The story of one man's journey from Denmark to Brazil to get a child.
- Stars:Chiquito, Jing Abalos, Thelma Kennedy, Anders W. Berthelsen, Bárbara Garcia, David Dencik, Vivianne Pasmanter, Pablo Rodrigues, Georgina Castro, Iben Hjejle, Otávio Martins, Rafael Lozano, Miriam Amadeu, Lavínia Panunzio, Giuliana Maria, Allan Bruce da Silva Kimura, Nawmi Lima, Amanda Ketilly de Albuquerque,
|Download||Triple X [dvdrip][spanish]||DVDRip||46||36||900.63 MB|
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Maksim B (ag) wrote: A modern and unconventional take on gay life, Gayby is an appealing gay comedy which offers some moments of entertainment, but ultimately fails to match the initial high expectations for an independent and fresh art house dramedy. It offers a captivating insight on some of the daily realities of gay life, but despite its devoted cast, the movie never builds up on these strong premises and never becomes something more than a wanna-be-hype-art-house movie.There is no doubt that the story is very interesting and that is promises laughs, smiles and probably some tears from the very beginning. The idea of a woman in her later 30's who wants to get pregnant from her best friend (who is gay) and the implications of this results in very strong first half of the movie. Though a bit chaotic, the audience finds itself mildly engaged in the almost-funny let's-make-a-baby interaction between the two widely unknown leads Jenn Harris and Matthew Wilkas. Their fresh, emotionally vulnerable and confused performances are probably Jonathan Lisecki's bigges asset in this movie.Unfortunately, what starts as an unconventional and promising movie, turns into a messy depiction of urban gay societies, which seem to spend half of their time talking about "being gay". Even if one is not tired of those scenes and dialogues, the lack of any development and the lost sharpness of the story, results in a much weaker, and frankly speaking, boring second part. Director Jonathan Lisecki (also screenwriter of the movie) has probably gone out of idea how could he eventually develop the story in a way going beyond what is said and done in the first thirty minutes.In the end, Gayby, finishes in the most predictable possible way and it rewards the audience with nothing to remember. With its unconventional start, but very conventional ending, this delivery joins the bunch of countless wanna-be-hype independent movies which fail to reach the cult status they aspire to.
Eeugboaja U (it) wrote: super sucking movie......bored me to death
Matt G (au) wrote: A funny mix of early-cinema horror films and modern sensibilities, it's perfectly passable entertainment for anyone with kids....no reason to rush to it, though.
Mattias E (kr) wrote: A sensational story told in a very nonsensational, sympathetic way. Not quite Tony Jaa-standard as far as the muay thai goes, and the psychological depth of the movie could be considered a bit too shallow. But in the end you just fall in love with it, unable to resist it's charm and humour. Feelgood movie of the year as far as I'm concerned.
Gosia (nl) wrote: a moe hatley nie by? taki przereklamowany?
Asif K (us) wrote: great kids film, watched it constantly growing up. That seal was sooooo smart. He couldn't make up his mind whether he was a seal or a human being. He finally decided to be both. Got his cake and ate it too. Cute and heartwarming! This is just a lovable little movie. The little girl was a doll and the seal was so adoreable! It's a great family movie! loved it.
Soheil W (gb) wrote: Has not the same charm as the original version.
Eva L (au) wrote: I had no idea there was a When a Stranger Calls Back... I so wanna see it.
Scott W (us) wrote: The fact that both the female leads (a mother / daughter combo) looked so similar made the entire family dynamic all the more entertaining, if troubling. Overall, however, this was less a waste of time than an assault on one's time. Avoid at almost all costs.
Vanessa L (br) wrote: [font=Kristen ITC][color=#000000]Cast: Kathleen Turner ([b]Joanna[/b] [b]Crane/China Blue[/b]), Bruce Davison ([b]Donny[/b] [b]Hopper[/b]), Anthony Perkins ([b]Rev. Peter Shayne[/b]), John Laughlin ([b]Bobby Grady[/b])[/color][/font] [font=Kristen ITC][color=#000000]It is a movie that provides an interesting contrast of night and day or light and dark. Joanna Crane, prim workaholic in the day, and the night time brings on her role as Kinky hooker China Blue. This movie was very 80?s, however I did actually enjoy it. Anthony Perkins (good old Norman Bates from Psycho) played an excellent (and very creepy) fanatical preacher who is out to teach China a lesson with his razor-sharp weapon. A definitive cult hit.[/color][/font]
Chris B (jp) wrote: This film is my personal favorite Indiana Jones movie. I believe The Last Crusade has the best action and pure Indiana Jones moments in the entire series. Harrison Ford is outstanding as usual and Sean Connery plays the Dad role perfect. This movie is outstanding and you could put it in at any time and get enjoyment out of it. This film is nothing but pure fun so thank you Spielberg for again making my life better!
Alex K (fr) wrote: I Like Edward G. Robinson's Performance As Rico Bandello.
D371N 5 (ru) wrote: Finally, a watchable prequel. This movie is much, much better than the last two. However, it still has some of the other movies problems. Some bad acting for example. This movie still overly relies on CGI, however this time the CGI is much better, but that doesn't stop some sets looking fake, or from a cartoon. This movie is also where we get to see Anakin Skywalker turn into Darth Vader, which is handled brilliantly at the end with the purge of the Jedi. A complaint that I have though is that the lightsaber fight between Obi-wan and Anakin is over choreographed to the point where it looks like they're dancing rather than fighting. If you're not a huge star wars fan but you want to watch a prequel than just watch this one.
