La insaciable

La insaciable

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La insaciable torrent reviews

Ian G (ru) wrote: A pretty lame and insulting romantic comedy that throws in an unrelatable failed writer turned dishwasher who thinks his life can be turned around by winning the heart of a woman strictly by witnessing her kick a football on the day of her own wedding and become an ackward stalker dood for the duration of the movie in vein attempts to win her affections. Too many of the jokes fall flat or rely on too many grade school testcile references, and you in no way would see why any women in their right mind would leave their secure relationship for this guy. And to think this was directed by the same guy who way back in the day did Benny and Joon. Very unfortunate Cancon exec produced by the formerly great uber producer Robert Lantos.

Al M (it) wrote: Basically The Breakfast Club if the students were slowly killed off throughout the movie, Bad Kids Go to Hell is a wickedly funny and twisted little horror film that deftly blends brutality with black humor that keeps you guessing as to whether there is a murderer or something supernatural on the loose.

(mx) wrote: my favorite animate movie ever

Kurt J (jp) wrote: I really liked the subject matter of this documentary. Rich people go to Cambodia and "discover" a highly talented dancer with a smile that lights up the world, an arrogance that will project confidence on a stage, and a heart of gold. So, they take him to new York and train him to be a ballet dancer because, well, what poor rice patty boy from Cambodia wouldn't want to do that?For all its faults, "Dancing Across Borders" does have a charm because of the subject matter. In fact, you have a sneaky suspicion he will reach the goal of becoming a critically-acclaimed dancer, but you cheer for him anyway because he is such a sweetheart of a human being. To recap, subject matter-good, rich people who needed vanity and a project-bad.

Yury D (es) wrote: Oh Middle-of-the-Road Deity! Why? Why?

Matthew B (it) wrote: Great flick. Cage at his best.

Mark R (it) wrote: Usually the formula requires some nudity in these films but this was one where not even that could help this low budget piece of crap.

Gregory F (ca) wrote: Manages to be objective, presenting all sides, while nonetheless being passionate and evocative.

Janet Zahra W (it) wrote: Well it was not a great performance by Mr Sheen....Not a great show at all ....

Ray J (de) wrote: Monty Python classic performed at the Hollywood Bowl in 1982. Now that's nostalgia!

Walter M (gb) wrote: In "From the Life of the Marionettes," a tender embrace between a half-naked prostitute(Rita Russek) and her customer, Peter Egermann(Robert Atzorn), soon turns ugly, as he suddenly attacks her before brutally strangling and sodomizing her. The first person on the scene is Peter's friend, Professor Mogens Jensen(Martin Benrath), a psychiatrist. Interviewed afterward, he wonders at what could have driven Peter to such a heinous act. Yeah about that. Turn the clock back a couple of weeks, and Peter is telling Mogens a fantasy he has about killing his wife Katarina(Christine Buchegger), a fashion designer, which he instantly dismisses as harmless. Once Mogens thinks Peter has left, he calls Katarina for a possible assignation but she has second thoughts, with, unbeknowst to them, Peter hidden in the room. "From the Life of the Marionettes" is a dark and disturbing movie about a murder that is much more concerned with the murderer than the victim. As the movie goes on, the possible motive becomes increasingly more complex to the point where Peter gets what he has been seeking all along. Some of that motivation might come from him feeling trapped, as he is pulled and pushed in all directions, hence the movie's title. As oft-putting as some of Ingmar Bergman's later films can be, it might surprise some that this one is a little more accessible, as the movie's circular structure draws the viewer in with a limited amount of exterior shots to heighten the claustrophobia. For the most part, Bergman is operating on all gears with his patented use of close-ups and the positioning of faces. For this film, Sven Nykvist shoots mostly in black and white, with occasional flashes of brightness to heighten the dreamlike imagery; the only color images coming at the beginning and the end, with the reds accenting the lurid atmosphere of the strip club.

Jack K (nl) wrote: I really liked Medem's other movie ' Sex and Lucia' but this lacked the intensity and was a tad indulgent. There were some good performances from Cruz and her lover , but Ma Ma could have been a lot better and the editor could have sliced a lot out of unnecessary jump cut scenes that moved the plot no where. The dream sequence with the Siberian girl could have been so much more and was overused. There was some nice humour on the very bleak issue of cancer.

TonyPolito (kr) wrote: Overly soapy/melodramatic but, in the end, emotionally rewards the viewer with an appreciation of what is (and isn't) shallow in human nature and romance. Director Vincent Minnelli makes exceptionally strong use of Cinemascope. Every single shot/scene is specifically and cleverly composed to take full advantage of it, something few films can claim. It drapes the actors well in rich, fully-displayed backgrounds and set pieces that enhance their deliveries. When Sinatra hits town in a Greyhound, the viewer sees so much of its interior, it feels like he/she is riding just across the aisle from Frank. When the viewer first meets the jeweler (far-screen-right) speaking to his secretary, isolated at the other side of the room (far-screen-left), the shot implies they're much closer, that something's unspoken between them. When actors are panned as they walk across a set, the viewer takes in so much set, he/she becomes immersed within it. Another viewer treat is Shirley MacLaine, here in her first of five best-actress Oscar nods. MacLaine's basically delivering here her 'ditzy-party-girl with a heart-of-gold' character, which she perfected into another Oscar nod five years later in 'Irma La Douce' - and later delivered to Broadway/film in "Sweet Charity." Colors here are almost as crisp as mid-Century comes; this is MetroColor - Kodachrome one-strip cooked in the MGM labs - and cooked quite well. The plotline's a dated indictment of small-town hypocrisy, who it hurts and how it hurts them. Frank's returned home to little MidwestBurg after decades and, being both successful writer and drifting boozer, he just can't figure out on which side of the tracks he belongs. Don't miss when Dino packs for a trip - and ever-so-subtly decides that six bottles of booze belong in his suitcase rather than his shoes.RECOMMENDATION: Decent investment of viewing time, mostly due to the cinematography and MacLaine.

Marco P (es) wrote: a dark fairy tale, a very imaginative story even thogh the acting is now old fashioned

Brendan N (kr) wrote: 90s popcorn thriller that never clicked, mainly due to its odd choices. The film is quick and has some solid moments, the nut house is one of them. The rapid storyline really didn't help, they really needed another 20 minutes here. The film is a offbeat teenage thriller that is fun and never takes itself too serious. Giant plot holes aside, the X Files team needed a better film transition because when this story is in full swing it really does work. A guilty pleasure film that includes a really cute Katie Holmes performance around the time of Dawsons Creek. The ending is quite good too.

Joanna R (br) wrote: This movie makes me happy