Busty, blonde and beautiful, Six-Pack Annie seeks to help her Aunt Tess raise $5,000 for the family diner...by trying to find a rich daddy.
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Sixpack Annie torrent reviews
Cameron J (au) wrote: So, there are two grunge songs of the same name that I would rather not make quote, although I do prefer grunge a bit more than the Fatboy Slim album of this name. There are worse beat musicians, but Fatboy Slim can't "beat" people in the head quite as well as good, old-fashioned rock and roll, whose stars' tropes seem to be mimicked with a lot more effectiveness by this film's lead. Yup, it's "Sex, Drugs & Sam Rockwell"... or something less creepy-sounding. This film's actual title was taken from a DuPont advertising slogan, and now it sounds more like an advertising slogan for some sort of a dating website or something. This film may as well be about that, because even though this cat is landing Olivia Wilde, just when you thought that the face matched the hot pictures on the profile, she ends up being a seriously bad egg. Speaking of advertising, let me stress to the young men out there that no matter how miserable your life is, if you have an affair with a beautiful woman, then all you're going to end up with is a hollow, debauched onslaught of sex, joyrides and narcotics which make you feel amazing. ...Well, maybe I would be a better marketer than I would a public service announcer, but make no mistake, this film takes some dark turns, and takes a bit of an uneven path to get there.Unevenness isn't a particularly huge issue, at least for the most part, begetting a point in which Olivia Wilde's Elizabeth Roberts character is abandoned for a long, long time, and more often begetting a less, but nonetheless pressing issue in which a prominent use of stylization which peaks Jane Fonda's somewhat annoying storybook narration really breaks a sense of subjectivity to the largely grounded storytelling. I don't think that there's any keeping the style from getting unnerving, even with the unevenness taken out of account, because as delightful as the style gets to be, it just as often gets lost in an overt quirk that isn't even original. This latest addition in a movement of simultaneously edgy and quirky comedies (Thanks a lot, Wes Anderson) seems to be trying to be refreshing, and it is in a lot of ways, until falling as predictable by way of stylistic tastes, story tropes and character types which are typical for flicks like this. Among the tropes is, of course, subtlety issues, which seem to be self-aware, yet nonetheless questionable in their thinning down layers and well-rounded believability in the drawing of characters who may mark a peak in improbability, yet are still sometimes joined by lapses into borderline ridiculousness in a largely surprisingly convincing story concept. Believability is actually among the handful of things the story concept has going for it, because even though this subject matter is plenty intriguing, the plot itself is rather straightforward, unable to afford all that much superficiality in the story, which, make no mistake, gets to be superficial, whether it be slapdashing through the development of the leads' obsessions, simply sanitizing tense happenings and edgy themes. What the film lacks in intensity it makes up for with effectiveness in its own style so realized that the final product all but out-and-out rewards, but the direction this film takes is plagued with natural shortcomings which make a somewhat straightforward plot feel even more simple, and which are themselves emphasized by hints of overambition that bloat this quirky and formulaic affair with flaws. As the reception of this under-seen and therefore under-reviewed film will tell you, this film will hit with some, and really miss with others, and for me, while my issues stand firm, I was surprised by how much I enjoyed this film, with its quality wit, style and, well, music.This type of film doesn't ask much from its score composers, and Andrew Feltenstein and John Nau could have easily gone the usual route in supplementing this flick's quirky fluff, so one can imagine my surprise when I found that their score is, not simply among the best aspects of this film, but likely to end up ranking among the better of 2014, being eventually underused for an unoriginal song soundtrack, - that is perfectly placed and filled with enjoyable tunes - but always being a delight when it comes into play with elements of indie, wordless vocalizing, soundscapes, post-rock, and other experimentalism which does something genuinely new with a scoring formula that we all thought was tired and trite at this point. It's as if Feltenstein and Nau caught the creativity bug from directors Geoff Moore and David Posamentier, whose style may get lost in its quirk, but is impeccable for what it is, playing with Jonathan Alberts' editing with stellar snap, colorful visuals with dynamic angles, and airtight, dynamic pacing with generally flaring momentum. This sort of film focuses a lot on liveliness, and with this particular film, Moore and Posamentier deliver on nothing less than overwhelming entertainment value, and that, combined with a few occasions of effective edge, reflects both a great deal of potential within the newcoming directorial duo, and some sort of potential within a simple and sometimes simplified story. Again, this story is too straightforward to thoroughly compel with storytelling this dramatically superficial, but the subject matter, no matter how familiar, is promising, carrying themes on going to extremes to find happiness behind a conceptually extensive, character-driven plot. Moore's and Posamentier's script takes on a promising, if somewhat simple plot with little edge, and only so much more extensiveness, and yet, I must admit that when the writing hits, it hits pretty hard, with razor-sharp dialogue and a clever sense of humor, in addition to a number of memorable set pieces, all of which hold your attention until the plot begins to thicken, seeing Moore and Posamentier finally get down to some thorough, layered characterization and dramatic gut, even if they have to take a somewhat improbable route to get there. The writing is pretty strong in a number of key places, although it does still take too long to bring in some weight to the characterization, as opposed to the performers, for each member of this cast brings nuance, and that especially goes for leading man Sam Rockwell, who continues to showcase his being a terribly underappreciated talent, initially playing subdued Sam Rockwell, complete with a grounded charm, but slowly, yet surely, and remarkably projecting a sense of rise and fall in a man who finds his life suddenly pick up, and just as suddenly go threatened, augmenting his charm and commitment to energy, before packing on devastating emotional breakthroughs so stellar that they all but secure the performance as one of the best of the year. It's a journey watching Rockwell evolve throughout the course of this film, and it's trippy seeing how his performance reflects an evolution in the quality of the film, which certainly doesn't range from pretty good to stellar, like Rockwell, but goes from fair, to decent, to thoroughly compelling around the latter acts, - rounded out by a safe, but satisfying ending - not being consistent enough with that compellingness to reward as a whole, but surprisingly coming close enough to endear the patient with high-caliber style and some solid highlights, spare, though, they may be.In conclusion, there are occasions of great unevenness in focus, and many moments of moderate unevenness in style that is often overblown within this rather formulaic, unlikely and ultimately somewhat simple film, which feels too superficial to reward, but comes close, thanks to the great score work and directorial style, solid highlights in directorial thoughtfulness and clever writing, and outstanding performance by Sam Rockwell that make David Posamentier's and Geoff Moore's "Better Living Through Chemistry" thoroughly entertaining and sometimes genuinely compelling as a portrait on finding happiness by way of problematic means, in spite of its shortcomings.2.75/5 - Decent
Michael M (au) wrote: While Ressurection is essentially a retelling of the whole series (with extra nudity), that doesn't necessarily make it bad. True, you'll find little new development here, but you will find the gritty, exploitation film style sexuality and violence that made the anime miniseries so awesome. Also... SAMUEL L. JACKSON. Nuff said.
