Mona Lisa Smile

Mona Lisa Smile

The story of Katherine Ann Watson, a feminist teacher who studied at UCLA graduate school and in 1953 left her boyfriend behind in Los Angeles, California to teach at Wellesley College, a conservative women's private liberal arts college in Massachusetts, United States.

  • Rating:
    4.00 out of 5
  • Length:117 minutes
  • Release:2003
  • Language:English,Italian
  • Reference:Imdb
  • Keywords:dancer,   snow,   artist,  

In 1953, a time when women's roles were rigidly defined, free-spirited, novice art history professor Katherine Watson begins teaching conservative girls at the prestigious all-female Wellesley College to question their traditional social roles. . You can read more in Google, Youtube, Wiki

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Mona Lisa Smile torrent reviews

Ralph R (kr) wrote: "Ira Hayes.... Ira Hayes.... Call him drunken Hayes, He won't answer anymore. Not the whiskey drunken Indian or the man who went to war."

Mohannad S (de) wrote: Well let me say that I have always been a Steven seagal fan and his movies are usually great but this "Attack Force" just don't measure up to the rest. This in my opinion is very stupid I did not like it all. The biggest reason I don't like it is because it is very flawed and to me does not make much sense. The acting is very bad even Steven seagal does not do good acting, The rest of the actors I can see because they just do direct to video movies. It does not follow a straight storyline everything happens at once so that why it doesn't make much sense.

Peter L (gb) wrote: My Rating: 4/5 stars; Grade: B+; Gesture: One Thumb Up; Status: Fairly Better (Fresh); Emoticon: :-).

John W (es) wrote: decent thriller, but nothing really compelling and despite decent, well acted characters we're never really given a reason to care.

Johnny T (ru) wrote: This is your run-of-the-mill Disney Channel movie shot on the cheap in 2002 while trying to propel one of their young stars into the heavens. Get a Clue has clearly been fashioned to appeal strictly to the much-coveted "tween" demographic; with its flashy editing, mind-numbingly bland music, and general emphasis on style over substance, there's no doubt that 10-year-old girls will get a kick out of the film (if only to watch their hero, Lohan, outsmart virtually every adult in the cast). The screenplay, by Alana Burgi Sanko, is devoid of anything even remotely approximating complexity, while the film's look (courtesy of director Maggie Greenwald) resembles a generic, family-friendly sitcom. Despite the presence of a few charismatic performers - ie Lindsay Lohan, Ian Gomez, etc - the film never becomes anything more than an utterly forgettable and (more often than not) a flat-out boring waste of time.VERDICT: "Not So Hot" - [Negative Reaction] These films are truly terrible films. They are not the worst things ever made, but they are definitely awful and should not be seen by anyone. (Films that are rated 1.5 or 2 stars)

Courtney K (it) wrote: i share the seem feelings towards this one as i did "Creepshow"; almost seems like it's a spoof when i watch it now -- but i wonder what my thoughts would be if i were to watch it in 1990. again, SO many big name actors in these! (by today's standards)

Matt F (us) wrote: A decent anime. Brings back the nostalgia. Flawed, though.

Phil N (kr) wrote: Lamberto Bava's debut gets its Masters of Giallo release here in the UK. Frankly, I was disappointed. Essentially the story of a middle-aged mother who's having an affair, loses her lover in an accident, goes a bit mental and then moves in with her ex's blind brother. There's little in the way of action, minimal gore or shock value - apart from the film's hilarious denoument - it's just a plodding affair saddled with some wild over-acting from its leading lady.

Paul D (ca) wrote: Slightly subdued western that never gets going as it gets bogged down with a light smattering of 19th century US-Mexican politics.

Jason H (ag) wrote: The Possession is the less-gold, Jewish "Exorcist"

