Gregório de Mattos

Gregório de Mattos

The life of irreverent poet Gregório de Mattos, who lived in Bahia, Brazil, in the 17th century. Nicknamed Mouth of Hell, he used his transgressive poetry against the élite of the time.

The life of irreverent poet Gregório de Mattos, who lived in Bahia, Brazil, in the 17th century. Nicknamed Mouth of Hell, he used his transgressive poetry against the élite of the time. . You can read more in Google, Youtube, Wiki

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Gregório de Mattos torrent reviews

Jim W (es) wrote: Can honestly say one of, if not the worst movie I have ever watched, bad plot, poor acting, and lousy photography. I have seen better film from jr. high school

Michael P (gb) wrote: Well...This was never gonna be a masterpiece, but it turned out pretty watchable. Lots of pretty girls and sorority based craziness (see nakedness). Not a great deal of substance and lots of boobs. Nice. One or two creative deaths (liked the wine bottle)...but the rest we've all seen before. Speaking of which..this film does rehash so many horror cliches, it's hard to keep count. However, didn't pick the killer, so credit there for keeping the guesses coming. Not too bad really...this film knows its limits, doesn't push them and just takes you along for the ride.

Jay D (au) wrote: my new fav movie. seen it 20 times already

Leon B (kr) wrote: This is not a bad Psychological thriller or bad Mystery thriller but the director did a good job on casting both John Cusack and Ray Liotta as the two leads. The story also takes you on a different journey when it revealed that Edward Dakota is to be revealed as one of Vincent "Malcom" Richards personalities and the events that happened in the Motel were created in Malcom's head from when he was a child. Great story and a great cast.

Edith N (es) wrote: Waterproofing Should Always Be Included By and large, I think arranged marriages are a horrible idea. They're a slightly better idea if you at least live in the same town, and for preference house, with the person doing the arranging. I suspect, however, that the expectations of an arranged marriage are different. I suspect that you are not likely to go into one thinking that it will be a Romance For the Ages. I'm wondering how much the taboo against divorce factors in, come to that. If people who don't think they're able to divorce without incurring social penalties put up with a lot more than people for whom divorce is always an option. Now, I know that Graham is not who my mother would choose for me, if I gave Mom the right to choose who I would marry. And I treasure the fact that I don't at all have to worry about it. However, I don't know if I would feel differently if I had so badly mishandled my own personal life. It's worth considering. You see, Aditi Verma (Vasundhara Das) has, for some time now, been in a relationship with Vikram Mehta (Sameer Arya), a married man. And she's just tired of the whole thing, so what she's going to do now is let her parents arrange a marriage for her to the son of their old childhood friends, Hemant Rai (Parvin Dabas), who also has the added advantage of living in America, far away from the problems she's made for herself. But of course, no wedding plans ever go smoothly. It seems like half the members in the big Indian families are busy with their own subplots. Her father, Lalit (Naseeruddin Shah), can't really afford for the wedding to be as elaborate as he's planning, and he's deeply upset that his son, Varun (Ishaan Nair), is not as masculine as he'd like and is planning to be a chef. His niece, Ria (Shefalie Shetty), was molested as a child by his sister's husband, Tej Puri (Rajat Kapoor), who is now eyeing young Aliyah (Kemaya Kidwai). And the wedding planner, P. K. Dubey (Vijay Raaz), is in love with the maid, Alice (Tillotama Shome). Once again, we're looking at a battle between the Western and the traditional. The girls of the family are growing fond of the idea of independence. They like the idea that they don't have to do what their families want. Ria is even considering going off to the US to study writing. She is also willing to defy the whole family if that's what it takes to protect Aliyah. And, of course, the movie wouldn't be happening at all if Aditi had not fallen in love with a married man. Ayesha (Neha Dubey) has chosen who she will marry, and it doesn't much matter what anyone else has to say on the subject. And indeed, it's as much a battle between the modern and the traditional, given that women's independence is very recent even in the West. The women don't want to live the same lives their ancestresses did, even though Aditi has accepted the traditional choice of an arranged marriage. She still reserves the right to call it off. This is also just a beautiful film. Unlike a Western film about a wedding, there is a great deal more open joy, I think. The night before the wedding, there is a big party for everyone concerned. There isn't separating into a bridal shower and a bachelor party, though the women do have a private party to start the process of beautifying the bride. Instead, the families get together and sing and dance, and the dancing isn't limited to traditional music. The night of the wedding itself, they dance to techno. All of them, from the children to the grandmothers. The one who has been living in Melbourne, Rahul (Randeep Hooda), says he cannot dance to Indian music, but when it looks as though someone else is courting Ayesha, he tries. And at the end, they even welcome P. K. and Alice into their midst, because they are celebrating as well. Even the arranged marriage is, at heart, about family; various mothers and grandmothers insist that their descendants provide them with even more sons for the family. In the end, everyone concerned really does want what's best for everyone else--except the odious Vikram, who very nearly leaves Aditi to get raped by a couple of cops. (One wonders how he explained the evening's events to his wife, all things considered.) Unfortunately, what's best isn't always easy to determine. As it turns out, P. K. is Brahmin (I don't know how the people who mention this on the IMDB message boards know this), and so his mother (Sharda Desoares) has even more reason to want grandsons. But she also genuinely seems to want her son to be happy. It's just that she thinks he needs a wife and family to be truly happy. It's probably also true that she's not a hundred percent certain that her son should be spending his days arranging weddings for people of lower castes than they. Probably it's only her certainty that her son should have his own sons that will let her resign herself to the fact that he's marrying a maid.

