¿Qué harías tú si el mundo terminara mañana? ¿Dónde irías? ¿Con quién pasarías tu último día? ¿Con quién querrías morir? Estas cuestiones son la base de "Los Días No Vividos"... . You can read more in Google, Youtube, Wiki
Los días no vividos
¿Qué harías tú si el mundo terminara mañana? ¿Dónde irías? ¿Con quién pasarías tu último día? ¿Con quién querrías morir? Estas cuestiones son la base de "Los Días No Vividos"...
- Stars:Shekhar Chatterjee, Sulabha Deshpande, Satyadev Dubey, Jhansi, Anant Nag, Nirmala, Smita Patil, Prabhakar Reddy, Amrish Puri, Siddesh, Vanisri, Venu, Javier Godino, Juan Codina, Héctor Colomé, Ruth Díaz, Ingrid Rubio, Asier Etxeandia, Esperanza De la Vega, Elena Rey, Antonio Moreno, Mariano Venancio, Mateo Rodrigo, Conchita Aristizabal, Hovik Keuchkerian, Alfonso Cortés-Cavanillas, María Victoria Navarrete,
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Los días no vividos torrent reviews
Jacob F (gb) wrote: A good drama filled with powerful performances.
Michael H (mx) wrote: Man, that was a stinker. Pretty much the whole movie I was wondering how long more I'd have to sit thorugh this garbage.
Joe M (fr) wrote: A rare Gem. I love smaller title movies, they have great action. I love the rattlesnake having sex part, that was great,
Muhammad K (au) wrote: Good story of a confused guy who try to overcome his problems but is not that successful in it .
Courtland J (kr) wrote: Patrick O'Bryan wish I could find him in porn like Stephen geoffreys :)
Orlok W (es) wrote: Goodnight Saigon ... Farewell Moral Values--Praise for an overlooked and fine film!!
Byron B (ag) wrote: Murray's first starring feature as SNL was in its third year. Murray's Tripper is still "not ready for prime time." This low-low-budget Canadian picture is rough all around.
Weul S (gb) wrote: A pastor has a crisis of faith years after his wife's death, leading to one parishioner biting a rifle, & him breaking up with his mistress who just professed her love. In the end, another parishioner's interpretation of the Passion beautifully parallels the pastor's life. I think even god would doubt his own existence if he watched this wonderfully bleak Bergman film.
Cameron J (mx) wrote: "Red river, red river, send John Wayne right hither". Hey, it's a little less cheesy than making a clichd reference to "Moon River", although maybe I should have gone that route in order to avoid some confusion, because without a tune that peaceful, one might think this would be a horror film or something, based on the title. Shoot, I don't know why I had to go through all of that trouble, because once you see that this stars John Wayne, oh boy, you better believe that it is a western if there ever was one. Ladies and gentlemen, before "Rio Bravo", Howard Hawks, John Wayne and Walter Brennan joined forces to bring you this, which you still might get confused with "Rio Grande", seeing as how this film is set around a river, and has some stereotypical Mexicans. Well, it's a while before those Mexicans come into play, so if no other stereotype gets you confused about the difference between this and, well, most every other western of the mid-20th century, it is, again, John Wayne in a starring role. I just like how this film let you know just how old Wayne was by 1948, alone, by having a grown Montgomery Clift play his son (Adopted; but still), and still predating "Rio Bravo" and "Rio Grande"... I think. If nothing else distinguishes this film from "Rio Gra-I mean, "Rio Bravo", it's this film's actually being better, but not exactly by a long shot, thanks to certain shortcomings. I don't really know if this film has the pretense of being all that refreshing as a ranch adventure western, but that doesn't make the conventions much less notable for building a formulaic plot whose character aspects are still not quite as familiar as they probably should be. The films open up just in time for the adventure to begin, with the bare minimum, if not some holds to background development, then proceeds to be surprisingly limited with extensive expository depth throughout the body of this ostensibly intimate drama. In all fairness, expository superficiality might stem from general superficiality, for although there's more grace with this film than the usual western of this type and time, there's not much to subtlety, whose lapses get to be cheesy at times, at least with their manufacturing certain melodramatic conflicts that try to make up for a lack of meat to the basic idea behind this plot. The adventurous narrative is certainly conceptually intriguing enough for a rewarding final product to be crafted, though not easily, because outside of the manufactured, a sense of conflict is a little lacking, and it doesn't exactly get too much meatier the more the film drags along. The film is not as long as something like "Rio Bravo", and is certainly not as [u]over[/u]long, considering its story concept's being of greater consequence, but there is still something excessive about the plotting in a lot of ways that, before too long, get to be rather repetitious, if not aimless. They film sometimes