote: vince edwards plays a zen-like hitman who has become a star in his new found career of contract killing. then he gets a high-profile contract for a witness against a mob boss. but he finds it hard to complete the contract because it's a woman - and women are "unpredictable".some great dialogue in this film. it has a strange feel to it too - kind of "point blank" (1967). at least to me it does. it's not filled with the usual macho gangster types. instead it's rather philosophical.

Anthony C (au) wrote: Good movie loved the twist at the end of movie.

Dean H (gb) wrote: I really wanted to like this more. I loved the aerial cinematography though.

Tyler E (us) wrote: Pandorum has its moments, but ultimately barely crawls its way out of sci-fi horror mediocrity. [C+]

Kevin S (it) wrote: I'm a fan of Jason Bateman but you can skip,this one. There are a few good laughs but the story just seems disjointed.

Bruno R (br) wrote: Almost excellent. Cameron and Arnold at their best.

Howard E (nl) wrote: It was just about a year ago that I reviewed the film, THE FAULT IN OUR STARS. I called it an honest and real portrait of two young adults who are dealing with life and death in the aftermath of their respective cancers. (If you haven't seen it yet, I would encourage you to do so.) It would be very easy to say that ME AND EARL AND THE DYING GIRL is another film about teenage cancer. Yes, there are similarities but this film so much more than that."Me" is Greg Gaines (Thomas Mann). He and Earl (R.J. Cyler) are high school seniors who are your average American teenagers. The "Dying Girl" is Rachel (Olivia Cooke), a classmate of theirs who has leukemia. When Rachel is diagnosed with the disease, Greg's well-intentioned mother (Connie Britton; TV's FRIDAY NIGHT LIGHTS) asks Greg to call on her at home. While Greg would prefer to go through adolescence being invisible, he's a good kid under all his self-loathing and he decides to do the right thing. Their first encounter seems like a page torn out of most teenagers' lives. As he tells Rachel, he's not there because he wants to be there. He's there because his mother asked him to go. Needless to say, the news doesn't cheer Rachel up any but Greg quickly sees that she's as offbeat as he is. He stays that afternoon and keeps coming back.Although Rachel and Greg already knew each other, they weren't exactly friends as Greg doesn't like getting close to anyone. His strategy is to float through high school by being on a cordial but detached basis with all the groups and cliques that function there. Even Earl, who truly is Greg's one close friend, is referred to by Greg as his "co-worker" because the two guys share a wonderful, yet secret, hobby. They take classic Hollywood and arthouse films from the 1970s, tweak the titles and shoot a whole new film based on the new title. It makes for some hilarious homages such as MY DINNER WITH ANDRE THE GIANT; BREW VELVET; A BOX OF 'LIPS, WOW! (say the title fast); and A SOCKWORK ORANGE, clips of which can be seen during the film.Over the weeks ahead, Greg and Rachel strike up a platonic friendship. One might expect them to take their relationship further but it's not that kind of story, as Greg says in a voiceover. Instead, they just hang out together as Rachel's health is increasingly affected by her chemotherapy treatments and the disease. When Greg's long-time crush discovers his hobby, she challenges him to make a tribute film for Rachel. However, by his own admission, he and Earl only know how to make terrible parodies and the guys struggle to make an original and worthy film for someone they care about.Much like THE FAULT IN OUR STARS, ME AND EARL AND THE DYING GIRL is a welcome change from the usual young adult-oriented fare coming out of Hollywood these days. These are real teenagers with real issues - no super-powered, supernatural, high-tech geniuses to be seen. The film is funny in parts but it doesn't let you forget that this really is a story about growing up. It's sad in parts, too, but it's not a tearjerker. And many of the characters are quirky but their behaviours are well within the bounds of reality. A case in point is Rachel's mother, Denise (Molly Shannon, TV's SNL), who would have been a cougar had her daughter not become ill. While we expect her to pounce on Greg during any one of his visits to her home, she finds comfort in another glass of white wine instead.ME AND EARL AND THE DYING GIRL is a bittersweet tale about friendship and what can happen when you open yourself up to someone. As Greg learns, it can be painful at times but it's hopefully worth it in the long run.ME AND EARL AND THE DYING GIRL was directed by Alfonso Gomez-Rejon and was based on the debut novel by Jesse Andrews, who also wrote the screenplay. It was the surprise hit at this year's Sundance Film Festival, winning both the Grand Jury Prize and the Audience Award. The film was shot and set in Andrews' hometown of Pittsburgh. His own house was used as Greg's house, and the kids' high school is the same one that Andrews attended.

Ryan O (br) wrote: An "ok" musical, there wasn't really any memorable songs in the film. I did love seeing a young Christian Bale give a different kind of performance.