Follows quadriplegic mayoralty candidate Sam Sullivan through his surprise victory in Vancouver's 2005 elections.
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Citizen Sam torrent reviews
Tyler H (br) wrote: The purge is one of the most hyped horror movies ever to date. The commercials and spots where great and the posters got us incredibly hyped to experience the purge. Its fresh concept all lured us in only for a short cliche horror film with its story mostly revolving around its jump scares. Using scares from the likes of Nightmare on Elm Street and even other thrillers this movie falls short on originality and ultimately just loses all credibility for its weak script and cheap scares. It should've score lower on RT at around 20%-23% a poor horror movie.
Lisa M (kr) wrote: Okay this is weird cause i watched it and skipped bits, but the plot was nothing like what it says it was, and I didnt see Paul Wesley or Leighton Meester or like half the actors I thought i would see in it. So then i thought i must be watching the wrong movie but it had like a couple of the actors that were meant to be in it, in it. So im very confused :S
Pyramide H (kr) wrote: Beautiful animation. It's a shame it was wasted on such a boring film. I wanted this to be a film I'd cry at but instead the only emotion I felt was boredom. The first arc of 3 was alright, not much happened but I was expecting it to get better from there on. It didn't. Basically you're wasting your time in watching this unless you are only watching it for the animation.
intuciic (kr) wrote: if it woudnt be as bloody as it was in some places it could be elegant revenge movie! though easy to watch and keeps the thrill!
War sucks L (ru) wrote: hmmm good one regardless the lack of innovation...the plot is pretty lame though but i guess it's an 'ok' horror movie
Salvador B (de) wrote: Amazing movie, almost not dialog, cinematography it worth to see, some sequences are really amazing specially the one with the piece of the opera "Rusaka" from Dvorak.
Mark B (it) wrote: A bit pious in its "right-on" political perspective but Sayles' sharp characterisation and eye for detail bring the film through.
RJ M (jp) wrote: Kevin Costner and David Grant play brothers that have become estranged after their fathers death. Costner is a champion bike racer that convinces Grant to compete with him in The Hell Of The West, the toughest bicycyle race in the country. They train together, and try to rebuild their relationship, all the while worrying that the congenital condition that struck down their father could strike them as well. The movie directed by John Badham, who helmed movies like War Games, Blue Thunder, and Saturday Night Fever. It contains some of the most exhilirating action scenes in movies, including footage taken from a camera mounted on the handlebars, giving the viewer a riders-eye view of what it is like to race a 10-speed bike 60mph down the Rocky Mountains. Rae Dawn Chong and Alexandra Paul co-star at the brothers girlfriends.
Dylan P (ca) wrote: A masterpiece above all others. A brilliant psychedelic reinvention of an already top-notch book, this is inspired filmmaking at its best. This film shows war for the chaos that it really is. And every actor reflects this. Martin Sheen is a very strong actor and it's a shame he didn't get a Best Actor nomination at the OSCARs. Robert Duvall is also just amazing. A larger than life nutjob, probably even crazier than Colonel Kurtz. And Marlon Brando gives one of history's all-time great performances as Kurtz. One of the greatest films of all time. Period.
