A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. However, something happens that changes her safe routine. . You can read more in Google, Youtube, Wiki
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. However, something happens that changes her safe routine.
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Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles torrent reviews
Spencer K (gb) wrote: a compellingly entertaining post-apocalyptic film that boasts stellar direction and wonderful performances from its leads. it's a dark, gritty and dirty film that is thought provoking and compulsively watchable.
Toni S (jp) wrote: I like Stephen Poliakoff's work but I was rather disappointed with this one. Can't put my finger on it, but there's something that makes it more complicated than it needs to be and yet less intriguing than it can be.
Allan C (jp) wrote: Rather interesting documentary talking to various porn starts of yesteryear and what happens after they leave the industry. Although most of the adult film stars interviewed for the film seem fairly together, they all seem pretty upfront that they were pretty messed up in different ways that led to them getting into X-Rated films in the first place. Overall, it's a pretty sad picture of people who led messed up lived before porn, most had short lived fame and were not smart with their money, and after porn are looked down upon society and stigmatized for the rest of their lives. MENSA member and ex-porn star Asia Carerra probably has the most interesting story, becoming the first Asian to break the race barrier for an Asian woman in mainstream porn and then when she left the business, she moved to Utah where porn is illegal so that she could raise her kids in a conservative community where she would be less likely to be recognized. That's somewhat of what's missing from this film, different paths stars have taken after porn. Most all of the stories are ones of overcoming addictions, public demonizing, and financial struggles. Compared to wrestling documentary, "Against the Ropes" it compared a star in their prime, and up and comer and one at a tragic end of their careers. This film told pretty much the same story, though they really never told the stories of those who were really destroyed themselves by the industry. However, it was kind of interesting to see what happened to all these porn stars I remember seeing when I was a video store clerk restocking the creepy over 18 section.
Nick D (br) wrote: The last third of the picture is super, very very tense and completely absorbing. The star of the picture is the town, virtually a character from the first line -- kind of a Danish version of frontier justice with the marshall coming in to clean it up. Only he's nowhere near as white-hat as his pretty-face good looks and Gary Cooper taciturnity would imply. The plot definitely thickens. Highly recommended.
Ian E (ag) wrote: Starts going nowhere in the beginning. The tension builds near the end, but its still left in bleak stiffness. Then, it ends with a charming moment that is unoriginal.
Kyriakos M (kr) wrote: The second time I will see it maybe I will mark it with 5 stars. It is a study of the light and an excellent scene setting. The scenario is complicated and u have to know some elements of Rembrandt's life but is an ispired one and very sarcastic!
Peter J (mx) wrote: I thought this movie was funny as shit.
Jeremiah A (au) wrote: I was awash and adrift with love and sorrow...
Sophie W (mx) wrote: Un film beau, volontairement brumeux et suffoquant... car l'on ne sort pas des griffes de la triade.
Alex G (es) wrote: Nothing that special or original about it, but with a wonderful performance by Robert Duvall, it's still worth watching. The ending was rather disappointing. I would've liked to see where else it could go. I guess it was just too abrupt for my taste. Some of the scenes didn't really go anywhere, and sometimes the story was a bit rushed, such as the lack of development between Mac and Rosa Lee before they got married, but were still handled decently enough. Unlike some movies of this particular vein, Tender Mercies didn't get bogged down too much by exposition and sappy melodramatic sequences. It just told the story, and was about as stripped down as Mac Sledge. However, that style went both ways during the film. The soundtrack is good (even though I'm not a fan of country music), the cinematography was smooth, and of course, the performances are the film's strong suit.
