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Lost Tales from Camp Blood: Part 3 torrent reviews
Ken C (fr) wrote: Caught this British gem on Amazon Prime. It had all the elements I like in a film: good story, interesting characters, good cinematography, nice music, and a happy ending.
Sean C (ca) wrote: The interviews (on the whole) are quite strong, especially from Ringo Starr and the Monty Python crew, but the film's most powerful undertones focus on George Harrison's spirituality; it would be easy to call Harrison a gullible fool caught up in everything from yoga to hare krishna, but one has to admire the philanthropy and genuine happiness that his faith inspired in himself and those around him. Many members of Generation Y, like myself, may overlook the fascinating complexities of "The Quiet Beatle" but Scorsese's documentary reveals his many layers quite well. For certain, this is the sort of documentary that only someone like him could deliver.
Ce G (fr) wrote: A story well told about this unexpected painter. Moreau performance is brilliant. Some scenes are slow, but I guess it all matches the personality of the painter.
Ibraheem M (ca) wrote: Sandra Bullock is too annoying is this piece of junk, definitely making her worth a Raspberry award.
Michael E (es) wrote: Tried to convince vic the whipped cream scene was tasteful. I too can call dinosaurs, not that its always appreciated.
Steve B (it) wrote: More mad cap capers with the cast from 'Smokey and the Bandit'. The Bandit is still outrunning the Sheriff while taking over state lines a different kind of load, an elephant. A scene in a desert with hundreds of law enforcement cars reminded me of the end scene in 'The Blues Brothers', the law put the squeeze on Bandit in this scene but Snowman has it covered with his trucking convoy of friends to help with the vehicular chaos. Sally Field stars too, not sure for what purpose but either way having the original team back looks good on screen. Amusing scenes and simple plot but not as strong as the first.
Nikolai E (ca) wrote: This is a really tricky one. This film spent thirty years in obscurity, being passed around between critics and academics, and I can instantly see why it would be so exciting in those circles. Here's a film made clearly and deliberately in the neo-realist style, but it's about working-class black people in the '70's, and it was made by an American. Like 'Who's That Knocking At My Door' but better, it's almost too good to be true. This film isn't just about racial and social inequality, it's an American film defianty usurping the tropes of the European art house. The clear danger is that the film becomes more of a trophy, a film that critics parade around because it makes them look worldly and progressive, an antidote to the artlessness of American film in general, than simply a film, which, in the end, it is. Another problem is that it adheres almost too closely to the neo-realist philosophy and style. Blur your eyes and it's 'Pather Panchali,' or 'Bicycle Thief,' or 'Rome, Open City,' only less linear and with a cunning and skillfully implemented pop music score. If I didn't know better, I'd accuse Charles Burnett of making exactly the film that the highest brows in the land wanted to see, and if he did, he certainly pulled it off. This quote is featured in the film's trailer: "Charles Burnett is the most gifted and important black filmmaker this country has ever had." Really? The most gifted and important black filmmaker in American history had to wait 30 years for his film to even get a limited release? The film is surrounded by this kind of hyperbole. All this static, this desperate rush to contextualize everything about the film makes it very difficult to just sit down and watch it unfold, but at the end of the day, when you cut through all the noise and allow it to be a film and nothing else, it's still magnificent. The cinematography is unaccountably beautiful, the acting is perfect, and that poetic quality that neo-realist films seem to conjure from nothing, that magical feeling that comes from taking raw human behaviour, something totally natural and uncontrived, and just LOOKING at it, this film is filled to the brim with that stuff. It would be a masterpiece if there never was a Rosselini, or a Satyajit Ray. I just wish everyone with a stake would just step back and let it be what it is, rather than fighting for some kind of ownership of it.
Jim B (ca) wrote: A stark contrast to most of the African American films of the early seventies. Very positive.
Ross K (de) wrote: Absolute classic work of social history. One of the best soundtracks of all time
Hannah D (it) wrote: I thought this was really good. The moment the little girl was kidnapped from school, I was glued to the screen. I felt very smug afterwards when the credits confirmed to me that Charles Clayton, the father of the girl, was played by a young Mark Eden, aka Alan Bradley of Coronation Street fame!
Yang L (br) wrote: absolutely stunning. Almost perfect.
Sandy K (us) wrote: A womanizing bartender (Joseph Gordon-Levitt) who is addicted to online porn meets a gorgeous woman (Scarlett Johansson) who forces him think for the first time about building a real relationship, but it is a distraught woman (Julianne Moore) he meets at a night class who teaches him that real love and sexual satisfaction comes from a truly mutually caring relationship.
Dave H (fr) wrote: A raw portrayal of fractured lives from both sides of the class divide. Unflinching and difficult to watch at times but the two lead performances as as strong as any you are likely to see. The story meanders a bit in the third act but this in excellent directorial debut from Considine.