The Watsons Go to Birmingham

The Watsons Go to Birmingham

In the Summer of 1963, Flint, Michigan is home to the Watsons, a close knit family. When 15 year-old Byron’s antics go over the top, his parents realize enough is enough and they decide the family needs a dose of Grandma Sands' no nonsense approach in Birmingham, Alabama. So the Watsons load up their 1948 Plymouth Brown Bomber and head South. When they finally make it to Birmingham, they meet Grandma Sands and her friend, Mr. Robert and discover that life is very different there than in Flint. During that historic summer, the Watsons find themselves caught up in something far bigger than Byron’s antics; something that will change their lives and country forever.

Set in the Summer of 1963, Flint, Michigan is home to the Watsons, a close knit "All American Family" made up of Daniel and Wilona Watson, (Harris and Rose) and their three kids, 15 year-old juvenile delinquent Byron (Knight), nerdy 11 year-old Kenny (Jenkins) and eight year-old adorable sister Joetta (Jackson). When Byron's antics go over the top, his parents realize enough is enough and they decide the family needs a dose of Grandma Sands (Richardson) no nonsense approach in Birmingham, Alabama. So the Watsons load up the 1948 Plymouth Brown Bomber outfitted with a true tone Ultra-Glide turntable and head South with plenty of comedy en route. When they finally make it to Birmingham, they meet Grandma Sands and her friend, Mr. Robert (Grier), who show them around town and the Watsons discover that life is very different there than in Flint - and not necessarily for the better. During that historic summer, the Watsons find themselves caught up in something far bigger than Byron's ... . You can read more in Google, Youtube, Wiki

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The Watsons Go to Birmingham torrent reviews

Mario M (it) wrote: Seriously wtf is this guy even talking about

Eliabeth S (mx) wrote: it was really great i actully thought quintin tearentino made it

Alejandro S (it) wrote: Es un extraordinario filme independiente. Con excelentes actuaciones de Amy Adams y Emily Blunt. Ella interpretan a un par de hermanas que se meten en el negocio de limpiar escenas de crmenes. La cinta cuenta con el gran talento de Alan Arkin, haciendo del padre de las hermanas, y un impecable reparto de apoyo se les une con Clifton Collins Jr, Mary Lynn Rajskub, y el joven Jason Spevack que no se intimida entre este elenco y saca su rol como el hijo del personaje de Amy Adams. Es una gran pelcula sobre las dificultades de salir adelante en la vida, las cosas que tienes que hacer para mantener a tus hijos, y sobre todo sobre el valor de la familia. As mismo sobre la importancia de valorarse a s mismos y de no rendirse a la vida, ya que te puedes perder de muchas cosas. Altamente recomendada.

Jason A (au) wrote: This looks suspiciously like Napoleon Dynamyte.

Andy H (ca) wrote: It breaks all of awdry's origional railway realism rules, the acting is crumy, & it's a very poor representation of the show itself

Chase D (es) wrote: A wonderful coming-of-age film about a disfigured boy. Don't watch if you don't want to cry in front of your girlfriend.

Sebastian C (kr) wrote: a bit schizo and intense, after all this time it seems like a completely strange language to me. although i can appreciate it, Im unfamiliar with its codes.

Joel K (ca) wrote: Decent story. Good cast Reynolds, Skerritt, Welch. I like James McEachin in all his bit parts. Raquel Welch's wardrobe in this movie is great. They could have done a lot more with Welch's character and with Yul Brynner's bad guy character. Could have been a lot better, but how can you ever top real quality 1970's chase music from a movie? That's just it you can't.

