Come Hell or High Water travels to oceans around the world showcasing body surfing's characters, pioneers, innovators along with the simplicity and beauty of the sport. It's about taking a ... . You can read more in Google, Youtube, Wiki
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Come Hell or High Water torrent reviews
Badal S (jp) wrote: Masterpiece... not 4 everyone... only 4 art movie lovers...
Neil A (ca) wrote: One star for the effort & half for plan b's acting. Poor film.
Wiebke K (de) wrote: A fun little movie with Freeman studying a potential role in an LA super market, which leads to him coaching the check out girl how to "act" so that she can get through a job interview -- definitely worth watching.
Dayna B (gb) wrote: Started off very poor acting but after 20 mins or so you forget how bad the acting is and film is quite good, story is good but again very similar to others.
Roman T (ag) wrote: The one thing that stands out to me of this movie is the feeling of reality to it. After a break-up when we give up out attempts to reconcile we pretend to hate that person and try and block out the memories we have had of them. The thing is as we try to block out the memories we realize how much happiness we felt in certain moments, more happiness than we thought was humanly possible. This movie answers the question "is it better to have loved and lost, or to have never loved at all?"as much as I hate to admit it I would not give up the moments were I I loved and I was loved back. No other feeling like it. This was a movie which made me feel, and that is in my opinion the highest praise for a director.
Linda S (br) wrote: Another obscure film that is unique and excellent.
Melissa M (kr) wrote: It doesn't fit well with the other two, "real" Anne movies. As a story it was kind of interesting, but had a few things I didn't like.
Jude P (gb) wrote: So thrilling enjoyment. This movie sure would have inspired many to come. Sometimes we can not believe how Oscars are decided as Bridges performance sure need more accolade.
Kyle G (au) wrote: One of Elliot Gould's finer roles...plus, the chick is from Kansas.
Cameron J (it) wrote: It's Dean Martin, Ricky Nelson and, of course, the most dynamite musician of all, Mr. John Wayne, pilgrims. This is a weird cast line-up for a western, which could have just stuck with the singer theme, but seriously, what, were they just supposed to not involve John Wayne in this western? As long as this film is, Wayne would had to have showed up eventually, which is where "High Noon" really blew it when it was trying to get Wayne in the lead role... which was probably a little more compelling because Gary Cooper didn't play the same John Wayne role that you couldn't get rid of in the western film industry of '50s. ...No, I'm kidding; there's no getting tired of that good old-fashioned John Wayne charm, especially when it combines with that good old-fashioned Dean Martin charm. Wow, this sounds like one seriously charismatic duo, as well it should be, because two-and-a-half hours might just be a little too long for John Wayne, or at least that's probably what they thought back in 1959, a little bit before Wayne decided to really challenge that theory. Well, folks, this film is at least less overlong and exhausting than "The Alamo" and "The [u]Longest[/u] Day", which is probably why it's so endearing, you know, outside of that good old-fashioned John Wayne and Dean Martin Charm. With that said, while this film isn't exactly two-and-a-half hours wasted, if it isn't Wayne's voice, then something ought to try your patience. It's debatable just how refreshing the film is in certain places, but it's even harder to deny the film's still often devolving to conventions, with little to say that's new in the unraveling of a story that makes matters worse by taking from melodramatic roots. As with many westerns of this nature, melodramatics play an instrumental role in driving a very Hollywood narrative, and that's fine, but for only so long, before it becomes a touch too obvious that the near-overwrought histrionic plotting seems to be attempting to compensate for natural shortcomings. This is a less adventurous and more intimate Hollywood western that has plenty of intrigue on paper, but also has plenty of natural shortcomings and minimalisms which probably shouldn't be crafted into something of a pseudo-epic. At just shy of two-and-a-half hours, the film tends to seriously outstay its welcome, meandering along with expendable material, as well as potentially dismissible material that seems to be forcibly clung onto the narrative, usually as those aforementioned histrionics. All of this dramatic bloating and structural dragging aren't especially severe issues, but they're recurrent throughout a questionably hefty runtime, and that tires your patience about as much as the times in which, of all things, storytelling falls flat, not just with the thin spells to characterization or anything like that, but with certain thin