Obsesión

Obsesión

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Obsesión torrent reviews

Dyuti M (mx) wrote: A typically non-typical indian fare, much along the lines of Homi's first, Being Cyrus, inspired by the comic likes of a Little Miss Sunshine or Death at a Funeral. Clean, wonderfully musical, visually rich and sensitive to detail compared to Bollywood mainstreams, the movie is a winner, visually. This is yet another movie with a micro setting, minimal surrounding, counted characters and well, a non-story.Shah's character, a postman in a small picturesque Goa village, is thrown into sadness by the retrieval of a letter he had sent off years back to the only woman he loved, fondly called Fanny. The rest of the story involves eccentric coquettish mother in law and winsome daughter Dimple and Deepika, their cat, delectable bachelor and childhood friend Arjun Kapoor and his lascivious painter father Pankaj kapoor take Shah in the painter's old car on a journey to find Fanny, which leads them to their own little journeys and moments in finding love, life, madness and lifelessness. The characters seem well written, the dialogues only as quirky and daring as expected from an offbeat Indian fare, the music subtle and fun, there's enough punch to woo the mainstream Bollywood viewer into being revered. Nevertheless, a lot falls flat for this film on the whole and a lot is formulaic in it's category of films and even bollywoodized without having to try.The pace gets predictable and stretchy for the lack of substance while the cool factor and off-beatness prevails, Deepika's southern accent does no justice to her anglo character making her a character misfit albeit one easy on the eyes, theatrics prevail over reality all along, the humor seems forcibly quirky, innuendo-us and bold to raise eyebrows and force laughs, some sequences are evidently unnecessary studding (like shah drowning in water artily to make an interesting frame), shah, the central man is overshadowed by the dramatics of the rest, Arjun Kapoor sounds stiff, sullen, screamy and way too intense, macho and fed with words that don't come out natural for the character, some punches like the deaths are a bit overdone, and lastly, there is nothing particularly bold or explicit about the film. The romantic sequences are a bit tacky, though Pankaj Kapoor saves the film with his funny bits and good acting. Shah is cute as the childlike man though disappoints with a predictability all his films seem to be following. What endears possibly is it's constant lightness, visual freshness and the element of amusement. The film has it's moments, some would bring a chuckle if not a tear or a laugh, or even a smile, and hopefully, one wouldn't yawn or be annoyed by the overdoneness. A film need not deliver a message, recreate life or stoke the emotions but all in all, Finding Fanny seemed a lot more froth to me than any convincing message about love, portrayal of life or even mockery of stereotypes.

bill s (nl) wrote: Went from meandering,pointless horror flick to just silly at the end.

Joetaeb D (it) wrote: Borrowing heavily from an innumerable amount of fantasy and sci-fi franchises that it just seems like a collage of elements. The Mortal instruments is an unexpectedly dull and forced YA movie that feels like it has nothing more on it's mind than to try to steal fans of Harry Potter and Twilight over to it's side. But we more than know how it goes on this path.

Jacob D (jp) wrote: I loved the acting and story line of this all time favorite of mine.

Edward C (ru) wrote: An ambitious failure but lovely in several ways. Brad Pitt, besides spending a good bit of screen time with his hand down the front of his tighty-whities, delivers an effective performance as the title character, a hipster with a little talent, big dreams, a huge ego, and an enormous pompadour. The film's use of Brooklyn locales is a shade off post-apocalyptic, managing to look both retro and futuristic. Ricky Nelson (the hero's role model) songs add warmth. There is a small performance by Nick Cave, who nails little role as an even older and more desperate hipster. Most importantly, though, the film gets right the tentativeness and the barely concealed squalor of the hipster. A couple of nice outfits, a good pair of shoes, and some camp tchotchkes are all Johnny has. He has to hock his guitar to pay the rent on a flat that makes run-down look good.

Kristal C (fr) wrote: It would have been better if the three women had kept at it alone - the men just screwed everything up. Maybe that was the point?

