After twenty years of broken bottles and empty hallways, Mort Gleason witnesses his nephew Moo being beaten while in a drunken stupor. The short contact with family brings Mort back to what are left of his senses and he returns to the last home he remembers in Chicago. His sister Eileen lives in their family home now with her sixteen year old son, Abe. Her older son Moo, the now missing nephew, helped spark Mort's return to his family. Three, four, five weeks pass as Mort waits outside his home and makes a tenuous re-entry into family life. Abe dreams of a sailboat and distant horizons. He saves money and sees an advertisement for the Kathy II. He and his friend calculate a way to buy the vessel from two unscrupulous rogues who make ends meet wholesaling liquor and operating a sometime boatyard.
The film tells the story of a young teenager dreaming of a sailboat and distant horizons who manipulates his unsuspecting alcoholic uncle into buying a boat from a conman when his mother is away. . You can read more in Google, Youtube, Wiki
Drunkboat torrent reviews
(us) wrote: good since and learn good tecnolegy
(br) wrote: Supposed-to-be-hot love (and love triangle) at first sight.
(br) wrote: i always wanted to see a cirque du soleil show - maybe it is better in real life - quite amazing, but at the same slow and boring story.
(mx) wrote: A very different dream-state movie about a somewhat awkward Freeman trying to make sense of his dreams and monsters, and coming to realize that the key lies in the tangible, even if somewhat dull. DeVito pulls of a funny side-character.
(de) wrote: A Real Heartfelt Flick about the Empowering Quality of Photography
(nl) wrote: Again Zooey ... and Debra Winger ...Great acting, funny (somewhat sarcastic humor) story.What more could you want? :)
(it) wrote: A real and pretty gritty film but there wasn't enough for me to really sink my teeth into. I did not particularly care for the characters and found the shift in emphasis halfway through the film somewhat distracting. Good performances and technicals nonetheless.
(br) wrote: The book, as odd as it is, is.leaps and bounds better.
(ca) wrote: An underrated epic. The 5 hour cut is impressive. It's a truly unique experience of sight and sound. Wim Wenders conceived of it as a trilogy. The first part is quirky and a little lame, the second part improves significantly and has some powerful moments (the journey across the desert) but it's the third and final part that makes the film so memorable. It's true sci-fi, very philosophical with an amazing cast. Not to mention an outstanding soundtrack. Overall, it's a flawed experiment that is hugely ambitious and downright fascinating. Perhaps it might have worked better as an HBO series.
(us) wrote: Hands down the best Police Academy movie. Just enough zany cop humor and a rounded cast of veterans from the series a new introductions.
(gb) wrote: I decided to check out this film after watching a documentary about the Genesis album the Lamb Lies Down on Broadway. Peter Gabriel mentioned that this film was his inspiration for the story behind the concept album. If it hadn't been for that I may never have discovered this cult midnight movie. Unfortunately, it was not my cup of tea. It seems to be a movie in which Alexandro Jodrowsky had a lot of grandiose ideas but was really unable to capture them on film in a way most viewers would be able to pick up. The same could probably be said about Gabriel's story on the Lamb Lies Down on Broadway but that was a story set to music...really awesome music. I think the obtuseness of Jodorowsky's story has some intrigue but few can really say why.
(nl) wrote: So you go from directing one of the better Star Treks, to possibly my least favourite one ever made. I read they did market research for the equally corny Star Trek: The Voyage Home saying how it's light nature made it sell more tickets. Well it didn't work here as every member seems played so against type, then bogged down with dumb philosophy and lessons it's to a point so irritating. And sadly, Joss Whedon never learned the lesson, proving dumb movies make money because we all just need a cheap laugh.
(br) wrote: Throughout all of Sylvester Stallone's career, there has never been a film he has regretted more than Stop! Or My Mom Will Shoot, a film with a laughably awful concept and director Roger Spottiswoode who has seldom made a good film throughout almost all of his career. So it sounded almost like a satire of Sylvester Stallone's career, and I would not miss any of his films.The thing with Stop! Or My Mom Will Shoot is that the jokes are so terrible that they are hilarious. Everything was so pathetically written that I laughed at the idea that somebody would have actually put them in a film, and it was just hilarious. And because of that, I actually found myself laughing at the film. In a film where jokes are so stupid and unfunny that they become unexpected hilarious entertainment, Stop! Or My Mom Will Shoot is one of the prime examples of the genre.The idea of forming a buddy cop movie about an aggressive police officer and his own mother sinks into even more ridiculous territory than director Roger Spottiswoode's previous effort to team up Tom Hanks with a dog for Turner and Hooch. And it is hilarious how ridiculous it is. I mean, it's a childish story about a boy having trouble coping with his overprotective mother except that in this situation he is a police officer played by Academy Award nominated action hero Sylvester Stallone. And the fact that it is so clearly crazy, senseless and ridiculous makes it all the more entertaining as a film that is practically so bad that it is good.The thing is that a plot this bad has little chance to succeed, but even Roger Spottiswoode knows that and attempts to make the most of it. While the jokes are not likely to find success with critics or a lot of viewers, I was very surprised to find myself entertained by them. I mean I knew they were stupid and cliche like they were written for a Saturday morning cartoon, but I still laughed at them for actually being there and for being so bad that they were funny. The cartoonish elements continued on into the musical score which is very childish but makes things have the light comedic feel they really need.There is no denying the fact that Stop! Or My Mom Will Shoot is problematic. I mean it is so stupid, and the comedy is so childish that its appeal is obviously limited. And the repetitive nature of it ensures that there really is not a spot of originality in the film, so Stop! Or My Mom Will Shoot is easy to see as a bad film. But the fact