Love Begins

Love Begins

Clark Davis (Wes Brown) adventurous dreams of seeing the world are put into jeopardy after he and a friend start a fight which damages a local cafe. Through a plea deal with the Sheriff (Jere Burns) and café owner Millie (Nancy McKeon), Clark works off his sentence as a farmhand for the Barlow sisters, Ellen (Julie Mond) and Cassie (Abigail Mavity). Older sister Ellen doesnt understand Cassies friendly nature with Clark; she agreed to the Sheriffs offer only because the farm has become too much to maintain alone. Clark is slowing winning Ellen over, but suddenly suffers a traumatic head injury in a fall. After Ellen nurses him back to health, her former fiancé returns to win her back. Will Clark travel on or stay behind where love begins?

  • Rating:
    4.00 out of 5
  • Length:89 minutes
  • Release:2011
  • Language:English
  • Reference:Imdb
  • Keywords:19th century,   prequel,  

Clark Davis, a traveler with dreams of seeing the world, works off his sentence as a farmhand for the Barlow sisters, Ellen and Cassie. He slowly starts to win Ellen over, but when her former fiance returns, Ellen faces a difficult choice. . You can read more in Google, Youtube, Wiki


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Love Begins torrent reviews

Jordon J (ru) wrote: Turns the romantic comedy on its head by utilizing a simple and effective formula that blends parody and affecting relationship dramatics. I say RENT IT!!!

Kevin W (jp) wrote: Predicted rating: 0.5

Kim M (mx) wrote: This was fun! Silly, violent, funny.

Calvin R (es) wrote: Very lazy vampire film. Decent story and good concept , but the execution was poorly done.

F B (br) wrote: Enjoyable film which was a bit slow by its very nature but that was fortunately reflected in the length of the film rather than relentlessly dragging it out and boring viewers to death. Overall a good film

Ville L (gb) wrote: 2 stars because it is B5 "movie". But 1 hour and 2 stories which were not so good. I taste making money here....

Sean C (nl) wrote: There's some great ideas here that ride over the lack of budget. Nice to see Hellraiser's Ashley Lawrence and character actor James Russo involved, both are very watchable. Is it just me or does the bad guy look like the lead singer from British group The Damned?


Edith N (kr) wrote: Christmas in LA Is Like Summer Here Anyway I'd forgotten this was a Christmas movie, to be perfectly honest. Yes, I know. The poster is Steve Martin in a Santa hat, not to mention Anthony LaPaglia in the full Santa suit--minus the hat, presumably because Steve Martin stole it. However, when I made the choice to watch this movie, all I remembered was that it was a comedy about crazy people and about what I could handle given that we have hit high summer. (We actually even had thunderstorms tonight, albeit briefly.) I run into this problem every year, and there's really nothing I can do about it until and unless I live somewhere air conditioned. At any rate, I don't think this one will ever make anyone's list of holiday classics, which is probably why I didn't remember the Christmas angle to things. Still, I'd rather watch it than sit through [i]The Polar Express[/i] again. Steve Martin is Philip, who runs Lifesavers, a suicide hotline. Unfortunately, Stanley Tannenbaum (Garry Shandling), their landlord, has evicted everyone from the building with the intent of turning it into luxury condos, and they have to be out by the New Year. Philip hasn't told anyone--nor has he told them that his girlfriend, Susan (Joely Fisher), dumped him for a psychiatrist. Catherine (Rita Wilson) is in love with him. Mrs. Munchnik (Madeline Kahn) is trying to get home to her dead husband's family's for the holiday, but everything goes wrong. Catherine befriended Gracie (Juliette Lewis), who is supposedly having a baby with Felix (LaPaglia), and they show up and bicker. The lonely Chris (Liev Schreiber in his first theatrical film) gets the address and comes over, too. Downstairs neighbour Louie (Adam Sandler) seems to have nothing better to do (well, Sandler's Jewish) and comes up, too. Looming through it all is the fear of the Seaside Strangler. Oh, and there's random Jon Stewart, too. He and Parker Posey rollerblade through a few times. Now, it is a fact that Jon Stewart, while a talented comedian, is not the world's greatest actor. However, he doesn't much need to act in this movie. It is also true that he only has about a dozen movie credits, and no acting he could have done could have saved at least a couple of those movies. I hated [i]Doogal[/i] with a passion I can't even begin to describe. I haven't bothered with [i]The Faculty[/i], because why would you? But I liked [i]Death to Smoochy[/i] and even [i]Jay and Silent Bob Strike Back[/i]. I didn't think he was that good in them, but he wasn't terrible, and even people who hate the movies never seem to do so because of Jon Stewart's performance. He's just bad enough so that he never had the chance to be truly terrible. I haven't read all the negative ratings from this movie, but I can promise you that none of them cite him as one of the problems. Okay, but I can pick out what people would cite. For one thing, the music is a combination of old holiday classics and Casio-inspired score. The holiday classics are boring to me. Mostly, they're the secular ones, and I've just never much liked secular carols. And again, the custom-written score is simply terrible. The writing also does that thing where it gets over the top just as it was getting good, as if to tease you with possibilities. This is possibly my least favourite writing, worse even than tediously bad. I don't know if this is true of the French movie on which it's based, but large amounts of the plot are completely unbelievable; the whole thing about the Seaside Strangler is unnecessary at best. I suppose it's intended to provide a wacky denouement, and certainly it's [i]a[/i] denouement, but it was not the ending I was looking for. For one thing, I'm not sure Christmas movies should advocate vigilantism! Still, the good moments, to me, outweighed the bad, if only just barely. Liev Schreiber makes a better drag queen than you might expect. Adam Sandler was still funny at the time, and the subplot between Louie and Chris may be the best part of the movie--not, I admit, that it's saying much. Steve Martin hasn't completely sold out yet, and there are some scenes where he really shines. (He's not the dancer Christopher Walken is, but he's not bad, either.) It's a suicide hotline movie where everyone is more wacky than mentally ill, which is a little vexing, but it's also hard to make a good comedy out of serious mental illness. I'm tempted to try, but if it were written by someone mentally healthy, I don't think it would turn out at all well. So instead, we get wacky people with whimsical problems--and a drag queen with a truly awful family. But the drag queen isn't the butt of all the jokes; that's saved for a theoretically normal person. So that's something, right?

