A cavalcade of English life from New Year's Eve 1899 until 1933 seen through the eyes of well-to-do Londoners Jane and Robert Marryot. Amongst events touching their family are the Boer War, the death of Queen Victoria, the sinking of the Titanic and the Great War.

A cavalcade of English life from New Year's Eve 1899 until 1933 seen through the eyes of well-to-do Londoners Jane and Robert Marryot. Amongst events touching their family are the Boer War,... . You can read more in Google, Youtube, Wiki


Cavalcade torrent reviews

BeardSmoke D (kr) wrote: Really sad to see so many truly gifted actors laboring like crazy to get this piece of s*** off the ground. Downright deplorable, imho.

Kate K (de) wrote: Another dysfunctional family vacation film. Scarily similar to my family's vacations..... probably why I sympathize with Edward and enjoyed this film.

Gaspar O (kr) wrote: Wow. That's what I said to myself when the credits rolled. I'm not sure which was worse between the acting, the script and the editing. The acting sucked, but at times the editing was so bad that it made the acting look even worse. There was some human chopping and some ax wearing and I tried hard to accept it and like it just as a subpar slasher film, but I could not. Extra half star for the ability to con someone into burning this thing to DVD and packaging it for retail sale. Well done.

Dann M (ru) wrote: A generic crime thriller, Into the Blue 2: The Reef is a poorly made piece of garbage. The story follows a scuba diving team that's hired by a smuggler to recover some lost cases, but they soon discover that things are not what they appear to be. Laura Vandervoort, David Anders, and Marsha Thomason lead the cast, but their performances are rather weak. And the writing is incredibly bad; full of one-dimensional characters and standard genre tropes. Additionally, the directing is unfocused and doesn't bring any intensity or suspense to the film. Formulaic and clichd, Into the Blue 2: The Reef is uninspired tripe.

Mireille B (fr) wrote: At first, when I saw the trailer, I wasn't very convinced by what I saw. I thought it would look like any Korean gangster movie that came out lately. Well, I was gladly surprised. It was different, edgy, daring, funny, action-packed and well directed! A great cast is completing this great depiction of how good No Mercy For The Rude was.

Asif H (au) wrote: There have been some great Bollywood horror films over the years, many of them directed by Ram Gopal Verma such as `Raat`, `Bhoot` and `Phoonk`. Even, the Vikram Bhatt directed `Raaz` and `1920` was awesome. However, this pathetic excuse of a movie was terrible beyond belief. Poor Tabu, a highly respected actress being stuck with a horrible picture like this. The film even borders on sleazy instead of trying to terrify you. The film was clearly inspired by the Hollywood movie `The Entity` but that version was definitely one of the scariest films I have ever seen.

Patricia R (de) wrote: It's a journey. Amazing Emma!