Daisy M (nl) wrote: if this is what the British are caling horror or thriller, thn I dont know the genre horror is anymore. Quite a film for teenagers, nothing scary at all, no actions, no suspence, I dont recommend this at all, 2 stars
Paul D (kr) wrote: painful to watch but amusingly akward
Rika O (jp) wrote: lovely piece. Lud guy was just too good looking... somehow this film reminded me of some japanese film.
Arthur R (es) wrote: Top-class sequel that delivers just as well as the first film. Just as sharp and entertaining.
Ryan R (au) wrote: eh, could be better, not really as good as the first
Jason K (fr) wrote: This is a fun movie. Yes, it has a giant crocodile as the main character, but the entire time you're watching this movie, you can see it's very tongue in cheek and the actors are in on the fun. Don't take this movie seriously, just enjoy the ride, the laughs, Betty White's amazing one-liners or Oliver Platt's awesomely campy (but perfect) performance.
Don S (fr) wrote: Well, Denzel is his usual awesomeness! I truly believe that only he could pull off that scene at the cemetery! He is amazing! And the movie is good too! I was disappointed in several characters, like Uncle Bubba, Booger, and Sweetness, who were just slap sticky caricatures, in what seemed to be an otherwise serious story (Big Time Willie was pretty lame too!). And though artistically, I think using the music of Aaron Copland as part of the soundtrack to a story about inner city basketball and life was a bold, striking choice, I really don't think it worked. At times, the music was a distraction for me. But what made this a 3 star for me, and not a 4 or 5, is the horrible, ridiculously stupid ending in the gym. Why would anyone include that scene in a film like this? Did Touchstone, a.k.a. Disney, make Spike Lee put in such fantasy bullshit? Good lord, it is so lame! Wait - dead mother AND magical basketball ending? That IS Disney! F' you Mickey Mouse!
Liliana P (gb) wrote: me interesa mucho conseguir esta pelicula y no he podido, please si alguien sabe como ayudarme, se los agradecere
Brian S (mx) wrote: It creates a very unsafe, eerie and scary atmosphere from the beginning, to set the tone right for this gritty, ingenious horror movie. Whenever Morgan Freeman and Brad Pitt are in a film together, you can automatically expect it to be a blast. And this one is no exception, it's very good , very mysterious, full of blood and grisly images and a twisted shock ending. Definitely one of the best horror movies ever made. Recommended !!
Joo P (ru) wrote: Sergio Leone's masterpiece is instant classic, surrounded by great performances, excellent production and a masterful Morricone score, One Upon A Time In The West is a triumph. (4/5)
Ashley H (br) wrote: Broadway Rhythm is a fun film. The music is incredible. Ginny Simms and George Murphy give great performances. The screenplay is well written. Roy Del Ruth did an amazing job directing this movie. I enjoyed watching this motion picture because of the remarkable characters. Broadway Rhythm is a must see.
Jei P (au) wrote: i had zero interested in ever watching this, but it was on TV while i was incapable of making any decisions. However, i liked the father-son story more than the usual failed romance story.
Cori A (us) wrote: Well that's time I worn get back. (July 8, 2015)
Irma A (it) wrote: I was surprised how a 4 hour long movie could keep me thoroughly entertained. Aragorn, Legolas and Gimli showed great bonding and friendship and the humor between the latter two was also great. It was good to see the past romance between Aragorn and Arwen but not too memorable. Arwen did make a stunningly beautiful elf princess. Frodo and Sam were both much braver and even Merry and Pippin stopped being losers and that was quite refreshing to see. Treebeard was a great addition and I am surprised to know the voiceovers of both Gimli and Treebeard was done by the same actor. I would have loved to lie in Treebeard's branches and fall asleep listening to one of his stories. Theoden was impressive and the shifts in his personality interesting. This was a far more enjoyable movie than the first one.