Born with a disability of not being able to talk nor hear, Hema lives with her schoolmaster dad, Chintamani, a stepmother and stepsister. Hema is ill-treated by her stepmother, who is now ... . You can read more in Google, Youtube, Wiki
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Alexander L (nl) wrote: Simply brilliant in it's own essence-- "This is England" is truly one of a kind. The acting transcends that of the everyday movie and leaves the viewer with the impression that this movie is alive. The film offers a history lesson as well as a story with a solid plot, leaving one with the feeling that there are very few films that offer such a profound understanding of the world. Evoking an intense sympathy with the story's protagonists, it makes one wonder about the sociological aspects of his or her own life and what really is childhood.
Liam P (jp) wrote: Not a good movie by any means. however Madea is such an great character. That she makes the movie an amazing sit
Ashley T (br) wrote: Oh so twisted! What else can you expect from David Cronenberg's nephew?
Susann B (es) wrote: great movie. even better book. funnny as hell.
Timothy S (jp) wrote: "Swimfan" is an over-heated, brain-dead teen variation of "Fatal Attraction" that borrows shamelessly from the Adrian Lyne classic while removing all of the qualities that made that film so great. The cast is all attractive enough, but they don't have a personality to share between them. Jesse Bradford is likeable enough in the lead, but he's so bland is nearly impossible to feel anything for his plight. And Ericka Christiansen is an actor I really want to like, but this silly, underwritten role isn't going to do much for her career. She's a beautiful woman, and she proved in the far superior "Traffic" that she can act. But her bid for box office glory here is extremely underwhelming. The movie even fails on the basic "so bad it's good" level. Christiansen is obviously game, but everyone else lets her down. Debut director John Polson's first effort is sluggish and amateurish, but worse is the ridiculous screenplay with some of the lamest dialogue of the year. And the entire rest of the cast is totally transparent and forgettable. Some scenes are almost remade from the Michael Douglas flick, such as the scene where Christiansen pays an unexpected visit to Bradford's home. It's not really flattering. It's more embarrassing. The whole thing is so derivative that it's hard to be surprised. It does manage to avoid most of the standard serial killer cliches, but that's pretty faint praise when the rest of this is so lackluster. Teen melodrama really comes to a head in "Swimfan", which feels more like a show on the C.W. than a feature film. It's pretty to look at but emotionally vacant.
Matt H (mx) wrote: God I love this movie..
Matthew P (jp) wrote: I don't know how many romantic comedies I can list that I honestly enjoyed, but 40 Days and 40 Nights wouldn't make the cut. Here is a movie where a guy, for a reason that therapy would likely be a better solution, decides that he should embark on a path of celibacy for the entire period of Lent. He professes to someone later in the film that he's not addicted to sex, but considering how frequently he goes to confession -- to his priest of a brother -- I somehow have to doubt him. The main character is Matt (Josh Hartnett), who had his heart broken six months prior by Nicole (Vinessa Shaw). She's now engaged, after only knowing her fianc for two weeks, apparently, and because every time Matt has sex, he sees a black hole appear in the ceiling -- I'm guessing the floor as well, depending on, well, you know -- he decides that abstinence will solve his problems. The sun shines on him, he sees Jesus wink at him and give him the thumbs up (further making me wonder if he should be seeking therapy), and everything seems to be going his way. This is a romantic comedy, so Matt has to meet someone who he instantly connects with. In this film, it's Erica (Shannyn Sossamon), whom he meets at the local laundromat, despite not saying a single word to her upon their first encounter. She borrows a magazine, some laundry materials, informs him what the word "tryst" means -- he had it underlined in one of his magazines, you see -- and then leaves with a "nice almost chatting with you" quip. I instantly liked her more than the protagonist. They eventually become a couple after meeting the next week and actually having conversations. Anyway, most of the film deals with him both having to overcome his friends and colleagues trying to make him break his vow so that they can win the pool that was started at his workplace. He has great friends, you see, as they've all placed bets on when he'll succumb. He also has to deal with his now-girlfriend, who has yet to be informed about the vow. And when she does, you better believe that it'll lead to circumstances that are not ideal. It's a rom-com; you know how these things go. I'll admit, it's kind of fun watching Josh Hartnett playing a character who absolutely needs sex, but can't have it, if only because it comes across as really pathetic. One character describes him as "twitchy," which is about the best way to put it. He looks like he is constantly on the brink of wetting himself, which says as much about the film's sense of humor as it does about Hartnett's acting ability. Hartnett cannot carry this film, which is the first major problem. He doesn't seem to understand that delivering everything in the same apathetic tone is not at all endearing, and it's hard to root for or against him when he doesn't seem to care much about anything involved in his life. Even when he's delivering a monologue about how much he's falling for Erica, I couldn't believe him because there was no passion. He has no comedic timing, and when he tries to make us laugh, it's only out of embarrassment for him. Speaking of the jokes, I had trouble telling when the film wanted me to laugh. There didn't seem to be a large number of jokes or funny situations, which I suppose is par for the course in many of these mediocre romantic comedies. 40 Days and 40 Nights gets downright silly and stupid near its conclusion, and it loses all credibility when it does. Earlier on, we can believe that this sort of thing could happen in real life, and that the coincidences were just that. But close to the end, the movie magic shines through. It becomes too contrived to believe. When the film works, it's whenever Shannyn Sossamon gets on-screen. She does her best with very little, actually -- gasp -- showing emotion every now and then. She's relegated to the same role that the romantic interest in practically every male-driven rom-com gets, but does enough to stand out. We like her and her character, and almost wish that the story was about her, and that Matt was just another dude that she dated. While sitting in a bus station, she recounts the guys she dated previously, and I thought a tale about her life would be more interesting than Matt's. Another problem I had was grasping the time that had passed and the effects on the protagonist as his ... urges built up. We get glimpses into the 40 days -- the film sometimes jumps weeks into the future -- but the progression is all over the place. After 13 days, he seemed ready to, uh, blow. But then after 20 some odd days, he was fine again. Get to day 35, and he once again seems back to almost slipping up. The filmmakers could have made this somewhat of a psychological study, showing us this character and his battle of willpower vs. urge, but that opportunity was missed and the film isn't deep at all as a result. 40 Days and 40 Nights isn't a good film. It's a mediocre romantic comedy at best, complete with all of the clichs and tropes that come along with the genre. It features a lead that doesn't understand the meaning of the word charisma, misses an opportunity to be something greater, and just isn't particularly funny. It's embarrassing, really, and I can't recommend it for any reason.
