Et + si @ff

Et + si @ff

The parallel fates of a few inhabitants of a strange planet : the world of Internet gay encounters...

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Et + si @ff torrent reviews

Omar K (br) wrote: 'The Godfather of Soul.?? No man earns this title if they can??t get the audience grooving and moving to the sound of their magic that comes in the form of music. James Brown, like Marlon Brando??s Vito Corleone, is a godfather, albeit to completely different areas of life, but with that title, as seen in the 1972 gangster classic, comes great influence and importance over the land. The only difference between James Brown??s life and Vito Corleone??s is that Brown is not fictional and has actually had an irrepressible impact on the world that he inhabited and the many generations that have come after. In a career that covered 60 years, Brown literally broke his way onto the national stage with his unique ability to enthral and entertain, and over time let the world stage know who he was, whilst influencing genres of music in the process. Get On Up does so well in emphasising to us the man behind the relentless performances and soulful music we all have come to admire and even love. This man was a master at making his effort count, as he was ceaseless in his attention to detail, tireless in his creation and recording of new music every year, dismissive of those around him and utterly ruthless in his quest to be great. Get On Up focuses on the life of James Brown from a young kid living in the woods with his bipolar-abusive parents, the formation of Brown??s friendship with Bobby Byrd, leading to the formation of the band The Famous Flames, to the formation of the one-man band James Brown, his national recognition as an artist and the drawbacks that came with his hardnosed attitude. Brown, by the look of this film, is a crazy, crazy man with one heck of a rasping voice and overly exhilarating powers of performing. With the help of its distinctive narrative format, Get On Up unravels the real James Brown by allowing us to understand how he was brought up, what motivated him, what moved him, the people close to him (if there were any) and how he lived a lonely life behind his fame. Chronologically, the film follows Brown??s life from 1993, to 1988, to the 60??s, all the way back to his childhood in 1939, to 1964, back to the 50??s, to 1973 and returning to the 90??s to conclude this biopic. It is an intriguing way to set the story up because Brown??s life is layered with different decades merged together, allowing us to see different stages of his life to understand the bigger picture. The intercutting of different moments in his life allow you to see a man who produced something of his life thanks to the harshness of his childhood rather than someone that became perhaps more evil and self-concerned as time went by, so it appears the filmmakers want to cherish the artist James Brown, not condemn him for his brutal assertiveness. For people that prefer storylines that are linear will be outraged, because with all the intercutting that goes on, audiences can become irritated for not seeing a flowing piece of cinema. With only one lead role under his belt in the baseball-picture 42, starring as James Brown would prove to be hard work, but not once does Chadwick Boseman relax in this virtuoso performance. Boseman has quickly been signed up by Marvel for the role of superhero Black Panther and this tells how daring a performance Boseman gave as ??the godfather of soul.?? Boseman carries the same physical intensity Brown evokes when he??s dancing, singing or even when he is his normal self. This truly is a special performance for no actor could have pulled off James Brown the way in which Boseman emphatically tackles the role. Nelsan Ellis stars as Bobby Byrd, the only person that sticks with Brown throughout the years. Ellis never emphasises himself until the end as he calmly keeps himself to himself allowing Brown to have the limelight. If there is one person Brown needn??t be ruthlessly controlling over it is Bobby Byrd, his long-time friend. The film ends with a performance of Brown dedicating a song to Byrd and his wife in the audience, revealing to us that he was the only man that had a connection to Brown??s life. Interestingly, Brown was born in 1933 dying in 2006, whilst Byrd was born in 1934 dying in 2007, both at the age of 73, symbolically representing that these two men were associated through time highlighting the route the film took as a vital one? or it could just be a plain coincidence! Octavia Spencer and Viola Davis play important womanly figures in the youthful life of Brown. They always provide audiences with fascinating performances and Get On Up is just another one. Spencer and Davis seem to be involved in every film that revolves around black culture, but luckily there is no Oprah Winfrey for once! Get On Up can get too overly dedicated to detailing the great artist that is James Brown and not the private side of his life as he got older. Only the investigation into his troubled childhood provides us with a root into the background of this character. Brown??s private life growing-up is not delved into enough depth therefore the events that are shown involving his family are somewhat brief. It would have been far more pleasing if equal time was spent understanding how James Brown came to be and the way in which he developed as the years went by. Everything is touched over providing Brown with a worthy biopic, but some elements of his life are too thinly represented to entirely embrace. From his excellent discography, the music of James Brown is integrated so well into the story as each song compliments the development of Brown as a person at that moment in his life. Brown??s endless flow of music is not to forget oh ??so good?? and ??so nice?? that it will make you ??get on up?? and want to enrich yourself further with James Brown history. History in the form of how other music legends perceived him, as in some moments Brown rubs shoulders with some up and coming greats of the industry, including The Rolling Stones. What is interesting is that whilst Brown hijacked The Rolling Stones?? performance in the 60??s for fear of being outshone, Mick Jagger produced this very film highlighting Brown??s untarnished legacy. This may be a film about one man??s life, but it definitely isn??t just a ??man??s world?? as all types of people will have been touched by this man??s rhythm and blues in the 20th century. For me this man made an impact on the world stage long before I was born, but the greatness of James Brown is that no matter when you live, his influence on culture is undeniable and will live on in history for the sheer fact that there is no one like him, ever. The Verdict: Get On Up serves as a fascinating tribute to the life of James Brown, whose ruthless attitude is superbly unravelled through the ardent vigour of his performances. ???????????????????? 7/10

