Down There

Down There

We meet two classmates who canĀ“t adjust to life at school. Even though he has lived there for a year now, Thomas has still not been accepted by his classmates. Karsten is an oddball liked by few. The film is about the day when they, for various reasons, sneak away from their swimming lesson and destroy the carpentry room.

Chantal Akerman reflects on a variety of themes during her stay in Israel, mostly filming from the recesses of her apartment . You can read more in Google, Youtube, Wiki

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Down There torrent reviews

Joanna P (fr) wrote: Dennis Hopper and Dean Stockwell doing what they do best- come on guys, make another film together!

Sonte B (kr) wrote: Horrible Christmas movie. You would not even know this movie was happening during Christmas time if they hadn't mentioned it a couple of times. The only thing connecting this movie to Christmas was Scrooged theme, which it did a horrible job of conveying. Also - one major thing that I found to be shameful was that this African-American girl had no African-American love intrests. Of all of the guys from her past not one of them was African-american, bi-racial, or any other ethnicity aside from Caucasian. Not even any of her friends were African-American. I find that type of casting to be really sad!

Matthew R (es) wrote: for a somewhat lower budget film i loved it. It had an orginal story to it and had a good cast. Some of the acting wasn't the best but many other charactes made up for it. it wasn't distatesful as some might think from the name or cover of the movie but it was good nonetheless.

Logan M (es) wrote: An interesting film adaptation of a TV show with a magical realism twist.

Lee M (ag) wrote: The screenplay's clutchy banter (interspersed with arias of teary confession) feels distinctly Oprah, but Sayles extracts some unexpected life from his wooden setups.

Justin O (br) wrote: Not one of Li's better films, though the action makes up for a bad story.

Art S (jp) wrote: Wong Kar-Wai's second film (before his international breakthrough Chungking Express, 1994) is another example of his style over substance technique. This glimpse at Hong Kong in 1962 is all greens and blues and greys, perhaps fitting for a nostalgic reverie, but somehow dark. And so is the subject matter, which transmutes Rebel Without a Cause (from which it gets it title a la the Hong Kongese translation) into a blur of insolent moves by twentysomethings who do or do not want to care. But it is hard to get inside these characters (played by emerging stars Leslie Cheung, Andy Lau, Maggie Cheung, Carina Lau) whose motivations seem to be only grand gestures or reactions to those of others. This strategy comes together much better in the next film in the putative trilogy, In the Mood for Love (2000), starring Maggie Cheung and Tony Leung, the latter of which appears mysteriously in a code to the earlier film (apparently with the rest of his role left on the cutting room floor). This is one to check for a mood induction of the blue kind.

Amber A (es) wrote: Wow! They have the wrong movie description for the cover there. Madness was about two cheerleaders at a gas station who pick up two guys whose car has broken down. Then of course some backwoods killers stalk and capture them. Lol. I have no idea what the movie description they have for Madness is really for, but I just watched this movie (at least the one with that particular cover) yesterday. :) Just a regular mutant backwoods slasher film, nothing special, but was an ok one.

Charlie G (nl) wrote: Entertaining but a little childish.

GringoTex J (kr) wrote: I'm loving Rossellini's brilliant "anti-cinema" cheapo made-for-TV history textbooks. Similarly to the Age of the Medici (which Rossellini shot in English for PBS, only to have PBS refuse to show it), he shot this one in French for French TV, who then refused to show it.I'm hardly ever distracted by subtitles, but this film's almost continuous stream-of-monologueness really forced me to choose between the image and the text, which is a shame because Rossellini is practicing a cinematic minimalism here that is so often wrongly attributed to Bresson. To miss the most subtle of movements can be to miss the entire point of the scene. I wish it were dubbed into English.

Tim S (us) wrote: Up until 1966, John Frankenheimer was known primarily for making political thrillers. Venturing out of the box he made Seconds, which was based on a novel by David Ely about a man who deciding that, after a long and unsatisfactory life, would pay a company a large sum of money to completely change his identity and become someone new. Seconds, at least in the first half of the film, is very much akin to an episode of The Twilight Zone, but comes off very much as a Roman Polanski or French New Wave project. It's basically science fiction in form, but functions more as a human drama. It's unique visual style for the time, courtesy of cinematographer James Wong Howe, gave a certain panache that many other films didn't have. The story, and its eventual outcome, were certainly not the typical Hollywood outcome at the time. The only Hollywood type aspect to the film was the presence of Rock Hudson in the lead role. It was ultimately an opportunity for the actor to perform in a more unusual role than he was accustomed to. Critics at the time of the film's release didn't care for the film, however. It wasn't well-received, but over the years, it became a cult classic. Elements vital to the film, including those previously mentioned, as well as Jerry Goldsmith's haunting score, and just the adaptation of the book itself by Lewis John Carlino, have been re-evaluated and appreciated by contemporary audiences and critics.

Ashley C (mx) wrote: Great cinematography, great set design, great Bela, lousy ending (although I did sort of appreciate its out-of-left-field abruptness). Despite all that, I found myself struggling not to doze off in a number places, probably more a reflection of my state of mind going in than of the film itself.

Chris H (us) wrote: A charming little british musical backed by hypnotic tracks and gorgeous cinematography. God Help The Girl feels like a classic movie, the upbeat energy contrasting the characters' struggles in the film carried it gracefully. The movie has it's faults but none is too distracting to overshadow the story.Stuart Murdoch's directorial debut is not that bad, I'm excited for what the future holds for him as a director.

Nicholas I (mx) wrote: This will serve as my one and only Madea "movie" rating, as it would be the same for all of the others.A completely unimaginative script coupled with horrible one-liners and poor acting makes a sad excuse for a film. Let alone a "franchise."However, it's not -completely- unwatchable. I'll give it that.

Samuel M (gb) wrote: Para muchos la peor entrega de la saga. Para m, una de las ms interesantes. Me gusta pensar que ese odio viene del hecho de que Tommy Gun no es un rival tan grandilocuente como en anteriores entregas, pero lo cierto es que su importancia viene por otros aspectos: el hecho de que sea el pupilo de Rocky, su primer estudiante, el hecho de que se vea reflejado en l, el hecho de que el propio Rocky est aprovechndose de l para volver a sentir todo aquello que haba perdido (Micky, su posibilidad de luchar, su xito)...Son tantas lecturas las que se pueden sacar de esta pelcula, que me sorprende que no gustase.Ah s, y todo se resuelve a puetazos...como buen americano...Yey!

OH O (gb) wrote: As if "Superman III" wasn't terrible enough, now they give us this nightmare.2/10 - Garbage