Issac L (jp) wrote: It is an atrociously unlawful act depicted in Chabrol's sensational melodrama, the based-on-a-true-story type (a murder case in 1933) which would usually generate a slew of horrific feedback in the social news commentary, about an adolescent girl poisons her parents in order to back up her gold-digger boyfriend to elope together. What makes the film so gravely provocative is the entire scheme of Violette (Huppert) seems so juvenile and wanton, the viciousness is inexorable and beyond any logical solace. Violette is a lackadaisical, apolitical and promiscuous teenager, although at the age of 24, Huppert is unbecoming to pass for the role, but Chabrol adroitly restyles Violette with a more precocious patina, the dexterous transition between the good girl veneer when she is with her parents and the motel-hogging and man-hunting hussy potently incites Huppert's chameleonic escapade, each and every single frame zooms in on her unprovoked aloofness and obtrusive sex appeal. She is perpetually indulging in her own pathetic realm, sneers at her parents' clumsy intercourse and disgruntled at their ordinary petit bourgeois trivia, she is in an impetuous situation to find an egress, but the man in her dreams is a major disappointment as viewers all being well-informed in advance, it is money he is on the lookout for. The affair is doomed to futility, in some sense Violette knows it fairly well, but it is the defects (the egocentric selfishness, deep-rooted misanthrope and diabolic cruelty) in her character blind her sight, poison her mind and abet her into carrying on the abhorrent action. After the murder plan goes as expected and the lousy gas-accident cover-up, Germaine, the mother (Audran) survives the poison, it is not a detective story after all, instead, it is an awkward moment of facing the truth, but Violette's vituperative accusation to her late father (Carmet) in order to justify her motive shatters all the expectation if there is any mercifulness left in her, she is an archetype of the malevolent side of human nature, an anomaly which defies all the logical interpretation, she and Dr. Hannibal Lecter can be an adorable couple! Stphane Audran, whom I just appraised for her delicate performance in BABETTE'S FEAST (1987, 8/10), is astounding here as the overbearing but doting mother of Violette, she is the one we can mostly project our compassion on, yet, we might also prompt to question her tutelage, perhaps she is at least partially responsible for the decadence of her sole daughter, how Violette's double act (constantly stays in motels and hangs out someone the parents have never met) can blatantly evade a mother's instinctive nature is a shade bemusing, not to mention the intaking of unknown medicine for the sake of hereditary syphilis, at least verify with the doctor first (and in this case, both parents are too unmindful)!New to the canon of Claude Chabrol, the pick of VIOLETTE may not be the optimum starter, the disrupted narrative never fully register any excitement barring a bitter aftertaste and shocking values of the subject matter, its foremost merit is to grant Huppert a stage to unleash her glacial pulchritude, which one can appreciate from every unyielding close-up on her, and comfortingly augurs an eminent career for her as crme de la crme of the French cinema, her screen magnetism is inherent.
Orlok W (jp) wrote: Christopher Lee provides us with some memorable monk-y business!!
Scott W (us) wrote: This is probably my least favourite Harryhausen film. The writers are attempting to explore the changing dynamics of male-female relationships in the 50s and it's awkward.
Jeffrey S (jp) wrote: I remember watching this movie years ago as a child and not really remembering much other than the opening.On another viewing I can see why this is lauded as one of the best westerns out there. Sergio goes from the snappy Kurosawa inspired Man with No Name Trilogy that was know for snappy action and over the top (but brilliant) music to Once Upon a Time in the West.Once Upon a Time in the West is much more dialed back and ironically similar to Kurosawa in a way of letting long framing shots dictate immersion that's eventually cut by action. Rather than letting action drive the shots. Combine this with a haunting melody and a somewhat abstract plot and you get a movie that's sort of unlike anything else.It's long, it's slow, it's immersive, it's beautiful, and everyone takes away something different from their viewing. What I found quite interesting was how each character evolves during the story which is something we don't really get in the Man with No Name Trilogy. Spoilers ahead------The Hero starts off being elusive, and ends as a sort of blank slate after his revenge is completeThe Villain starts as an evil killer looking to get into the railroad business, but at the end Bronson's character drives him to accept that they have a destiny (through their duel) that must be confronted even at the cost of his other ambitions. The Outlaw slowly comes around to help Claudia Cardinale's Jill character despite no real payoff for him. Claudia's character Jill has a dark background she's trying to get away from through her marriage and at the end she truly tries to move forward with the start of the station town she was left with. Seeing such profound character changes happening very subtly is the mark of a good director as the dialogue is sparse and often times it relies on the camera work to show this.I would highly recommend at least one viewing by anyone who's a fan of the Western genre just so you can make up your own mind about it.
Shireen Hakim R (jp) wrote: Seth was a whiny jerk. I don't think Jules would like him.The 2 cops were funny. Overall a funny movie with a well-written plot and developed characters, but gross and unnecessary amount of cussing.
Steve S (ca) wrote: Beautiful Italian settings help a little, but this romantic musical suffers too much fluff. The songs are just lackluster versions of 1980's pop songs.