Masterfully edited from nearly 200 hours of footage, PAPIROSEN represents a decade of filmmaking, and four generations of Argentine director Gastón Solnicki's family history, culled from ...

Masterfully edited from nearly 200 hours of footage, PAPIROSEN represents a decade of filmmaking, and four generations of Argentine director Gastón Solnicki's family history, culled from ... . You can read more in Google, Youtube, Wiki


Papirosen torrent reviews

Andrew L (es) wrote: This is an alright movie. This is one of those times where the remake is really better than the original. Unfortunately, this movie just doesn't impact me as much. There were quite a few scares but other than that, the movie doesn't add as much depth as the remake did. I will say that the transformation of Laura was the best part. The acting was pretty good as well. Definitely worth it to watch.

Matthew P (us) wrote: Should offer insight to a largely unknown part of history but its far too clumsy.

Marco L (kr) wrote: One of the best war films Ive ever seen. The great acting, amazing script and terrific direction by Clint Eastwood, makes this an intense and thrilling movie where America is the villain and the heroes loose.

Robert H (kr) wrote: A silly and predictable film. How imaginitive is it to take a schized-out nutter who is convinced she is demonically possessed, a pseudo-lesbian pair of hotties, two clueless boyfriends and put them in a remote cabin in the woods with plenty of weapons to rack up the body count? I had the plot figured out in under 30 minutes, and the "twist" was so ridiculous and unbelievable it insulted my intelligence. Still, it was better than Mulberry Street. Just don't expect any exploitation, as even the psuedo-lesbian storyline was all flirt and no flesh. *Yawn*

Craig W (it) wrote: I didn't even finish this, I'm fully aware these films are all trash but at least 1-4 were inoffensive and fun but this and the one before it are just stereotypical, racist crap. I'm surprised Davis would stoop as low as these two films.

Robert H (nl) wrote: I've been on somewhat of a Kevin Costner binge lately, and I conclude that here with OPEN RANGE: his first directorial effort after the disaster that was THE POSTMAN, and a return to the Western genre. Although the plot reminded me a little bit of Clint Eastwood's UNFORGIVEN, the tone was not elegiac, with the characters and themes hewing fairly closely to traditional archetypes instead of subverting them. While it's not a bad film, per se, its sincerity dips into corny territory and I didn't exactly like that too much. Robert Duvall and Kevin Costner gave great performances, as one would expect. This type of film is also not new to them, with Duvall previously starring in LONESOME DOVE and Costner starring in SILVERADO. I felt like their characters were developed enough, but they could play these roles in their sleep. Annette Bening gets probably the biggest supporting role, but the romance that develops between her and Costner's character seemed out of place and contributed greatly to the sappiness which brings this film down. Diego Luna and Michael Gambon also have supporting roles, but they weren't given too much to do. What the film does have going for it is the cinematography and score. Say what you will about Kevin Costner's films, but all (three) of them look beautiful. He has a great eye for bringing out wonderful visuals of the American West. I also liked the non-intrusive score that accented the imagery quite nicely. However, the best part of this film is undoubtedly the epic shootout that serves as the climax. It was extremely well-shot, realistic, and hard-hitting. No kidding, the sound design here was incredible and you feel every bullet hit. Sadly, that was the pinnacle. Not a bad one to have, but I would have liked the rest of the film to live up to this awesome sequence. Overall, OPEN RANGE tends towards the traditional way of doing a Western, complete with outdated codes of honor and superfluous romance. It's a perfectly decent film, and a return to form of sorts for Costner, but it ranks pretty low in the pantheon of great Westerns.

Private U (br) wrote: This is the worst movie ever.

Santiago M (ca) wrote: Amazing movie! Can't recommend it enough.

Greg R (kr) wrote: My mom made me watch this. I could kill her. Giant Ick!

Gordon H (us) wrote: Tolkien's Literary Classic Comes to Life on the Big Screen!Originally Written December 19, 2001--The future of civilization rests in the fate of the One Ring, which has been lost for centuries. Powerful forces are unrelenting in their search for it. But fate has placed it in the hands of a young Hobbit named Frodo Baggins (Elijah Wood), who inherits the Ring and steps into legend. A daunting task lies ahead for Frodo when he becomes the Ringbearer - to destroy the One Ring in the fires of Mount Doom where it was forged.I have been a huge fan of 'The Lord of the Rings' since I first read Tolkien's masterpiece in Middle School. I was so disappointed in Hollywood's first attempt to bring this classic story to the big screen---a regrettable 1978 animated version. I was absolutely thrilled to see that a live-action version was being planned for this year. But I was shocked to see how amazing Peter Jackson's version truly is! I loved this first chapter in the story of Frodo and the Fellowship of the Ring begin their journey to Mordor! And the cliffhanger ending at the end of Part 1 is fantastic! I can't wait for Part 2! Five stars.

