An uncompromising, visionary architect struggles to maintain his integrity and individualism despite personal, professional and economic pressures to conform to popular standards. . You can read more in Google, Youtube, Wiki
An uncompromising, visionary architect struggles to maintain his integrity and individualism despite personal, professional and economic pressures to conform to popular standards.
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The Fountainhead torrent reviews
Joe H (nl) wrote: Not worth the bandwidth it took to download nor the space on a hard drive
Justin T (de) wrote: A simple but convincing film.
Jason R (gb) wrote: seen better exorcism movies, watch the exorcism of emily rose if you want to see something better , otherwise just stick with the exorcist movies.
Hunter W (ag) wrote: If not for its sequel, Batman Begins may be known as the definitive movie representation of the Batman. Bringing a sense of realism and grit not before seen in the genre, Batman Begins changed the game for the superhero movie and it has not looked back.
Nigel K (es) wrote: I'm not a big Nicholas Cage fan but 3 of his films stand out 'Bad Lieutenant', 'The Rock' and this. Ingenious fast moving story, a roller coaster ride of fun.
Cameron J (jp) wrote: Every time I think of this film's title, I always think of that line in "Wild is the Wind" that goes, "I hear the sound of mandolins", only I think, "I hear the sounds of Manderlay", and it's always Nina Simone's version in particular that I'm thinking of. Probably because this film, like Simone's awesome version of that song, is pretty black-filled, sad and overlong, though especially sad, or at least for John C. Reilly. Hey, I can understand why he was so especially hurt and offended about that donkey dying that he bailed out of this project, because he related donkey, seeing as he looked like one. Yeah, I know, not really, but hey, it's no more of a stretch than their thinking that Bryce Dallas Howard could pass for a character once played by Nicole Kidman. Of course, Lars von Trier could care less about consistency, unless of course he's being consistent in making Grace Mulligan and her struggles (Man, that poor girl can't catch a break no matter what time she's in) really nothing more than pure symbolism. I guess that means that this film will also keep up that "Dogville" formula of being good, though still so stylized, messy, unsubtle and over narrated by John Hurt to where its great story finds itself far from up to par. It certainly keeps of that formula piece of not being the consistently exciting film in the world, because although this film is good and not terribly slow, it's still a Lars von Trier movie set entirely on a blacked-out sound stage with the story structure of a book. What I underemphasized in my review of "Dogville" is the fact it was actually hardly dull, yet still slow, and this film is no exception, though its slowness is a bit more intense, to where the film is still not all that consistent in dullness, yet still has its duller moments, with the help of a bit more dryness and vivid stylizing within the atmosphere. For these slower points, credit is also due to the simple fact that, while the film is considerably shorter than its predecessor, it remains quite lengthy, yet with subject matter that doesn't terribly warrant such lengthiness, thus leaving repetition to set in, so that the film can break even. Still, although this is looser than "Dogville", it remains tainted by the moments of rushing that severely damaged the subtlety within its predecessor and does the same here, for although this film isn't with as much potential to squander, there's still much ambition that tragically rings false in some major parts, due to rushing and an occasional bit of jarring inconsistency plaguing progressive exposition and rendering character layers unevenness. Again, this film's faulty execution of ambition is less of a loss than it was in "Dogville", yet the film remains improvable, nevertheless. The film's intentions are noble, yet its substance is lacking, with too much style and emphasis on message and less focus on oomph, leaving the film to fall limp in quite a few parts. However, with all of its missteps, where the film could have fallen as an underwhelming, considerably inferior sequel, it ultimately comes out as, well, an inferior sequel. Still, on its own, this film is well worth the sit, for although its ambitions go betrayed by faulty execution, this final product has enough juice in it to reward its audience, particularly those looking for quality style. While the intriguing inventiveness of the stage-like setting has of course diluted since it was first introducted in "Dogville", it remains fascinatingly unique and, at times, once again supplementary to the very isolated, somewhat claustrophobic setting and themes, while still going less overemphasized, in order to feel more organic. Part of the reason why the play-style is less noticable is because the environment is considerably darker than it was in "Dogville", which of course gives cinematographer Anthony Dod Mantle the opportunity to really brighten things up, and does so in a very colorful and handsome fashion that also reflects the film's themes of dim hope amidst dark times. Of course, once again, it's not just the people behind the construction of the film's style who give the product general effectiveness, but primarily the man behind the operation. Lars von Trier's writing remains faulty, with only so much room for