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Pattathu Rani torrent reviews
Tyler W (jp) wrote: Better Than The Previous Two Films(4&5)
Mikael K (ag) wrote: Thomas Shubert offers a solid performance as Roman, a 19 year old who is about to be released from a detention center. He has spent the last five tears locked up after accidentally killing a boy in a youth center. Roman has grown up in orphanages and youth centers and doesn(TM)t really see what is so good about freedom in the outside world. He does work for his rehabilitation, though, ending up getting a body transport job in a mortician(TM)s office.Atmen? isn(TM)t horribly dramatic, but it(TM)s subtly and chillingly emotional. Roman(TM)s story carries poignant social observations as well as operates as a dynamic character study. The point of view is Roman(TM)s, he is always identifiable. We feel his indifference, his fear and sense of being abandoned. How do you start building a life as an adult when you never had one as a child? Why should you try, if the community around you sees you as a danger at worst, an inconvenience at best?
Jessi J (jp) wrote: So much wasted potential. Honestly, the first mistake was giving Hayden Christensen more work. He's so awful at everything that it was distracting. The movie was interesting at first, even creepy, but the ball was inevitably dropped and there essentially was no ending.
Vlad M (it) wrote: Definitely makes me want to go to Bruges
SpyGuy G (nl) wrote: This movie has a lot of high notes in it but it also has some low ones to. If you liked 1 and 2 you will like this one.
Derek T (ru) wrote: Great film enjoyed it alot
Edith N (mx) wrote: The Most Spacious Ghetto in All Poland It's not that I expect everyone in the movie to go on the Christian Bale Diet, Gods know. It's that I would like some sign that this is a ghetto in the end days thereof other than smatterings of Yiddish and Stars of David sewn on everyone's coats. One family is said to live in an overcrowded room, and it's true that there are a half-dozen people or better sharing it, but it appears that they are in fact sharing a ballroom. It's an important plot point that a character cannot pass on a piece of news without sharing it with everyone, but if he whispered, no one other than the people he's actually talking to would be close enough to hear. For heaven's sake, one couple has a complete apartment to themselves--and Our Hero has an entire building! There is much talk of starvation, but the only people who die in the movie do so through violent means of one kind or another. And while everyone is a little shabby, no one is quite in rags. Jakob Heym (Robin Williams) was, Before the War, a pancake vendor. Latkes and blintzes. Now, he is a forced labourer in the d ghetto in 1944. In a contrived coincidence, he is brought into a Nazi office while the news is playing and finds out that the Russians are beating the German army at a place called Bizonika, hardly any distance at all from their ghetto. Only how can Jakob know of such a thing, which he tells to Mischa (Liev Schreiber!), a boxer he used to manage Before the War, to prevent Mischa from foolishness which will get him shot? Clearly, Mischa decides, Jakob must have a radio! And the fact that the Russians are advancing gives Mischa hope, and he asks for the hand in marriage of Rosa Frankfurter (Nina Siemaszko). Only why does a man have the hope for marriage? So Mischa tells his prospective father-in-law (Alan Arkin), and soon, everyone knows. And it's true that Jakob has a secret; he is hiding a child, Lina Kronstein (Hannah Taylor-Gordon), whose parents managed to get her off the train to probably Auschwitz. There is no radio, but knowing that the Russians are a scant few hundred kilometers away brings hope. The men know what happened in Warsaw, and they say that they are not a resisting ghetto. But the secret of the radio and the Russian advance is enough to make them consider resisting after all. Hope was a curious thing in the ghettos and the camps. It might be said that it was despair as much as hope which led Warsaw to revolt; by the time of the Warsaw Ghetto Uprising, the people of the ghetto knew that the Nazis intended their deaths one way or another. The people of the d Ghetto, at least in the film, know that as well and are just determined to live a little longer. When Lina's parents (va Ig and Istvn Blint) drop her out of the hole in the bottom of the train, she asks them where she can go, and they tell her that, this way, she at least has a chance, which she does not if she goes with them. It is as if they are through despair into a backward hope on the other side. Robin Williams "won" a Razzie for his performance in this and, in the same year, [i]Bicentennial Man[/i]. It's true that he was more inclined here to drop into his Robin Williams