In this playfully provocative story set amidst the often-turbulent backdrop of gentrification, things get hot when an openly gay white couple moves into an East L.A. neighborhood where the locals have more than skeletons in their closets. The arrival of the Anglo newcomers rocks the quiet world of Diego Campos (Rene Alvarado), a handsome young local who is tired of being played for a boy toy by his closeted real estate agent lover Pablo (David Beron). Will Diego stay at home and fulfill his Mexican grandmother’s desire for him to inherit the family restaurant - or will he follow his heart and become a chef in the big city? Award winning producer Carlos Portugal makes his directorial debut with a winning combination of quirky characters, rich storylines and suggestive situations that will appeal to fans of Latino telenovelas and popular series such as "Sex and the City," "Ugly Betty" and "Queer As Folk."
A "coming out" story that avoids all the tired cliches and stays committed to telling the stories of these characters, "East Side Story" examines bias of all kinds and features stirring performances by incredibly attractive actors. . You can read more in Google, Youtube, Wiki
Vince N (ru) wrote: Does god answer all prayers are just the ones we wait upon, could we hinder his answer? Some believe in a concept of yes, no, or wait, where do you stand?
Spencer S (mx) wrote: A rash of films appeared in the late nineties and early aughts that had beautiful women facing down serial killers. Like Jolie's earlier "The Bone Collector" and the Sandra Bullock's "Murder by Numbers," "Taking Lives" follows a female law enforcement agent getting into the psyche of a killer. The entire film is thoughtless from beginning to end. They don't know the identity of this killer, or even if he actually exists, and yet they find his identity based on a tip from an elderly woman, which seems like an innocuous claim. The action is predictable, the twist isn't presented very well, there's really strange instances of adult content for no reason other than they needed nudity, our main character is completely one dimensional except that she's morbid, the ending is thoughtlessly horrible, and none of this film makes any sense. It's just really horribly done, all around. Nothing makes any sense, whatsoever, which is a serious problem, especially when the entire film revolves around the logic in solving a decade's long set of mysteries. Even as a time waster this is not a good choice, as its endless reign of immaturity will anger anyone who deems to watch it.
Cha M (de) wrote: maybe you need to know where the narration is coming from not to see it as pretentious. Hell, maybe you have to be pretentious, I dunno. Other users comments aside, I think this is one of the most important films to come out in recent years. A lot of people might think that I get down with it simply because I am a skinhead. While skinhead is prominently featured in parts of the film, I disagree with calling it a skinhead film. It's exactly what Frankie says it is in the beginning, a story about hope. Hope for your family, for your friends, for love, for yourself. I related to it much more on the levels of his home life as a child and his ability to lose himself, but somehow never quite enough to make it work, in relationships with women. brilliant writing, brilliant direction!
Laurie F (fr) wrote: The book was fantastic
Simon D (fr) wrote: with a title like this you expect a B-Movie gore fest but none of it at all. It's a weak attempt at comedy, if there is some feminist message in there somewhere then it's obviously nulified by all the fit birds in bikinis. Not worth the recommendations.
Eric H (gb) wrote: Very disturbing reality break. Child prostitution was prevalent in North America well into the early 20th century. This gives a good insight into demise of many children during this period. We were totally devoid of child protection agencies. Although many narrow minded artistically challenged people will label this movie as child pornography it is not. There is no suggestion of condoning or promoting of such. Louis Malle used a combination of shock and graphically disturbing scenes to get his message across. To have censored this movie would have been a throw back to the dark ages for artistic freedom. Although the acting leaves something to be desired it is a must watch for those wanting to see a dramatization of the hopelessness of the lives of children in the early Southern States.
Mereie d (de) wrote: Perhaps not as impressive as In the Heat of the Night? (1967), but equally entertaining as a textbook example of an early seventies(TM) American crime movie with a touch of blaxploitation to it " which is typical, considering the fact that Shaft? (one of the classic kick-off movies of the aforementioned genre) was not to be released until a year later, in 1971. They Call Me MISTER Tibbs!? also seems to be ahead of its time in its social approach, which is more common in movies from the later seventies. One of the suspects is a priest (Logan Sharpe, played by Martin Landau) with more than one mission: not only does he want to spread the gospel, but also he has (left-wing) political ambitions. True, he slept with the victim, but hell ... he(TM)s only human, just like the rest of us, is what the director seems to be saying here (knowing the ending of the film and the priest(TM)s cold-blooded lying to boot, one is inclined to conclude he is not such an amiable guy after all " this I consider to be a flaw in the plot " plus the fact that his motives are only very briefly touched upon). The other social element is of course Virgil Tibb(TM)s (Sidney Poitier) trouble at the home front, notably with his adolescent son. These domestic scenes (which are dosed very well throughout the movie: they are on the verge of taking up too much time, but remain just below that limit of overpresence) show us that Tibbs might be a great detective, but also occasionally an inadequate father, which makes him only human too. I had most of my fun with this production during the action scenes (the opening scene with the murder is wonderfully filmed with the light effects and all) and the scenes with stereoptypical shady characters like the creepy landlord Rice Weedon (Anthony Zerbe) and the sanctimonious Woody Garfield (with his bitchy wife). Always a pleasure to get a good view of San Franscisco when the cops are chasing one of the bad guys, especially when accompanied by that super cool music (by Quincy Jones) that permeates the entire film anyway. This film may be mediocre in its kind, but I find it a little treat.