Edith N (au) wrote: A Journey of Cinema, Not Flesh As I've said before, I don't always know what movies are about before I bring them home from the library. Sometimes, it's because they are movies I've heard of long since but never actually knew the plot. Sometimes, as in this case, it's because I looked at the title and was intrigued, sometimes but not always in combination with a name attached to it. I had assumed, not unreasonably, that this would be the story of Martin Scorsese visiting his ancestral home in Sicily, walking the roads his ancestors walked and so forth. And that would have been an extremely interesting story. This, however, is also an interesting story, and it's one not everyone would think to tell. It is a curious fact that, while I don't generally care for Scorsese films, I am still interested in the story of what made him make the kinds of films he makes. The more so because it is a genuine love of quality film, a thing I admire even in directors I don't. In short, Martin Scorsese is giving us an overview on the history of Italian cinema as it influenced his own filmmaking. It seems that the Scorsese family owned a TV earlier than a lot of other people, and a local New York channel played subtitled Italian movies on Friday nights. Young Marty watched them with his family, and he soaked in their style. This is not, therefore, intended to be any kind of comprehensive overview of the entire history of Italian film. With few exceptions, he is discussing post-war Italian film, Italian Neorealism, essentially ending with Fellini's [i]8 1/2[/i], which came out just about the time young Marty Scorsese was attending film school. But this, too, was a kind of film school for him, not to mention a way of absorbing the culture of his family's homeland. Some of the films are better known than others, but all helped to define the films of Martin Scorsese, and by extension every filmmaker who came after him. With few exceptions, I can agree with much of what Scorsese has to say about the various films. I respect and admire the quality of his own body of work, even when I don't necessarily like the movies much themselves. I feel much the same about many of the movies he discusses here, though I do quite like a few of them. And certainly, now he comes to mention some of them, I can see their influence on his own film. I approve of film school training, but I think it works best to polish and refine a love and a talent which already exists. The defining characteristic of Martin Scorsese that matters relevant to today's film is that Martin Scorsese has loved film all his life. Yes, he mentions briefly the movies he saw in the theatres at the same time, but Italian cinema combines with Scorsese's connections to family and religion in a way the Hollywood product of his childhood cannot. Italian cinema helped him learn that he could do that, and film school taught him how. Of course, you have to really care about Scorsese, Italian cinema, or for preference both to get into this movie. It is, after all, just over four hours long. It includes extremely detailed discussions of some of the films--a little too detailed in places; either I'd seen them and gotten bored or else I hadn't seen them and he gave away too much plot. However, every film considered to be an Italian classic of the era gets at least a mention. Scorsese even fills us in on the shocking-for-the-time relationship between Roberto Rossellini and Ingrid Bergman and how it relates to the changes in Rossellini's films. (Bergman, being Swedish, is a bit outside the scope of the documentary.) There is a bit of conversation about how Bergman caused Rossellini to "sell out" in the eyes of other filmmakers and why Scorsese doesn't agree with that assessment. And he dabbles a little in discussion of censorship, both in Italy and in the United States. It's a subject with which Scorsese has at least passing familiarity, after all. The main place where I disagree with Scorsese is about Fellini. I have decided that, when I get to [i]Nights of Cabiria[/i], I will watch the whole thing and review it so I can get my rant about Fellini out of the way. (I have a lot to say about Fellini.) Therefore, I will not do it here. But I will say that I could write a pretty interesting paper about the evolution of the Guy Movie including some obvious parallels between Scorsese and Fellini. In their treatment of religion and family, yes. In their analysis of authority figures, yes. But particularly in their treatment of women. Oh, Scorsese is better than Fellini by a long shot. But I can't help wondering what it says about everyone concerned that not one of these movies is directed by a woman, that I noticed it, and that Martin Scorsese either did not or did not feel it worth mentioning. True, there are three or four guys who directed most of these movies, three or four leading lights of the Italian Neorealism movement. But these movements are almost all pretty much boys' clubs, and if you notice that, you get accused of being shrill.

Dan S (ca) wrote: An abortion of a movie that could only have been saved by a finale that saw the entire town nuked from space. Zero stars is too generous.

david t (ca) wrote: i would like to see this one...

Chris M (jp) wrote: It was a really funny and really enjoyable live-action family film. It had great cinematography, great cast, really good comedy, very well done makeup, really great costumes, great music, great characters and a very good story. I haven't seen this movie in a very long time. Great for both kids and adults.

Ashley H (ag) wrote: True Confessions is a masterful film. It is about a worldly ambitious monsignor who clashes with his brother, a cynical L.A. homicide detective who investigates the brutal murder of a young prostitute. Robert De Niro and Robert Duvall give excellent performances. The screenplay is well written. Ulu Grosbard did a great job directing this movie. I enjoyed watching this movie because of the drama. True Confessions is a must see.

Bill M (kr) wrote: Stick with it through the stiff start to get to the sewer scene (better than The Third Man's, I say).

Rory Fyfe S (au) wrote: Great acting, twists, great action scenes. Good story.