The Fiaca (1969) torrents full movies

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The Fiaca

A typical office employee decides one day rebelling against its routine and not going to work because it has a "lazy". His family, friends and colleagues are trying to dissuade him ...

The Fiaca is the best new movie of Fernando Ayala, Ricardo Talesnik (novel). This movie was introduced in 1969. There are many actors in this movies torrent, for example Norman Briski, Norma Aleandro, Jorge Rivera López, Lydia Lamaison, Juan Carlos Gené, Tino Pascali, Jorge Cano, Antonio Provitilo, Eduardo Muñoz, Jorge García Alonso, Salo Vasochi, Aída Rubino, Mónica Grey. There are many categories, such as Comedy. This movie was rated by 7.2 in www.imdb.com. We have a good movies torrent. The runtime of this movie are awesome, about 95 minutes. MongDu is interesting uploader, he is very fast. You should spend more time to watch this movie. If we must use one word to describe about this movies torrent, I think it should be 'Excited', so what is your thought. Do you know what are customers? Maria Ozawa is the best. I can't leave my iPad screen. Share this movies torrent to support us . You can read more in Google, Youtube, Wiki

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LinksNameQualitySeedersLeechersSize
Download   La Fiaca (1969)Other4442527.54 MB
Download   La fiaca.aviOther2932862.24 MB

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Users reviews


Anna C (de)

Maybe it's not original, but the story is so serious that you can pass over the ingenuity of some moments of the plot, just hoping that the message will arrive to most of people!


Cameron J (au)

3/5 - Good. Fox - which do enough justice to the valuable themes of "Casualties of War" to craft an ultimately rewarding portrait on the horrors of dehumanization during wartime. Overall, there are some unnecessary conventions, and even less necessary excesses, in pacing, obscenities and sentimentality, which join somewhat thin characterization in establishing some glaring subtlety issues which threaten the final product's reward value, ultimately secured by the beautiful score work, handsome cinematography, generally effective direction and scripting, and powerful performances - especially those by Sean Penn and Michael J. These performances really define what could have been done to make this drama outstanding, but where the final product could have fallen as an underwhelmingly misguided take on worthy subject matter, there is enough inspiration to drive the effort as, at the very least, rewarding. Fox proves to be truly revelatory in his convincing, subtly layered portrayal of a young solider whose interpretation of justice is clouded by certain peers' vile ways, and by how other peers interpret this villainy. Well, some of the performances take some getting used to, as the material is so abrasive, when not thin with characterization, but the portrayals do best what the writing and direction slip up at doing at times: keeping this drama's human heart pumping, with Sean Penn being particularly chilling in his hardcore portrayal of profoundly disturbed man who feels an evil environment justifies evil doings, while Michael J. Rabes' script is a mess of pacing and subtlety issues, and even characterization thinness, but it is just comfortable enough with its depths to provide plenty of dramatic potential to be brought to life by De Palma, as well as the most consistent strength: the acting. Although it is done an almost great injustice at time, this film's subject matter is handled well enough to never feel as thin as its execution, which is good, considering the thematic and dramatic value of this potentially unique portrait on the loss of innocence, humanity and overall decency in the midst of war, in full, horrifying form, done a rewarding amount of service by both De Palma and David Rabe. If Brian De Palma delivers on nothing else, it's style and action, but really, style is still underplayed, and action is limited, thus, De Palma has to primarily focus on his dramatic abilities, and when it comes to that, he slips up more than he probably should with his overt disturbances, sentimentality and other abrasive touches, yet once he gets a grip on his dramatic vision, the film all but shines with its tension, resonance and, for that matter, entertainment value. Both the visual style and the visuals the style falls over help bring life to the immersion value of this grimy war portrait, as art director Bernard Hides nails the setting of wartime Vietnam to the point of drawing you in, particularly with further technical proficiency kicks in during intensely well-staged and tight, if a tad noisy action sequences. Burum that may a little too subdued in a lot of ways, but offers just enough grit to be rugged and sell a lot of the grit of this drama. Composed by the great Ennio Morricone, this film's score, while thematically unique for Morricone, is a bit formulaic, and sometimes tonally abrasive, but on the whole, it's predictably outstanding, combining that trademark Vietnam War film fusion of mild psychedelia and great intensity with Morricone's own trademark Italian whimsy, in the vein of "Once Upon a Time in America", in a manner that is aesthetically solid, not unlike cinematography by Stephen H. As things stand, however, what the film slips up on its more than makes up for with what it does so well, even in, of all things, artistry. This lack of subtlety, even in exposition, reflects a sloppiness that really shouldn't be in a film this valuable in concept, and generally inspired in execution, for if there was more grace and tightness, then the final product could have gone far. In concept, this film is defined by its humanity, thus, in execution, a lot of hard work is put into bringing this character drama's depths to life, and when that hard work doesn't pay off, believe it or not, it really misfires, offering little immediate development right away, before reaching a body that overdevelops the characters, as types with few layers that the performers work with as best they can, but not well enough to compensate for thin characterization. With all my talk of this film's being rather derivative, it is a whole lot like Oliver Stone's "Platoon", in that it is so compelling, yet it would be more so if it didn't get either a little too grimy, or a little histrionic, or all around overbearing at times with its handling of powerful subject matter, limiting dramatic sophistication by limiting subtlety, even with its characterization. As I said, excess is found throughout this gritty affair, and not just within plot structuring, because whether it be through overt obscenities or through even some overtly disturbing visuals and material, this film tends to beat you over the head with grime, as surely as it tends to beat you over the head with dramatics, with sentimentality and other glaring lapses in subtlety. On paper, this harsh Vietnam drama has a certain freshness to its interpretation of horrors found in a dehumanizing place of conflict, but in execution, all but all of that originality is betrayed, whether it be because of character types, or because of formulaic set pieces, or because of near-trite dialogue (So, just how many Vietnam soldiers in real life blurted out, "Get some!", over and over again when they manned a gun turret?) that is aggravating enough because of its griminess. Being that this film is not much of anything if not a little excessive, even the potentially tight runtime of about two hours goes abused, sometimes with simple filler, and often with so much fat around the edges of material that the narrative ends up sticking with each segment for way too long, to the point of wearing you down enough to spot where the originality lapses. I think I'll just stick with watching this all from the side, largely because when I'm not being shot at and have to rely on Mike Fox, John Reilly and John Leguizamo to help me (I doubt Penn will help me after I made fun of his face in the poster), this makes for a pretty good film, for all its issues, that is. Man, with all of these awful puns, I seem to be about lame enough to be in the platoon portrayed in this film. I joke, but in the poster in question, Fox looks a smidge like Tom Cruise, which I figured would be an "impossible mission". Fox. Gay as that sounded, I put it like that because this film is directed by Brian De Palma, which, of course, means that this film ought to be edgier than you'd think it is when you see Michael J. . . . Mind you, I'm not going to tell him that, not just because he is definitely a commanding force in this film itself, but because I'm scared of him in real life, when he isn't armed with a certain little friend. Reilly, and John Leguizamo all that seriously as soldiers (This is kind of a wimpy outfit), although, if anyone kind of defuses the tension in the floating heads poster, it's Sean Penn, with his big mouth and what have you. and John C. . . Fox. I put it like that because it's a little hard to take Michael J. Well, it would appear as though Marty McFly got lost on his way back to the future


