Five college buddies from the University of Texas circa 1971 embark on a final road trip odyssey across the Mexican border before facing up to uncertain futures, in Vietnam and otherwise.

Five college buddies from the University of Texas circa 1971 embark on a final road trip odyssey across the Mexican border before facing up to uncertain futures, in Vietnam and otherwise. . You can read more in Google, Youtube, Wiki


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Jonathan S (es) wrote: A strange and charming elliptical spell of a movie.

Perk C (nl) wrote: Really intense film. A lot of drama between the parents unfolds into a pretty jaw dropping outcome. The kids are of course dragged through it. Sad feelings.

Jason M (ag) wrote: Quietly envelops you.

Bill R (fr) wrote: This is an example of taking a mediocre Asian horror movie and giving it to an inexperienced director.Acting is bad, I've seen better in After school specials. The Michelle girl is just horrid and looks like she got her lips stuck in a vacuum. As for the 2 more known actresses...they just don't care and I don't blame them.As for the story...well, the writer/director took the original and added his own extreme and overly played out clichs to make this even worse. One more thing, as for '3D'....hahahahahskip this crap!

Joanna B (gb) wrote: Based on the wildly popular video game series, Resident Evil: Afterlife is the fourth (and critically hailed best) installment to the franchise. With the aid of 3D, the world ravaged by viral infection and the undead is brought into the realm of frightening real. To get you up to speed basic Resident Evil film mythology is as follows; RE1 - Alice (Milla Jovovich) a woman working as a security operative for the evil Umbrella Corporation, awakes in a strange place, only to be confronted with an out-of control supercomputer with a god complex and an underground lab full of infected scientists turned flesh-eating zombies.RE2 - As the T-Virus breaks out onto-the-streets of Raccoon City, Alice is one of the few survivors. Released as a test subject to match the power of Umbrella's new experimental Nemesis, the now in enhanced Alice realises she has more than the average human ability to fight and survive; telekinesis, a pupil dilation force-field blast, and a unique form of internal brain computer hacking aids in her perpetual survival.RE3 - The T-Virus has now consumed the planet and Alice on a solo mission stays under the radar of the Umbrella Corporation scouring the Nevada desert trying to help people. Teaming up with a convoy of survivors, hope for a safe place from infection is promised in Alaska. In RE3 it is revealed that he Umbrella Corporation has made thousands of clones from Alice using the DNA they took from her in RE2. In Resident Evil 4, as zombies dominate the post-apocalyptic landscape, Alice along with her clones carry out a mission to destroy the evil Umbrella Corporation's subterranean Tokyo lair and take down her arch-enemy and chairman of the company, Wesker (Shawn Roberts).After seemingly destroying the Umbrella Corporations base of operations, Alice sets out to find the safe haven in Alaska and meet up with her friends from RE3. However, Wesker is not so easily disposed of and whilst en route Alice is ambushed and injected with an anti-viral serum stripping her of the superhuman powers. Arriving in the Alaskan wilderness, she finds old comrade Claire (Ali Later) but she is alone and suffering memory loss. Together they head for the devastated city of LA, where they discover a small group, bailed up in the city jail surrounded by a teeming horde of the undead.In a perilous trap with no way out, issues inside the prison, and a new unknown creature (to the series) attempting to get in, Can the now human Alice get out of this one?The answer (spoiler alert!) is yes. In a distractingly obvious way, returning writer/director Paul W.S. Anderson (who was only producer/writer for installments two and three) has blatantly left the ending beyond-wide-open for episode five. After turning the franchise 3D to boast ratings, it would have been beneficial to leave the plot waning series on this high note, however the lure of ravenous zombies and disposable supporting actors is obviously just to much to let this one die a peaceful death. Surprisingly easier on the gore; Resident Evil 4 tries to inject a little humanism into its inhuman video-game based foundations. Milla's now human Alice is wisely rendered even more vulnerable and relatable as she keeps a heartfelt video-blog journal of her lonely expedition. Whilst Ali's Claire gets an emotional boost as among the minimal survivors she finds her brother Chris (Wentworth Miller).The Verdict: Even as the world continues to devour its self and your stuck in an LA maximum security prison, there seems always to be time for perfect hair and rockin' lipstick. How can you really be afraid of something so removed from reality? (said the woman who almost has a heart attack...)Published: The Queanbeyan AgeDate of Publication: 22/10/2010

