Javier (Javier Martin) is Spanish and is married to Laura, who is Chilean (Maria Elena Swett). They have a six year old son, living in Chile and enjoy a prosperous economic position. The three are, at last, on vacation in Spain, because Laura seems to have overcome a problem of claustrophobia that prevented him from traveling. The family moved to a camp of Oliva, near the home of the parents of Javier. They meet Ignacio (Fabian Mazzei), a handsome young man, who happens to be a friendly and sociable neighbor. Ignacio is fond of spear fishing and frustrated vocation is music. Laura takes the time to prepare the thesis of Medicine that will have to read to return to Chile.
The couple Javier and Laura meets Ignacio during a vacation trip, and soon they become close friends. However, Ignacio develops an obsession with Laura, and during one night he rapes her, ... . You can read more in Google, Youtube, Wiki
Christopher E (ag) wrote: not scary, but it was pretty funny.
Telmo C (au) wrote: A good comedy that often suprises viewers by making fun of its own predictability. Each character fits its own clich, but everything works in favour of good entertainment.
Marcus W (es) wrote: Good, but the foot comes off the pedal halfway through and the film coasts to the finish.
Masorad (de) wrote: A tepidarium of stale farts.
S N (us) wrote: the acting makes up for the non original plot
dark a (ag) wrote: how ican watch this movie?
ibb (br) wrote: Gah, I hated it. Too american. Esp. the SS. Didn't like the idea of them working as mere cops. ._.
Jeff B (es) wrote: A bit disturbing but a good movie nonetheless. I especially liked the detached narration while Jack read his book.
Marcus W (gb) wrote: aka The Richard Pryor Movie ft Superman
Derick B (es) wrote: This was my first horror film!!! A classic
Sam S (mx) wrote: Double Indemnity is a dark and stylish crime noir that sports a talented cast along with an expertly crafted screenplay.
Justin L (it) wrote: BLADE AF SATANS BOG (titled LEAVES FROM SATAN'S BOOK on the DVD cover but LEAVES OUT OF THE BOOK OF SATAN on the print) is a lurching silent film epic, running over two hours in length, that hypothesizes Satan's influence on weak-willed men and altering certain historic events. The film is divided into four highly variable sections, all taking place at different time periods, with the impressive Helge Nissen appearing as various guises as Satan in each segment. All are tinted a variety of different colors, from black-and-white to monochrome to lighter hues (blue, green, pink, etc.) and the cinematography, lighting, art direction, costumes and editing are often striking, just not often enough to completely overcome the uneven writing and a very slow pace. The first story is one we're all pretty familiar with - Jesus' betrayal by Judas, with Judas here being influenced by a turbaned and bearded Satan. Familiarity with this biblical tale takes the edge off and best can be said about this segment is in regards to a few moments of clever lighting (the "last supper" shot, especially). The second story, set during the Spanish Inquisition, is an improvement. This is also the most horrific of the segments, with scenes set inside a torture chamber and Nissen's heavily-rouged face and intense, sneaky glares instantly bringing to mind Lugosi's classic Dracula character. Here, Satan plays Grand Inquisitor, leading astray a very nubile young love-struck priest who uses self-flagellation to rid his body of sin. One interesting scene features the priest whipping his back while envisioning the object of his desire draped below a cross (a shot I've seen used many times since). The third, and by far best, segment takes place during the French Revolution and opens with a striking shot of a guillotine sitting alone atop a hillside right as the sun is setting. This is also the strongest tale from a narrative standpoint as it cuts back and forth between two separate story lines but brings everything together at the end. A young man named Joseph helps a noblewoman and her daughter flee the city when authorities show up to execute the entire family for aiding the escape of a queen sentenced to death. When Joseph's advances are rejected by the daughter, Satan shows up to convince him to turn his back on both the mother/daughter, and later Marie Antoinette herself. The fourth segment, set in "modern times" (1918!) is about the Russian occupation of Finland and only has moments of occasional interest, both visually and thematically. There are a few memorable performances in this movie. Nissen is truly fascinating as all four visions of Satan; alternately creepy, clever, vengeful and weary. Also worth mentioning are Tenna Frederiksen Kraft, who is a graceful and sympathetic Marie Antoinette, and Elith Pio as Joseph, a man seriously torn between doing the right thing when lives hang in the balance... or just the right thing to advance himself. All in all, it's very slow and very uneven, but worth checking out if you are either a Dreyer completist or into silent pictures. But truth be told, the director has seen much better days; MICHAEL (1924), THE PASSION OF JOAN OF ARC (1928), VAMPYR (1932), VREDEN'S DAG (1943), etc.
Kurt M (jp) wrote: This film may be cheese... but it's good cheese.
Ian C (nl) wrote: High Noon set in a high school. This slipped passed me for some reason. Liked it. Quality ending.
Tim S (ca) wrote: Now, I wouldn't go so far as to call Witchboard a great movie, or even a great horror movie. It's definitely got a lot going for it, but it never quite peaks in my opinion. Instead of outright horror, it focuses more on terror and atmosphere more than anything. The film's plot involves a woman that begins talking to the spirit of a dead child through the use of a Ouija board. The spirit initially seems to be friendly, but soon becomes increasingly violent, murdering everyone around both the woman and her husband. The main thing that the film is known for is its pace. Under the right circumstances, I would prefer a movie that takes its time, but there are too many variables involved with this project that make me feel like maybe it shouldn't have been executed that way. The subject matter seems to call for quicker cuts and a faster pace. As a consequence, it tends to feel more like a Lifetime TV movie than a horror film. It's not a terrible film at all, it just needed a little more drive to keep things interesting.
Maarrk H (kr) wrote: Sure, it's sloppy and a bit all-over-the-place, but the thing that works about 'Blue in the Face' is how dedicated it is to just making itself into a snapshot of Brooklyn on film. That and Lou Reed's absolutely perfect every second he's on screen -- and who would've thought that would be the case?