An underworld drama set in the early 1980s, about a lonely factory worker whose life is transformed when he becomes a nightclub doorman.
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Clubbed torrent reviews
Vincent L (us) wrote: Expected too much and I was a bit disappointed.
Tang S (au) wrote: not scary and interesting. don't like seeing RAIN in the movie.........
Hartwig H (ag) wrote: I had to laugh tears at a very macabre drug trip scene...
Jessica H (nl) wrote: that was just cute~! she is so little
rob n (fr) wrote: one of the best Indies ever!!!! anyone who knocked this one is plain ignorant. The protaganist, antagonist struggle is everything here. WOW, should have won an oscar.
Scott C (gb) wrote: Entertaining for its day. Probably wouldn't hold up today.
Justin B (it) wrote: It's an unneccessary sequel but it eventually becomes its own film towards the end and its easy to look past its inferiorities compared to the original. Some good firefights and a great climax.
Paul Z (us) wrote: The film heroes who involve me most aren't saints, or even rebels. They're everyday people who are accosted by wrong done to them and face their predicament: Frank Perry's film is about a stunningly tolerant young woman who has by some means gotten herself married to the most arrogant imbecile in Manhattan. He's narcissistic, heartless, self-unaware, childish and bitchy. He backs "his" kids against his wife. He thinks her a household drone, suited to chores during the day, and, perhaps, a "little roll in de hay" at night. He debases her in the presence of others, as he does himself, too, by his unashamed status-seeking. Does she loathe him? Not precisely. Set in chic Central Park West and the East 50s among vigilant and quite well-heeled people, this engrossing oddity is to considerable degree about the routine and the material environment of its principals. Benjamin, a law partner, seeks recognition by that exclusively New York influential society that exists by and for the distinction of its style and the legal tender of its judgments. To this end, he buys art and wine, attends openings, reads Variety and cruelly directs his wife. Snodgress, attractive, straight-haired, blonde, Smith, civilized, mild, tormented not just by her husband but also by a pair of repugnant daughters, finds respite of sorts in the bed of Langella, a writer whose fallacy is that he's without misconceptions and who's as fanatical with his sex as Jonathan is with his wine cellar or Eskimo bird nonchalantly flaunted on the coffee table. While her world is mad, Tina is rather commonsensical. She's not even, to recognize the jibe in the title, very overtly outraged as she must be, and at the end her triumph, minor and very awkward, are the conquests of greater emotional and psychological stability, bringing about awareness over action. Frank Perry and his screenwriter wife's provocative, offbeat film is keen to jiggle around with its concept of personality, actually to see those ideas as a deception in their own right, in its beautifully dramatic performances, and in its steadfastness to its visual restraint. Among the cast, Snodgress, lean, with a hoarse voice and an astuteness that persistently saves her from sentimentality, has the benefit, as the point-of-view character, of being followed but never precisely clarified, as opposed to Benjamin and Langella. Both men are characterized by their fixations, and both in due course helpless without their sufferer's indulgence. It seems for that reason all the more notable that they've both intensified their performances, Benjamin for caricature and Langella for personal ambiguity in a skillfully multifarious take-off, beyond the promise of their written roles. The Perrys' spiritual awakening is a film of interiors, with hardly any outer walls, which it deals with not so much with an eye for precise nuance as with a readiness to work through hemmed-in places. Mainly in the scenes between Snodgress and Langella, in an East Side apartment in which the afternoon sunlight over Queens and the river looks virtually as exquisite as in life, Perry has positioned his actors within a thoughtful geometry formed by the interaction between walls, furniture, faces, bodies and the facilitating confines of the movement within the frame. In these scenes, and some others, Diary of a Mad Housewife eludes its genre, its comprehension of affairs and intentions, and becomes the class of current and well-structured predicament that indicates great filmmaking.
Cynthia S (ag) wrote: This is just a bad horror movie. There is no storytelling, really, just a string of quasi-spooky, cheap, gotcha scare moments. Made absolutely no sense to me at all...
Pete S (ru) wrote: If you want a movie that keeps you on the edge of your seat the whole time, this is it. And one of the greatest shot movies ever. and the contrasts of B&W.
Grant S (mx) wrote: A wonderful story about a boy and his dog. Possibly the first movie of that type too.Simple yet heart-warming plot, great cinematography and scenery and some great performances.Movie features some stars in the making. Roddy McDowall is hardly recognisable at 14 years old, and puts in a solid performance as the boy. Elizabeth Taylor was only 10/11, and acting in her second movie, when she appeared in this. Good supporting cast too.And let's not forget the performance of the dog who plays Lassie - great work from her.Great, classic, movie and suitable for all ages.
Preston N Tinsley W (fr) wrote: Did not keep my attention in the beginning so i got bored and turned it off
Sean H (kr) wrote: Better than expected. Good acting, decent plot and ok sfx.
Rorshach S (es) wrote: When it's not ripping off The Grapes of Wrath, HGWMV opts to be a slow, concentrated look into the working-class life.
Jordan J (fr) wrote: This is definitely an 80s classic. This is one of the greatest movies I have ever seen. This is a movie that just can't be forgotten unlike its remake. This movie gets a A.