Home by Christmas

Home by Christmas

Julia Bedford (Linda Hamilton) is a dedicated homemaker living in a modestly affluent neighborhood with her successful husband and sixteen-year-old daughter. When Julia discovers that her husband is cheating on her, her world is rocked. In their pending divorce, with most of her husband s assets carefully hidden, Julia is left with nothing except her car and her barely realistic child support checks. After moving into a small apartment, Julia tries to make do while working a minimum wage job. Her daughter hates their new scaled-down life and convinces her father and his new girlfriend to let her live with him. When Julia finally hits rock bottom and finds herself living in their car, she decides to begin her comeback--and ultimately discovers what s really valuable in life.

  • Rating:
    4.00 out of 5
  • Length:95 minutes
  • Release:2006
  • Language:English
  • Reference:Imdb
  • Keywords:christmas,   divorcee,  

After a well-to-do woman divorces her cheating husband, she ends up homeless through a series of mishaps. . You can read more in Google, Youtube, Wiki

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Home by Christmas torrent reviews

Cameron J (gb) wrote: This film may have come out about a year after "A Beautiful Mind", but don't make the mistake, because as much as John Nash, Jr. also thought he saw secret agents and whatnot, he's mentally sharp enough for me to see him working with secret services sooner than Chuck Barris. Of course, I might just be thinking that because Barris is still crazy enough for us to think he worked with the CIA, unless, of course, he's telling the truth. You know what, as much as Barris exploited people for entertainment at its most morbid, I really can see him either willing to take some lives, or willing to make a show that's just people talking about their mental instabilities. No, I don't suppose Barris is all that bonkers, or at least not according to this film, which is baffling to me, because I'd go a little crazy if I was in a long-term relationship with Drew Barrymore, and at any rate, Sam Rockwell, being so blasted greasy, always looks as though he's up to something. Speaking of sneakiness, Steven Soderbergh has always been known for his aliases, so I wouldn't be surprised if he's using George Clooney's name, because, wow, this film is a near-pitch-perfect rip-off of a Steven Soderbergh film, although Clooney is up to bat as a filmmaker for the first time with this, so it's only natural that he would take a few, maybe even most notes from his boyfriend's... extremely distinguished and challenging style. Wow, Clooney is pretty ambitious with this debut, but come on, he's George Clooney, so he can feel free to take on audacious subject matter, milk technical style for all its worth, and bloat this cast with big-name stars... or so Miramax thought, up until the surprising box office numbers came in. I don't guess the film was an overwhelming bomb, but the numbers made it look about as low-profile as what is apparently Chuck Barris' other occupation, and that's a shame, because I suppose this film is worth the price of admission, even though it has almost as many problems as Chuck Barris. Noted TV tycoon and rumored CIA assassin Chuck Barris' tale, both factual and "possible", is certainly unique in concept, but in this interpretation of it, there's something rather formulaic about Charlie Kaufman's script, which paints familiar characters along a trope-heavy plotting path, and sometimes rather heavy-handedly, with characterization of limited layers and over-the-top set pieces which break this drama's genuineness with subtlety issues too glaring to even be effective as satire. Of course, substance isn't the only thing handled heavy-handedly here, because as colorful and effective as George Clooney's directorial style is, its considerable prominence throughout the film wears down on you after a while once it really gets overblown, partly because you don't have a whole lot of time to get used to a certain stylistic theme before another one is taken on, convoluting the style which ends up playing a big part in the final product. Even the style gets to be uneven, and although it's consistently impressive, its inconsistency, combined with its being occasionally overwrought by its own right, has a tendency to take you out of the film as a reflection of George Clooney's overambition as an artistic filmmaker whose perhaps sole contributions get to be more than the first-time director to handle. Needless to say, Clooney's handling of Kaufman's own ambitious scripted contributions has its faults, as Kaufman crafts what is very much a comedy-drama type of narrative that alternates between extreme humor and intensity that would be near-remarkably effective the leaps between the tonal extremes didn't jar, diluting the bite of the humor and the weight of the drama. Of course, the most disconcerting form of inconsistency is that which plagues the narrative's pace, because at a little shy of two-hours, this conceptually extensive biopic is all but all over the place in its structure, going overdrawn with convoluted excesses in material and aimless filler that thin focus, about as much as sudden slips into hurrying that thin expository depth and slam-bang segments, until a sense of narrative progression that could have made this character study extremely extensive and compelling is worn down, though not quite to where you don't feel as though this potentially lengthy effort is struggling to tighten things up. The result of this questionable combination of aimless dragging and slapdashed depths is pacing that feels borderline glacial, for although entertainment value is both consistent and strong enough to sustain enough of your investment for you to stick with the film, the final product feels like the, say, two-and-a-half-hour meditative piece that it should have been, but is too lacking