The Son

The Son

A joinery instructor at a rehab center refuses to take a new teen as his apprentice, but then begins to follow the boy through the hallways and streets.

A joinery instructor at a rehab center refuses to take a new teen as his apprentice, but then begins to follow the boy through the hallways and streets. . You can read more in Google, Youtube, Wiki


The Son torrent reviews

Aditya M (mx) wrote: In the opening minutes of this buoyant documentary, Dave Grohl and co. gleefully rattle off the legendary artists and albums that have been associated with the titular 'Sound City' music studio: "Tom Petty. Fleetwood Mac. Rick Springfield. Neil Young, man. Cheap Trick. The Chili Peppers. Rob Halford. Pat Benatar. Kansas. Guns N' Roses. Nine Inch Nails. Nevermind. Hot-Blooded Foreigner. Slayer. Ratt. Johnny Cash. Carl Perkins. Metallica. r.E.O Speedwagon. Michael McDonald. Mick Fleetwood. Buckhingam Nicks. Stevie Nicks. Masters of Reality. Frank Black. Brisbane. Rick Rubin. Kyuss. Weezer."The camera then lingers on an awed Corey Taylor, who says "Dude, how many fucking amazing albums have been made there?" Over the next ninety minutes or so, we find out exactly that, and more. I wish I knew more about music so that I could appreciate this film better; it will be an absolute feast for knowledgeable fans.'Sound City' transitions from an examination of what attracted some of the greatest names in music to a nondescript, shabby studio to a wistful lamentation of how technology has taken some of the sweat and soul out of the industry. Throughout, however, the film is just bursting with a passion that you can't help but be infected by.

David H (jp) wrote: A grandious Adaption of the Opera Carmen directed by Ernst Lubitsch and starring the wild & beautiful Pola Negri with a bombastic Soundtrack and lot of Extras the Battle between the Dragoons and the Gypsys are made realistic like the Battles in D.W. Griffith Movies

Guillermo B (ag) wrote: Summary: Final Destination 5 delivers mind-blowing special effects, suspense, and an unforgettable bridge collapse sequence. 84/100 [B+]Directed by Steven Quale, Final Destination 5 is undoubtedly the strongest installment of the franchise. Why? The script was improved and the movie is well-directed. The special effects were astonishing. The bridge collapse sequence was epic and unforgettable. This scene has the best CGI I have seen, everything looked so real. Also, the sound mixing and the editing were surprisingly well done. Final Destination 5 has the right director, writer and cast. The main character played by Nicholas D'Agosto did a good job, and his co-star Emma Bell clearly knows how to scream out loud, I loved her final scream in the bridge collapse scene. The rest of the cast was good enough, nothing special. Moving on, most of the characters were likable and I cared about them. There was only one character that was painfully annoying, Isaac performed by P.J. Byrne. He was unnecessary and silly.This is my favorite movie of the franchise. Final Destination 5 may be as messy and pointlessly gory as the other installments of the franchise, but the difference here is that the script is better, and no line is wasted. Also, the movie had no jump scares, I loved that. The director created a suspenseful and scary atmosphere throughout the film. The death scenes were amazing, intense and sometimes exaggerated. Steven Quale has potential. He did a pretty good job with this movie, and must do more movies like this in the future. Anyway, my conclusion is that this entry is as messy as the previous installments, but the writing was improved, the suspense and the direction were neat too. I have heard that the 3D effects here were eye-popping, I can not wait to see it on 3D. Surely FD5 has flaws, but I do not care, it was entertaining as hell to me. I highly recommend it for fans of the franchise. [B+]

Papa F (es) wrote: A heartbreaking drama, raw, poignant, shocking, humiliating ... All what a movie should aspire.

Robyn M (ru) wrote: Marla Olmstead is an artist... so what's the big friggin' deal?ANSWER: She's a child who's just out of Diapers and still learning her ABC'S.Documentarian Amir Bar-Lev was sent to debunk any doubts and coven the bad press that DATELINE Instilled onto the Olmstead clan.The only problem was Dateline and others before Amir weren't half wrong. The publicly alone was proven to be a strain on Marla's family and her parents marriage.

Wes S (au) wrote: So typical, it plays out like a generic slasher movie, but with separately-shot bear footage badly edited with people getting hit with furry arms and blood added to the lens. The characters are poorly written, and the ending is awful, but at least everyone who deserved it died.

Aragorn K (mx) wrote: Everything about this film is intentionally understated--from the acting of the talented lead, Pauline Acquart, to the way in which the film was shot. Everything comes together to create what is an almost perfect film with a beautiful message.

Sean D (mx) wrote: The movie gets boring near the end. It isn't even a remake, as it has absolutely nothing to do with the original, I should know. I watched them back-to-back. The concept is just freaking weird. And there are apparently two sequels, one is unofficial and could be a sequel to this or the original film. The other is "Coffin Baby" that came out in January of this year. It's definitely still creepy like the original and better than the original, that never happens. The only similarity between this and the original are the same tools used to take out the victims. Not in the same order through. Same Flintstones looking toolbox used.

Steven C (ca) wrote: Good, as existentialist documentaries go.

