Sophie "inherits" her uncle's preserved whale and finds out that whoever sleeps in the whale's belly with her will be granted one wish. That causes chaos and hatred in the village. . You can read more in Google, Youtube, Wiki
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Rich A (es) wrote: This did not bring back good memories. Awful movie of the TV series
Gnetahn J (jp) wrote: Is Malcom Mcdowell out of work. Have people stopped making films. Have we arrived at the lowest clap/cheer factor ever, only equal to cruise boat entertainment. Have we left our eyes, ears , and sensibilities at the door. This is a; how to make great actors bad and bad actors worse. Malcom, didn't Caligula teach you anything? Is this a movie about not crossings cracks, break your mothers back. I liked STEVIE WONDERS SUPERSTITION BETTER-DESTINED TO BE A CLASSIC. Oh it is a classic. OK, with a re write and a re- edit it could be a trailer to a great film. It poses an interesting idea. One trillion dollars "how evir." That's right, I said it "Evir." Your so bad baby. This assembly of moving pictures is just a trailer destined for a back stall at a mediocre trailer park. I have to draw the line and that is; if anybody read between the lines they would have found only blank paper. Oh I can't even give this any tomatoes. Truth which truth, I want my time back.... or at least a cool Auzzie accent, yea right. concerned citizen
Stacy G (es) wrote: Much better than the last 2 - possibly the best of the bunch!
M (ca) wrote: Perhaps one of the few sequels that's as good as the original.
Tina T (de) wrote: NICE STORY TO LEARN FOR LIFE TIME
Ro D (us) wrote: Almodovar in his finest moment i really like it
Jennifer S (jp) wrote: Everyone has to has to has to see this movie. I saw it for the first time in my Chicano Studies class at UCSB.
Blake P (it) wrote: Spellbinding is the way a disconnect can exist between your perception of yourself and the perception others have of you. To attempt to figure out how the two differentiate is an exhausting endeavor, hardly mattering because most are adept in understanding their presentation of themselves and how to maintain it alongside their self-possession. But for every person of the latter type, there's another appearing to be completely oblivious to their surroundings. Personality is a given, but varying is how it is viewed in the eyes of another. Robert Altman's unsettling "3 Women" is a character study fascinated by this phenomenon. It watches in disbelief as its titular trio studies, reflects, shifts, and eventually merges in their individual guises. Like with Ingmar Bergman's elusive 1966 masterpiece "Persona," we don't so much feel as though we're watching a foray into cinematic realism. "3 Women" is, rather, invested in manipulating what's expected of any given character, how changes in their dispositions can make way so long as the filmmaker behind it all chooses to. But the movie is so unnerving because its manipulations aren't so obvious. Contrasting to later day homages like "Mulholland Dr." and "Certified Copy," never is there a direct sense that we're watching the director's version of a seductive mirage. Such a quality isn't apparent until the last half-hour or so, when drastic shifts in character swirl around us with curious menace. What Altman is trying to accomplish with "3 Women" is hard to easily grasp. But its hypnotism is unbreakable; it's akin to an unforgettable dream, inexplicable yet fetchingly enigmatic. We want to know what's lurking beneath the surface of it all. We're certain that there's more than what meets the eye. It takes the shape of a horror movie, utilizing an eerie soundtrack and voyeuristic camerawork to increase our anxiety. Nothing truly horrific is ever presented to us per se; I think Altman, whose writing and directing is unrelentingly mysterious, figures the best way to make "3 Women's" idiosyncrasies avoid pretension is to establish an unstable environment, an environment on the verge of collapsing or on the verge of violence. Its three leadings characters, though three-dimensional and instantaneously graspable, only accentuate this disquiet. We feel as if we know them, but their auras are lined with nervous unpredictability. The film stars Sissy Spacek as Pinky Rose, a timid and cryptic young woman from Texas in California to start a new life. What she's running from (if she's running) is unknown - Pinky is the kind of person that disappears into the background of every room she enters, too withdrawn to make herself a noticeable presence in another's life. She quickly gets a job at a daytime spa that specializes in caring for the elderly and the handicapped. There she meets and takes a liking to Millie Lammoreaux (Shelley Duvall), an extroverted employee who appreciates Pinky's attention but is apprehensive toward a full-fledged friendship. Pinky is a little strange, after all, and Millie is the life of the party, the prettiest and most liked person in the room. Or so she thinks. Whereas Pinky is reticent in her existence but seemingly happy about it, Millie believes she's a glamorous catch when the truth is far and away. Men she flirts with mock her behind her back. The women at work all but ignore her when she attempts to converse with them. And yet she seems to be blissfully unaware of everyone's indifference, talkative, poised, and smitten with herself. But some of her security departs when her roommate moves out, leaving her alone in a world that she is convinced revolves around her. Millie posts an advertisement on the bulletin board in the hospital cafeteria across the street from