Three 40-something women in a small English town meet weekly for a ritual of gin, cigarettes, and sweets -- and swapped stories arguing which of them has the most pathetic love life. Kate is headmistress at the local school; her best friends are the town's police chief and a cynical, thrice-divorced doctor.

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Crush torrent reviews

Jack G (ru) wrote: really powerful cause it's true to its dark corners. And the kid's good too. 400 Blows meets Bicicyle Thief. If I was an 18 year old film student again it'd probably be one of my favorites.

Stephen C (gb) wrote: Has no goal, no real character and meanders aimlessly trying to find a point.

Jen B (mx) wrote: it opened my eyes to the sad state of high school debate. these kids... sound like robots who are unable to piece together their own cogent thoughts without regurgitating someone else's. it's sad. any how... i appreciated the film and the way it challenged the way we go along with everything without challenging it with our own thoughts and ideas because the status quo dictates so we follow. it went beyond a film reflecting the state of modern high school debate teams, but really questioned how we follow rhetoric and don't demand change. and it addresses even deeper that we can't ask for change if we haven't actually thought about it with our own words in our minds. you don't challenge and ask for change if you don't truly understand. i don't think that made any sense at all. oh well. and last bit. i am not a debater and i loved it.

Bri B (ru) wrote: All wonderful actors and actresses, and it had an okay script, but it fell a little flat. I really think that this would be much better as it was intended, as a stage production.

Daniel M (au) wrote: TWO MEN ENTER, ONE MAN LEAVES. If it weren't for the terrible child actors and plot line in the middle, we'd have an unforgettable Mad Max.

Jon A (mx) wrote: One of the best no-brain college comedies. Lots of fun but suffers from the sheer number of terrible movies about virtually the same thing.

Rosco B (us) wrote: A bizarre, unsettling and gripping adult tale - and sadly, another rather neglected gem - from Polish master Jerzy Skolimowski. Based on a short story by Robert Graves, better known for his poetry and the remarkable "I, Claudius"; "The Shout" tied at Cannes for the Grand Jury Prize with the equally batshit and brilliant "Bye Bye Monkey." There's a wonderful eerie Britishness inherent to the action - taking in asylum-based cricket matches and beautiful but barren Devon beach scenery - which is possibly enlivened by Skolimowski's outsider's eye. Certainly in his earlier "Deep End", he tuned in to the weirdness and eccentricities of British society with great effect, and equally disturbing consequences. Alan Bates is a glowering, thoroughly menacing presence as Crossley - and his simmering intensity and credibility is essential to grounding the supernatural-inflected narrative. John Hurt and Susannah York bring their formidable, combined talents to the supporting roles and match him excellently as the couple whose very souls Crossley torments. Equally important and as effective as the players is the film's multi-layered soundtrack - crucial in depicting the central, titular 'shout' of terror as well as Hurt's experimental music-making. The use of sound effects and their genesis drew me to comparisons with the recent 'Berberian Sound Studio' - another strong British not-quite-horror-movie. Other bonuses are a cameo (as Robert Graves himself) from a young Tim Curry and an early appearance from latterday Hollywood stalwart Jim Broadbent; including a quite astonishing half-naked, mud-smothering freakout on the cricket pitch.

Jose d (mx) wrote: Bresson drives the chivalric code and lets it fight some fierce opponents, including truth. In the center is Gawaine, the embodiment of chivalry in Arthurian legends.

Penni F (au) wrote: My all time favorite Elvis movie

Kyle M (fr) wrote: When Martin Lawrence was trying to redeem himself after his behavior during the first half, the comedy gets better right away as the second half starts. Director Dennis Dugan's take on the buddy cop genre resulted in being not bright in almost every turns, sort of like his films' similar treatments. (B)