A young elephant goes on an extraordinary adventure and learns important lessons along the way about friendship, love and courage.
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Jamie C (jp) wrote: A very funny sequel that literally feels like a remake with having the same story and same problems they face, It's not as good as the first but still really good, It doesn't take itself seriously by making fun of the fact that it's the same as the first, The action was pretty good, A slow start (For the laughs anyway) Soon picks up, Ice Cube steals the show but is underrused, A must see for people who liked the first.
AW C (us) wrote: While I appreciate the story, the characters and emotions didn't properly impact.
Andrea R (jp) wrote: Nice animation and soundtrack. Creepy story, but good!
Kameron M (ca) wrote: It wasn't a very interesting movie at all and I kept praying for it to just end! Boring and mundane, with an all too simple story. The only things i liked were the pie-making and Andy Griffith's character. Keri Russell's acting was bad. This movie is nothing special.
Dacia J (nl) wrote: Strangely billed as a dark comedy, this quietly beautiful film follows Hamro, returning back home to his small village in Tajikistan after ten years in a Moscow jail to visit his ailing mother (and to sell her house so he can repay his debts). But it soon becomes clear that his mother and the villagers have other plans for him. A gentle tale exploring themes of moral choices and their consequences. Is it possible to change your fate?
Doctor S (br) wrote: We know that Steve Martin is smarter than the character he plays here, a dentist who inexplicably gets involved with femme fatale Helena Bonham Carter, and that damages the believability. Their scenes together offer the best moments, while Laura Dern and an uncredited Kevin Bacon get to chew a little scenery. Problem is the tone is neither serious nor comic enough, so what we have is a rather vanilla thrilla.
Shawn W (au) wrote: High stakes, conspiracy theories, surprise strategies, and mind games all converge at the 1983 World Chess Championship between the veteran Soviet and his young dissident opponent. This chess film is much better than most sports films.
Glenn C (kr) wrote: As a comedy duo Gene Wilder and Richard Pryor made 4 films together and Stir Crazy was the second, a comedy about two best friends down on their luck. While traveling to California to make a new life for themselves they are mistaken for bank robbers and sentenced to 120 years in prison. While incarcerated they act like nut jobs and initiate a complex escape plan. Its a very funny film and these two guys are so great together. Both have such a unique brand of humour and both thrive on improvisation. I would love to see out-takes from the movie because it defies logic that anyone could get through some of these scenes without fits of laughter. I've enjoyed all 4 of their films but Stir Crazy is probably the best. It does run out of steam midway through but manages to pick itself up for a triumphant finale. Sidney Poitier directed it and he clearly understood what made Pryor and Wilder tick because he exploits their talents wonderfully. A very funny film for sure.
Bill C (de) wrote: Director Martin Scorsese's second film, made for $600,000 by B-movie mogul Roger Corman. Bad movie but in a good way; it is always a pleasure to watch important film careers develop. Scorsese would work again with the radiant Barbara Hershey in 1989's "The Last Temptation of Christ".
Logan M (fr) wrote: Just obnoxious to watch.
Jack P (de) wrote: meh wasnt a bad film seemed a bit pathetic the storyline though
Paul Z (nl) wrote: Early on, Fontaine speaks of being born twice, once when you come into the world, once when you consciously actualize the beginning of your journey. I'm totally paraphrasing, but that's the gist. I was intrigued by this theoretical little idealistic theme. Director Max Ophuls deemed love as much a blight as a miracle, and this syrupy but highly sophisticated drama is one of the finest expressions of his refined aesthetic balance. It's composed of three extended episodes, each from another time in the heroine's life. This gives it a format resembling Ophuls' great Le Plaisir."By the time you read this letter, I may be dead. If this reaches you, you will know how I became yours when you didn't know who I was or even that I existed." As follows the letter that gives this most famous of Ophuls' American films its title. Joan Fontaine's words come to us from the brink of death. The letter's receiver is Louis Jourdan, the object of Lisa's failing affection, a man who has been blind to her passion, and whom this letter wishes both to alleviate from this state plus to blame him for it. Simultaneously, the letter is also conveyed to us, as Jourdan's reading of it instigates a single flashback, whereby we follow the content as narrative images that seem to spring from Fontaine's perspective, abbreviated periodically by her voice-over, which preoccupies the screen. In jeopardy here is only one thing: her existence has been unrecognized, a truth that rather literally kills her. This is why she returns to haunt the screen; her posthumous appeal for acknowledgement.Fontaine overdramatically combines the intensity of her daydream with her feeling of reality: "As hard as it may be for you to realize, from that moment on I was in love with you. Quite consciously, I began to prepare myself for you." There are few characters in film history who so thoroughly exemplify the thrust of melodrama. This film, consequently, appears to stem its genre less from formula than from Lisa's actual core, hazarded, not unlike that of the unfortunate leading ladies of opera, on curtains that rise and fall, until they don't rise anymore. Film, naturally, unlike opera, is a form of renaissance, where images can return to preoccupy us from a far-flung past. The melodrama of this film makes the most of this.Staircases. Sets on multiple levels. Episodic and sectional construction of stories. Historical recreations of continental eras and societies. Entertainment spectacles: the carriage ride with unrolling pictures. Scenes at opera houses. The presence of tradesmen and servants as supporting players in camera movements. Irony. Ophuls' signature panning shots are much more flexible in this film. Ophuls' characters frequently go up or down staircases. The pans can quietly tilt upward or down, keeping the character in the focal point of the composition while crossing the staircase. The staircases here are merely series of short steps, leading from one floor to another. The transitions and pans are likewise minute and elegant. Characters also often move around within a location, such as the businessman incessantly fussing around the train station. Ophuls' camera pans from side to side with this man, as he moves impatiently through the crowd. Fontaine's dreamscape is exposed for us, developed into the geographic web of a city where the sole bystander that matters is Jourdan.
David L (nl) wrote: With refined script, interesting humor, fantastic message, superb cinematography and an amazing turn from James Stewart, Mr. Smith Goes to Washington is also filled with terrific performances all around, warm ending, excellent characters and it is a totally endearing, smart and honestly a must-see film for everyone because of its important message and statement. It is another winner for the director alongside his masterpieces It Happened One Night and It's a Wonderful Life and it is one of the best films of the decade. This is a true classic and a masterpiece that deserves to be cherished for decades to come.
Brett E (br) wrote: I laughed out loud once. I smiled a few times. Other than that, I was generally creeped out by the movie and its awkward violent tone. It really didn't work. Far, far, far, far away from the hilarity of Superbad. And somebody shoot that third little high schooler who tagged along IN THE FACE. I fucking hate him.
Brian R (au) wrote: Bridget Gregory (Linda Fiorentino), a sexy, savvy hustler, swindles husband Clay (Bill Pullman) out of $700,000 and then runs off to find a new patsy who'll help cover her tracks -- by murdering Clay. Fiorentino is enchantingly wicked as the cold-blooded beauty who uses men like toys. Fiorentino's performance is one of the greatest villians roles I have ever seen. It is amazing and poignant seeing a female villian so cold and so ruthless toying with the men, manipulating them into her own doings, and getting away with it while laughing behind their backs and throwing them out like pieces of washed up meat. Ladies if you are reading this go and see this film and afterwords cheer for Linda Forentino.
Darrin C (us) wrote: Fairly interesting with lots of dialog that stays very interesting. It taught me a lot more about previously confused perceptions about insider trading at the stock market. Gripping at times and well acted by the even then seasoned cast.