Cuatro estaciones

Cuatro estaciones

N/A

  • Rating:
    4.00 out of 5
  • Length:18 minutes
  • Release:2002
  • Language:Spanish
  • Reference:Imdb
  • Keywords:restaurant,   love,   cooking,  

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Cuatro estaciones torrent reviews

Carlos D (gb) wrote: it gives you a different PoV of Spock and Nimoy,the man behind the ears.the actor struggling to survive in the industry and the father that was not there for his family at the peak of his career and after.very well made documentary.worth watching.

Aakash G (it) wrote: the best movie done by saif till date!! full on action with lil bit of drama and romance...jimmy shergill too was superb in his part but many of the songs were quite wierd(in terms of lyrics) but that was the need of the movie maybe to make it look more authentic and rustic...the movie revolves around the ego and revengue of various men and the story and the characters were pretty clever and smart and had some really brilliant action scenes...the movie had more of action scenes but felt less than a fully fledged action movie in the end with hints of romance and drama

Jennifer E (fr) wrote: What a stupid movie. This is an absolute insult to us real Goths. Don't waste your time on this!

T W (au) wrote: Chess Records gets the full Hollywood treatment, but it may be a great starting place for those new to the history of the label and the rest of us may just enjoy it in spite of ourselves.

N H (de) wrote: Classy French art house film brought down a notch due to its slow pacing. I don't always take issue with leisurely paced films, but in this case it became increasingly distracting. Inspired by the short film Le Baloune Rouge.

TTT C (kr) wrote: (***): Thumbs Up This is another good South Korean horror film.

Drew W (br) wrote: I give this a 92/A-.

Anna N (ca) wrote: Horror= Not interested.

Jonny P (ca) wrote: When an enormous earthquake strikes LA, entertainment makes its entrance. What this movies lacks in plot is definitely made up for with groundbreaking special effects. Who needs CGI? "Earthquake" sports an incredibly realistic disaster sequence using scale models, pyrotechnics, and stuntmen. The first 45 minutes does nothing more than introduce a few characters and kill time before the main event begins, but it is worth the wait for 15 incredible minutes of movie magic. The earthquake is covered from every angle, whether it's the concerned mother, the selfish businessman, the drunk at the bar, or policemen trapped in the station. Victoria Principal's afro is INCREDIBLE and her big innocent eyes make her a great victim - her disaster sequence is fairly awkward but the aforementioned attributes still make it decent. Perhaps the most realistic part of this movie is that nobody sports superhuman strength. Instead of a hero saving everybody in the city, it comes down to the common man to help out the people around him. The characters begin in a weakened state as a result of the earthquake and then every physically demanding rescue takes its toll on them. I know that a lot of people put this movie down but I thoroughly enjoyed it, though next time I would just fast-forward to the first earthquake sequence.

