Jobless and insecure to the point where he can't even face himself in the mirror, a terrified Máiquel enters a salon to have his hair died platinum blond after losing a soccer bet to a friend. His new look supplying an unexpected jolt of confidence, Máiquel asks Cledir, the salon employee who died his hair, to join him at the bar in celebration. Taunted by local bully Suel upon arrival at the bar, Máiquel decides to settle the matter by purchasing a rifle and shooting down the loudmouthed Suel in the presence of Suel's young girlfriend. Unexpectedly hailed as a hero by his neighbors and the police, Suel's girlfriend subsequently approaches Máiquel and claims that since he killed Suel, it is now Máiquel's responsibility to care for her. Simultaneously learning that Cledir is pregnant and anticipating a marriage proposal, Máiquel's newfound reputation soon catches up to him as the dubious requests of influential locals begin to take their toll on him.
Maiquel has lost a bet and dyed his hair blond. This little event triggers a head-on collision with destiny in which Maiquel goes from nobody to hero to outlaw--all in 24 hours. . You can read more in Google, Youtube, Wiki
Anita L (gb) wrote: A slow movie, borng at times. The plot is good i suppose but i expected alot more action that a train ride and incest... lol
Puh N (es) wrote: odli?an film! akcija, vanzemaljci, superjunaci, sluz!
Pam H (mx) wrote: Self indulgent boring movie. Tries to be shocking towards the end. Just plain awful.
Karsh D (ag) wrote: Every xmas I feel the need to watch any old rubbish. Object achieved for 2013 then with this load of tripe.
Alexander C (it) wrote: Neer heard of this one. Would like to see purely because G O is in it!
Daniel K (it) wrote: wonderfully kooky and strange satirical romp that was clearly ahead of it's time
Vincent P (jp) wrote: Some chilling moments (though most are lifted from the original) and some absolutely beautiful scenery, but Herzog was a little too liberal with his new ending... and it's downright stupid to be perfectly blunt. Nosferatu of Arabia, anyone?Isabel Adjani is the standout. She looks and moves like a porcelain doll, constantly just skirting shattering and Klaus Kinski is good as a tortured Dracula. But Roland Topor... His Renfield is beyond dreadful. There's a way to play batshit crazy that isn't completely grating, but apparently he didn't get the memo.
Gauravdeep B (ag) wrote: This was an enjoyable movie.This is the first movie that I actually loved Toni Collette in, before I liked her but this role really suited her. Church's character was a really fun one, wierd but fun.Though it was a little idiotic to forced a music critic to go find her lost boyfriend, who was very famous in his days, over 10 years ago and is now presumed dead by the world. You just have to ignore this mistake if you can and watch the movie.
James C (de) wrote: Watching it again after seeing >50% of Lynch's works, I appreciate what's going on a little more. A range of symbolic imagery that recurs in various forms is brought together to construct a dreamscape, which makes a deceptive planned TV pilot, leaving many loose ends that needed to be sown together with half an hour of choice picks among what might have been episodic highlights in an unmade series. The opening fantastical veneer of Hollywood, the bright-eyed starlet who sells her soul in the first audition, the artificially and eventually sinisterly intense grins of the extras, the absurd notion of falling in love with a woman who doesn't know who she is. Imagery that speaks in clichs but which is richly suffused with uncanny and macabre nuances - operating much like the deconstruction of suburban picket-fence culture in that opening sequence of Blue Velvet, where every element is anachronistic to the next, and there is a writhing morass of brutal insects under the lawn. There is so much promise in the final thirty minutes of Mulholland Drive, where each moment smashes to pieces the perspectives established in the pilot. Few artists can achieve the kind of participation in their subject's emotional aspects that Lynch does routinely. I can't think of a more visceral experience of jealousy in art than what we share with Watt's character. So many figures in the film could unfold into their own stories over many hours, or be left as they are, fascinating artefacts for the imagination to explore. Mary Sweeney does a masterful job tying things up despite the obvious challenges in doing so. Under time constraints it would have been easy for the sexual content to misfire, or even be pornographic as a surface reading might portray it. But consider how, as with many other aspects of the film, each sexual scene mirrors those which precede it. There is this idealised scene of romantic exhilaration, discovery and loving purity. Badalamenti's score always nails that concept (e.g. the Laura Palmer theme in Twin Peaks). There is the raw lust then contorted into possessiveness and control (with the kind of dirty music Lynch makes great use of, as in that brilliant dance sequence of Inland Empire). Then Watts' desperate solo effort, attempting to recapture the comfort and security of intimacy, wrapping herself up in the idea of an idealised past relationship now broken, and violently fighting off encroaching reality. I can't think of another film containing an enraged tearful masturbation sequence (certainly not with a switch to the first person perspective!). These three scenes counterpoint one another and articulate a nuanced appreciation of what sex can mean in our emotional lives. All the more impressive given that these scenes would have been spread across an expanse of material and here are deployed essentially just to give some coherence to what seemed never to have been meant as a single film. If Mulholland Drive had become a series, I would probably have given it 5 stars. As it stands, a very solid 4.
Alexander P (mx) wrote: A film that was fun for the whole family in the 80's but now feels really dated. Short steals the show and Quaid is not very good in the main role. A great idea well made and filmed again ahead of its time but lacks in its longevity - has not aged well.
David P (ru) wrote: Nice to see Krang, Bebop, and Rocksteady on the big screen, but the film otherwise falls apart. Weak plot. Disappointed in the appearance of Casey Jones. Bay just doesn't get the series at all.