Mick G (ag) wrote: nice photo on page but is wrong car should be a 1950 Ford or his secand car a 1957 Ford Fairlane looks good though guys .
Spencer P (jp) wrote: Beautifully crafted, handsomely acted, and heart-wrenching, this life portrait rewards sympathy with inspiration.
Veniea T (it) wrote: All CLASSICS are GOOD
Luke P (ca) wrote: Well-acted, strong direction and a meaningful script. 21 Grams is another success for Alejandro Gonzlez Irritu and Guillermo Arriaga Jordan
joyce f (ru) wrote: It's 1970. Sex is still being performed in the back of VW vans. Doctors still smoke tobacco. And the drive-in is still the place to be on a Friday night. "Count Yorga, Vampire", is a drive-in flick.It's one of those movies that you can talk, drink, smoke pot, and make-out through and still be able to tell your parents what the plot was about.God bless ya Yorga!
Jack M (ag) wrote: Oh Samurai Cop, you're such a beautiful mess. This film has emerged as a major player in the so bad it's good world, gaining enough attention to warrant a sequel. After watching it, it's easy to see why. It does nothing right, and yet as a sum of its parts is glorious. It truly does deserve its following.This is meant to be an imitation of popular buddy cop B-Movies, with the leads mimicking those of the Lethal Weapon franchise, but somehow falls short of this low benchmark. It has a confusing, illogical narrative and set of characters. This film fails fundamentally on every level of filmmaking. The cinematography is choppy and cheap, they clearly knew nothing about exposure and nothing about the composition of a scene. The editing leaves a lot to be desired too, with little continuity between scenes and poor spatial contextualisation. Characters are clearly dubbed by different actors, and the dialogue is often inaudible. The soundtrack sounds like something ripped right out of a cheap 80's style porn film (maybe Dirk Diggler wanted to test his directorial skills?).The humour, however, comes from a through different avenues. The acting, if you can even call it that, is some of the worst you will ever see. No one in the entirety of the cast gives a believable performance. Matt Hannon, the Samurai Cop himself, highlights this perfectly in his famous 'Now I'm telling you bastards' monologue. To be fair to the actors, they had no good material to work with ('I will bring you his head and I will place it on your piano'). Amir Shervan, the director, producer and writer of the film, clearly had a loose grasp of the English language. Why none of the actors sought to correct any of the dialogue upon reading the screenplay is a mystery, but the awkwardness of it is horrifically blatant and inescapable:Nurse: Do you like what you see?Samurai Cop: I love what I see.Nurse: Would you like to touch what you see?Samurai Cop: Yes. Yes, I would.The dialogue is so stunted and broken and is one of the biggest generators of laughs in the film. The dialogue in the aforementioned scene also highlights another one of the major problems with Samurai Cop, this being its hideous hypersexualisation of ANY female characters. The sheer inappropriateness of its treatment of women does in its own way add humour through its shock value. It highlights how much of a product of its time this film was. Whilst women are still sexualised in cinema, they could never be casually paraded around like they are in Samurai Cop. It contextualises the film and adds to your sense of disbelief and to the facetious feel of the film. To be fair, whilst women aren't well represented, anyone involved with this movie is a joke anyway. On top of this are the awful hammy jokes, the best being the 'Undercover Cop' line. Hannon's woman's wig he had to wear because he thought the shooting was over is another highlight, along with the awfully choreographed, shot and performed fight scenes, which look like a group of toddlers imitating a Bruce Lee film.This film has so much charm. Yes it is clearly terrible in every way, yes it had no degree of care put into it, but it sure does a great job at entertaining. And whilst some would argue that critical acclaim is the most important thing, is a film not made first and foremost for the enjoyment of an audience? AND it's educational. It taught me that 'katana' means 'Japanese Sword'!
Jason O (nl) wrote: The worst Clint Eastwood film I've ever seen (and there aren't many left that I haven't watched yet). I thought w/him and Burt Reynolds, two good actors, that this would be awesome, but it seemed rather uninspired and save a few decent fight/gun scenes and one or two entertaining slapstick moments, it's rather forgettable.