How I Got Lost

How I Got Lost

HOW I GOT LOST is the heartbreaking yet hopeful story of Andrew and Jake, two friends dealing with loss amidst events bigger than them. Andrew is the friend we all have, the one who convinces you to come along despite your better judgment. Talented but with seemingly nothing to lose, his tailspin is balanced only by his professional drive to succeed as a trader on Wall Street. His best friend Jake, broken-hearted and writing sports instead of fiction, does his best to clean up the mess his friend creates until he runs into his capricious ex, Sarah again. So Andrew convinces him to ditch New York and hit the road, going nowhere. They commandeer a cab to Philadelphia, where they borrow Andrews moms station wagon. But when their car runs out of gas in the middle of Pennsylvania, Andrew reveals the real reason for the trip -- his father has died, and he doesn't think he can make it through the funeral alone.

Two friends deal with loss amidst events bigger than them. Andrew is the friend we all have, the one who convinces you to come along despite your better judgment. Talented but with ... . You can read more in Google, Youtube, Wiki


How I Got Lost torrent reviews

David B (ca) wrote: So this was on a double-bill w/ ANNIE HALL (which I watched first & maybe that effected my opinion, but probably not). I had seen this back in high school (?) & remembered it being hysterical. It wasn't. It's intended to be shocking & some of it kinda is, but my problem w/ it was that it just wasn't funny. I guess if you find George Siegel's mugging hysterical, you'll love it. (To clarify: by mugging, I mean facially, cuz there are also monetary muggings which take place in Central Park that are supposed to be funny, too). I actually left about halfway (which I rarely do). I was bored.