Marco F (us) wrote: FITZCARRALDO is a work of madness- one of the most awesome cinematic visions ever mounted. This is a work of a filmmaker whose ambition and madness will become that of legend. I can't think of any other filmmaker in history who would dare make a film like this- a film about a wealthy landowner who wants to build an opera house in the middle of the Amazon jungle- and in order to do so, he has to tow a 300-ton boat over a mountain- which is what the mad man who made this film- Werner Herzog- did at the insistence of engineers who said that towing a huge and heavy boat over a mountain using only ropes would kill everyone standing near the boat and that it could most likely not be done.What staggers me about Herzog's vision is the extreme lengths he goes to achieve it. Any person calling themselves a filmmaker has to respect Herzog's determination and willingness to achieve his one vision of madness and obsession. And that is what FITZCARRALDO is about. It is, like AGUIRRE: THE WRATH OF GOD- an obsessive film about obsession. The film is set at the turn of the 19th and 20th centuries and stars German actor and longtime Herzog collaborator Klaus Kinski as the madman who wants to build an opera house in the jungle. There, he overcomes obstacle after obstacle- and apparently he achieves this goal. The film gives off an interesting notion at the end- this film could largely be happening inside of Fitzcarraldo's (Kinski) mad mind. That makes sense- but the film strikes the perfect balance between reality, delusion and obsession. FITZCARRALDO is a great film- one of the great visions of the cinema. This is a film, like Roger Ebert put it- APOCALYPSE NOW, 2001: A SPACE ODYSSEY, or even THE WAGES OF FEAR or LAWRENCE OF ARABIA. It's the kind of film made by an intensely driven, possibly insane man who would stop at nothing to achieve his vision out of sheer passion for moviemaking. Few filmmakers of that caliber have ever existed- the great filmmakers- the ones who are consumed by their cinematic vision- that they themselves become a sole creative force and work themselves into legend. Herzog has done that here.
Drew R (us) wrote: It was a pretty good war story and seeing Michael Caine young was fun, but not really my type of movie. It felt a bit long at over 2 hours and repetitive. The special effects were also unsurprisingly poor since it was 1969.
Ken L (it) wrote: I saw Friendly Persuasion as a teenager in the mid-1950s, when it was first released. Generally liked the movie then, though felt it took its time to get going. Seeing it again 60 years on, I was thoroughly bored - nothing much happened and what did was largely unbelievable. The actors also couldn't do much with their roles. My wife, who also saw it as a teenager, gave up 20 minutes into the film, and went away to wash a large stack of dishes. It's a joke that the film won so many Oscar nominations given the dreary writing, direction and performances. Friendly Persuasion, thee I do not love.
Dave W (de) wrote: In space no one can hear you let the dogs out but if you lay an alien egg inside an actual dog, an alien is going to bust out anf kill the hell out of some people, then one of them SPOILER ALERT is going to commit suicide because the future is bkeak eniugh with out some damn corporation wanting to take an alien back to study. Best uses if fishbowl lenses since gleaming the cube if they used a fishbowl lense in that. I wanted to give Alien 3 3 stars because the bleak nhilism was great but didn't appeal to as mny senses as the first two alien movies. Sadly my smart ohone would nit let me scroll past 2.5 stars. Maybe I should start calling it a dumb phone. Or maybe the jole is on me because I am not using the official Rotten Tomatoes app. I'm a zombie. Whatever, it was a pretty good movie, but the half star just isn't worth it.
Art S (us) wrote: The Lubitsch touch was a certain wink-wink naughtiness put forth in a sublime comic way that kept things elegant rather than crass or raunchy. Or at least that's my interpretation. Here, Gary Cooper and Frederic March are best friends, a painter and a playwright, who fall in love with Miriam Hopkins. However, she can't decide which she prefers and instead they decide to live together as a threesome - but no sex allowed. Of course, this doesn't quite work out (or does it?). Edward Everett Horton is the fuddy-duddy foil to the merry three -- although somehow he is less funny than in the Astaire/Rogers films. In fact, the whole package is somewhat less delicious than other Lubitsch hits (Trouble in Paradise, The Shop Around the Corner, Ninotchka, Heaven Can Wait, To Be or Not To Be) - this may be a result of the screenwriter, Ben Hecht, who excelled in a different kind of comedy (His Girl Friday, Nothing Sacred, Twentieth Century). Nevertheless, Design for Living crosses many lines in its review of the plausibility of the menage a trois (something the censor would never allow a few years later) and it has a distinct feminist flair with Hopkins definitely in control. Not quite a revelation but never less than enjoyable.
Alec D (es) wrote: "Drillbit Taylor" is one of those old school comedies from/for my generation (by the way kids I am talking about the 80's) that you always remember with found memories where a simple but effective story is delivered with no pretentiousness or forcing of sentiment but instead it is given to you with care and attention with the aim of making you smile, entertaining you and to get you cheering-on the loveable loser hero as he comes through in the end. It is by no means original however that is part of it's charm, it does not ask to much of you except that you enjoy your time, which I did thoroughly and I would go so far as to say it is one of the best performances by Owen Wilson to date. I always found Wilson very hit or miss always throwing himself at roles and hoping something will stick. "Drillbit Taylor" is, in all the right ways, "Superbad" for the young teens of the 80's. It's funny, it's likeable, it made me smile, it made me laugh and it knows exactly what it is and who it is aimed at. Most defiantly recommended.