Two characters on a Noh stage dramatize the rite of love and death of Lieutenant Shinji Takeyama and his wife Reiko. Takeyama was one of a cadre of young officers who staged a coup d'état ... . You can read more in Google, Youtube, Wiki
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Patriotism torrent reviews
Tl H (de) wrote: Much funnier than I thought it would be. A weekly evening cartoon would be fun!
Jed G (jp) wrote: Though it's kind of overly sentimental at times, I thought the premise was fascinating and the twists and turns were intriguing.
Derek J (nl) wrote: jing presents another low brow sex-crazed comedy. unfortunately, there are just as many misses as hits (jokes). the story is highly unrealistic with the pacing stuttering. but jing still casts the hottest women. ;D
Andrew C (ru) wrote: The parents aren't on vacation, but have been detained. Germano Haiut is very good as the neighbor who watches over the boy while he waits for his parents to come back, and hides the truth from the boy while he investigates their whereabouts, knowing that he is placing himself in danger for caring. Meanwhile, everyone is crazy for the World Cup and for a chance to see Liliana Castro change in a dressing room (and yes, tickets are sold).
Jackie (es) wrote: Awesome friends of mine. Buy the video. It's great!! Much love to you both, Jackie (Miss Thing)
Scott C (de) wrote: I think this is when I gave up completely on Harrison Ford.
Marcus A (es) wrote: I want that 94mins of my life back. Was a bad movie and definitely not one of malcolm mcdowell's best
Randy B (ru) wrote: JACKPOT follows a guy around on a karaoke circuit. This guy, played by Jon Gries, is a loser husband, deadbeat dad, and inadequate lover, but in his mind he?s a headliner on this warble-for-small-purse-winnings karaoke tour. The film is full of stylistic goodwill. Director Michael Polish sets up a number of fun scenes featuring Gries? singing on the tour. Gries belts out a completely subpar-to-fair performance of Cheap Trick?s I Want You to Want Me, but Polish slides the camera back and forth in front of the stage covering the performance as if it were a Stones Concert.JACKPOT begins with an intense pace. Close-ups of a hand hitting the fast-forward and rewind buttons on a cassette deck precede wild jumps around in the narrative. Not the most unique of imagery, but certainly fun. Somewhat reminiscent of some of the editing in ALL THAT JAZZ. As the film moves along we see several episodes proving Gries? uselessness as a man. Probably the most interesting of these is a one-night stand with Peggy Lipton where he attempts to sell her industrial cleaner to clean a coffee stain the morning after. But one episode pointlessly shows us the character?s inability perform sexually with a cougar he takes home after a contest or her flirtatious teenage daughter.The more JACKPOT trudges on though, the more obvious it is that JACKPOT really doesn?t grow into anything beyond its style and gimmicks. Gries travels the sing-for-money scene with his manager Lester, but their relationship is fairly standard male-bonding fare (you know, once you take away the karaoke). Gries is a loser and a wild card, but Lester tries to keep him out of trouble. There is nothing really interesting in their characters that counts as a significant pursuit, journey, redemption, tragic fall, or character study. Why should we care about the hour and a half we spend with him? He (and his manager for that matter) are as phony and crappy as karaoke performances. And maybe that?s the point. Early on some of the aforementioned clever editing suggests a future time in Gries? life where he has a run-in with the law and the film has a conflict to dig its heels into. However, this too is artificial. Again, no real reason to root for these guys.Various gimmicks and techniques that Michael Polish uses here clearly point to an interesting filmmaker. And it?s a great looking film. But JACKPOT really does cave in on itself. After half an hour it becomes clear that all which is different and original here categorize the film as ?quirky? and not ?fresh?. And when there is no substance or genre-work for the quirks to fall on, one is left with a mostly forgettable film.
Kevin Y (gb) wrote: Amazing movie by Edward Yang on the struggles of a Taiwanese family
Alan L (it) wrote: Started well but things getting slowly at the middle parts and I were almost fell a sleep,Thanks to the final parts which awakened me.Still,I do add some Bonus twinkle twinkle stars for it due to great visual,animation, dark atmosphere,direction and nice armor design for the special units.This anime movie is more suitable for adults.:)
Movies m (ag) wrote: Fantastic movie! Anything with Helen Mirren has to be fantastic!