Yin Y (gb) wrote: want to see this only cos christian slater is in it.....

Ale J (ag) wrote: Me gust, de esas no muy frecuentes pero si bien hechas pelculas del cine mexicano. La historia es interesante, bien llevada, la cinematografia esta muy bien hecha, las actuaciones son buenas. Como esta deben de hacer muchas, te mantiene esperando que sigue. No es nueva, pero la acabo de ver.

Sebastian H (mx) wrote: full of surprising twists and turns, quite shocking "femme fatale" story that uncovers some horrible secrets to the backdrop of a quiet little french village. adjani was quite the sensation back then

Zack B (it) wrote: This film has been renowned by some to be sharp in wit and absolutely hilarious. I didn't laugh. Rather, I scoffed and chuckled here and there. I found it dull. I found the characters totally confusing, and it seemed like George, played by Warren Beatty, had a scrunched face look the entire movie, as if he himself didn't know what he was doing in the movie. The only thing I liked was looking at Goldie Hawn and Julie Christie. And the scene towards the end with Jack Warden and Warren Beatty discussing women. Other than that, I expected so much more life to a film by Hal Ashby, director of such exciting and oddly moving films like The Last Detail, Harold and Maude, Bound for Glory, Being There, and Coming Home.

Kimberly W (fr) wrote: I'm really enjoying the series so far, they did another great job with this movie.

Rockman I (de) wrote: This movie is a guilty pleasure.

Christopher H (de) wrote: Without the talented Emily Browning, "Plush" would almost be unwatchable. But with her innocent style mixed with the precarious nature of her character, she becomes the focal point of this feature as Hayley, the rockstar that loses her brother/bandmate to drugs. Following a poorly received second album, Hayley begins an intimate connection with her new guitarist Enzo (Xavier Samuel) rather than being at home with her husband (Cam Gigandet) and her son. This connection slowly turns obsessive as Enzo reveals himself to be more than Hayley bargained for and the thriller portion of the film ensues. "Plush" is not as much predictable as it is dull and anti-climatic, begging for the "dun-dun-dun" of a hokey horror score. Browning is the glue that holds this film together, keeping the viewer invested just to see her losing herself in the character and leaving all inhibitions at the door. She's a bright young actress that deserves much more than she's given yet continues to surprise through every bad role and B-rated movie.

Hannah P (ru) wrote: Sling Blade was a very depressing and heart wrenching movie. I was drawn to immense sadness for Carl, the main character, a mentally challenged man, at the beginning of the movie as Carl explained the life he'd been dealt. However toward the end I became depressed to find out Carl still wasn't able to disconnect himself from irrational decisions.

