The Legends of Nethiah

The Legends of Nethiah

A young boy whose parents are going through a bitter divorce, is given hope and courage through the powerful stories embellished by his grandfather. The stories give the boy the inner strength and resolve to confront the inevitable challenges which lie ahead.

A young boy whose parents are going through a bitter divorce, is given hope and courage through the powerful stories embellished by his grandfather. The stories give the boy the inner ... . You can read more in Google, Youtube, Wiki


The Legends of Nethiah torrent reviews

Mel (ag) wrote: Violeta Parra was pure fire... the soundtrack of this movie is simply amazing.

Jessica L (it) wrote: I can't believe I just spent 1hr 23 min watching how much of a douchebag the characters can be...I find them very annoying, especially the "oh so troubled" teen Andrew. Much to my surprise, I practically dislike all the characters in this movie. And all the stupid pranks and just laughing at the camera is a big turnoff. Guess some would praise it's a true depiction of adolescence. The plot is very pointless and you don't know where it's heading until the very end. I'm still curious as to what caused them to have superpowers.

Erin C (ru) wrote: Sad, but heartwarming.

Daniel R (nl) wrote: Det mrks att Thaifilm blir bttre och bttre. Denna hade nog kunnat bli bra med lite mer pengar i budgeten. Storyn ok, datoreffekterna inget vidare, ganska bra skdespeleri frutom frn huvudpersonernas sida, kom igen, det r vl iallafall dem som ska skdespela bra om ngon.

Austin S (mx) wrote: The best musical I have ever seen. Good acting, writing, and plot. Second favorite best picture-winning film

Konec J (us) wrote: first i didn't care much about this 'kvakvakvaci' series, as i call them - anyway, after experiencing Koyaanisqatsi in the proper mood, i kinda got into it.. Of course this reminded me of Baraka, combined with Surplus (Terrorized Into Being Consumers), set into 80ies atmosphere - and i must say, i liked Baraka and Surplus a lot more - anyway, the message was strong and i actually i realized i want to see the rest of the trilogy, even though i'm just unable to remember the pronounciation :) (which i believe i won't be able till the end of my time :D )

Trng Q (de) wrote: M?t video art ??ng c?p. R?t ?n t??ng. Tinh th?n Ph?t gio kh r.

David H (mx) wrote: This is one of the best Movies ever made and defently the best German Movie its funny, fantastic, bombastic and Fine Art alltogether i can see this Movie again and again without getting Boring and the Score is hillarious the Score of Curb your Enthuiasm reminds me sometimes on that just like the whole Series ^^

