In the upscale Toronto strip club Exotica, dancer Christina is visited nightly by the obsessive Francis, a depressed tax auditor. Her ex-boyfriend, the club's MC, Eric, still jealously pines for her even as he introduces her onstage, but Eric is having his own relationship problems with the club's owner, Zoe. Meanwhile Thomas, a mysterious pet-shop owner, is about to become unexpectedly involved in their lives. Gradually, connections between the traumatic pasts of these characters are revealed.
- Category:Mystery, Romance, Drama
- Stars:David Hemblen, Calvin Green, Don McKellar, Peter Krantz, Mia Kirshner, Arsinée Khanjian, Elias Koteas, Bruce Greenwood, Damon D'Oliveira, Sarah Polley, Victor Garber, Jack Blum, Billy Merasty, Ken McDougall,
- Director:Atom Egoyan,
- Writer:Atom Egoyan
A film is directed by Atom Egoyan and starring Bruce Greenwood, Elias Koteas as well as Don McKellar follows Francis whose daughter was kiled by a homicide a few years ago, is always watching Christina dance in the night club Exotica. He falls head over heels in love with her. . You can read more in Google, Youtube, Wiki
Exotica torrent reviews
(kr) wrote: A simple yet touching film about memories - the good kind, and how we neglect them by how useless they may seem, by how busy we have been doing some other things. It's really quite touching and I love the quirky animation. It's a beautiful piece about living with a real smile on your face.
(ca) wrote: A good film about an ugly subject: male-on-female domestic violence.Here's some valuable back-story (not a spoiler):I've known Paul Hegstrom and his wife personally. According to themthe film is an accurate portrayal of what an incredibly messed up manPaul Hegstrom was. Paul no longer *physically* beats his wife, but theviewer shouldn't assume a thoroughgoing heart change prompted that.There are plenty of ways of continuing the cycle of abuse withoutraising a hand. Anger issues and deep seated insecurities can bemanifested in many ways.Another reviewer said, "I believe it was very courageous for the reallife Paul Hegstrom to put himself out there and tell the world whathe'd done. We all make mistakes, not many of us can admit it." Bigassumption there. Paul Hegstrom has made a lot of money by promoting through his books and "counseling ministry" the stereotype that men are abusive and women are victims and that the inverse cannot be true. Where it is true the man just have done something to deserve it.Take what good you can from this film, but don't presume that thecentral figure on which the film is based is a role model of genuineredemption. Unfortunately there are many physically abusive men (andalthough Hegstrom would deny it, women too) who overcome their physicalabusiveness only to become just as abusive emotionally and psychologically. All forms of abuse are wrong and, unfortunately, this film may only perpetuate the stereotype that physical abuse is more evil than other abuses, and that only men are responsible for abuse.
(gb) wrote: This is a very good documentary of western style consultancy and specialist serving in their own interests by traditional and limited methods - passionless and dictated by past experiences in psy-socio-political- trends - which provided well will really manipulate the masses well ;-)
(jp) wrote: Has an almost Terry Gilliam feel to it, although doesn't quite reach that level of brilliance.
(au) wrote: Fantastic collage of Latin jazz!
(de) wrote: "Valentine" feels like every other slasher horror film but with the added gimmick of being set around Valentine's Day. Typical with these types of horror movies, we get situations that work in the moment, but the more you think about it, the less they make sense. A scene early in the film for example, where the killer hides in a room, waiting for his intended victim to come in so he can scare her and then stab her with a knife. How long did he intend on waiting for her? Did he have a plan if she came back with a friend, or not at all? Was this a spur-of-the-moment idea to scare her, or did he have this pre-planned? There are other logical problems with the film too. The characters don't report suspicious activity to the police and when they do, the police come alone, without any back up even though they strongly suspect a killer is on the loose (and don't detectives usually have a partner anyway?) Some of the scenes and kills feel really forced, like a scene where what seems to be a really obvious drowning hazard (a lid for a hot tub that locks and can't be opened from the inside) is used to trap a victim or a scene where some valentines chocolates contain a nasty surprise (how did the killer pull that one off?)There are some clever parts in the film that play with the Valentine's Day theme, like some pretty creative cards with creepy poems and a scene where the killer (Who wears a cupid mask) uses a bow and arrows to attack a victim but that's pretty much it. The film moves slowly and becomes boring frequently, the plot isn't original and you can see most of it coming (the very end has some original parts in it though) and for slasher fans, you'll be disappointed by the lack of sex and gore. In the small category of Valentine's Day themed horror films, "Valentine" is just an unremarkable slasher film so you can do a lot better. (Dvd, February 22, 2013)
(nl) wrote: I was ultimately disappointed in this film although it was an interesting piece of avante-garde, horror cinema that attempts to explore the relation between sexuality and more primitive appetites. Brutal in parts and definitely disturbing in its depiction of individuals who attempt to force their passions into the normal paradigms of accepted sexuality but who ultimately remain incapable of doing so. While the premise of Trouble Every Day is interesting, it is ultimately tedious in parts and its avante-garde aspirations prove to be less than aesthetically exhilirating. Overall, I give this film some kudos for its originality and its bold aspirations, but I cannot give it a very good rating because I feel that it ultimately fails to achieve what it could have.
