When two sworn enemies are forced to do a road trip together on foot, only to discover that they have been conned into being part of a reality TV show, they join forces to exact revenge. . You can read more in Google, Youtube, Wiki
Two sworn enemies, Boetie (Leon Schuster) and Beast (Kenneth Nkosi) are forced to do a road trip together on foot, only to discover that they have been conned into being part of a TV reality show.
- Stars:Ferdous Ahmed, Jayanto Chattopadhyay, Sakiba, Bikrom, Mrinal Datta, Suvash Datta, Habib, S.I. Hera, Leon Schuster, Kenneth Nkosi, Alfred Ntombela, Tanit Phoenix, Anthony Bishop, Elize Cawood, Josette Eales, Nompumelelo Mayiyane, Mimi Mahlasela, Masilo Magoro, Bonginkosi Twala, James Reynolds, Michael Mabizela, Jessie Tobias-Palmer, Bongi Mtsweni,
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Jay H (jp) wrote: What was that Corman flick they had on MST3K with three people just walking around a mountain for an hour and a half? That's what "Trigger Man" reminded me of: an obnoxious, mumbly, poorly-shot indie version of that, fascinated by splattered brains. I get that it's supposed to be suspenseful -- you know that sooner or later someone's getting shot -- but it takes thirty-seven minutes with zero plot, comically feeble attempts at characterization and pointless (but thankfully little) dialog and by that time, it's just tedious. As a ten minute short film, maybe, but here's a complete waste of time.
Blake P (it) wrote: Sometimes I like to pretend I'm in a TV show. Preferred is a television program specifically like "The Office," in which disgruntled characters were given opportunity to look straight into the camera, with deadpan smugness, no less, whenever something unusual made its way onto the scene. Coming to mind is Jim Halpert, the show's secondary hero who gave the series some of its biggest laughs just by mugging for the camera whenever his boss, Michael Scott, did something questionable. Of course, Jim Halpert is fictional and so is Michael Scott, and I exist in a world I'd like to think is real. Therefore there are no cameras around for me to break the fourth wall of. I can laugh all I want at life's many ironies, its many detours that look almost exactly like a vintage "Saturday Night Live" skit. But unless I'm with a friend or a like-minded acquaintance, no one can enjoy an easy-to-make-fun-of moment of time in quite the same way I can. For those few minutes am I able to tell myself that I'm above the given situation I'm internally guffawing at. But am I really that much better myself? The central characters of 2001's "Ghost World" live perpetually in that bubble of self-regard: so staunchly intelligent are they that everyone around them appears to be artificial and little-minded, countering to their ability to detect the world's bullshit. I'm not nearly as cynical and not nearly as wrapped up in myself. But "Ghost World's" Enid (Thora Birch) and Becky (Scarlett Johansson) are. We first meet them on the day they're graduating from high school. Outsiders within a typical American town jam packed with strip malls and fast-food joints, they've spent their entire lives existing as wallflowers within a community that will never understand them - they only have each other, and that's perfectly fine. Better to have a friend who can recognize the spurious natures of classmates and authority figures than fake friendships for the sake of looks. Initially, though, we're not so sure that we like them. They mock the school's valedictorian, wheelchair bound from a traffic accident that took the lives of several other classmates, for her sudden angelic persona. "I liked her so much better when she was an alcoholic crack addict," Enid snickers only minutes after the ceremony comes to a close. Later that night, they attend the senior party looking down upon every person they make eye contact with. For a moment, we're certain that they're precursors to the emo kids of the late 2000s, the classic punky teens who talk of leaving the hometown they so thoroughly despise over cartoons and discussions of crashing the local mall for no reason other than there's nothing else to do. But, alas, Enid and Becky are much smarter than that. They're rejects who are brainier and more world-weary than almost every other kid their age. They know that they have more in the way of observation than most, but they also aren't so sure how to fashion themselves into people that are much more than cultural critics heard by no one. At least that's how Enid feels. Nearly gothic in her appearance, she likes thrift shops and obscure blues records, and is amused by "authentic" 1950s diners set in strip malls and adult video stores. But