Legally Blonde 2: Red, White & Blonde

Legally Blonde 2: Red, White & Blonde

After Elle Woods, the eternally perky, fashionably adventurous, famously blonde Harvard Law grad gets fired by her law firm because of her opposition to animal testing, she takes her fight to Washington. As an aide for Congresswoman Victoria Rudd, she pushes for a bill to ban testing once and for all, but it's her building's doorman who advises her on how to get her way on the Hill.

Elle Woods heads to Washington D.C. to join the staff of a congresswoman in order to pass a bill to ban animal testing. . You can read more in Google, Youtube, Wiki

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Legally Blonde 2: Red, White & Blonde torrent reviews

Edgar C (us) wrote: A classic cinema class from a true master. Scorsese portrays through this amazingly beautiful documentary, the films that have inspired his life, marked a period of his life for him and that really influenced his filmmaking style and have inspired him for life. Films of Roberto Rossellini, Vittorio de Sica, Michelangelo Antonioni and Federico Fellini, among others (La Terra Trema, I Vitelloni, 8 1/2, L' Avventura, La Dolce Vita, Ladri di biciclette, Umberto D., Roma Citt Aperta, and countless others) are shown here, and the way Scorsese describes them, analyzes them and explains them really change our perspective and way of looking towards this type of beautiful cinema. A true gem, I didn't even feel those 4 hours running. Give this a watch, at least in two parts, and change the way you look at classic movies forever. 82/100

David F (gb) wrote: A largely underestimated stylistic treasure

Pavan R (it) wrote: Was intriguing to begin with but the tame end is a total let down...well enacted though

Ken T (de) wrote: It! may have inspired Alien, but in terms of quality these two films cannot be compared. It! is highly watchable and laugh out loud funny - sort of a what not to do in space. A rescue team is brought to Mars to bring back the lone survivor of a Mars base. He is accused of killing all the men on the base, but the man claims that something else did the dirty work. But could there be a stowaway in the form of a man in a clunky alien spacesuit on board?! You betcha! Bad acting, terrible dialogue, cheesy effects (even for the time) and a horrible monster definitely makes this fine Friday night fodder.

Mitchell B (jp) wrote: This movie is hilarious anyone who doesn't like it is stupid

Dave J (gb) wrote: Thursday, January 27, 2011(1974) Mr. MajestykACTION/ COMEDY One of my few personal favorites starring action superstar Charles Bronson which the action has been altered around his tough sarcastic persona! Some of the best highlights include a nifty chase scene involving a Ford dodger pickup truck and some unique shooting sequences! Story loosely based from a Elmore Leonard novel and is never boring! 4 out of 4

Blake P (es) wrote: Experimentalism can only go so far before I begin to feel the effects of sensory overload induced fatigue. Slaphappy style can most successfully avert my attention in the form of a painting, a short form video, but when bombarded by it for the length of a feature film do I rapidly lose that ever-important feeling called interest. While I'm all for artistic expression within the scope of a risky piece, I'm not so easily seduced by a movie that has nothing much else to offer besides its style; I like visual massages better when they take the time to emotionally, or at least intellectually, get me to a point of an optical climax. But "Performance" is like "Midnight Cowboy" minus the wide ranging palette of humanistic feelings - it's a series of overbearing imagery without the depth to make it resonate as anything other than a masturbatory cinematic exercise on the part of its filmmakers. Here, those filmmakers are Donald Cammell and Nicolas Roeg, a pair iconoclasts of the British avant garde who, like star Mick Jagger, used the movie as a vehicle to debut their innovative auteurist maneuvers. And I can take it - to a point. "Performance" begins with tantalization but leads to a bad case of exhaustion on the part of its viewers. It's a film more impressed by its own ocular smorgasbord than it is with nearly everything else. In return, we get a hallucinatory masterpiece that also leaves you dazed and confused, never allowing for unguarded enthrallment. Despite its habit of toting Jagger as its main, "Performance" is really headlined by James Fox, a blue eyed beaut with a snake in his boot. He portrays Chas, an East London gang member whose sadistic nature has gained him a reputation as one of the finest thugs working for Harry Flowers (Johnny Shannon), the ruthless leader of the crime conglomerate. His liking of beating the truth (and cash) out of Flowers's said enemies translates into his sex life, where rough encounters abound. He's a brute, and maybe we wouldn't be so mesmerized by his persona if we weren't so sure that there were some vulnerability lurking beneath his hardened surface. Chas could go on living like the devilish beast that he is for the rest of his life. But his rigid assurance sinks into a pit of despair when he kills (in self defense) a murderous shop owner with whom he has a mangled personal history. After Flowers refuses him protection - to off him is easier - Chas figures it be best to hide in the secluded countryside until the smoke clears off. But a change of fate keeps him in London, sharing the house of Turner (Jagger), a loony, has-been rock star, and his women, Pherber (Anita Pallenberg) and Lucy (Michle Breton). What begins as an attempt to find solitude, though, turns into something more as the strange going-ons without the House of Turner start to have an effect on its newest resident. In principle, "Performance" is merely two films merged into one, one a revamping of the gangster movie genre and the other a critiquing of rock star life. Though I prefer it when it's emulating "Le Doulos" and having a profound influence on Guy Ritchie, neither film, if individualized, would be a good one. Such is so because Cammell, who wrote the screenplay, isn't interested in developing the characters or the situation that befalls them; he gives most work to Roeg, whose visual peculiarities overstay their welcome after a half-hour passes and we come to realize that the movie is more pretentious than it is meaningful. It asks us to have our cake and eat it, too, but it snatches it out of our hands before we can appreciate its sugary delights. It's unable to connect with its audience - it's too self-congratulating for that. But at least it pulls out first-rate performances from Fox (a sly miscreant) and Jagger (a paradigmatic magnet of a presence), and at least it's fertile enough in its imagery to avoid everyday boredom. But it does verge on the tedious and it does cross paths with the overblown on many occasion. How one responds to its stylistic superfluities depends.

Jovana G (fr) wrote: awesome loved it now I own it. now can't wait til they make more. hoping for more to come