the spa. Pinky notices and enthusiastically accepts. Before long, the women are living together, initially symbiotically. But as their relationship develops, unexplainable dislocations in their personalities come to light. And the changes are not expected or average, like roommate disagreements or spats over romance. Something fanciful, something almost fantastical, is at hand. What it is, though, is unclear. "3 Women" only seems to heighten in its perplexities as it goes on, escalating in its erraticism until it doesn't seem to be of this Earth. How it specifically develops I cannot say. But who are Millie and Pinky? Are they roommates, beings always meant to be together, or are they a single person seen as two? The inclusion of the third woman adds to the mystery. Named Willie and played by a largely silent Janice Rule, she spends most of her time in the desert at an abandoned recreational center turned bar, wasting the days painting disturbing murals on much of the decor. Pregnant and peculiar, she seems to exist outside of the natural world, drifting in its shadows, never to be tied down. How these women are all connected is laborious to pin down. But I believe Millie is the only "real" character among them: Pinky exists more as an extension of the latter, reflecting her best and worst qualities with exaggeration, and Willie is an embodiment of the doubts she has about herself, always stalking the premises but never quite intrinsically there. Within the first hour of "3 Women," Pinky is what Millie should be - understanding of her rejection by society and aware of her loneliness. In the second, when the two have effectively switched personalities, Pinky is what Millie strives to be - enchanting to all and dangerously alluring. Millie believes herself to be one way but is actually another; Pinky shapes herself into what she finds entrancing and does it better; Willie represents her kept hidden disillusion with herself. But such observations only makes for general analysis. "3 Women" is better viewed as a movie that we cannot explain. It finds its setting in a land distinctly separate from our own, where the prosaic is profound and where no one knows themselves as well as they'd like to think. The film's obsession with dismantling one's sense of self makes it remarkably macabre. In this cruel world, knowing who we are is all we have. And yet it finds most of its intrigue by unraveling Millie's own comfort in her discernment of her existence. Days later and I'm still agitated by its audacity. "3 Women" is certainly one of Altman's most offbeat films, and is certainly one of the great cinematic wonders of the 1970s. Duvall and Spacek give sensational performances (made all the more difficult due to Altman's insistence on extensive improv); the atmosphere is unearthly and influential. But I quake in fear when looking at the film from a retrospective eye; there's something invasive, something personal about it, that chills me. I'm not sure what. I don't believe I could ever watch it again. But what an unprecedented, brilliant movie it is.
Mark K (fr) wrote: instead of watching a person die of thirst and starvation, go watch a fish drown...........................itll be less boring.
Jamie C (us) wrote: Good film, Nice plot and very different and very well done with some good deaths.
Sandeep N (ru) wrote: U2 made me watch this with their soundtrack for the movie, Hah. Well if you are new to Mandela story this movie would be a neat summary of his life long struggle and what a struggle! Idris Elba consumes every inch of the screen with his magnetic performance as Mandela and it is a powerful motion picture with lot of heart, passion and respect for an Ideal for which he was prepared to die! Do watch, let it move you a bit.
Tim L (it) wrote: I'm glad I finally got to see one of the most influential pieces of British science fiction from the 1950's. And I'm pleased to say I wasn't disapointed. The writing, direction and acting are all great for the time, and you can tell the film-makers have thought about what they're doing - showing just the right amount of the action and leaving the rest to the audience's imagination. This is a technique often forgotten by many film-makers, and adds nicely to the suspense; letting the watcher become more involved in what they are watching. This, coupled with the black and white film and dark, brooding cinematography helps you appreciate why this film was effective in scaring the pants off movie/goers at the time, even if it's not particularly 'scary' by today's standards. The main character, an astronaught who becomes infected by a strange alien parasite, is excellently embodied by Richard Wordsworth, who genuinely looks emaciated, ill and terrified throughout. This gives, what could have easily fallen into 1950's 'B' Movie territory, a gravitas and reality that is enticing. The camera shots are also well thought out; employing focus, panning, tracking and lighting effects to further throw the watcher into the uneasy setting of the film. Overall, a very effective early science fiction film that is only equalled in my eyes by the superb original version of The Day The Earth Stood Still. I really want to see the TV serial now!
Love A (ru) wrote: Regardless of the Plot, Gabriel Macht did an awesome job. He should be a leading man more. Saw him too in Because I said so. Who wouldn't be addicted to him.!!!
Vincent L (br) wrote: Jack Reynor's performance was great and accurate. Would have been a disasterous film if he was not good as it was all about his character.
Brian D (nl) wrote: Reviewers need to review this title!