Two lowly earthworms, Gloria and Barry, decide to make the world's greatest disco band which helps them rise from the bottom of the food chain to stardom proving that earthworms can boogie too. . You can read more in Google, Youtube, Wiki
Two lowly earthworms, Gloria and Barry, decide to make the world's greatest disco band which helps them rise from the bottom of the food chain to stardom proving that earthworms can boogie too.
|Download||Sunshine Barry And The Disco Worms 2008 DVDRiP XViD - IMAGiNE||DVDRip||34||47||1.56 GB|
|Download||Sunshine Barry And The Disco Worms 2008 DVDRiP XViD - IMAGiNE||DVDRip||50||37||1.56 GB|
|Download||Sunshine Barry And The Disco Worms 2008 DVDRiP XViD - IMAGiNE||DVDRip||47||48||1.7 GB|
|Download||Barry Le Roi Du Disco.2008.TRUE FRENCH DVDRip.XviD-FwD[L-S79]||DVDRip||43||37||700 MB|
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Disco ormene torrent reviews
Ian W (fr) wrote: An interesting, slow burner type of indie movie, detailing the plight of the homeless and the lengths they will go to in order to survive. Thomas Haden Church is superb in this.
Barry T (us) wrote: An ok British crime thriller. The 4 leads stay away from clich characters and the story is interesting. The main character just out of jail sets his mind on revenge.
Todd S (fr) wrote: This film has one of the most original plots I've seen in a long time, however this film was panned by critics. After seeing All Superheroes Must Die, I really can't understand why it has one of the lowest IMDB ratings I've ever seen. It's nowhere near as good as it could have been, but it's certainly not as bad as most critics are making it out to be. Four superheroes wake up in an abandon town with their powers gone. Near them are TV sets, which explain that they have been captured by their arch-enemy, Rickshaw, and will be forced to play a game, in order to save the towns residence. The story is extremely original, but what I liked most about it was that the characters weren't over the top. The "superheroes" are actually normal twenty-somethings, who got powers from an object that fell from the sky. They are drinking, swearing, seemingly normal people, who were put into this impossible situation by a madman. Rickshaw is played by veteran character actor, James Remar, who was terrific. Parts of the film are slow and when things do slow down, Rickshaw, as clever as he is funny, is there to move things along. Jason Trost is the lead superhero, Charge, and he did a lot more than star in this thing, he wrote, produced, and directed it, which is a hard thing to do, especially for someone who doesn't have a lot of experience. The one knock I have against this film is that due to their small budget and independent status, much of the action scenes were very short. The challenges were clever, but by the time you understood what was going to happen, it was over. The film itself is very short, which doesn't allow them to go deeply into anything and that's what I think most people disliked about the film. It's not that this was a bad movie, it's that it really could have been a whole lot more.
Saddam H (de) wrote: surprisingly, its a good muvi 2 me!!
Gregory M (ru) wrote: I loved this movie and the story it told.Somethings just can't be explained.Magic cannot be explained.You have to believe.And I believe.Muggle parents just annoy me.Amazing animation and music.Great plot and great lesson taught.All you need is faith and trust and Pixie dust.The best movie of the fairies franchise.
Brian C (nl) wrote: Definitely the best comedy ive seen about surrogate mothers. Likeable leads made it easier, but not much beyond that.
Luciano G (nl) wrote: It's a fascinating film on both a creative and intellectual level; but if you're looking for a great HORROR film, then this isn't it..... the movie employs dream logic and the notion of an unreliable narrator, and very much exists in the same psychological universe as the films of David Lynch, in the way that a more elaborate story is created by the central character and viewed by the audience in an attempt to mask the real-life horror at the heart of the story...
Frances H (jp) wrote: Critics don't know a good movie if it clobbers them over the head--this is one of the best, with wonderful acting by Robert Duvall and Michael Caine. One of my all-time favorites.
Robert B (ru) wrote: Spiders (Gary Jones, 2000)[originally posted 4Apr2001]Gary Jones, the man who gave us the inimitably bad Mosquitoes and various episodes of Hercules andXena, is back with yet another movie about big bugs with bad special effects. My local vidshack had this as a two-day rental, something usually reserved for popular films (to keep them on the shelves, natch), which led me to the illusion that it might actually be a worthwhile movie. More fool me.Once I figured out that it was typical Grade-Z shlock, I wanted to like it. Really. Some of Hollywood's best films of the 80s are on this scale of badness (Night of the Creeps comes to mind, and the wonderfully silly Troll). Problem is, those movies had something that transcended the stupidity. Maybe they just didn't take themselves seriously-a flaw this film has in spades.It is, however, the first leading role for up-and-coming actress Lana Parrilla (who also popped up in a much more minor way in last year's cult hit Very Mean Men), who, if there is any justice in this world, will be a supermodel soon. Her performance-at least until the obligatory love story crops up towards the end of the film-is the only thing that makes this halfway watchable. Had they spent a few more million on special effects and gotten a better supporting cast, it might have been watchable all the way round; of course, it wouldn't have been a Gary Jones joint, either. *
Mara L (jp) wrote: I'm a freak for dance musicals
Shane B (ca) wrote: Better movie than i thought it would be. Worth watching
Glen O (es) wrote: A good 'war is hell' film with an intimate, character driven, straight forward story-telling style that reminds me of a story from a 'Two-Fisted Tales' or 'Our Army at War' comic. Steve McQueen is great as the brooding Reese. The only jarring aspect is the use of large scale stock footage in the final battle scene, quite out of sync with the feel of the rest of the film. It reminded me a little of the 60s TV series 'Combat' and I then discovered the set designer of this was the producer of 'Combat.' Makes sense. Shot in black and white to good effect, this early outing directed by Clint Eastwood's mentor Don Siegel is well worth checking out.