she isn't as aware in what she fancies in terms of her future; to think of marriage or adulthood or another year is a scary unknown she'd rather not think about. She'd prefer to remain a high school senior forever, able to scoff at the imbeciles around her for the rest of her life. She thrives on the understanding that she is, intellectually, a cut above her peers. But those days are over, and reality is setting in quickly and painfully. Despite their unbreakable bond throughout their schooling, Becky is beginning to show signs of thirsting to do more with her life - she wants to get an apartment with Enid and eventually go to any university that will take her. She's gotten a job as a barista to help pay for her hopeful endeavors. But such aspiration is disgusting to Enid, who would rather sneer her way through her existence. To avoid thinking of the pitfalls of responsibility, she decides to wreak havoc upon the life of Seymour (Steve Buscemi), a loner who posts an ad in the newspaper seeking a mystery blond he met and liked but never got the number of. In an unthinkably cruel move, Enid and Becky respond to the advertisement and watch wickedly as he shows up for a date that will never arrive. New for Enid, though, is a sense of guilt. She's used to making people the object of fun behind their backs, only rarely laughing at someone in front of their face. So she feels bad for the prank, later showing up at a garage sale in which he's selling antique records. To her surprise, she likes the guy - they match in their loneliness, though Enid isn't so conscious of her own despair at the moment of their first genuine meeting. Time goes by and things grow increasingly unsteady - Enid and Becky begin to drift apart, Enid spending most of her time with Seymour in the process - and "Ghost World's" descent from self-aware teenage black comedy into viscerally desolate character study is a bruising one. It turns its back on its main characters, introducing them as whip smart girls of the "Heathers" category only to suddenly see them as susceptible misfits who don't have the thick skin their verbal lashings might suggest. Which is what makes it the affecting film that it is: it recognizes the intelligence of its characters but never forgets that self-awareness does not always lead to satisfaction. It vocalizes the hard truth that maybe Enid and Becky's friendship is more out of school day survival than eternal adoration, that maybe Enid will never know what to do with herself, and that maybe she will end up like Seymour, who hasn't had a girlfriend in four years, works a boring day job, and obsessively collects old blues 78 RPMs because he's so incredibly alone. It's a humorous film, to be certain; but its laughs are rooted in sadness. Is it worth chuckling at things we might not, and Enid and Becky might not, be that much better than? Directed and co-written by Terry Zwigoff, "Ghost World" is an adaptation of the graphic novel of the same name by Daniel Clowes. Acclaimed for its astute portrayal of modern alienation, its film counterpart matches in its lonesome inflictions. It's as blackly funny as it is emotionally devastating. There are never any obvious developments in the plot or predictable character maneuverings. Birch is wondrously droll (though I like her the most when she's at her least guarded), and Johansson is impressively dry. Buscemi is touching, and Illeana Douglas, as Enid's flighty art teacher, steals scenes with subtle deftness. Its ending leaves something to be desired - it's too vague for a movie so fully realized - but "Ghost World" is one of the best coming-of-age films ever made.
Nim B (ca) wrote: luv dis movieusher so damn cute
Jessica H (kr) wrote: Kate beckinsale and clair danes do their best, but the story is not there.
Paul E (ru) wrote: An overview of the legendary pinup's career, it also reveals what happened to her after she disappeared at her peak. You'll hear Bettie's voice throughout, as well as interviews with those who worked with her and loved her. Of course, there are hundreds of those famous photos, too. I was a bit taken aback at how much nude modeling she did, not to mention all the bondage stuff (knew about both, just didn't realize the extent!). The documentary is rated R - you'll see it all. A fascinating look at a true icon.
Taylor D (jp) wrote: not bad, violent and entertaining
Peter K (au) wrote: Good Luck Chuck made some big mistakes, This was a total train wreck. The movie was not funny, the jokes was terrible and offensive. In overall, this movie made no sense.
John A (gb) wrote: Great film the airport scene was great so was the end fight with captain America and winter soldier vs iron man