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Le joueur torrent reviews
jacob b (fr) wrote: One of the funniest movie's I've ever seen.
Scott W (es) wrote: Holy crap! That was actually a movie? Total waste of $1 at redbox! Stay away from this one.... Far away!
Marilee A (au) wrote: LIGHT BULB MOMENT, wanna see this
Ross L (us) wrote: Well made documentary film. I still don't know how they got Christopher Reeves and George Clooney to be in this film. Wonder Woman is cute and nice... somebody give her a job. 2008 Movies: 69
David C (us) wrote: Not a bad aussie flick. The mother gets pretty annoying, though Emma Booth is fun to watch :) Can't imagine why they'd think to call it Introducing the Dwights in the US, released as Clubland in Aus.
BRUNO V (nl) wrote: Movies with japanees people , no thanks
Julia N (ru) wrote: Not the best thing, but pretty great for a Japanese made film.
Wilman A (nl) wrote: Eastwood truly knew how to execute one of the most sensational conspiracy story. Nice casting, nice screenplay and nice works of course.
Craig K (ru) wrote: More true to the original comic version than the new one.
visitorQ S (es) wrote: Adjani is a goddess!
Tim H (us) wrote: Cute kid divorces her parents flick.
Marilee A (ru) wrote: Very Sad True Story, well played
Alexandre R (au) wrote: Troisime film de Vittorio De Sica pour moi, troisime coup de poing au visage. Encore une fois, fort de l'esthtique no-raliste de laquelle il est pass matre, De Sica tourne son film dans les rues ravages de Rome, avec des acteurs non-professionnels pour tre sr d'atteindre le plus grand niveau de "vrit sensible" possible. Jamais vous n'allez remarquer de maladresse de la part de sa distribution. J'ignore comment il a fait pour tirer de ces garons un jeu d'une si grande force, mais chose certaine, c'est russi.Un prjug contre les films no-ralistes vhicule l'ide qu'ils sont dprimants et d'un ennui profond. Or, rien n'est plus faux. Je n'ai pas vu passer les 90 minutes. De Sica russit faire de la ralit de tous les jours le cadre de pripties prenantes mais toujours crdibles, justement parce qu'il est si terre terre. Il saisit si bien tout le drame des situations qu'il dpeint qu'on finit toujours par avoir une boule dans la gorge. "Shoeshine" s'inscrit dans la mme lignes que "Bicycle Thieves" et "Umberto D.": des films humains et compltement immortels.
Laura D (nl) wrote: Paul walker is soooo sexy
David S (ca) wrote: Jeff, Who lives at home, is a movie surprisingly less about Jeff, and more about the people around him and how his innocent incredulous attitude of life affects them. It isn't as funny as it believes itself to be, nor is it as deep. It has moments that can be quite emotional due to the well formed chemistry between the characters. It is a movie that has the ability to create empathy, but lacks any impressive feats. Jeff, Who Lives at Home, is a pleasant watch, and whilst it is different for Jason Segel, it may be one of his better ones.
Henry P (de) wrote: The end of the Disney Renaissance (the one before the one we currently live in, whether it's Tangled, Frozen, Wreck-It Ralph, Big Hero 6, etc) is not a disaster, but it not perfect. Tarzan open with human man and woman escaping with son from burning boat, then building new life, only to be eaten by leopard. Meanwhile, an ape couple loses their son to the same leopard in a parallel of tragedies that bring Kala (Glenn Close) and human baby Kala names Tarzan (Tony Goldwyn) together. However, Kala's husband Kerchak (Lance Henriksen) disapproves, and rejects Tarzan in cruel way. His heart was in right place for family, but Kala continues to raise Tarzan as ape anyway, like Harambe may have with boy in enclosure, but for safety of child, we may never know. Tarzan grows up to be ape-man, in scene-montage-scene where he make friends with Terk (Rosie O'Donnell), Tantor (Wayne Knight), and other apes/non-apes-and-humans alike. Tarzan begins being well-received as ape until new humans arrive. Tarzan meets Jane Porter (Minnie Driver) here to sketch animals and help her father Archimedes (Nigel Hawthorne) with research, and Clayton (Brian Blessed) to defend them. The opening act sets up the rest of the story beautifully, but this and other Phil Hartman song set montages make Tarzan feel like music videos for Phil Hartman songs interjected into movie for no other reason than to make movie go faster, like Tarzan growing up through montage, or learning human culture through montage. Montages used too much, though music comments well on what's happening. What we get enough of and never too much of though is character development, especially when you remember we follow Tarzan from baby to adult. We get to see how he's treated as different by other apes, especially his adoptive father Kerchak, and we feel sympathy for his plight throughout. We also get good development of Jane, who is the only other important human character, and aside from Kala, most other characters are just there and/or Tarzan's friends, but ultimately, drama comes from Tarzan's plight and how he reacts to the arrival of the first "hairless wonders" since Kala found him. The animation also beautifully rendered. While traditional animation does not create photorealism, some water looks more detailed with the enhancement computers provide, and so does the jungle environment. Disney makes do with great animation before Pixar acquisition gives computers their larger takeover, but I digress. Mark Mancina's soundtrack does its job, but Phil Hartman's vocal songs are what really sells the emotions in music, even if they're poorly placed. What Tarzan does not place poorly is the humor, and there's lots of laughs to be had, although adults may not be as entertained by the humor (unless they watched it as kids). Tarzan ultimately warms heart, but less than others do. Disney dropped ball here, but picked it up after some notice.