"Hankyu Densha" follows the lives of various people who commute on Hankyu Railway's Imazu Line - connecting the cities of Nishinomiya and Takarazuka in Hyogo prefecture. One of the commuters is Shoko (Miki Nakatani), an office worker in her 30s who lost her boyfriend to a younger colleague. There's also a college student (Erika Toda) who is so easily persuaded by her no good boyfriend. Other commuters include a grandmother & granddaughter, a house wife, a female high school student, and a female otaku college student. Although the train ride takes only 15 minutes between two stations, the lives of these commuters are changed as they interact with each other...
Writer:Hiro Arikawa (based on the novel by), Yoshikazu Okada (screenplay)
"Hankyu Densha" follows the lives of various people who commute on Hankyu Railway's Imazu Line - connecting the cities of Nishinomiya and Takarazuka in Hyogo prefecture... . You can read more in Google, Youtube, Wiki
Hankyu Railways - A 15-minute Miracle torrent reviews
Paul N (ca) wrote: Your basic college movie. Mainly a guy flick with the more than enough boobs.
Bengel W (au) wrote: A different kind of history lesson for the children that is entertaining and fun. A well written story for the young of mind, tackling entomology, history, astrophysics, engineering, electronics, math, morals, ethics and logic encouraging science to be of interest to children. The characters are simple and well animated with suitable narration allowing the film to unfold. Nibbles: Honey Coated Locusts.
Tori H (ag) wrote: far from the first one.
Chris D (us) wrote: not half bad. twists reality. made to be b. :)
Katie S (br) wrote: i love it that saint francis and sister claire are total hippy flower children in this.
Jamie T (gb) wrote: Fellini's massive historical indulgence is really a product of its time; such a totally fragmented film could only have been made with this budget in the late 60s. Looked at now, it's certainly frustrating in its general lack of plot or character; there's a through-line involving the exploits of Encolpio (Martin Potter), a student who is at odds with Ascilto (Hiram Keller), who has sold off Encolpio's boy-toy Gitone (Max Born); eventually, Encolpio and Asclito mend their friendship and go on further adventures, without the mercenary Gitone. As Petronius' "Satyricon" itself only survives in fragments, so there's little actual drive in the narrative here, and the film ends, like the book, in mid-sentence, before the image of Encolpio turns into an old fresco, where he and all the other characters now appear only as painted images on a cracked wall.In addition to the scattered nature of the film's events, the characters themselves have virtually no depth; Encolpio is a bit of a rogue, albeit with a sense of righteous outrage at Ascilto for his duplicity; Ascilto is much more roguish and immoral; Gitone is the vain, hollow object of their affections. There are many other characters here as well: Vernacchio (Fanfulla), a vulgar actor who buys Gitone from Ascilto, leading Encolpio to confront him; Trimalcione (Mario Romagnoli), who gives immense feasts and then has a death scene which is obscure, to say the least; Lichas (Alain Cuny), a merchant who falls in love with Encolpio and marries him, and an albino hermaphrodite demi-god whom Encolpio and Ascilto kidnap. And there's plenty more where that came from.The apparent hollowness of the film would be hard to take if it weren't for Fellini's staggering command of spectacle. Truly, FELLINI SATYRICON is a masterpiece of all things visual--cinematography, sets, costumes, makeup--and for that alone, its place in film history is secure. Giuseppe Rotunno was the cinematographer, and he concocts a series of images as vibrant and colorful as anything ever put on the screen. The use of color is startling, and the compositions are magnificently precise. Luigi Scaccianoce's production is bold and expansive, and Danilo Donati's costumes are an epic achievement in of themselves. The characters in the film are frequently grotesque, so do not expect lushness here, but expect to be stunned nonetheless.Fellini earned an Oscar nomination for his directing, and given that much of the film's wildness and visual mania came from his own imagination, I'd say it was deserved. (That the sets, photography, and costumes failed to earn nominations while those from AIRPORT did is disgraceful.) Fellini, for better or for worse, made the film he intended, and while the film was titled FELLINI SATYRICON to differentiate itself from a previous film called simply SATYRICON, it's really an apt title in that it shows just how totally this film is a product of its director. It earned the wonderful tagline: "Rome. Before Christ. After Fellini." Fellini's script, co-written with Bernardino Zapponi, is a cluttered mess which revels in the orgiastic madness of ancient Rome, creating memorable, if obscure, fragments that never really become a proper whole. The sick energy of the film is enough to keep one watching, but at 129 minutes, the confusion can become a bit tiring at times. The dialogue is entirely dubbed, and deliberately badly, so as to further distance us from the goings-on.The acting is exactly what Fellini wanted, and it seems a bit pointless to criticize it, since emotional depth does not seem to have been the goal here. Martin Potter is a decent presence as Encolpio, and he fits into the millieu well; Keller actually manages to hint at some sly wit in Ascilto, while Salvo Randone is fairly decent as the unfortunate poet Eumolpo, who laments the decline of art before going on a bizarre journey of his own. Most of the cast fit their parts well, but they're basically just pawns in Fellini's crazed game. Suffice to say, it all feels of a piece.FELLINI SATYRICON won't be for everyone, and in traditional terms, it's a self-indulgent mess. But despite that, it proves to be generally compelling (and absolutely magnificent to look at); it's the sort of film whose existence we can be thankful for, showing as it does an artistic mind set free of any constraint. "Rome. Before Christ. After Fellini." We need more directors who can command such publicity.
Win M (nl) wrote: Probably one of the ten or twenty best comedies ever made. Such a shame it's almost impossible to get ahold of on home video and has never been put on DVD. Reason enough on its own to buy a laserdisc player.
Bruce B (au) wrote: The first "Dr. Phibes" film was a remarkably entertaining film that found the right balance between campy humor and grand guignol-style horror. This sequel is unfortunately a huge let-down. Everything that made the original great seems to be completely mishandled this time around. First off, none of the characters are remotely interesting in this one. Secondly, the deaths are nearly as innovative. Also, the technical credits are pretty weak (the direction by Robert Fuest seems to have no sense of pacing where the first one zipped right by). Mostly however is there's too much emphasis on comedy in this one. There's no menace to Phibes anymore. Whereas the first film was a great tongue-in-cheek and campy horror film, the sequel is simply a lousy comedy. Apparently the production was rushed and it shows.Fortunately, the film is still worth watching thanks to Vincent Price. Even with the lesser material, hes still got it, succeeding where the rest of the film fails - finding the right balance between horror and comedy. The performance is still delightful even if the screenplay calls for him to go too over-the-top. The rest of the cast fares worse. Peter Jeffrey (who was enjoyable in the first one) and the bland Robert Quarry (nowhere near as good an actor as Joseph Cotten) are both given far too much screen time. "Dr. Phibes Rises Again" is another disappointing sequel to a great original. 2 1/2 Stars 2-10-14
Mayank A (ca) wrote: It was OK watch, not as good as other movies from DC Universe Animated Original Movies, the anime characterization was bad, Superman look bulky and mean, batmen looked lanky and weak. Besides the mediocre anime, the story itself is decent, it's a movie about the girl from Krypton, her introduction and how she became Super Girl.
Mark H (us) wrote: This is exceptional. Redford's skill shines on film. It is a start about the assassination that few know. And many will thrill at the suspense and excitement.
donatella m (ca) wrote: Suspenseful and creative to the max! This is a serious favorite and I recommend that people see it!