A weekend in the life of the Arnett family. The events of a forty eight hour period have a rainbow of incidents. From a preacher to a drug dealer; from an innocent young school girl to a ... . You can read more in Google, Youtube, Wiki
A weekend in the life of the Arnett family. The events of a forty eight hour period have a rainbow of incidents. From a preacher to a drug dealer; from an innocent young school girl to a ...
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Laurel Avenue torrent reviews
Hunter D (br) wrote: What a disappointment. Being a fan of Alex Cox, I've wanted to see this movie for some time, mainly because I'm a fan of spaghetti westerns and the idea of Alex Cox doing a film in the genre's vein is interesting given that he is seen talking about them all over the place. The movie references classics of the genre right and left, from ONCE UPON A TIME IN THE WEST to DJANGO KILL, however Cox doesn't really have a fix on the language of the genre and any comment he may have had on it gets lost in the fray of comic weirdness that fills this movie. It's endearing and cute for a short spell, but at the end of the day it's just vapid and forgettable. Fortunately Cox does have a really good western in his filmography in the form of WALKER starring Ed Harris. I suggest you stick with that.
Issac L (jp) wrote: After my bittersweet reaction towards Pasolini's TRILOGY OF LIFE (1971-1974), I tend to be a little heedful to wade into his canon, so not until vaguely 6 years after, I find a chance to watch his another work of indecipherable philosophy, THEOREM, which is introduced by a wobbly-shot interview in front of a factory and then segues with a silent canto under sepia tint, flickeringly introduces the family members of the story to be told. The father (Girotti) is the factory owner, with his wife (Mangano), daughter (Wiazemsky), son (Soublette) and the maid (Betty) lives in a stately mansion, one day, arrives a young visitor (Stamp), whose occult charisma and amiable endowment are too glaring to resist, and one after another he seduces all the family members (starts with the maid and ends with the patriarch), then he leaves, but his benedictory actions precipitate the ripple effects which alter everyone's mindset. The maid suddenly acquires an ability to cure and even conducts Ascension-like behavior; the daughter suffers from lovesickness and the son gets burgeoning inspiration for his art but also feels being enfettered; the matriarch constantly scouts out young boys for carnal pleasure and the patriarch starts to haunt himself with utter nudism. It's hard to conceive what's behind all these esoteric metaphysics after just watched the film once, but it is hardly an engaging one to invite immediate revisiting. To dissect a Pasolini's film, its religious overtones are the elephant in the room, is Stamp the God himself or a godsend messenger to endow this quintet with his pansexuality? Another contentious part is how to read the aftermath? Among those five people, only the maid belongs to a lower class, but it is her, seems to possess a supernatural gift eventually, while the bourgeois family is entrapped in respective shackles and the ending shows no way out for any of them. It can be interpreted as a lash on the decaying middle class, only the poor and the proletarians are the beneficiaries from God's gift. Morricone's accompanying score alters from eerie ambient to rich concerto, plus Mozart's Requiem, stratifies the film's mythical layers of causes and effects. Stamp's sex appeal has been magnified to the maximum with a contentious camera faithfully captures his congeniality and deadly smile. Betty is a standout among the recipients, gives an intent thousand-yard stare in her hallowed supremacy. By comparison bigger names like Mangano and Girotti never fully register too much into their slightly hollow revelations, maybe it is all intentionally disposed, and Pasolini remains to be an ineffaceable enigma to me.
Nate W (us) wrote: Like many a Tennessee Williams story, "Baby Doll" is a steamy, sordid tale of jealousy, cruelty, and sex set in the deep South. And like many a Tennessee Williams story, it's a true actors' showcase. Karl Malden plays Archie Lee like a barking dog, waiting impatiently for the day he can finally take his young virginal wife Baby Doll to bed. Carroll Baker brings the right quality of spiteful immaturity to Baby Doll, cruelly tantalizing Archie Lee and flirting with men. Williams' screenplay draws appropriate visual parallels right off the bat, as we first see Baby Doll sleeping in a child's crib, while Archie Lee peers at her through a hole in the wall on all fours, joined by the household dog. Some lengthy sequences make it hard to dissociate the film from its stage roots.
Andy V (ru) wrote: (Review a few years after seeing). I remember this one was pretty decent, given the obvious limitations in action sequences. Bond has his choice of women of every ethnicity at the bad guy's base at the top of a mountain. Hard to make up this kind of masculinity.
Eduardo C (nl) wrote: The story of a poor English boy who is abused by nearly everyone, and his falcon whom he captures and trains, and does not consider a pet, because the bird is "Wild, untameable , and free".