Nobody Will Laugh
A successful art historian who has trouble telling people difficult truths, finds himself in an inescapable situation when a small lie quickly gets out of hand.
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Nobody Will Laugh torrent reviews
Matt C (es) wrote: A lot of horror movies come out and a lot of them aren't good. The trailer for The Autopsy of Jane Doe struck me because it looked more contained and original, and on top of that, it looked pretty decent. So is the movie itself actually good? Well, for a while. Here's a little movie that carries an effective tone and manages to keep its contained scope tied to the unease that it creates with a mystery similar to an old monster-of-the-week episode of The X-Files. The third act is when the script goes off the rails, though, its reveal and shift in content feeling underdeveloped enough to feel like it's from a different movie, dragging this one down noticeably. Austin and Tommy Tilden (Emile Hirsch and Brian Cox) are father and son who work together in a morgue. The mother has died two years ago and Austin plans on leaving his dad to do other things, but one day they're delivered an unidentified female corpse simply known for the time being as a Jane Doe. As they proceed with the autopsy in an effort to determine a cause and manner of death, they discover various abnormalities in the body that verge on impossible and some weird stuff starts happening. It's nicely contained with virtually all of the film taking place in the morgue, and director Andr vredal shoots the area in an effective manner, finding some interesting shots in the space while slowly building tension and confusion, which this movie keeps hand-in-hand, which I enjoyed. Florescent lighting paired with little natural light and a growing thunderstorm outside gives the movie an intimate feeling similar to that of an old-fashioned ghost story. Hirsch and Cox are decent in their roles but nothing spectacular, but that may have to do with the roles that they're given. The issues that lie within The Autopsy of Jane Doe have to do with the script, or more specifically what the script eventually becomes. No spoilers here, but most of the problems are in act three. The movie has a few telltale signs of not-amazing writing at first such as a few lines expositional dialogue that feels unnatural, and vredal's direction of some scares cheapen them into jump scares, but this is only two or three times. The sloppiness becomes apparent in the last 25 minutes or so when the mystery starts to become revealed since it-and what it entails and leads to-feels like something from a different script. Some things don't feel like they were earned are led up to, even if they are interesting. There's also Hirsch's character's girlfriend Emma (Ophelia Lovibond), who is entirely pointless. The Autopsy of Jane Doe takes its interesting premise and runs with it solidly for a good amount of its runtime, but it starts to feel like it's making stuff up as it goes along towards the ending. Some aspects of plot revelations feel natural while some feel random, and the girlfriend character should have been exorcised to focus on the two-hander nature of the movie--she's solely a quick way to add some characterization to Hirsch's character. vredal finds some efficient ways to shoot the material and slowly mine tension, but when the script starts to feel like a bit of a ramble, the satisfaction that could have been achieved with a few rewrites ends up being some lost potential, albeit with some genuinely good parts leading up to that. 6.5/10, okay, C+, average, etc.
Love M (au) wrote: Erotica obsession of pain and memory.
Bernard N (br) wrote: The usual triad and undercover cop/gangster plot similar to Infernal Affairs, the beginning was promising and as usual crashed midway to the end....messy. The casts were the plus point.
Catherine H (jp) wrote: For an apocalyptic zombie survival frightfest... you've got the wrong movie ! If, however, you want to laugh, A LOT, enjoy buddy flicks, and think Emma Stone is a fox (as well as a very good actress)... CONGRATS. You've found a gem. Zombieland is the story of a young college student / computer shut-in who finds himself alone and walking to (hopefully) his family home in Ohio, after a madcow burger starts the zombie apocalypse. He meets Woody Harrelson (Tallahassee) on the way. Woody is his usual, easy-going, funny-as-hell serial killer persona (you sort of wonder if Mallory and he had retired to Florida) who seems to be enjoying putting zombies out of their misery as he searches for his grail... a Twinkie. Along the way these gentlemen find several fine autos, a load of weapons ("Deliverance" fans will get a good laugh), and two sneaky "sisters" who scam them more than once. This movie is a hoot. I'm not letting any of the best parts get ruined by even hinting at who they meet on the way... but look out for the Big BM. Many funny references and the detail that one of the main characters has IBS will either make you wince or laugh at loud... depends ! watched this with an eight year old boy who laughed all the way through, and a "sensitive" teen girl who left the room as the opening credits rolled and claimed nightmares from it. It's cartoon gore, but take it at face value if kids are wanting to watch it with you. This is the first thing I've seen Jesse Eisenberg in... he and Woody have a very good chemistry. Abigail Breslin ("Little Miss Sunshine") is excellent in this. My only complaint is I wish it was a bit longer. It's a fun world where electricity is still on and zombies are pretty easy to smash. But look out for clowns...
Ramn M (gb) wrote: Ozpetek en estado puro...
William M (us) wrote: Totally love this movie
Carole T (mx) wrote: Good performances, decent plot and script just not thrilling enough.
Markku R (au) wrote: This time I watched only The Temptation of Dr. Antonio, part of the Fellini retrospective I am enjoying now. It is hilarious with a great song by Nino Rota. The best of this, along with De Sica's contribution.
