Gumball 3000: The Movie

Gumball 3000: The Movie

A 3000 mile race from San Francisco to Miami that took place in the Spring of 2003. 150 cars and stars created all kinds of mayhem and chaos over 6 days racing from coast to coast!

A 3000 mile race from San Francisco to Miami that took place in the Spring of 2003. 150 cars and stars created all kinds of mayhem and chaos over 6 days racing from coast to coast! . You can read more in Google, Youtube, Wiki

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Gumball 3000: The Movie torrent reviews

Richard R (it) wrote: While not quite as gripping at the first of the major film series, it still sparkles with charm that you can't deny - and the chemistry between Downey and Law is just on point. Ironically the role who lets it down is Moriarty himself.

Sage D (au) wrote: Thought i was going to like it more with Reedus):

Jamie R (ca) wrote: I like Bill Engvall generally, but this was still a little cheesey and cliche. At least the kiddos can watch.

Barry N (it) wrote: Like almost all of the other Disney Channel original films, this film is predictable, fluffy and unoriginal. The jokes were rehashed and not very funny. The climax was believable however, one of the few positive things I can say about this film.

Matt T (jp) wrote: Cast looks like a disaster. No freakin way.

Gena D (nl) wrote: Nice subtle references (ex: vegetarian hitler reference.)

Vikki D (us) wrote: Ok...Hitler in disguise and then turning into a zombie!! Eva Braun is a werewolf and then a zombie werewolf!!! Nazi midget zombies!!!! Even better...deformed nazi midget zombies eating themselves!!! I won't even get into the creepy pedophile singer except for the fact that the combination of his hair and mustache might just be the best thing I have ever seen in my life...No, that would be this movie as a whole! GENIUS!

Blake P (de) wrote: It wasn't always this way. There was a time when his idiosyncrasies were the most appealing things about him; there was a time when she knew how to laugh, how to tell herself that we live in a cruel world but there's always some kind of a way to make it worth suffering for. Years ago, he wasn't balding, wasn't dependent on the tantalizing powers of the bottle, and wasn't in a sorry state of existential denial; years ago, she was ambitious, an optimistic believer in the idea that she could put her troubled past behind her and start a new life wherein both personal and professional satisfaction would finally stop slipping away from her. But the days of merriment and possibility are over for Dean (Ryan Gosling) and Cindy (Michelle Williams) - the rapturous bond that once brought them together has effectively disintegrated. They've been married for a few years now, and are the mother and father of a little girl (Faith Wladyka). But time has only brought increasing hardship in the relationship - Cindy wants to grow and better herself, whereas Dean would prefer to cling to the safeties of his youth and continue denying his emotional immaturities. She wants out; he doesn't think anything is terribly wrong. They're in the midst of a rough patch is all. Because 2010's "Blue Valentine," directed by Derek Cianfrance, is a painfully realistic study of the dissolution of a marriage, though, things are hardly going to work out in Dean's favor. It's not so much disenchanted by the notion of holy matrimony as much as it is markedly aware that even the slightest disconnect between a romantic pair is certain to cause problems later on. Jumping back and forth between the period during which Dean and Cindy were first starting to get to know one another and the period characterized by its Cindy the last few days of their partnership, the film is a killer brute of a take on a failed relationship, so unforced in its every move that we're better seen as a fly on a wall impotently witnessing a harshly traumatic break-up. Since we're only provided with the introductory snapshots and closing fragments of the focal union, crucial is our deciphering of what came in the middle, how Dean and Cindy, once the kind of couple incapable of keeping their hands off each other, went from being so happy to so godforsakenly miserable. Cianfrance stages their unpleasant last months together with such exceptionally visceral flair that they could have stood alone as the sole basis of the movie. (The moment when Cindy asks for a divorce feels so real that the combination of frustration, sadness, and vulnerability that banded together to make her reach that point of catharsis virtually explodes.) But seeing Dean and Cindy fall in love makes the knowing of their looming split all the more heartbreaking. How can people who once cared for one another so tenderly suddenly find themselves feeling empty, alone, tired? We'd be skeptical of Cianfrance's methodologies if we weren't so positive that maybe this couple wasn't meant to be. We're never presented with a pair as perfect a match as Jesse and Cline, as Bogie and Bacall. We're instead given a duo of self-doubting young people who like the idea of love too much to truly understand what it is. Perhaps Cindy couldn't resist Dean's ticklish sense of humor, his blue-collar masculinity, or his exaggerated ways of trying to woe her. Perhaps Dean couldn't resist Cindy's girl-next-door beauty, her interest fueling shyness, or her needing to be saved. Perhaps the sex was too good for either to notice their otherwise superficial connection. When these attributes fade in preference of growing older, nothing much brings them together anymore, and that realization could very well be the nudger that pushed them in the direction of their unhappiness. That ambiguity, maddening as it can be, is piquant, if only because the opportunity to decide what really caused Dean and Cindy's failed jab at marriage thrillingly brings us to the center of the film. Cianfrance's dedication to dramatic naturalism (much of the dialogue is improvised) pays off, and Gosling and Williams (who prepared for their roles by renting a house together shortly before shooting) create one of the screen's most riveting couples. "Blue Valentine" is a wretched experience, but its strong characterizational hold prevents us from breaking away from the intense hypnotization that overwhelms us.

Barney o (kr) wrote: WHAT I LIKED: There's no doubt 'Layer Cake' is a clever film in many ways - primarily because the story it's based on has a whole set of interesting messages and well-constructed plots, but also because it's brought to life in an artistic and exciting manor. It would be criminal to not mention the whitty humour and snappy pacing either, as these elements make the film something rather unique and showcase Vaughn's talents the most.WHAT I DIDN'T LIKE: Unfortunately, whilst ambitious, it lacks overall narrative flow and in-the-moment focus. This may be forgiveable if the film spent longer looking at the lead characters, but sadly these great performances aren't given enough room to make you truly care. Left in that void is a lot to admire for sure, but little to actually engage.VERDICT: Layer Cake left me wallowing in the web of plots and themes, albeit whilst looking in vague admiration at the whitt and style with which it's all delivered.