Goose Feather III
A story about rich lady who invites a poor fellow to her house with intentions to marry him. He accepts her offer, yet it soon proves that the reason were his high debts, as well as ...
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Goose Feather III torrent reviews
Kamen B (ag) wrote: An animated film that may not reach the mainstream audiences as Shrek or Puss in Boots did, but that none the less has a story that is inspiring if you are willing enough to not be swept away by the simplicity of the action. A movie sometimes needs only to make an old storyline shine again, and this one has accomplished that quite wonderfully.
Paul D (kr) wrote: It's a very formulaic and used plot formula, but there's a good emotional attachment for most of its characters, with some humour for balance too.
Private U (ag) wrote: Told in three consective years about a son, his step parents and biological mom. Hits home with the rejection of being adopted and the guilt felt when giving your child up. Oh, and then being the care giver to your non-blood child.
Gabi B (gb) wrote: Strange movie: it reminds me of 'magnolia' - not so perfect, but good. I like how they create mood, swiching and mixing stories.
Sarah M (ru) wrote: i didn't think it tied together into a neat little package at the end like it should've
Andrew S (es) wrote: Earl "The Goat" Manigault was a playground basketball legend in Harlem, an idol to future NBA Hall of Famers. He could run like a gazelle and jump to heights no one thought possible (especially for a guy who was only 6' 2"). Manigault was destined for greatness on the courts of the NBA, but his personal demons conspired to sidetrack him. This docudrama finally tells the tale of one of basketball's greatest unsung heroes.
Nalle M (mx) wrote: Marvelous old-school special effects and freaky-deaky tripping, maybe as a metaphor for the destruction of the nuclear family. What's there not to like?
Pongpunya K (nl) wrote: Beautiful movie with a lot of heart and adventure! Perfect.
Eric R (kr) wrote: Even before the "Black Caesar" reel spun to an end after it's first theatrical showing, American International Pictures new they had a huge moneymaker demanded a sequel. Writer/director Larry Cohen was more than happy to obliged but only one problem kept his sequel from reaching the thrown stature of the original.... it was AIP wanted the sequel yesterday and the mega rushed production rears its ugly head throughout the entire running time of this quickly made, but still enjoyable sequel to the monumental Blaxploitation classic "Black Caesar."The plot picks up right after the first film ended with our title character (Fred Williamson returning) dying in the ruins of his childhood home, clutching the ledgers that contained evidence of every corrupt political and influential individuals in New York. His dad comes to his rescue, saving his son and soon it's daddy and son hitting the streets take sweet revenge on all the politicians that put a hit to have our Harlem godfather killed.The first major problem with this sequel is that it was made so quickly after the first film that Fred Williamson was already busy with another film obligation. Instead of waiting till he was done, Cohen was forced to start shooting the film without his main star and thus a stand-ins had to be used in many shots. Cohen does his best to use clever editing techniques and camera angles to try to hid the fact the actor wasn't there for the entire shoot but it still comes off rather choppy and obvious, taking me out of the picture momentarily.The second problem is Cohen's plot seems condensed to fit into an standard running time. There's enough material here to drag out the engaging story of our black godfather into two more films but apparently AIP didn't feel so Cohen's script moves along too fast, with to many subplots for audiences to keep up. By the time the ending comes around and just felt hallow as even all the subplots weren't resolved properly in the amount of time allotted. Considering all the challenges and brick walls Cohen faced with making this sequel, he still did a credible job and surprisingly, for the most part, makes the film mostly work despite all the flaws caused by its rushed production. Williamson is likeable as ever in his cool yet dark antihero role and I dug the expanded role of his father (Julius Harris, doing a wonderful job). The James Brown-less music is also commendable making this flawed sequel still a must see for fans of the original.Bonus Praise: The film was original made as "Black Caesar's Sweet Revenge" but the producers demanded a title change as this was released so close to the first film that they were afraid people would mistake this sequel as the first film. I don't quite understand this as both "Shaft" and "Slaughter" had similarly titled sequels with "Shaft's Big Score" and "Slaughter's Big Rip-off". However, despite the title change, I have to say "Hell Up in Harlem" is a badass title. If one must change a film's title, make sure it's badass like "Hell Up in Harlem."
Paul Z (mx) wrote: Prime Cut may feature charmingly gravelly Lee Marvin, always brilliant Gene Hackman and Sissy Spacek when she was young and pretty, and its plot may be a turn through an interesting alley in the gangster genre, but it is still essentially a cheesy action movie that settles everything interesting about the story with the same shootouts we've been watching since Edwin Porter dazzled us for 11 minutes in 1903. I like guys in suits from New York collecting debts as much as the next guy, just as said guy and I like guys from New York collecting debts from Confederate neanderthals, and movies from the 1970s right down to the score by Lalo Schifrin. Nonetheless, it is not very fair to be absorbed in a story like this only for director Michael Winner to sit comfortably half-facing us within the confines of auto-pilot genre conventions. Marvin plays a two-dimensional mob enforcer from Chicago sent to Kansas to collect a debt from Hackman's intriguingly characterized meatpacking boss. Spacek debuts as a young orphan sold into prostitution. There are already scores of ways scores of writers and directors could make an instant classic out of this material. There are some fantastically effective scenes in particular, a great deal of which derive from the reason why this otherwise assembly-line dirty-ol'-basterd picture was regarded as notably risqu for its time. The opening credits sequence is a composition of cleverly discreet images depicting the beef slaughtering process, with a very discreet twist. There is a striking portrayal of sex slavery in a scene where Hackman partakes in the auctioning of young women. There is a noted chase scene involving a combine in an open field. There are also fast-sketch expository scenes like one with Hackman and the character Weenie, his brother and right-hand man, where their day-to-day dialogue is interrupted by their sudden urge to rassle, Hackman's accountants making an effort to remain furniture no matter where the fight leads. Marvin's boss in Chicago gives him some back-up muscle in the form of a driver whose life he once saved and three other younger members of the Irish mob. There is a style here that seems to have influenced the chic male-centric pallette of Guy Ritchie's thug films. There is a brief scene where one of these baby-faced enforcers makes Marvin meet his mother as they leave Chicago. It is a swift, omniscient and interesting little inference of this character before he becomes another pop-up board for the various sundry bullets he will be obligated to exchange with other pop-up men. A shootout never hurt a great movie, and not too many good ones. But this is one that could have been one of them had it not jumped to the guns so hastily without taking a stab at working out the thematic dilemmas first. The first inclinations when dealing with such a premise would be the themes of man and nature, culture clash, North and South, and other elements that could say a lot about the dual nature leading to opposing means of taking on the same criminal enterprises. Instead, it's simply Marvin the good guy and Hackman the bad guy, and they slice through their respective thickets of underlings until they come face to face, only then addressing the superiority of man over beast with a stunning irony I can only hope was intentional. But I don't think so.
Paul D (fr) wrote: Its not the best but a strangely odd and strangely appealing film. There's a lot going on in it but can still be followed with enough ease.
Danielle L (kr) wrote: Maybe it's because I grew up in the 70's and 80's, but I have loved this film since the first time I watched it. The acting itself is good, if you're the type that focuses on facial gestures, body language and timing...like I do. Give it a chance and you may just like it. Plus, I think it's one of the only films George H. was any good at...he he
Paul S (us) wrote: Along with Graham Moffatt and Moore Marriott, the UK'S answer to the Marx Brothers.
Cory H (fr) wrote: Work of art for any teenage KISS fan or any KISS fan for that matter. Very entertaining movie start to finish. Each character is played well and most scenes are fun in their own state. A great movie to watch countless times.