Edith N (ca) wrote: london after midnight - 6 Only a Shadow This is not, cannot be, a review of actual [i]London After Midnight[/i]. The film is no longer extant. Or anyway if it is, it's like one of those boxes you hear about as appearing every now and again, like the one full of previously unknown Ansel Adams photos. Or the lost [i]Metropolis[/i] footage found in Argentina. The last known copy of this movie was lost in the MGM studio fire in 1967, along with Gods alone know how many other films. The idea of being able to spend one hour hauling things out before the fire is the film buff equivalent of being able to ransack the shelves of the Great Library at Alexandria, saving the lost for history. Of course, it's not time enough to be sure that everything missing is the lost, but it's enough so that there's always a chance. I'm not so fussed about lost Three Stooges or Tom & Jerry, but I'm sure a lot of people don't much care about lost Tod Browning and Lon Chaney. Film history is at least in part a battle against destruction. None of this was helped by the belief that there was no value to silent films once talkies had come in. This is the recompiled version of the film, pieced together from production stills and the script. Roger Balfour (Claude King) is found dead; a note found next to him is agreed to be a suicide note. One Edward C. Burke (Chaney) is on the case, and he closes it. Five years later, a terrifying mystery man rents Balfour's home. Lucille Balfour (Marceline Day) is among those who think possibly her father has returned. There is also speculation that the mystery man is a vampire, be it her father or someone else. Honestly, I kind of lost the thread of things. I'm reasonably sure the title cards are original, but with the film really just production stills intercut and scanned along, it's a little harder to get into. I even had a bit of a hard time working out who some of these people were and why various of the characters believed or didn't believe in vampires. I'm not even a hundred percent sure how things ended. To be fair, I don't know if this is a failing of the reconstruction or the original film. Really, the film is to me more a stepping-off point for a discussion of the loss of a medium's own history than a film in and of itself. It's probably wrong to call it generic horror. It's Tod Browning and Lon Chaney, and neither man was quite inclined toward the generic. It's borrowed from a lot over the decades since--even, at second or third remove, the decades since the last known copy was destroyed. Unfortunately, in a case like that, a modern eye can't separate what was with what is. All you see is that you've seen it before. It takes a special leap of mind to realize that it's because it started here first. There are several movies where I've had to wrap my brain around that, and the problem here is that there's no original source to use as a starting block. There's nothing here to weight us in the right time and place. The music was composed for the reconstruction. Everyone is credited, even on the IMDB page, as "archival footage." Mere black and white photos of this level of quality can be from anywhere within about a century. Nitrocellulose decays and burns. Many old films have crumbled into dust on the shelves. Others, like this one, burned in fires like the MGM Studio Fire, an electrical fire which raced through the warehouse where they were stored. Many old Harold Lloyd films were destroyed in the '40s in a similar fire, leading Lloyd to be one of the early champions of preservation. However, fires and decay were only part of the problem. The actual filmstock itself was recycled for the silver when the studio believed the things recorded on it were worthless. Some eighty percent of silent movies are believed lost, largely because the film itself was considered valuable but, with the coming of talkies, the finished product wasn't. The negatives of the parts of [i]The Magnificent Ambersons[/i] cut by the studio were disposed of to save space. While these are considered priceless to researchers now, and while there is now an A&E production following his original notes in an attempt to show what might have been, movies weren't even legally considered art at the time. Keeping the books was more important. Lost films are found. [i]The Celluloid Closet[/i] lists both [i]Different From the Others[/i] and [i]Mdchen in Uniform[/i] as lost films, though it's true that [i]Different From the Others[/i] doesn't exist in a complete form and has been somewhat pieced together as well. There is, again, that found footage from [i]Metropolis[/i]. But there are a lot of films out there which are not so lucky. Wikipedia lists this as about the single most sought-after lost film. The list of found films also on Wikipedia, however, is short and tends to include films later discovered in the private collections of those involved in making them. Sometimes, they were kept back by projectionists. Sometimes, they are found in film archives. At least one lost movie was later found in a box of movies which hadn't been labeled--or watched for years to discover what was on them. However, hoping to stumble across [i]The Life of General Villa[/i], the film actually starring Pancho Villa, at a yard sale is not something I'd rely on.

neil L (es) wrote: One of the best haunted house movies I've seen. Very scary. The sequel however, was just awful.

Maha S (de) wrote: Good movie but not for the fainthearted movie goer. It's what you develop in your mind that makes it a worthwhile experience; plus great actors.

Faisal A (us) wrote: This is a slow, deliberate and carefully thought out piece for adults who like to savour rather than devour their thrills. Doesn't deserve a place among the classic train thrillers, but it offers enough cinematic amenities to be worth booking passage.

Xian K (us) wrote: Interesting stories of how to recruit & build a team after tragedy. Watched 12/5/2016.

leah f (gb) wrote: It's enjoyable, but a sub par comedy overall. It has a heart made of bronze, and leaves tinfoil-y taste in the mouth. The three main titular men are entertaining enough to pull the movie along, but it loses focus and that's probably what breaks the deal for most.

Christopher H (us) wrote: With a flaccid plot and loose performances with little to no motivation or reasoning for changes of heart, Rollerball relies on its pumped up adrenaline and complicated foreign sport to provide for any action to drive the film. With little invested throughout the entire film, the payoff seems hardly worth it and ends in what can only be described as a self-inflicted train wreck.

Private U (ca) wrote: This is literally the worst movie I have ever seen. There is literally no redeeming qualities. There is no depth or substance here.