Playing It Cool

Playing It Cool

The story of a young man disillusioned by love who meets a breathtaking young woman at a charity dinner by pretending to be a philanthropist. Turns out that she’s engaged to a guy who doesn’t like her going on dates. Challenged by the chase, and egged on by his eclectic friends, he feigns a platonic relationship in order to keep seeing her as he tries to conquer her heart

Unrequited love motivates a guy to write about his experiences. . You can read more in Google, Youtube, Wiki


Playing It Cool torrent reviews

Chung L (ru) wrote: It's really not about black man. It's about all men.

Adam A (fr) wrote: I happen to see this one before "Juno", it was really funny and it took some nice turns throughout.

Ringo E (kr) wrote: Hit and miss horror anthology with a fine cast. Worth watching for the last story.

Andrew L (ca) wrote: Style over substance is the key here. There are some very admirable things here and there. For starters the set are magnificent. You really do get the sense of being a kid looking at them. There is a lot of talented actors here as well, nearly all A-list stars then and now. The single biggest problem is the screenplay. There are charming moment and an occasional funny joke, but its so far and few between. There's a twist at the end that just kills the film. Overall "Toys" is much more boring than it looks, you'd rather play with real toys instead.

Byron B (ag) wrote: nominated for best picture by NBR

Allan E (ca) wrote: : With friends like that ... Surreal peaked lapels, outrageous collars and Windsor knots the size of a girl's fist. Cinematography by Michael Ballhaus.

Kevin S (fr) wrote: Frivolous fluff that was so controversial when it was released in 1964, the Vatican issued a proclamation forbidding Catholics from seeing it. I'm not catholic but I can certainly empathize with the Pope on this one. Sadly, Kiss Me, Stupid seems to do what Hollywood does best, it takes marriage lightly and portrays adultery as romantic and exciting. The script is ridiculous, the jokes are weak and, to top it all off, the original casting of Peter Sellers and Marilyn Monroe ended up being Ray Walston and Barbara Pepper. Sorry Billy Wilder, but even Dean Martin and Kim Novak combined couldn't pull this one out of the crapper.

Brook K (de) wrote: While Detective Bureau 2-3 is one of Seijun Suzuki's most straightforward films, lacking much of the cinematic flourishes and wild style he is famous for, I also found this to be one of the better scripts he had to work with. It's a very solid detective/yakuza film that packs a ton of action and plenty of humor, often centered on sour-faced star Joe Shishido. And for any fan of Suzuki/Shishido, Joe's fab song-and-dance scene is a must see.

Suman A (br) wrote: Rotten Tomatoes was a great organization helping the poor families and children http://www.ukchristiancharityorg/

Daniel K (it) wrote: 5: If I had to choose between never seeing another Meryl Streep picture or never seeing another Greta Garbo picture, the choice would be obvious: I'd stick with Garbo. As amazing as Streep is, and she is a national treasure, I couldn't live without Garbo. Her performances and demeanor are so mesmerizingly unique they can't help but captivate the viewer and hold their attention throughout. One might think it starts with her voice, but this can't be the case because she's just as watchable in her silent pictures. Nevertheless, her voice is perhaps paramount to her immense appeal. The manner in which she carries herself, which oozes into her vocal characteristics, definitely has something to do with it as well. Interestingly, she seems to be equally at home as a ballerina or a man. Here she fools the viewer into thinking she's a man during the opening sequence where we see her running alongside great danes into the palace. Whatever it is, all of her attributes combine to make her impossibly watchable, beautiful, and appealing. Her performances are full of nuance as well. We never really feel like we know her or her characters. Despite the fact that she is a prototypical movie star, her persona seems somehow much more divorced from reality than someone like Cary Grant. We believe the Grant up on screen is just like the flesh and blood man. In other words, we feel like we know him. Garbo does something different and very mysterious, because we never really feel like we know her, yet we're irrestibably drawn to her. The smallest utterance or most insignificant glance, and there are many of both in this picture, carries great depth and meaning. I absolutely love every minute of her. I only wish I'd lived in Manhattan about twenty to forty years earlier so I could have glimpsed her out and about on a windy Autumn day. The fact that Queen Christina and Garbo had so many similarities in their own lives is quite striking as well. I wonder if Garbo realized she would eventually abdicate from her throne in Hollywood and leave all her fame behind for the strange new land of Manhattan. They certainly don't have identical character arcs, but they're similar enough to make one pause and consider. The story has many elements of a standard Hollywood genre film, but in other areas it departs rather radically from what is traditional. It's a bit of a bittersweet ending in which anything and nothing is possible. Garbo really did make her a tragic figure. Even when her peerformance is overly ostentatious and terribly unnatural, it still seems to work. Even when the dialogue seems overwrought and overbearing, the viewer remains transfixed. She and Momoulian make the film. This isn't even my favorite Mamoulian picture, that would be Love Me Tonight, and it still merits a 5 (it used to be 4.5). There aren't many directors that can make a similar claim. He and Garbo invest every moment of the picture with artistic integrity and quality, but what is perhaps most fascinating is that it is definitely a good old fashioned Hollywood production line picture as well. This simultaneous conflict and resolution between the commercial and the artistic is part of what makes it such a special film. It makes one nostalgic for an age that never really existed and makes me realize how much I miss it when I go for too long without watching films from this era. They just don't make them like this anymore. The picture takes the time to dwell upon simple, quiet, and subdued scenes with long takes and sparse music, while at other points rushes along with an overpowering score, quick movements, and fast edits. Both fit perfectly. The dialogue would seem ridiculous today, but it works magnificently here. It's a bygone and beautiful era that Garbo helped create. Her performance is particularly unusual and powerful when compared to performances of the day. One look of longing from her would be enough to do any man in.

bill s (ca) wrote: It's a ride,not much of a one but never the less it's a ride.

Paul N (fr) wrote: Bill Murray, the key ingredient to an enjoyable movie.

Juliet H (es) wrote: One of the worst scripts ever. Written, Directed and Produced by the same man who I believe did it because no one else was stupid enoughto think that the abysmal script would work as anything other than toilet paper. The acting was so wooden that the rest of the cast made Angle and co look like the spirits of Olivier and the cinematography would have been poor for Home and Away. Just don't get me started on the 'special effects'.In all this was amateur hour at its very worst.

Jc M (us) wrote: Yet another great 80s flick

Sean R (us) wrote: Surprisingly good British tale about the final years in company with our favorite fictional character.