In the village of Fuentecilla, there is a medicinal spa which was very popular in the past but that now has been forgotten by the public. In order to bring back the tourists, the "prominent men" of the village organize a fake miracle: the apparition of San Dimas, the local patron saint, which will take place every Thursday night. At first it works, but trouble begins when a stranger appears, claiming that he knows what's going on and making peculiar demands in exchange for his silence. Written by Pablo Montoya
Writer:Luis García Berlanga (story), Luis García Berlanga (screenplay), José Luis Colina (screenplay), Sandro Continenza (italian version)
In the village of Fuentecilla, there is a medicinal spa which was very popular in the past but that now has been forgotten by the public. In order to bring back the tourists, the "prominent... . You can read more in Google, Youtube, Wiki
Dave C (kr) wrote: This Ken Loach film is every bit the equivalent of The Wind That Shakes The Barley but updated to a time of privatised contractors in Iraq.The ins and outs of trying to find how a death occurred is shocking enough, but the effects of war on the contractors is the real meat.And it is very good. As far as I remember, this film had just about no release and it is a film that deserves to be seen and by a large audience.So go and see it somewhere, somehow.
Keith N (br) wrote: Amazing movie. One of the most interesting men in the world; ends with an incredible climax. Not to be missed!
Jeannie H (jp) wrote: Looks like one I'll enjoy!
Cristele S (nl) wrote: You can't choose who you fall in love with!
Chuck N (nl) wrote: Silly plot, and uneven blend of comedy, and seriousness. I put it out of the 2 star ranking, for some excellent eye candy, a few hot sequences, and audacity. The star Guinevere Turner is something else...
Alex W (ru) wrote: The acting is great and in a lot of ways the style and directing is ahead of its time, its just to bad the story is really boring.
Chelsea D (es) wrote: And Gregg Araki's first film to garner major praise unsuprisingly is synonymous with starting off with a bang. I love Araki, there is not a film of his I have not enjoyed although I think I benefited from starting with Mysterious Skin. It allowed me to grasp where Araki's style would eventually head while watching his first film. Crimes of passion ooze like blood from the cracks of The Living End. It has all of Araki's hallmarks, interesting visuals and camera placement, witty dialogue, strong believable character's, and shocking realism. Also notably another film in which Araki creates a handsome, enigmatic stranger who seduces the main character and helps them to question their life. A very perceptive dissection of all the cultural and personal feelings about the AIDS epidemic, we are introduced to two polar opposite HIV positive men, Luke, the id and John, the super ego of the movement. Luke literally and figuratively "pisses on the norm" denying all social rules and expectations whereas John would be content to "go back to (his) "I'm HIV positive and everything is honky dory" life". Though their relationship is dysfuntional for certain as they become trapped in a violent and sado-masochistic cycle while on the run, the straight relationships in the film are portrayed as similarily dysfuntional if even more so. This questions norms asking the viewer, is gay or straight more dysfunctional and is dysfuction simply the norm? Although this is a genre film and is indeed even self-referentially acknowledged as hackneyed, the film often breaks the stereotypes and genre expectations for the Bonnie and Clyde type film. This goes beyond it simply being a film about two men instead of a straight couple. The film came out around the same time as many other films in this genre such as Natural Born Killers and True Romance. Though it rings true to the spirit of these films, unlike those films the relationship depicted is not without disagreement and quarrel and Darcey, John's friend exists as a link to the real world which is rarely if ever present in these films. The end of the film also screams Araki. It it tense, sexual, and upredictable suscribing to a fatal attraction quality as Luke tells John that he "loves (him) more than life itself" only to throw away his gun and presumably his wayward lifestyle for more balance. The end is also uncharacteristic of the genre as neither lead dies and it is implied that their spree does not continue. A strong beginning for my favorite writer/director.
Corey B (mx) wrote: While it has a pretty funny opening twenty minutes, Dollman just takes itself too seriously when it reaches Earth, and unfortunately the ambitious script is too much for the film's miniscule budget. Dollman is clearly trying to ride on the coattails of Trancers, but that film just had more fun with its premise. The gang stuff in Dollman is played very straight. Jackie Earle Haley (in his nineties slump phase) is just too good an actor for a movie like this, and he has trouble finding a comedic tone for the role.Even Thomerson (who is having fun as usual in a role that's basically small Jack Deth) just doesn't have enough to do (he sits in his ship for a good half hour or so) to alleviate the somberness.
Brenda C (ca) wrote: This wasn't really a great movie - it's a little too in love with its own meta-ness - but the pieces are so interesting that it's pretty compelling anyway.