Paul Z (kr) wrote: Media mogul Amos Kyne dies at the inception of a juicy item about a sex killer designated the Lipstick Killer. Amos orders his newspaper chief to hustle all out with that story. Amos's megacorp domain is comprised of a major newspaper, a television station, and a wire news service. It's bequeathed to his singular beneficiary, his pariah son Vincent Price, who hits the ground running to establish that he's not his father's imbecile offspring by devising a new top executive position to act as his man Friday and run the whole enterprise, and grants the candidacy to be among the city editor played with Thomas Mitchell's infectious presence, the head of the wire service played with George Sanders' Transatlantic adaptation of his unabashedly British persona, and the photo editor played with James Craig's old-fashioned American masculinity. The plotting Sanders and the factotum Mitchell egotistically vie for the job and struggle to crack the headline murder case, feeling that the one who solves that case will get the job. At the same time, Craig is having an affair with Walter's eye-popping wife Rhonda Fleming, and hopes to get the job through her seductive wiles. Pulitzer-winning reporter and the station's commentator, played by the always appealing laid-back Dana Andrews, is unwilling to get involved, but after all does and signs on to help his close friend Mitchell.Fritz Lang's 22nd English-language film, which itself, interestingly, is a conglomeration of film noir, psychological thriller and sociopolitical drama, is a complete observation of the modern media. It applies to a media empire which merges newspapers, wire services, photography and television. All of these come under acute and generally cynical analysis in this film. The utter notion that so many different media are all amalgamated in one company scares this film's forever socially concerned director Fritz Lang, who sees the makings of fascistic tyranny here, something of which his own first-hand experience surely made him particularly wary.The K symbol that is everywhere in While the City Sleeps as the insignia of a media empire. One recalls that in real life, the CBS eye was part of the first successful corporate logo and corporate identity crusade of any modern corporation. It is intriguing that Lang, with his eye consistently scanning for the cutting edge of communications, would give the media empire in his film such a syndicated characteristic. Real corporate media offices look significantly flashier than the dishwater headquarters of the media in Lang's film.The media show up in other, more esoteric ways, as well. The bar is rife with photographs, ostensibly of celebrities who've stopped off at it. The photo-viewer maneuvered by Ida Lupino, who plays Sanders' star journalist with detached intensity, evinces Lang's strong interest in new media. Even the car chase at the end of the film involves a car knocking over a mailbox, part of the broadcasting framework of contemporary civilization.Somehow the killer, who is psychologically troubled and cannot help himself, is treated in a more sensitive depiction than any of the cutthroat newspaper people. He is played by John Drew Barrymore in a vivacious and edgy performance. He is sporadically seen, but with intrigue as we almost always see him alone, and even once at his home with his mother, a wrenchingly sad scene. Even the story's apparently most upright character, Dana Andrews, utilizes his girlfriend to get what he wants, which is not necessarily worlds apart from what Craig's character does. The essence of the story is seen through the glass-walled newspaper offices and all the deceitful day-to-day goings-on there are disclosed, as Lang secures his most severe reckoning on the indiscriminately aggressive newspaper people who could so easily forfeit their dignity for control, fanfare and affluence.
Gina S (nl) wrote: It was ghey, All the bronies in the film were all autistic and clowns, Propaganda by idiots, The show is really well done but it's like making a documentary on Adventure Time fans, It can't wait till they do a documentary on PewDiePie fans and how they like a faggot that nobody likes, This documentary is seriously lies.
Robert H (kr) wrote: And now for something completely...different? Although he probably didn't think this would be his last film, Hitchcock certainly picked an interesting project to go out on. FAMILY PLOT is about two criminal couples who paths happen to cross in a surprising way. Perhaps more than any film in his corpus (that I've seen so far), FAMILY PLOT has a lighthearted tone while maintaining that edge that Hitchcock was so well-known for. The plot is a bit convoluted, as is to be expected, but the way in which it all comes together at the end was something to behold. I may have criticized his earlier films for their endings, but he seems to have come up with the perfect one here. Not to mention, the final sequence was as suspenseful as anything he did in his prime. Here, he collaborated again with writer Ernest Lehman, who he worked with on NORTH BY NORTHWEST. Perhaps that's why the films feel so similar, at least tonally. There's also a hilarious car chase sequence which fares much better than Cary Grant's in NXNW, although the process shots/rear projection was just as noticeable. However, he worked with a new composer this time: a pre-Star Wars/Superman John Williams. While I wouldn't count this as one of his best, or most memorable, scores, it certainly fit the quirky tone of the film. If I had to describe it, the score (and the film) is somewhere between Monty Python and Matlock, if that makes any sense. As with his last couple pictures, this one doesn't really have any star power behind it, although I did recognize Bruce Dern from his small role in MARNIE. They all give decent if unspectacular performances, and their characters were reasonably developed. Of course, I loved all of the Hitchcockian touches in the camera-work and editing. Despite being advanced in age, he still could put together a great set-piece. Overall, this isn't top-tier Hitchcock, but it certainly made for an entertaining and satisfying swansong to an incredible career.