The One and Only, Genuine, Original Family Band

The One and Only, Genuine, Original Family Band

The Bower Family Band petitions the Democratic National Committee to sing a Grover Cleveland rally song at the 1888 convention, but decide instead to move to the Dakota territory on the urging of a suitor to their eldest daughter. There, Grampa Bower causes trouble with his pro-Cleveland ideas, as Dakota residents are overwhelmingly Republican, and hope to get the territory admitted as two states (North and South Dakota) rather than one in order to send four Republican senators to Washington. Cleveland opposed this plan, refusing to refer to Congress the plan to organize the Dakotas this way. When Cleveland wins the popular vote, but Harrison the presidency due to the electoral college votes, the Dakotans (particularly the feuding young couple) resolve to live together in peace, and Cleveland grants statehood to the two Dakotas before he leaves office (along with two Democrat-voting states, evening the gains for both parties).

The Bower Family Band petitions the Democratic National Committee to sing a Grover Cleveland rally song at the 1888 convention, but decide instead to move to the Dakota territory on the ... . You can read more in Google, Youtube, Wiki


The One and Only, Genuine, Original Family Band torrent reviews

Ian R (jp) wrote: Bland and formulaic. Gina Carano was wasted and why was Van Damme's voice overdubbed so much? The lead was too pretty and all of the MMA cameos were worthless. The fighting wasn't even all that great either...

Ryan S (de) wrote: The best in the series, but that's not saying much.

Audrey K (it) wrote: yaaaaaa , i love Rupert Grint ! this was the best movie about farting that i have ever seen & it was just cute all the way around . i love that the fact that someome actually had the guts to make this movie , it being about Farting & all . i give props to them , i realy do .

Patrick S (fr) wrote: Patrick Stewart is a great actor

Francis M (ag) wrote: One of Pollacks failures, that even with its flaws it is still a watchable encounter.

Cameron J (au) wrote: This film isn't exactly what I was expecting, because I was thinking that this was supposed to be about 80 minutes of a blue screen and narrations about Derek Jarman's life... in English. No, wait, this is just the other avant-garde film from 1993 that was coincidentally titled "Blue", or, in the case of the French... "Bleu". We ignorant Americans just rearranged the letters, kind of like we rearranged the pattern of colors on the French flag for our flag, as this trilogy will remind you, for whatever reason. Yeah, maybe I shouldn't have gotten this film confused with Jarman's "Blue", because, sadly, Jarman didn't live to be able to make another two of these blasted movies. Blue on the flag represents liberty, so maybe they should have called this film "Liberty", because it's hard enough to find an avant-garde film when just one of them shares a title and year with another one. Anyways, the fact of the matter is that there are two more of these films, and I keep addressing that because there's not too much more going on in this drama than there is in Jarman's "Blue", 80 minutes of a blue screen and narration. Man, this movie is dull, although it does have its commendable aspects, at least in concept. An intimate portrait on a woman coping with an impossible tragedy, not through human interaction, but through isolation which doubles as a subtle social commentary, this film's story is minimalist, and its telling is so thin that it's difficult to get invested even in its potential, but the potential is there, promising intriguing dramatic and thematic value for Krzysztof Kielowski to betray and do justice as director. Kielowski meditative directorial style tends to be tedious, when it's not simply bland, as it's not justified by accessible material, although, when there is material for Kielowski to draw upon, while it's never particularly effective, there ought to be some arousal to one's emotions, intelligence and, of course, aesthetic side. Kielowski at least keeps consistent in working well with the film's style, and even then, there's only so much flare to the visual style, and only so much music at all, but when Zbigniew Preisner's genuine classical score is played up, it's powerful its own right and complimentary to the emotive aspects of this drama, and when Sawomir Idziak's cinematography is really allowed to flesh out its - you guessed it - blue palette in the context of hauntingly spare lighting, a sense of near-dreamy intimacy is biting. The style is primarily effective on its own, and that's impressive enough, considering just how outstanding the film's score and cinematography get to be, but it does do a fine job of complimenting what resonance there is to this cold affair. The lovely Juliette Binoche helps, though not as much as they, as she is earning praise for a performance which has hardly any material to work with, but is still asked to project a sense of distance and gloom as a woman faced with tragedy. The leading Julie de Courcy character does nothing but mope, never even having a major emotional breakthrough, but Binoche's subtlety and grace humanizes such a thin role enough to reflect worthy inspiration in a film which generally aspires to be nothing more than tedious in its subtlety. There is enough effective dramatic and aesthetic value to save the final product, but just barely, as the film is so aggravating in its misguidance, something that a minimalist story concept cannot afford to be faced with. I've given my praise to the dramatic and thematic value of this story concept as an intimate character study and social allegory, but this narrative might be too intimate for its own good, being minimalist in scope and potential, as surely as it is lacking in originality. This story isn't especially new, or, if it is, then the uniqueness is obscured a good bit by an execution which is very formulaic, as confusing as that sounds, given the storytelling has an artistically offbeat approach to subject matter which is minimalist enough in concept. This is yet another abstractly structured French drama which is too wrapped up in its realism to pick up momentum, and although that's not where the excess ends in this focally uneven and repetitious plot, the ostensibly thematic meditations on meanderings are too monotonous to sell the allegorical which are themselves too subtle, and the dramatic elements which are themselves too thin, not unlike the characterization which is supposed to drive the dramatics. The supporting characters feel like inconsequential supplements to the story of a lead who, despite being faced with particularly rough times, is nothing extraordinary, and is hardly nuanced, being well-portrayed by Juliette Binoche, but thinly drawn by the inexplicably sizable writing team of Krzysztof Kielowski and Piesiewicz, Agnieszka Holland, and Edward ebrowski. As effective as Binoche is, that is, with pathetically thin material, I never could get invested in a lead too uninteresting and problematic on paper to be sold without extensive characterization, thus, this intimate character study loses a lot of dramatic intrigue that it cannot afford to part with, no when Kielowski, as director, takes such a subdued approach. The limply meditative storytelling structure goes accompanied by a limply meditative directorial atmosphere which has its moments, but, as you can imagine, primarily has hardly any material to draw upon with thoughtfulness, resulting in dull spells which are not occasional, or even recurrent, but all but consistent throughout this occasionally effective drama, drying out the atmosphere and trying your patience with enough tedium to frustrate. At the same time, there is plenty of simple dryness to meet the tedious moments, thus, the final product is too bland to be contemptible, but, make no mistake, it isn't exactly enjoyable, having its moments, but losing a lot of resonance through abstractionism, obviously never to be redeemed through entertainment value, whose absence secures the final product as totally inconsequential. Overall, there is some potential intrigue to this story concept which is done some justice when Krzysztof Kielowski, as director, finds realization in his utilizing thoughtfulness, haunting musical and visual style, and a solid performance by Juliette Binoche to establish highlights in effectiveness which save the film from contempt, yet are seriously rare, or at least feel as though they are, for there are enough natural shortcomings to the intimate narrative, conventions to an already problematically monotonous meditative storytelling structure, thinness to the characterization, - even of an uninteresting lead - and tedium to a punishingly subdued atmosphere to make "Three Colors: Blue" something of a weak squandering of time, and only the beginning (Gulp... down some coffee, because there's two more to go). 2/5 - Weak

