Obsessed

Obsessed

Lorie Brindel works at an insurance company and falls in love with one of her clients, the much older Ed Bledsoe. Spending weeks of passion together, Lorie is convinced that Ed is the man of her life and that he would marry her. When Ed decides to break up the relationship, Lorie does not accept it and tries to win him back, falling from her extreme love into an equally extreme hatred.

A young woman (Doherty) who grew feeling neglected by her father, has a fascination for older men. When she meets a man (Devane) that her company is doing business with, she is taken with. ... . You can read more in Google, Youtube, Wiki

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Obsessed torrent reviews

Panta O (jp) wrote: This drama written and directed by Travis Romero was nothing I would like to watch again! What a waste of time with this B grade movie in which there is more love affairs that anyone could handle. Starring Michael Biehn as Henry, Matthew Ziff as Nathan, Sarah Butler as Cecilia and Caitlin Keats as Vanessa, this movie will bring all possible combinations of who was sleeping with whom, and the father and the brother could be the same person... Sad excuse of a movie which could interest, probably, only the audience of unemployed beer drinkers, desperate housewives and few pensioners who run out of anything else to watch. If you like to watch bad actors starring in a mediocre directing film where an estranged father and son are re-united at a wedding party, and a thunderstorm traps them in a cabin, forcing the family to reveal deeper secrets... put this one on your list. I think that you'll regret, but you never know - there is always people who enjoy suffering!

Steve S (es) wrote: This might be seen as a typical working class British comedy....except for one scene. I love the film, and the predicament the newly weds faced in what I would call far happier times in this country. OK back to THAT scene... Marjorie Rhodes (as Lucy Fitton) gave the most extraordinary performance recounting just how a former love had affected all their lives. John Mills (Ezra Fitton) without saying a word was just superb. My favourite scene in any film bar none and deserves a 10 star rating for the performances alone.

Nguyen Thuy H (de) wrote: A musician (so-called loner) without any personality goes on in search for something "metaphysical". If there is something to inform me of why he needs such a search, I wouldn't have had to scratch my head the whole time. To substitute for the film's spiritual vacancy, the directors designed long, "hypnotic" shots to bring home the sense that there is something "spiritual" going on - but, alas, I didn't feel it. If there is a film that waves a banner and shouts out loud "hipster and proud", this must be the one.

Lachlan W (ru) wrote: never want to see this crap of a movie.

Tommy M (es) wrote: I liked this movie and I probably would have liked it alot more if i spoke Japanese Or Chinese or whatever language they are speaking. The movie had a really deep story line and that is pretty rare for an action movie. I remember on the front of it or something it said action junkies wont be disappointed and they were right! The kong fu was really awesome and i like that the most in action movies personally. There wasnt to much shooting of guns but there was a lot of explosions and awesome stuff so great action movie! The acting was i have no clue because i was reading the subtitles but im sure it was good.

Ric O (fr) wrote: First Jessica Simpson movie i liked

Aarshin K (ag) wrote: Although a dependable Bollywood young-love romantic-comedy, "Jaane Tu... Ya Jaane Na" fails in its many attempts to be a dramatic work. While Imran Khan and Genelia D'Souza prove entertaining, attempts at serious character development and dramatic work ultimately fail due to the abysmal script. Genuinely funny at times, the unique plot construction is carried awkwardly by an unbelievable social dynamic between the group of friends who tell the story. However, the film has a high production quality that demonstrates Bollywood's technical perfectionism and deliberate aesthetics. The film has mass appeal and for this reason it has very little masala.

Anthony I (ca) wrote: Tragedy, heartbreak, a family torn. In the Bedroom exquisitely tells the story of a slow burn for vengeance, and what's morally right to do. The cinematography and direction are near perfect. The performances ( Tom Wilkinson and Sissy Spacek) are outstanding, and accurately capture a true, broken American family. It's a tough watch, but what a fine, fantastic film.

Gerardo F (br) wrote: great movie,stop-motion and music is nice..!!

Nils H (ag) wrote: A bit too slow for my blood, and the death-scenes are often pretty lame too. It feels like nothing really happens in the first hour, but in the end, Fulci manages to give us a couple of suspensefull scenes, one gross-out and two decent death-scenes. Not as much as you could hope from the guy who directed nasty bits like "The Beyond", but it's still one of the better of his later movie.

Jo Y (de) wrote: good movie.lot of action...

