Ziba and three of her prison cohorts, recently released from a Tehran prison, settle in an out of town doctor's house posing as house sitters and embark on a get rich quick scheme. . You can read more in Google, Youtube, Wiki
Ziba and three of her prison cohorts, recently released from a Tehran prison, settle in an out of town doctor's house posing as house sitters and embark on a get rich quick scheme.
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John M (it) wrote: My favorite opening monologue of the year. This is about a safe-cracker (Jude Law) recently out from serving twelve years in prison. He tries to reclaim the money that he's owed for serving his stint, and attempts to reconnect with his estranged daughter. I went into this pretty cold, armed only with the knowledge that Law gives a committed performance in a rapscallion role. Dom Hemingway confirms exactly what kind of movie it is in the first three minutes, where he looks directly into the camera and informs you of how well-endowed he is. This is the kind of role that every actor wants: there's a lot to do, and you get to do it intensely due to the nature of how the character is written, and you get to lose yourself in the process. He dominates other people around him and does so loudly; given that he is always under the influence of some sort of alcohol and/or narcotic, he has no filter, and he is not afraid to tell you exactly what he's thinking. This is strikingly similar to a movie that came out earlier this year, Filth: both involve vulgar, repulsive men, trying to repent and reconnect with their family, all the while finding it nearly impossible to stop reverting back to their old ways. Quality wise, I think they're just about on the same level as well, although gun to my head, I would give the edge to this because it's a slightly less reprehensible character. It also doesn't hurt that he's given a lot of cutting lines of dialogue to deliver. As far as supporting characters go, they are all fine, but it has to be mentioned that Withnail himself makes an appearance (Richard E. Grant), and seeing him onscreen is the equivalent to being reunited with a long lost friend. The thing about this is that this is a borderline Oscar-worthy performance in an unfocused movie. The story itself is a bit aimless, and it always hesitates to pledge itself to what it wants to be: does it want to be a fun romp, showcasing this man getting into mischief and saying the wrong thing to every single person? Or does it want to be a sweet redemption story of a father finally able to reach his long lost daughter? The two don't really complement one another, and as a result, the film as a whole doesn't end up being something you make any impressionable memories of. You're going to get something out of this when you watch it, but as far as retaining it goes, this will likely end up being a footnote that will ultimately get forgotten, a great performance in an otherwise unremarkable movie.
Nisa K (ca) wrote: this is more serious than the prequel but still entertaining. if you watched 'east is east' you gotta watch this.
Carl M (gb) wrote: Deep beneath the Australian Outback lies Area 52, a secret research facility that the government doesn't want you to know about. Here, experiments in human biomechanics have unleashed the ultimate weapon... And one that Australia's top special forces agents will be unprepared to face as they enter the facility on a seek and destroy mission! CRAWLSPACE attempts to combine CUBE's suffocating mood with the psychological terror of PATRICK or THE SENDER, although it falls short in either department. Writer/Director Justin Dix relies far too heavily on a twist ending which has been blatantly broadcast from very early on. This makes for very little suspense and minimal guesswork as the audience wades through an all-too-familiar plot and predictable characters. CRAWLSPACE does come through with a few commendable moments of supreme tension as the characters face their darkest fears within the close confines of the tunnels, but these are short-lived. The added gore, claustrophobic sets, and winning make-up designs do work to the film's advantage as well, however. With a stronger character base and a greater exploration of the villain's near-limitless powers, CRAWLSPACE may have had more room to succeed, but it becomes easily trapped by its own narrow aspirations.
Shiela E (au) wrote: One of my favorite books as a child, and I couldn't wait to see the film. I rewatched it last night with a friend and our daughters. It didn't disappoint. still works. Jonathan Pryce and Jason Robards are terrific (had quite a little crush on the former the first time I saw this); the relationships between father and son as well as friends is sweet; it is beautiful to look at, and it delivers just enough creepiness to satisfy adults and not scare children too much. check this one out.
Ian R (us) wrote: I can't believe that I watched this whole thing... There was a definite lack of montages... also a whole lot of ugly people!
Kaustubh T (au) wrote: Very weird, but was kinda cool. A different flick of sorts when compared to the useless thrillers of today.
Weul S (jp) wrote: A simple-minded gardener becomes the biggest stir in Washington in this somber comedy.
Aj V (fr) wrote: This is a very sentimental, sappy, but realistic drama of a young couple. It's good, but I'm not a big fan of the film, although I loved Grant in it.
Steve D (us) wrote: Both misstep and great success, The latest x-men returns to the flat near stunt man level villains but uses it's heroes the way they should be for the first time in decades. The x-men finally are a team!