The Tell-Tale Heart
When Edgar sees his girlfriend Betty getting up close and personal with his best friend Carl, he murders Carl in a jealous rage and hides the corpse under the floor of his piano room. Comes the night, and Edgar begins to hear strange sounds coming from under the floor...
- Stars:Laurence Payne, Adrienne Corri, Dermot Walsh, Selma Vaz Dias, John Scott, John Martin, Annette Carell, David Lander, Rosemary Rotheray, Suzanne Fuller, Yvonne Buckingham, David Courtney, Richard Bennett, Joan Peart, Elizabeth Paget,
- Director:Ernest Morris,
- Writer:Brian Clemens, Eldon Howard, Edgar Allan Poe (story "The Tell-Tale Heart")
When Edgar sees his girlfriend Betty getting up close and personal with his best friend Carl, he murders Carl in a jealous rage and hides the corpse under the floor of his piano room. Comes... . You can read more in Google, Youtube, Wiki
The Tell-Tale Heart torrent reviews
(kr) wrote: Madonna does good Documentaries and music videos but the edit on this was noxious. I felt sea sick after 20 mins then came the bone breaking and the machine guns. Then pause for a cheer. Twisted mess..really. Her voice was having a hard time too. Oh well.
(ca) wrote: Pattinson played as suburban retarded boy, Pearce playing as mysterious, skillful man. I like both their performances. I like the message, i like the execution, i like that Michod trying to always shocking us in his plot. Every minutes of "The Rover" is always about the process, which is make me very like it. Absolutely 5 stars !
(kr) wrote: Great movie on the though provoking level but I've never been a fan of people like her. Wish the ending was different.
(gb) wrote: First and foremost, do not assume that because Kevin Smiths name is at the top of this movie that there will be dick and fart jokes strewn throughout the landscape, rest assured they do not (well, only for the first 15 minutes)If you can move past the politics of this movie, it becomes this cinematic experience where Smith almost dares you to like Parks character.I did like the weird spin on conventional thriller/drama themes, shot almost Dogma circa 96 style, this little low to no budget movie kept me gripped throughout.Parks smashes it with long dialogue moments, cruel almost unhuman moments and even batshit crazy suicidal rightousness, Goodman is fantastic as always and nice to see Kevin Pollack crop up too.If you watch this movie with no prior knowledge of Kevin Smith movies then you will pleasantly surprised at the action, dialogue and the overall Lynch-style gritty lens you're forced to watch this magnificent masterpiece through.Not Smiths best, but still a monument to independent filmaking at its finest and also a way for Smith to show that deep down, beneath all the podcasts, publicity, tv shows and noise, he is and always will be an exceptional indie filmaker.
(br) wrote: Horrible film with a boring plot and poor directional efforts.
(fr) wrote: i dont feel that the acting was bad, just the whole concept and idea of this film was horrible. dragged out plot with no real gripping moments. woth seeing, but its not life changing.
(jp) wrote: North Country is a film powered by extremely good intentions in presenting a woman and her journey of feminist equality. The issue dealt with is such an important and empowering one. However, there is something to be said about subtlety in dealing with these issues. Instead, North Country often falls into TV-movie trappings as it delivers its message with all the subtlety of a sledgehammer. Awkward flashbacks intersperse with court scenes done with predictable and sentimental progression. While constantly wanting the movie to succeed, it ultimately feels too much like a history lesson that spells things out way too easily, instead of a film that lets the audience piece things together themselves. Charlize Theron tries hard, but the script is obvious and boring and she is lost among silly dialogue. As is Frances McDormand, a typically great actress, not given much to work with. The best parts of the film involve the relationship Josey has with her father. These form some of the strongest scenes. I love what North Country wants to say, but I became worn out by its lack of faith in the audience. Rating: 60
(de) wrote: lovly movie with my favourite songs
(au) wrote: my kids loved this when they were little
(br) wrote: Un drama policial convencional, pero no por eso menos apasionante y magntico. Llama la atencin el poder de la mafia rusa aqu representada, una mafia que no tiene problemas en hacerle la guerra a la mismsima polica de Nueva York. James Gray, el director (sin dudas, un gran autor), filma con mucha elegancia e inters en su propio relato, consigue ir dndole espesor a los personajes y a la trama, de modo que nos vamos involucrando cada vez ms en esta tragedia de tintes shakesperianos. El reparto es sublime: Joaquin Phoenix est excelente, como siempre, Mark Walhberg muy solvente, Robert Duvall no decepciona y Eva Mendes en su peak de belleza.