(de) wrote: It's fun to watch these character interact with each other, but it's mostly pretty dry stuff here and not too memorable. If you're a fan of these actors though, it's hard not to love it.
(nl) wrote: I'm still trying to understand what the point of making "Pet Sematary Two" was. Yes, it has perfectly capable actors and Mary Lambert is back to direct. But this sequel, overall, is just about as unnecessary as it is mean-spirited, gory and un-scary. I don't have a problem with gore, but at least balance out the tragedy of the story with it. And unfortunately, there's no real story to "Pet Sematary Two" that hasn't been touched upon in better horror movies, or even the original film (which is still one of my favorite Stephen King adaptations). If you're looking for plentiful on-screen violence, you'll be satisfied. But those looking for an actually decent sequel to a horror classic are better off sticking with the first film, which manages to dole out equal terror and tragedy with its violence.
(it) wrote: It's a comedy from 1992. It's bad, but a watchable bad.
(kr) wrote: "Sanjuro" is the seminal action-movie sequel, representing everything great about the genre while tempering the not-so-great things to the point of only minor noticeability. In the grand scheme, it may be "lesser Kurosawa" if such a thing exists-- even his weakest films are better than most directors best films, and the guy produced masterpieces like it was a bodily function-- but "Sanjuro" is still a powerhouse.Mifune's nameless ronin is just as memorable for his wit and clever manipulations as he is for his sword-fighting abilities; here, the situation he becomes tangled in is similar enough to the story that introduced him to feel like natural continuation without full-on aping what came before ("Yojimbo: Die Harder" basically). In the sequel, his successes more often result from his enemies stupidity rather than his own intelligence, but the overall scheme is compensated by a significant increase in comedy (in particular, one sequence with the brother's celebrating their success is not only the funniest scene Kurosawa ever directed, but easily one of the funniest scenes I've ever seen in any movie).There are references and slight retreads of the earlier film too-- In "Yojimbo," the ronin kills six guards and cleverly arranges a scene of destruction to mask his involvement; "Sanjuro" takes a major leap past that in which he massacres about thirty soldiers singlehandedly. It's a bit more indulgent and a bit more lax in terms of staging (the action beats of the sequel are more frequent and more protracted than the first film, giving the audience much more time to notice the seams in the choreography), but even within these moments as well as when Sanjuro himself occasionally spills into exaggerated parody, they are tempered by a heavy moral weight threaded throughout the story.Where "Yojimbo" slowly revealed the romantic beneath the tough exterior of the ronin, "Sanjuro" proceeds to prod at that hidden conscience and show the terrible effect it has on him, which is ultimately payed off in an absolutely stunning final sequence (not far off from another great sequel, "French Connection II"). It's the kind of ending that sticks with you for days afterwards, and while the film as a whole is ultimately not as ingeniously-constructed or perfectly balanced as the sparse, streamlined "Yojimbo," "Sanjuro" is still a brilliant, furiously entertaining, wildly hilarious work that can easily be named the best action sequel ever made. Not bad for "lesser Kurosawa."
(ag) wrote: Humourous, short, random, not my favorite Marx Bro's but not bad.
(kr) wrote: Had good characters such as Zero who I liked in it. The humour in it was quite funny and the plot was just good.