A reporter doing a story on a Christian pastor who ministers to troubled teens doesn't realize that his own son is getting mixed up with a disturbed young girl and that both of them are headed for trouble. . You can read more in Google, Youtube, Wiki
The Restless Ones
A reporter doing a story on a Christian pastor who ministers to troubled teens doesn't realize that his own son is getting mixed up with a disturbed young girl and that both of them are headed for trouble.
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The Restless Ones torrent reviews
Franois M (ru) wrote: La question qui m'a suivi tout au long de ce film : Mais comment, diable, ont-ils pu attirer Joan Cusak et John Goodman dans cette galre ?On pourrait croire que c'est un film de dimanche aprs-midi pluvieux, pop-corn et couverture, mais il y en a tout plein d'autres qui peuvent faire le travail (Nothing Hill, Bridget Jones, Trainwreck, Holidays etc).Ici, c'est pas trs drle. peine sympathique et pas trs bien jou...Superficiel, peut-tre mme plus que le film de Sex and the city...
Briana H (de) wrote: Pattinson was so good. Cute story too.
Matthew P (nl) wrote: Catch and Release is the kind of film that has a lot going for it, but fails because some of the choices in cast and direction don't allow for it to succeed. It opens and closes well, but lacks purpose for much of the second act. It introduces a lot of story points that could be interesting, but the film doesn't highlight which ones we should be paying attention to, leaving us confused about what is important and what isn't. And Jennifer Garner plays the lead, a mourning widow named Gray. For the first bit of the film, I actually thought that Garner might have finally found a role that she could excel in. She opens up fairly emotional, and given that her husband-to-be recently passed away, that seemed like an appropriate reaction. But as the film progresses, she shows us that this small burst of emotion was too much to maintain, and the rest feels forced and unnatural. Her character is also very inconsistent, changing demeanor within scenes at times, but given the tragedy I figured that was intentional and not Garner's fault. Anyway, after the funeral, we start to get into the meat of the story, something that is far tougher and gristly than it should be. Gray lives with a trio of men, all of whom were her fiance's friend. The first is Fritz (Timothy Olyphant), a commercial director from Los Angeles who isn't technically living with them, but more overstaying his welcome. There's also Dennis, a man who has nothing to define him as a character, and Sam (Kevin Smith), who plays the funny man, presumably because he's played by Kevin Smith, a funny man in real life. Also joining the story is a woman named Maureen (Juliette Lewis), whom we learn had an affair with the deceased and has secretly been getting checks for child support. The child is legally entitled to the money he left behind, assuming a DNA test proves that it was his son, although Gray cares more about the infidelity than the money, as is to be expected. These characters all spend a great deal of time together, doing nothing of importance for the next hour or so, leading up to a somehow satisfying conclusion. I'm not sure how it works. Somehow, some way, all of this meandering allows us to get to know these characters and we understand their relationships with each other, and when it's finally time to wrap up, it's a somewhat powerful conclusion. There are a couple of touching moments scattered throughout the overlong middle that almost make it worthwhile, and once the finale comes, we realize that we do care, and that the time hasn't been completely wasted. It really sneaks up on you, and while exactly the most touching of conclusions, it's kind of neat to have it all wrap up nicely. It's logical, sweet, and the type of feel-good ending that the movie's overall tone tried to avoid for as long as it could. It's like the inevitable had to come, and the middle was as long and boring as it could be as a stall tactic. "Let's drag this out as long as we can," it says, "and then we'll make them feel satisfied when we finally finish." It worked, I suppose. There were a couple of subplots that really didn't connect, though. For instance, Dennis, the plain guy, apparently has a crush on Gray for the entirety of the film -- while she's starting to fall for Fritz, who returns the favor. But Dennis doesn't let us, let alone Gray, know this until close to the end, and then the whole subplot is wrapped up like that. Dennis has nothing to define him as a character up until that point, and then he reveals this, and we're supposed to care, apparently, even though the Gray/Fritz pairing had been working out just fine. And then there's the one involving the deceased's mother (Fiona Shaw), who shows up intermittently just to make everyone else unhappy. And then her character changes completely for seemingly no reason. She had no real reason to be there except to keep the tone downtrodden -- which, I'd like to point out, is in direct opposition to the reason Kevin Smith was in the film, which was to liven things up. It's an uneasy balance that doesn't quite work out. In fact, Kevin Smith was the only one in the film that I really liked. He livens things up, and his demeanor is in such stark contrast to everyone else's that I gravitated toward him. He lifts things up from the depressed state that everyone else is in -- even when they're supposed to be "happy" -- that you can't help but want to see him in every scene. And he even gets a nice little subplot with Maureen and her child, which is sweet enough in its own right, especially after an earlier event in the film where he hits the lowest of lows. As I write, I start to like Catch and Release more and more. I wasn't terribly pleased while I was watching it, and I still think that the second act was overlong and overloaded, leading to confusion regarding what's important and what isn't, but since the beginning and ending are quite strong, it left a good impression in my mind. And thinking back on all the little moments that worked -- I think they overpowered the ones that didn't. It's not really a good film, and I'm feeling very mixed on it, but it does enough right to maybe, just maybe, be worth your time.
