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The Suit

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The Suit is a movies torrent of Santi Amodeo, Alberto Rodríguez. This movie was introduced in 2002. There are many actors in this movies torrent, such as Jimmy Roca, Manuel Morón, Vanesa Cabeza, Mulie Jarju, Patrick Makuala, Julián Davies, Juan Motilla, Richard Henderson, Carlos Lucas, Pablo Valdera, Pepa Díaz Meco, Quete, Manolo Solo, Paco Luna, Mamate. The kind of movie are Drama. The rating is 6.5 in www.imdb.com. This is really a good movie to watch. Please support us via sharing this movies to your friends . You can read more here Wiki, Youtube, Google

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Links Name Quality Seeders Leechers Size
Download   Alberto Rodríguez - El Traje (2002) Other 53 51 986.77 MB

Users reviews


Blake P (ag)

Let's call it an interesting experiment from brilliant minds - that might explain why there's an inexplicable disconnect. "Birth" is brave conceptually and visually, but I don't think it's a forgotten work of genius. A masterpiece should leave you spellbound, knocked off your feet, emotionally moved. Some modern critics consider "Birth" to be a misunderstood masterpiece (the prolific critic David Thomson named it a forgotten work of genius), but I'm not so sure. Lauren Bacall, Huston, Anne Heche, as the most exceptional members of the supporting cast, are strong as people who either know more than what they tell, or who are maybe indoctrinated by Sean's presence themselves but don't want Anna to take the illegal path of falling in love with a ten-year-old. Likewise, Bright delivers what I believe to be among the best performances of a child actor - his expressionless face, paired with an odd maturity, coaxes us into dancing under the same spell Anna is so fixated on. But her character is a victim of melancholy, guilt, and instability - and if confronted with the information that Sean knows so well, who wouldn't, against their will, be persuaded by his knowledgeability. And Kidman, an actress whose number of risky endeavors makes her the most daring popular actress in present-day Hollywood, gives one of her finest performances, convincing us of Anna's plight with sympathy that, in many other cases, could be misconstrued as desperation mixed with a slight pedophilia, if you'd like to go that far. Glazer's understated techniques implicate more. In another filmmaker's hands, its offbeat story would become too vocal for anything else to matter. His challenging methods are difficult to warm up to, but I cannot deny the artistry involved in "Birth," his fondness for close-ups and muted colors making the film randily disquieting. Though his calling card is 2000's "Sexy Beast," I've come to the premature conclusion that, while Glazer is a visual stylist of the highest caliber, he is not a filmmaker concerned with his audience, taking a liking to ensuring that the strangest of stories see the light of day and therefore acting as defiant counters to the mainstream. It is the second Glazer project I've seen, the first being 2014's "Under the Skin," which left me with a similar impression at first but ultimately has become something I've felt was underrated by me. And yet, it sits as a mirage before me, straightforward in terms of vision, but empty when I try to reach out for it. When putting into consideration what kind of film this is, and what it is going for, I cannot think of a single fault. We never necessarily react to anything because we don't know how to; it is a refined case of an impeccable film that is as apt at leaving the viewer cold as it is leaving them disturbed. It could either come to the conclusion that Sean actually is Anna's husband reincarnated, or it could prove to us that everything is just a cruel snow job. But it carries the burden of a premise that I just cannot accept, not necessarily because director Jonathan Glazer doesn't know what to do with it, but because no direction seems to be the right direction. And so "Birth" is exceptionally acted and directed, moodily toned and distressingly ominous. The aforementioned stunner of a scene is the most convincing example of unspoken mental ruin I've ever seen; in a film with such a ridiculous plot, a magnetic, drawn-out pause given to peer inside the mind of the subject is crucial. But when Sean begins spewing out information to Anna that rings as unsettlingly intimate, she begins to lose sight of a clear psychological state, really and truly believing that this ten-year-old is Sean, harming her relationship with her fiancee and her family in the process. Of course, such a claim seems, at first, preposterous. But this new sense of self is thrown completely out of whack when a little boy, also named Sean (Cameron Bright), pops in out of nowhere claiming to be her dead husband, reincarnated as a prepubescent. Her moving on is a quasi-festivity for her family. Anna's relationship with Joseph is a breakthrough in and of itself - her husband, Sean, died ten years previously, and grieving has been slow and torturous. Passing remarks from Joseph, faintly interrupting her concentrated turmoil, are an annoyance rather than a sign of an intimate relationship. The camera holds a close-up on her face for what feels like hours, watching as her expressionless face steadily becomes subtly undermined by an emotionally rising undercurrent within her soul. The music is all-encompassing and melodic, but the loud, sweeping sounds seem to have no effect on her. A scene defined by such a hypnotized lens comes early in the film, during which our leading lady, Anna (Nicole Kidman), attends a symphony with her fiancee, Joseph (Danny Huston). I like "Birth" best when the camera studies the characters like a psychiatrist with a hidden agenda


Calvin R (gb)

Fun, visually great, great voice over, and very good storyline. Excellent disney film


Eliabeth S (es)

I think I might have liked this more with any other lead actress


Francisco F (mx)

L'un des meilleurs roles de Delon. Fable subtile et derangeante sur la judeite et l'identite


James C (ca)

Still a grood slasher film. Although the plot is sometimes confusing and utterly pointless, the film still centers around Pinhead and The Cenobites thirst for souls. Considering its ghastly reviews, the film is decent


Jonny P (au)

"Pay It Forward" is pretty straightforward but there are a few surprises and emotional monologues that set this one apart from Lifetime original movies. It is a well-written story as the lives of these unrelated characters converge because of a single boy's dream. Osment again proves his ability to act as well as the adults and Hunt plays her vulnerable role well. Caviezel is the other actor that stands out as really delivering his emotions. Spacey is as good as ever with this role that allows him to play both an inspirational teacher and a fragile, abused man. It touches on real-world themes like alcoholism, divorce, domestic abuse, and bullying so that all audience members can relate in one way or another. It also doesn't hurt that it has a whimsical score by Thomas Newman and generates a great deal of emotion with its ending. It doesn't hurt that it employs the dynamic cast of Kevin Spacey, Helen Hunt, Haley Joel Osment, and Jim Caviezel. It sounds cheesy but the dramatic execution of this simple concept is enjoyable (a little farfetched, but enjoyable). "Pay It Forward" is the story of a boy's extra credit assignment to make the world a better place and the people who are touched by it


Kenny R (ag)

Had a few laughs. kinda goes nowhere, but just shows Cuban life


Michael T (it)

Heavy on the drama, which is unfortunate since Alice Faye was never a very good actress; the film only comes alive during her singing sequences


Mikko S (br)

"Invasion of the Bee Girls". K. A


Robert H (de)

But it makes up for it in atmosphere which when used correctly, is a much more powerful force. It has practically none of the above. Not really a film for those that enjoy lots of scares, violence, action or gore. In the end, it's love and the lack of love, much like the light and dark of the film, that moves this picture forward im terms of story. Multiple stories play out in this film with all being possible but not a single one being concluded. Lighting is key in this film as it is the shadows and the lack of shadow that creates the mood and framework around this character study of complex human relationships. A slow subtle horror film that preys on the fascination with voodoo that was going around in the 40s