Cameron J (kr) wrote: The film is just fine, I guess, but its title couldn't be any more fitting, because it won't be too long before this effort is "forgotten" by me, as surely as I has been "forgotten" by everyone else. Man, you know that lame joke was abusively overused by the people who actually saw this film when it first came out, but again, everyone has "forgotten" this film, so I doubt they even recollect jokes they cracked about this film, even if they were about as obvious as this film itself. No, again, people, this film is alright, or else it wouldn't have done a pretty solid job at the box office, unless, of course, people were going because they either had forgotten that they had seen this film, or simply had to follow the lead of Julianne Moore's son-seeking character in this film and thoroughly double-check to make sure that Gary Sinise was, in fact, still alive. Man, speaking of "forgotten", poor old Lt. Dan had fallen off of the radar by the time this film was released, probably because he didn't have legs to hold him up (The references are forced, I know, but honestly, how well do you remember him in other films?). Hey, at least he's been somewhere ever since, meaning that he's been doing better than Joseph Ruben, who really did just disappear after this film, not unlike Julianne Moore's Telly Paretta character's life in this film. Yeah, now is usually around the time where I would joke that Clarice Starling should leave Hannibal Lecter alone and worry more about trying to investigate whatever happened to Ruben, but if these are the types of films that he would have been doing after 2004, then I doubt we're missing all that much. Once more, the film is decent, at least to some extent, but there is by no means a chance of you forgetting this effort's problems. A very short, often somewhat busy thriller, this film doesn't have a whole lot of time to spend on building things up, so it ostensibly figures that it may as well not even try, offering the barest minimum of immediate development, then proceeding to thin the body's expository depth nearly into dissipation, until what you end up with is an undercooked dramatic thriller that challenges your investment in the characters whose conceptual depth seems to drive it. Underdevelopment is a serious issue in this thriller, but what really slows momentum down about as much as anything are, of course, the slow spells, of which there are many, because no matter how undercooked the film is, it takes plenty of time to drag itself out with bland and often repetitious filler, whose sting goes exacerbated by atmospheric cold spells that are much too frequent, and bland things up much too much. The film is kind of dull at times, and that lays down some serious damage to compellingness, though it's not like the path that storytelling limps along isn't too worn for its own good. On top of being thin in some areas and draggy in others, the narrative of this film is riddled to the brim with clichs, upon clichs, upon clichs, following a near-trite formula that isn't exactly gratingly generic, but is nevertheless quite predictable, with some not-so-predictable points that aren't exactly worthy of polishing up this, in some areas, thin premise. There's a twist to this story that is presented in a way which is not quite as ridiculous as some are saying, but is still questionable, if not borderline lame, which isn't to say that I am completely blind to the reason behind such a twist's being forced in, because outside of that corny, but kicky plot note, there's hardly anything to this thriller, whose natural shortcomings water down potential and drive the final product toward a greater risk of collapse into mediocrity. Danger is intensified by, of all things, Joseph Ruben's ambition, which often ignites the inspiration that ultimately saves this mess, but emphasizes shortcomings, natural and consequential, to the point of securing the final product as decidedly underwhelming, with glimpses of mediocrity. However, at least me, these glimpses aren't frequent enough for mediocrity to overtake the final product, which is a mess, to be sure, but still carries on as decent on the wings of several commendable beats, some of which are light, but go a fair distance. The score by the great James Horner is on the most prime examples of an aspect out of this film that cannot be denied, but is still fairly light, or at least seems light, due to its being rather disappointingly conventional, but not to where you can completely disregard Horner's taking beats from commendable sources, as the tasteful minimalism to Horner's score is both often effective in establishing an intense tone, and consistently enjoyable on an aesthetic level. About the same can be said about Anastas N. Michos' cinematography, except Michos' efforts might be more commendable, because even though this film's visual style isn't stunning, hauntingly sparse, perhaps even gothic plays with lighting prove to be consistently beautiful, as well as complimentary to the tone of this sometimes claustrophobic thriller, sometimes to a near-piercing degree. The film isn't exactly outstanding on a stylistic level, but its more artistic touches are among the stronger aspects of the final product, being not only reasonably tasteful, but often supplement effectiveness, which isn't to say that style is the sole driver of relative highlights in this thriller's effectiveness. Joseph Ruben's direction gets to be faulty, and all too often flaunts a considerable overambition that emphasizes such faults, as well as natural shortcomings, thus making it one of the key elements that drive this thriller to the brink of mediocrity, as well as one of the key elements that save the final product as decent, because no matter how messy Ruben's efforts are at times, there are, in fact, high points, charged by subtle draws on atmosphere that often blanding, and perhaps just as often reasonably compelling, with chills and intrigue, at least to a certain extent. The hardest kicks in this film never really kick all that tremendously hard, but I found more genuinely engaging moments than they say, and it's not like the lowlights in intrigue are all that frequent, because there's a moderate degree of entertainment value through the final product that ends up playing an instrumental part in reinforcing decency, much like the performances, or at least a certain lead one. I emphasize that there is "a" lead performance to this film that is commendable, because co-lead Dominic West, outside of a flawless American accent, doesn't do much, and sometimes has mediocre moments that go anchored by questionable line delivery and a rather flat atmosphere, thus leaving leading lady Julianne Moore to stand as the onscreen carrier of this film, thanks to a certain emotional range that sells the suffering of a mother going through the loss of a son who may either have never existed or be in the hands of forces working against Moore's Telly Paretta character. If the film ever hits, then Moore is likely the anchor to such a hit, but she's not the only enjoyable attribute to this thriller, because as undercooked, overdrawn, unoriginal and overambitious as this piece of filler is, it gets you by, even if it itself can be easily "forgotten". Overall, underdevelopment is about as severe as repetitious dragging in filler, while genericism plagues this story about as much as natural shortcomings and questionable elements, until the final product is left to leap to the brink of mediocrity, but ultimately go carried to decency by the decent score work, fine cinematography, highlights in direction and strong performance by Julianne Moore that make Joseph Ruben's "The Forgotten" an adequately enjoyable, if, if you will... for, like, the tenth time, forgettable thriller. 2.5/5 - Fair

Andy C (ca) wrote: If you're nostalgic for the likes of Godiva, Roxy Astor, Tina Ferrari and Little Egypt you'll enjoy this documentary. The story of what happened to the most famous G.L.O.W. girl Mountain Fiji will tug at the heart strings.