substance to take breath from the film's often overemphasized messages, yet what substance bleed through finds itself charged by von Trier's once again inspired work of capturing the film's intial charm, before darkness and layers - such as they are - set in and go executed in an intriguing, tense and generally compelling fashion, giving the film as much of an organic feel as it can with such an uneven and unsubtle script, yet doesn't do so alone. While subtlety most certainly still stands to go augmented, the supporting characters within this film feel less like the devices the characters of "Dogville" were and more human in their limited layers, and each performer nails that as thoroughly as they can with messy character writing, which is actually pretty darn thorough, with each person delivering on haunting atmosphere, as well as distinctiveness and believability in their portrayal of people thrusted into a lifestyle they're not prepared for that will change them, for both the good and bad, but especially the bad. At the center of all of this chaos stands Bryce Dallas Howard, whose level of acting quality in comparison to Nicole Kidman is debatable, especially considering that this interpretation of Grace Mulligan feels surprisingly different than the one we saw in "Dogville", yet the lovely Miss Howard still embodies this Grace Mulligan also with sharp charisma, until she incorporates haunting depth and subltety, broken up by intense emotion into her performance at the darker moments she is to translate to the audience, being its avatar. Howard delivers on following in the footsteps of the great Nicole Kidman with an acting job that stands firmly as its own distinctive lead performance, yet one still riddled with the charisma, range and haunting, subtle depth that made Nicole Kidman such a film-carrying powerhouse in "Dogville" and makes Bryce Howard just as engrossing in this film. Overall, while this sequel remains rarely all that dull, it's still as slow as ever, with less oomph and more padding repetition within the storyline, which remains rather uneven on occasions, partially due to a degree of rushing, thus rendering the film decidedly inferior to its predecessor, yet it still stands strong, supported by more comfortably handled style, as well as periodically sobering, engrossing and all around compellingly inspired direction, while many a powerful, human and distinctive performance among the supporting cast further supplement resonance, which goes ultimately secured by a charismatic, emotional, hauntingly atmospheric and rather transformative lead performance by Bryce Dallas Howard, thus leaving "Manderlay" to stand as a fascinatingly provocative and, at times, thoroughly compelling second phase in Lars von Trier's celebration and deconstruction of American culture, as well as humanity itself. 3/5 - Good
Ashlee P (de) wrote: I wanna see it because of the cast. Lets see stewart in something else.
Jenn M (nl) wrote: if I believed in Hell, this movie woukd be playing on repeat there. what can I say about this movie that has any sort of positive connotation. It ends, that's about itSandler needs to stop playing the same moronic character in every movie, it's got old, it's not funny anymore, it's not even funny to a child lol. the story was crap, the characters, ugh, just everything about this movie is just horrible. I could go on all day about how brutal and painful this movie was but I have things to do
Raji K (es) wrote: My Neighbors the Yamadas is a comedy about a typical Japanese family and the daily struggles that we that they encounter. The film is divided like the comic strip it is based on and features little segments of comedy based on an event. Some of them are not great, but some such as the father and son catch, the father being late for a train, and the son getting home and forgetting his book, made me laugh quite a bit. My Neighbors the Yamadas will not be a fan favorite for everyone, but its anime fans will enjoy it.
Sandra D (es) wrote: "The nearer he gets to the truth, the closer he gets to the edge."This is one of Van Damme's best movies, I loved the plot and the acting (especially the fight scenes) were great. A police inspector takes his murdered twin brother's place and inherits his problems and his beautiful girlfriend. He is forced to interact with the FBI and the Russian mafia while he attends a kickboxing tournament, he does this in order to solve the crime that happened to his brother. Van Damme was awesome in this movie and I remember renting this movie many times. You won't regret watching this movie, for sure.
Nora B (ru) wrote: I used to love this movie when I was a pre-teen, I was majorly crushing on Scott Bairstow!!
Zbigniew Z (jp) wrote: A superficial and sometimes unrealistic look at relationships. I mean, if your husband is cheating on you with your very own sister, do you go out with him on a cheerful and jolly walk to discuss what may have been or what was?
Ian C (gb) wrote: Wish you could get this on dvd. Loved it as a kid
Daniel Z (ru) wrote: This is the best Harry Potter movie!
Nolan T (kr) wrote: It's hilariously stupid and excessively gory, but wasn't that the idea?
Huw G (nl) wrote: Tries to combine all sorts of classic genres, and although it really doesn't come off, there's enough of a lighthearted comedy / crime / road / buddy / love-triangle / off-beat / screwball type movie to make you laugh now and then.
Ben J (mx) wrote: Unexpectedly strong performances, ethereal soundtrack, thought provoking dialog - good stuff.