A young woman is awakened to a world of cruelty, shadowy passions and sensuality.
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Carlo C (nl) wrote: Per chi non avesse voluto o potuto pagare il cospicuo (molti, non a torto, hanno detto esagerato) mucchietto di sterline necessario per partecipare all'evento, questo documentario pu risultare un utile surrogato del concerto tenuto dai Rolling Stones a Hyde Park per il loro cinquantenario. Si tratta, nel complesso, di poco pi di un'ora di musica, essendo il rimanente quarto d'ora occupato da immagini del dopo-festival a Glastonbury e da qualche chiacchiera dei diretti interessati: si parte e si chiude con i fuochi d'artificio, nel pomeriggio quelli che salutano il primo riff di 'Start me up', a sera inoltrata quelli che si innalzano sulle ultime note di 'Satisfaction'. In mezzo il solito repertorio di mossette di Jagger, lick di chitarra di Richards, ritmica e boccacce di Wood, impeccabile sostegno ritmico di un impassibile Watts: eppure, malgrado il mestiere e il gi visto, questi quattro vecchi ragazzi danno ancora l'impressione di divertirsi sul palco (enorme, con giganteschi schermi che, di quando in quando, rimandano immagini del glorioso passato) e questo si trasmette al pubblico immenso (malgrado i prezzi) che gli sta davanti. Un esempio per tutti: una torrida versione di 'Gimme shelter' che inizia quasi in sordina e, grazie anche alla voce di Lisa Fisher, decolla verso altezze incredibili aumentando la temperatura di qualche decina di gradi. E' il momento centrale del film, in cui si scelto di porre i brani in cui soul e rhythm 'n' blues hanno pi spazio: basti solo pensare alla bella versione di 'Jumpin' jack flash' in cui Keith si diverte a divagare sul celeberrimo riff. Keef cambier tipo dieci chitarre in diciassette brani, ma sono le sue sei corde - aggressive nei cambi di ritmo ma capaci di tocchi di inattesa delicatezza - a ricordare che gli Stones sembreranno anche dei cazzoni, ma gente che sa suonare: al buon Ronnie resta il ruolo di pur validissima spalla, con la sola eccezione dell'assolo in 'Satisfaction' in cui compare anche Mick Taylor alla chitarra acustica. Certo, combinato com' Richards sembra il nonno di Jagger che gli saltella davanti con la consueta energia, cambiando un'infinit di camicie (una delle quali uguare a quella del concerto nello stesso luogo, quarantasei anni prima) e indossando un lungo mantello nero e rosso in 'Sympathy for the devil' per un tocco di diabolico che presto vola via per il caldo. La voce sempre quella e la voglia di fare scena anche: il regista Paul Dugdale fruga fra le diciannove telecamere e va a scovare alcune immagini iconiche, vere e proprie cover di altre provenienti dal passato. Il lavoro di montaggio alterna con efficacia le ampie carrellate sul pubblico - che, ovviamente, funzionano meglio fin quando c' chiaro - alle immagini dei musicisti, senza per mai indulgere al troppo scontato e preferendo esplorare le facce piuttosto che il lavoro delle mani sugli strumenti: a proposito di facce, notevole la collezione di quelle pescate tra il pubblico e mostrate durante le strofe di 'Ruby Tuesday' (uno dei pochi episodi non tirati), momento bissato poi nel finale con il succedersi di alcuni spettatori distrutti dalla stanchezza. Fra le persone presenti ce n'erano un po' di tutti i tipi, ma l'et media era comunque abbastanza bassa, a conferma che gli Stones sono pi che mai un fenomeno intergenerazionale a cui si aggiunge il fatto, in questo concerto, di esibisirsi a casa, con sfoggio orgoglioso di britannicit da parte di tutti (Jagger a un certo punto dice pressappoco ' una sensazione diversa quando ti esibisci nella tua citt'). A proposito di rapporto col pubblico, da notare la diversit tra quanto dicono il cantante o Richards ('fino all'ultima goccia di sudore') e quel che afferma Charlie Watts (' prima di tutto un lavoro e voglio farlo bene'). Infine, va detto che i quattro sul palco non sono soli: a parte la partecipazione straordinaria di Mick Taylor, ci sono l'ormai consolidato basso di Darryl Jones, le tastiere di Chuck Leavell, i cori di Lisa Fisher e Bernard Fowler, i fiati di Bobby Keys e Tim Ries e il coro giovanile di Londra che introduce, in un soprassalto di grandeur, 'You can't always get what you want'. Insomma, non sar come esserci stati, ma il film restituisce con efficacia le nozze d'oro con il palco di gente che pare non avere intenzione di fermarsi: certo, in una selezione centrata soprattutto sugli anni Settanta, mancano perlomeno 'Paint it black' e 'Wild horses', ma non si pu mica avere sempre tutto quello che si vuole.
