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Otoko wa tsurai yo: Haikei, Kuruma Torajiro sama torrent reviews
Mauricio M (au) wrote: La pelcula es un ejercicio de autobiografa imaginaria. A pesar de que los hechos y las cifras son reales, la ficcin se abre paso a travs de un mundo potico donde el director reinventa su familia, incluyendo a su padre y su ruta a la redencin, la reconciliacin del hombre y de su infancia. (Extraido del pressbook oficial)
Adrian B (es) wrote: Pretty poor fighting movie I only persevered because of Rasheed Evans and Forrest Griffin being in the movie.
Lisa W (mx) wrote: I didn't expect to like it, but we all did.
charles b (jp) wrote: It's an intimate portrait of two lovers. There's nothing flashy but that's the point. Mendes veers from high and polished film making to an indie "Jim Jarmusch" feel that works. Krasinski & Rudolph share a solid on-screen chemistry, balancing the story with emotion and subtle humor.
Meredith B (br) wrote: Hilarious geography on picnic. Started in Welllington suburb Khandallah, lunch at a lake in what looked like Mackenzie Country inCanterbury (over Cook Strait and about five hours drive), then the afternoon at Rotorua (about 8 hrs drive north of Wellington.) Not sure where vineyard was set: Martinborough? Hawkes Bay?.I was in NZ in the 50s and 60s and we had many Dutch immigrants in our city of Palmerston North. Period setttings in movie brilliant. Focus was on characters, but I would have liked to have seen more about how the Dutch adapted to mono-cultural NZ (only bi-cultural in some areas). In many places the Dutch immigrants brought the first exotic tastes of European food to NZ palates. And I was told the NZ Government chose Dutch and Baltic immigrants because they were hard working. NZ at the time was full of civic displays of tulips: apparently thousands of bulbs were sent as a thank-you for NZ troops helping the Dutch in their attempt to regain colonial dominion over Indonesia, which had declared its independence at the end of WW2. But oh, those stiff petticoats, and Esther's bolero jacket over her first sundress.
Rona T (nl) wrote: I can remember all the ingrown hair on my ex girlfriends front butt ha ha the airport scene is brilliant wanna see that back, but not smell it :o) So many brilliant quotes the danish translation cant follow up on :o)
Mike S (ru) wrote: This film should be studied in order to prevent anything like this ever happening again. Jesus Christ.
Vaibhav W (ca) wrote: A very simple yet effective film, Nagai Sanpo deals with parenthood and its issues with the central characters fighting their own demons. The girl child's role deserves a special mention. Recommended!
Harry W (au) wrote: Although not particularly fond of Angelina Jolie or Romantic Comedies, I had some hope that the two would work well together.Life or Something Like It wants to be a funny comedy and succeed with legitimate dramatic intentions, but there is never a tonal consistency because the film goes back and forth between trying for one or the other. The sad thing is that it does not succeed as either. Against the backdrop of a ridiculous premise involving a street psychic, Life or Something Like It quickly dissolves into a generic romantic comedy with the same message as countless others about stopping once in a while to smell the roses. The only thing that needs to stop is the film because viewers who actually end up watching this film are not too likely to watch it to the end unless they either feel compelled to witness something all the way through before critiquing it or in the unfulfilling hope that Angelina Jolie will appear in her underwear. I can honestly admit it was not worth sitting through the entire film of Life or Something Like It because the story is weak from the beginning and fails to progress anywhere at all.Life or Something Like It is a pathetic excuse for a film. It has essentially no plot and nothing but repetitive rom-com conventions for the entire film without an actual hint of wit or romance at any point in the film. The romantic intentions of the film were muddled because the protagonist cannot decide what she wants or show any sign that she has genuine romantic interest in any other characters. The entire film is an unfocused and misguided affair which cannot decide what to do or where to go any more than Stephen Herek can decide what to do with it. Somehow he managed to waste a collosal $40 million on this film which was a waste because it ended up being a massive box office bomb. Where all the money actually went puzzles me. If it went into trying to get strong scenery which the film failed to take advantage of then that would explain part of it, and if the rest went into financing the salary of Angelina Jolie straight off the bat from her Academy Award winning performance in Girl, Interrupted then that explains the rest of it. Yet neither of these elements do any good to Life or Something Like It in the long run because they fail to make up for the poorly conceived story and lack of humour in the screenplay. The romantic comedy genre is one where there are few gimmicks which are not overused by every film around them, but Life or Something Like It manages to use nothing but conventions