The story of Ian Hamilton, a dedicated nationalist who reignited Scottish national pride in the 1950s with his daring raid on the heart of England to bring the Stone of Scone back to Scotland. . You can read more in Google, Youtube, Wiki
Stone of Destiny
Tells of the daring heist of The Stone of Destiny in the 1950s by a charming group of idealistic Scottish undergraduates, whose action rekindled Scottish nationalistic pride.
- Stars:Saburô Date, Tatsuo Endô, Takeshi Hamada, Machiko Hasegawa, Raizô Ichikawa, Kenjirô Ishiyama, Mitsuyo Kamei, Ryûnosuke Kaneda, Yoshio Kaneuchi, Gen Kimura, Moto Kimura, Jûshirô Konoe, Yasuhiro Minakami, Koichi Mizuhara, Mitsuko Tanaka, Charlie Cox, Kate Mara, Stephen McCole, Ciaron Kelly, Billy Boyd, Robert Carlyle, Peter Mullan, Brenda Fricker, Juliet Cadzow, Alex Donald, John Comerford, Richard Addison, Danielle Stewart, Suzanne Dance, Pauline King,
You may also like
Stone of Destiny torrent reviews
Dolly L (es) wrote: it was a very nice movie
Neal B (nl) wrote: KANK is an honest attempt to break away from the mauled of sugary romances by the new age love guru Karan Johar. An honest attempt, huh? . All said and done, the stellar cast raises the bar of the movie but then to what extent? A movie with such a half baked plot and treatment can't be saved from the obvious, it disappoints. i was really hoping for a good movie. but i must say This movie was HORRIBLE.
Camille L (it) wrote: Lord of War met un peu de temps dmarrer aprs son exceptionnel gnrique d'ouverture. Alors qu'on s'attendait un film tape l'oeil, la satire et le cynisme sont beaucoup plus insidieux dans le troisime film d'Andrew Niccol, port par une interprtation fabuleuse d'un Nicolas Cage parfaitement l'aise dans un rle qui n'attendait que lui. Jared Leto et Ethan Hawke sont de solides seconds rles et sont utiliss parfaitement, avec parcimonie. Grinant, jamais poseur et surtout montant crescendo jusqu' un final dprimant, Lord of War est dans la digne ligne des films d'Andrew Niccol, des pamphlets mordants et gnants.
Jessica H (ca) wrote: To save Cuba's Career it would be best if he stopped doing film like this.
Omar A (ca) wrote: Muy buena historia! Mucho amor y lgrimas a emocionarse!!
Peter C (gb) wrote: A neglected gem, low budget jazz Kafka on the back streets of Chicago ...
Sonja P (it) wrote: Male lead had great physical movement. Something very moving about this film...not quite sure what. Beat Takeshi pops up from nowhere, they sing Serge Gainsbourg with Japanese accents...have you heard of a such a wonderful thing? Where he is running after the trash collectors saying that he is trash as well...somehow didn't seem so trite to me. I was surprised that the girl lead was an idol in real life but I guess her character wasn't SO developed. But natural...
Patrick M (us) wrote: Not a whole lot makes sense. Would have been absolute garbage were it not for Cushing.