Ellen T (gb) wrote: Typical b-movie horror. Marked being a young girl who is to be given over to the devil. Small town guy trys to find out what is with the mystery of a Dr. Frederickson. Pretty typical, except for the killing scenes.
Jesse V (br) wrote: It was a pretty good movie. The dark twist at the end with no real resolution was kind of a downer but still decert.
Stefan G (gb) wrote: While it's certainly more of a generic buddy cop film than its predecessor, but it has everything I could possibly want from a Rush Hour movie. The plot is a little generic, but it does offer some surprise twists that actually work. Besides, action movies usually aren't about story, and this film benefits more from its main characters, and its zany script. The characters by themselves aren't too special, but Chris Tucker's character steals the show with his consistently hilarious persona. A lot of the comedy is fuelled by him, and he makes it so much more than just a dull buddy cop feature. While the film's style doesn't feel as fresh when compared to its predecessor, it still feels right, and while this film isn't really heavy on the action scenes, it's definitely funnier than the original. Whether you loved or hated it, you'll almost invariably find yourself comparing it to its predecessor, but I think it's still a good movie on its own, if mainly due to Chris Tucker's hilarious performance.
Rod G (ag) wrote: "Green Card" comienza como una cmica improvizacin de un matrimonio falso, pero su predecible trama arruina el resto de la pelcula.
Allan C (ag) wrote: I remember when I first watched this film on VHS back in the day, I really liked this film and was quite surprised with how good Richard Gere was in the film. I'd never really like Gere and considered him kind of a smarmy pretty boy actor. But in this thriller, written by Henry Bean (who's wrote some other solid films like "The Beliver" and the underrated "Deep Cover") and directed by Mike Figgis, Gere has arguable his best role playing a dirty cop who terrorizes internal affairs investigator Andy Garcia. Gere is charmingly villainous in the role, but at the same time is viciously brutal. It was a side of Gere I hadn't seen an an of his prior films and I don't think it's a dark side of himself he's really tapped into since. I'd also forgotten how sexually charged the story was, with Gere (SPOILER ALERT) seducing Garcia's wife and others around him. For fans of thrillers, this one is a an awful lot of fun, especially in seeing Gere play outside of his usual type of roles.
Don S (nl) wrote: This low rent comedy about drugged out friends planning a heist to steal medicinal marijuana from the government is neither funny nor a good heist movie. The plan is foolish and would not have worked. The only good thing about this movie - and the reason I even watched it - was Lacey Chabert. She's in so little of it I feel I wasted my time.
