Wistful croquis of the neigborhood in western Zagreb at the beggining of the '90's.
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Tylor S (ag) wrote: Not my favorite but very very funny.
James C (kr) wrote: 11111111111111111111111111111111111111111111111111111111111111111111111111
Mike W (br) wrote: It's amazing how 2 dogs and a cat survive the city!
Mark W (es) wrote: Around the time of Wild At Heart's release, David Lynch was already enjoying an abundance of praise for his cult TV show Twin Peaks. However, this time he was working on an adaptation from another writer's work. The last time Lynch attempted to do this (Frank Herbert's Dune), the results were catastrophic. That said, Barry Gifford's source material is far more suited to Lynch's style. This may be a more linear film than most Lynch fans expected but it's one of his more accessible offerings while still maintaining his talent for the weird and the offbeat.Sailor Ripley (Nicolas Cage) and Lula Fortune (Laura Dern) are young lovers fleeing south from Lula's vengeful mother Marietta (Diane Ladd). In a fit of rage, Marietta is determined to prevent the two from seeing each other and employs the services of a P.I and hitmen to track them down.Some may (and do) claim that this is not Lynch's strongest output. I'm not about to split hairs on that particular opinion but there are some obvious reasons for this. For a start, Lynch has already got some solid films on his resum and, as mentioned earlier, the original material is not his own. He also attempts something a bit different from his norm. For the most part, he abandons his surrealist, claustrophobic narrative for something more open and approachable: a road movie with numerous different characters and motivations.It isn't entirely what we have come to know and love about a Lynchian experience but he still manages to imbue it with some colourful dialogue and showcases his idiosyncratic knack for oddball characters which provides great fodder for an eclectic cast of strong performers: A lot has been said about the downfall of Nicolas Cage's career in recent times but it can often be overlooked just how good he was in the 80's and 90's and he's rarely been better than he is here. It's a very energetic performance and he plays it at just the right note whereby he's both funny and dangerous - not to mention the Elvis impersonations and the love he has for his snake skin jacket which "represents his individuality and belief in personal freedom"; Laura Dern is no less his equal as she captures the hyperactivity and naivet of an infatuated teenager - even if she is slightly too old for the role; Diane Ladd is simply wonderful (and deservedly Oscar nominated) as the bitter and spiteful Marietta that will stop at nothing in achieving her vengeance and retribution on Sailor. It's a film filled with eccentric characters and the supporting ones are just as memorable: there's cousin Dell (Crispin Glover) who has a thing about Christmas and putting cockroaches in his underpants; Marcelles Santos (J.E. Freeman) the menacing hitman with a wicked sense of humour and real threatening conviction and Private Detective Johnny Farragut (Harry Dean Stanton) as the gentle heart of the film. You could also mention a brief and suitably odd Jack Nance or Sherilyn Fenn as a random car crash victim who deliriously worries about her purse while picking at the fatal wound in her head. It doesn't even have to be a prominent character, sometimes it's just a name; Uncle Pooch, Bob Ray Lemon and the enigmatic criminal kingpin, Mr. Reindeer - a character that wouldn't look out of place in a Quentin Tarantino story. There's so many vibrant characters that it's difficult to name them all but the best of the sordid bunch is when the lovebirds reach Texas and arrive at the town of Big Tuna and meet Willem Dafoe's incredibly creepy, Bobby Peru. If there's any comparison to the dark characters that inhabit Lynch's world then Blue Velvet's Frank Booth is probably the only one that can compare to Peru and his downright nastiness.The narrative itself is a dark and twisted delight; Lynch has always claimed the film to be a love story between Elvis Presley and Marilyn Monroe as they travel through the land of Oz and Lynch makes constant references throughout the film. Some work and others don't but there's no denying his inventive approach to the material.As much as this is a more linear and more approachable David Lynch movie, that's almost what makes it a lesser effort. It's his dream-like ability to work within realms that's missing. That's not to say that Wild At Heart doesn't have touches of this but it's not as prominent as it often is. That said, it still has the requisite amount of bizarre to please Lunch enthusiasts. Those who also enjoy a crime yarn with colourful characters will find plenty to admire too. In fact, I've mentioned Tarantino earlier for good reason. There's no doubt that Tarantino has been influenced by this particular film in his lovers-on-the-lam, screenwriting endeavours of True Romance and Natural Born Killers and the ability to make such inconsequential supporting characters so memorable. He even, personally, admitted that the film was a big influence on the style and tone of Pulp Fiction.Ultimately, the problem that makes Wild At Heart feel less like a Lynch film, though, is because he's constantly on the move. He rarely gets a chance to remain static and create an ambience within a room. This is what Lynch is a master at but having to focus on so many characters and so many locations doesn't provide him with that opportunity. That said, his deranged approach to characterisation is ever present and Wild At Heart contains some of the best.Like the odd love child of Tarantino and The Coen Bros. It matches the violence of the former and the zaniness of the latter and comes out feeling just as fresh and original as their work often does. It may be one of Lynch's more coherent films but it still has flashes of his dreamlike quality, peppered with strange, outlandish characters and events. Regardless of it being more linear, though, it's still a depiction of the off-beat and depraved underbelly of America, that no-one can do quite like Lynch.Mark Walker
Mo B (it) wrote: Rating: 95%Hilarious yet keeping its cool at the same time, Beverly Hills Cop benefits greatly from enjoyable characters, top-notch acting, and surprisingly entertaining action sequences.