Cameron J (de) wrote: Marlon Brando is sabotaging yet another ocean voyage in "Mutiny on the Nazi Merchant Ship"! Actually, the familiarity doesn't end there, because the title makes reference to Suetonius', "Ave Imperator, morituri te salutant", quote to a Roman Caesar ("Julius Caesar"), and the film features Brando as a German during WWII, like "The Young Lions", so it would appear as though Brando's career through the late '50s and early '60s was leading up to this point. I'd say it's a real shame that it was a serious financial disappointment, but that makes it even more fitting as a follow-up to "The Young Lions" and "Mutiny on the Bounty". Those films and this film are pretty darn good, but they didn't exactly make Brando's star power, so much so that in a desperate attempt to make this film seem more commercial, they reissued it as "Saboteur: Code Name Morituri". That's too much to remember, so I don't know how exactly it made the film more marketable, unless, of course, they reissued this film in the late '80s and wanted to trick nerds into thinking that it is the film adaptation of "Strikeforce: Morituri". I'm not especially familiar with that comic, but I have heard about the premise, and it's even more convoluted than the title "Saboteur: Code Name Morituri" (I'm telling you, they should have gone with "Mutiny on the Nazi Merchant Ship"), so I can see where people would get confused for a different reasons. Hardly anyone wanted to see this film in the '60s, and no one wanted to see it in the '80s... or whenever it was re-released, which is bogus, because, again, it's pretty good, in spite of its flaws.An intimate, humanly charged thriller, this drama thrives on subtlety, and that just makes it all the more glaring when the storytellers lapse into some sort of artificiality, in characterization, set piece designs, and dramatics. Contrivances are actually not that big of an issue, but when they do come into play, they typically fall over key moments in dramatic progression, their laziness stressed both in contrast with the gripping subtleties, and by the conventions that plague important areas throughout the course of this film. The character types are also familiar, and quite frankly, they stand to be more so, because even though expository shortcomings aren't glaring, to where you fail to get an adequate sense of background to the characters, the motivations in certain character actions feel rather hollow, being unconvincing and not quite enlightening to the layers of characters in this drama about the dark depths of humanity. These brief, but distinct missteps in characterization defuse the dramatic tension of this thriller, superficializing the consequence and importance of the subject matter, whose sense of urgency which ought to compensate for setbacks in emotional investment go challenged by a certain safeness of the time that the script sometimes does a good job of transcending through graphicness, and, of course, by the film's length. All of these contrivances, conventions, expository lapses, and hiccups in tension are recurrent, but somewhat meager issues that pale in comparison to the film's biggest problem: pacing, which is retarded by long lapses in material and progression that grow repetitious, further chilled out by cold spells in direction. The film is adequately entertaining pretty often, and when it isn't, its thoughtfulness either cuts deep, and falls over aimlessness and only exacerbates the blandness, which in turn exacerbates a sense of urgency in this undercooked and conventional thriller. The final product all but sputters out short of rewarding, but it compels pretty thoroughly more often than not, maintaining your investment sufficiently, and doing sufficient justice to promising subject matter.It's the storytelling that's lacking in teeth, that is, from time to time, because the story itself, while rather familiar, it all around weighty, with a chilling sabotage tale, backed by thought-provoking themes regarding the dark depths in most everyone, especially during war. Daniel Taradash's script can do only so much to draw upon the edge of this subject matter, what with its being for a film of the 1960s, but he always delivers on wit to hold your attention adequately, and when he does challenge superficialities of the time, through graphic dialogue and somewhat artificial, but nonetheless audacious elements, his inspiration cuts like a knife. Taradash has ambitions, and can back it up with sharp highlights in writing, joined by direction by Bernhard Wicki that is just as inspired, particularly in style, accompanying Conrad L. Hall's black-and-white, sparsely lit, and largely silhouetted cinematography with airtight framing that draws you into bleak settings. The visual style of the film carries an immersion value that, amidst the thickening of the plot, becomes a fitting sense of claustrophobia, backed by thoughtful atmospherics that punctuate a couple dramatic contrivances, and are bland when material lapses, - as it often does - but prove penetrating under the right circumstances. Wicki's directorial inspiration is sound, endearing you through all of the shortcomings, until effectiveness proves to be gripping, with tension that provides a sense of consequence, while a sense of humanity goes defined by a solid cast full of talents (I have to address Wally Cox's presence as a German, just so I can say "Unterdog"!). Standouts from this cast include the incredibly beautiful Janet Margolin (She's badly miscast, though, because that nose is too blasted cute to be Jewish) as a disturbed Jew who is more bitter than fearful of her fate, and the intimidatingly intense Yul Brynner, whose engagingly convincing portrayal of an aggressive and dubious Nazi ship captain is worthy as the antagonistic answer to Marlon Brando's protagonistic performance, which is very Marlon Brando, with a convincing German accent, sure, but is nonetheless nuanced in its subtlety, within charisma, fear and vulnerability which convey a sense of unraveling in morality within a pacifist forced into a dangerous scenario that will shine an unsettling light in how he sees people. Every performance sells, being more consistent than the gutsy writing and direction in transcending superficialities of the time and overpowering this film's respective shortcomings, enough so to compel through and through, and reward those with the patience to take on this sometimes questionably drawn, but ultimately biting thriller.When it comes time to salute... and hopefully not die right after, there is the occasional contrivance and a number of conventions, and they slow down dramatic momentum and a sense of urgency which are further diluted by periodically thin character motivations and by an excessive length, backed by a slow pace that just about blands the final product shy of rewarding, challenged by worthwhile subject matter whose being done a great deal of justice within intelligent and audacious writing, visually captivating and bitingly thoughtful direction, and inspired acting - especially by Janet Margolin, Yul Brynner and Marlon Brando - secure Bernhard Wicki's "Morituri" as a generally gripping and ultimately thought-provoking thriller.3/5 - Good