Blake P (jp) wrote: To attain musical perfection is a feat rarely mimicked in the grasp of the take-it-or-leave-it genre. A manicured finger playing the why wasn't the movie successful blame game could easily point at too much spectacle, not enough comedy, or too much comedy, not enough spectacle. But to have neither issue - to run harmoniously, to exist in a cloud of escapist contemplation - that is an exploit worthy of endless praise. This is why the films of Fred Astaire and Ginger Rogers remain to tread on such sacred ground. They're miles away from the Technicolor escapades of Gene Kelly, Judy Garland, Betty Grable; they start champagne drenched fires in a luminous black-and-white where reality fades and cinematic exhilaration placates the area. They're simultaneously artificial and real; here, artificiality is real. While The Great Depression wore on and midwesterners were gagging on dust, film took a detour into the extravagant and invented worlds where ordinary folks were rich, dressed expensively, traveled to the most beautiful parts of the world, lounged in the most luxurious hotels, found love with someone just as wealthy as them. In these worlds, international problems don't exist - more important ones, such as romantic misunderstandings and how will they get out of this one comedic situations, act as quaint replacements. It's all a bit ironic (considering the plight of the 1930s), but the heightened determination to make life seem happy/joyful/hopeful/fun/adorable ended up causing an influx of delicious screwball comedies and a superiorly pristine, dressed-to-impressed batch of musicals. The worst of them are still decent, sitting pretty while tickling our senses. But the best, most noticeably the (cough cough) Rogers and Astaire partnerings, are overwhelming in their dedication to wow. "Top Hat", the fourth pairing of the quick-footed legends, is their most famous, most acclaimed moment. (Though I'm not so sure I agree with its frequent "best of the best" placement - "Swing Time" and "The Gay Divorcee" are pretty damn spectacular.) A delirious blend of slapstick antics, tuneful Irving Berlin melodies (including the instantaneously classic "Cheek to Cheek"), and awe-inspiring choreography, the film pulls off a fluffy plot with its keen sense of wit and dizzying amount of artistic talent. Astaire portrays Jerry Travers, a dancer staying in London to prepare for his starring role in an upcoming musical. While practicing one of his complicated tap routines in his ritzy hotel suite, he awakens the beautiful Dale Tremont (Rogers), who immediately flies upstairs to complain. Dale is irritated, but Jerry is attracted, deciding to spend the rest of his stay attempting to win her heart.Enter Conflict: Dale is under the impression that Jerry is Horace Hardwick (Edward Everett Horton), the producer of the show and the husband of her best friend, Madge (Helen Broderick). Figuring he's a pig, as he's cheating on his wife, Dale does everything she can to dissuade him from chasing after her, attempting to romance a flamboyant fashion designer Alberto Beddini (Erik Rhodes) to rid of him. But even tired mishaps can't stop them from unconsciously coupling.Roger Ebert called out "Top Hat" for its Idiot Plot and still deemed the film one of the "Great Movies". It has a paint-by-numbers storyline, sure, but in a musical, a sound screenplay is the least of one's troubles. We want to be amazed, shocked, satisfied; "Top Hat" delivers more than we could expect. (Though for a Rogers and Astaire movie, it's everything we could hope for.) It's not that it does anything revolutionary - it's that it transitions from plot to song to dance so evenly that the popular notion of a musical (aka "characters suddenly bursting into song!") is completely thrown away. Consider the famous "Cheek to Cheek" sequence. It begins with Astaire and Rogers in romantic conversation, continues into a sweet serenade, and delves into a flashy, unbroken ballroom dance that dares us to blink. Most scenes in "Top Hat" work like this; they range from scrambling to sentimental to hilarious, but never does something feel out of place, unwanted. Many musicals suffer from the ugh, another song? complex - "Top Hat" doesn't. But, once again, it isn't a normal musical. It's a parfait of genial entertainment, impossible to dislike.
Adam R (us) wrote: (First and only viewing - December 2009)
horse c (au) wrote: Fair with some twists
Troy F (jp) wrote: I've usually been a moderate fan of Weird Al's stuff, and no matter how you see him, be that he's hilarious or occasionally obnoxious, he's practically a comic genius in parodying music. So going into UHF, I wasn't sure if it would be that funny. It could've been the kind of "Okay, he's funny when he writes parody songs, but falls flat when stretching out his jokes in a feature film" sort of deal. Quite the opposite indeed, as Weird Al carried his comic talents into this feature with success. I haven't laughed as much with any film in a while as I did with this one. It's really just a story of Weird Al as a down-on-luck guy saving a low brow TV station and making friends while also making enemies with other rival networks. But of course, it's the references and mockery of television culture, films, and plot cliches and pure randomness that makes this film a hilarious blast. Weird Al is a person that isn't afraid to border on the strange and the controversial, which all the more makes the movie funny than most commercial comedies. Some jokes are obviously dated, but enough of the film certainly holds up that anyone could enjoy this.
Cornell W (de) wrote: Opening line sets the tone.