Brynn H (it) wrote: interesting, kinda weird, but cute.
Blake P (fr) wrote: Pedro Almodvar can't deal with the middle-ground. He likes to speak only in the high or the low, drenching his films in vibrant, Sirkian style that has to decide whether it's dressing an emotionally tumultuous drama or a light-speeded comedy. His career, beginning in the 1980s, has been long but equipped with as many misses as hits. Almodvar's best make for startling unison between style and substance, deliberately artificial atmosphere turning more flaming as the goings get rough; his worst still look great, but they sometimes ramble, never going anywhere and never giving the style a place to grab onto. The red trench coats, red lipstick, and red pumps of Almodvar's distinctly feminine characters are buried in catty conversations, Joan Collins schlock tears, leaving more of an image than an impression. "The Flower of My Secret" is a quintessential example of an Almodvar miss, absorbing in its aesthetic but distant in its ability to capture the imagination. Heavyweights like "Women on the Verge of a Nervous Breakdown" and "Broken Embraces" rip our throats out with their passion towards screwball zeal/Technicolor noir cynicism. But lightweights, "The Flower of My Secret" being a prime example, don't allow us to think about anything besides how scrumptious everything looks. There is nothing wrong with an obsession toward visual materialization, but one can only stare at a painting before they want to move on to something that knocks them off their jaded feet. Marisa Paredes portrays Leo Marcas, a bestselling romance novelist who writes under the pseudonym Amanda Gris. Leo, though, doesn't take pride in her work like Danielle Steel or Nora Roberts. She hates it, desperate to be taken seriously but unable to publish anything meaningful thanks to a paralyzing authorial contract. It's becoming impossible to write such fantastical material, considering her husband (Imanol Arias) has no interest in solving marital problems and her closest friends seem ready to betray her at any waking moment. Finding no other way to fix the cracks that rough up her life, she decides to take a job at local newspaper El Pais as a literature critic. Well aware that she will have to eventually attack her own book, Leo finds unsettling excitement in the idea of publicly diminishing her work after years of painful gloating. "The Flower of My Secret"'s story sounds ready for screwball comedy treatment, but in execution, its plot feels rather haphazard and messy, taking more time to ignite itself through speedy small talk than conversation that actually moves the plot forward. Consider the film opens with a false lead: we think we're about to watch the tragic story of a middle-aged woman losing her son in a motorcycle accident, but it turns out to be a organ donation center training video in production. Scenes like this are amusing, yet they don't go anywhere. As a whole, "The Flower of My Secret" has no problem when it comes to being compulsively watchable. Cohesiveness, identity, authenticity - those are the issues that make the film so unmistakably flawed. The characters spend a whole lot of time gabbing and tearing up, but we never find ourselves entwined in their conversations, moved by their sudden outbursts of emotion. Almodvar, though, is incapable of making a movie that isn't stunning in its artistic vision. Photographically and directionally, "The Flower of My Secret" is visionary and eye-poppingly deliberate in its color; missing is interest that makes its look have meaning. But Parades gives a wonderful performance and Almodvar sustains maturity - there are diamonds to be found in the candy colored rough.
Nelson M (es) wrote: The Long Good Friday stands among the great gangster films of all time, but unfortunately, it seems to go unnoticed. It seems rare to find this film mentioned in any circles despite being one of the most unflinching portrayals of crime put on film. Maybe it's because the film is far more political, as in out right political, than most films? It raises questions involving capitalism, the IRA, problems within the system, corruption, among many others. Maybe that's why people don't bring it up more? Or is it because the protagonist loses at the end, when we really want to see him succeed despite his horrendously evil nature. I see this almost as a precursor to The Sopranos in it's style, deliver, and scope than anything else. At any rate, this ranks among the great of the crime films and should not go unnoticed any time soon.
Adam R (ag) wrote: (First and only viewing - 1/25/2011)
Darrin C (br) wrote: Period piece concerning Ireland's fight for independence which was slow-paced and sometimes hard to stay interested. However, I did enjoy the presentation of the freedom fighter view.
Roger J (kr) wrote: Probably the best of all the Hitchcock crime films..
Guilherme J (ca) wrote: Empolgante e frentico, no melhor sentido possvel do termo. Incrvel como o filme se mantm absurdamente atual quase duas dcadas aps o lanamento..
Noname (jp) wrote: Pretty decent drama movie about 2 friends with some problems in their lifes but they want to change it. Christian Bale plays an ex soldier trying to get a new job as a cop in LA. Overall a nice movie and well made with a bit of gangsta style. Worth seeing.
Nate D (it) wrote: I gotta be honest, re-watching it, it isn't that funny. But it has some very memorable moments that make it one of the most quotable movies I've ever seen.