Michael V (ca) wrote: Wow. I didn't expect to like this as much as I did but it was pretty good. I was not bored at all as some were with it. The story is solid, the acting is great, the setting is nice and Scott's direction is pretty good. Eva Green is always beautiful to look at but her acting has always been average for me up until this movie. She was really good in Starz series Camelot and though I haven't seen Dark Shadows yet, heard some good things about her in it. Here as MISS G, a teacher of the diving team at a boarding school and also, a very psychotic and predatory lesbian, she is absolutely amazing. Green just plays the role as if she was MISS G with emotion, pain and sickness right through her wide eyes. Juno Temple on the other hand, is just terrific in her best performance to date. As Di, Team Captain of all the girls and closest to MISS G, always wanted to get attention she deserved from MISS G but becomes very jealous until a Spanish girl shows up and immediately gets MISS G attention. What an awesome performance from Temple, she perfectly just soars as Di even sometimes without dialogue, her large eyes and round face just tells you what you need to know. Maria Valverde plays that beautiful girl Fiamma from Spain who gets MISS G attention and the girl MISS G falls for. I could care less if i've never heard of this actress, all I know is that she did a pretty good job with this roles, maybe we'll see a lot of her in the future hopefully. Imogen Potts continues to impress me as an actress and a very good one down the road as she is great as Poppy. This is a very solid movie with also a really good ending, not the only the acting should get it's praise but Javier Navarrete's beautiful score, the cinematography, setting, writing and a promising director in Jordan Scott.

Pavandeep S (mx) wrote: Had lots of flaws and the action was stale at times, but it was fun and had qualities to keep you gripped, but at the same time, it was generic though not dull. Hope the director improves.

Warren A (ru) wrote: great movie. nice storyline.

Radek C (ru) wrote: Icelandic type of humour, kind of weird, but in a pleasant way. Not too much content, but it's a decent watch anyway.

Skippy M (mx) wrote: Godard lite-- all handheld camera, haphazard cutting, and wandering around the city-- but nobody gets shot or hit by a car at the end. Suffers a lot from the female lead not having any personality-- she's a total airhead. The plot is not much thicker than the synopsis, and after about an hour it seems like the writers had no idea where to go with it. Takeshi Kitano shows up around the 80-minute mark and I was hoping he could inject some life into the movie but it just plods along another 15 min. and goes out with a whimper.

Tim R (jp) wrote: You know... if it werent for the Robert Duvall and Mike Ditka feud in this movie, it would really stink. Their back and forth was all worth it to me though!

Matthew H (ru) wrote: A great addition to the Jack Ryan series, Patriot Games has tense action and a no-bull performance from Ford to make it a remarkable film.

Michael V (es) wrote: Until I see the director's cut of Hard Target that needs to be released this is Van Damme's best movie. As bad as it is. It's the perfect guy guilty pleasure. It contains action, humor, great martial arts and tits. Plus I thought that Van Damme did a pretty good job at pulling off two very different personalities. Nobody will ever write his name down in a book for great acting. But you certianly can find worse out there. Namely Steven Seagel. The man with one tone of voice and personality. And although the storyline is of revenge of parents murder by a teaming of greedy businessmen and mafia isn't anything new it does tell it in a new light. Giving two main heroes as twin brothers who didn't know they existed coming from different backgrounds. This will always be a movie I'll settle on while flipping the channels.

Cody C (br) wrote: Unfunny and annoying.

Ian C (nl) wrote: A really emotional film. Jeff Bridges delivers a great comic and moving performance. A great love story.

Harim K (it) wrote: this is my 2nd time watching it. kinda got bored in the middle of it. robert ryan's chinese imitation left me speechless. seen him in 3 movies now where he plays the racist

Adam R (au) wrote: A drugged up biopic that was too heavy for my preference. I didn't find anything special about it and lost interest quickly. (First and only viewing - Spring 2008)