spells to direction that are near-blanding, and all too often distancing in their sense of stylistic laziness. There's something vacant about this film, and that's a shame, because this film could have done a lot with its length, rather than laze through it, with too much familiarity, bloating and thinness to truly thrive. Still, no matter how much potential goes betrayed, it is still done enough justice to make a pretty decent, and even well-produced western. The production value of this particular, light-scale western is a little too subtle to be especially outstanding, but it is there, orchestrated by art director Leo K. Kuter in a tight fashion that is distinguished enough to draw you into the environment and draw this world about as, if not more colorfully than Jules Furthman's and Leigh Brackett's script. Well, perhaps the art direction does a more consistent job of selling the film, as the screenplay is formulaic, melodramatic and, of course, overblown, but it is still nonetheless clever, with some humor and memorable characterization, in addition to biting dramatic highlights that rally shine a light on the story concept's potential, no matter how limited. The 142-minute runtime wouldn't be as unreasonable as it very much is if the story concept was meaty enough to be more worthy of meaty ambition, which is still not unreasonable itself, as there is still a potential to this intriguing and sometimes colorful portrait on a sheriff's struggles on a path to fulfill justice, and the script, no matter how flawed, does more justice to such potential than Howard Hawks' direction. Hawks seems to understand the limitations of this drama, and therefore feels flat in enough ways for momentum to be retarded to the point of losing reward value, but when Hawks wakes up, momentum is restored, at least enough to entertain, with some effective highlights in genuine tension that actually use the cold storytelling effectively in establishing a certain quiet intrigue. Make no mistake, more than anything, the directorial highlights beget entertainment value that is still pretty limited in the long run, but it's not the only highlight, of which there are enough spread out throughout the near-two-and-a-half-hour runtime for the final product to border on rewarding, at least on the back of what is arguably the most consistently strong aspect. The acting is pretty decent, maybe even solid, for what it is, and while there isn't much to do here, whether it be Angie Dickinson as an intriguingly mysterious woman, or Walter Brennan as the colorfully chatty old deputy, or Dean Martin as a more frustrated and flawed man of justice, or John Wayne as a more soberly engaging, yet also flawed man of justice, there is deliverance across the board, as well as chemistry. Although the film boasts the length of an epic, it's about its characters, and their interactions, and no matter how flat the storytelling is, the performances have heart, of which there is still enough in other areas of filmmaking to make the final product endearing, even though it could have been more. All in all, there's little that's new and plenty that's melodramatic in the draggy and often lazy-feeling telling of a story of only so much meat, thus, the final product falls as underwhelming, but not so deeply that production value, writing highlights, direction highlights and across-the-board enjoyable performances fail to drive Howard Hawks' "Rio Bravo" as a plenty entertaining, if plenty flawed western classic. 2.75/5 - Decent
Guilherme R (mx) wrote: It's catchy but i didn't understand what is the story...
Laura L (es) wrote: Feels very empty. Even though it presents great acting performances, it's flat and long at times. Intelligent, deep, but notheless flat.
Corey n (fr) wrote: This is a comedy that stars Cary Grant and Tony Curtis. Set in WWII we have submarine Captain Sherman played by Grant whose sub is damaged in a raid by the Japanese. He gets the help from Lt.Holden played by Curtis to get parts for his sub since supplies are hard to find. But his means are not up to military standards and call for some quick thinking. Also they rescue some female officers on a island that turn his sub upside down. This movie is funny. Some witty lines and funny scenes through out the film. Cary Grant is excellent as usual. Curtis was very good in this as well. Grant and Curtis worked well together in this. One of my favorite scenes was when they sunk a Japanese truck instead of a ship. Very funny scene. If your looking for a fun comedy then give this a watch.
Johanne C (de) wrote: Loved it. Chiwetel was great. Am a big fan of Frears...
Alex W (jp) wrote: Very good film whos only weakness is it gets slightly cartoonish. The INS agents are a little over the top, and having one person from every country represented is distracting. most of the bad things happening to immigrants are done by immigrants.
ShawnThomas F (nl) wrote: Beautiful to watch and enticing enough but crashes together in the final scenes.