(au) wrote: Less PC than "The Producers" (1968) and funnier than anything Jim Abrahams and the Zucker brothers have made since "The Naked Gun: From the Files of the Police Squad" (1988), consider The Lonely Island's loony mockumentary "Popstar: Never Stop Never Stopping" to be the "This is Spinal Tap" (1984) for the millennial crowd. It's appropriately crass, pointedly satirical, and just broad enough to deliver big, stomach-hurting laughs to be forever cemented through interminably told in-jokes between jokey friends.Being the "Fear of a Black Hat" (1993) descendant that it is, you can bet that "Popstar's" parodical jabs successful target the absurdities of musical superstardom, its caustic bullets specifically taking aim at Justin Bieber and, more prominently, his cheese-stuffed 2011 rockumentary "Never Say Never." "Popstar's" Biebs is man-child Conner "Conner4Real" Friel (a magnificent Andy Samberg), an egotistical maniac in the process of pursuing a solo career after finding success with hip-hop trio The Style Boyz (its other members portrayed by Lonely Island staples Akiva Schaffer and Jorma Taccone).Whereas the real world's JB is perhaps better able to back up his bad behavior with undeniable musical talent (he's a percussionist prodigy who also happens to have an elastic voice), Conner's got nothing except boorishness that somehow, according to his publicist (Sarah Silverman), "makes so many people money." He surrounds himself with gaudy playthings to keep him smug, swag wanting-but-not-having friends who find the time to agree with everything he says, rappers who have more mystique he could ever call for with the snap of a one hundred karated, gold ring decked finger. Conner is the type of narcissistic celebrity -- the kind with a snapchat fetish and a deplorable habit of oversharing -- who grips the public's interest for no reason easily explicable.In "Popstar," we see Conner in the pre and post stages of the release of his sophomore album, which, like George Michael's "Listen Without Prejudice, Vol. 1" (1990), is preceded by a mega-seller so mega that numbers have to be Mothra-sized to ensure staying power. With catchy tunes like "Finest Girl" (which details Conner's plans to please a woman with the same force of the government's fucking of Bin Laden) and "Equal Rights" (a "Same Love" lampoon more bent on making it clear that Conner's straight as an arrow than actually catering to national discourse), the singer/rapper's certain that he has another knockout on his hands. But when copies hit stands is it clear that things aren't "connecting" as well as last time. Pitchfork gives the album, aptly titled "Connquest," a never-before-seen -0.4/10 rating, Rolling Stone throws its star system away for the poop emoji, and first week sales are an abysmal 64,000. Heavy duty damage control is imminent, and Conner and his cohorts are desperate to elevate him to the beloved figure that he once was. But everyone, it seems, wants him to get back together with The Style Boyz, who, according to the truckload of cameoing A-list musicians, remain to be an influential, everlastingly relevant group. Swallowing his ego could benefit him hugely. But Conner, so in love with himself and himself only, isn't so sure he can again embark on a career in which he isn't the strict center of attention. And maybe, like Conner, we'd prefer if things stayed strictly oriented in his direction - "Popstar" is at its weakest when it's most sincere. Because the last act of the film is dedicated to the sort of jokingly dramatic but still off-puttingly dramatic scenes that derail a classic sitcom every so often, the shift between riotous broadness to (mostly) straight-faced candor is jarring, especially since all coming before it is so jammed with long, loud, and ludicrous laughs that come every twenty seconds or so. But any comedy (especially a comedy released in the frequently uninspired 2010s) jammed with long, loud, and ludicrous laughs that come every twenty seconds or so is a sign of a good one, and "Popstar," by any standard, is terrific. As it went in "Anchorman" (2004), a similarly unabashedly wacky lark, having trouble breathing as a result of our amusement is an expected given. The jokes, visual or otherwise, are written with such knowing dementia and told with such sharpened comic timing that we don't have much choice but to rear back in our guffaws. With so many cameos (featuring wonderful guest spots from Maya Rudolph, Will Arnett, Justin Timberlake, and Pink), hilariously vulgar (albeit memorable) songs, and cultural mockeries (the movie's TMZ tickling is one of its funniest recurring gags), "Popstar's" too uproarious to fail. It's one of the best comedies of 2016. That it failed at the box-office, making $9 million against a budget of $20, both makes sense and doesn't make any sense. It makes sense because advertising was so awful - I remain haunted by the relentless Spotify ads that highlighted all the movie's least funny, most Sandler-esque cracks - but it also doesn't make sense because word of mouth has ample power and the film's much too delightful not to warrant a passionate recommendation. In any case, "Popstar's" destined to reach the status of a cult classic; it's the runaway success that wasn't.