that it was so ridiculously written is likely to get to many viewers. The script in Stop! Or My Mom Will Shoot is so hilariously stupid and is clearly deserving of criticism because it is immensely ridiculous. The stupid, childish and cartoonish one liners and so pathetically paper-thin that they are essentially impossible to work with. Yet somehow, in some way, the cast of Stop! Or My Mom Will Shoot manage to actually work it into being funny material, even if it is funny because of how dumb it is. If you can really sit back and lower your standards to the level of Denzel Washington's film Heart Condition in Stop! Or My Mom Will Shoot, there is a chance you will enjoy it. I know I did, and not just because I'm an avid fan of Sylvester Stallone.Stop! Or My Mom Will Shoot is clearly the most ridiculous buddy cop film I've ever seen, but it is far from the worst. See, I actually laughed at it, and Roger Spottiswoode did everything he could to make the concept convincing by giving a great production design to the film and some colourful scenery, as well as some good cinematography which captures everything well and timely editing. And all this can be boasted in the action scenes. While there isn't too much action, there are some moments of it and it is somewhat entertaining. So Stop! Or My Mom Will Shoot does have what it takes to succeed as a buddy cop film.But what really takes the cake in Stop! Or My Mom Will Shoot is that despite the ridiculously low quality of the script, the actors manage to actually work it really well.Sylvester Stallone is an actor I find to be massively underrated and rarely appreciated for his comedic talents such as in Grudge Match and Tango and Cash. And while Stop! Or My Mom Will Shoot is not as funny as either, he essentially parodies himself in his lead role in Stop! Or My Mom Will Shoot. He basically makes a satire of his whole career, and it is actually pretty funny to watch. He delivers his lines with his natural action hero charisma, and despite winning the Golden Raspberry Award for Worst Actor, his performance was barely worth a nomination for such an award. He manages to make the comedic elements of Stop! Or My Mom Will Shoot succeed more than they potentially could have, and so it is funny to see him up there.And Golden Girls star Estelle Getty is perfect for the role. While her character is absolutely ridiculous, she is very convincing as the mother of Sylvester Stallone's character and the two share a fairly funny chemistry. She has all the aspects of a stereotypical mother figure, and when the time comes she goes over the top into the stereotype and establishes some laughs for viewers. She steps into the role with ease and manages to work the comedic material with her own charm, serving as a viable benefit to the cast as the titular mother in Stop! Or My Mom Will Shoot. I was pleased with her performance and had a good few laughs thanks to her.JoBeth Williams and Ving Rhames make decent additions to the cast as well. So while it is every bit as stupid as the title and plot would suggest, Stop! Or My Mom Will Shoot is a ridiculously bad comedy which becomes funny because of its stupidity and has surprisingly dedicated cast members including a great duo of Sylvester Stallone and Estelle Getty.
(nl) wrote: Gritty thriller with a more subtle performance from Cage. There is very little of intrigue here though with the end result quite evident from early on.
(fr) wrote: If I had to predict a year ago which romantic comedy film would shine as 2016's best, Me Before You would have likely topped the list. Starring the gifted actors Emilia Clarke and Sam Claflin alongside such respected luminaries as Charles Dance, the film is largely set in the dreamy English countryside with a touch of medieval flair. Usually I look forward to rom-coms such as these, with their witty and dry British humor that trounces the dumb, audience-insulting jokes often found in American counterparts. Indeed, our main leads come across as instantly charming. The always stunning Emilia Clarke delights as Louisa Clark, a peppy working class girl toiling at dead-end jobs in a small, picturesque English town. Sam Claflin stars as Will Traynor, a wealthy and handsome young bachelor, tragically paralyzed in an accident that has left him severely depressed for two years. Louisa is hired by Will's parents to act as a sort of companion for their lonely son, who at first barely acknowledges her presence, breaking his silence only to mock his earnest pal. Claflin excels in his deliverance of the classy and droll British gentleman-I tell you, this guy should be a contender for James Bond someday. Their banter is a lot of fun, and watching the initial businesslike arrangement between Will and Louisa blossom into real friendship is very satisfying. Unfortunately the direction of the story takes a rather bizarre turn toward the end of the movie, doing so in a way that seems quite out of character for our heroes. Louisa eventually becomes enamored of the material possessions and adventure that Traynor's wealth can afford, which quickly turns into a source of great tension between Louisa and her kind but ordinary boyfriend Patrick (Matthew Lewis). I found the whole episode to be somewhat distasteful, and the story probably would have been better served if Louisa started off single. I think the writers intended that Patrick elicit an unsympathetic reaction from the audience, but his goofy and heartfelt manner is the wrong antithesis to the polished and affluent Will. The most serious misstep for the movie is a final act which feels utterly pointless and unnecessary. The audience is strung along for a ride which seems to build to a triumphant and passionate victory for our heroes, only to have hopes wildly deflated like a balloon zooming around a room making fart noises. The conclusion comes across as neither fitting nor poignant, leaving the audience with a tasteless finish that manages to feel both awkward and joyless. The romantic comedy that culminates in heartbreak is an angle that can work, but only if done right. Me Before You bungles the trope so badly that it practically erases all goodwill built up by an otherwise competent film. If you do decide to see this movie, do so without expectation, and prepare to be leave feeling disappointed. Me Before You is onlu good for a few laughs and happy moments, ably delivered by a cast that gives its best despite a dumb script. Truly, this story is unworthy of Clarke and Claflin's solid performance, and it is only because of them that I recommend seeing this movie just once if you enjoy romantic comedy.