Newlywed Peppi (age 21) is about to embark on a honeymoon cruise with her husband and closest friends. The journey starts off in good spirits but then Peppi runs into some old friends who bring back unpleasant memories from her past. Suddenly strange things start to happen on the ship. Members of Peppi´s group begin to disappear. Peppi starts to realize that the disappearances are payback from her past; a drug related death she was a part of. The situation gets gradually worse and even Peppi´s closest friends seem to have motives to hurt her. Who can you trust when you can´t trust anyone? . You can read more in Google, Youtube, Wiki
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Danielle M (ca) wrote: Very Very good! The story was a perfect movie story, everything flowed wonderfully. Each character had a story of his or her own, and it made it that much more interesting. A little action, wonderful humor, not to mention an amazing sensual scene that will make you jaw drop. Alex of course was wonderful and handsome!!
Evan H (jp) wrote: It has heartfelt performances and it brings tears to one's eyes. It's well written and based on a true story. It's worth seeing for Jack Lemmon and Hank Azaria!
Kim K (es) wrote: Everyone should see this movie atleast once in there life. Just for help to figure out who you are and how people see you.
Danny S (de) wrote: A city that comes alive with vibrant performances and engaging characters
Anthony W (kr) wrote: In honor of Halloween I couldn't resist watching this film. A black vampire runs amok! A little sentimental and lovie dovie for a vampire but Blacula is still definitely a cool dude:) This movie was fun to watch.
Kristen P (jp) wrote: Luke doesn't think of himself as a legend. Sure, he's a decorated Korean War vet, and sure, he has good enough looks to inspire widespread questions of stardom. But he ain't perfect. So imperfect is Luke, in fact, that something as stupid as cutting heads off parking meters during a drunken stupor lands him in a chain gang, despite a solid reputation and round-the-clock likability. When arrested, he doesn't put up a fuss. To hell with societal expectations. When he unceremoniously arrives on the grounds of the prison, he is instantaneously targeted by his personality searching counterparts. He's a picturesque panther in a crowd of wild hogs. They torment him, mocking his every word, attempting to find a demeaning nickname that suits his sardonic face - but he won't have it. Luke is a man of integrity, of bravery; his ability to withstand dire conditions makes it easy for his peers to eventually idolize him. All it takes is a losing fight where he just won't back down, and a willingness to devour fifty eggs for the sake of proving a point that doesn't really matter in the first place. He does all this with a smiling face, somehow ignoring the brutality of the guards and the fact that he is, you know, spending the next two years in prison. If you were to only watch the first half or so of "Cool Hand Luke", you might look at the titular protagonist in the same way you did Harry Callahan and Frank Bullitt, an anti-hero worth bragging about to your friends because you knew him, because he was cooler than you ever were, because he was a crazy S.O.B. that didn't have much of a problem with questioning the MAN. But the film is a multifaceted account of an idol, a layered portrait of someone who seems flawless in the context of one's soul searching thoughts, but, in truth, is just as much a mess as the fellow messes of the 1960s and beyond. Perhaps the men of "Cool Hand Luke" will always see Luke as that guy who knew what justice was, the guy who didn't let the beating sun damage his seemingly uncrushable spirits - but the movie is just gutting enough to remind us that, beneath their slick dexterity, maybe John McClane was hot shit because he had to survive, not because he was trying to be hot shit. Maybe Philip Marlowe looked danger straight in the eyes while also fearing for his life. "Cool Hand Luke" doesn't see its anti-hero through lazy rose-colored glasses; it doesn't want us to see him that way. It is a prison movie too optimistic for its circumstances, one that just so happens to have a movie star leading the array of buffoons. And once the film suddenly and quickly takes a turn down kitchen-sink-realism lane, we realize that "Cool Hand Luke" was never optimistic to begin with; it only seemed that way because its world was seen through the eyes of the prisoners that placed Luke on a pedestal for so long. When Luke unexpectedly jumps off his pedestal and becomes a man who can't take the beatings of the guards any longer, our smiles are, without warning, slapped right off our faces. Paul Newman could have become the next Clark Gable/Cary Grant/John Wayne, a pretty boy with enough of a rugged exterior to pass himself as a movie hero, but the '60s changed any preconceived notions one might have had. (Not that there were many, considering his star-making turns in 1950s fireballs "Somebody Up There Likes Me" and "Cat on a Hot Tin Roof".) He sprinted from one anti-hero role to the next, evidenced by "The Hustler", "Hud", and "Harper", all unseen by be (besides "Harper", which I enjoyed many moons ago and can hardly remember). "Cool Hand Luke" is said to be his peak, his most famous moment of the '60s. It's hard to disagree: Newman doesn't just provide us with one of the most investing cinematic characters of all time; he also gives a tremendously heartfelt performance, tricking us into thinking that he's an assured societal diamond accidentally in the roughest place in the state when, in actuality, he's a lost soul in search of existential meaning after finishing his prime years. We become convinced that his drunken mind must have told him to steal the coins of parking meters because he simply had nothing better to do besides become someone else's God. Stuart Rosenberg's direction is arguably too cinematically voluptuous for its own good, making the life of a chain gang member seem sweeping and summery, like something out of a Loretta Lynn scented country song. But maybe we only see the beauty, the characters finding themselves in an atmosphere emotionally similar to that of "Papillon". But the screenplay, penned by Donn Pearce and Frank Pierson, is stunningly moving, upstaging Rosenberg's many intriguing directorial choices. They find a commonplace between pity and empathy for the prisoners who spend their days doing nothing except idolize Luke. They don't make them pathetic; we somehow understand that they probably never had a father to look up to and never had anything to discuss at home besides a female that glanced at them once or a cathartic bar fight they participated in a few days back. Most notably is Dragline, portrayed by George Kennedy, who goes from active chain gang bully to Luke worshipper. His fascination does not come from a homoerotic place; it, instead, is an unexpected twist in a life that has been cruel to him. Finally, he has a friendship with someone that doesn't fear his toughness and doesn't write him off as a not so gentle giant. Luke doesn't quite feel the same way, but we have an affection for Dragline. He is so blinded by his new emotions of adoration that, even when Luke shows signs of human struggle, he can hardly ignore the charade that plays out over and over again in his mind. Long after Luke leaves his life, he will still be telling new meat, and, later on, family members and bar patrons, the stories of Luke and what he meant to him, while they nod along politely, never quite understanding why the protagonist of his story was such a supposedly incredible guy. Kennedy, who won the Oscar for Best Supporting Actor, is unquestionably terrific. But "Cool Hand Luke" is Paul Newman's movie, and is, on a broader scope, the movie that flipped the anti-hero clich onto its back and reminded us that, hey, anti-heroes have feelings too. The film is as level-headed as it is romanticized. We see life from the eyes of Dragline and Luke himself, as it just comes to show that a cinematic world isn't as much of an escape as we normally expect it to be.
John D (jp) wrote: It's baked alright. . . Not one of the better cheesy Elvis movies. Elvis looks bored (and a little chubby) and the songs are bottom-of-the-barrel stinkers. Fabares and Bixby give a little bit of life to the proceedings, but it really just another Elvis movie and the King & Co. are content to rest on their laurels.
Matt G (gb) wrote: A beautifully written and delightfully irreverent silent rom-com. Leaning on humor based in choreography and heartbreakingly pure sweetness, Chaplin manages complete sincerity right beside his disdain for high-society. Maybe not as inventive or groundbreaking as Modern Times, but still pretty darn great.
William F (br) wrote: Dumbest golf movie ever.