Elle cause plus, elle flingue

Elle cause plus, elle flingue


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Elle cause plus, elle flingue torrent reviews

Walter M (es) wrote: As if things were not bad enough for Seattle what with the Supersonics moving to Oklahoma, the last Super Bowl and finding out that they are seriously overdue for a huge earthquake, The Beast(Craig Robinson) chooses the city for his residence following the rapture. In the meantime, Lindsey(Anna Kendrick) and her boyfriend Ben(John Francis Daley) try to make the best of a truly horrendous situation by opening their own sandwich business. Which promptly gets flattened by a flaming piece of rock. That leads to some drastic measures on their part...With the exception of a couple of neat moments like a defense of "The Chronicles of Riddick" and confirming that the 1997 Denver Broncos were evil, thus proving once and for all that John Elway is the Blond Prince of Darkness(Disclosure: the writer is a sad, bitter Cleveland Browns fan), there is really nothing positive to say about "Rapture-Palooza" which wastes both an excellent title and a situation with definite potential. And just because a movie has a very low budget like here, it does not preclude it from actually trying. In any case, Anna Kendrick just looks very annoyed and can you blame her?

Reese J (fr) wrote: Boasts an impressive atmosphere, but script is dull as fuck and goes absolutely nowhere.

scott g (ca) wrote: a moody brit drama following 3 london tales, danny dyer is okay in his story, and tamer hassn does better work, in some nice scenes of a man and a women, meeting under dificult circumstances

Nigel D (ca) wrote: Sparse but complex, intriguing and unusual. You could probably pigeon-hole it as a thriller, but the filmmakers evidently preferred to concentrate on the character study of an ambivalent cop and the people that he meets in the wake of a serious crime.

Jesse T (au) wrote: Will have a short shelf life, and just as reality TV offers instant-gratification entertainment, Series 7: The Contenders offers instant-gratification satire.

monsieur r (fr) wrote: Focus would have been a great Twilight Zone. It is a great story and a morality play. Suspense is here and the cinematography will keep you watching. I highly recommend Focus if you wonder what happens to good people in an era of conformity. The lead character seems like a wimp, but he isn't. He's a veteran that doesn't want to talk about the horrible past he's had. He's got more guts than anyone else in the film. If you have ever had overbearing neighbors that bully you or ever had anyone bully you, in school or elsewhere....... catch this movie. If you ever liked deep movies, thought provoking movies.... get this movie. Highly recommended. Oscar material. Just remember though, one man's treasure can be another man's trash.

Elena S (mx) wrote: boring boring boring

Brett H (fr) wrote: Another take on the Invasion of the Body Snatchers that is very well-made with updated technology, but the freshness is long-gone and you're just watching the same movie again. The cast all seem very bored with their dialogue and Nicole Kidman struggles to keep a consistent American accent, which is kind of amusing. They do throw in a neat spin on the dread of being taken, where the characters who are infected have to stay awake or they will turn, similar to A Nightmare On Elm Street. There's also a great thought-provoking ending that works well with the political allegory the film presents, but it'll probably go over most people's heads. Not a bad version of the story, but the original is still the best and most frightening.

Jason A (kr) wrote: Sure my rating is heavily influenced because I'm a fan of Mel Brooks, Sid Caesar, and nostalgic for the golden age of television, but who isn't? O'Tool proves that an Oscar for comedy is deserved (and often passed over).

