North Shore

North Shore

On a small stretch of coastline as powerful as a man's will, Rick Kane came to surf the big waves. He found a woman who would show him how to survive, and a challenge unlike any other.

After learning how to surf by using the local wave tanks, Rick uses his winnings from a recent contest to fly to Hawaii and try to make a living as a professional wave rider. But he knows nothing about the local habits, what causes him some starting problems... . You can read more in Google, Youtube, Wiki

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North Shore torrent reviews

kyo 9 (gb) wrote: Awesome performance by the main actor.. The story itself was extremely made..

paul s (us) wrote: While starting out as one of those "quirky" comedies, the film really isn't a comedy at all, though it does attempt to retain the quirkiness. Of course it didn't help that several later scenes that I believe were supposed to be funny were truly reaching; to the point of almost being offensive (as when one of the two grifters has to go at it alone and is reduced to being tempted to rob little old ladies of their purses). I feel that the back story - that of abused childhood (hence the title) had enough heft to be the sole theme of this film and that the comic elements could have been left out entirely (or at least the more overt ones). The script, when it focuses on the back story, is adequate; as is the acting of Jason Ritter and Jake Sandvig as the two grifters - they are loose enough in that slacker kind of way, and able to carry the wood when the film reveals the pained underside. Precocious kiddy number 9000 is aptly performed by Chandler Canterbury (there's a stage name if I've ever seen one), who manages to make me feel sorry for him as all he wants is someone to care about him (it's obvious that his mother does not). That at least one of the grifters does care is the major turning point of the plot and what gives this film a marginal passing grade - that and the ability to remain in costume; keeping the laissez faire slacker mentality and air of light joviality in spite of the dark underpinnings. I was drawn to this film because the daughter of a friend worked on the costumes (which are lowbrow LA kitch and so normal you don't notice that they are costumes at all). Normally, just by the title alone, I would have steered clear, and really the title is unfortunate as this could easily be dismissed as a screwball comedy - it's not, and while certainly not a great film, I was pleasantly surprised by the dramatic element. At least the film knew that it was straddling a precarious fence, as during the closing credits it includes a scene where one of the grifters is seen in a hardware store looking at hammers. In the next scene as the 3 main characters are throwing hammers at bottles, one turns to the other and says "you know that this is a pretty obvious metaphor, right?" To which the other replies, "Yeah, but it makes a nice visual". That just about sums up the tone of the film.

Walter M (mx) wrote: "Little White Lies" starts with Ludo(Jean Dujardin) ending his night of wild partying by being hit by a truck while riding his scooter. That gives their friends pause in making their vacation plans. In the meantime, Marie(Marion Cotillard) kicks Franck(Maxim Nucci) out of her apartment after they have sex because she can only watch movies alone, just as Eric(Gilles Lellouche) shows up from his own disastrous date. And then Vincent(Benoit Magimel) tells Max(Francois Cluzet) how he really feels about him. "Little White Lies" has a couple of early moments of sheer gay panic from which it never quite recovers over its epic length. In fact, one such turns into a running joke over the length of the film. Otherwise, this resembles nothing more than a banal three episodes of a dramedy television series. And as much fun as it is to watch the likes of Francois Cluzet and Marion Cotillard act, this hardly makes up for any of that. That's probably because you are not in good company. Basically, we're talking about a group of self-involved characters with boundary issues. But they are not responsible for taking care of Ludo for which they are called out on.(I mean, does he have any family, a friendly drug dealer, a prostitute with a heart of gold or any other cliche to take care of him?) In any case, I don't know what these chracters have in common as they come from different classes and ages. For example, who brings their massage therapist on vacation unless it is for sex?

Derek D (au) wrote: this is a great movie, now one of my favorites, great fighting, great story, lots of T&A, and a great ending! i loved it!

Svein P (fr) wrote: Helt grei, men ikke mer...

Adrian F (ag) wrote: went too arty farty at the end. could have been good.

