Jack and the Beanstalk

Jack and the Beanstalk

Abbott and Costello's version of the famous fairy tale, about a young boy who trades the family cow for magic beans.

Abbott & Costello's version of the famous fairy tale, about a young boy who trades the family cow for magic beans. . You can read more in Google, Youtube, Wiki

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Jack and the Beanstalk torrent reviews

Felipe P (gb) wrote: Shanghai Calling (C) divertido e (C) diferente. O tema principal,sobre a histria do celular (C) meio clich e sem graa, mas as histrias paralelas so legais e os personagens interessantes.

Corey B (de) wrote: Why does every love story have to have to happen in New York, honestly. You want to see a better examination of the relationship up and down then watch 500 Days OF Summer. However somewhat truthful (I have seen so many relationship story form movies and people i know more about relationships than the ones in them sometimes). This movie doesn't really go anywhere at all from the start however if you GF likes these kind of movies rent it and act like you are enjoying it. But you probably wont.

Jeremy B (kr) wrote: Horrendous. Another reason Affleck sucks

Marlon D (fr) wrote: This movie is a celebration of the search for one's humanity. While the story focuses on Robin Williams' Andrew, the robot who would be human, every character evolves into the human they strive, or in many cases,sleep walk to become. And it is the few that recognize and embrace Andrew's humanity that become better people them selves. While very sentimental the heart of the film depends on how you the viewer embrace humanity.

Alex F (us) wrote: A great modern interpretation of the Charles Dickens classic A Christmas Carol, Bill Murray is simply amazing, his performance is so fun and heartwarming, the script is great and the characters so much fun, a great new Christmas movie.

Gordon T (jp) wrote: How to rate an out-dated, "schlocky (by nature of it being outdated), poorly acted, "poorly directed," cheese-ball Italian science fiction spaghetti-horror movie? With a big fat ZERO . . . or contextualize the film, placing it in its proper place in the history of science-fiction, horror, international and world cinema. Call Planet of the Vampires "THE EVIL DEAD IN OUTER SPACE." The tiular creatures are not classic-mythological vampires that are undead creatures who suck the blood of the living for survival; instead The Vampiers are spiritual creatures who invade the bodies of their host. The plot: Just as in RIDLEY SCOTT'S 1979 masterpiece ALIEN, the crew of a starship answers a distress call from a distant world. Just like in ALIEN, They crash-land upon the strange, eerie, breathable alien planet. And Just as in ALIEN, they stumble upon a pile of GIANT BONES of a creature who crash-landed on the planet centuries before. AND just as in ALIEN, the crew encounter a strange alien life-form that wants to sneak into their bodies and hitch a ride aboard their ship to another planet yet not in as gorily a fashion as in ALIEN. PLANET OF THE VAMPIRES is based upon an Italian short story entitled "21 HOURS OF NIGHT" Samuel Z. ARKOFF at American International Pictures changed TERRORE NELLA SPAZIO to PLANET OF THE VAMPIRES because "VAMPIRES" sell more tickets; notice the tag-line on the poster reads "Are they Vampires?" MARIO BAVA is a pioneer in his ability to increase the level of gore and violence in mainstream cinema: threre are plenty of bloody, partially denuded rib-cages and bloody gashes by 1965 standards in PLANET OF THE VAMPIRES and the red and blue pastel lighting effects are stylishly "out of this world." Absent of a historical and artistically-minded context PLANET OF THE VAMPIRES lingers around a 10%, yet "BECAUSE ITS BAVA (e.g. because it is directed by the great Italian horror director MARIO BAVA," PLANET OF THE VAMPIRES earns a 100%.

Paul W (br) wrote: Classic '60s screwball fun with Rock and Doris. The lighter flip side of "Mad Men."

Andre T (jp) wrote: Filmed on location in Paris, starring Sidney Poitier as expatriate jazz musician Eddie Cook, and Paul Newman as trombone-playing Ram Bowen. The two men romance two vacationing American tourists, Connie Lampson (Diahann Carroll) and Lillian Corning (Joanne Woodward) respectively. The film also features trumpeter Louis Armstrong as Wild Man Moore and jazz pianist Aaron Bridgers; both play musicians within the film. It was produced by Sam Shaw, directed by Martin Ritt from a screenplay by Walter Bernstein, and with the fantastic black & white cinematography by Christian Matras. A little silly in the screenplay, but climatic and cool as Jazz.

Vanessa T (gb) wrote: what bothered me most was that elizabeth, playing an american, had more of an english accent than robert, who played an englishman. story wise, it could have been interesting but was lacking.