Sherif E (ru) wrote: Best movie ever about vegetable.
anthony r (ru) wrote: a 13 year old substitute teacher for a very poor village school, goes to the big city to look for one of her students, they experience lonliness, begging for food. good movie, rent it!
Chris C (de) wrote: This is a hard movie to rate, while its pretty unusual its seems very much like a Coens Brother film (because it is). I liked it but I didn't love it.
Ivan N (ca) wrote: At first I thought that this film was going to bore me,thank god I was so wrong. I'm no rich kid but I like how sometimesdirectors portray this type of people in a very human way. WhitStillman did this at it's very best (Wes Anderson also did a greatjob with portraying rich kids in the amazing 2001 film The RoyalTennenbaums which is an awesome film). Set during the 1990debutante season in New York this one gives you an inside lookat a world that not many of us can't enter or even have a glanceat it. Although not much happens in the film the excellent dialoguewritten by Stillman himself does justice to the lack of action onthe film. Many people will think that these people are snobs buthey, I thought that they are cool snobs and very normal kids.
Ida K (es) wrote: This is a cute 80's kid movie. Unfortunately, I am not a kid and it's no longer the 80's!
David B (es) wrote: This animated 1970s French film is highly creative but emotionally empty. Watch it if you want a short (60 min.) dose of psychedelic stop-motion animation, replete with imaginative alien species and a glimpse at humanity gone caveman. While the oppressed people group motif makes for interesting cinema, here it falls short due to its underdeveloped social dynamics. How does the protagonist feel about the Draags or his master in particular? Is he fully accepted by the other Oms? These depths are never explored. Instead, the storyline plods along, skipping a few plot points along the way, and then ends abruptly. The themes change abruptly too, moving from Bildungsroman to the clich "oppressed people group fighting against oppressors" motif. Even the protagonists' role changes midway as he himself becomes irrelevant to the plot. If the audience cared about him by this point, they would be wondering what happened to him-we're never told-but alas, the plotline is so flat, the emotion so sparse, that the audience hardly connects with him. The other Oms barely seem to connect with him either, for that matter. In short, watch it if you're looking for a memorable merge between fantastical sci-fi and stop-motion animation. If you want a glimpse at human complexity, look elsewhere.
dan b (de) wrote: Toho takes Frankenstein's monster and gives him a Godzilla-type makeover. Strange but also strangely watchable.
David B (de) wrote: Amazingly fresh and humorous film of Waterhouse/Willis play translates well to celluloid. Billy Fisher lives in his own world sometimes and is often bored with his humdrum existence as an assistant at the funeral parlour run by Shadrack and Duxbury. He is constantly harrassed by his family who try to bring him back to Earth. Familial relationships are harsh but Billy's mother has warmth as played by the brilliant Mona Washbourne. Billy dreams of leaving for London to escape his dull surroundings. Julie Christie plays the love interest to fabulous Tom Courtenay in a great performance requiring tremendous range and technical acting ability. Britain has never seemed so bleak in black and white as directed by John Schlesinger a few years before Darling, Midnight Cowboy and Marathon Man. Recommended.
Timothy J (es) wrote: You can't go wrong with Bogie! With Peter Lorre, William Demarest (from "My Three Sons"), Jackie Gleeson, Phil Silvers. A good propaganda film about Nazi's infiltrating America.
Shira P (ru) wrote: It was a great movie and i find your rating terrible as you can tell the people like this so obviously you guys don't know which tomatoes are rotten.