Joanna B (ag) wrote: Picking the already scavenged bones of the overblown fantasy-horror hybrid franchise, Underworld 3: Rise of the Lycans is pedestrian at best. Depicting a story of a Romeo-and-Juliet style forbidden love between a bloodsucking vampire and shape-shifting werewolf portrayed in a distinctly cartoonish and decidedly flat tone.Illuminating and expanding on the series' widely convoluted mythology, this goth-horror threequel with it borderline-incoherent tangents invalidates everything in the previously established narrative. Set somewhere (perhaps in Eastern Europe), steeped in dark ages atmosphere, the film focuses on further explaining the adequately declared back-story behind the war waging for generations between Death-dealers (vampires) and Lycans (werewolves). Aristocratic ubervamp overlord Viktor (Played by the decidedly camp Bill Nighy) is confronted with the birth of a humanized werewolf child Lucian (Michael Sheen). Viktor's first impulse is to destroy the child. However realizing the potential to utilize the child's blood and further breed a race of controllable slaves, Lucian is spared and kept as Viktor's favorite pet and dog's body.Lucian and his reared in captivity enslaved brood are forced to obey, prevented to morph into their animalistic counterparts by "moonshakles" metal collars fitting of their station they carry out slave works on behalf of their vampire masters. Forgiven his breed, Lucian is granted to lead a privileged life under the light of Viktor's affections. Lucian working as a blacksmith with his clan of purpose farmed servants forges the weaponry used to kill his uncontrollable brethren, the marauding werewolves prowling the woods outside the fortified castles walls. In a fateful mistake, Lucian forgets his place and pursues a cross-species illicitly torrid love affair with Viktor's dashing and wilful daughter, Sonja (Rhona Mitra). As formidable resistance warrior and member of the vampire high council, Sonja and Lucian are forced to keep their union hidden in shallow pleasures. Plans for the duo to escape are exposed when one day (sorry night) defying both Viktor's orders and Lucian's advice, headstrong Sonja proceeds with her duties and leads a team outside the fortress in routine lycan servant exchange. Feeling the upsurge of his breeds power, Lucian is forced to break free the shackles to aid is love before the uncontrollable jaw snapping werewolves of the forest begin to feeding indiscriminately on the flesh of the living and undead alike.Exposing both his method of escape and his ability to reason with the uncontrollable outsiders, Lucian falls from Viktor's favour and consequently stripped of his privileges. Thrown, like the rest of the animals, into underground confinement. Lucian devises an uprising of the underdogs in a vain attempt to both protect his beloved and free his kind. Sadly, this is the point where the lacklustre storyline becomes tedious by completely losing visual cohesion with overabundant goofy fur-blur CGI, incoherently chaotic action sequencing and needless sword-and-sorcery shenanigans.Utilising a muted palette of cobalt blue and slate grey that gave the other films such a cold and antiseptic feel this one is left gloomy, muddy and bland. The single injection of striking blue colour used to emphasise Nighy's soulless eyes has a cartoonish feel and borders on silly. Nighy and Sheen have done themselves minimal favours in this film. The irrelevant talky stretches attempt to cash in on their respected thespian flair but considering the style of film and target audience lacks necessity. Consistent with the earlier editions, Nighy continues his twitching glares through his utterly camp delivery and spits every syllable of the ludicrous dialogue with relish. Sheens over use of alarming faces is as instantly forgettable as the dark and dull cardboard set designs.Mitra brings an undeniable screen presence to the character Sonja. Surprisingly she holds her own against the pleather clad memory of previous lead female Selene carved by Kate Beckinsale. Although well acted Mitra is unable to inject life into the love between Sonja and Lucian who have virtually no onscreen chemistry.Diminishing the grandeur of its S&M style predecessors, Underworld 3's direct-to-video ho-hum style fails to hold audiences with its stilted and bland dialogue, donky-kong action sequences, awkward camera angles and labyrinthine plotting. The Verdict: Bucking the trend of frenzied urban shoot-outs in dingy grey modern cities, Underworld 3 steps away form the formulaic style of its predecessors and falls flat. This movie leaves you with the same basic feeling as buying a rubber mallet and striking yourself repeatedly until you begin to black out. No wait that would have made for a more interesting evening.Published: The Queanbeyan AgeDate of Publication: 09/02/2009

Med W (jp) wrote: Lundgren should be given a special award for services to shite scripts

Spencer S (kr) wrote: Harvey Pekar is the only person who could have a bio-pic like this. Melding together documentary filmmaking and narrative filmmaking, the director team of Shari Springer Berman and Robert Pulcini bring Pekar to life, but also engaged Pekar. Through interviews with him and his wife, Joyce, we learn about the reality of his scourges, how he's still working for the same company, how much he loves his friends, his family, how he was treated by the Letterman show, and how he feels about comics, life, and love. Pekar is fascinating, while also being mundane, and that's also the rarity and greatness of "American Splendor" as a comic. Giamatti gives a top notch performance as the formidable curmudgeon, and Hope Davis is equally interesting as his anachronistic wife. This film has the right style, perspective, and humor, when dealing with the real life of one of America's best and most underappreciated graphic novel authors. It may not be for everyone's taste, because it is highly stylized, but it seems to fit with the less than glamorous life of Pekar, and that's only fitting.

Alex V (it) wrote: Average film. Above average Madeleine.

Wayne K (ca) wrote: A movie which has, for better or worse, gone down in the annuls of cinematic history for its unashamed disgustingness and sheer bad taste, Pink Flamingos is horrible on nearly every level. Its humour is firmly in the gutter, but most of the jokes fail to produce a single laugh, instead most often receiving a rolling of the eyes. It's obviously too much to expect complete and utter continuity from a film like this, but how about it at least understands its own premise? Connie & Raymond Marble, are in competition with our protagonist Divine for the dubious title of 'Filthiest Person Alive'. To usurp her position, they must exceed her in the filthy stakes, which they try to do via methods such as burning Divine's trailer to the ground. Reckless, yes. Illegal, certainly. But filthy? I'm not so sure. The characters constantly bring up the concept of filth, but a lot of what they do is just stupid and pointless, much like the movie as a whole in fact. A film which should only be about half an hour stretches to triple that length because of the volume of interminable yet completely inane dialogue, read as though learned phonetically, that the actors are forced to recite. The evidence of its paltry budget are everywhere; in the cheap editing, clunky camerawork, decrepit sets and ultimate futility. I watched it out of curiosity, and don't care to watch it ever again. When a film is best remembered for a scene where one of the characters eats animal waste, you can guess what the rest of it is going to be like.