Laurel S (au) wrote: I only say bits of this but I really enjoyed it.

i C (mx) wrote: 5,5/10Expected more

Kevin M (es) wrote: Ignore all negative reviews! I started watching this movie thinking I wasn't going to like it, based on the negative reviews it got. But, once the pace and plot picked up, it actually turned out to be a fun and witty movie. Granted it's far from perfect, but Katherine Heigl fit right into the role of Stephanie Plum.

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Stephen L (br) wrote: I laughed a lot more than I expected to. And the ending probably earned it the extra half star.

Blake P (mx) wrote: In 1984, Prince was only getting started. He was hot off the success of 1982's "1999," whose multiple hit singles catapulted him into stardom as one of rock's most versatile (and most mysterious) performers. An artist in his shoes would simply capitalize on recent triumph and outdo themselves with their next release, hoping audiences would continue on their musical journey with them. But Prince, the founder of Minneapolis sound and an icon of stylistic androgyny, was not your typical musician. With hopeful music executives by his side, a band of amateur filmmakers and actors was strung together to make a movie supplementing his subsequent album, "Purple Rain" (1984). Resulting is a sonically electric, if dramatically stale, musical drama unforgettable in its vision. Prince, then twenty-six, stars as The Kid, a young, troubled Minneapolis musician trying to make it in the music industry. With a slot at the famed First Avenue nightclub, he's destined for superstardom - but with an unstable home life (his father is a drunken abuser) and a tense relationship with his bandmates (guitar player and keyboardist Wendy and Lisa are frustrated by his refusal to take their solo work seriously), there's a good chance that he might derail a rewarding future before it can come to him. Rivalry comes in the form of Morris Day (playing a fictionalized version of himself), a charismatic showman taking up another spot at First Avenue, and romantic interest is embodied by Apollonia (also playing a fictionalized version of herself), a hopeful torch singer possessing looks that could kill a man. So it's a problem when Day oversteps his bounds and threatens to steal Apollonia away from The Kid - the latter, much as we love him, isn't so levelheaded when confronted with jealousy. Fortunately, his musical responses to his setbacks are explosive. As a child of the 2000s, one can say that my love for Prince is entirely different from that of your hip father in his fifties. A music lover whose fanaticism over the Purple One has lasted only for a reasonably brief amount of time (I've inherited most of his catalogue through my enthusiastic dad who'd rather not think about Prince's defiant 1990s), indulging myself in his best music has been a central part of my life. And yet, viewing his iconic "Purple Rain" has escaped me for years. Upon hearing of his tragic death a little over a week ago, I've been feeling empty and unappreciative, as if I didn't quite treasure him enough while he was alive. I'm sure the majority of his fans feel that way, too - most thought we'd have him long into his 90s, still playing knockout shows around the time retirement home living would have been more suitable. Seeing him live was on my bucket list; I want to kick myself for not attending a concert and having an out-of-body experience in the process, but, once again, the opportunity never came to me. All I can do, for now, is surround myself in his music, his few interviews, his recorded live performances, and "Purple Rain." Though he had a brief film career in the 1980s (he disastrously directed and starred in Old Hollywood homage "Under the Cherry Moon," "Purple Rain" semi-sequel "Graffiti Bridge," and headlined a concert movie revolving around his "Sign o' the Times" tour), "Purple Rain" remains to be his crowning cinematic achievement. A typical show business drama carrying the sweet scent of moviemaking inexperience (sorry Albert Magnoli), it avoids delving into so-bad-it's-good-territory by depending enormously on Prince's spiritual duende, and by wisely spending more time with musical sequences than with dramatic ones. I'm iffy regarding its theatrics - The Kid's tragic home life is more contrived than anything you'd see in a typical TV-movie-of-the-week, and his relationship with Apollonia is developed hastily and thinly - but the overarching ambience of "Purple Rain" made me forget to think about my many inhibitions. It's much too lovable for skepticism. It has, in no doubt, dated in the thirty some years since its release, and it has, if anything, become a cultural artifact rather than an ageless mini-masterpiece akin to "The Rocky Horror Picture Show" (1975). But we can also feel the abundance of feelings audiences of 1984 did while watching "Purple Rain" for the first time, most notably the feeling of being overcome with an affection for Prince. It's like we're discovering him all over again, becoming as new as he was to most at the time. And in some ways, its campiness and assemblage of dmod hairstyles and outfits has made it better; experiencing the sense of being transported to a completely different time is intoxicating and, dare I say it, fun. So while "Purple Rain" is pretty bad - nobody in it can really act, the writing and directing amateur at best - it's a good kind of bad, nostalgic and good-natured and passionate and sometimes thrilling. The soundtrack is stupendous, Prince a great presence. Kotero is lovely, and Day is an effective bad guy, if you can even call him that. The climactic rendition of the titular song is almost religiously potent. In response, I can't give "Purple Rain" a failing grade, or even an average one: I loved it, despite its shallow dramatics. Extreme bias sat on my shoulder throughout viewing, and I've been devoted to its soundtrack for years. But anyone buying a ticket to see the film in theaters again all these years later undoubtedly feels the same way. One doesn't just like Prince; there's a special kind of love for him that latches onto a part of the soul, never to unhook. I miss him terribly. But what an amazing legacy he's left behind.

Hans H (au) wrote: While it may not provide much in the emotional aspect, there's no denying Kung Fu Panda is quality entertainment, providing more than enough action and comedy to win over families and genre enthusiasts.