mannerisms than he would be a few short years later in [i]One Hour Photo[/i], the best movie he's ever made, but there's actually a bit of a place for them. Jakob and his friends and associates use wry, self-deprecating humour to help themselves survive the unsurvivable. And if Jakob also mocks Mischa, well, there's plenty to Mischa that's worth mocking. The scene where he lets Lina "listen to the radio" is unnecessary, but once again, Williams seems to be getting the blame for failings in the script; the scene appears to have actually been in the original book. Hollywood, too, is blamed for the imaginary "happy ending," which the film acknowledges to be a fantasy, but that's in the book as well. It's almost as though people are remembering wackiness from Robin Williams which simply isn't there. That said, there is only one character who truly has dignity. Frankfurter was an actor Before, and it doesn't look like he was a very good one. Kowalsky (Bob Balaban) the Barber fights with Jakob over a deal made over barter--Kowalsky will give Jakob a shave and a haircut every day in exchange for latkes. He can have no latkes, for there are no potatoes, but is that Jakob's fault? And so forth. But there is Professor Kirschbaum (Armin Mueller-Stahl), who was one of the best cardiologists in Europe Before the War. When the Nazis go looking for the radio, they start with him. It's also true that the Nazi commander (I'm not sure who) is in rather dire need of a good cardiologist. And so Kirschbaum is given the chance to choose. He will surrender the owner of the radio or he will go to the camp. But Kirschbaum is no fool and knows that the Nazis have no intention of letting any Jew survive the war. The choice he makes is not a choice the Nazis want him to have, but he makes it with courage and dignity, truly the character in the movie to emulate.
Braden J (ag) wrote: A good flick for the budget it was under.
Nicholas N (mx) wrote: As many people know I am a undying fan of Kurt Vonnegut, however film adaptations of his works tend to be for lack of better word hollow. They tend to fail to convey the point of the novel and rarely capture the feeling of the book. This movie however is an exception. Based on one of my favorite Vonnegut novels, Mother Night is the story of Howard W Cambell Jr (Nick Nolte), and american playwright living in Nazi Germany. Cambell lives for his wife Helga North(Sheryl Lee), a german actress. They vow that no matter what happens in the world that their love with prevail. Cambell is approached by Major Frank Wirtanen (John Goodman) and asked to be an american spy. Cambell uses his standing in society as a playwright to get himself a radio show, where he quickly gains himself a reputation as the voice of Nazi Germany, while feeding secret messages over the air. Late in the war Helga is a casualty of the war at the hands of the Soviet Army. When Howard finds out he quits his work with the propaganda ministry and when the war ends the US government sets him up with a new identity and a place to live in New York. Years later he is in a prison in Israel awaiting a trial for for crimes against humanity. In prison he is asked to write his memoirs before the trial, at which point he writes about his life from the point he was approached by Major Wirtanen to the point where he was sent to Israel. This movie successfully captures the essence of the novel. While this is one of his most serious writings, the movie doesn't convey much of the classic Vonnegut humor, with exception of the few scenes featuring Robert Sterling Wilson: The Black Fueher of Harlem. The movie however completely captures the love and despair of the story, and raises the questions of what is real? what is real because we want it to be? what is real only because of the perception of reality? and what do you do when your only reason for living is taken away?I highy recommend this movie and this book. It is truly one of Vonnegut's masterpieces. My only disappointment with the movie was the omission of the final iconic line from the book. I won't ruin the ending or any of the plot twists throughout, you'll have to find those out for yourself.
Sanghee O (it) wrote: A typical theme in E.M.Foster - sexual/cultural awakening in a dull british young man. But the film takes too long and I still don't feel like I am getting to know Mr. Herriton.
Private U (jp) wrote: you can do a lot worse nowadays than to watch this modernized adaptation
Karen P (ca) wrote: Fantastic movie!!! Very sweet story!!!
Jonathan L (us) wrote: Not my favourite Barbie movie. But my kids liked it. Nice to hear Kelly Sheridan doing the voice again.
Panayiota K (nl) wrote: Not as bad as i thought but too many cliches. I guess it's ok for kids and teens
Gabriel C (us) wrote: A curiously dull reboot that lacks the energy and charm of the original show.