Three friends meet after their marriages who are all disturbed by their wifes decided to take a break and look for the other girl but they put themselves in trouble and accused for the murder of a girl. . You can read more in Google, Youtube, Wiki
Three henpecked friends try to escape their unhappy marriages by seeking out some extramarital fun, only to end up being blackmailed.
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Chris L (br) wrote: I did not see brolly in this movie. his power was not maximum
familiar s (fr) wrote: I'd no idea what the movie is about before watching it except that it's based on real events. And based was it!! Clarifying so at the very outset when it instead chooses to mention "This is a true story." wouldn't have helped much though. While taking inspirations from real events, the movie gets incredibly, & more importantly, unnecessarily melodramatic. It seems as if reality takes a back stage for a scripted drama, thereby rendering the main story far less interesting. I reckon that fictionalization is essential at times, but here it's overdone. Better than general Lifetime Movie, but not good enough. Of course, it's not a TV movie, but that shouldn't quite matter. While not good enough, it's tolerable enough. My experience might have been different had I not known that it's based on real events (ignorance may have adjusted my expectations), but then if it wasn't based on real events, I doubt I'd have gone for it. All talks. Give it a go or let it go. Whatever.
Monet J (au) wrote: Its a typical Disney movie with the lesson/moral but it was funny, cute, and enjoyable!
Tio B (ru) wrote: I hate movie titles that begin with gerunds. CHASING AMY, FINDING FORRESTER, FEELING MINNESOTA, etc. ad infinitum--a by-product of the depressingly lame 1990s.
George J (gb) wrote: unbelievable performance's by Denzel Washington and Russell Crowe
Vincent B (it) wrote: Film avec les pieds, multipliant les emprunts d'autres survivals (au hasard Wrong Turn ou Survivance)...l'toile c'est pour Crispin Glover qui mme lorsqu'il cabotine comme un cochon est hilarant. Mais tait-ce vraiment le but?
Mel V (ag) wrote: SCREENED AT THE 2006 SAN FRANCISCO INTERNATIONAL FILM FESTIVAL: Spanish filmmaker Carlos Saura, once known for his complex explorations of Spanish history, politics, ideology, and class under Francisco Franco's authoritarian regime, turned away from narrative filmmaking and toward the non-narrative (or loosely structured) musical format half a decade after Franco's death. In 1981, Saura directed [i]Blood Wedding[/i], a musical interpretation of Federico Garca Lorca's play of the same name. Two years later, Saura adapted Bizet's [i]Carmen[/i] (1983). Other adaptations followed, including [i]El Amore Brujo[/i] (1986), [i]Sevillanas[/i] (1992), [i]Flamenco[/i], [i]Tango[/i] (1998), and [i]Salom[/i] (2002). Although centered on Spanish composer Isaac Manuel Francisco Albniz's (1860-1909) music, primarily his "Iberia" suite, Saura's latest film, aptly titled [i]Iberia[/i], is a sensuous celebration of Spanish dance, culture, history, and geography. Saura, however, also celebrates the potential of film to work in tandem with dance, music, and sound to create a unique cinematic experience that places aesthetics and form at the same or higher level than intellectual engagement or content. To say that, though, shortchanges Saura's dense, interlaced approach to Spanish history and culture, most of which will be unfamiliar to non-Spanish audiences. While missing historical and cultural referents arguably diminishes the viewing experience, the overall effect is relatively minor (and might spur viewers to seek out Albniz's work as a composer and brush up on Spanish history and culture). Saura structured [i]Iberia[/i] around different movements from Albniz's work as a composer, primarily his "Iberia" suite for piano. Saura introduces each movement around a title drawn from Albniz's work, beginning with "Evocation," a solo for piano as Saura's camera playfully travels along the piano, lingers on the pianist, then moves through a set still under construction. What at first appears to be a split screen, isn't (it's a mirror sliding horizontally across the frame). Saura breaks the "fourth wall," showing us the film crew and performers preparing for the segments that will follow, eventually circling back to the pianist completing the solo. It's a striking, bravura opening, filmed in a single take that hints at Saura's desire to create an immersive