On the Q.T.

On the Q.T.

A struggling violin player has his morals tested after he meets a wise musician while playing in the subway who introduces him to the music world in N.Y.C.

A struggling violin player has his morals tested after he meets a wise musician while playing in the subway who introduces him to the music world in N.Y.C. . You can read more in Google, Youtube, Wiki

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On the Q.T. torrent reviews

Leo K (nl) wrote: Gritty and real, up until the end. Reminiscent of Mel Gibson's Lethal Weapon, but in this case, he tries to be old, and has a little white girl instead of a black dude. Has the usual back and forth banter of a hapless hero dragged into something he doesn't want to be in.

Andy G (de) wrote: It's ok horror movie

Tasmina C (br) wrote: Bad, what are you doing Reese?

Neil G (br) wrote: Good steady film but has its bad bits

Alexandra B (ag) wrote: Interesting portrayal on how our own life is somehow dependable on one's other sigth

William W (ca) wrote: I did not expect to like this film. The beginning just shocked me.

Christian M (ca) wrote: Saw this film last night. It's worth seeing for a number of reasons ... cinematography, story line, entertainment value, sustained interest, artistic statement. A film that provoked me to think more about it later and reflect on the greater significance of "seeking" and making art.

Andrew M (it) wrote: There may not be any independent film more important than Reservoir Dogs. It's a small little film that shows so much talent from Quentin Tarantino in his feature-film directing debut. Despite it's potentially loud and chaotic premise, following a botched robbery and the tense aftermath between the team of robbers, told in a non-linear manner no less, Tarantino tells this story with a quiet sense of nuance. It's essentially all dialogue, as the group of robbers try to find out how their robbery went wrong and figure out who a potential police informant, which really highlights Tarantino's strong writing that's chock-full of fast conversations and profanity. It's mostly set in one location, which keeps things constrained but never boring. Tarantino gets great performances from his cast, ranging from Steve Buscemi and Harvey Keitel to Tim Roth and Michael Madsen all filling their roles perfectly. It's a hard film to truly describe in any way other than brilliant, setting the stage for one of the most promising voices in filmmaking.

Tiberio S (es) wrote: Swashbuckling, duh! I think Robin Hood invented that term. I still don't know where exactly the story came from, or who wrote it, but whenever I'm reintroduced to this classic tale, that giddy adventuresome boy inside is awakened, and I find myself getting up from my seat yelling the name of Locksley in epic-movie English. This is a pretty fun version, despite it's many shortcomings, and occasional failure to hold my attention. This is one of those films I'd like to see without the music, to see what becomes of it. Michael Kamen's score is about 80% of the work, filling in a tremendous amount of space on and offscreen. Without it, the film doesn't work. Another 15% goes to the cinematography, and all other departments, including performances and direction, fill in the remaining 5%.Kevin Costner is an awkward Robin Hood at best. I always considered him a low energy actor unfit for leading men in big screen spectacles; this is the last role I'd cast him in. I'd also think Alan Rickman would make a perfect Sheriff of Nottingham, but his thespian overconfidence lends to some ridiculous over-the-top moments that are less entertaining than one might imagine.One thing I'm not clear on is how the economy of Robin Hood works. How is the money that Robin steals good too anyone? Is not it void upon being lost to the poor? The poor aren't poor because of lacking material gain, they are poor because the ruling class keeps them that way. In a society run solely on ruling powers, how can anyone call anything their own? And where and what goods could they possibly be spending that money on?

Drew H (nl) wrote: Charlie has no forbidden subjects. Crap.

Bradley W (kr) wrote: A great teen comedy that dared to go places that no John Hughes film would. Star making turns by several, most notably Sean Penn as lovable stoner boy Spicoli

Greg W (jp) wrote: An amiable but stiff populist comedy that should have been funnier since it starred the talented Doris Day, Jack Lemon and Ernie Kovaks.

Tom B (fr) wrote: "Now suppose we stick to the text.""The what?"She points at the body of the dead woman on the floor. "The text."And it's not the last time the body will be referred to as "the text." What was Clifford Odets thinking? Who knows? Who cares? (1946? It was probably code! Unless he'd just read Foucault. Waitaminnit. Is dat even possible?) What we do know is he had loads of rip-roaring fun. This low-budget noir is one twisty cab ride, with dialogue as rich as earrings, and plenty of philosophical cabbies to boot! A rare bird with a knockout punch and dazzling wit, and loads of self-referrential cleverness. Enough for a paper, so get on it you academics. In the end I'm just happy to watch Susan Hayward bounce around in that black dress in the New York heat, all in love with a simple sailor boy, trying to rescue her baby from the long arm of the law. After all, innocence must be preserved. The most fun we've had watching a noir in a long time, and an easy one to cast modern: think Wahlberg as the babe in arms, and Pacino as the stiff dame's criminal brother. They're dead ringers, I tell ya!

Barry K (ru) wrote: Directed by the great Raoul Walsh.

Chris W (kr) wrote: Basically this is just a low-budget indie mashup of Cool Hand Luke and Full Metal Jacket, and you know what? This might be a tired formula, but it still kinda works. Maybe it helps that this was shot docudrama style, and the cast was filled with (then) unknowns.Colin Farrell had his breakout role here, and, while he isn't quite able to completely hold the film up on his own shoulders, he's pretty good and definitely shows promising as a talented lead...even though his brogue does occasionally slip through his noble attempt at a Texan accent. The plot is that of the typical rebel without a cause named Roland Bozz out to challenge authority. The setting is a training camp in Louisiana in 1971, and this particular camp has a reputaton for being brutal, as well as the last stop for many before being shipped to Vietnam. Bozz is very capable at being a good soldier, yet he'd rather spend most of his time farting around and doing his own thing, regardless of the consequences.There's some other great performances from Clifton Collins Jr and Matthew Davis. Even Michael Shannon makes an appearance. The characters are little more than cutouts, and the actors playing drill sargeants are doing half assed and less effective R. Lee Ermey impressions, but like I said, this all kinda works. Maybe it just has to do with Schumacher getting back to basics and working with a low budget and going for a less mainstream character study. Yeah. I think it's that last one. Go check it out.