Summer and Smoke

Summer and Smoke

In a small Mississippi town in 1916, an eccentric spinster battles her romantic yearnings for the randy boy next door. A 1961 film, adapted from a Tennessee Williams play, starring Geraldine Page, Laurence Harvey, John McIntire, Una Merkel and Rita Moreno.

Plain, repressed spinster falls for a dashing young medical student, but he prefers the wilder life, until it's too late. . You can read more in Google, Youtube, Wiki


Summer and Smoke torrent reviews

Mehek A (kr) wrote: It started really funny but got serious which was a buzz kill. Wish it wudve stayed funny.

Marilee W (es) wrote: really enjoyed this. the actors were great... Steven Yaffee and Wallace Langham especially. and the character Hope Dawson (played by Katie Boland) reminded me so much of someone (or maybe an amalgamation of people) i know. anyway. great little canadian film.

Tino R (ca) wrote: I thought this was good, but first seeing this when it first came out, I forgot about it. Derek Luke's best performance.

Lara K (fr) wrote: britney spears isnt in this movie

Thomas K (ca) wrote: Absolutely awful! It was the weirdest, most confusing movie I've seen for a while. Still not sure what the heck it was supposed to be about and what the heck they were trying to say. The acting job was mediocre, story line was weak and lacked focus. Appears to be trying to make a point about hypocrisy of Catholicism and Christianity, make an emotional movie, as well as have a happily ever after ending, but everything's just screwed up different than before, rather than fixed.Anyhow, terrible movie as far as a point/story line AND just for movie sake.

Andrew M (au) wrote: Garden State shouldn't work this well. It's a familiar tale of a struggling twenty-something whose life improves upon meeting what many would consider a manic pixie dream girl, and their (mis)adventures as they wander though a meandering story that's light on plot. It comes from the writing/directing debut of an actor whose most notable role, up until this point, was in a television sitcom. And yet, there's something truly special at hand here.The aforementioned writing/directing debut is that of actor Zach Braff, who keeps his directorial style simple in order to focus on character. Braff crafts a rather beautiful series of events and characters in a story that is semi-autobiographical to his early life as a twenty-something with little to no direction in life. These elements of Braff's life are mirrored into the life of protagonist Andrew Largeman, whose own aimlessness and emotional numbness is sure to be relatable to anyone who has faced a similar point in their life. Braff proves that he really understands this character not just through his screenplay, but through his performance as well: as the film, and Largeman as a character, progresses, Braff evolves from stoic to more outspoken, and is given multiple opportunities to prove his acting chops.The film sounds like quite a downer, but there's a lot of laughs and all-around happiness to be had here though. While the subject matter deals with a lot of heavy themes, Braff also intersperses a healthy dose of humor into the film, most of which is quite deadpan but endlessly funny. It's never too outrageous, and blossoms organically from these characters and their situations. A lot of great moments come from interactions between Largeman and Natalie Portman's Sam, who couldn't be more different to the former. Her eccentric quirkiness sometimes rides the line of being a little too over-the-top, but Portman is simply too strong of an actress to let that happen, and she keeps her character grounded and very easy to relate to as well, especially towards the end of the film. On paper, Sam is a very manic pixie dream girl type, but Braff manages to subvert the trope by giving her a lot of development that, like Largeman's, has to evolve over the course of the film.There's a reason why Garden State is a cult classic and a film that defines a certain generation of young adults. It's an impressive indie film with a lot of relatability, and a strong showcase for Zach Braff as an actor, a writer, and a director, the ultimate trifecta. Andrew Largeman may be emotionally numb, but you certainly won't be by the time credits roll: between the laughs and more somber emotional moments, there's sure to be something that will resonate with most anyone who has shared the same experiences of these characters.

Sowmya A (kr) wrote: With the woman's entry, this starts to looks like the era of Nazis. Mechanical engineers watch this one, will provide some hope to the static field and other engineers watch this to know MechE is exciting, not a couch potato's job!

