It's the end of the 70s. Hippies are assimilating, women are raising their consciousness, and men are becoming confused and ineffectual. Don't expect to be able to keep track of all the names or who's sleeping with who; the picture very skillfully conveys the hopeless muddle through which the many characters move as they try to find themselves.
- Stars:Martin Mull, Tuesday Weld, Jennifer McAllister, Sam Chew Jr., Sally Kellerman, Anthony Battaglia, Bill Macy, Nita Talbot, Pamela Bellwood, Barbara Rhoades, Ann Weldon, Peter Bonerz, Jon Fong, Christopher Lee, Patch Mackenzie,
- Director:Bill Persky,
- Writer:Cyra McFadden (novel), Rich Eustis (screenplay), Michael Elias (screenplay)
It's the end of the 70s. Hippies are assimilating, women are raising their consciousness, and men are becoming confused and ineffectual. Don't expect to be able to keep track of all the ... . You can read more in Google, Youtube, Wiki
Serial torrent reviews
(gb) wrote: The critic rating on this movie is exactly the reason I don't give much credence to rotten tomatoes critic reviews. I really love this movie. Watching it now as a matter of fact. Does its job very well, reminds me of Kiss Kiss Bang Bang, which was even more convoluted than this film. Josh Hartnett's performance is actually pretty dang good, and you can't beat Sir Ben Kingsley's portrayal of the overtly Jewish Mob Boss, and Bruce Willis as a psychotic hitman. First time I saw this movie, I was really blown away with the ending. Still love it to this day. Even Lucy Liu, whose portrayal of the neurotic neighbor is sort of annoying, is fitting to the story.
(kr) wrote: The concept is a story being told through the eyes of a fevered, comatose orphan. There's really only two ways that could pan out. Brilliantly or terrible. This, luckily, is brilliant.
(mx) wrote: esta bueno el thriller, igual de buen que el de Phone Booth, yo creo porque se parecen bastaantee las historias
(it) wrote: I've never been able to decide if Shainberg took the easy way out or the difficult way in to his study of a BDSM relationship. The film is a surprisingly realistic representation of human psychology involved in Sadism / Masochism and assorted psychological disorders. The challenge is it is all presented in an otherwise almost conventional love story. In the end, it doesn't really matter because this subversive little movie is so committed to an off-kilter love story that the whole experiment is entertaining.
(nl) wrote: A superbly-made action movie with a lot to say.
(jp) wrote: This gritty '70s New York City copper caper is produced and directed by Philip D'Antoni, who also produced "Bullitt" and "The French Connection." Though it doesn't exactly make the hat trick, the film well qualifies for third place in such a triple bill. Roy Scheider, ringleader of a quartet of street cops who bag their busts by bending the rules, inadvertently stumbles into a roost of small-time thugs using boosted badges to kidnap and ransom wiseguys. The Manhattan car chase, embedded about midway in the film, heavily borrows its choreography from its sibling films, complete with thundering motor-blocks, springy-sprung foothill-jumping and pedestrian near-misses.The thugs speed off in a 1973 455-cube Pontiac Grand Ville land yacht (essentially a rebadged big-block Caddy DeVille) - and Scheider peels out for the chase in his 1973 350-cube Pontiac Ventura (essentially a rebadged 351 Chevy Nova). Then it's zippity-do-da through mid-town traffic, up the Henry Hudson Parkway and across the upper lanes of the GW. The chase finale is supposedly a remembrance toward Jayne Mansfield's fatal accident. Most every scene is bursting with authentic Manhattan backdrops from the day - many quite gritty indeed - and that alone makes a strong case for its viewing. The plot's a little weak, in that the viewer sees all the cards face up well before the Act 1 curtain and needs only munch popcorn waiting for Scheider to sniff out his way to trail's end. And no viewer should expect Scheider to save lines such as "we can do this the easy way or the hard way." The disc's an unlabelled flipper; the obverse contains the wide-screen and a brief (and very-grainy) "making of the chase scene" doc. RECOMMENDATION: Viewers that especially enjoyed "Bullitt," "French Connection," "The Taking of Pelham 1-2-3" and/or "Cops and Robbers" should give it a spin.
(nl) wrote: Has some good action. it is good to see Godzilla come back. Has some nice shots of Godzilla in the sea surrounded by flares, and has a good fight with Anguirus.
(de) wrote: Desperate Journey (1942) -- [7.0] -- After his bomber crew crash behind enemy lines, Errol Flynn leads an ever-shrinking number of men out of Nazi Germany, carrying information that will help turn the tides of war. "Desperate Journey" often plays like a comic-book rendition of WWII, and yes, it's Hollywood propaganda (the last line is, "Now, let's go get those Japs!") But it's got "Gunga Din's" spirit of camaraderie and the action is terrifically paced. Think of it as a war-time adventure serial and you'll have a great time. Flynn's co-stars include Ronald Reagan (the 'Face' of Flynn's A-Team) and the reliable Alan Hale, with Raymond Massey playing the big bad Kraut who's hot on their tail.
(ca) wrote: Just because this movie has no story doesn't mean it sucks. The animation mixed with several different classical pieces works so beautifully and brilliantly that it ultimately makes the film one of Disney's absolute greatest accomplishments.
(us) wrote: forgot how much I enjoyed this film
(au) wrote: Not as bad as most people say. I think it was pretty entertaining.
(ru) wrote: A great representation of the zombie genre for the time, Love the sloppy horn soundtrack, the cheap makeup, the ridiculous premise--if you can watch a movie without taking it too seriously, you'll love it! Definitely worth keeping in circulation...