Jamie T (br) wrote: At one point in MEDIUM COOL, a character talking about Norman Mailer notes the writer's ability to "cut through the bullshit". This is an ability I'm not always sure the film has, as it sometimes feels like a rather hollow attempt to make a political point, or a hollow point about the American media. Still, it has a great many powerful and vivid scenes, and has more than enough of interest to make it worthy viewing for students of film or 20th-century American history, owing to the ample footage the film includes of the 1968 Chicago Democratic Convention, marred as it was by extensive rioting and general unrest. And, especially in visual terms, it is a tour-de-force for Haskell Wexler, who wrote, directed, and did the cinematography.The loose story involves a Chicago news cameraman, John Katselas (Robert Forster), who we first see taking footage of a car accident victim before having an ambulance summoned--then immediately driving off. He does stories all over the city, choosing to go into dangerous neighborhoods in search of stories, which displeases his station manager. After learning that his footage is being reviewed by the police and FBI, he is disgusted, and soon finds himself fired. He becomes involved with a widow, Eileen (Verna Bloom), and her son Harold (Harold Blankenship), and the son, on discover his mother in an embrace with Katselas, runs off, and she goes to search for him, getting swept up in the DNC rioting. Events build to an intensely cynical finale.Throughout all this are many asides: footage of the riots and convention, interviews with black power advocates on the ignorance of the white media, little vignettes of life, some scripted, some not, and even a trip to a nightclub (with strobe-lit footage). Reputedly, the filmmakers anticipated the riots in Chicago and planned most of the film in advance, making the very footage of Bloom wandering around the chaos, and how well-shot and used it is, even more of a miracle. Wexler, whose black-and-white cinematography for AMERICA, AMERICA was so magnificent, does just as well in this color film, packed with memorable images from start to finish.In dramatic terms, the film is also effective, but not quite to the same pitch. By including as great a variety of material as Wexler did, the film tends to feel rather unwieldy, and there are times when the significance of certain scenes is hard to determine (the boxing-training scene, for example), at least initially. The characters themselves are well enough drawn, and their dealings engaging, but the stream-of-consciousness style, while fascinating, often makes the film feel like a bit of a mess. There are other miscalculations: footage of riot victims is accompanied by the song "Happy Days Are Here Again", which now seems rather heavy-handed; there are also some instances of that flash-cutting style (especially towards the very end) that was popular at the time, but now seems dodgy and self-conscious.The film doesn't really make any overt political statements, leaving that up to the characters, who occasionally make political points (usually of the sound-bite variety); the film doesn't, however, take the dispassionate tone of its main character, and the phrase "The whole world is watching!" fits it quite well. The film's view of the media as exploitative is not unfounded, but much of it is put across in a conversation between a group of photojournalists which comes off as forced. This theme is mostly dropped after the first third of the film (and after the first scene, Katselas doesn't seem all that callous), the ending aside, and ultimately doesn't quite pack the punch Wexler intended.Forster is quite strong, his hardened nature coming across believably, before he gradually, and naturally, grows to care for Eileen and Harold, attempting to become a father figure to the latter, who may or may not know that his father died in Vietnam. Bloom has a winning, unaffected grace; Blankenship is remarkably assured, and gives one of the great child performances, having a natural humor and a decided sense of ease in front of the camera. Marianna Hill is good as Katselas' nurse girlfriend, whose concerns about the world's welfare (and opposition to his indifference) betray her lack of real understanding. Peter Bonerz is quite funny as Katselas' sound-man; Sid McCoy is strong as a taxi driver taken to task by his activist friends for giving the police $10,000 that he found in his cab. There's also a brief, welcome appearance by Peter Boyle.Wexler's writing and direction, as noted, tend to be somewhat scattered, and while the film is packed with brilliant and interesting scenes, the overall lack of cohesion hurts it. His cinematography, though, is magnificent. The score by Mike Bloomfield, supplemented by a great deal of the era's rock music (and "Sweet Georgia Brown"), is quite good as well. As a look at 60s Chicago and the 1968 DNC, MEDIUM COOL is invaluable; as a commentary on the media and on the era's politics, it's a bit weak; as a character drama, it's solidly effective. It all adds up to a film that may frustrate, but also compels.

Thrse F (ru) wrote: It was okay. The book's much better. I found the movie to be kind of boring.

AW C (fr) wrote: A swashbuckling quintessential western that's both exhilarating and emotional; all held up by excellent characters and performances.

Stefan G (fr) wrote: This film has been credited with inspiring much of what we recognize as sci-fi today, and I can see where many of those elements fit. Though, in my eyes, it seems a little dated, there are many aspects of this film that have aged well. Even if the storytelling seems a little dated, that doesn't seem to happen with the acting and performances, which in no way seemed even remotely kitsch. For me, the obvious highlight of the film is the way it presents itself. I know that this is one of many films that popularized the 50's sci-fi aesthetic that we've become all too familiar with, but that's not what I liked in particular. What I really liked was the set-pieces, which in my eyes were pure, well-aged eye candy. It's also worth noting that the film's soundtrack was composed entirely with entirely electronic sounds, as opposed to a maelstrom of other films that relied on orchestral sounds, even to this day. While it seems like an old-fashioned space flick, it's quite entertaining in its own right, and it was remarkably forward-looking, in the sense that it predicted many of sci-fi's clichs, and it's one of the few films to use them without it going stale.