Jesse F (nl) wrote: One of the better adaptions from a Stephen King novel.
Emile H (br) wrote: Completely ahead of its time in the very sense of it. The use of how much of the primitive CGI effects is somewhat more believable in much of the poorly produced modern films of today. It's a usual Orwellian fare of fighting against the system, but with enough visual spectacle to make you feel enticed into that world. This film has some great costume designs, digital sets, and an astronomical soundtrack. The dimension according to Tron contains different shades of digitization, one which is much more technologically complex as well as astounding.
Sarah H (de) wrote: I think it's sad that I knew who the killer was before I started watching the movie, and I just fingured that out from the billing. I seriously watch too many movies. It was really predictable, but i guess that comes with the genre.
Blake P (ru) wrote: "Almost Famous" falls under the category of a film that leaves you feeling a bit wiser following its conclusion, evocative of an era and evocative of the human inevitability of growing older. Stationed in the early 1970s, where rock 'n' roll is sweeping the nation, where Zeppelin rocks, and where folksiness is dead in the water, it travels alongside the life of William Miller (a wondrously fervid Patrick Fugit), a fifteen-year-old as observant and astute as he is sweetly nave. His college professor mother, played by a hilarious yet warmly maternal Frances McDormand, believes in the wonders of vegetarianism and staying away from the druggy overtones of heavy metal music, promoting creativity but liking to keep home life under control. His older sister, the defiant Anita (Zooey Deschanel), religiously listens to the sounds of Simon & Garfunkel and The Who, sneakily giving her record collection to her brother at a pivotal time in his childhood. Keen perception and an obsessive dedication to music turns William into something of a writer, a talent who yearns to explore the magic of this strange thing called rock 'n' roll. He's the leading "journalist" at his school newspaper - he wants nothing more than to be another Christgau, be anyone who can make a name immersing themselves in the music scene. With ferocious ambition, William begins consistently sending his work to Creem head honcho Lester Bangs (Philip Seymour Hoffman), aware that he's talented and not in the mood to waste another minute of his youthful glow. Seeing his potential, Bangs takes a liking to the boy and assigns him with the task of reviewing a local Black Sabbath concert, which turns into something more after running into Penny Lane (Kate Hudson), a luminous groupie with strong ties to rising group Stillwater, who is opening for the band. Soon, attention is directed to the latter grouping, with William, secretive in revealing his age, fortunately getting hired by Rolling Stone magazine to follow the band on their tour for an insightful profile on what it's really like to be rising rock stars. Mom is skeptical, but aware that her son is a good boy; and so begins a journey into a land of make believe, where growing up is sped up to the speed of light and where thought-to-be true love is made of flimsy material, heartbreak subtle in a pretend world where everything looks, feels, and tastes great. Cameron Crowe's semi-autobiographical "Almost Famous" is a coming-of-age film of funny saccharine that eventually becomes something more, shrewd and palpably touching. I first saw it four years ago, perhaps too young to understand just what a heartfelt work it was, and how, despite its incredible story, it rings as universal, rock 'n' roll as the foreground. Now wiser and introduced to the director's cut of the film, which runs forty minutes longer than the theatrical release, I am certain that it is among the finest boy-to-man accounts in film, acutely sensitive but also very much in love with the era it rests in. Humanistically written and directed, it is staggering how much emotion it pours out - by its end, its characters are as everyday, worn-out, and intrinsically vulnerable as anyone. Idols are killed (metaphorically, that is), dream women are metamorphosed into plain and simple women (Hudson's Penny Lane, who is one of the best female characters of the 2000s, is not the confident free-spirit we think she is), and home is a place better than any location in the world. It is epic, but affectionately so. Life is grand, isn't it?
Yuli L (gb) wrote: Amazing actually my daughter saw it when it came out
Jared M (gb) wrote: Short, sweet, to the point thriller. Does it feel like a clichd Stephen King inspired film? Yes. Does Depp kill it as the losing his mind writer? Yes. You won't need to watch it over and over but it's a good way to kill (pun intended) an hour and a half.
Scot C (kr) wrote: I first saw this at the cinema in 1997. Could hardly remember it until I watched it again last night. Damn good! Stallone is quite impressive. But top acting all round.