The New York film set mascot who overcame homelessness and alcoholism to become a fixture of the New York film industry, with over 100 small parts to his name.

The New York film set mascot who overcame homelessness and alcoholism to become a fixture of the New York film industry| with over 100 small parts to his name. . You can read more in Google, Youtube, Wiki


Radioman torrent reviews

Ofe M (it) wrote: It's cute. I liked it

Carly G (fr) wrote: A documentary about card counters that are Christians! Oh, but besides a belief in god, they're just normal people... Okay.

Joel M (jp) wrote: If that infamous movie character name of this foreign film's title is dancing very familiarly in your head, you have a good guess on who it is; none other than John Travolta's character in the 70's classic "Saturday Night Fever". So why is Tony Manero dancing now with foreign stars? Well, the character of Tony Manero not only took our nation by storm, but also had profound global awareness in the 70's and thereafter. The movie "Tony Manero" steps its way into the obsessed mind of protagonist Raul Perelta, a middle-aged serial killer residing in 1970's Chile under the dictatorship of Augusto Pinochet. Perelta has some scary moves by sabotaging anything or anyone who gets in his way in perfecting the embodiment & characterization of Tony Manero. In other words, not many that cross the Peralta pathway are "staying alive" throughout the film's narrative. His premier quest is to dance his way to the top prize in a Chilean TV show's "Tony Manero celebrity impersonation" contest. Director Pablo Larrain and screenwriters Alfredo Castro & Mateo Iribarren formulate the character of Peralta as such a disturbed and repulsive protagonist that it questions "how deep were their thoughts" in the film's developing process. The Raul Peralta character is so repugnant and odious that it automatically disengages one to the film's central narrative. Castro's leading performance as Manero had a severe case of the "thespian broken record syndrome" with its monotone method. If it can have you Mr. Castro, then why not include other similar subpar performances from the film's supporting cast. Now I must admit that I enjoyed a few scenes of "Tony Manero" that paid homage to "Saturday Night Fever" including when Peralta mumbles the lines of Fever in the theatre while watching it countless times, his shock when he first observes that John Travolta's Danny Zuko character in "Grease" is a far cry from Travolta's Manero, and to some degree the film's Manero impersonation contest during the film's climax. But when "Tony Manero" turns into Peralta's maddening ways it deteriorates into a big slap on the face on the Fever legacy. Overall, "Tony Manero" is a feverless 2009 movie odyssey that is not worth taking. *** Average

Private U (ca) wrote: I loved it! Recommend seeing!

Allan C (gb) wrote: Not the best martial arts film and not the best buddy action film either, but it's still enjoyable enough if you like Yun-Fat Chow and Seann William Scott. Yun-Fat plays an ageless monk protecting a scroll and Scott plays the chosen one. Then there are also bad guys, Nazis actually, trying to get the scroll for their own purposes. I never read the comic this film was based on, but the story has fun pulpy possibilities, but the characters are really not there and the fight scenes are rather pedestrian. Corey Yuen did some additional fight choreography for the film, and there are at time some fight scenes that stand out, but overall it's merely competently done fight scenes. Don't watch this film if you're wanting a martial arts film, but it is worth checking out if you're a Yun-Fat fan. Jaime King and the greatMako also appear in the film.

Clint D (de) wrote: Ed Harris' 2-hour love letter to painter Jackson Pollock features some great performances, especially his own, but ultimately left me underwhelmed. This film is as much about the business of art and creativity as it is about the work itself. It's not simply an inspiring picture documenting the excitement and passion that goes into making art but the self-doubt, compromise, and hard work that goes into making a living at it. 'Pollock' doesn't dive as deep into its subject as other biopics like 'Freda', but as the man himself says, "You don't look at a bed of flowers and tear your hair out wondering what it means." I think that's a useful mantra for participating in any form of art but when you make a film about a figure as interesting as Pollock was, I think you owe the audience to let them get under his skin a little deeper than simply portraying him as a self-destructive alcoholic.As you would expect from a first-time director, the film is fairly straightforward and linear in its storytelling, with some minor deviations. This simplicity was a problem for me in telling the story of a prominent abstract painter. Jackson Pollock had such an original eye that it makes the film's traditionalism disappointing. Ultimately, this is a movie made for people who aren't so familiar with the man at its center. If you're looking for a deep portrait of what made Jackson Pollock tick, you're barking up the wrong tree. However, the performances are powerful, starting with Harris and Marcia Gay-Harden's intense leads and also the subtle brilliance of Jeffrey Tambor as an ever-present art critic.As the film builds to its unavoidably tragic ending, all joy and energy is removed from the action, save a few smiles from Pollack's adulterous lover Ruth (Jennifer Connoly). Unfortunately, at the end, we don't understand Pollock much more than we understand his work.

Dillon L (de) wrote: A masterpiece for so many reasons. This complex film is about so much more than Balthazar the donkey, it is about the human experience, about life itself. Balthazar is not a cartoon animal, he is not person with four legs, he is a real donkey. The audience is not meant to know his thoughts or feelings. The things that happen to him are beyond his control or understanding - he accepts the things that happen to him because he must. The only difference between us and poor Balthazar is that we comprehend what is happening to us, but we do not necessarily control our course. A great French film.

John H (fr) wrote: Joan Crawford, an actress whose eyes can tell the story. That's how good she is.Truly a suspenseful thriller.Very well done.

Lanning (ru) wrote: I just caught this the other night on Turner's month of Oscar-related films marathon. If you know me, you know that I'm not Ricard Burton's biggest fan. I know I'm in something of a minority, but seeing him play such a jerk as Henry VIII does nothing to help his cause with me. I mean he was nominated -- although not by me -- as best actor for this role in 1969, but like Hoffman and Voight in Midnight Cowboy, Burton was also up against The Duke as Rooster Cogburn, so you just knew that John Wayne had to be the odds-on favorite -- as in the proverbial handwriting was on the wall. I tell you, when Genevive Bujold's head comes off at the end, there is nothing I want more than to see Henry's head come off instead. Especially with that disgusting final line about heading off to Mistress Seymour's home once he knows Boleyn is dead. I love the way the movie closes with Bujold's voice-over predicting that little Elizabeth, her daughter, will be greater than any English monarch before her. And arguably, that pronouncement became prophetically true. Bujold herself was nominated for Best Actress, but for once I agree 100% with the Academy: Maggie Smith stands as the hands-down winner for her job in The Prime of Miss Jean Brodie. I'm not really sure why Anthony Quayle was nominated for Best Supporting Actor. I think Jack NIcholson had a better chance for Easy Rider, and I'll 95% agree that Gig Young did deserve it for a great job in They Shoot Horses, Don't They?

Greg W (kr) wrote: A weird picture based on a slim novel by Carson McCullers, this movie fails to engender any sympathy or interest due to several miscalculations.

Sean C (it) wrote: Considering this came out in 1945, this is a shockingly unglorified look at war. Sure the movie has some patriotic moments and insists that this is the good fight (and it is), but it doesn't flinch from the horror of war the way its contemporaries did. Still dated, but clearly ahead of its time and emotionally mature.