Gypsy Creek's # 1 cop, Charles Gravytrain believes in three things: Truth, Justice, and slapping the no good crook Jimmy Fish Eye's in the slammer for life! And with the help of his foxy new partner, big city cop Miss Uma Booma, he may do just that. But in a town that has more stinky secrets and slippery surprises than a tin of rotten sardines the only question remains...Where's the Fish?!
- Stars:Tim Doiron, April Mullen, Tim Meadows, Kyle Schmid, Colin Mochrie, Jennifer Dale, Alan C. Peterson, Ryan Tilley, Peter Keleghan, Chris Baker, Mitchell Nye, Michael Rhoades, Alan Frew, Melanie Mullen, Katherine East,
- Director:April Mullen,
- Writer:Tim Doiron
Gypsy Creek's # 1 cop, Charles Gravytrain believes in three things: Truth, Justice, and slapping the no good crook Jimmy Fish Eye's in the slammer for life! And with the help of his foxy ... . You can read more in Google, Youtube, Wiki
GravyTrain torrent reviews
(mx) wrote: It was charming n funny
(nl) wrote: When "Bridesmaids" came out, a lot of the press about it focused on it being a raunchy guy-kinda comedy with a bunch of chicks in it. I liked that movie just fine, but that aspect of it seemed to be oversold. While "Bridesmaids" had some raunchy moments (pretty much in tune with the modern tastes in comedy), it was really a fairly conventional relationship driven comedy ... not all that different from other comedies that have a mainly female cast. THIS movie is a raunchy guy comedy with a female cast. Three friends try to fix their friend's ruined wedding dress while pursuing a drugs, alcohol and sex drenched night. Is it funny? Yeah, I laughed. Is it anything special? Not really. Kind of "The Hangover" with a female cast, only not quite as funny or outrageous. I liked it.
(us) wrote: fun chick flick, love sonam n abhay deol!
(ca) wrote: I love George Lopez and this film was funny and clean-the way comedy should be
(mx) wrote: Mediocre, predictable and not very entertaining. It's not even worth seeing looking at Disney Channel standards. Nothing really funny or enjoyable about this one.
(fr) wrote: Wow... Second episode of Peliculas para no dormir got me. Really got me! Such a 70minutes ride! I really enjoyed in it! The best episode!
(kr) wrote: When i saw this i compared to the original tv serie i had hoped it would be similiar. It was not near as good as the serie and had not the same feeling at all. This is a okey action movie but a bit boring.
(ca) wrote: Interesting movie. But I prefer the music over the film.
(ag) wrote: Weak movie. VERY WEAK
(jp) wrote: Luke Skywalker and Philip J Fry in the same movie together! Thats probably the most exciting part of it, other than that it was a pretty lame mockumentary.
(us) wrote: "Bright, young people. That's what they call you. Well, I guess one of out three isn't bad." Bright Young Things is one of the lightest things I've seen in quite a while. It is not serious at all, nor does it take itself seriously. Its flinty, funny, and irreverent. I was curious to see how Stephen Fry would in the director's chair, and he is really rather good. Plus, there is an incredible lineup; with James McAvoy, David Tennant, Jim Broadbent, Michael Sheen, and so many others. I really would never want to watch this again, but it really is great fun to watch once.
(jp) wrote: In some ways this is better than the first remake it spins off from. I especially like the video camera bit near the end.
(ca) wrote: I'm just glad there's an arm-wrestling movie.
(de) wrote: Nice tv film from 1983.
(ru) wrote: The "twist" is given away in the title.....