Kenny N (us) wrote: The look into the imaginations of these two girls is as real as the horrific act they committed. The fact that Juliet went on to become a well-known novelist after her release from prison adds a fascinating end to this story. The girl's stories WERE good enough to be published after all. Unfortunately, they have to carry this burden with them for the rest of their lives (they're both still alive at the time of this writing.) What a story. And what a fantastic movie.

Rifaat J (de) wrote: I think Jon Voight, and Eric Roberts made their best role in this movie. It is not easy to outbreak human emotion in the tiny cabin of the train but the film did that. Film worth to watch.

David L (mx) wrote: To Be or Not to Be struggles with its difficult tone at times and the editing is problematic, but the performances are excellent with Jack Benny being the standout here, the direction is strong and the film is a very different and unusual comedy as it mixes different types of humor from situational comedy to slapstick to satire to dark humor with the awkward, unpleasant situations being the funniest parts. It could have been better, but it's still a very memorable, clever and funny Lubitsch film.

Art S (it) wrote: Lee J. Cobb looks like a foppish Alec Guinness but roars like he always does as the outlaw patriarch who wants Gary Cooper back in his gang after he's left and become a gentle family man. The film doesn't pull any punches but Coop doesn't have the psychotic streak that made Jimmy Stewart so good in his roles for Anthony Mann.

Randy T (ru) wrote: Tarantula is 50's sci-fi gold, complete with a giant guinea pig and a mysterious microphone that appears from time to time in the upper frame of certain scenes. Unless you suffer from severe arachnophobia, this is not a film that will cause you any sleepless nights. It is, however, a lot of fun to watch and a must-see for those who are old enough to remember Saturday nights at the local drive-in theater watching two-for-one "creature features".

Russell G (us) wrote: Not a bad romantic comedy by the two. Doesn't reach the comic heights of some of their other pictures, but still, not a waste of time.

Mark K (ag) wrote: Well written, and thoroughly entertaining.

Rob C (jp) wrote: What does it take to come up with a new idea for a film? Innovation is quite the risk in any kind of entertainment as audiences may or may not be drawn to it or the film may suffer from poor direction and writing. It tends to be a relatively safe bet for filmmakers to make movies that appeal to as wide an audience as possible for the purpose of profits; so it's all the more encouraging that director Steven Knight chose a different direction with Locke, one of the more unique and interesting ideas to come about in modern film.Locke takes place almost entirely inside a BMW X5 and follows the titular character as he drives along the motorway. As Ivan (Tom Hardy) drives he calls (and receives calls) from several individuals including his wife (Kirsty Dillon) and co-workers Donal (Andrew Scott) and Gareth (Ben Daniels). It sounds like a really basic concept at first; a movie where very little happens but as Locke gets closer and closer to his undisclosed location an enormous amount of development take place. We learn about Locke's attitude to his job as a building site supervisor and the people he knows; deeds that slowly wander out into the open and even elements of his own past. It all culminates in immense change, sending Locke's life spiralling out of control in an expertly crafted amount of suspense. What pulls everything together is relatability; the film deals with a variety of pervasive and very real issues such as the pressures of business and withholding secrets from others whilst also emphasising the authenticity of the character's relationships. You can constantly and consistently relate to Locke, particularly with the conversations he has with his incompetent co-worker, strict superior and loving wife.As you've probably guessed by now, Locke is a very character driven film and the performances are all heartfelt and resonant. Tom Hardy gives a fantastic performance; we see a vast array of emotions and facial expressions conveyed through his character. We see frustration, anger, sadness and ever so brief moments of happiness, which heightens the film's relatability even further. As things become more and more desperate for Locke, he grows more and more intense with his thinking, trying to remain composed when all kinds of undesirable events are being thrown at him. Although Locke is the only character we actually see, the other cast members including Ruth Wilson, Andrew Scott and Kirsty Dillon also project emotions purely through voice. The cast ultimately makes you feel as if you know these people personally and end up holding the same opinion of them as Locke does, quite an impressive feat considering how Tom Hardy holds the spotlight for the vast majority of the film's runtime.Despite the use of a single location Locke contains its fair share of good presentation techniques. The different camera angles both in and out of the car provide a strong stage for Hardy to show off his character's emotions throughout the film. There's a constant presence of fade in and fade out shots along with lens flares to show passage of time, emphasising the scale of Locke's trip. The night time setting placed against the low key musical score creates a slow pace and gloomy atmosphere that mirrors the events that transpire against the main protagonist. Locke's technical presentation is just as simplistic as its plot, but the minimalistic approach works to the film's favour, allowing the actor's performances to make the biggest impression.Locke is a rare thing in modern cinema; the kind of film that can take a simple concept and turn it into something truly profound. It's more than just a unique idea; it's one of the best films of 2014.

George H (br) wrote: Another and probably the best adaptationof a Wambaugh novel. left Police departments with the phrase "never give up your gun"!