A teen boy grows from playing and fighting with his German-shepherd dog, to playing kids and adult games with two equally young girls, in a dream-like forest which eventually turns eerie, and somber. . You can read more in Google, Youtube, Wiki
|Download||Maladolescenza - (Spielen wir Liebe 1977 Uncut/ Uncensored) 91 M||Other||45||44||4 GB|
|Download||Maladolescenza [ITA softsub Eng-Spa]||Other||47||31||699.8 MB|
|Download||Maladolescenza (1977) DVD RIP With English Subtitles||DVDRip||39||31||1.58 GB|
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|Download||Spielen Wir Liebe||Other||31||48||830.41 MB|
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Maladolescenza torrent reviews
Wendy B (de) wrote: One of the Classics. A re-make of the all Female Cast "The Women". They added men to the cast, which of whom Leslie Nielsen was the Lead Male and was great. The Costumes were flawless and beautiful, even now. The whole cast was amazing. From June Allyson to Joan Collins and Agnes Moorehead and also including Joan Blondell, Dolores Gray and Ann Sheridan. The male co-stars were nothing less than wonderful from Dick Shawn to Jim Backus and Harry James himself. This protrayes what real movies and movie stars are supposed to be.
Cameron J (ag) wrote: I don't know where Cam Crowe has been the last six years, and quite frankly, I don't want to know, because somewhere along the way, he succumb to contemporary music, because in 2011, alone, he's gotten Jnsi to do the soundtrack for "We Bought a Zoo" and directed a documentary on Pearl Jam. Granted, Pearl Jam is, well, as the title suggests, in its 20s, so that's not too contemporary, yet that's still post '80s, and I'm not cool with Crowe heading down this path. As another Cameron whose big on films, with music as my other passion (The only reason why I'm not a music critic is because music is dead, and I don't want to make a living getting stuck in the center of the swill that is contemporary "music"), I would say that we have to stick together, but if he's hitting the new wave, then I'm just sticking with "Almost Famous". That being said, it's good to see Crowe back in the business, even if it through the muddy waters of contem...post-'80s music, if you can tell that's what he's talking about with that esoteric poster that only says, "PJ20". Who's gonna know what that is? I can see someone seeing that poster and saying, "He's been gone for six years, and Cameron Crowe's big comeback is a documentary on pajamas; I figured it would be something about music", and then his friend walks up and tells him that it's a documentary on Pearl Jam, to which the first guy responds, "Again, I figured he'd do something about music". No, Pearl Jam is music, and not even close to the worst, yet neither are they close to the best, and while this is, at the end of the day, quite the rewarding documentary, its subject is actually the least of its problems. The thing about this documentary is that it is incredibly well-produced and phenomonally stylish, and, as you would guess, and as I'll get more into later, that is very much a good thing. However, at the same time, this stellar ultrastyle is also problematic and damaging to the film, as there are many - nay - countless spots in which the film becomes overstylized, with a rather surreastic, or even trailer-like feel that taints the film with the aura of spectacle, often hurting its emotional resonance. Of course, when emotion does fall into play, there are occasions in which its still tainted, finding itself tossed all over the place, in that the documentary will hit some jarring tonal shifts, whether it be through bumpy jumps between dramatic overtones and upbeatness or even a somewhat botched mixing of such two aspects at the same time. The usual culprit behind these jarring tonal shifts is hurried storytelling that leaves the narrative to often feel as though it's simply glossing certain aspects, mostly in a slightly off-putting fashion, and sometimes in a really glaring fashion. I feel that Cameron Crowe is truly a remarkable director, and certainly a remarkable writer, yet a documenary, even on a subject you have deep passion towards, is a very different beast than a feature film, so don't go into this expecting the "Almost Famous" of rockumentaries, because the hardly experienced documentarian Cam Crowe has crafted something that's anything but spotless. However, again, Cameron Crowe is truly a remarkable director, and certainly a remarkable writer. While Crowe has crafted no spotless film, he has still structured and executed an ultimately rewarding documentary, even to someone like me, who's anything but the Pearl Jam fan who the consensus says this film will appeal most to, and he does so with style. As I stated earlier, this film very well stylized, and while it does hit points where it's overstylized to the point of hurting emotional resonance, on the whole, the documentary does one nifty trick after another, whether it be a clever manipulation of imagery and lighting or snappy editing, and while it is that ultrastyle that hurts the film, it also helps in making it so gripping and, at times, actually resonant. Certain stylistic choices corrupt the effectiveness of this film, yet there are quite a few that are manipulated cleverly enough to where they do snap in comfortably with the atmosphere and create genuine investment, and for that, credit not only goes out to Crowe's conceptual writing, but also his direction. Crowe's documentary storytelling is spotty, yet on the whole, he really gets at you with a gripping atmosphere that often summons investment, and does so through a sharp manipulation of many aspects within the film, including aspects that you, or at least I didn't expect to be affected by. Now, this film isn't like the still pretty decent "Some Kind of Monster", where music is unrelenting, yet not a single song on the tracklist is not simply not good, but just plain unbearable, as Pearl Jam is not