(au) wrote: The world is represented to us through stories from parents, books, friends, conversations, groups at school, around the playground. Not all of our stories explain the world, but provide us with an easy, unconscious, involving way of making sense of it, sharing that with others. Its universality underlines its intrinsic place in human communication. This is why stories should be personal, tell the truth, and few narrative films have ever been as penetrating about how the working classes are manipulated by the system, or as affecting, especially in the grim results of each man being pitted against the other by corporate and governmental pressures, as Paul Schrader's Blue Collar, a pure rush of aggressive humor, relentless dramatic turns and real-world atmosphere. Schrader's known best for his work collaborating as screenwriter on many of Scorsese's most poignant films. If you watch Blue Collar expecting a Scorsese-style film, depending on your reading of Scorsese's work---and a wide array of certain men respond deeply to it---you'll be charmed in somewhat the same way. Schrader at the wheel, however, holds shots much longer, his compositions much wider, which could be attributed to his influence by Ozu. His editing style is less restless, but more direct: The coming shift shows up. Soundtrack music of hammering insistence, steering the force of the machines stamping out car doors. And somewhat like a Scorsese film, but in a more straightforward, cut-and-dried way, the images are cut to the music. The camera brings us into the innards of an automobile factory, close enough to virtually smell the perspiration, squint our eyes against the sparks from welding torches. Blue Collar's about life on the Detroit production conveyors, about how it makes men weary, confines them to a permanent deferred credit arrangement. It's a bitter, firebrand-progressive movie about the Venus flytrap ensnaring workers between the big industry and big labor that digest them. Three workers, pals on and off the job, are each no better or worse off than the other. They work, drink afterward in the neighboring bar, go home to mortgages, bills, kids who need braces. One day they get sick and tired enough to decide to rob the office safe of their own union. What they find there's merely a few hundred bucks, and a ledger that looks to include the details of illegal loans. They're played by Richard Pryor, Harvey Keitel and the under-appreciated Yaphet Kotto. They're all three in top form. Apparently according to Schrader, none of the them got along during production. Fistfights between takes were not uncommon. Nevertheless, Pryor, especially, is a wake-up call: He's been engaging in a lot of movies, though pretty much invariably as himself, his smooth tongue doggedly in cheek, running comic variations on the gist of his dialogue. This time, harnessed by Schrader, he unleashes a taut, persuasive performance as a family man, his dressing-down of a union rep and an exchange with an IRS agent definite masterstrokes. Kotto plays his opposite, an ex-con who throws all-night parties comprised of sex, booze, and grass. Keitel is their white friend, constantly behind on his loan company payments, who comes home one day to see that his daughter's attempted to curve paper clips over her teeth to make her friends at school think she's got the braces she should have. Schrader goes for a comfortably crude humor in their scenes: The movie's at ease with itself; we get the exact nature, characteristics of their community. We get their friendship, too, which confronts what the movie tempestuously and very very directly indicts: That trade federations and corporate management both implicitly work to set the wealthy against the underprivileged, black against white, old against young, to divide and conquer. The heist originates naively enough when Pryor orders that his locker be fixed. The union reps (one played by fine character actor Lane Smith) are apathetic towards Pryor and virtually everybody else. So Pryor barges into the office of the grizzled Santa Claus-looking union head who was a rebellious progressive himself, once, decades ago. And as the refined politician's handing him all sorts of subterfuge, Pryor sees the office safe, becomes inspired. The larceny itself strikes the right pitch between potboiler and in some sense a silent farce. Then, the movie's rage starts to broil. When the threesome find that the ledger may be worth more than the money, they're divided between using it for blackmail, or revealing the skimming of their own union. Schrader slowly unravels his complete picture in the second half: A hearty, flourishing camaraderie abruptly embitters. The system deepens divides between them, as Pryor's furnished with a union job proposal, Keitel becomes an FBI rat, Kotto evinced to have little to no use for the capitalist machine in a scene of shocking, agonizing voltage. It took a lot of balls to make Blue Collar, particularly to track its turning points through to their inexorable outcome. It could've backpedaled in its last half hour, given us an easy, tried-and-true Hollywood finish. This isn't a liberal film but a radical one, one I'd bet a slew of assembly-line workers might see with a jolt of acknowledgement. It also took a particular cinematic penchant to make it flourish with equal banter, compassion, and tension. It's both pleasure and prosecution, functioning equally well in its humanistic layers as with its concepts. After penning Pollack's The Yakuza, Scorsese's Taxi Driver, De Palma's Obsession, Schrader was able to summon that he helm his own material, and Blue Collar is an impressive, surprising launch, taking risks and succeeding with them.
(it) wrote: Elvis brings in a good performance as a young brash, arrogant loner in this 50's Rock n roll movie its typical of those Rock movies at the time but this is one of the better ones with Presley clearly having charisma that shines and also acting ability.
(it) wrote: I honestly feel like this film at one point just became too much. Sure, it was intriguing for the most part, but towards the end there was just too much going on. I was no longer able to follow the characters motivation, and at that point the film lost me. Anyway, this might be something I recomend to people since the initial suspense was good, but I'm not promising anything.
(ca) wrote: Beautifully and more importantly imaginatively done, The Lego Movie weaves a message about the importance of creativity and has lots of fun doing it.