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Red Lily torrent reviews
Ian G (jp) wrote: A little seen release into the Oscar race in 2016, Miss Sloane is as expected a very taut expose on the government lobby industry, circling around Jessica Chastain's lobbyist as she is attempted to be brought over by her bosses to acquire the Gun lobby to their firm. After meeting another contact in Mark Strong not long after, she jumps to the other side to help eliminate the gun lobbyist position and put together controls on the industry out of her heightened sense to get the rush and need to win. Chastain is commanding and powerful here holding her own against the represented machine of Washington but at the same time able to fully portray the flaws in her character, her inability to connect on a regular level with anyone outside of seeing people as tools for her gain, some substance abuse to keep her going and her insomnia. A strong return also for John Madden whose biggest successes of late have been the Exotic Marigold series which are more froth that anything so good to see him getting back into the intense dramas. Well worth tracking down :)
Darren H (ru) wrote: I'm a massive Oasis fan and thought this might not be up to standard. I was wrong. I LOVE IT!!!
Frances H (au) wrote: Gorgeous scenery, but the script here is so pathetic.
Imon S (nl) wrote: Over the top at parts,but a good watch!
Celia K (fr) wrote: watched this with girl tweens. we enjoyed the story and the values portrayed.
intuciic (es) wrote: good movie! they all wanted to go in adventure and feel the taste of life, instead almost all of them got taste of death. the fight changed its rules and survives just the strongest one.
RA L (mx) wrote: BIG SCREEN. Su propuesta es atrevida al incorporar su formalismo didctico en su mismo desarrollo, pero lamentablemente su repaso-reflexin histrico es tan vetusto y falto de vida como los libros escolares de historia universal. Su final, sin embargo, es impactante... aunque cuestionable. / It is a daring proposition in attempting to incorporate its didactic formalism within its development, but regrettably, its historical review-reflection is as tired and lifeless as a school text of Universal History. The ending, however, hits hard... though it's questionable.
Bustit Baby is what ur man calls me (gb) wrote: i have seen it but i want it here at my crib for my own view.
SJ G (br) wrote: It gets the full marks because of the nostalgia it conjures for me. And Guin Tuner is gorgeous... groundbreaking, but hard to think so now.
Matt H (ag) wrote: Oh booger.. isn't that cute
Allison B (jp) wrote: Wasokay, I was somewhat bored with it. It was okay in parts, but I sure feel bad for the daughter being in a abusive orphanage!
Cameron J (us) wrote: Lerner and Loewe tried to turn Gigi into a proper Frenchwoman, and now they're trying to turn some Cockney gal into a proper Englishwoman, so they seemed to be as into formal gals as George Cukor was into glamorous gals, though not exactly to be attracted to. Cukor saw the birth of a star, and now he's back with "A Proper Lady is Born", and if that's not good enough news for you, well, it's even longer! Seriously though, sorry, Cukor, but in 1964, Billy Taylor beat you to an adaptation of "My Fair Lady", although your interpretation quickly drove the "My Fair Lady Loves Jazz" album into obscurity. I better remember this film if it's going to take three hours to try and burn into my brain, so it's a good thing that these songs are so catchy, because this isn't exactly a complex epic. Well, this story at least feels kind of thin, because it's so much less convoluted than this film's origin as an adaptation of a musical that is an adaptation of a film that is an adaptation of a play, although we can at least take comfort in the fact that this chain of adaptations is still less confusing than the original property's title, "Pygmalion". For the record, that title is referring to the Pygmalion effect, which states that the greater the challenge, the greater the reactive performance is, although I may only know that because my watching this film and, well, looking into jazz deeply enough to know about Billy Taylor's "A Proper Lady is Born" reflect that I have a lot of time on my hands to look up inconsequential stuff. So yeah, "A Proper Lady is Born" is plenty decent and all, but it's no more compelling than "A Star is Born", even in concept. The film does so many things well, to where it might have achieved the reward value of such epic musicals of its time as "The Sound of Music", or "Goodbye, Mr. Chips" (Forget "West Side Story"! I just had to get that out), or of the delightful "Gigi", but what challenges it right away is the natural shortcomings to its simple premise of good-hearted street trash receiving an education on formality for the potential of a more respectable, better life, because as interesting as this story is, it's thin, like certain areas of the characterization which needs to carry plenty of depth to make up for the lack of depth to make up for the lack of depth to the plot. Well, the leading Eliza Doolittle character is very layered, albeit not entirely convincingly, but certain more so than her peers, particularly Doolittle's random romantic admirer, and the thin Henry Higgins character whose background is slim, and whose gradual exposition comes much too late to feel the humanity within the often, maybe mostly unlikable role, which still isn't too much more obnoxious than the extremes in either grating informality and pompous class which exacerbate subtlety issues. Frankly, I don't know how much subtlety there is at any point in this melodrama, as its plot is driven by histrionics, and its script is heavy-handed, particularly with fluffier aspects of humor and lively set piece drawing which have become dated and just had to have always been some prominent degree of cheesy. I suppose there's no way around some prominent degree of cheese if this film is going to be celebratory of musical theatrics, forcing in more than a few numbers which are plenty entertaining, but not always, for there are some lyrical shortcomings, formulaic touches and draggings in a few numbers which remind you of just how expendable the musical aspects of the film are. Honestly, I'll take them, for their liveliness does a better job of coloring up the storytelling than the excess narrative material, because with all of my going on about how inconsequential this story concept kind of is, the final product still flirts with a whopping runtime of three hours which is simply not reasonable, reached at a brisk directorial pace, and with script that goes aimlessly bloated. The film kicks off with a hook, and it's not long before momentum settles too much for the final product to transcend