A family in Africa is besieged by a group of lions, driven mad by the drought. They have to survive multiple attacks but some colleagues are eaten by the lions.
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David R (ca) wrote: interesting biopic that touches on lots but doesn't go into ad nauseam detail. interesting and very enjoyable.
Lee B (ag) wrote: In keeping with music themes from my last review on Inland Empire, I?ll say that Demonlover was LCD Soundsystem. It bumps and grinds and jumps all over, but the emotion of it is lost somewhere in the meandering structure. It is a straightforward story of corporate espionage that posed as a mystery unraveling. And there are messages to be said, subtly and subversively, but it fails in my opinion. That said, it has great performances by the 3 ladies, who are all perfect in their roles. Without them, this wouldn?t be worth anything. And I liked the director?s Clean, but maybe he needs a scriptwriter. Or better editor for such.
Taija H (fr) wrote: Lasten syysloman alkamisen kunniaksi kytiin tmn jttilisen kimppuun. Fantasia ei tod ole meiklisen juttu, mutta tm ykksleffa viel menettelee. Ainakin johonkin Rivendeliin tai ehk jopa Morianiin asti. Alku on kepe kontuilua, mustat ratsastajat ovat hyytvi, ja haltiat Liv Tylerin johdolla ihania. Mutta lopun (ja seuraavien elokuvien) rkkitaistelut ovat turhan hyv unilkett. Sama juttu kirjassa. Aikoinaan olen vkisin kahlannut lpi, samoin leffan aiemmilla katselukerroilla. Ei vaan jaksa pystymn. Uuden Seelannin maisemat ovat kyll silmi hivelevn upeita, ja niill kyll mssilln kiitettvsti.
Sahara Q (nl) wrote: THE DOG NO THE DOG WHY THE DOG!
Bill H (ag) wrote: the best reggae movie ever - plot is weak - but it's all bout the music!
Issac L (es) wrote: The film employs a tremendously perky rhythm and register to showcase the traits of the earthly Italy at its post-war development, even though essentially the overwrought kernel of a prostitute's tribulations could hardly appropriate as a comedy material. Vittorio De Sica's camera enigmatically haunts and pivots around two leads' present and past, the intangible love/hate chaos is disarmingly intriguing and subconsciously imbues the audience with a fervent compassion towards Sophia Loren's unswerving while passionate Filumena. The leading performance is worth of much accolade, especially for Sophia Loren, whose full-brown force of personality spanning over 20 years in the film and undisputedly devotes a magnificent performance with all her zest and vigor. Marcello Mastroianni, is great as well, to hone up his versatility and render the womanizer an ambiguous moral criterion which is a more delicate task. I cannot help being fascinated by the exquisite script as well, credited by five names, no wonder all the twists and turns are so fruitful in a way that both surprising and amusing. Nominated for 2 Oscars (BEST FOREIGN FILM and a second BEST ACTRESS nomination for Loren) and is a milestone which not only represents Loren's heyday but also is a comforting fruition of Loren-Conti correlation. Maybe it is not director De Sica's best canon due to its slight superficiality of machismo, which I sense may not be the director's fault as it is a general bias lies in all over the globe. Anyway, the film itself surely is a fine piece captures a genuine Italian aura (the Naples' style) and definitely worth your pocket.
Retlaw L (ca) wrote: shocking, and touching... the best movie about the holocaust so far...
Michael S (gb) wrote: This film confirms that Claudette Colbert was Hollywoods most consistently good comedienne - and Ray Milland is surprisingly good too - his best comic performance. But how can they go wrong with a Billy Wilder/Charles Brackett-script and an Oscar-winning story?Claudette Colbert also gets to sing a little of the imortal Dream Lover that Jeanette Macdonald introduced in The Love Parade opposite a former Colbert co-star Maurice Chevalier. So enjoy - it's great fun :)
Conrad T (es) wrote: Not too mystic, not too suspenseful. Hoffman was a good actor, despite a lot of similarity in acting in different movies.