experience for his audience. The second sequence, "Aragn" subtly suggests that [i]Iberia[/i] is meant both to preserve a cultural heritage through the permanency of film and to extend that heritage to future generations. An instructor leads her young charges through basic flamenco moves with musicians half-hidden in the background. The children, dressed in casual clothing, respond enthusiastically, watching themselves in a full-length mirror, slipping off in twos as period photographs are projected in the background. The next two segments, "Bajo la Palmera" and "Granada," are even more stylized, opening with silhouetted figures against red/orange/yellow backgrounds for "Bajo la Palmera" and, in a recognition of Spain's complex historical association with Arabic/Muslim culture (and presumably Jewish culture too), three groups of women, dressed in black, blue, and white, dance separately at first, before joining together as a group in front of white screens (but blue is the dominant color). "Cadz," the next segment set to Albniz's music is probably the least successful. The attempt to modernize Albniz's music through the addition of a "soulful" saxophone really doesn't work. It's more muzak than music. Set around a single woman and multiple suitors, the performances remain vital and engaging, but the music undercuts whatever involvement viewers might have with the dancers or the basic storyline. Saura noticeably also uses performers of various sizes and shapes, suggesting more openness toward the female and male forms in Spain. In "Triana," two performers engage in a romantic duet as their faces are half-hidden in dramatic lighting and shadow (as oversized period photos, presumably of the composer and his family, hang in the background). "Torre Bermeja" is remarkable, not only for the set design and lighting (a given by this point in [i]Iberia[/i]), but in Saura's decision to use middle-aged, female performers for the traditional vocalizations, foot-stomping, hand-clapping, and dance steps of flamenco. Constructed around dueling groups or "gangs" in modern dress, "Alemara" falters by having one dancer adding break-dance moves to his repertoire (not to mention the dancer looks like Rico Suave) as he challenges his rival in a "West Side Story"-like dance-off. Contrary to Saura's presumed intention to prove Albniz's relevance to contemporary dance styles and movement, the end result is cheesy, campy, and unintentional comical. Luckily, " Cadz" and " Alemara" are the only two missteps Saura makes. The remaining segments cover everything from a full orchestra and women in traditional mourning dress, "Corpus Sevilla" (the lead singer's vocalizations are equally traditional), to a single performer dancing in front of movie screen that doubles and triples her image on a time delay (she's accompanied by a trio of piano, violin, and violoncello), "Rondea." The subsequent segments, while distinguished by lighting and set design, aren't quite as distinctive. The second to last segment, however, again centered on a lone female performer, is starkly symbolic, suggesting the painful struggles necessary to create and maintain cultures (birthing metaphors are front and center). The segment titles begin to repeat themselves, eventually circling back to the stage set that opened [i]Iberia[/i] as students, instructors, and adults perform first in a group and then in pairs. This final circling back and moving forward, as culture passes between generations, is a fitting coda for Saura's optimistic celebration of Albniz's music and its impact on Spanish culture. As for Carlos Saura, he may have turned away from his critiques of contemporary Spanish society, but his non-narrative films suggest that filmmakers can make late-career changes in direction and focus and still produce meaningful work.
Suveera A (ag) wrote: Sunjay Dutt half-failed to deliver on what was a great role suited for him (he could have done better) and Aishwarya Rai was just eye candy acting nervously through her scenes. However, during their tasteful love-making song, they both performed exquisitely together, giving the aura of pure marital bliss (only in bed though). The script was absolutely unbelievable and the whole story, though poetic, was absurd.
Adam P (nl) wrote: Steve Buscemi is a great director who leads an all-star cast. The plot is great and based on true events belonging to that of fellow Reservoir Dog, Eddie Bunker. A great movie and a must see for any fan of the cast involved.