Gregory W (au) wrote: good stuff from the master
Edith N (fr) wrote: Beginnings Are Uncertain Times The sad thing is that there were doubtless plenty of people caught on vacations in Germany at the beginning of World War II, no matter whose standards of "beginning" you're looking at. At least World War I wasn't building up in quite the same way; while it was arguably building up for decades, there wasn't the same pattern of events, and a person could reasonably be taken by surprise by how things fell apart after Archduke Franz Ferdinand's assassination. At the point at which Our Story begins, the only thing preventing the UK from joining World War II was the German invasion of Poland--our story actually begins with the invasion of Czechoslovakia. A sensible person might think that it would be best for things to settle down before visiting, but the beginning and end of this story are a mere six months apart. And, yes, we have dopey British tourists in Germany. At the time this movie was released, you could probably find at least one or two American tourists there. It is March of 1939, and Prague is invaded by the Germans. Axel Bomasch (James Harcourt) is smuggled out of the country by his employers, but before his daughter, Anna (Margaret Lockwood), is able to follow him, she is arrested by the Gestapo and sent to a concentration camp. In the camp, one Karl Marsen (Paul Henreid with his name misspelled) helps her escape and gets her to London. Naturally, it's a ploy; they've barely gotten settled in under the protection of Dickie Randall, aka Gus Bennett (and Rex Harrison either way), when Marsen and his SS colleagues recapture her and take her father along. Dickie volunteers to go to Germany, posing as an engineer named Herzog, and smuggle the Bomasches out of Germany again. They are recognized on the train by Caldicott (Naunton Wayne), an upper class twit who previously appeared in [i]The Lady Vanishes[/i] and who is traveling with his compatriot from that movie, Charters (Basil Radford). In a way, those two upper class twits are the most interesting part of the movie. Yes, I find it ludicrous and frustrating that anyone would be so foolish as to go traveling in Germany in the summer of 1939. Basil Radford actually saw combat in World War I; Naunton Wayne was too young. But the point is that, for the first part of their appearance in this movie, they are stubborn and fussy and more concerned about golf clubs than the outbreak of war. But when their national pride is tweaked, and when they really feel their country needs them, they are much more brave than anyone might expect them to be. Oh, not as brave as Rex Harrison's character, whatever name he's going by at the moment, but they go above and beyond the mere "get out of Germany if you can" attitude men of their age might be expected to show. It is, in short, the time for all good men to go to the aid of their country, and these are good men. Perhaps the point of the movie is that they are all good men. This was a curious time for film. This movie was British, one of the first British propaganda films of the new war. At the same time, it would have been a chancy time for releasing it in the US, because the US was still avowedly neutral. In fact, many of the American studios were afraid of releasing films which could not be released in Germany and the other Axis countries. They didn't want to lose the business. They also didn't want to be seen as trying to push the US into war with Germany, because many of the studio owners were Jewish. (There are interesting economic and sociological reasons for this which I will not go into here.) They were determined to seem like good Americans, and at the time, it seemed as though "good American" meant "isolationist." It was much more complicated than that, but it would not be simply the other way for nearly a year after the film would be released in the United States. This may be why the film had three names. In addition to [i]Night Train to Munich[/i] and [i}Gestapo[/i], the two Rotten Tomatoes recognizes it, its Oscar nomination (for Original Story; it lost to [i]Here Comes Mr. Jordan[/i]) went to [i]Night Train[/i]. I will also point out that, despite the fact that the gunfire at the end of the movie comes from directly in front of Rex Harrison, the bullet holes appear in the side of the tram. (I suppose that's a spoiler, but it's also on the poster.) This is mostly just interesting as a piece of film history, though it's not that bad of a film qua film. The movie came out almost a year to the day after the final events of its story, right in the middle of the Battle of Britain. This was when the nation needed a boost the most, I'd judge, and this wasn't a bad film to provide that boost. It isn't the highlight of British Cinema of World War II, but it isn't a bad little movie for all that. Certainly I've seen far worse propaganda pieces, both from that era and otherwise.
darryl c (ca) wrote: eleanor powell proved herself the first lady of 1930s dancers with this shiny glossy vehicle from mgm. cole porter wrote the score and roger edens did great arrangements. james stewart makes a rare musical appearance and the cast is rounded out with una merkel, buddy ebsen, sid silvers and virginia bruce.
David S (it) wrote: Performances are mixed (some good, some horrible), direction is rather bland, but the plot is interesting with a strong sense of mystery that will probably keep you watching until the end. Speaking of which, the final twist is rather clever and innovative, but the attentive viewer can figure it out. Not bad, not great, it had its ups and downs.
Sharon V (it) wrote: Some fantastic lines in this film. Worth watching if only for the famous cameo by a young Quentin Tarentino explain why Top Gun is a gay film "you can ride my tail any time!"