A Canadian sex comedy about saving a summer camp from becoming a shopping mall.
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Oddballs torrent reviews
Justin B (es) wrote: It suffers from every problem from every other Transformers movie; it's too loud, it's too long and there's far too little on offer beyond the explosions. However if you can wade through all the crap that we've come to expect I'd rate this a slight cut above the other sequels. A huge part of this is thanks to Mark Wahlberg being a much stronger and far less irritating leading man than Shia Laboeuf.
Juston C (it) wrote: Pretty decent movie...had some funny moments...this would make a good double feature with "Zack and Miri Make a Porno"
Grisel B (br) wrote: "did I missed the ending?...not great!"
Adam R (it) wrote: The killer is purportedly revealed before the title credit in this wanna-be film noir. The real killer turns out to be the writer of this mess, who is strangling his actors with excruciatingly portentous dialogue against what is somehow a professional backdrop.
Benjamin F (kr) wrote: The worst. Should be ignored for eternity.
David S (kr) wrote: Donald Cammell is one of the more criminally underrated directors of our time. Perhaps this neglect is a result of his short filmography (which consists of only four feature length films), perhaps it's because his films are an odd combination of conventionalism and pretentious artistry that seem to conflict with one another, or perhaps it's because he has been overshadowed by his more "successful" film partner Nicolas Roeg, who together made the classic psychedelic gangster thriller "Performance". Whatever the case may be, Cammell's work needs to be re-evaluated as one will find him to be a true film auteur - a master of dark, nihilistic, and existentialistic thrillers.In terms of plot, "White of the Eye" is probably the most conventional of Cammell's films - the narrative is a straightforward rendition of the "slasher" genre (if one wishes to call it as such), offering up no surprising developments or unexpected turns - but everything else about the film is far from conventional.The editing is by far the most mesmerizing aspect of the film. The cuts are elliptical, with time and space overlapping with one another until they ultimately merge, creating a surreal and hallucinatory ambiance. Adding to this mood is the fact that the cuts are often not cuts at all but rather dissolves - shots melt into one another instead of being severed by splicing as they normally are, not only amplifying the dream-like nature of the film but also seeming to suggest that the characters are linked to one another on a more metaphysical level rather than their social relationships. Yet there is another significant detail about the editing that needs to be addressed - the rapid succession of of cuts made during several key sequences. For example, the first murder sequence is not simply shot in a long take - nor is it filmed in a gritty, kinetic style as they often are - but rather it is carefully constructed with a multitude of symbolic edits that both compliment and contrast the scene with a series of juxtapositions (a goldfish flounders in a bowl of meat, the heads of roses become detached as they fall, red sauce is splattered across a white table and a painting, etc.). These sequences are so rich and detail that it would take several viewings to fully comprehend each shot's significance.In addition to the spectacular editing, the direction is just as superb, with the camera tracking in forcefully and spinning around characters rapidly to create greater intensity and "presence" (we feel... we experience more). The cinematography is also striking with such wonderful compositional decisions as extreme closeup of the eye, sudden inversion of colors (that is, shot in the negative), etc.Interestingly, the musical score is composed by members of "Pink Floyd" and is truly haunting - it's strange, not rhythmic, and unbalanced, amplifying the uneasy, surreal, and dream-like atmosphere the other aspects of the film have already established.The film is an experience. It is a visceral and psychedelic assault on the senses. It has to be felt and not rigorously deconstructed. It is a film about the surface, about symbolisms, about metaphors, about a mood, about a feeling, all told with a framework of a conventional genre piece. Conflicting elements to be sure, but a mesmerizing film none the less.
Ben C (br) wrote: Hilarious spoof on rock 'n roll from the '60s to the more predominant '80s. The music is not bad either!
Orlok W (br) wrote: Disney noir!! A wonderful adaptation!!
James C (ru) wrote: A great low budget motorsport film. A true story and great motorsport film.
Brett B (br) wrote: An exercise in pure camp and kitsch, the sheer cheeseball charm on display is kind of endearing, but the film is a failure on multiple levels, from the story to the effects to the acting.
Ken T (ca) wrote: Young Sengalese woman opts to remove herself from her poor African way of life to go to work as a maid for a white couple in France. She aspires to be the envy of her family enjoying the wealth of France, only to find herself being degraded and treated as a slave. In it's 56 minute runtime, Black Girl is a mostly compelling social commentary that is never dull and often has astute observations of the aspirations of a young woman living in Senegal and her dreams of making more of her life. There are some vastly overstated moments in the film that certainly diminish the overall impact of the film. However, Sembene was a tremendous talent of a filmmaker and he clearly is able to visualize the journey of the young black girl, Diouana.
Super H (us) wrote: Highly rated by the public after its release in 1932, this movie is a real thriller to watch.
Robert H (au) wrote: I don't remember ever seeing this movie when I was a kid, but I did watch some episodes of the animated series around that time. BEETLEJUICE is an important film for at least one reason: It established Tim Burton's style and featured a lot of the people, behind and in front of the camera, who he would collaborate with over the next 20 years or so. It also has a fairly entertaining story with plenty of visual inventiveness and some manic touches, courtesy of Michael Keaton as the titular character. However, similar to Silence of the Lambs, the most important character in the movie isn't in it for a long time. He gets hinted about at first and shown from behind, making you curious as to what could make the dead so scared of him, but then he finally makes his grand appearance and it all makes sense. For so grating a character, the small doses you get of him actually work in the film's favor. A little bit goes a long way. What makes the film engaging and relatable are the couple who die barely ten minutes in (Alec Baldwin and Geena Davis) and the daughter of the couple who move in afterwards and start remodeling (Winona Ryder). To a degree, you can understand the plight of these two people who, cut down in their prime, see the house they worked so hard to get be changed beyond recognition by a family with no regard for the past (albeit, hilariously so). One thing I didn't expect was the way in which the film straddles the line between horror and comedy, having expected something a little more straightforwardly funny. What I got was still quite good, with plenty of sight-gags and situational humor instead of verbal punchlines. The film also has a great sense of style (courtesy of production designer, Bo Welch), and Tim Burton's love of German Expressionist cinema becomes more apparent in his realization of the limbo world of the dead, with its long hallways and angled, off-kilter doors and windows. There was also brilliant use of stop-motion animation and models, which are still more involving than CGI will ever be. All of the performances were great, and the characters well-written enough as to be likable even while occasionally doing annoying things. The only thing that works against the film are perhaps the rushed beginning and a slightly forced (and equally rushed) ending. I can understand wanting to get to the good stuff, but a little more time with the protagonists could have only benefitted the film overall. So, for not quite delivering the riotous comedy I expected, BEETLEJUICE is still a highly entertaining showcase for special effects and Michael Keaton's manic energy, as well as being Tim Burton's first true film (or at least emblematic of his style).
Chris F (nl) wrote: Under rated. It is the darkest Star Wars one has seen Star Wars. Unless you are a nostalgia junkie one must admit this is a great movie. It is emotionally gripping especially in the scene saying you were the chosen one. This is new gods mythology that might one day cast mythology of the old. Star Wars are the new Greek gods...