La cáscara

La cáscara

An advertising creative dies unexpectedly while working on an idea for the launch of an anti-cold pill. From then on Pedro, one of his old colleagues, begins an intricate search in order to...

An advertising creative dies unexpectedly while working on an idea for the launch of an anti-cold pill. From then on Pedro, one of his old colleagues, begins an intricate search in order to... . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechersSize
Download   La Cascara DVDR [Spanish] PALDVDR31474 GB
Download   La Cáscara (DVDR) (Multi)DVDR28474 GB

La cáscara torrent reviews

Charles S (es) wrote: One of the darkest, most brutal, most horrifying film I've ever laid my eyes on. This film is a true masterpiece of horror cinema, and the fact that it has never had an official release borders on criminal. I absolutely love the documentary style of the film. It's very different from the usual "found footage" genre, and I think it would have been a big hit in theaters. The killer is truly horrifying, and the level of brutality and suffering in this film goes beyond anything i've ever seen, and the sad part is that this kind of thing happens in real life. One of the best horror films of the last decade.

Dominic R (br) wrote: Forget Don Bluth. This is the darker side to animation.

Douglas L (ag) wrote: Matador is not a bad film as it has a lot of material and personality however at this point with this film the director Pedro Almodvar has not mastered his craft.

Clarice C (kr) wrote: LLLLOOOOVVVVEEEE iiiiTTT

Kevin N (es) wrote: Roberto Rossellini made films that make your soul feel heavy, and this, his first film made with muse Ingrid Bergman leading the cast, may be one of his very weightiest. It's a troubling and challenging character study strictly because neither Rossellini nor Bergman give us any easy answers as to why her character, Karin, is so distraught. In many ways, the film points to the most disturbing answer of all: there is no explanation. I see Karin as a parallel to the little boy in Rossellini's earlier masterpiece, 'Germany Year Zero', and perhaps this is the product of what happens when an exit from this world just isn't possible. The tall, jagged wrecked buildings of 'Germany Year Zero' inevitably lead to the dizzying heights off which the boy sees his only solution, yet here, in this even sadder study, Karin doesn't have anything high enough to leap from- or doesn't have the courage to find anything. She constantly takes measures to try to improve her life, but even a foreign land and a husband are useless as she burrows deeper into her own sorrow. The film is thematically very heavy, and even in its brief running time it feels very, very long. Rossellini uses the minimalist structure he used with his best neorealist films but peppers this production with ironic touches thanks to the Hollywood backing Bergman enabled him to have- though he'd never get it again after this movie, despite his continued collaboration with Bergman.

Dean E (es) wrote: I appreciate the idea of a monster movie that is self aware enough to make fun of itself but so much of the humour is poorly delivered. Methinks this is mostly at the fault of the director. And perhaps it was the result of forced rewrites but for the lines it has that make fun of itself, there are still too many lines to laugh at that don't seem to be intentionally funny. Is it at least entertaining? I guess...?

Dylan C (fr) wrote: Cumbersome thriller about a loving husband turned psychopath after he has delusions that the center of the universe has chosen him to kill beautiful women. Stylistic at times but utterly aggravating in it's plotting as the film reveals every twist and turn a good hour before it executes them. This film doesn't look good enough to make up for its contrived and dreary story; even the actors look like they don't know what they're doing. David Keith as the psychopathic father never hits a menacing note throughout the entire film and Cathy Moriarty is given the typical misogynistic "screaming woman" role. Director Donald Cammell seems to have had large aspirations for this film as he includes great sweeping shots of the Arizona landscape along with classical music (featuring Gustav Mahler's Second Symphony throughout the film). These touches made White of the Eye less aggravating than other films in it's genre but I can't say they build up enough of a reason to bother with this film.