Carolina R (ag)

Una joya del periodo mexicano de Buuel. Sobre todo una 'crtica la indiferencia'. Crudo, triste y (neo)realista retrato de una pandilla de nios en un sector olvidado de Mexico


Chris C (de)

The director/writer does a good job of getting the true characters out of not only Watts and Dillon but also from everyone else including the children featured. Very realistic story of life in America for many


Elisa G (ag)

otal waste of time. Watch a slice of his performance to see his true genius, if you are a fan as I am, but dont bother watching it through. Even if it meant acting in a total crock of a film. I can only assume the opportunity to play perhaps one of the most iconic people in modern history was too overwhelming to turn down. I mean honestly, does ANYONE still think Lee Harvey Oswald did it? Seriously? And if so, have those people READ anything at all about the era? It upsets me that Rob Lowe felt it worthy of his stature. Filled with so many inaccuracies that the film makers (and original writers) either think the general population are morons or they were paid by the US (and Russian?) Government/s to make a propaganda piece. This is a disgraceful film. . . And it's a BIG HUGE BUT. . . Some of the other cast are pretty decent to BUT. The only incredible thing in this is Rob Lowe's amazing performance as JFK


First L (ag)

Or maybe I'm not a 'jump up and cheer' type of guy, although 'Billy Elliot' got me going. Maybe it's just dated and we can't appreciate the domestication of a 'wild' child in the 1790's (long before modern Psychology existed), but overall it's pretty slow and, as I said, there are no real breakthroughs to make you jump up and cheer. Sure it's interesting (based on a true story), but the film really came across as a 'Miracle Worker' lite, without the breakthrough. I like Truffaut flicks (check out 'The 400 Blows'), but this one was kinda weak


JoEy M (es)

Eerie insect stuff, creepy


Logan M (mx)

It's more family-friendly than "Click," but just about as unfunny


Marylyn M (fr)

I love that about foreign films. Perhaps with her? We don't know. The foreign-film-ending does not give us all the answers, leaves us hanging. The Patience Stone, set in war-torn Afghanistan, is a dramatically sparse, insightful, provocative tale that tells the deepest secrets of a woman (actress Golshifteh Farahani - omg'dess!) given in marriage to a much older man who, at the start of the movie, lies comatose with a same-side-Jihadist-bullet in his neck


Muffin M (fr)

I own this on Blu-Ray in a two movie pack along with:* Grumpier Old Men (1995)