Lizuca is only six years old, not much older than her pet dachshund Patrocle, when her mother dies and she is left to live with her grandparents on their farm. Before long, Lizuca's father comes to take her away to live with him and his new bride, a vile woman who considers children the bane of all existence. Lizuca and the dachshund escape the wicked stepmother and spend the night in a hollow tree, a tree that changes into an enchanted land where Lizuca (like Alice through the Looking Glass) discovers a world of characters in the form of bees, frogs, the four seasons, Snow White, her dwarves, and other fairy tale creatures. This magic place is threatened by the evil stepmother's plan to sell the grove that protects the secret land to developers -- a decision that puts the woman on trial before this perfidy can be realized. . You can read more in Google, Youtube, Wiki
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Tarja M (ag) wrote: Paikoin rasittavaa katsoa yht sekopist naista koko ajan (siis KOKO AJAN), mutta muuten leffa mun makuun. :)
Charles P (br) wrote: Lifted is visually brilliant as well as being outrageously funny.
Jay S (jp) wrote: all thoe l'm sexual driven (well covered in this flic... it's the whistle blower angle to this movie that appeals me... the grass is greener, wishlist most project on self... Take away the happy ending... angle it exposed... Another spike lee for the collection...
Allan C (kr) wrote: Another Hellraiser sequel with no credited involvement from Clive Barker that again also takes it's story from a script that was originally written not as a Hellriaser film and only later had Hellraiser elements added to it. This film did a better job of pulling it into the Hellraiser universe than it's predecessor, mostly because it brought back Ashley Laurence from the first two films. Dean Winters is the main character of the film, who is slowly losing his mind following a car crash that he barely survived and that killed his wife, Ashley Lawrence. Winters also finds himself in possession of the mysterious puzzle box of the prior films as he tries to piece together what happened between him and Lawrence. According to Wikipedia, Barker did have some input on the final act of the film, and that is where the film seemed to kind of come to life, although it's not really enough to call it a good film or recommend it to anyone outside of fans of the Hellraiser franchise.
Mohammed A (ca) wrote: It's good movie to watch
Cindy I (kr) wrote: A teenage girl is found frozen to death in a ditch on a winter morning in rural France. Through flashbacks and interviews, the rest of the film shows the audience how she got there. It's not a happy or pretty story, but it's a story worth experiencing. The film follows this young woman, named Simone "Mona" Bergeron, as she travels on foot across Southern France. We watch as she encounters others such as herself, and others who are not like her at all. She drinks too much, uses drugs, has sex seemingly indiscriminately, seems to have no goals or plans other than life on the road. She reveals a few desires along the way, such as wanting to have a potato farm and wanting a relationship with someone, but when both opportunities present themselves, she does not make use of them. We are never told any more about her, where she is from, if she is running away or running to, and from or to what. The people who knew her along the way discuss her only in the barest of details, in that they don't know any more than we do about her. There are several scenes of people judging Mona based on her outward appearance. Yes, they are correct in some instances, but somehow they still come across as clods for thinking that way. I've always found Southern France to be beautiful, with its quaint towns, wide fields of lavender, grapes and sunflowers, and fountains. However, in director Agnes Varda's hands, this open landscape turns into something desolate and unfriendly, cold to all but the most privileged of its citizens, but yet still beautiful. It is very much a metaphor for Mona's life. With the exception of a few characters -- Madame Landier the agronomist, Yolande, Jean-Pierre and his delightful old aunt Lydie -- only Mona is given any real screen time. Sandrine Bonnaire won a Cesar (the French Academy Award) for her portrayal of this down-and-out young woman. She was only 18 at the time, and she does a wonderful job of making Mona both sympathetic and distasteful -- we are told she smells bad, she is lazy and rarely it seems that she appreciates the things people do to help her. But yet you still want her to succeed, even though we know from the very beginning that she won't. Bonnaire resembles a young brunette Jeanne Moreau, so much so that I researched to see if there was any familial connection (I didn't find anything.) You might want to save this film for another time if you are feeling in any way down or lonely. But don't forget about it. You may be saddened, but you won't be disappointed.
Andi G (jp) wrote: Dood for family enterainment!!
Wesley B (us) wrote: Nothing short of amazing!
Michael H (br) wrote: A really, really low budget historical horror(ish) film with costumes that look like they're the very cheapest vaguely Medieval Halloween warehouse last minute on the way to a costume party purchases. The story is a basic, earnest, fannish attempt derived from Shakespeare and mid-20th century horror films. The performances are passable; the editing occasionally clunky; the constructed sets, cheap and flimsy. That Andy Milligan somehow got the use of big old stone church in New York City to shoot much of the movie in is a bit remarkable (and I'm rather curious about the story behind it). Neil Flanagan is quite enjoyable as the Mad Monk (who's really more mercenary than mad). The opening credits have a nice 40s feel to them. The score is quite competently professional.
jaleesa G (fr) wrote: its a kool version of the story
Buggy B (au) wrote: Wow, Maggie Gyllenhaal is absolutely brilliant in this emotional character study about an ex junkie who upon release from jail tries to turn her life around and get custody of her young daughter that barely knows her. Interesting hints of abuse from the father and all-round messed up family relationships. So many layers to this movie that wouldn't have been visible without Maggie G's staller performance. I also enjoyed seeing another side of Danny Trejo who doesn't just "machete" stuff here, he can really act. Always good to see Giancarlo Esposito (Breaking Bad) as well. Gritty, unflinching indie film that surprised me. 10.13