David C (mx) wrote: This French WWII film confines Nazis and freedom fighters to the background in deference to a segment of the population that is typically relegated to one-dimensional supporting roles: children. It is a fresh point of view, and one with many potential pitfalls, but Louis Malle's careful execution and commitment to truth carry it through. Basing the story on his own experiences at a Catholic boarding school in Nazi-occupied France, he draws on detailed memories of the cruelty and naivety of children. The students in "Au Revoir Les Enfants" are not precocious, like so many movie youths, but they do have individual talents and interests, and they enjoy pretending to be sophisticates. They try to talk dirty, they exaggerate their experiences, and they pretend not to miss their parents when all they think about privately is how they long to be with them. They all have problems and insecurities, as well, that expose them to the insensitive taunts of their peers. One boy has night terrors, one is anemic and faints during mass, and the protagonist is a bed-wetter.But these are nothing compared to the dangerous secret that some boys are hiding. The lead boy, Julien, whom a teacher describes as intelligent and a bit pretentious, reluctantly befriends a new student, Jean. They share a love of reading, but Julien resents the fact that Jean is a smarter than he and more of a teacher's favorite. Jean is sensitive, and therefore an easy target, so Julien quickly discovers his weak point. But he withholds the valuable information, recognizing its importance without fully understanding its meaning: Jean is Jewish, taking refuge in the school under a false name.It is hard to find your way to this movie without knowing that key plot point, so even before it comes to the forefront Malle begins exploring it through artful verbal and visual cues. Early on, two students in the schoolyard pretend to be knights engaged in combat. One of them, secretly Jewish, chooses to play the part of a Saracen knight. The other students call him an infidel, and only Jean cheers for him. But such moments of agency in which Jean can express his identity without outing himself are few. More often, he is at risk of appearing different because of things he cannot do: he cannot recite the Hail Mary and other prayers with the rest of the students, cannot eat pork when it is offered, and cannot receive communion.The communion scene is particularly interesting because it shows the limitations of the school headmaster's charity. After delivering a ringing sermon to wealthy parents about the need to give generously to those in need, Jean comes to the front to receive communion. The headmaster passes him over since he knows Jean is not a Catholic. The moment might have been too-on-the-nose but for the interesting questions it raises. Does Jean intend only to strengthen his disguise by joining in this ritual? Does he do it to better fit in with his peers, and to get closer to his friend Julien? Or, as I tend to think, does he do it because the headmaster's sermon has deeply moved him? In any case, this is one of several moments that make us wonder whether the headmaster could have done more to keep his Jewish charges safe.Another is the decision that brings about the end of the ruse. The students and teachers gather to watch Charlie Chaplin's "The Immigrant" (a 27 year-old film, but there is a war on and it is a religious school). Images of The Tramp and a woman sliding around a rolling ship give way to Malle's shots of a brawl on icy pavement between the school's cook and crippled kitchen boy. The boy, perhaps 18 years old, has been running a black market in preservatives, so the headmaster fires him. In retaliation, the boy notifies the local Gestapo that the school is harboring Jews. The headmaster is a hero who shelters Jews at the risk of his own safety, yet his incomplete committal to his espoused principles creates an opportunity for his work to be undone. Still, he falls gracefully. He courageously delivers the titular farewell when he is marched off to share the Jewish students' inevitable fate-a fate Malle has foreshadowed in a tense but beautiful forest sequence midway through the film.The movie's Nazis are one-note, but this is not a problem so long as they are kept in the background. When they show up in force at the end, they indulge in a bit too much leering and mustache-twirling for a film that is primarily interested in the hypocrisy and indifference of the French rather than the blatant barbarism of the Germans. But nothing diminishes the impact of the film's final lines, which are delivered almost without emotion in a voice-over by an adult Julien. The window on the atrocities of WWII that he had as a child was a narrow and privileged one, and his understanding of them was imperfect, but the sudden and permanent loss of a friend became a searing and defining memory for him. By looking at the period and place through a child's eyes, Malle demonstrates that no amount of insularity or innocence could keep one blind as to what was happening to Europe's Jewish population.

Mathieu C (jp) wrote: This film is mostly known today as being the film where Ginger Rogers beat Katharine Hepburn for the Oscar. Of course the lead performance is the main reason to see the film but the film itself is very funny and touching. The film focuses on the idea of how impossible it is for Kitty to live out the fairy tale life she imagined for herself as a young girl. She must compromise but by doing so is the only way she can achieve true happiness.

Atheer O (gb) wrote: Loads of pure fun. Start to finish.

Heather B (gb) wrote: Excellent acting by Guy Pearce & Robert Pattinson. The ending was beautifully phenomenal. This isn't normally my kind of movie, but I'd heard about the performances and sought to watch it. It was terrific.

Nigel C (au) wrote: Just plain funny. This film really holds up well afer twenty years.Caine is in great comedic form and Kingsley holds his own as the put upon straight man.

Leonie M (ru) wrote: Predictable, yes, but still a fun watch with some classic scenes, such as the Red Bull all-nighter and the fun band the girl plays in. The casting was all wrong, though, the women that want Carrey are simply too hot or young.