Grande, grosso e... Verdone
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Grande, grosso e... Verdone torrent reviews
Glynda W (us) wrote: I loved Muffin Top: A Love Story. It keeps you laughing from start to finish while also delivering an important message to a female audience and to men as well not to be so hard on themselves. It was great to see this movie come to fruition through Cathryn Michon's genius and hard work. She is a wonderful director, actress, writer and human being. I wish her much success and would like to see more of her work.
Ruly R (au) wrote: I see a reality in the fantasy world which involved history, past, and great figures that ever lived in this Earth!
CJ F (ca) wrote: I loved this movie! It's a little corny, but absolutely side-stitching! Marsha Thomason is fabulous as the owner of the Cat Cafe and the characters are well cast. I'd recommend it to anyone looking for a laugh.
Farshid E (gb) wrote: har ki in filmo nadide nesfe omresh be fana
Reem A (nl) wrote: I LOVED this movie. It has everything one could ever want in a movie that is based on a true story. Excellent in every way, shape and form.
John T (kr) wrote: BUS 174 - 8 out of 10
Milo M (gb) wrote: Excellent and heart breaking, a must see
Sgt C (ru) wrote: (42%)Hanging on the back of the majesty of Mad Max came this cheap Italian knock-off that makes a lame attempt to link itself to the two Bronx warriors movies that in themselves ripped-off such current classics as The warriors, and Escape from New York. Director Enzo G. Castellari shot this almost entirely in a mine located rather convenient fifteen minutes drive outside of his home town of Rome, so at least he didn't go above and beyond to make this; not that anyone would accuse him of such a thing. In terms of plot this is one of the thinnest movies ever which revolves around the good guys against the bad, but unlike Mad Max 2 they're not fighting for control over a few thousand gallons of fuel, there're instead fighting over nothing really at all. Castellari does know how to shoot, but his writing is awful, while some of the acting here is among the very worst ever. On a plus side this is entertaining enough to sit through with plenty of daft over the top action with lots of people (clearly dummies) getting their heads cut off, blown up, run over, or burnt. The costumes are also brilliantly camp and silly, with good old Fred Williamson having a great time with his explosive arrows. Fans of the largely unrelated movies in the series should find something to enjoy here as it is good cheesy B-movie fun, but it's absolutely nothing more.
John T (ag) wrote: This is one of the worst movies I have ever seen. Rollerball goes wrong in almost every single area. The plot (what there is of one) is bad (or baffling might be a better word). The acting is bad. Chris Klein is not a leading man and his performance was tepid at best. LL Cool J seems vaguely lost in his role as Jonathan's sidekick. Rebecca Romijn-Stamos flits through half of the film with a bad Eastern European accent and a helmet over her head. Jean Reno came off as nothing more than a caricature of corrupt Central Asian warlord. The editing is a textbook case of how not to edit a movie. It was an incoherent collection of random and rapid fire shots, sometimes repeated in slow motion for needless emphasis, that amount to a number of muddled and disjointed action scenes. In the original, we understood how the game worked on a circular track. In the remake, there's a track that crosses at points like a figure eight, but because we're never shown an entire "play" in this game, we never understand the inner workings, so it's like watching a sports highlight film for a sport we've never seen before. At no point during the film are we ever shown a score for a game. There were three games played in the film, but we were never told what the score is not through the incredibly annoying announcer or through graphics. If the score doesn't matter, the characters have nothing invested in the outcome of the game and the audience is not liable to care. Moreover, this film failed to duplicate one of the best aspects of the original: hearing the sounds made by the athletes, fans and motorcycles during competition. Instead we are subjected to blaring rock music that distracted from the thrill of competition. The only good thing about the soundtrack is that it drowns out the inane dialogue. The original Rollerball had the struggle of wills between Jonathan E and Mr. Bartholomew as its underlying theme, but this film has no such subtext; leaving only a ridiculous plotline plainly obvious to the viewer. This raises the question: why remake this? If you're going to remake a movie, there should be some kind of compelling reason to remake it such as a new take on the original story or improved special effects based on today's technology to take the concept further. There is nothing about this movie that I can recommend to anyone.
Noah S (ag) wrote: "This movie is an odd little contrived exploitative capsule of a real scene and real people." - Facebook user. I couldn't help feeling that the movie would have been better if had been just that instead of a series of flashbacks. Why the director felt he had to bring us back to the reality of now is beyond me. It worked like a charm when were consumed by Edie's narrative ... " ... that soaring sense of perfection, like, oh god, a 24-hour climax ... I'm greedy, I'd like to keep most of it for myself and a few of my friends, keep that superlative high on the cusp of each day so that I can radiate sunshine."
Kevin M (jp) wrote: The talents of these two Jeans could not be more divergent; J.P. Melville with his love of American culture, especially gangster potboilers, and Cocteau with his sentimental yet strange nostalgic visions. Put together, they made an occasionally engaging tale of two siblings with a vicious love-hate relationship, a story that is at times grating and obvious but distinguished by vivid mise-en-scene. Melville updates the novel, which took place mainly around the turn of the century, and puts it in the "modern day" of late-40s, post-occupation France. Nicole Stephane, as the icy, dominating sister, gives an intense performance to offset the bland, innocuous presence of Edouard Dermithe as the brother with a weak heart, who nearly gets killed in a snowball fight in the semi-fantastical prologue. Cocteau's gender dissociation, carried over from the novel, forms the basis of the brother's lifelong quasi-relationship with his would-be "killer"; later on, the boy reappears, played by the same actress, as the beautiful friend of his sister. Most of the story deals with the sister's bizarre, unmotivated manipulations of her brother's "romance", testing the limits of his "weak heart". Glaringly obvious symbolism aside, Melville makes sure the story doesn't get bogged down in melodrama, keeping the pace nice and fluid. "Les Enfants Terribles" is first and foremost a Melville joint; while he honors the original text, there are occasional digressions and stylistic decisions that're totally his. The sister falls in love with a rich Jewish fellow, who clogs narrow French country lanes with his gigantic Chevrolet sedan, later serenading the siblings with an Irving Berlin tune on his grand piano. When he bequeaths the mansion to them, they live in the massive parlor (watch out for the checkered floor!) and re-create the cramped living conditions of their formative years. Most every scene in the increasingly grim second half is lit like a noir, or perhaps a German expressionist horror film with its stylized, stage-like set. When the sister produces a .38 automatic at a dramatic high point, it's eerily similar to the climaxes of most of Melville's existential gangster epics. With exquisite camera work and lighting, "Enfants" is always a joy to watch even if its moribund storyline reeks of Cocteau's personal hang-ups and obsessions. At least it's a pure fusion of methodologies, if not wholly satisfying.
Randy T (br) wrote: Good story but a bit of miscasting knocks this one off center and off the mark.