at the level of low as someone like Metallica, yet they are decidedly mildly-nudge-or-tremendously-miss, in my opinion (Mike McCready's an amazing guitarist though, I'll give them that much), yet were fairly consistent in creating tracks that I don't find emotionally affecting by their own right, regardless of the band's and its audience's pretense, yet the way Crowe will play with some songs in the context of the film will occasionally ameliorate the resonance, as he manages to very skillfully and effectively meditate upon them as supplements to the tone, as well as tunes that I might not find all that enjoyable, yet can see fans getting a real kick out of. Now, don't go thinking that Crowe converted me, because, if this non-stop showcase of Pearl Jam's work has affected my opinion towards the band's music in anyway, it's further opened my eyes to just how weak and - dare I say - music-hurting their work was, yet Crowe's inspiration behind this project is so palpable that he often manages to bypass my disdain for Pearl Jam's music and actually use it to intensify my investment in them, and Crowe doesn't just do that through manipulation of their music, and by the time this documentary sticks the landing by hitting a pretty excellently-done, comfortable wrap-up of an ending, all set to an admittedly pretty incredible guitar solo Mike McCready, it's hard to not look back and find yourself satisfied with the final product of this documentary. Sure, Crowe is often too eager to tell this story to tell it all that comfortably, yet on the whole, he still hits more than he misses, and certainly hits much more than Pearl Jam hit. That being said, this documentary just barely transcends averageness, yet the fact of the matter is that it is so very engaging as an inspired and rewarding study on, not musician's whose work I don't like, but dynamic souls, and the final product of Crowe's inspiration is a generally thoughtful and deeply fascinating meditation upon humans and facing any challenge for the sake of their work. In closing, the film hits points of overstylizing that taints the emotional resonance, much like some jarring tonal shifts and general hurrying, leaving the film to run the risk to fall as simply average, yet through a consistently gripping, phenomenal style, as well as generally well-structured conceptual script by Cameron Crowe, who really brings that script and this documentary, as a whole, to life with a directing job that may not be spotless, yet is extremely inspired, with moments of genuine emotional resonance and consistent intrigue that ultimately leaves "Pearl Jam Twenty" to stand as a thoroughly fascinating and ultimately rewarding study on the highs, lows and all the stuff in between that fell upon the definitive '90s rock band. 3/5 - Good
Radek C (it) wrote: What is the deal with Nanni Moretti and exploring that death of family member theme? And he should definitely stick to one aspect of movie production - multitasking doesen't seem to be his thing. But that's it for criticism, and except for just a few boring bits, this is quite an original and disturbing drama. Plenty of elements which make you wonder simply 'why' in reference to various situations. All in all, quite decent , a lot easier to take in than The Son's Room.
Greg J (gb) wrote: Rocky on ice. Its just good fun.
Pavan R (fr) wrote: Fairly entertaining movie which keeps you interested.With some good sequences with supernatural elements.
Joseph B (mx) wrote: "Ju Dou" tells the story of love between two people at the mercy of a cruel uncle and husband. Yang Tianqing (Li Baotian) is working for his uncle Yang Jinshan (Li Wei) at his textile mill where he dyes fabric. Tianqing learns that his uncle has purchased a new wife, this is his third, he had beat the other two to death for not being able to produce him a boy. It's no fault of these women, he's impotent and takes this anger out on these women. The new wife, and the new aunt to Tianqing, is a beautiful young woman named Ju Dou (Li Gong). Tiaqing becomes smitten with her, spying on her as she undresses and bathes. Soon, the two become lovers and she becomes pregnant with his son. Jinshan believes the kid is his until he becomes paralyzed and is forced to rely upon the two to take care of him. After several failed attempts at trying to kill the kid, he is put in a barrell high above the ground. He eventually comes to love the kid as his son when the kid accidentily refers to him as father setting about a chain of events that will end tragic.Beautifully filmed by Zhang Yimou on three-strip Technicolor. It has an aged feeling in it's beauty, but magnificently show it's yellows, golds and reds in such exuberance.
Pierre L (it) wrote: Excellent "B" movie!
J M (nl) wrote: If this is Robert Towne's "Personal Best," I'd hate to see the guy's personal worst! He is an overrated writer and proves herein to be a connect-the-dots director. Murial Hemingway can play nave and pretty just fine, but the picture's only real redemption lies in Michael Chapman's textured photography.
Isadore H (de) wrote: Oliver Stones film deserves every amount of praise it got. The acting is magnificent, the battles scenes tense and frightening and the questions the film raises are quite compelling as well. There is not one scene that feels out of place here, each shot is incredibly well crafted and thought out. Tension is palpable when it needs to be, my only flaw might be that the main character and the other characters were not as meaningful as I hoped
Dan H (fr) wrote: Not good, expected more with a big name actor. Another bad attempt for a scary movie.
stefano l (mx) wrote: If the 78% in the tomatometer would be to express the percentage of people who have enjoyed Blake Lively in bathsuit for 1h30, I would totally agree, and I would dare to say that it is also too low. For the rest, the movie is what it is, with few to no suspance at all. But ok, I enjoyed BL in bathsuit too, so let's give it 3 stars!