Ben L (nl) wrote: Citizen Kane is one of those rare films where I appreciate the craftsmanship, admire the performances, applaud how it influenced cinema, but simultaneously don't love the story. I think there is a lot of great things going on in this script, and I see what they're trying to do, but I experienced a notable disconnect with the characters in the film. I acknowledge that they made a good choice introducing us to Kane as a young boy and showing how he developed into an aggressive but relatively noble young man. At this point I should be sympathizing with him, and have the same connection back to the innocence of his childhood that he had when he grew into a (seemingly) heartless tycoon. Yet for some reason I didn't make that connection, perhaps it was the short length of so many of the flashbacks which made it hard for me to relax and really get to know the characters. Naturally, since Citizen Kane is often considered one of the greatest movies of all time I feel compelled to defend my opinion simply because I'm not praising it on that level. However, there was so much that I thought was fabulous in the film. The composition of the shots was remarkable and clearly was planned out perfectly. The use of light and shadows was tremendous. The set design conveyed things to the audience without needing extra dialogue. There was so much that is right in this film that it seems a shame I instantly jump to the defensive and search for nitpicks. I wonder if, with more views I might embrace Citizen Kane even more. However, on my first watch I can see why it is so highly regarded but I can't lift it up to that height myself.

Ivan D (kr) wrote: I have watched enough 'pacifist' war films in the past, but I can safely say that "Johnny Got His Gun" is the most emotionally penetrating of the bunch that also extracts tenacious hope out of despair. What makes this film, masterfully directed by Oscar winner Dalton Trumbo (who won for penning the great romantic film "Roman Holiday"), very effective in what it tries to impart to its audience's sensibilities about the inhumanities of war is its pure focus and sheer devotion to its main character. In other films dealing with the same underlying sentiments, the message and emotions are too widely distributed to a variety of characters that they sometimes appear to be too far-fetched, hence meager in overall effect. But in "Johnny Got His Gun", which beautifully reigns on the longings and memories of the titular character and wholly explores the landscapes of his entirety, Dalton Trumbo maximized the whole film and merged Johnny's personal struggles as an extreme amputee with his flinching anti-war sentiments. It ultimately came out as a spell-binding commentary not just pertaining to the sheer senselessness of conflicts, but also regarding the endurance of the soul. Timothy Bottoms portrays the quadruple amputee Johnny with his trademark sad eyes and deadpan energy. Through his flashbacks and overlaps of fantasies and retained memories, he leads us through an unforgettably cerebral journey inside the psyche of an ordinary man who, as told to him even by his father (great performance by Jason Robards), is nothing 'unusual'. This is not a soldier whose life is filled with overachieving decorations or countless belligerence in the battlefield. He is a simple man with the same existential woes like other people usually have. But what separates him among others is his sense of 'hope'. This film could have easily drifted into an unfathomable territory of pity and despair. But with Dalton Trumbo's attention to emotional balance, while enhanced by Jules Brenner's cinematography, "Johnny Got His Gun" surprisingly tiptoes between sets of spirited humor amidst its pessimistic undertones. But aside from all of these, the film is also quite articulate in its seemingly elegiac approach to religious 'faith'. Eccentrically surrealist as it may seem to be, Donald Sutherland's 'Christ' is not shown as an omniscient observer but as a man of wisdom capable to immerse. He gambles with the soldiers, he fancies carpentry and he also signs checks. This can simply be a visual injection by Luis Bunuel who did an uncredited screenplay contribution to the film, but it is still subtly affecting in its approach. "Johnny Got His Gun" fully suggests that in times of chaos, especially those created and prolonged by the follies of men, God does not merely watch from above but guides in close contact. But also as what the film's theme suggests, he is also imperfect in his own right.There's a significant exchange in the film where the military doctor asks the priest to convince Johnny to put his faith in God. The priest, after seeing the poor condition of Johnny's physical predicament, tells the astute military doctor that he will not risk testing Johnny's faith against his (the doctor) stupidity. Johnny is a product of the military doctor's profession, after all. It's a conversation rooted out from situational desperation but it's quite obvious that the failure of the military doctor to reply to the priest's indirect accusation alludes to his acceptance of the generalized mistakes created by his occupation.The film, although has raised some potent promises regarding the condition of men of duty like Johnny, is a bleak observation of casualties and the secretive tendencies of 'war' and its officials. And as if out of nowhere, it is evenly contrasted with the demonstrativeness of a 'freak show' on a traveling carnival. The latter may exploit, but it does not, in any way, take lives so relentlessly as the first.Many films have shown emotional desensitization in the middle of violence and carnage. But "Johnny Got His Gun" does not put itself along those lines that may just evoke mindless, machismo-filled indifference; the film is, after all has been said, a liberating study of the maddening physical limitations of a man nowhere to retreat but his collective dreams and his conscious mind. It tells of the imminence of hopelessness yet it struggles for life. Dalton Trumbo and Johnny. They prefer the 'carnival' more.