Bill M (ag) wrote: 11 years on and it's still alarming just how fucking dark Steven Spielberg's 2005 War Of The Worlds is, it's almost malicious in how it totally destroys all notions of fun summer popcorn entertainment that one expects, instead delivering a distressingly bleak, even mournful movie that taps deep into the anxieties of the post 9/11 landscape. This isn't Independence Day, the first alien attack is the stuff of nightmares, sudden and brutal, it evokes those videos we saw of the World Trade Center collapsing very uncomfortably, the feel of normality suddenly being ripped out from under you, leaving you dazed and shell shocked, Tom Cruise's Ray coming back home in a zombie state, covered in the dust of vaporized people is queasy and raw, much like the attack itself. Said scene is one of the most stunningly orchestrated pieces of cinema this century, a triumph of almost casually masterful direction by Spielberg, an astonishing mixture of miniature and computer generated affects work by ILM , John Williams powerful score and some terrifying sound design all add together to create one of the finest sequences in the directors incredible career, it's actually intimidating in it's craft and power. The first hour of this movie is fairly astonishing really, filled with moments of breathtakingly dark majesty like the thrillingly orchestrated Hudson Ferry scene, or that un-fucking believable shot where the bridge over Rays house is viciously blown to shit, sending cars and trucks raining down onto the neighborhood, or the breathe snatching moment where little Rachel (Dakota Fanning, scarily real as a frightened kid) comes across a serene, sun dappled stream, only for dozens and dozens of dead bodies to suddenly come floating into view and destroy her mind forever. Another scene that has to be noted is the seemingly single 360 shot in and out of the car as Ray frantically drives his family away from the devastation, moving in and out of the car it's an impressive bit of techinacl brilliance meets storytelling skill, capturing the paniced terror of the moment, a small masterpiece of cinematic brio. Like i said, this first hour or so is home to some of the finest filmmaking ever seen from the worlds finest filmmaker, it's big and bold yet surprisingly stripped down and lean, it feels like a gritty low budget film that has huge mega budget effects set pieces in it, few directors know how to use a big budget properly and here Spielberg's genius is to shoot the whole story from the ground level, we see everything the Ferrier family see, which isnt a hell of a lot to get a full picture of everything thats going on, just like it would be if one was trying to survive a thing such as this, the Berg uses his spectacle for real effect not cheap dazzle, take the scene on the hill, on the other side a huge battle is taking place and he keeps us just on the opposite side, grounded, we never see the battle, the sheer balls of denying the audience the money shot, of holding back rather than Michael Baying the shirt out of it, is admirable as hell, this complete confidence in pacing and visual storytelling permeates the first half of the film. Then we come to what, if i were a detective and had to pin it down to something, may well be the part where all the endless, endlessly aggravating and incessantly moronic negativity towards the film possibly (highly likely in fact) stems from, the second half. We do admittedly get traded one film for another, and if truth be told, we get a great movie traded for a really good one, the point where the separation occurs is when Tim Robbins turns up with his big crazy eyes and the film promptly changes tone. I enjoy Robbins in this film actually, but his cartoonish, extra thick slice of ham of a performance is a bit alarming and a total contrast to the convincingly gritty, grounded, almost documentary feel of the film until then. With his hilariously loony mannerisms (nothing says edgy nutjob like the intensely concentrated sharpening of a shovel) and overblown jersey accent (NOT MY BLUUUUD!!!!!) he is something of an unfortunate distraction, and the pace and tone of the film change with our extended sojourn in Robbins characters basement. The film stops in it's tracks a bit and grounds us, whereas before the pace was full pelt and relentless. The movie also becomes more like a traditional summer rollercoaster ride, with our heroe's trapped in the basement as a big eye tentacle and then the aliens themselves try to seek them out in a series of tense but traditional pop corn suspense scenes, but the fact is that these scenes are hugely effective, and thrilling. We may loose that breathlessness but instead we get a great chamber piece of a suspenser. It's here were we get one of the films most stark, ballsy, bleak scenes, in which Ray has to kill a man so that he and his daughter might have a chance, the scene, which lingers on a blind folded Rachel, covering her ears and singing "Hush-A-Bye Mountain" to drown out the sounds of her dad committing murder, is chilling as hell, and brilliant. Speaking of Ray, Tom Cruise is terrific here, he gives one of his most ego-less roles ever, Ray is a fascinating protagonist, he's a dick, a rubbish and selfish deadbeat dad, and he is never really heroic, not truly, he dose terrible things to keep his family alive, and frankly they dont seem that out of reason, this is one of the only alien invasion/disaster movies films to have the balls to show how ugly and selfish in their self preservation people would actually get if aliens decimated the earth (the car attack scene is amazing in how honestly and pessimistically it presents violent human desperation and panic). The last moments of the film is the only part i find in any way unsatisfying, first we get the bizarre sight of what compleatly (and embarrassingly) a giant puckering anus on the underside of the tripod that captures Ray and Rachel, the protruding worm like thing only makes the visual that much more uncomfortable to look at to the point where one wonders how much of this was purposeful (it's like Spielberg briefly transforms into David Cronenberg!) and then we get a very faithful translation of the books coda, the weakness of which is the books fault for sure, but the film should never have used it. Having the aliens just drop dead is like a non-climax, at the same time it could only have ended this way, rather than the typical "America saves the planet" shit again, that pessimism, that if they hadn't have forgotten their shots then we would simply be fucked, is fitting for this film but unsatisfying all the same. I have however changed my mind about the very ending, as i've heard it perfectly put elsewhere, it's very much like the ending of The Searchers, bittersweet as hell, it's not the cop-out many (myself included) have accused it of being, it's actually a delicately downbeat ending. I have to say as well that Morgan Freeman's pleasantly dulcet tones aside, the book-ending narration straight from the book feels way out of place in the movie. But these are all quibbles, alot of them for sure but they do nothing to truly damage what remains not the big special effects driven blockbuster movie many where expecting, but instead one of the most potent and probably the defining horror movie of our terror afflicted and always uncertain 21st century. Flawed masterpiece.

Ken S (ru) wrote: Stage play adapted into a great film, the directorial debut of Mike Nichols. The film is simple, only four characters, and it has some great old black and white photography...but what really knocks this picture out of the park is the cast. Elizabeth Taylor and Richard Burton are both phenomenal (Taylor is practically unrecognizable to her contemporary self), and they are joined by decent supporting performances from George Segal and Sandy Dennis. The plot is simple an aging bitter and alcoholic couple invite a younger couple over and then proceed to battle each other and use the younger couple in their fights and games. The plot isn't really the point, the characterizations are. It is a fine small character driven movie, with what was probably Taylor's finest performance.