Carlito's Way

Carlito's Way

A Puerto-Rican ex-con, just released from prison, pledges to stay away from drugs and violence despite the pressure around him and lead on to a better life outside of NYC.

A Puerto Rican former convict, just released from prison, pledges to stay away from drugs and violence despite the pressure around him and lead on to a better life outside of N.Y.C. . You can read more in Google, Youtube, Wiki


Carlito's Way torrent reviews

Fumi M (ag) wrote: watched this on the airplane and totally felt connected with it

Gwendolyn B (fr) wrote: I picked this film at random on a flight and was very pleasantly surprised - the characters were great and I was desperate to see where it would go!

Dean F (de) wrote: UNARGUABLY THE WORST MOVIE EVER MADE! NO EXCUSES, NO KIDDING! UNWATCHABLE! And perhaps this is even an understatement.

Terri H (fr) wrote: Another zombie movie - Great!

Sinead C (ru) wrote: 5/5really good my favourite movie!!

Orlok W (ru) wrote: Disgusting yet beautiful, "Taxidermia" is a stunningly original and audacious work--Putting the Gory in the Allegory, or Vices Versa Vices!!

Michelle M (ag) wrote: If you have ever seen Christian the lion on youtube, this is a wonderful movie about the man who took him in and gave him as well as other lions their wild life back. Loved it.

Del H (mx) wrote: Yet another masterpiece from Paul Thomas Anderson.

Lee M (au) wrote: A sometimes outstanding but is a not always satisfying screen adaptation of Thomas Hardy's last novel. Jude is certainly effective film-making, but it could have been more affecting.

Alec N (ag) wrote: I'm actually recommending this. That final car chase is pure win.

Jody O (ag) wrote: I love John Cleese, but some of his movies are just too British.

Gregg A (mx) wrote: This is called 'Blaxploitation' but it's far better than that genre usually allows. This is a an AMAZING flick and a must see by fans of cinema from the '70's. The acting is solid from Quinn, Koto, and everyone else involved. Check it out today!!!!

Donald W (ca) wrote: Back when Hollywood forgot how to make a western movie and the Italians were making some good ones, the English thought they'd take a shot at it. They had a Louis L'Amour book to work with and Sean Connery wanted out of his James Bond roles. They got the latest European sex goddess Brigitte Bardot and several good actors from other movies and off they headed to Spain and filmed a dud. I've seen better western TV shows. Some of them were also filmed in the 1960's. The Apache's were portrayed as mindlessly violent and the European aristocrats were portrayed as boorish idiots. At least they spoke English although Brigitte Bardot's accent was so thick sometimes you couldn't understand what she was saying. And why wait until the end of the movie show off your sex-pot's body. There was nothing in the movie that makes a western fun. The shootouts were poorly done. The horse riding was boring. The plot was improbable. Louis L'Amour used some isolated cases of European's going on hunting trips to the American west to base his story on, but real Indians wouldn't have been stupid enough to attack a group of tourist. They would have volunteered to be their guides. And in the 19th century these European big game hunters wanted to hunt buffalo on the Great Plains or other big game up in the Rocky Mountains. You don't go out into the middle of the desert to find big game. All they had in the movie was one little mountain lion. Sean Connery played an ex U.S. Army officer turned scout who speaks with an English accent. It would have made more sense if the character had been an Irish or Scottish ex-sergent. There were a lot of immigrants in the U.S. Army after the Civil War.

Budge B (nl) wrote: "Il Bidone" ('The Swindle') is the second in Fellini's so-called trilogy of loneliness ('La Strada' and 'Le Notti di Cabiria' are the other two). Often dismissed as one of Fellini's lesser works, "Il Bidone" is a thoroughly engaging gangster film with a moral. Shot in black and white and released in 1955, its opening nevertheless captures the feel and texture of a 1930's Cagney or Edward G. Robinson movie. The setting is clearly post-war Italy, undergoing the economic uncertainty of reconstruction, but the 1930's echoes establish a timelessness to the story.Broderick Crawford, an American actor who appeared in numerous 'B' movies before making his name in the television series, 'Highway Patrol', plays Augusto, a middle aged conman who preys upon the gullibility of the peasants and urban poor. Dressed as a Church dignitary, or playing the part of an a rich man or a State functionary, he dupes the poor of their savings as Fellini makes the obvious point about the victimisation of the poor by Church, State, and aristocracy.But Augusto is troubled. He appreciates the emptiness of his life ... or at least his vulnerability. He has no savings, no real home, no friends he can trust. He can only envy others. He has no pension plan, no savings, no prospects of any way of life other than duplicity and conning others out of their money. His prospects seem restricted to imprisonment and death in poverty. He tries to delude himself that he is happy, that he is in control; he lives a life of bonhomie, drinking and carousing all night, constantly searching for the next trick by which to rob the poor. Then his daughter re-enters his life, bringing into perspective the emptiness and loneliness of his existence.Fellini contrasts the decadence and materialism of the upper classes, the amoral hedonism of the underworld, and the gullible honesty and backbreaking work of the peasants and industrial classes. Augusto is a parasite, but no more so than the Church or State or decaying nobility. Is change possible? Can the conman find redemption? He can certainly recognise the idealism and hope portrayed by Richard Basehart as his co-conspirator, Carlo, a man who aspires to be an artist. But Augusto can also recognise that the world he inhabits is morally bankrupt, and he frankly lacks the skills or experience to change, to find his own salvation.Crawford and Basehart had their lines dubbed in Italian, but they both deliver charismatic performances. Fellini apparently struggled to manage Crawford, whose drinking caused daily problems on set. But the performance is directed with compassion and energy as Broderick Crawford portrays a big man whose age and emotions leave him vulnerable and exposed. He warns Carlo that he must choose between crime and family life, warns him not to make the mistakes he has. Is Carlo the Augusto of twenty years ago? A man with ideals, a man with an imagined future?But the Augusto of today must paint his future with a very limited palette. He watches his other criminal colleague, Roberto, a man with no morals and a hedonistic pleasure in duping and robbing others, and he recognises that he is not like this any more. The scene is set for epiphany ... but Fellini delivers us enigma. Is Augusto finally able to deliver up a selfless act ... or is it wholly self-centred and motivated by his own delusions that he can con anyone?A commentary on the morality of Roman society, a generous tribute to American gangster movies, and a wonderfully observed, humanistic study of loneliness and disillusion, this is a well-plotted, evenly paced film in which the character of Augusto is ruthlessly exposed and dissected. Not normally recognised as one of Fellini's major works, "Il Bidone" is nevertheless a thoroughly engaging and entertaining film which deserves better respect and attention than it has received. Highly recommended!

Michael T (ca) wrote: A triumph of style over story.

Cedric L (ag) wrote: Although one of Woody Allen's best, it's carried by his steady directing and Cate Blanchett's performance.