Set in the changing world of the late 1960's, Susanna Kaysen's prescribed "short rest" from a psychiatrist she had met only once becomes a strange, unknown journey into Alice's Wonderland, where she struggles with the thin line between normal and crazy. Susanna soon realizes how hard it is to get out once she has been committed, and she ultimately has to choose between the world of people who belong inside or the difficult world of reality outside.
- Stars:Winona Ryder, Angelina Jolie, Clea DuVall, Brittany Murphy, Elisabeth Moss, Jared Leto, Jeffrey Tambor, Vanessa Redgrave, Whoopi Goldberg, Angela Bettis, Jillian Armenante, Drucie McDaniel, Alison Claire, Christina Myers, Joanna Kerns,
- Director:James Mangold,
- Writer:Susanna Kaysen (book), James Mangold (screenplay), Lisa Loomer (screenplay), Anna Hamilton Phelan (screenplay)
Based on writer Susanna Kaysen's account of her 18-month stay at a mental hospital in the 1960s. . You can read more in Google, Youtube, Wiki
Girl, Interrupted torrent reviews
(mx) wrote: It isn't often that I get excited about a TV movie, however twice Lifetime has tickled my fancy with redo's of cult classics. The other film that peaked my pleasure points was the redo of VC Andrew's "Flowers In The Attic". However "Lizzie Borden Took An Ax" amped up my excitement to levels normally reserved for Indie horror films set to release. In this version of the most infamous American female murderess Christina Ricci took on the iconic persona of Lizzie Borden. The story is something that cannot change with the Borden murders but most of what we know about Lizzie herself comes from those few statements and descriptions from her friends and family. Lizzie told us very little of herself in her own words. Lifetime does a very good summarization of Lizzie Borden's character and the events around one of the most well known murder cases in American history. The story: On a scorching, hot summer day in 1892 in Fall River, Massachusetts, Lizzie Borden returns home to the house she shares with her father Andrew, stepmother Abby and sister Emma. But, unlike any normal day, Lizzie encounters the bloody scene of her parents violently murdered. Police quickly question multiple suspects in town, but evidence keeps pointing back to the Borden's youngest daughter Lizzie, the seemingly wholesome Sunday school teacher, as the prime suspect. Lizzie's lawyer, Andrew Jennings, proclaims her innocence arguing that it is inconceivable a woman could commit the heinous crime of brutally murdering her family with an ax. Or is it? Lizzie is put on trial for the murders, both in the courtroom and in the press, sparking a widespread debate about her culpability. As the case rages on, the courtroom proceedings fuel an enormous amount of sensationalized stories and headlines in newspapers throughout the country, forever leaving Lizzie Borden's name in infamy.My thoughts: First off, forget even trying to compare this film with the classic Elizabeth Montgomery movie "The Legend Of Lizzie Borden" because there is nothing there that can compare other than, maybe the stylized interpretations of the facts themselves. Montgomery gives a fab performance that does a good job of separating her portrayal here from her very famous persona on 'Bewitched'. With equal respect Christina Ricci does a great job of creating a very emotionally charged, yet sociopathic-driven portrayal of Borden that brings more life to Lizzie Borden than I anticipated or even expected. It has been common belief that it was more than just selfish desire that drove Lizzie Borden to kill. She carried with her a dark passenger that created a sinister, cold, disconnected aspect to Lizzie Borden that was probably an unmentioned issue from early in her childhood. Ricci gives us that in calm, calculated edified gesture. The stories atmosphere is a Gothic blend of surrealism and psychological narrative wrapped around early Americana and polished off with modern folky, indie rock sounds that are as dark as the story and characters within it. It gives "Lizzie Borden Took An Ax" a modern, fresh energy that excites the viewer. Now there are still down moments within the film that create momentary lulls, but nothing that causes the movie to completely stall. Bonus aspect that really makes this movie watchable is the visionary, creative way the director chose to tell the story balancing between stoic character interactions, and shocking, visceral moments of brutality that are honest to the murder scene's "truth". This movie definitely delivered on giving me a great Lizzie Borden film. A definite watch!
(gb) wrote: "Lourdes" is a very complicated film. Its ambiguity may be a turn off for some viewers, but I found it to be one of the most thought provoking films of the year. Director Jessica Hausner presents a very subtle story in terms of narrative, but a profound spiritual experience for those who are willing to see it as one. This film is limited on what it actually directly gives to the audience; it's up to the viewer to delve deeper to find something in this film. Your overall feeling of this movie in the end depends on how you connected with it and what you ultimately took away from the happenings. "Lourdes" presents a lot of ideas that will mean a variety of things to the viewer, but that all depends on where the viewer stands in terms of religion versus spirituality. While watching this film, it was hard to make up my mind on how I felt about it, but after it was over, I sat and thought about it and that's when it really made an impact. Unless you're prepared to think and willing to watch "Lourdes" with an open mind, I'd suggest you stay away from this film until you are. It's a wonderful examination of spirituality, skepticism and mystery led by a quietly brilliant performance from Sylvie Testud. Jessica Hausner's "Lourdes" is definitely a 'must-see'.
