When a troubled teen is forced to leave a self-destructive lifestyle, she discovers an abandoned horse along her journey to redemption. Will temptation from the dark shadows of her past lead her astray or will her newfound love of God and a rescue horse help her find salvation? Written by Anonymous
- Stars:Victoria Emmons, Meghan McCabe-Habrat, Austin Kearney, Alison Kotila, Miley Stockton, Mike Hawkins, Kail Harbick, Tara Brown, Joshua T. Hardcastle, Mona Leigh, Monique Hurd, Katrina Condos, Debra Gregory, Jessica Riscili, Stacia Klein,
- Director:Shane Hawks,
- Writer:Jodi Johnson
When a troubled teen is forced to leave a self-destructive lifestyle, she discovers an abandoned horse along her journey to redemption. Will temptation from the dark shadows of her past ... . You can read more in Google, Youtube, Wiki
Saving Winston torrent reviews
(jp) wrote: The modernistic elitist dreaded world turns into a shitpile of endless hopelessness and meaninglessness.
(ag) wrote: Editing it's just mind blowing.
(fr) wrote: The greatest miniseries of alltime. "V" is still the greatest science fiction miniseries, I saw this when it first was broadcasted in May of 1983 on NBC. Marc Singer, Faye Grant, Jane Badler and Robert Englund are so super. A classic for all to see, great action and has a great story.
(au) wrote: Builds with a measured pace and uses that time to really develop dramatic conflict and inferiority. As the tone of the film grows increasingly bleak and murky the visuals become fantastic. The cumulative effect is very rewarding.
(es) wrote: Detachment is impeccably filmed, well acted, and really depressing. Pretty much as expected from the guy who directed American History X.
(de) wrote: Like the TOY STORY films, I knew about MONSTERS, INC. for as long as I can remember. Granted, I didn't really watch it that much as a little kid, mainly because I remember being absolutely horrified by some of the imagery. But I do remember a lot from it. Also, if you didn't know, this was the first Pixar film not to be directed by long-time Disney animator John Lasseter, but by storyboard artist Pete Docter. So it was a pretty risky move to hire a screenwriter for their fourth film. Could Pete Docter direct a good Pixar movie?Yes he could, I loved MONSTERS, INC. and I still do. Like any great animated film, it has a fun and original story with a really creative setup, entertaining and memorable characters with their own unique designs, a lot of great jokes, and has a lot of heart to it. It's not an entirely original concept, we've seen the idea of monsters scaring children and have them return to their own world of monsters as if it's some sort of job. But they have this creative way on why they do this, the screams that the children give off harness the energy that powers the monsters' city. It's also pretty funny that they make the monsters think children are extremely toxic, ironically making the monsters terrified of innocent children.Our two main characters, Mike and Sulley, are very enjoyable and perfectly voiced by Billy Crystal and John Goodman. The chemistry between them work off really well, I genuinely feel they have a strong friendship. People seem to have real mixed feelings for the little girl, Boo. Some find her absolutely adorable and some find her really annoying, and I can see both sides of that. Personally, I find her absolutely adorable. The relationship with Boo and Sulley is the heart of the film. I love how the bond between them grows as the film progresses. And when they eventually had to separate at the end, it's a very sad but touching departure because you really feel something for them. Pretty much anything with these three characters are great.The villains, on the other hand, aren't all that interesting or even enjoyable, at least when comparing them with the protagonists. I like the designs on them, but their characters are pretty under-developed. Randall is the typical jealous villain who just wants to be the best of the best. Mr. Waternoose doesn't want the company to go out of business, but he should know that he's obviously not doing the right thing to stop it from happening. There really isn't a whole lot to these characters, you could've made them diabolical and a lot more enjoyable.This film also throws in a lot of humor using many forms of comedy, and for the most part it delivers, which by definition makes this the funniest out of all the Pixar films. It's humor that both kids and adults can enjoy, even though a lot of the humor is kind of childish. The animation is also really well done. The unique designs on the monsters really stand out and makes each character much more memorable. The textures on some of them look amazing. Take a look at Sulley's fur, the details are unbelievable, you could practically see every individual hair on him. And the way they animate the scene where they go through all these doors makes the climax a ton of fun to watch. It's like being in an amusement park ride.Even though I don't think MONSTERS, INC. is among the greatest Pixar films, I still love it. The concept is very creative, the comedy in it really works, most of the characters are very entertaining, and the animation still looks really good. That's more than enough to recommend.Grade: A-
(nl) wrote: A lazy attempt at something different from the previous films, departing so much from them in every way possible that it can't even justify being part of the same franchise - and it is odious, unoriginal and unforgivably unfunny, with each awful joke worse than the one before.
