Three teenagers are confined to an isolated country estate that could very well be on another planet. The trio spend their days listening to endless homemade tapes that teach them a whole new vocabulary. Any word that comes from beyond their family abode is instantly assigned a new meaning. Hence 'the sea' refers to a large armchair and 'zombies' are little yellow flowers. Having invented a brother whom they claim to have ostracized for his disobedience, the uber-controlling parents terrorize their offspring into submission.
Three teenagers are confined to an isolated country estate that could very well be on another planet. The trio spend their days listening to endless homemade tapes that teach them a whole ... . You can read more in Google, Youtube, Wiki
Adriana A (ag) wrote: Una historia de "cuernos"..je,je,je..pero Barbara Mori los vale!!!
John B (gb) wrote: A well laid out documentary that is aided tremendously by the heart felt stories that we hear from children who never ended up going home. Very moving.
Tom B (br) wrote: A little too much soul in this for me to fully enjoy. Unfortunately, ALI ranks at the bottom of my barrel for blockbuster boxing movies [in my opinion]. Mixing traditional prizefighting history with 1960s politics, didn't quite hold my attention like a Rocky film. It's long, the first hour drags, and the boxing matches aren't very exciting. Will Smith performance of ranting rhymes nominated him an for an Oscar, but I feel that only adults that were alive back in the sixties can recognize and relate to it. As with most movies with such an epic runtime, you'll get into it during the last 45 minutes. You'll acquire one "uplifting feeling" movie moment after the final punch is thrown.
Eric H (ag) wrote: Pushing Tin is most definitely NOT a comedy despite the studio's desire to put it in that category. But then I can see why they don't want to say "This is a moderately depressing drama about the competition between two air traffic controllers that nearly destroys them and their families".
Cody B (es) wrote: Through this unusual blend of 1930s gangster parody and homage, Beatty and company provide a movie that is less gritty than Goodfellas or the Godfather - with shades of Groucho Marx?
Johnny T (nl) wrote: Ivan Reitman, who produced Animal House, served as director and co-writer on Meatballs, and what's surprising about the picture is its lack of raunch. No, Meatballs isn't exactly a classic. It's impossible to imagine the movie picking up any new fans. Of course, at the center of the movie, is Bill Murray in his first leading role since hitting it big on SNL. His performance is such a strange thing, since he distances himself from the material at almost every turn by remaining aloof, silly, and incessantly improvising. The scenes between Murray and Makepeace are nicely handled, and the lack of mean spiritedness is refreshing. Every summer camp movie cliche you can imagine is in Meatballs, many of which originated here. A bit slow and meandering, and unfunny when Bill Murray is not on screen, but Meatballs is worth it for the camp atmosphere and Murray's comic genius. It's Murray's spontaneity that gives the movie its lifeblood. Murray is in fine form, but it's a dated flick. VERDICT: "In The Zone" - [Mixed Reaction] These kinds of movies are usually movies that had some good things, but some bad things kept it from being amazing. This rating says buy an ex-rental or a cheap price of the DVD to own. If you consider cinema, ask for people's opinion on the film. (Films that are rated 2.5 or 3 stars)
Sanduria N (br) wrote: This was a real classic! Loved it.
Anthony I (ag) wrote: Robert Altman is one seriously unpredictable filmmaker. He can make light-hearted, comedy of the mainstream like Popeye and Dr. T and Women, but then out of left field, he gives you something like this. A masterful art film. His versatility is worshiped in the film industry. Watching this film, you can see his extraordinary talent. It's one the most carefully prepared and well edited thrillers I've ever seen. The story is very common to film, it's execution is what makes it so fresh and entertaining. The film drones with it's repetitious soundtrack. It cuts back and forth to symbolic images. The performances from Shelley Duvall and Sissy Spackek are abnormal, and so is the environment they live in. How it compares to his other works, I don't know. But, to those who are avid Art-house filmgoers, or fans of the modern day Altman, Paul Thomas Anderson, cannot miss out on seeing this.
Elgan D (au) wrote: George Lucas' film centred on four friends last night together before some head off to college. The picture has sufficient humour and characters who are very relatable. It's difficult not to compare this to a very similar movie which came out twenty years later, 'Dazed and Confused' with Linklater's film being superior in most aspects.
Jay B (mx) wrote: Pure cheese and a shining example of so-bad-it's-good 50's B film making. There's a plot about an evil alien criminal brain that escapes the planet Arous and winds up possessing heroic scientist John Agar. Of course, another good alien bounty hunter brain comes a-lookin' fer him (and shouldn't the film be called "The Brains from the Planet Arous" since there are two of them.) Brain 2 appears to Agar's girlfriend and explains all, and all agree that the best course of action would be for Brain 2 to possess the dog so he can keep an eye on Brain 1 inside of Agar.There's some nonsense about luring Brain 1 into solid form so he can be killed, and there's some axe swinging aimed at the Fissure of Roland or Orlando or something like that in the brain. This is apparently the weak spot. I was too busy watching the extremely visible black wires flying the brain around to worry about the plot. But who cares? This movie is so bad, so cheesy, that it's fun. Everyone plays the movie absolutely straight, except for Agar as Brain 1. His evil acting is so over the top, it make Iago look like Rebecca of Sunnybrook Farm.I have to mention Walter Greene's score. It is very effective, and is unexpectedly sophisticated for the genre. Listen for the sax music underlying some of Agar's quiet scenes with Joyce Meadows. I wish this were availble on CD.
John A (gb) wrote: The pacing is solid, and Griffith varies as he can between medium and close-ups, mostly. Griffith employs one brief tracking shot as the town gossip goes to reveal Anna's secret, to good effect. The film's most intriguing sequence is the final one in the storm, as Griffith effectively builds tension through montage, including some excellent shots of the frozen river. Gish is also her watchable, delicate self, the baptism scene being one of the high points of this melodrama.
Ty R (jp) wrote: So bad, that you have to watch it all the way through!
Stefanie R (fr) wrote: So much fun!! :) love Donald O'Connor