Todd J (ag) wrote: Although the film's public reputation stems from the controversy surrounding the erotic moments and ensuing cases of censorship, the shift in sexual attitudes since the late 50's leave the film's treatment of sensuality rather tame and, therefore, more of a neat historical fulcrum than one of the film's defining traits. Instead, the enduring value of the film comes from the strength of character and the exemplification of Malle's versatility even at such a young age.Whereas Malle's debut feature, Elevator to the Gallows, had four central characters who served larger questions of political action and the primacy of the private sphere over the public in that action, The Lovers takes an intense focus on only one character and allows its political functions to rise from that characterization, rather than the other way around. The deep focus on Jeanne Moreau's character pays off most of the time. The opening act efficiently gets down to Jeanne Tournier's daily routine: her negligent husband, lackadaisical relationship with her daughter, her fun yet yawnish affair with a polo player. The narrative's placement of these things in opposition to the happiness of the vague discontent of Mrs. Tournier really enables Malle to throw the narrative over as Jean-Marc Bory's architect character comes into the picture. The ensuing affair capitalizes on that setup and follows the narrative through to its somewhat ambiguous ending.Despite the deep-focus characterizations, The Lovers ends up a mixed bag due to the rampant romanticism that persists throughout the narrative. Malle's attempt to present Bory as an intellectual counterpoint to the bourgeois surroundings come off as a very naive fantasy. The idea seems to be that Moreau, fed up with her empty lifestyle, goes off with the activist to lead a better life. Unfortunately, Bory's character's blowhard rejection of the aristocratic lifestyle never becomes a problem as he woos Moreau, and no real significant character work is done with Moreau to bridge the gap. Instead, Malle insists that the viewer accept that the two love each other at first sight and that such a notion legitimizes itself. However, it would be unfair to Malle to say that he doesn't recognize this. He includes a subplot involving the heroine's daughter that seems to sober the narrative from floating off into space. After all, if she takes off, her daughter's left alone with an inattentive father who spoils rather than parenting the child. Despite this inclusion though, the film tends to forget about this problem in favor of allowing audience sympathy to Moreau's character. Perhaps the most impressive thing about the film is that Malle pulls all of these contradictions together somehow. Sure, we know that Moreau's Tournier constantly endangers her child and, frankly, doesn't really give a lick about her, but Malle stacks the deck so much with the pace of the film that we fall for the trick too. The entire front half of the narrative keeps things relatively sober as the film sets up Moreau as the disaffected and neglected housewife who runs a passionless affair on the side. After the dinner party scene, the power of completely stopping the narrative as Moreau wanders around gardens, boats around, and makes love with Bory somehow gets the romantic material to overpower any other concerns. It's really a whirlwind of a scene with some classically and majestically filmed sequences that get so right, perhaps more than any other film, how one moment can result in the exclusion of the outside world. That Malle speeds through the setup efficiently but takes the time to linger over these moments only reemphasizes how talented he was, even in his 20's, at modulating mood. The infamous lovemaking only becomes a part of this fantasy world.Again though, the problem resurfaces near the end when Moreau and Bory have a stop to say goodbye to the daughter. Malle acknowledges what Moreau is doing but never allows the implications to play out. Instead, the film reaffirms Moreau's control of her own destiny and need to run with something so instantly satisfying. As the car drives on, the film seems to forget the victim of the situation, which I suppose might have been empowering in that historical moment but simultaneously belies a wish to forget the dark side of the situation. Instead, the film revels in its romantic vision of the relationship even while attempting to present a more modern, less frilly perspective.If the film needs to wrest the viewer from these questions by hooking attention to the plight of the story's heroine, then Jeanne Moreau greatly helps Malle in the attempt. Her acclaimed performance in Elevator in the Gallows seemed more like glamorized posturing rather than a fully realized character, but the nature of this narrative gives her a role to really bite into. Her patented seething boredom and penchant for the portrayal of denied passion makes the Mrs. Tournier part such a perfect fit that the actress and character even share a first name. While kudos should certainly go to Alain Cuny as Moreau's respectfully malevolent husband and Judith Magre as wannabe aristocrat "it" girl, Maddy, Moreau's performance glues the narrative together. Her ability to nail every emotional cue legitimizes Malle's love at first sight thread much more than the classic notion itself.All in all, The Lovers features much stronger character work than Elevator to the Gallows but never grabs onto the cohesiveness that made Gallows such an instantly powerful work. The strong acting and some smart writing allow some of the cornier notions success. Additionally, Malle's strong visual sense and some neat pacing almost give the romantic iconoclast moments some credence. Unfortunately, the fact remains that there are facets of the film (the occasionally sketched ancillary characters and failed attempts to expand the film's ideology with the child's narrative) that must be endured. Luckily, what works does so in a strong way. So much so that the lesser aspects can be happily endured rather than angrily focused upon. **** out've *****
Anna B (fr) wrote: I can see why Sluizer never went on to do anything else of note; all he did here was luck out with an awesome script and have the good sense not to get in its way. The acting is clunky and awkward, the music is terrible, and if you have a vague idea of the ending, as I did, there's not much tension. But it works because it's a good story with a fascinating structure and an almost perfect pace. Sometimes that's all it takes.