Stuart K (mx) wrote: After Candyman (1992) came out, based on Clive Barker's short story The Forbidden from Volume 5 of his Books of Blood, it was successful enough to warrant a sequel, from a pitch by Barker and directed by Bill Condon (who later did Gods and Monsters (1998) and Dreamgirls (2006), this is a cheesy horror, that does have it's moments, when they do come. Set in New Orleans, it has Cambridge academic Professor Philip Purcell (Michael Culkin) murdered after giving a lecture on the Candyman legend, by the Candyman (Tony Todd) himself, but Ethan Tarrant (William O'Leary) ends up being accused of Purcell's murder, as his father was murdered in a similiar murder with traits of the Candyman murders. Ethan's sister, schoolteacher Annie Tarrant (Kelly Rowan), doesn't believe Ethan could have done it, and her students believe the Candyman has come back, she dispels the myth by saying his name 5 times in the mirror. Although he doesn't appear at first, the murders soon start all over again, beginning with Annie's husband Paul (Timothy Carhart), but Candyman doesn't murder Annie, for a good reason. Candyman was a silly but memorable horror film, this manages to be the same, with the supernatural shocks that we've come to expect from Clive Barker's work. This is bloody and gory, but it's not as good as the original, but it'll do, and it doesn't stick around too long either.

Shounak B (ag) wrote: Kiarostami is a real master into blending real life and reel life so effortlessly and this one nothing but another example of about his excellence.The film constantly goes back and forth into the previous two parts of Koker Trilogy,mainly the second one. Where the young actor wants to marry the girl acting as his wife,he constantly tries to convince her about his difference from the character's dominance,but then he misquotes his line between his original and featured life's casualty of closed ones and the girl also succeeds to show her confusion and dilemma to call him through his name and what not!This part cant give the answer of the last sequence of the previous one,but it's own last segment is so enjoyable and refreshing after a long and hardly a conversations through the olive trees,and this one also gives us to interpret the consequential action in between theml in our own way.

Alex W (ca) wrote: What a piss poor adaptation.

Jordan R (us) wrote: A true sequel to the original film, it does tend to get a bit ridiculous at times, but overall keeps a similar tone to the first film, while adding in it's own twists to make it memorable not just as a fantastic sequel, but as an interesting film in its own right.