Liam C (gb) wrote: This is a very traditional film and we learn that right as the film begins and even its poster was the Oscar 'template' for its time, not like that had any bearing on whether or not it won, it's just noticeable. It has one of our main characters walk past Chapel as opposed to running past it to show respect, even if he runs past it later, and the overall film is very accessible. Saying that, this does feel like the kind of film that The Academy falls head-over-heels for and this might be one of the earliest cases of that. The first clip I saw of this film was the boxer in the classroom hitting the other person in a very over the top way and I thought that this was going to be one of those old classic films that had a certain innocence to it that couldn't be replicated in any other time. But that was wrong as this is a very downbeat and gritty kind of film, which in turn makes that scene in the class look out of place as you can't just go up to people, in a school no less, and do that kind of thing. Although, he did seem to throw his hat a lot, which was funny. But the poverty was even worse in real life than as depicted here! The film has its humour which would be needed in that time, there was a scene very early on when someone puts water over someone with a pipe, and even if he was in a bath, would they do that? Also there was some unintentional humour, like when Mr. Gruffydd says to please remain seated and it didn't look like they were moving anyway. I really did get the feel of community in this film, (even if it seemed to be stereotyping only a little at the start), with everyone having to keep together to cheer each other up, especially with singing and the party scene where that person dropped the cake or the singing in the house, or at least as long as that lasts because even that has its breaking point. Whilst they might have a huge community and relationships with one another, I remained very distant as I didn't feel anybody was really developed at all and I hardly remember anybody's name, it doesn't really help when most of them don't have names and are only called by their surname. The only name I knew was Huw and that was just because of the fact that everyone says it so much, like people would, I had to look up everyone else after the film was finished. The film seemed to skip too much of these people's lives whilst, ironically, having not much happen; I like a good, slow character driven piece but when you don't know the characters or care that much, what is there to grab onto? It also doesn't help that the story never really seemed to start either, after about 16 minutes it finally looked like it was going to stop with the monologues and get going but then it goes to 35 minutes and it just keeps happening. The film seemed to lack focus as well, as gathered from the overheard narration, Huw is meant to be the centre of the story but he didn't seem like he was that important in what was going on and there are many scenes where he isn't even in it and the cover has O'Hara and Pidgeon on it. A story that is told by a single person doesn't necessarily have to have him in every scene as this is about a village, but the film didn't even seem like it was from his perspective, like I think was intended. What's worse is that Huw doesn't age at all making everything feel like the story takes place over a few months, but, for example, seeing how quickly the school storyline finishes, if it can so be called, that is clearly not it. I've read some theories that he is telling the story and imagining himself as a boy as a sign of the innocence of youth, but that just seems like an excuse to cover up a mistake. The only way to cover it up that he was getting older is that his hair is long when he is young but tidier when he is supposed to be older. It is just very bizarre to look at, we see a bunch of children fighting in the mine at one point and they are supposed to be older teenagers but it clearly isn't; they didn't even try to put makeup on his face to make him look any older. And good job that person in the mine didn't miss with that hammer when he was working with Huw. I was never bored but the film slowed down even further around 45 minutes but soon after when Huw started school, things started to pick up as there was actual conflict and something was happening but it is over as soon as it is begun and that is pretty much the whole film. Each scene fades to black and the next one fades back in with black and it feels like a bunch of home movies of these people's lives pasted together and called a film. It's like we're watching these characters every so often over an extended period of time and we don't learn anything. While it is clear that a character is having distress with her marriage and that also showcases a progression of time, we don't know anything about that particular storyline, like most, so in turn it doesn't really mean anything to us. We see Mr. Gruffydd earlier on when the marriage ceremony is going on and he is in the background and walks off, so there is some intrigue there, but still, it's vaguely touched upon. Again, some could say as this film is supposed to be from Huw's perspective, so why would he know everything? But that is exactly my point, this film is muddled on what it wants to be and do. Even with Huw's own storyline of him having to walk again, seemed like it was a throwaway.The script for this film is very good and the way the characters say the well written dialogue is just great to hear. I liked Mr. Gruffydd's talk with Huw about not believing the doctors, that was nice and when Huw talked about why did the mother have babies was innocent enough, I did expect a sly response by her though. There was also a conversation with Mr. Gruffydd with that horrible person that tells that person to leave the Chapel and I wondered if one said simple and the other said civil. There is a part where Huw is the only one left at the table and goes 'ahem' and it was a great scene, he said that to get acknowledgement he hadn't left but it's not like at his age he would have known. The acting in the film is good, even though there is a distinct lack of anyone even trying to put any effort in to doing an accent, a very small number at least try but it is distracting if you think about it. I spoke about the singing and the breaking point earlier but that applies to the audience as well, the singing makes sense but it just keeps happening more often and drones on and on. I thought I heard them singing 'God Save The Queen' earlier on in the film but later on they do actually sing it, which is odd, because how was that person who got that letter found? But even the script has its odd moments, at one point the wife says she is going to do something and the husband says that he wants her to do something else and I could have sworn that he said, 'black eye it is, then', really? If that was what I think I heard it as, that is horrible. The film also seemed needlessly cruel, the aforementioned person who yells at the person to leave the chapel seemed a bit over the top and while teachers were indeed necessarily stricter back then, the way that person was behaving in particular seemed overboard. I understand these were harsh times but that's ridiculous. Putting out your hand for free money from the spending box seemed a bit rude, even if they said thank you, they should have said please as well, instead if just standing there with a smile. And good job he didn't hit the basket with the shortbread when his dad helped him up to leave the room. I don't know why the wife was out in the snow just to talk about her husband, you'd have thought she could have done that any other time, preferably indoors. And who would have actually heard Huw when he fell into the water off screen. When they say they're going to America and the father says to keep quiet, I expected the mother to say, ' you haven't heard my opinion on this', even though they were old enough to make up their own mind, you'd still expect the parents opposing opinion and try to get them to stay. It also looked like the dad sneezed when the other person came to his house to talk just to distract him, even though he had been sneezing earlier, as it seemed like he said something when he sneezed. And at the end it seemed odd to have people running in to see the injured when surely they would be running out trying to escape, I thought the film would end on a downbeat note with them going down to the mine but it ends with some hope, even if it looked like the dad was still breathing. And for a laugh, the makeup artist is called Guy Pearce.This is certainly a well made production with good cinematography and music as well as effort by its cast but it seems too much of an ambitious project to fit all of the story's content into just an 1hr and 58 minute film. The film certainly has its heart in the right place and it is good for what it is but considering how much the book explains and how much content it has, this should have been much longer or maybe split into parts? I understand that most of the time sacrifices have to be made in the translation from book to film but sometimes it hurts it too much. As it is, 'How Green Was My Valley' is an interesting project for a film, and fitting for its time, as well as made pretty quickly after the book came out. However, it has become infamous over the years for its still shocking win over 'Citizen Kane', like I already explained my review of that and like countless others have, 'Kane' was under a lot of unjust controversy at the time, which explains why it wasn't exactly the favorite to win, but it's fun to look at in retrospect. However, it does speak volumes that a film is only remembered because of what it won against, things like, obviously, 'Citizen Kane', 'Sergeant York' and 'The Maltese Falcon', as opposed to its own artistic merits, which would go on to happen many more times in the future. Overall, it isn't like it is terrible, it's just the film could have been a lot more, but I do like the tagline quite a bit though, almost makes me feel bad for not liking the whole film.