Eric J (au) wrote: a long and slow film worth watching for the genius of Toshiro Mifune

Robert B (ru) wrote: Monsieur Verdoux (Charles Chaplin, 1947) Monsieur Verdoux, which sprang from a falling-out Chaplin had with Orson Welles (more on that in a few), was Chaplin's favorite of his films. It was his first in seven years, the longest period to date between Chaplin films (and the second-longest ever), it landed him one of his surprisingly few Oscar nominations (for Best Original Screenplay; he lost to Sidney Sheldon, of all people, for The Bachelor and the Bobby-Soxer, and the three other films nominated that year you've never even heard of), etc. For all that, it was a monumental flop at the box office, the post-WW2 equivalent of Heaven's Gate. Like that film, Monsieur Verdoux is a good deal better than you may have heard it is. On the other hand, don't go into it expecting another Modern Times, or for that matter another Heaven's Gate (a movie every critic outside the US finally seems to have given its due as one of the great American movies). The plot of the film is based loosely on the life of Henri Dsir Landru, the Bluebeard Killer (the first of, to date, four movies based on Landru's life), who started off scamming wealthy widows he met through the lonelyhearts pages, then progressed to marrying them, getting their wills changed, and bumping them off. Before his four-year spree ended, Landru had killed eleven widows. As we open, Henri Verdoux (Chaplin), a banker who'd been laid off from his job thanks to the economic crash, has just killed one of his victims, tossed her body in the incinerator, and then gone back to happily trimming his rose bushes, avoiding stepping on a caterpillar on the way back to the house. A lovely man indeed. Once her fortune is collected (and subsequently invested; Verdoux plans to support his legitimate family through the stock market), Verdoux puts the house on the market, and we see how he interacts with other human beings. (He's not as nice to them as he is to caterpillars.) The movie is concerned with Verdoux's cycle of marrying-and-murdering, naturally, and he gets himself hitched to some real shrews for comic relief, but the real meat of the story comes when Verdoux meets the nameless woman (as so many of his female leads are) known in the credits only as The Girl (Marilyn Nash, in one of only two of her big-screen roles, the other in a forgettable sci-fi film), whom he lures back to his Paris apartment in order to experiment with a new poison he's concocting, only to let her go. (This becomes important later, for reasons that are spoilerific, but lead to a great deal of the movie's comedy.) It's not a bad film by any means, and if you're a Chaplin fan you'll enjoy it a great deal simply because it's Chaplin (and, according to Robert Lewis, the Chaplin film over which he had the most control: he not only directed, starred, produced, casted, and composed, but supervised every other aspect, from costume design to "crawl[ing] around on the floor with a knfe, scraping up bits of old chewing gum stuck to the floor"). But the story behind the Welles/Chaplin rivalry that birthed the film in its present form is in many ways more interesting than the movie itself. Welles originally wrote the script and approached Chaplin with it; Welles was to direct, Chaplin to star. Now remember, this was still the forties, when everything Orson Welles touched turned to gold; he'd just come off Kane and The Magnificent Ambersons, and what Orson wanted, Orson got. Except Chaplin, that is. After reconsidering, Chaplin is reported to have told Welles that "no one else has ever directed me, and I'm not going to change that now". We do know that Chaplin bought the script from Welles (who would later say he parted with it because it was "one of my minor works", which may well have been sour grapes) for five thousand bucks, rewrote some of it, and made it into Monsieur Verdoux. How different would this movie have been had Welles directed it? There's no way we can ever get an answer to that question, of course, but Welles was capable of getting such greatness out of even our most iconic actors (Charlton Heston in Touch of Evil, Edward G. Robinson in The Stranger, and Anthony Perkins in The Trial are only three obvious examples) that one can only salivate while imagining what he would have done with someone as brilliant as Chaplin. As with most black comedies, note that some of the laughs are bound to sound more like uncomfortable chuckles, especially in the first half; the second is more reminiscent of the little tramp and his slapstick days (the chase scene in the dance-hall could have been filmed in 1920, save the sound). But in the end, it's still Charlie Chaplin, and you'll still like it. ***

Scott W (it) wrote: Love this film! Not a fan of Adam Sandler, but this is always a classic for our family!

Victor M (ag) wrote: I've always found Europa to be so fascinating and this movie depicts exactly what I'd love to see happen in my lifetime - a manned mission to the most intriguing of Jupiter's moons.

Sue S (it) wrote: I had forgotten I saw this when it came out, but it was so long ago I enjoyed watching it again. I thought that little kid who played Simon was fantastic. Someone must have worked with him a lot to get that excellent portrayal of an autistic child.

Michael V (it) wrote: The king of all bodybuilding documentaries

Muhammad K (mx) wrote: Gary Oldman's performace was amazing in it .