Gay in Amsterdam

Gay in Amsterdam

Follows the story of Karl TĂ„ngballe in his adventures around Amsterdam.

A gay couple in Amsterdam go through a rough patch in their relationship. . You can read more in Google, Youtube, Wiki


Gay in Amsterdam torrent reviews

Simon M (us) wrote: The antithesis to Lou Reed's "Perfect Day" this is an uncompromising view of a recovering addict trying to start a new life after rehab.

Hctor T (gb) wrote: Pfffffffffffffffffffffffffffffffffffffffff

Lynn B (ag) wrote: So glad I got the sequel to The Perfect Stranger...I give it 3 hankies

Randix P (ru) wrote: Sorry, not my thing.

Suette D (ag) wrote: Drama meets American Idol in this teenage romance with acting and music thrown's relationships Broadway style

Gena D (jp) wrote: The only thing good about this was Matthew Perry, but this movie would have served better as a 30 minute long sitcom. It dragged on a bit. In fact it could have been maybe 2 30 minute episodes of Friends. The One Where Chandler is Gay and The One Where Chandler Comes Out :p

Matt M (nl) wrote: A semi-fictionalised account of the last days of film director James Whale, of the Frankenstein films fame. Condon's film is quite tasteful in paying tribute to the artist but also in dealing with the theme of homosexuality. But what really elevates the film is Ian McKellen's presence in a performance that feels genuine and heartfelt.

Mike N (ca) wrote: strong performances and it keeps you interested in the story even though it is somewhat dull..and it has a good ending.

Matthew J (br) wrote: 'Dunston Checks In' is a dull, mindless flick with zero funny jokes and zero enjoyable moments.

Shaun B (gb) wrote: A very challenging film that will offend many viewers except for the most jaded or those who are expecting a NATURAL BORN KILLERS or one of the new gore movies these days. Very dark comedy about an affable serial killer going about his daily life and business being filmed by a documentary crew. A few layers to peel through it's a disturbing experience and one you won't soon forget b/c it's genuinely funny at certain moments while being extremely disturbing the very next second. Warning: graphic gang rape scene in the third act in unrated version (97 min.). [Subtitled; B&W]

Abb J (ru) wrote: The Invasion: While this remake of Invasion of The Body Snatchers has some more modern elements to it, and it does have some good moments, it never quite overcomes its flimsy plot. C

Chris J (de) wrote: In the opera house at the films beginning, the Contessa garishly proclaims her love of the opera while simultaneously enforcing her staunch disapproval of allowing such sensationalism to creep into one's daily routine - immediately following her proclamation, there is a cut to an incredibly low-angle shot peering up at the stage, where the soprano belts out an enchanting aria. As the aforementioned association suggests, the Contessa's personal life very much resembles the melodramatic performance she's watching, but it is her responsibility as an outstanding member of upperclass Venetian society to furnish a guise which upholds her reputation of power and family honor (for, honor is above all else in the Italian family, whether it's real or imaginary) - thus, Luchino Visconti's lavish technicolor soap opera overachieves like no other (with the exception of Douglas Sirk) at creating every possible opportunity for the viewer to reach for a tissue as we never seem to leave the opera house.

Michael T (mx) wrote: MGM's Technicolor sitcom features two powerhouse divas: Jane Powell (on her way up) and Jeanette MacDonald (on her way out) in a film that is way too long for its own good; the movie spun off one top 40 hit, "The Dickey-Bird Song."

Harpreet S (au) wrote: The first of two films by Fritz Lang that tells the story of a European architect named Harold Berger who is summoned by the local Indian king Maharaja Chandra to build schools and hospitals. Chandra is obsessed about the beautiful dancer Seetha, who becomes attached to Berger on their journey to Eschnapur because Berger saves her from a tiger. What I appreciated most was the exuberant visuals; the sets, locations, costumes, props, etc. showcasing a stereotypical view of India. Originally supposed to be in German, I had a English dubbing which was quite off as the voices didn't perfectly go along with the lips. Almost every actor in the film is non-Indian, disguised by black paint. It was a bit awkward for me to see every "Indian" speak in perfect English, but I went along with it. The main reason it's a disappointment is that it's a very feeble adventure. Lang fails in building great suspense and action; we see specific situations build up, but they're never really explored such as secret passageways or the tiger hunts, we only get a glimpse of what could have been. The story is acceptable as a triangular romance, but again it doesn't seem like Lang put that much effort in developing it. I can't deny it being a unique experience though.

Jerome K (mx) wrote: The sheer size of the cast of characters may make things intimidating and confusing at first; but, as the story enfolds, director Altman creates a vivid picture of the lives of the people in the house, both upstairs and downstairs. The murder mystery doesn't even happen until more than halfway through the film, and even then, it takes a backseat to all the drama and gossip. If you're expecting thrills, you should look elsewhere. However, stay if you're fans of the distinguished cast and dramas full of multiple subplots.

Matt B (br) wrote: Structurally, "Brief" is enlivening and inspired. Some of the conclusions the film comes to, however, are quite questionable, if not downright offensive. Krasiniski tries to split the difference between feminism and post-feminism by trying to make the idea of victimhood a universal, rather than an issue of gender. Whatever point he's REALLY trying to make gets muddied, and our involvement with the central characters dissipates simultaneously. The highlight, for me, is Subject 42's (Frankie Faison) extended dialogue with his deceased father, an African American man who lived and died a washroom attendant to rich white men. Their intense, pained and emotional duet deals with the intersection of shame and necessity; the whole scene is filmed and edited with much more care than Krasinksi gave to the other 95% of his debut feature.