Kevin Hart: Let Me Explain
Captures the laughter, energy and mayhem from Hart's 2012 "Let Me Explain" concert tour, which spanned 10 countries and 80 cities, and generated over $32 million in ticket sales.
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Kevin Hart: Let Me Explain torrent reviews
Matthew M (gb) wrote: Aubrey Plaza is the best thing about this movie
Bill B (jp) wrote: I was able to finally give the earlier films another look and wrap up the trilogy the other day,and I have to say I was pretty pleased with the series overall. I mean, the influences are pretty obvious and it doesn't exactly go anywhere you wouldn't expect it to go, but I still found it to be a fun outing.Rent that mother, finish out the series.
Jenn C (ag) wrote: For a Disney Channel movie, this one is pretty good...
Michael H (fr) wrote: Quite a good little movie about a little known backwater of the drug trade. Fine performances all around as Jesse Eisenberg's character loses his way in perfectly understandable steps.
Ac Q (nl) wrote: Like any good bullshit story, you add a little bit of truth to make it sound real, it is a croc, we are struggling to get the government to spend money on desalination plants, the world is a snow globe, the same amount of water has been here for a billion years, it goes up and comes down, when it lands mostly in the oceans we get more droughts, otherwise we get droughts in some areas and floods in others. No one owns the rain, get a water tank you morons, if you live in a city, well, we need less people anyway. poor choice of housing on your part does not a conspiracy make, and I do believe in global warming for the record. This movie is just rubbish, when you take away everything all you get is revolutions on massive scales, anyone who worked for any government or company that went as far as that would have their entire family and friends network slaughtered long before it ever go that far. Ifyou tried to make my children die of thirst I would cut your children's heads off, the circle of life always beats that step too far.
Pat N (ca) wrote: My overall impression of this film was negative, although it had some redeeming points about self-centeredness.
Gabriel G (gb) wrote: Nothing to do with "Memoirs of a Geisha" (fortunately). That's a masterpiece of Mika Ninagawa, a genius of photography. "Sakuran" is her first movie as a filmmaker and talks about the life of an "oiran" (the greatest prostitute of a brothel in Japan, in the times before the Meiji Revolution). Every photo capture of this film is art: a pleasure for eyes. The wonderful Anna Tsuchiya plays an unforgettable role as a victim of her time: she's sold by her parents to a prestigious brothel and forced to work as a prostitute. Despite she doesn't want to, she becomes the "oiran" and must assume her high position and what it means in that special society...
Niklas S (fr) wrote: Not my kind of humor. I'm not saying that Jay Mohr or Katt Williams are unfunny. What I'm trying to say is that the script wasn't my cup of tea. I bet there's a bunch of people out there that will find this hilarious. I just didn't get it. I will still keep watching Jay Mohr's sitcom and Katt Willams's stand up specials.
Matt D (fr) wrote: Interesting concept but very predictable.
Travis M (ru) wrote: One of the greatest movie I have ever seen. How the actors play themselves is amazing.Even the patients in the mental hospital/rehab are the REAL PEOPLE that he went to the mental hospital with.
Peter S (it) wrote: Load of fight scenes, explosions... could it get better than that...
Luke B (au) wrote: Many consider this the British Taxi Driver. A bit of a simplification as it deals with a man who gets involved with the underworld of underage girls and prostitution. Mona Lisa is much more a romance set against a backdrop of criminal violence. Bob Hoskins stars in his greatest role ever. Just out of prison, he gets a job driving around a high class call girl. They develop a working relationship of trust and soon Hoskins is asked to track down a missing girl. Hoskins is so perfect in this role. You can easily see him as a gruff and mean gangster, but he adds a vulnerability which serves the romantic angle so well. He also has an endearing childlike naivety. Hoskins has great chemistry with everyone from Michael Caines villainous Mortwell, to his conversations about crime novels with Robbie Coltrane. The soundtrack is ace, with the opening and closing lyrics to Mona Lisa being all about interpretation, which this film certainly asks you to find your own. Director Neil Jordan litters scenes with which allude to fantasy stories, a white rabbit here, performing dwarfs there, etc. The dialogue is funny, the relationships emotional, and the themes disturbing. It's the full package and almost unique in its tone.
Daniel C (nl) wrote: Alain Delon, a Paris police commissioner, has seen too much, and it disgusts him. He has nothing but disdain for the entire human race and if he had a bomb big enough, he'd probably blow up Paris and be done with it. He pulls punks into the station and beats them with the same concern he would show a smudge on a mirror. If he's about to nab a criminal and sees the guy is about to commit suicide, he looks away, lets him, and why bother having to deal with him alive. He has no friends because everybody is scum -- potential jailbirds he'll have to bother with. He's really angry, and Delon's blue eyes are moist throughout, deeply pained, because he's a man who hates being alive. Ignore what you read, this is another Melville masterpiece, foolishly name-changed for the US to Dirty Money from the actual title, "A Cop". Melville pulls in a couple of American actors, most important the superb Richard Crenna, as Delon's co-star and nemesis. There's a scene in a nightclub Crenna owns -- Delon comes in to "visit" Crenna and their mutual girlfriend Catherine Deneuve. The sequence is silent, as so much of Melville's work is. It's all about the eyes, Delon staring at Crenna, Crenna looking back at him, Delon staring, and finally just getting up and leaving. This is a heist movie. Crenna pulls a heist with his team at the beginning that had me with a knot in my stomach. It's a bank job. It's a prelude to a daring helicopter robbery of a batch of heroin being transported on a train. Delon has a stool pigeon, a glamorous transvestite, who tells him exactly where on the train the goods will be. But a pro named "Suitcase" has been hired to move the heroin. It's his niche. Delon has to work out who's pulling the job and track them down. He does it, ruthlessly and mercilessly, and when he's done, he looks at Deneuve, knowing she was in on it, leaves her for another go round, and takes a radio call for his next job, his next dealing with the trash that inhabits Paris. Melville is saying, in the main title and in Delon's dialog, in this final of his films, that cops by their nature are hardened and disdainful of the public. Melville didn't import American movie genres, he created genres that were copied by Hollywood. He was one of the greatest writer-directors in film history. He wrote scripts fearlessly without dialog. He let brilliant actors like Alain Delon do the sort of work Matt Damon does in the Bourne movies, which emulate Melville's Le Samourai. Stream all the Melville films and study them if you love cinema.