and minimal creativity to tell its lack of a story.There are only two ways that Life or Something Like It can end: either Lanie Kerrigan dies and the entire film is pointless due to its lack of depth, or she lives and the entire film is misleading. In one of the rare cases where I don't care about spoiling the ending, I find that Life or Something Like It manages to come up with a third and more ridiculous option: She dies, but only briefly. It's sad to say that predicting that came too easily, but it just makes the ending to the film ridiculous. Life or Something Like It is one of the few films I would have enjoyed more if the protagonist actually died in the end because then viewers wouldn't have been lied to the entire time. It would have made the rest of the film pointless, but it doesn't even matter when the material is as poor as Life or Something Like It. It ends on a ridiculously cheesy note which is the message which has pounded viewers over the head for the entire film to the point of leaving them concussed. If the film hasn't already incapacitated films then the shoddy twist ending will. And if that isn't enough, then the cast will make sure of it.Life or Something Like It was clearly concocted primarily as a star vehicle for Angelina Jolie, but it gives her all the wrong material and makes use of none of her talents. Without a compelling role which capitalises on either her abilities in drama or even her sex appeal, Life or Something Like It instead just pushes her through unfunny and weak material which limits her role to a generic one. Like in The Bone Collector, life or Something Like It serves as a reminder that she is not strong in the most basic of roles. Whatever her charm is can not be seen in Life or Something Like It because even her attractiveness is worn down by her blatantly fake hairstyle and colour which doesn't match her in any way. There is nothing that Angelina Jolie brings to her leading role which is memorable or worthy of any sort of positive recognition which makes her nomination for the Golden Raspberry Award for Worst Actress all the more relevant. Angelina Jolie's leading performance in Life or Something Like It is officially a charisma free zone, and her lack of comic energy or grip on the intended drama makes the one-dimensional artificiality of the film all the more obvious and ineffective.So Life or Something Like It wants to be a touching drama and a funny romantic comedy, but it is painfully generic and unfunny while led through murky territory by poor directorial work from Stephen Herek and an empty lead performance from Angelina Jolie.
FilmGrinder S (gb) wrote: 72% Three hours is a tad bit too long for me, when a film moves like molasses. A hearty slice of a middle class, Taiwanese family.
Julie G (es) wrote: This was one of the most honest, brilliant, voyeuristic and agonizing movies about adultery I've ever seen. Highly recommended.
Lanky Man P (de) wrote: A solid horror flick. And original.
Luke B (ca) wrote: Vintage Robert Redford. Very good stuff. Released the same year that he became a superstar off of his excellent performance in Butch Cassidy and the Sundance Kid.
Dave M (de) wrote: Very funny with energetic performances throughout. Tony Randell spends most of it drunk and Paul Lynde is memorable as an over enthusiastic funeral director. Also enjoyed Clint Walker trying to squeeze into an E-type. Great, harmless fun, I only wish RH/DD/TR did more than the 3 movies.
Joey P (it) wrote: Pretty standard B-Movie fare fueled by space-race paranoia.
Kevin N (es) wrote: A film that is full of paradoxes- which are the precise things that make it both a success and a failure. The biggest one is Orpheus himself, a figure pulled from Greek mythos and turned into a modern plot character. In the former, characters are less products to be admired or sympathized with and more devices to drive home certain philosophies, but here Orpheus is dropped into film narrative where our interest lies in our caring about him. I didn't. He's a man who thinks little beyond his own whims and, before the story is over, cheats and destroys his wife and starts a love affair with death. But despite his total lack of sympathetic qualities, he is an interesting disaster (as Greek figures often are) and his story is fascinating- particularly because of Cocteau's generous but modest visual effects. Here is a film that stands as proof that a movie can bend reality right in front of our eyes without needing a multi-million dollar budget. Cocteau's signature fascination with backwards and slow motion and trick montage editing leads to some truly magical moments; particularly, he turns mirrors into mesmerizing set pieces. The one performance I admired above all others was by Francois Perier, who plays Heurtebise. He balances the story's two planes by being a realm of the "other world" and having a heart straight out of this one. The performance is gentle but startlingly effective. The other beauty to the film is a verbal one. Cocteau's poetry fills the story with great and provocative dialogue. Heurtebise says at one point, "A picture of your wife is not your wife," a total Cocteau-ism and the type of provocation that sticks with you long after the movie ends.