Cameron J (ru) wrote: Brubaker sounds like something someone would grunt out, or rather, what Robert Redford might grunt out in the shower. Redford might just be playing a warden undercover as an inmate, but he should watch his step, or else he'll end up over his head and down on his knees. "Cool Hand Luke II: Still Too Pretty for Prison"! Stuart Rosenberg had to go with the Sundance Kid, because he just couldn't wait around for Butch Cassidy forever, and now that both Rosenberg and Paul Newman have tragically passed, you shouldn't expect the crossover, "Brubaker and the Cool Hand Luke". Yeah, when you mix the titles of these two prison films together, the result does kind of sound like yet another Newman-Redford outlaw buddy film, so maybe Rosenberg really is hoping to get the attention of the "Butch and Sundance" crowd through these films. I don't know why exactly, because "Butch Cassidy and the Sundance Kid" was dull enough when it was just one movie, and the outlaws were still at large, not stuck in prison. Well, don't worry, because this film is fairly compelling, although momentum is still shaken, partly because you can compare it a little too much to more than just "Cool Hand Luke" and, apparently, "Butch Cassidy and the Sundance Kid". The film isn't simply formulaic, but all-out clichd, at least at times, in which storytelling falls too far into conventions as a prison drama whose familiarity could be easier to get past if the focuses of this character drama were more distinguished. The performances are convincing enough to help a great deal in selling you on the roles in this narrative, but even the performers' material is thinned down by thin characterization which does little to truly flesh out the depths of each major character. Maybe this film would have had more time to do some fleshing out for the leads if it didn't take some time to introduce ultimately inconsequential roles whose forced incorporation take away from the primary focus of this uneven plot, and add to a sense of excess. The film is a little too long, maybe even aimless in all of its dragging, despite doing a decent job of sustaining your attention that, even then, isn't particularly consistent. Actually, I don't know if the film is especially long, as much as it feels long, when backed by steady directorial pacing by Stuart Rosenberg whose cold spells range to dull from a certain blandness that is actually pretty prominent throughout the film, trying your patience time and again. Many ought to stand their ground against the coldness and be rewarded, and many others ought to be underwhelmed, if not worse, due to an overt thoughtfulness that fails to go justified by more unique, nuanced, even and tight storytelling. Still, the point is that, with patience, one ought to be decidedly rewarded, drawn to the subtle grace to and, for that matter, story concept behind the film. Not much of anything is particularly fresh about this story, but potential still stands firm in this, in a way, unpredictable portrait on prison life, and how a new warden interprets it and works to better the system behind it, and yet, there's also something minimalist about this subject matter. Considering the flaws, this drama's minimalism could have driven the final product shy of rewarding, but the telling of the story ultimately proves to be strong much more than anything, even in a script by W. D. Richter that delivers on fair dialogue and memorable, subtly dynamic set pieces, whose believability helps in immersing you into this intimate drama. Richter does what he can to compensate for characterization thinness and an unevenness in the juggling of the many roles, but he started those problems, so he doesn't pay as much mind as he should towards mending them, thus, the characters have to be brought to life by the cast. At the same time, the thinness to characterization limits material, but when the performers are given something to do, just about all of them deliver, with the portrayers of the prisoners being particularly convincing and effective in their nuance. At least compared to his peers in the central cast, Robert Redford actually isn't particularly impressive, playing himself, but therefore delivering on plenty of charisma to help win you over, though still not quite as much as a certain offscreen performance. Director Stuart Rosenberg takes things steadily, but surely, and much too often, that blands things up, maybe even dulls things down, due to plot structure's being too questionable for all that much momentum to be sustained, but that sort of thoughtfulness, when realized, is solid in its impact, with a subtle tension and resonance that captures the edge of this drama. There is a lot of bite to this audacious and only slightly melodramatized portrait on harsh prison life, into which Rosenberg and his fellow storytellers immerse you enough to reward the patient. In conclusion, conventions, as well as thinness and an uneven juggling of characterization join directorial cold spells in retarding the momentum of an already overlong affair, until the final product runs the risk of falling short of a reward value which is ultimately secured by the intriguing story concept, rich script, solid cast and thoughtful direction which make "Brubaker" an ultimately biting, maybe even immersively gripping prison drama. 3/5 - Good

Hayden W (br) wrote: This movie only gets funnier the further into it you watch. I am so happy they cast that woman from mad TV. She was the funnest one of the group of ladies. The bedroom scene was the funnest part.

Curtis b (jp) wrote: I simply loved this flick...in the 80's it was all about the Ninja.