Son of Rambow
Will Proudfoot (Bill Milner) is looking for an escape from his family's stifling home life when he encounters Lee Carter (Will Poulter), the school bully. Armed with a video camera and a copy of "Rambo: First Blood", Lee plans to make cinematic history by filming his own action-packed video epic. Together, these two newfound friends-turned-budding-filmmakers quickly discover that their imaginative ― and sometimes mishap-filled ― cinematic adventure has begun to take on a life of its own!
- Category:Family, Action, Adventure, Comedy
- Stars:Neil Dudgeon, Bill Milner, Jessica Hynes, Anna Wing, Will Poulter, Tallulah Evans, Emilie Chesnais, Paul Ritter, Finola McMahon, Rachel Mureatroyd, Taylor Richardson, Peter Robinson, Charlie Thrift, Jules Sitruk, Sam Kubrick-Finney,
- Country:UK, France, Germany, USA
- Director:Garth Jennings,
- Writer:Garth Jennings
In 1980s England, schoolboys Will Proudfoot (Bill Milner) and Lee Carter (Will Poulter) meet by chance in a hallway. During a long English summer, the two schoolboys from differing backgrounds set out to make a film inspired by First Blood (1982). . You can read more in Google, Youtube, Wiki
Son of Rambow torrent reviews
(gb) wrote: My 4 year old loves it.
(kr) wrote: Visually beautiful and talented story telling. As a whole it comes across very depressing.
(us) wrote: really good sequel BD seriously it's so cute and intense
(fr) wrote: Pedro Almodovar's violent arthouse classic functions upon a simple equation: bull-fighting = sex/violence. It is a sport about the penetrative act whether it be in sexual intercourse or in murder. For Matador, bull-fighting equates the stabbing of the bull with sex and death in way that has been seldom seen outside of slasher films. But then Matador becomes its own kind of slasher film. Ultimately, Matador is most Freudian of films-- it is about the connections between eros (the drive towards union and procreation) and thanatos (the death drive). A profoundly disturbing and brutal--yet also funny--exploration of humanity's deepest drives and emotions, Matador's title points to figure that tries to control us all, the ego that attempts to regulate between the rampaging bull of the id and the guild-ridden neurotic of the super-ego (played by a young Antonio Banderas in this film). An absolutely unforgettable tale of love, lust, desire, and obsession, Almodovar's Matador is film that represents a young director at early, white heat performance.
(au) wrote: This movie was a complete shock. It was a stylish, fun little adventure movie completely PACKED with weird trippy sequences that I feel were before its time. Some of the dialogue is instantly quotable, and the Henry Mancini score is great!
(au) wrote: gets a star for all the shots of Brando in his prime, shirtless oh yea good bio-pic too directed by Kazan.
(fr) wrote: I'm typically a fan of the works of Powell and Pressburger, but I can't say that 49th Parallel has particularly aged well. It is a ridiculous piece of propaganda about a group of German U-Boat crewmembers who survive in Canada after their vessel is blown to pieces. Their commander is a Nazi to the core and he and his charge of 5 other goose-steppers trek through the true north first in northern Manitoba, into the prairies, out to Banff National Park and southern Ontario. It was nice to see my home country and so many places I have visited in one film and 70 years ago. As usual the Inuit (or Eskimo as they are called here) are treated with disgusting disrespect that makes some moments in the film cringe-inducing. It is quite interesting to see so many stars of the era in minor roles - Olivier as a French Canadian fur trapper, Leslie Howard as a writer in the Canadian wilderness and Raymond Massey as an imperfect soldier. The film's strength is how it examines each of the Nazis as separate individuals and how they have become involved in such an evil empire which provides contrast against the all the peaceable trusting people they meet in Canada. This is the work of great filmmakers, but definitely not in their finest hour. Still, it is well worth seeing.
(au) wrote: If you look at the first Bonds of Connery (Dr No) and Moore (Live and Let Die), it's clear that neither of them had their take on the role fully sorted out straightaway. Fortunately for them, however, we got to see each of them subsequently grow into the character. In Lazenby's case, however, we can only judge him based on this one film - which was supposed to be the first of many - as he declined to return for already widely reported reasons. He took the role at a time when, to the whole world, Connery WAS Bond, and no-one else would do. He has therefore gained a reputation for being terrible, which is not really fair. He's actually really good, considering it's his first film (not just his first Bond, but his outright first film), it's a BIG film, and he was under a buttload of pressure to get it right.It doesn't help that his own director, Peter Hunt, himself a first-timer, appears to have sabotaged him somewhat, most notably by having him dubbed (badly most of the time) with George Baker's voice for the entire middle act of the movie. Sure, he's impersonating Baker's character, who Blofeld has spoken with on the phone, but Lazenby, by all accounts (well, his own account) did a pretty good job mimicking him, only to find himself dubbed in the finished film. To me that demonstrates a lack of confidence on the director's part in his lead actor, which a more seasoned director probably would have handled differently, say, by coaching - you know, actually directing - his actor.George is also up against some heavy-hitting co-stars in Diana Rigg and Telly Savalas, who are both spectacular, though Rigg's performance is often at odds with the way Fleming and Maibaum have portrayed Tracy, which Hunt seems determined to preserve at the expense of his dynamite lead actress's awesome skills. For instance, during the scene in which Tracy is trying to elude Blofeld's henchpeople in her Mercury Cougar by ploughing through a car race, the look on Rigg's face - a combination of elation and determination - is contradicted by the weak, girly exclamations of 'James! How do we get out?!' dubbed over the top. But the movie is by no means a disaster. This is my favourite of Fleming's novels - verging on Austin Powers territory, but staying just on the right side of the Guff Meridian - and the movie is pretty faithful to it. The only major problem is the fact that, due to the books being filmed out of order and this story depending on Bond and Blofeld having never met, we are forced to ignore the fact that the nemeses came face to face in the previous film. But that's not this movie's fault. The action scenes (the Laze's forte) are great. Some of the rear projection stuff in the ski chase (the first ever in a Bond film) is a bit dodgy by modern standards, but forgivable. The cinematography is great (including some proto-Bourne close-quarters stuff in the fistfighting scenes). And John Barry's score (including the instrumental theme song) is his best work on a Bond film.This is one of my favourite Bonds, though the technical flaws, seemingly resulting from the poor choices of a novice director, prevent me from giving it the full 5. The Laze, however, is fine.
(us) wrote: I really, REALLY liked this movie until the last half hour and then it got all boring and stupid. They really could have explored the uncertainty of faith and the characters, but they just turned it into this regular dumb exorcism and happy ending bullshit. My boyfriend argued that it having a happy ending was the twist you usually get with horror movies. I'll allow it, but I won't be happy about it.
(mx) wrote: After almost 2 decades the humor still feels as fresh as ever. Grade: B-
(it) wrote: this is cool under water thing..