Aileen M (it) wrote: Watching ~Scum(TM) for the first time aged 24 in 2011, I cannot help but compare this portrayal of the apparent brutality of the youth justice system in the 1970(TM)s with the current rehabilitative approach. We have certainly now shifted to a more welfare oriented system of implementing youth justice, thought to benefit both the victim and offender, compared with a system that emphasised punishment and retribution in years gone by. The real questions that are elicited from this film are whether it was truly indicative of life for these boys in youth custody at this time, and if so, what are the repercussions of such a punitive system on both the offender and society, compared to the restorative justice philosophy of today? The idea of custody for young offenders is not a new concept, and was certainly already in place when the first Borstal opened in 1902. Ironically, the Borstal system was devised as a method of protecting the youth from influence and association with adult criminals in prisons. The purpose of these detention centres was to provide a place where wayward young males could learn to be personally responsible, active, members of the community. Although there was much emphasis on religion, hard work, and education in the legislation surrounding these detention centres, the reality was somewhat different. It has been suggested that there was a widespread belief amongst Borstal staff that punishment, especially corporal punishment, could suppress antisocial behaviour in young people. It has been suggested that this, combined with the elasticity of the rules in Borstals related to discipline, led staff members to be allowed to exercise their control as they saw fit. This is supported in the film, where wardens used both violence and the trainee(TM)s indeterminate sentences as a means of inducing compliance. Further, it has been suggested that there are voluminous files in the Home Office regarding physical and sexual abuse in these Borstals, perpetrated by both juniors and staff. Considering this evidence, ~Scum(TM) seems to paint a true picture of existence in Borstals, where young boys were subject to a system which appeared to value retribution and revenge for wrongdoing, despite government policy dictating rehabilitation. The effect of not just the incarceration of these young men, but the punitive system which they were subject to during incarceration, cannot possibly be positive. Of course, the imprisonment of undesirables does have the effect of incapacitation, and the threat of such deters the completion of crimes, but in fact there is little evidence that punitive custodial sentences have a positive effect on future offending behaviour. In fact, it has been shown that though incarceration and physical punishment may produce compliance in the short term, it actually increases the risk of deviance and reoffending over time. This is shown in ~Scum(TM), where initial obedience was observed by the lead character, followed by uprising caused by the unnoticed suicide of a young victim of sexual assault. Considering this, and taking into account the negative psychological consequences, such as depression, anxiety and anger, all depicted in the film, related to the abuse that was experienced in these Borstals, one can from hindsight see the serious negative ramifications of past youth justice policy. The current youth justice ideals arise from the notion that compensation is the foundation of repair of harm, which has been long established in tort liability. It intends to keep the majority of young persons from a custodial sentence. It advocates use of restorative justice for rehabilitating the young offender. This involves the voluntary meeting of all people involved in the offence, for the discussion and hopeful agreement of what can be done to achieve reparation of the harm caused. It is a process which is thought to be beneficial to the offender, enabling them to be responsible for their actions outside of a custodial environment, despite its being initially developed to benefit to the victims healing. Although there is some belief that such practices are too lenient in the tackling youth crime, it has been shown that these current procedures produce offender and victim satisfaction, giving increased empathy in both parties. Combining this with the use of incarceration as a last resort, eliminates the negative effects of imprisonment and reduces the chances of possible abuse to the young person whilst in the care of the government, therefore giving a more humanitarian approach to dealing with juvenile delinquency. Whilst consideration must be given to the positive or negative consequences of both punitive and rehabilitative approaches to youth crime, the principle aim of Youth Justice Policy is to reduce levels of reoffending within the youth population. Evidence suggests that restorative justice practices do lead to reduced recidivism compared to traditional court settings, while the little research that has been completed with young persons in Borstals indicates reoffending rates as being very high. Taking this into account, it seems we have learnt our lesson from the days of ~Scum(TM). The current policy allows more young offenders to be kept from custodial sentences whilst taking responsibility for their actions and shows reduced levels of reoffending by young people who are involved in the system. More importantly, a more civilised approach is now being taken to juvenile reform, reducing the risk of abuse of the system, and showing continuity nationwide. Looking deeper into ~Scum(TM), the borstals, and the ideology behind them, I think one can safely say that mere good intention in implementing policy is not good enough. It was not that the government officials behind the introduction of specialised youth custody were sadistic in their establishment of such, but it was the application of the law that led to subjectivity in its enforcement. Therefore, politicians can learn much from ~Scum(TM) and the history of youth justice in the UK, and realise that strategies and guidelines in abundance cannot change the fact that their policies affect real people, not just numbers, and impetuousness or complacency cannot be allowed to exist when human lives are concerned, because incidences like ~Scum(TM) are the result.

Kristal C (gb) wrote: Kind of bizarre but a great showcase for Shirley MacLaine, whom I love unabashedly and can do no wrong.

Nate W (fr) wrote: Jean-Pierre Melville's "Bob the Gambler", a slick meat and potatoes crime drama set in France's casino-heavy Montmarte district, is a small triumph of precursory New Wave style. Tensions at the roulette and blackjack tables (where title character Bob, well played by Roger Duchesne) are tightly exacted by sharp editing and visually efficient photography. Despite its rote narrative about greedy and corrupt gangsters spelling their own downfall from prosperity as a result of the compulsive risk-taking that brought them riches in the first place, "Bob the Gambler" remains a memorable and entertaining exercise in smart storytelling.

Namir G (de) wrote: - The opening character said "Home again home again, jiggity jig."- "Timmy" is a burnt baby doll with camera eyes glued to a remote control tank. It's way creepier than whatever you're thinking now.- The idea of "The Purge" reminds me of the short story "The Lottery" and "The Running Man". How future dystopian societies cope with population control is...brutal. This movie has interesting political underpinnings that eerily mirror current society.- There is a fishbowl filled with giant-sized dominos. People are weird.- There's weird and then there's stupid. Henry is currently exhibiting a truckload of the latter.- Aww yeah. Shit just got real. Mental note: don't give the disarm codes to the 11 yo.- If murder is legal until a prescribed time, does it count if someone steps in a poison bear trap after the deadline?- The lead actress is the warrior queen from 300. Now she's a blubbering waif. The former would not stand for what's currently happening and would have this whole situation under control.- That...that appears to be an angry mob.- That's an interesting Clockwork Orange twist.- "We are going to ride the rest of this night out in motherfucking peace."

Cameron M (jp) wrote: Vacancy begins with predictable horror clichs but slowly but surely grows into a pulsating and effective thriller.