Cameron J (au) wrote: "Little Big Nose"-I mean, "Little Rain Man"! Shoot, this is more like "Little Rain Dance Man"... or "Little Sun Dance Man", or whatever dance the Cheyenne tribe thought would actually work in bending the elements. Man, as crazy as the titular Little Big Nose's... or whatever's story is, him summoning the rain/sun gods wouldn't be all that relatively ludicrous, and he wasn't even born to the Cheyenne's. If this guy is lying about nothing else in his story, he's lying about being taken in by the Cheyenne after his family got killed, because I'm sure his parents were just trying to get rid of him for being such a big Jew in the Old West. Dustin Hoffman's family must not have drifted too far away from him, because Arthur Penn was so much that level of Jew that he probably was Hoffman's father, but the fact of the matter is that the Old West seemed to do a better job of driving out the Jews than it did getting driving out the Redskins. I joke, but it is weird how scarce Judaism was in the Old West, especially in comparison to whatever in the world the Cheyenne practiced, but now, they join forces to take on the whole "little big world" (I don't know if my saying that makes me want to play the video game of the same name, or play The Hives' "Hey Little World"), or at least tell a pretty good story. Well, that is accomplished, if nothing else, and yet, it sure takes its time to reach such an accomplishment. As a relatively extensive fictitious biography, this film ought to be tight with its relatively mere runtime of just a minute shy of 140 minutes, but there's still something excessive, to a point of aimlessness that is exacerbated by directorial cold spells, of which there are only a few, but enough for there to be occasions of blandness which distance resonance. Resonance is further betrayed by, of all things, a certain hurrying in narrative structure, which is driven by a narration that doesn't simply objectify storytelling and betray potential subjective immersion value, but dashes over a lot of elements, sometimes with an awkwardness that challenges developmental depth and keeps the shifts in focus from smoothing out. This inconsistency in pacing, at the very least, convolutes the structure of this layered film which is both overblown and undercooked, to the point of some glaring focal inconsistency that is even more problematic than the tonal unevenness. Storytelling ambitiously dances between often over-the-top satire and weighty dramatics which defuse each other as they jar back and forth, leaving the humor to be contradicted by the seriousness, which is in turn diluted by the humor. As uneven as the tone is, there is at least a certain consistency of cheesiness, whether it be within a humor that is often cornily overwrought, - trying too hard to be sharp as satire - or within the dramatics which often devolve to melodramatics, trying too hard to be engrossing as a human epic. The film is overwhelmingly ambitious, and too often, it is simply overwhelming with its ambition, and no matter how firm inspiration stands, all of this bloating, rushing and inconsistency, broken by a consistency in overt fluff, seem to kind of hold the final product back. That being said, the film still rewards the patient by meeting ambition with inspiration, and even some artistry. John Hammond's score's minimalism underplays musical value that is underplayed enough by many quiet spots, but it's almost psychedelic, in a manner which compliments the surrealism of the film just as Harry Stradling Jr.'s cinematography handsomely polishes already handsome art direction. Well, Angelo P. Graham's art direction isn't so much aesthetically appealing in its beauty, but in its being so distinguished, and doing much to sell the evolution of the 19th century, the sense of which, of course, plays a big role in selling the progression of the narrative. There is not much dramatic consequence to this film as an extensive study on the eccentric life and times of an unconventional man, but as a surrealistic portrait and satire on the distinctions between native tribes and God-fearing whites of America during the 19th century, over an extensive character piece, this story concept is promising, and done justice by highlights in storytelling. Calder Willingham's script is all over the place, but it's often well-rounded in it characterization, as well as colorful in the drawing of clever humor and dynamic set pieces, while Arthur Penn's direction augments the color with plenty of stylish and slick pacing which is tasteful enough to move at times. Alternating between superficial and overblown, storytelling here is flimsy, but captures a fusion of scope and intimacy which makes the pseudo-epic pretty compelling in its inspiration. The performances ice quite the colorful cake, with highlights that include the beautiful Faye Dunaway as a hypocritical and unpredictable woman of seduction, as well as Chief Dan George as a wise and good-hearted, if eccentric tribe chief and spiritual guide, and leading man Dustin Hoffman, whose charm and layering sell the confusion and, of course, the emotional sensitivities of a man torn between cultures. Emotional highlights are few and far between, but between these highlights, Hoffman truly mesmerizes in his changing so much in the titular Jack "Little Big Man" Crabb character, a spiritual being, a sinner, a stranger in strange lands, a family man, a mad man, and, of course, a good man, a compelling man who thrives on Hoffman's charisma, as surely as the film itself thrives on him as a character study that, through all of its many missteps, entertains and compels enough to make a rewarding western drama. When it's time to go back in the ocean again (Well, I guess I'm playing The Hives, because "Hey Little World" is pretty fun for modern rock), uneven pacing, focus and tone, as well as overtly cheesy humor and some histrionic dramatics threaten to wash away reward value that is ultimately secured firmly enough by the nifty style, immersive art direction, sharp storytelling and strong acting - especially by Dustin Hoffman - which mold Arthur Penn's "Little Big Man" into a mighty compelling study of the eccentric culture clashes along the frontiers of the 19th century. 3/5 - Good

Adam S (nl) wrote: Shinoda's existential gambling noir; one of the great films of the Japanese New Wave. Mariko Kaga is my kind of girl.

Ame A (us) wrote: This movie was average. Just watch 'Five Dollar Dog' on a loop for an hour and a half, instead.

Jamie I (us) wrote: 300 is one of the most visually stunning films I've seen in a while. Be warned. It is very gory. Limbs fly across a giant screen at an alarming rate. Don't let that stop you from seeing it though. I sat opened mouthed gripping Jay's hand most of the evening. Watch for the oracle scene in the beginning. It is the most beautiful scene. See this movie. Do it for SPARTA!

forcebucket B (mx) wrote: I never 'got' this movie. It's incredibly directed but i just never enjoyed the story.

bill s (nl) wrote: This was one of the worst movies in 2006 and now it a cult hit.....go friggin figure.

Branden 2 M (mx) wrote: A gangster classic, with not only arguably Al Pacino's best performance (I said arguably), but one of the best unhinged performances put to film. The American Dream.

Hunter W (fr) wrote: There is something so energetic, so forceful about Skyfall that very few Bond films can match.

Gareth W (gb) wrote: Excellent acting and some gritty home truths about political morals and principles cannot rescue this good movie from two inescapable facts.The George Clooney Hollywood democrat liberal fantasy about a pro abortion anti death penalty pro environment anti war atheist Presidential candidate is leftist intellectual day dreaming of the highest virtue signalling order.Secondly the rather tame script's realism, doesn't sit at all well with 2016. Though I doubt this hyper real serious drama would have countenanced Trump any more than George's Marvellous liberal fantasy medicine candidate was in any way it turns out it was even more unrealistic!