says too much, and other times, it doesn't say enough, and while there is enough control to the meandering chatter of flawed storytelling, there is nonetheless plenty of issues to storytelling. These issues really do stand a solid chance of making an underwhelming film, but in the end, the effort rewards the patient, largely because of storytelling that, even then, would be nothing without compelling ides. They have to work hard - perhaps a little too hard - to beef up this story, but to say that this narrative of limited natural conflict is rather inconsequential would feel inaccurate, because the dramatics are reasonably gripping, and the sheer adventure, if nothing else, really holds ones interesting, and is particularly done justice, even by John Datu's art direction. The production value is neither especially extensive nor original in this formulaic studying on plains trekking, but it's still rich and dynamic enough to compliment the aforementioned important sense of adventure. Borden Chase's and Charles Schnee's script further draws upon the scope of the film, because what it lacks in dialogue flare it makes up for in set piece color, which also does a little to compensate for expository lapses, until they go challenged by some surprisingly extensive characterization, sold by unsurprisingly charismatic performances. Most everyone charms about as much as you might expect, and their chemistry augments that, yet there are some dramatic layers which, while too dated to really stand out, breathe some life into the character depths which define much of the grace to this drama. So much is superficial to the storytelling, but when inspiration in storytelling is hit, themes regarding the relationships, betrayals and other trials of rancher men of the Old West are brought to life. This thematic depth is, of course, dramatically anchored by Howard Hawks' directorial storytelling, which, for all its superficialities, never loses a solid deal of entertaining color, punctuated by revelations in dramatic storytelling that, while hardly ever anything especially stirring, utilizes grand style and thoughtful atmospherics to engross. With all of my praise, if there are quality highlights in this drama, they take their time to come into play, but they get here, along a consistently endearing path that entertains and compels enough to genuinely reward. When the river finally runs dry, conventions, expository and natural shortcomings, superficialities, and a somewhat excessive length run the risk of the rendering the final product underwhelming, but it is through a juicy story, immersive art direction, well-rounded writing, charismatic acting and entertaining direction that Howard Hawks' "Red River" emerges as a genuinely rewarding western classic. 3/5 - Good
Patrick B (ag) wrote: It's a little dated now, and the films lacks the dazzling punch, but the characters are very quirky and likable enough to keep you invested in this all black musical. Some of the songs are catchy, and there's a dance scene towards the end of the film where a guy dances up the stairs, and it is simply amazing. That scene by itself makes the whole movie worth recommending.
Gimly M (au) wrote: "Even though it's the sequel, I think it's actually the stronger of the two films."
Dimitri S (fr) wrote: Second In Command is not the best movie with Jean-Claude Van Damme. But it just a good action movie. Great fight scene's. Good story. Well the best movie from Simon Fellows.
Elliot D (ca) wrote: I can't believe the reviews for this movie are so poor. If you're a fan of Keanu, this is about as Keanu as it gets. I generally agree with RT, but this is off. Great action scenes. Intense mystery. The events are a little hard to track but if you watch carefully, or watch twice you'all be amazed by how twisted but smart the plot is. Nothing is as it seems and the ending is epic. It may be a bit implausible but if you can get on board with a couple hours of cop and gang violence, you'll like this movie. A few very famous black actors and rappers. Not as much white star power. Keanu is one of the only action stars that I follow like a cult fan and this one definitely does not disappoint.
Benton M (ca) wrote: made it about 1/3 of the way before i gave up. horrible. nearly as bad as Trump
Jerry M (de) wrote: Perhaps to appreciate this movie, you may have to be Jewish. It don't hoit!
Josh M (us) wrote: A boring and very predictable journey through the outback that leads to unsatisfying horror. Through its entirety I was just waiting for it to end.
Camille L (us) wrote: Another Stakeout est une suite indigne un film qui n'en appelait pas forcment une. C'est trange car on retrouve la mme quipe la ralisation, au scnario et devant la camra. Mais mme le duo Richard Dreyfuss - Emilio Estevez s'essouffle, probablement cause de Rosie O'Donnell qui s'infiltre dedans, sans jamais parvenir accrocher un sourire. Les cascades sont plutt efficaces, comme d'habitude chez John Badham, mais force de se concentrer plus sur de l'humour animal que sur l'intrigue, forcment, l'intrt du film s'tiole. Oubliable et non avenu.