(us) wrote: Everything is better with some superpowers.
(jp) wrote: I was impressed by this movie, DIRECT TO DVD? that is rediculous, this movie is very underrated. The fights in this movie are memorable, action packed. I just wish the ending Bone would of fed the guy to his own dogs. Great Movie!
(gb) wrote: A captivating, scary and sometimes humorous look at a tireless world right below us, Microscosmos delivers some fascinating insights thanks to some astonishingly well placed cameras and mics. Not only does it let you see into this world, but it shows you what true determination is in the form of the tiniest of creatures.
(ag) wrote: Easily digestible and moderately spooky but dull.
(ca) wrote: Good grief, this was just oppressively, spectacularly downbeat. That's the point, obviously, and while it is technically well-made, THREADS basically wallows in misery and suffering for the better part of two hours, and though I have no doubt that, were the scenario detailed within to ever happen in the real world, it would be far worse than what's depicted in this film, it's still an ultra-harrowing, unbelievably unpleasant experience, and there are images in here that I would have been perfectly happy to go through the rest of my life having never seen. Thanks a bunch, BBC!
(nl) wrote: Subtle and brilliant, Hal Ashby's prescient comedy may've bowed during the Me Generation, but it packs more of an ironic punch and makes even more sense today. A film like Being There never happens by accident. The narrative and presentation prove so mannered that you begin to wonder if the writer-director himself shouldn't be afforded the same godly status that sometimes gets ascribed to the main character. Even his name, Chance, holds a great deal of wink wink knowingness, as an accelerated and cynical culture accidentally turns this seemingly simplistic man into a pariah. The film's commentary on media addiction and political spin doctoring perhaps grabs latecomers the most, however, pre-dating our current society in which we largely communicate and gather information and opinions through multiple screens. Even though it arrived in cinemas at the end of the '70s, the film earns a top spot during both the Easy Riders-Raging Bull Generation AND still today.In this PG-rated comedy, a sheltered gardener (Peter Sellers) becomes an unlikely trusted adviser to a powerful businessman (Melvyn Douglas, who won the Oscar for Best Supporting Actor) and an insider in Washington politics.Without a brave and letter perfect lead performance, however, Being There wouldn't work on any of these meta-levels. Having an actor known mostly for absurdist comedy take on this one-note yet endlessly complex figure is brash enough. Pulling through with the apathetic mimicry needed to sell through this right-place/right time stooge is another thing altogether. Peter Sellers was called many things but genius is the one that's wholly agreed upon. His brash director, Hal Ashby, likewise earns this status--if not just for this, then for his entire CV (Harold and Maude, Shampoo, The Last Detail, Coming Home). Finding inquisitive angles to spy these goings-on while letting a lot of the action play out in long takes (with cinematographer Caleb Deschanel brilliantly helping to set the mood and tone), you get caught up in the hypnotic spin as much as the supporting characters. If it doesn't play well for every last modern filmgoer, afflicted as they are with a gnat's attention span, it's not Being There's fault for Being Square. It's simply too smart for some rooms. Bottom line: There, And Back Again
(nl) wrote: The Cassandra Crossing is a taut and entertaining train thriller and one of the great disaster flicks of the 70's.
(mx) wrote: The symbolism did not appeal.
(ca) wrote: An anthem to absurdity with a strong anti-war message. A guy (Alan Arkin) wants to quit the Air Forces and pretends to be crazy, but, according to his superior his unwillingness to die only proves his sanity. This 'double bind' or 'catch 22' means for him that he can only leave the army in the coffin. The senselessness of the Air Force existence is underpinned by many absurdities military life incorporates. The protagonist refuses to drop a bomb on a peaceful town for no reason, and disposes of all of his ammo ahead of time, over the sea, the superiors can't honestly admit that one of their pilots bombed the water, so a general is especially invited to decorate him with an order, the pilot comes to the decoration ceremony with no clothes on to demonstrate that he is insane, but the general pretends nothing happens, even though it is quite difficult to put an order on a naked body. As all of the friends of Alan die, and he is the only one left, he defects on a small self-inflating raft with an idea to swim across the Mediterranean. The film combines sharp humour with painful truth about the violence and pointlessness of war.
(fr) wrote: Can't say this was a horrible monster flick but it certainly wasn't good. The Gorgo costume was so fake that it was hard not to laugh. You also have to love how about a bulding can crumble down on top of a truck and the truck comes out without a single dent. Granted the effects are good for the 60s (well ok they aren't good but they are watchable) but that doesn't justify shooting launching missles at the monster and having bottle rockets as the explosion.
(us) wrote: Such a fantastic remake. One of the best, as well as one of the top Zombie flicks. Falls apart a little at the end, but it's still so damn good.
(gb) wrote: The film meanders as an average flick, but thanks to newcomer Rupert Sanders dark visual design and a chillingly fun, over-the-top performance by Charlize Theron, it earns your ticket.