Blake P (de) wrote: Vincent Price is a national treasure. You can forget about other grizzled genre stars like Randolph Scott, Bela Lugosi, or, hell, even Esther Williams - Price, perpetually melodramatic and slithery, never appeared to come to a point in his filmography where wooden schtick replaced an indelible persona. Though his body language and vaguely aristocratic manner of speech is the kind you almost immediately recognize when confronted by it, it's nearly impossible to find a moment during Price's long career in which he didn't seem to be enjoying playing a dastardly, snaky villain, or a misunderstood anti-hero. There's a reason why so many of his films remain to be classics rather than era relics slowly but surely withering away. So 1973's "Theatre of Blood," released near the end of Price's reign as horror's biggest star, is a well-timed summarization of his work, recognizing the campiest aspects of his professional guise and building a succulent (and batshit) black comedy around it. Resulting is one of his best films: its makers, director Douglas Hickox and screenwriter Anthony Greville-Bell, are as fond of Price's unique talent as they are aware that it could serve as the basis of a wicked farce. It's a perfect star vehicle. Consider its storyline, which never wanes in its ability to be rigorously brilliant. In "Theatre of Blood," Price portrays Edward Lionheart, a Shakespearean actor nearing the end of his long, mostly enviable career. While most agree that he's among the finest stage actors of his generation, a circle of drama critics, who serve as the "antagonists" of the film," disagree, thus destroying Lionheart's confidence in his own genius. After attending an awards ceremony that goes sour, the actor decides that there is no way to recover from his crippling self-doubt. So he decides to kill himself, to jump from a high-storied apartment balcony and plunge into a nearby river. Fortunately, he's given a second chance at life when he's secretly rescued by a group of hobos that lets it be known that they'd do anything to serve him. Thirsty for revenge - Hell hath no fury like a criticized actor - Lionheart makes it his personal mission to off every single writer who ever wrote something demeaning about him. But, as he's a drama queen who just so happens to be played by Vincent Price, never known for his subtlety, Lionheart makes things tricky by fashioning his murders into echoes of classic Shakespearean deaths. Assisted by his daughter (Diana Rigg), whose beauty and slinky demeanor give her direct access to Lionheart's enemies, he's playing a game he certainly cannot lose. When you're out of your mind with vengeance burning in your heart, consequences don't matter so long as you get your desired results. And we're plenty happy to go along with Lionheart's outlandish mission. Provided even more humor through elaborate staging and cheeky costumery, there's not a moment of "Theatre of Blood" in which we aren't totally delighted, except for maybe when Price isn't in the room. Still, this is a blood-soaked lark with a knowing sense of humor, at once distinctly conscious of its leading man's faade and stricken with innovation that only enhances its keen wit. Of course, Price is a riot - is there a camp actor more talented? - and co-stars, like Rigg (devious), Coral Browne (ruthless), and Robert Morley (convincingly piggish), somehow manage to complement his acting instead of hide in the shadows of its sagacity. Really, "Theatre of Blood" is the highest point of Price's career. Maybe it's only slightly making fun of his schlocky past, and maybe it's more prone to finding the comedy in his masquerade than its menace. But nothing serves him better, and we're left with a diamond in a rough of Roger Corman's ghost.
xGary X (au) wrote: A company of American soldiers stationed in Korea suffer terrible losses when ordered to take a strategically unimportant hill from Chinese forces. Pork Chop Hill was directed by Lewis Milestone who was no stranger to the genre having directed the classic All Quiet On The Western Front and here he pretty much invented the modern war movie. Influencing everything from Zulu to Black Hawk Down, its power is in its gritty realism and unrelenting depiction of terrifying and seemingly meaningless violence. It was based upon real accounts and written by a veteran soldier which gives it a real authenticity and is very unsentimental in its representation of the soldier on the ground, avoiding the usual soap opera back stories of the central characters. Instead it jumps straight into the action and virtually the entire film is set in the blood soaked trenches. Woody Strode's sole dissenter adds a mild socio-political element which was expanded on the great effect in the Vietnam-based remake Hamburger Hill and solid performances all round make for a quality war film that won't change the mind of anyone who dislikes the genre but will be a potential favourite of those who do.
Fernando R (de) wrote: My dad favorites musical movie with Fred Astaire and Vera Ellen
Serge L (es) wrote: Flip phones and reference to myspace sounds so past millenium but this was just 7 years ago. I'm not sure if I have seen this before or if the old jokes are my type, but this film looked very familiar. In any case, I found it hilarious often enough. But boy, did this sounded outdated many times. As romantic story, it is null, but as comedy, it works great for me. Hahaha!