underwhelmingness, because as fun and aesthetically competent as this epic of a glamorous musical is, it's too thin, too unsubtle and, of course, too blasted long to truly reward. Nevertheless, the final product entertains thoroughly enough to hold one's patience, and prove aesthetically solid. As celebratory of musical style as this film is, its visual style is one of the most outstanding aspects, for Harry Stradling's Oscar-winning cinematography plays with lighting in a manner which ranges from handsomely heavy in its coloration, to crisply dreamy, and with a scope which all but justifies the length of an epic through a fine balance between sweep and intimacy which immerses you into Edwardian England, with a great deal of help from Gene Allen's, Cecil Beaton's and Malcolm C. Bert's outstandingly diverse and, with the help of Beaton's and Michael Neuwirth's costume designs, lavish art direction. The film looks plenty grand, and, of course, it also sounds plenty grand, with Andr Previn delivering on a formulaic, but either sweeping or tender, and consistently lovely score which keeps musical liveliness up in between the musical numbers by Alan Jay Lerner and Frederick Loewe, more than a few of which are simply forced and exhaustingly overlong, with a couple feeling under-inspired and conventional, only to be far outweighed by thoroughly catchy, near-symphonically well-orchestrated tunes whose being backed by often simple, but always somewhat energetic choreography make some genuinely memorable and very fun cinematic theatrics. The film is a beauty, both visually and musically, and I wish the substance was up to par with the style, although the style is still so solid that it carries the film a fair distance, at least before it loses a good bit of momentum that George Cukor never really allows to fall all that much. As director, Cukor can get overstylized, and rarely puts all that much of an effort into making up for scripting shortcomings through thoughtful storytelling, but it's as if Cukor has a better understanding of what kind of film this is than Lerner and George Bernard Shaw, as writers, keeping pacing smooth and pacing lively in order to establish an entertainment value and charm which endears throughout this film's challenging course. The onscreen charmers also do a better job with their duties than the writing, which draws thin characters who are hard to buy into and even rather obnoxious, if not unlikable, yet are, in fact, endearing, thanks to the thorough grounded charm of Wilfrid Hyde-White and Rex Harrison, and to the theatrical, if cheesily overdramatic charm of the lovely Audrey Hepburn. The performers entertain and charm about as much as Cukor does, and it helps that Lerner and Shaw are never terribly flat with their writing material for the onscreen and offscreen talents, bloating the film's structure and thinning developmental depth, to where engagement value gradually slips, but keeping consistent with witty dialogue and plenty of amusing comic set pieces which, at the very least, hold the potential to entertain. The film stands to hold more potential in other areas, but when it comes to that potential for fun, it is thoroughly fulfilled by solid style, lively storytelling and colorful performers, who hold your attention, even if they can't firmly secure your investment. When the rain finally passes over Spain, the natural shortcomings of this thin story go too intensely stressed by thin characterization, obnoxious aspects, serious subtlety issues, cheesy spots, some forced musical numbers, and, of course, an excessive length to transcend underwhelmingness, but your patience ought to be secured firmly enough by beautiful cinematography and art direction, grand score work and musical numbers, lively directorial storytelling, charming performances, and clever, if overblown writing to make George Cukor's "My Fair Lady" a fun affair of limited consequence and great excess. 2.5/5 - Fair
Aj V (es) wrote: This could have been a good movie, if not for the fact that the audience knows that a doctor keeping a woman at his house to treat her is ridiculous, this could have been a good movie. I mean, why wasn't she kept at the hospital? That's weird.
Les E (kr) wrote: Really good story and a wonderful performance by Davis.
Elise M (ru) wrote: love this film want to see so much
Galvy F (jp) wrote: The people behind the face of an industry. Gets away with just about anything, people that handle all what cripples an unethical industry. some unethical industries don't last when government intervenes. trying just about anything, on all aspects trying to convince there is nothing wrong, harmful, with scientific proof from biased doctors, lawyers they hire. money pays for the best loop holes. able to put ethical people to like unethical things, by labeling it's not that harmful as people might think.distorting facts, evidence, by having a convincing argument. no room for negotiation.turning a blind eye on the ethics of what you represent. requiring a fond reminder what pushes you to continue and not the negative aspects. what gets these people hooked and addicted to smoking. with every product there is a competitor and deregulator. limiting the process and practice indulgence altogether when there is costly side effects. constantly looking back at the statistics and charts for answers and solutions. capitalizing on other industries and merging withbthem, from movie theatres, characters, role models.knowing your clients, picking 1 client pays when they do it longterm. the captain self made man, the filter to a product, the secret sauce/ingredient. your enemies of mow but your best customer later. The product is worth it's reputation, that it travels word or mouth and travels literally across the world. removing the filter with an argument.Art, koi fish, wines, all products surrounded by an industry and competition with a high price value.Knowing who your target audience wants, where they would definitely dish money to.synergy or debate the two arguments right/wrong. the perks of being the representative for your company, may come with some side effects. money solves everything, playing both sides of the field, by making everyone win when your tricking and controlling the situation.Getting into deep has its side effects.Digging deep to get the truth from a liar. digging deep to a product and practice that makes you feel good you stand up for. with every negative side effects there are positive effects. What is the industry you represent, a place for people to exercise choice, whether it's a personal choice, private, business, hobby, recreational, & celebratory. slapping a big smiley face on any product from the government, that steers people to choose the healthy alternative. good guts finish last.