Kevin M (de) wrote: So's good.

Gregory S (kr) wrote: Great performance by Julianne Moore!

Blake P (kr) wrote: Sparta, Mississippi is a homely little town. It's small, desolate, and drenched with unbearable heat. The citizens are self-serving. The picturesque advertisements that paint the faces of the middling businesses are deceiving. At times, the town resembles something out of a '60s teen romance film, a quaint but calm setting that lets love grown on trees. But like in "Twin Peaks," there is a labyrinth of an underground that takes the wholesome Coca-Cola posters and white swing-sets and knots them into a dirty, unsightly torrent of dust and hatred. When a prominent entrepreneur is murdered, his body discarded in an alleyway, the town's police force doesn't know what to do with the case. Most people have mutually decided to mind their own business, only to join forces when an unwanted visitor makes their way into the isolated bubble that is Sparta. Murder was hush hush before. Bodies being dumped in the middle of the street is something completely new to the citizens. Chief Bill Gillespie (Rod Steiger) orders his staff to search the area, looking for anyone who may have seen or heard something, or, simply looks guilty. One officer finds an African-American man (Sidney Poitier) sitting alone in a train station; Sparta, being the brewery of racial tension that it is, doesn't ask any questions when he is arrested purely on the basis of his skin color. But once he arrives at the police station, he makes a fool out of everyone; he introduces himself as Virgil Tibbs, a Philadelphian homicide detective that is merely passing through the town to catch an upcoming train to Memphis. He wants nothing more than to leave, but his chief orders him to stay and aid the investigation. Gillespie has never known anything other than bigotry, but he is suddenly forced to push his personal views aside and follow the duties of a policeman. Tibbs, meanwhile, has to continuously defend himself from the prejudiced people of Sparta, some of whom are viciously violent when it comes to keeping the status quo in check. In 1967, the social climate of America was drastically changing. After years of fighting for equality, blacks were finally getting the respect they deserved, even if that process was more gradual than it should have been. Varying cultures were beginning to have more opportunity than ever. But then, there were towns like Sparta, buried in the deep South. In the middle-of-nowhere and completely separated from the open-mindedness of the big cities, the Spartas of America didn't want and perhaps weren't aware of the changes that were being made in society. "In the Heat of the Night" remains so important because it's both a steadfast look into the ugliness of prejudice and a snapshot of a transitioning world. Beneath all the sweat, snarling animosity, and tumbleweeds, there is a triumphant truth to every single scene. All his life, Bill Gillespie was taught that African-Americans were underneath him, him being a superior, mighty being. But when Tibbs comes onto the scene, we can see a newfound flicker in his eyes. He wants to scream and shout the most appalling things imaginable and put down his newfound colleague in the same way he has treated the black citizens of Sparta. Yet, he can't. Tibbs is a better man and a better detective. He's a hell of a lot smarter than he is, too. In just a matter of days, a realization hits Gillespie unexpectedly. Maybe, just maybe, no race is more sophisticated than the other. Maybe. The fact that, less than 50 years ago, cities were still as racist as Sparta is stunningly maddening. But Tibbs and Gillespie's relationship represents something more than just two guys attempting to get along. The film represents something more too. Take away the mystery, the formal vocations, and the suits, and you get a full view of a predominantly white society finally understanding the wrongs of their past. As hesitant as they may be in terms of correcting them automatically, there's a knowledge that going on with such discrimination will be venomous, a severe death wish on every person in the room. Poitier and Steiger are absolutely excellent. They are capable foils that bounce off each other with ceaseless energy. Poitier is electric, stoic and utterly powerful; the scene in which he slaps a small-minded plantation owner is totally sensational. Steiger is extremely fascinating to watch - he isn't your average movie bigot, as there is a lurking variable that fuels his hate more than mere racism. "In the Heat of the Night" is Southern-fried and completely without boundaries. It's an above average detective film, but beneath its whodunit tropes lays a scathing commentary that still remains relevant.