During her freshman year in high school, Mika Tahara (Yui Aragaki) loses her cellular phone, but later finds it in the school library with the help of an unknown caller. Throughout the summer, Mika and the mysterious caller continue to communicate, and agree to meet each other once school starts again. The caller turns out to be Hiro (Haruma Miura), a delinquent-like boy Mika is initially afraid of, who shows proof of his identity as the caller with a photo of the sky on his cellular phone. . You can read more in Google, Youtube, Wiki
Mika is a fresh high school student who starts texting a mysterious boy. She is shocked when he reveals who he is - Hiro, a delinquent attending her school. What she doesn't know is that Hiro isn't as bad as he seems.
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Bill B (jp) wrote: Presented as something of a faux documentary looking at the people who produce extreme gore titles for the horror community, this one goes into interesting directions when it runs across a quiet, unassuming guy who has his own series of 'films' that are essentially him stalking and killing random women, and as the filmmakers delve further into things, they begin to seem disturbingly real.Well worth a look for the meta-horror feel of it all.
Kara F (ru) wrote: I truly hope Christopher Paolini never saw his book bashed in with the puttering sword this movie tried to unsheathe.
Private U (ru) wrote: Greg Palast flick describing the things that come with influence.
Muffin M (nl) wrote: Sofia (Sock-Yin Lee) is a sex-therapist (or as she prefers to be called "couples counsellor") who has never had an orgasm. After a counselling session with incredulous gay couple Jamie (PJ DeBoy) and James (Paul Dawson), she is convinced to visit a small New York sex club called Shortbus. The minute she steps inside the door she becomes visually, psychologically and emotionally exposed to a sexual awakening. Here, there are no boundaries, monogamy is a foreign concept and all emotional connotations associated with sex are removed. This is a place where sex is viewed as a basic biological function of humanity, and most of all, fun. In her time at the club, Sofia and her husband experience and participate in a number previously unthinkable acts, in an attempt to reach sexual enlightenment.also stars Lindsay Beamish, Raphael Barker, Jay Brannan, Peter Stickles, Alan Mandell and Adam Hardman.directed by John Cameron Mitchell.
Edith N (fr) wrote: Better Than It Ought to Be I think a lesson that needs learning is that, while the plots of Shakespeare are generally universal, that doesn't mean they need to be portrayed in every possible version. The mad king and his three daughters? If you don't make him a king, just a wealthy and powerful man, you can slip that family in just about anywhere. The scions of two rival families who fall in love despite their families? That one is even easier. Heck, the comedies are mostly just silly people falling in love, and that's the most universal of all. However, for every strangely successful [i]The Tempest[/i]-in-outer-space, there's a collapsed [i]Romeo and Juliet[/i]-in-high-school or whatever. (I don't have a specific movie in mind there, but you know what I mean.) This one is just skirting the border--it could have been done better than this, but I'm still not sure it needed to be done at all. John Lear (Patrick Stewart) owns one of those enormous Texan ranches that's bigger than some countries. He had a son, but his son died; he now lives on his ranch with his youngest daughter, Claudia (Julie Cox). Her sisters, Susannah Tumlinson (Marcia Gay Harden) and Rebecca Highsmith (Lauren Holly), come to the ranch on Texan Independence Day with their husbands (Colm Meaney and Patrick Bergin). Lear tells them that he will divide his ranch among the three, but each girl must earn her portion by telling him how much she loves him. Claudia refuses, and he throws her out. She goes to Menchaca (Steven Bauer), the Mexican rival to their south who owns a piece of land that Lear has always wanted. Mr. Tumlinson goes to Austin on state business, and Susannah proceeds to turn out her father and convince her sister that they need to take the land from Menchaca. Menchaca has taken in Claudia, unbeknownst to the others. Susannah tries to convince their neighbour, Henry Westover (Roy Scheider), to join them, but he refuses. He's also having trouble with his sons. When I saw that David Alan Grier would be playing the Fool in this, I was concerned. In my head, he's "that guy from [i]In Living Color[/i] who wasn't a Wayans," and that doesn't bode too well. His character, Rip, is a slave who survived the attack on the Alamo; he says he fears nothing after that. He is willing to speak truth to Lear, the only person who does and gets away with it while Lear still has any power. However, that doesn't mean Lear actually listens to him. Rip knows that the elder daughters are up to no good. He knows that Claudia is the only one who cares for the old man. However, Lear doesn't believe him. He believes his daughters' protestations of love, not realizing that Susannah would say anything to get her hands on his land. I think Lear also believes that Rip cares more for him than he does--Rip is a slave, and the Mexicans would have freed him. He's fond of the old man, but he clearly resents that Lear still calls Rip his property even when he thinks he's being kind. In this version, Susannah is the only daughter who is truly evil. Rebecca is hurt by her father's neglect--it is established that, before he died, their brother was the only one who mattered; after he died, Lear transferred all his affections to Claudia. Rebecca wishes her father had loved her. She is also easily led, first by her husband and sister and then by the bastard Emmett Westover (Matt Letscher). She's not a nice person, either, but she would never have done the kind of things that Susannah did. Her one overtly cruel act--finishing the blinding of Westover--occurs after her husband has been murdered in front of her, after he put out one of the old man's eyes. She tells her father that she does not believe him when he says he'd always loved her best, but be fair--he's lying. Rebecca is too easily swayed by Emmett, too easily enamored of him. However, without Susannah's goading, she might have even remained dutiful to her neglectful father. We are left with no real sense of Claudia, in the end; yes, she remains true to her father, but until the events of the story, he had apparently treated her best. The most interesting characters so far as I was concerned were Rip and Thomas Westover (Liam Waite). I wanted to know more about both of them--how did Rip end up Lear's slave? Why did Westover find it so easy to believe that Thomas would sell the family's horses and kill a trusted retainer? We only ever see Rip in his master's shadow and Thomas in his father's; I like to think that, after the movie's end, the pair of them got together with Mr. Tumlinson and had a nice, long, spiteful conversation about the dead and how they were all of them betrayed. Thomas remains a dutiful son after her own father's turning him out, because this is a story about filial obligation, but then again, Thomas is the only heir to either property left alive. Did Lear's ranch go to Tumlinson?
Joshua F (it) wrote: It has some good animation, but this film is way too hacked up, and clumsily stapled together to truly enjoy it. Not to mention the Miramax additions of voices and songs are absolutely DREADFUL!
Robby R (fr) wrote: One ofthe best WWII movies ever that was rarely seen when it was released in 1975. Seamlessly integrates archival footage with the fictional narrative resulting in a truly unique experience filled with magnetism and awe.
Juli N (fr) wrote: If you are serious about heist films or film noir this is an absolute MUST SEE!
Simon B (ca) wrote: original football hooligan film