Spookie M (au) wrote: Loved it as a kid seeing it on super channel now it seems sloppy and only occasionally funny. Not the best Candy flick nor the worst.
D M (nl) wrote: A super cheesy Argentinean sword and socery type fantasy flick made by Roger Corman to cash in on Conan. The warrior hero is on a quest to retrieve some magical items held by a powerful sorcerer. He learns of a death tournament the sorcerer is holding, and signs up in order to search the premises for the items. The winner of the tournament gets to rule the kingdom. Some funny parts (especially when the sorcerer turns one of his men into a princess) and some gruesome parts fill in the holes between the drivel. A fair amount of boobies (mostly from Lana Clarkson, the chick that was killed by Phil Spector) help this along.
Melvin W (kr) wrote: Harry Monroe: A hundred and twenty five years... Oh God... Oh God... I'll be a hundred and sixty-one when I get out."Two jailbirds who just want out of the cage."I've always passed on watching Stir Crazy because a pairing of Richard Pryor and Gene Wilder didn't sound too great to me, but after thinking about it I thought it could be fun. I like Richard Pryor as a comedian a lot and Gene Wilder is a very good, over the top comedic actor. Although Stir Crazy is the duos second project, it's the only one I've seen and I have to say, it was a fun ride.Skip and Harry are both fired from their jobs in New York on the same day, so they decide to head west to California to try to make it in Hollywood. They don't make it that far though when they stop in a town that Skip's really likes. When they are mistaken for two bank robbers, they are sentenced to 125 years in a maximum security prison. There may be a way out though and it relies on Skip's rodeo skills.Stir Crazy is nothing to get too excited about, but overall it's a pleasant and funny comedy. I liked both Richard Pryor and Gene Wilder in it, both of whom looked like they were have a good time. Stir Crazy's worth a watch if you're into the two actors.
Gregory W (au) wrote: amazing a great master at work
Joy B (jp) wrote: not the best but great!
Eric H (de) wrote: No one is safe from this mesmeric master of disguise. Director Fritz Lang's silent serial casts the sinister-looking Rudolf Klein-Rogge as a criminal genius. He's a blight on Weimar Germany's wealthy populace, cheating at cards to finance his larcenous schemes and indulging in kidnapping and murder when it suits him. But he's also a direct result of the era's excesses, a malefactor twisting the reigning order to his own nefarious purposes. Lang would pointedly return to this diabolical character in two subsequent films"1933's The Testament of Dr. Mabuse and 1960's The 1,000 Eyes of Dr. Mabuse"that likewise placed him in counterpoint to charged historical moments
Gavin P (nl) wrote: Pretty good film for over 80 years old! Plenty of pantomime/slapstick/mis-communication, but I guess it was quite cutting-edge back then. Some good chuckles, but no hilarious moments. A very nice morale and ending and a good score.
Stephen S (ru) wrote: Really a 4.25, but I can't give quarter stars on here obviously lol. This is a damn good sports film. It's an inspiring story. Million Dollar Arm has a great mix of good acting, comedy, drama, a touch of Moneyball, and a dash of romance. I would recommend it to anyone, even if they're not a fan of baseball or sports in general.n
David K (mx) wrote: Its action packed and very silly, but so self-aware, well written and directed that the silliness just adds to the awesomeness.