Hatem A (au) wrote: 3.0/4.0Sweet tale of Bront Parrish, a horticulturalist (Andie McDowell) who marries French illegal immigrant Georges Faur (Gerard Depardieu in his English language debut) for him to get a green card and for her to get a New York apartment she has been dying for with a beautiful garden. When immigration knocks on her door asking questions, the two have to stay together and learn about each other. Predictable fare elevated by two likable leads (especially Depardieu) with unlikely chemistry and a smart script by director Peter Weir. Nominated for One Oscar: Original Screenplay.

Chris C (ru) wrote: Two Edgar Allen Poe stories directed by Romero & Argento. They aren't bad films, but aren't really that great either.

Paul D (nl) wrote: Goes some way to being a John Carpenter clone in style and music, although as a slasher horror it has a cult worthiness of its own.

Aj V (nl) wrote: This movie starts out boring, and just when it starts to get better, you realize how predictable the story is going to be, and the ending is stupid. Overall, an interesting movie, but not good.

jeebel (jp) wrote: Off-beat comedy? Bizarre...

Jonathan G (br) wrote: As generic of a thriller as the title suggests. There could have been some psychological tension if the screen time weren't spent on gun fights and car chases. Predictable, yet enjoyable enough.

Brian W (jp) wrote: I really liked this movie. A lot. It was awesome to hear the story of it's production at the premier as well as parts of the story that were left out. The crew had a total of five people fly to Ghana for two months during principle photography. As far as production elements go, I wasn't distracted away from the story of the film. There weren't technical or editing issues that pulled me away from the story. Maybe I only say this because I've spent so long inside of theater. The story was incredibly well structured. Even though I knew the missionaries survived (I saw two of them last night) I had no idea what miracle would come next to pull these men closer to freedom. The film is listed as a "Dramatic Thriller" and it is. The acting in the film is also good. Henry Adofo carries the film VERY well. He plays the situation very honestly and fully. He did a great job. All of the missionaries in the car portrayed very real and full characters. In closing, there are two kinds of films. Those that feel like a waste of time, and those that don't. This film was in the latter category. It is a movie I would love to watch again, and I probably will in theaters. It's opening all around the world, so there are many opportunities to see this great movie about miracles and men. I recommend this movie. Go watch it in theaters, it's that good.

Nathan A (ca) wrote: An intense, revenge fueled shooter. Though it's a side point of the film, a surprisingly good expose on human trafficking.

Juge H (ru) wrote: Making of oli kans aika hienoo kamaa. :)

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