Stan G (kr) wrote: Poor acting, rather lacklustre script, who wants to climb the 2nd highest mountain? Why didn't they use a mountaineer to advise as wearing earrings and metal sunglasses is for Hollywood
Jepa P (ca) wrote: Oh so beautiful! Depicts well the tensions between parent and child when child is entering adulthood. Wise and touching movie. Lots of beautiful landscapes that remind of chinese landscape paintings. A slow, intricate movie.
Lyra T (kr) wrote: This movie was fairly interesting, with intriguing concepts and a well thought-out storyline. The problem for me was really that it was hard to keep the plot lines separate while watching the movie and at times, I was extremely confused. For example, when they said that Jesse, Raju and Gita were all the reincarnations of Lama Dorje, I couldn't help but want to hear a little bit about that analogy. There was a lot going on and I felt as if nothing was truly explained. However, I really liked the cinematography and the way the story played out. I felt as if it was an interesting movie to watch, especially because I had background knowledge on Buddhism. If you don't know anything about Buddhism, this is probably not a good movie to watch, which is why I give it a standard rating. In my opinion, movies should be able to be understood universally and this movie is certainly not one of those.
Timothy S (ca) wrote: "Switching Channels" is the eight filmed version of the stage play "The Front Line", updated for modern audiences with mixed results. It takes some liberties with the original story, updating the newspaper setting to a 24 hour TV news channel and makes the crime at the center of the story a drug-related killing, but there's a lot of the same characteristics that remain. It gets a lot of mileage out of jokes about the state of reporting, and there's a lot of slapstick comedy involving the love triangle between the three primary actors. Unfortunately, that comedy only works in spurts and the lightweight tone of the picture is all but crushed by the heavy-handed direction. Ted Kotcheff is more known for his action and dramatic films and he seems unsure of how to handle this material effectively. It's a lot less fun for the audience than it apparently was for the actors. Kathleen Turner is radiant in the lead role, and it's nice to see Burt Reynolds return to comedy after a string of box office flops in the action genre. He has a real flair for this type of film, and he gets the few big laughs here thanks to some clever writing. It's fun watching him sabotage Turner's new relationship, but regrettably in the second half, the death row inmate story takes center stage and it just isn't worth following. The film has some legitimate and pointed arguments against television news, and it beats them like a dead horse. All of the promise early on is sucked out of "Switching Channels", and it grows more tedious with each passing minute. The game cast is let down by the oppressive direction.
jon m (gb) wrote: I still love this cheesy comedy! Even though c. thomas howell looks more a dude from india than an african american
Thomas B (us) wrote: Very good acting by steiger. Very dismal and depressing film. Steiger's character deals will his inter-demons from the past,while running a pawn shop in the getto.
Art S (ca) wrote: Pretty psychotic in the "what were they thinking?" vein. Loosely held together slapstick, oddball comedians, surreal throwaways, and musical numbers. Just when you think it is waning, something bizarre happens. The Broadway show ran for 1400 performances, but the majority of these performers are long since forgotten.
Serena H (mx) wrote: I wasted an hour and a half on this rubbish, would have given up sooner if it were not for the veteran cast, unbelievably terrible acting from some terrific actors made this film even worse than if it had been a bunch of am dram's, at least they could have been forgiven! This is the worst film I have ever seen, and I've seen some stinkers! I actually would rate Hercules in New York as a much better film!
Nicholas C (it) wrote: it doesn't let me watch this
Olivier L (us) wrote: im not a fan of B-movies... but this one is surprisingly entertaining. The story is simple like every b-movies (a dude that is teaching ninja martial-arts in a japaneese dojo has his wife killed and want revenge) the story is simple.. but the action is so well directed and put in most of the movie that you are entertained for the most parts.. (only the acting that is a little hokey like every b-movies.. but thats ok.. you watch b-movies for action or to have fun.. not to have a very good story!