(nl) wrote: Several things about director George Sherman(TM)s last western shoot(TM)em-up BIG JAKE are significant. First, this represented the last time John Wayne and Maureen O(TM)Hara co-starred in a film. Earlier, Wayne and O(TM)Hara made RIO GRANDE (1950), THE QUIET MAN (1952), THE WINGS OF EAGLES (1957), and MCLINTOCK! (1963). O(TM)Hara has two scenes in BIG JAKE, but she appears in only one with the Duke. Second, this was the tenth and last time Wayne and Sherman worked together. Sherman had called the shots on several routine THREE MESQUITEERS B-movie westerns with Wayne for Republic Studios back in the late 1930s. Reportedly, Wayne stepped in to helm some scene when the ailing Sherman could not. Third, this oater also re-teams Wayne with a poncho-clad Richard Boone as a slimy main villain. Previously, they appeared together in THE ALAMO (1960) and later confronted each other again in a bar room shoot-out in final John Wayne western THE SHOOTIST (1976). Scenarists Harry Julian Fink and Rita M. Fink penned the formulaic screenplay about the kidnapping of a wealthy but aging cattleman(TM)s grandson. Unfortunately, despite some serviceable dialogue, BIG JAKE amounts to a sloppy, unsavory western with no sense of closure. The villains are a dastardly bunch, but they never truly challenge the heroes. As Big Jake, John Wayne spends most of his time riding around Mexico trying to keep himself and his two inexperienced sons alive. Although this is largely a traditional Wayne western, BIG JAKE pits the weapons and transportation of an old-fashioned western (horses, revolvers, and shotguns) against the new-fangled western where people ride in cars or on motorcycles and wield automatic weapons. Predictably, ~Big(TM) Jake wins the day with his old-fashioned approach. Sherman does a solid job of establishing the setting of this sagebrusher and the time period with a lengthy prologue. John Fain (Richard Boone) leads a gang of murderous cutthroats who raid the McCandles ranch. This opening shoot-out qualifies as the bloodiest gunfight in a Wayne western. When bullets hit bodies, huge smears of red paint appear. Remember, the Duke objected to those exploding blood squibs in THE WILD BUNCH and felt that it was obscene. Since most of the ranch hands are away on a round-up, Fain and his trigger-happy gunmen have little trouble when they start blasting away after some friendly conversation with the foreman. Without a qualm, they wound and/or kill ten men, women and children few qualms. They wound the McCandles eldest son Jeff (Bobby Vinton of SURF PARTY) and kidnap his eight-year old grandson (Ethan Wayne) and post a ransom of $1 million. Jake McCandles wife, Martha (Maureen O'Hara) summons her husband through some messengers. They meet at a railway station, and she hands him the ransom note. Jake and Martha have been estranged for almost a decade, but they both love Little Jake and Big Jake vows to bring him back. Waiting for their father at the depot are his sons James McCandles (real-life son Patrick Wayne of THE ALAMO) and Michael (Christopher Mitchum of RIO LOBO) and their reception is soured by James sarcasm toward his father. James calls him Daddy in a snide voice and Jake pulls him off his horse and hurls him into a mud puddle. Jake informs James in no uncertain terms: You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-bitch, but if you EVER call me Daddy again, I'll finish this fight. Jake takes custody of a huge red strongbox with a million dollars in it and rides off with his old friend Sam Sharpnose (Bruce Cabot) while James and Michael follow Buck and the Texas Rangers.A conventional and often predictable oater, BIG JAKE springs no real surprises. The revelation about an hour into the action that our heroes have been guarding a strong box that contains nothing but paper clippings comes as no surprise. No sooner have Buck and the Texas Rangers entered Mexico than Fain(TM)s men ambush them, kill three of them, and shoot up their cars. Meanwhile, it appears that Michael has been shot because he crashes his motorcycle and lays sprawled in the dust. Jake is more surprised than we are when his son gets up. Naturally, this calls for Wayne to punch his lights out. Jake leaves the Texas Rangers to fend for themselves while he rides out to the rendezvous with Fain. At about a hour into the plot, Jake and Fain meet in Jake(TM)s camp. Fain instructs them to go to the nearby Mexican town of Escondero and await their orders. Later that evening, gunmen try to storm room number eight where our heroes are lying in wait for them. Jake, James, and Sam leave Michael alone in the room. Jake stages a distraction so Sam can slip back into the room, while James guns down to bullies in the saloon with his automatic pistol. Not long afterward, a suspicious Pop Dawson fetches Jake and company and they ride out to meet Fain and ransom the youngster. It is a classic stand-off again when Fain and Jake confront each other with Little Jake in plain sight. Michael has ascended to the top of water tower and uses his high-powered rifle to knock out a sniper in an adjacent belfry. What started as an interesting scene degenerates into a free-for-all shoot-out without a shred of suspense. The brute with a machete manages to slash poor old Sam to death and later kills the dog. Jake throws a lantern at Fain and lights him up before he perforates him with a bullet. No sooner has Little Jake been reunited with his family than the film freeze-frames them and comes to an end.BIG JAKE is an average Wayne effort with more blood than usual, but it is nothing memorable. Elmer Bernstein provides an okay orchestral score.