Janet M (fr) wrote: love this series. The people featured are the same age as me and I feel I can relate to them, even the early images of childhood in england which I still recall despite emigrating to Aust at age 7 when the series first starts. I look forward to each new instalment and try to get to the earliest screening each time

Jenifer M (ru) wrote: A feel good hart warming movie

Alice S (gb) wrote: I like seeing Matthew Perry in this more belligerent smart-aleck role rather than the innocuous smart-aleck role on "Friends." Amy Adams is the true stand-out in a cast of much more famous and supposedly more seasoned actors. Her bimbo character is so committed. That slow wink. That breast-wiggling thing, which if it really is her and not some stunt breasts, deserves some kind of prize.Several plot holes: how is it that Sara gets on the exact same bus AFTER Joe when they are in the same place to begin with? How does Tony catch up to Joe and Sara so fast? If Tony forgets to set his watch back for CST, how does he make it on the plane in time?

Brian R (gb) wrote: This is one of the funniest films from Robert Altman. The entire cast is terrific, Altman's overlapping dialogue is used perfectly, the huge ensemble cast that would make Paul Thomas Anderson would envy about, and I was fascinated with the women, particularly the relationship between Kate Hudson and Liv Tyler and it's interesting because Altman handles their personal bond with real honesty, maturity, and great humour. "Dr T. And The Women" is a real feel good picture.

Simon C (ru) wrote: Third world families scavenging in garbage dumps in panoramic 70mm.

Chester Q (ru) wrote: i think this is not a very bad movie..

Alexey F (fr) wrote: Absolutely magnificent.

Ben R (mx) wrote: Jesus. This was yet another Bergman movie that seemed to defy logic, focusing more on creating vivid images and swirling around thought-provoking themes without telling a straightforward story. But while there are scenes in Hour of the Wolf and Passion of Anna that are confusing and don't really seem to serve a purpose in the narrative, with this movie, it seemed like the confusion was part of the narrative. It seemed like something I should be understanding, on a thematic level if not a literal one. As a result, I feel a bit at a loss; I feel like I should be grasping these themes more easily, and instead I'm fixating too much on the literal, even though I know that's not what matters. I think I need to rewatch the movie.So: despite my frustration at not fully 'getting it,' there are parts that I really liked. The whole first half is pretty coherent and makes sense, ignoring the disturbing opening montage; it's relatively straightforward until the screen suddenly shatters, characters switch places, intense psychological warfare is waged, and the camera crew again breaks the fourth wall.Honestly, I feel like it's ignorant of me to write much more or even try to dissect the idea of 'personas' in the movie without rewatching or taking a close look at the movie again, so I'll just say this: there were, as always, some lovely images and camerawork, both with the subliminal-ish images in the montages to the tender moments between Alma and Elisabeth to the moment when Alma purposely leaves out the glass for Elisabeth to step on. There's a darkness that pervades the film, and it's clear that not everything is as it seems. Like most of his films that I've seen, this one perplexed me, but I enjoyed experiencing it and look forward to dissecting it more.

Konrad A (au) wrote: Not the best movie I have seen better movies with Adam Sandler the swan just was not as funny and interesting to me

Sean L (br) wrote: Part sweet-hearted teenage romance and part raunchy National Lampoon comedy, which makes sense as this film represents a transition for first-time director John Hughes. Fresh from a post at the Lampoon magazine, where he penned the seminal classic Vacation, Hughes was about to revolutionize teen-geared filmmaking with his deep understanding of emotional roller coasters and accurate portrayal of the high school social structure. What results is a spotty picture that experiences triumphant highs and... well, not lows per se, but a shocking disconnect with any shred of political correctness. Long Duk Dong is the worst of these offenses, of course, as a blush-inducingly ugly Asian stereotype, while a major plot point in the second act involves handing off a passed-out prom queen for not-so-subtly hinted sexual escapades. At the time this was made, I'm sure, these seemed perfectly acceptable choices for a teen comedy, but it's impossible to imagine most of it surviving the filters today. But if we can forgive all that (or maybe just move on from it), Sixteen Candles remains an intrinsically charming (and often laugh-out-loud funny) film. Molly Ringwald is responsible for a great deal of that, at her blushing, grounded best, while Anthony Michael Hall deserves a nod for his work as her suave-as-he-thinks-he-is wannabe suitor. And I'd completely forgotten about several baby-faced cameos from John and Joan Cusack throughout the story. It spirals out of control at points, especially during the expansive, scattershot school dance, but regroups nicely in time for a touching, classically Hughsian finale. Matched, of course, with the perfect scene-setting new wave tune.