Christopher F (ag) wrote: decent follow-up to the first. I would love it more if the dvd wasnt a peice of crap with bad picture quality and low volume

Matthew B (ca) wrote: Why Peter O'Toole?Supergirl is basically like Superman 3 & 4 all over again. Corny one liners that can make everyone cringe, bad visual effect's and flat directing. Overall Supergirl is just another bad superhero flick.

Blake P (nl) wrote: "Stop Making Sense" is an enthralling experience. It fuses the power of cinema and the power of music with bombastic symbiosis - it doesn't so much feel like a filmed concert as it does a symphony of pleasure, bursting from its photographic confines and grabbing us by the lapels. It directs its focus onto the Talking Heads, a seminal New Wave group of the Roxy Music, David Bowie brand; most know them from such decade defining hits as "Burning Down the House" and "Once in a Lifetime." Their music feels more timeless than ever, the finger-licking idiosyncrasies of their musicality as much of the time as it is everlastingly fresh, as thrilling to listen to (and watch) as it was in the 1980s. The film gives opportunity to see daring artists at their prime, to tap our toes and sing our hearts out. We do more than sit passively. Fronted by magnetic eccentric David Byrne, the concert we are transported to in "Stop Making Sense" is not a single concert but three, three concerts filmed in 1983 and stitched together in the name of musical perfection. The results are incredible. The energy, musicianship, and production on display is invigorating. Not a minute of its 88 are wasted. The concert itself builds like a movie - it seems destined for the celluloid. It begins with Byrne walking out onto an empty stage, a stereo in one hand and a guitar in the other. No spotlight frames him. He looks like an amateur at an open mic night at a small town theatre, there to sing for his life. Following is an acoustic, passionate rendition of "Psycho Killer," its impact intact despite the lack of extraneous instruments. Byrne is more than just your typical frontman. He's a superstar, a showman. But the film is not just Byrne's time to shine. With each succeeding song, he is additionally joined by the members of his band, the sounds in place layering until they reach the levels of a gut-punching rock concert. Stage production grows increasingly complex with each song. Vivacity seems eternal. Everyone on display is having the time of their lives. As in the tradition of all good concerts, one doesn't have to be a fan of the Talking Heads to feel their hearts banging in their chests with excitement. Byrne and his fellow musicians are masters who also happen to love their job, and their enthusiasm, combined with "Stop Making Sense's" visual and aural colors, makes for a rockumentary that manages, against all odds, to come alive. Unlike "The Last Waltz" (1978), a similarly minded music doc of immense acclaim, there's never an atmosphere of staginess - "The Last Waltz," despite its musical triumphs, is never intoxicating because we're distinctly aware that its subjects don't want to be there. The direction, by Martin Scorsese, is flat, predictable. But "Stop Making Sense" is characterized by spirited verve, its central Talking Heads boundlessly kinetic, its director, Jonathan Demme, capturing their zest with vivid camerawork that makes us feel like a band member, an audience member, ourselves. Byrne's vehemence is overwhelming. Notable, too, are Tina Weymouth's slinky bass supplementations, and the presence of backup singers Lynn Mabry and Ednah Hult, who bring warm R&B textures to the setlist. I especially liked the performances of "Burning Down the House" and "Crosseyed and Painless," adrenaline infused tunes made better by the ebullient musicians behind them. Byrne, of course, is a force of nature. After viewing "Stop Making Sense," I suspect you might want to go out and purchase its live album of the same name, regardless of where your musical taste stands. Represented in the film is artistic excellence, and wanting to relive its brilliance is expected. I've listened to the LP three or four times in the days following my initial viewing, and my awe has hardly ceased. Here is one of the finest concert films ever made.

Aeema F (it) wrote: truly unique piece from bollywood..

Clarke D (ca) wrote: Boring with a capital B. This is exactly like a Lifetime TV movie with unimaginative scripting and production. Fine if you REALLY have nothing else to do or watch, but so mundane as to be offensive. Forget about this one.

Andres G (ag) wrote: awesome movie that started the trilogy

Joshua L (de) wrote: Its hard not to like this movie.

Aaron M (ru) wrote: While its acting is strong and its style is impressive, Titus doesn't grab your attention. When interesting thing happen, the film picks up but only to drop down to the same slow pace. It's language is not modernized, which makes anyone watching a little confused. It's run time is WAY too long. It actually took me a week to watch this film, because I would get so annoyed, I'd just stop and continue the next day. I love Anthony Hopkins and Jessica Lange, they're the films strongest elements. Overall, Titus is a dazzlingly strong acted adaptation of Shakespeare's bloodiest play, but its run-time makes it so boring and the plot raises too many questions.