Celebrated Swedish opera star Karin Anderson is slated to appear in an internationally-telecast production of Tannhauser. Ms. Anderson balks at the notion of working with obscure Hungarian conductor Zoltan Szanto. The much-anticipated production may never get off the ground, thanks to labor-management difficulties, intramural jealousies, and clashing egos. Amidst all this chaos, the mismatched Anderson and Szanto fall in love.
- Stars:Glenn Close, Niels Arestrup, Kiri Te Kanawa, René Kollo, Håkan Hagegård, Waltraud Meier, Renate Spingler, Matthias Hölle, Kim Begley, Robin Leggate, Rodney Macann, Roderick Earle, Marián Labuda, Maïté Nahyr, Victor Poletti,
- Country:UK, Japan, USA, Hungary
- Director:István Szabó,
- Writer:István Szabó, Michael Hirst
A deliciously biting satire about both the world of Grand Opera and United Europe. A Hungarian conductor (Arestrup) attempts to mount a bold new production of Richard Wagner's "Tannhäuser" ... . You can read more in Google, Youtube, Wiki
Meeting Venus torrent reviews
(jp) wrote: enjoyable watch at best just a bit long in the tooth without a lot going on
(ca) wrote: I continue to greatly enjoy Donnie Yen's movies, and this is no exception... good, well told historical piece, just wish I'd seen it on the cinema not at home... still a good movie. (I look forward to "Wu Xia").
(br) wrote: Cute and British, but pretty weird.
(mx) wrote: not bad at all. i thought the climax was crap though.
(de) wrote: Good updating of The One Armed Swordsman by Hark, but unfortunately I didn't like it anywhere near the original. Also, the storytelling in this, as in many of Hark's films, is sometimes confusing as hell, making me wonder if the subtitles were correct or if I was watching an edited version of the film. But the atmosphere and kung fu action are great, and he does put his own dark spin on an often retold tale. Recommended to fans of Hark and the kung fu genre in general.
(jp) wrote: Another misfire from the dark age of superhero movies. It has some great makeup FX, and a cool premise, but they are ultimately overshadowed by the scattershot writing, subpar acting, and terrible CGI. Definitely in need of a reboot.
(nl) wrote: I haven't even finished it. Watch til the kid leaves the precinct with Arnold.
(it) wrote: (43%) Stallone's career has always gone up and down, and although this is no highpoint, it's still far from dire. The action sequences aren't great, but they're really nothing that bad either, and the gun cleaning scene was amusing. As supposedly awful movies go this given the very weak plot isn't as awful as many say.
(fr) wrote: Pretty good buddy cop action film. I liked the whole premise of an suburban cop being transferred to the baddest part of the city, "Downtown". And the demise of Joe Pantoliano`s character was beyond hilarious.
(jp) wrote: The 1956 American version is exactly what you think: Unnecessarily changed. Instead of simply dubbing the damn thing, our dear manipulator America adds an American actor as the main human character and tosses all Japanese stuff as the supporting cast. Well, it sounds bad, but it isn't for the most part. King of the Monsters still presents the wonder of Godzilla and his power, and that established him for the American audience, and much like Japan in 1954, since then it had never leaved us. The film suffers from a mix between narration and all-out exposition, and even narrating things that are obviously happening on-screen, most of this happens in the famous Godzilla attack on Tokyo. Being an Americanization, the film also has some hilarious editing and some crappy over-dubbing. Many of the shots featuring Raymond Burr try to stick with the rest of the Japanese shots, but clearly there's a lot of difference between both, both in audio and image quality. Some actors replace the Japanese crew, but of course, we never see their faces talking to Burr, that only happens by cutting to a Japanese angle. It's hilarious, and that somehow adds a LOL factor to this version of the film. It makes it funnier, but not better than the Japanese original. Those are very few details, but the Americanization alone depletes the original characters of some of their emotional power, which they had in the original and worked on the third act. It still has the spirit of the original, however weaker. It's one version most of the Americans remember, and it has a nostalgic value, but also since then, they have learned to appreciate the Japanese better with all reason. It doesn't hurt to check this American version, especially if you loved the Japanese original, it ultimately causes a bit of laughter and no hate, and for an Americanized version of a foreign film, that's hard to achieve. Both versions are a worth watch overall, so we all end up winning. Let it pass.
(es) wrote: why does Tom Felton constantly play a prick in whatever project he does? film was psychotic. very disappointed