in substance to be, leaving momentum to fall and fall, and not without the help of predictability, overstylization and tonal unevenness. The film starts out strong, and sticks its final landing pretty sharply, but in between those heights is a draggy and, in other ways, misguided drama that falls way short of what it could have been, but still compels thoroughly, largely through liveliness, both in substance and style. Spanning the mid and latter 1900s, this film is, of course, quite the vehicle for solid pop and rock classic which capture the film's timeline pretty entertainingly, but it's mostly celebratory a neo-noirish score by Alex Wurman, which is also colorful by its own right and complimentary of the film's era, sold a little more directly by art direction by Isabelle Guay, Nicolas Lepage and Jean-Pierre Paquet that nails the look of this lavish period piece. Musical and production value compliment both substance and aesthetics in this well-polished film, and yet, when it comes to style, it's Newton Thomas Sigel's cinematography that really demands your attention, doing immersive justice to George Clooney's airtight and often neatly set framing, while delivering on coloration and lighting that is richly diverse, yet consistently unique and breathtaking, whether it be dreamy, or crisp, or gritty, or all around hauntingly Steven Soderbergh-esque, maybe even better. If you see the film for no other reason, you have to see it in order to marvel at the overwhelming inspiration of its visual style, which may very well rank among the more distinguished of the modern film industry, so in terms of aesthetic value, the film truly stands out, although that's not to say that you shouldn't stick with this film which invites you with style for the substance. Often handled formulaically, heavy-handedly and unevenly, this film's story remains pretty solid in concept, mixing the colorful, but loosely adapted true story of Chuck Barris' rise as a controversial TV producer with his share of personal struggles with the intense rumored story of Barris' dangerous and emotionally challenging secret career as a CIA assassin, until a fun, tense and even moving idea for a character study is formed, often done some genuine justice by a messy script by Charlie Kaufman that still delivers on plenty of razor-sharp dialogue and humor, in addition to rich highlights in characterization that distinguish pretty compelling portrayals of real and fictionalized figures in Barris' life. Of course, what really endears you to the characters is their portrayals, as most every member in this sizable, talented and star-studded cast delivers distinct charisma, and that especially goes for leading man Sam Rockwell, who nails the sleazy charm that we all know and love about Chuck Barris, grounded enough for Rockwell to feel more naturalistic than impressionistic, and punctuated with dramatic layers that range from chilling to penetrating. Rockwell's first lead performance in a major drama is a revelatory one that reflects a remarkable potential which the great talent has gone on to fulfill time and again, and is enough to carry this character study, but not alone, as George Clooney's own debut, as a feature filmmaker, despite its being too rusty to live up to ambitions that end up bloating and holding back the final product, is pretty solid, utilizing a refreshing and heavily diverse, if uneven technical and storytelling style in order to sustain constant entertainment value through all the dramatic shortcomings, often disputed once Clooney finds realization in thoughtful storytelling that establishes penetrating tension and moving tenderness, resulting in highlights worth waiting for in a character study that at least keeps consistent in charming. If Clooney was much more comfortable in his fulfillment of very worthy ambitions, and were Kaufman, for that matter, more even in his narrative structuring, this film would have truly stood out, yet as it stands, through all its messiness, style and substance are rich enough to make the final product thoroughly charming, compelling and all around rewarding. When all is confessed and over with, a very promising idea is held back by an execution whose conventions, overstylization, tonal unevenness and questionable pacing all but wear you down, but are challenged by enough color, established through a solid soundtrack, excellent score, immersive art direction, absolutely phenomenal cinematography and an intriguing story concept, done justice by sharp writing and directorial highlights, and strong performances, - especially by worthy leading man Sam Rockwell - to make "Confessions of a Dangerous Mind" an entertaining and often engrossing, stylish study on the truth and mysteries behind TV legend Chuck Barris. 3/5 - Good

Sam B (au) wrote: Had to watch "Keeping the Promise" in school after reading the book, which actually was pretty good. The movie had an okay cast, but the acting was absolutely horrific. There are no words to describe it.

Melissa G (it) wrote: Some ppl choose to ignore the problems in their marriage, become detached,but just there. By the time you come out of denial you realize the pain and hurt of cracks in the marriage is far less painful and easier dealt with than infidelity in your marriage.

Knox M (fr) wrote: I can't tell if I'm missing something or the film is missing me. It's funny and brilliant but not a work of genius.

Jim T (ru) wrote: THE perfect documentary.

Gerardo F (it) wrote: perfect stop-motion, personally I love this movie and the soundtrack It is one of the best I 've heard..!! I still watching in 2016..!!

Joey A (gb) wrote: Not gonna be nominated for any awards, but still I liked it! always a good movie to watch. always!!

Matthew D (ru) wrote: Just a laugh a minute, nothing serious no real story line.

Rachel R (br) wrote: much better than anything hollywood has done lately! Especially much better than Batman Vs Superman!