The stooges are hired by a movie studio as publicity men. Their first assignment is to get publicity for Dolly Devore, a pretty starlet. They fake a kidnapping, but the cops won't believe their story. Then the girl is really kidnapped and the stooges must come to the rescue. Shemp winds up hanging out a tenth story window on an extending telephone.
The stooges are hired by a movie studio as publicity men. Their first assignment is to get publicity for Dolly Devore, a pretty starlet. They fake a kidnapping, but the cops won't believe ... . You can read more in Google, Youtube, Wiki
Studio Stoops torrent reviews
(br) wrote: "Gritty social drama meets heist story"Ever since the commercial success of City of God back in 2002, the ensuing decade has seen a veritable torrent of slum dramas play out on the screen from just about every country that has noticeable population of indigents. Metro Manila, at first glance, seems just another part of this tradition, and its story is even older than Dickens: nave peasant leaves the countryside for the big city, where him and his are inevitably corrupted by the lapsed morals of its desperate denizens. All that we see is through the vision of Oscar Ramirez (Jake Macapagal) and his doe-eyed wife Mai (Althea Vega), two Filipino rice farmers forced by a sudden drop in prices to eke a living in the netherworld outskirts of Metro Manila (as the locals call it). Director Sean Ellis view of city life in un-redeeming: the metropolis, far from their salvation, proves to be their prison: within a few short days they are bilked of all their savings, evicted, and Mai falls into prostitution faster than a drunk falls into a whiskey barrel, all before the eyes of Oscar, who, hopeless sucker that he is, is powerless to stop it. Oscar's only way out is to sign up with a seedy armored security company, where he quickly comes under the wing of Ong (John Arcilla), an ex-cop turned hired gun whose rough bonhomie exterior conceals dark designs. Ong's character is deeply reminiscent of Denzel Washington's Det. Alonzo Harris in Training Day: as warm, charming, and gregarious on the outside as he is cold, ruthless, and manipulative on the inside. It is easy to become depressed watching Metro Manila, yet hard not to be taken in. Macapagal and Vega play their characters well and with verve. The movie itself could easily have turned into another heist flick, with running gun battles and plot twists pitting a heavily armed everyman against the usual cardboard cut-outs of swaggering tattooed thugs, yet Metro Manila is not that kind of movie. It's not that kind of movie because Oscar simply isn't a killer. He's a working stiff, as afraid of his new job as he is afraid for his family's future. "Desperate situations call for desperate actions..." he admits revealingly to Ong one night overlooking the city "and desperate actions get you killed." Oscar, for his simple rustic values steeped in Catholic mores, is actually a grim realist at heart, painfully aware of his own helplessness even as he puts on a brave face for his wife and kids. What working father hasn't felt that fear? It is a role that Macapagal plays with a truthfulness that elevates the film above another voyeuristic screed on Third World poverty and into the realm of art, and is definitely worth a click on Netflix.
(us) wrote: thoughtful and moves along like a piece of classical music
(fr) wrote: this was a very good film a bit slow in parts and a lot of bits you know what was going to happen next
(jp) wrote: Un Certain Regard Award winner in Cannes Film Festival 2007. It was an unfinished piece by the late director Cristian Nemescu; & reported that editing was just done based on the script writing without any trimmings. And it is therefore such overlong, crude, loose & trivial although there were a few interesting moments. What's the real picture would be a forever question mark. However, I don't think the film would have been made briefer even though it was finished by the director himself, according to the tradition of Eastern European Cinema.
(fr) wrote: Le jeu dans ses travers vu par plusieurs protagonistes dont les destins se croisent... la mre de famille qui met les (C)conomies pour les (C)tudes de sa fille dans les machines sous, le magicien rat (C) qui mise tout ce qui lui reste sur un pari sportif, l'homme qui force son frre truquer ses matches de basket, les bookmakers qui grent les vies de ceux qui leur doivent de l'argent...Des personnages touchants ou qu'on d (C)teste (excellent Tim Roth), et des situations dans lesquelles on n'aimerait pas se retrouver sont la force de ce film. Cependant il manque une etincelle pour lui faire depasser la moyenne classique des appr (C)ciations...
(it) wrote: A good movie, kinda interesting.
(de) wrote: MOR Seduction erotic comedy. Darian Caine looks great with Elsa Lanchester hair and her monstrous motel room encounter with prostitute AJ Kahn is the highlight.
(ag) wrote: Imagine if Romero and Argento got together to adapt a couple of Edgar Allen Poe's tales...well, ta-da!Romero's deals with a body that isn't quite dead, but in a far more original way than usual. And the ending is fucking creepy.Yet it's Argento who rules absolute here. Not only is his direction so accomplished but he also ropes in Keitel and Savini (Poe fans will also notice a plethora of "easter eggs" dotted throughout). And the ending with the kittens out-endings Romero's. Proof absolute that you should always be nice to cats.As great as they both are though, they wouldn't exist if it wasn't for Poe. Unmissable for true horror fans.
(jp) wrote: would get this film looks very good
(kr) wrote: Do not agree it was awesome.
(ca) wrote: It's watachable schlock, entertaining and funny in parts, campy and groan worthy in others.
(gb) wrote: Lane's best role in a generic crappy ending thriller....how unfortunate.