Topless Women Talk About Their Lives
Liz has missed an appointment to have an abortion. She has to keep her child, and neither her boyfriend Geoff nor child's father Neil are too happy about it. She can not decide which partner is better for her, and Neil makes a proposal to her when they attend the wedding of her best friend Prue and Mike. She probably prefers Geoff, but he is preoccupied with his girlfriend Bryony, who returned from abroad. Another friend, Ant, has written a script for documentary film, which is directed by a German and in which topless women, well, talk about their lives.
- Stars:Danielle Cormack, Joel Tobeck, Ian Hughes, Willa O'Neill, Shimpal Lelisi, Andrew Robertt, Frances Edmond, Josephine Davison, Oliver Driver, Breanna Barraclough-Scott, Rose McIver, Anita McNaught, Ian Mune, Kerre Woodham,
- Country:New Zealand
- Director:Harry Sinclair,
- Writer:Harry Sinclair
Liz has missed an appointment to have an abortion. She has to keep her child, and neither her boyfriend Geoff nor child's father Neil are too happy about it. She can not decide which ... . You can read more in Google, Youtube, Wiki
Topless Women Talk About Their Lives torrent reviews
(es) wrote: Like Hiro Nakamura, the creators of this film can bend space-time. How else to explain their ability to make 90 minutes feel like 90,000 years.
(ca) wrote: ALYCE KILLS (2011) independentWRITTEN AND DIRECTED BY: Jay LeeFEATURING: Jade Dornfeld, Tamara Feldman, James Duval, Eddie Rouse, Larry CedarGENRE: THRILLER, NON-SUPERNATURAL HORRORTAGS: rape, dismembermentPLOT: In this pointless, yet engaging psycho-thriller, a young woman unintentionally destroys her best friend while on drugs, then spirals into anti-social behavior, dragging her acquaintances into the dark morass of her twisted psyche. COMMENTS: With a cursory acknowledgment of the Lewis Carrol tale, Alyce is as much an entry-level clerical answer to the Fortune 500 American Psycho (2000), as it is a morbid odyssey of self discov- uh, make that self-destruction. Like a high-speed bullet train to Hell, Alyce Kills is novel, slick, and exciting, but it doesn't take us where we want to go.Young, pert Alyce (Jade Dornfeld) toils away in a depressing corporate cubicle for a shrewish boss at a thankless job. After work she trudges home to her cramped apartment to freshen up before some much needed steam-venting at dingy nightclubs. It's not much of a life, but Alyce has her friend Danielle (Rena Owen), an alpha female who provides Alyce with a framework of guidance upon which follower Alyce proves to be reliant. When Alyce and Danielle take the Generation X drug "ecstasy," Danielle sexually leads on Alyce. It comes out that Alyce has a crush on Danielle who then rejects her. Is it an accident then when Alyce "accidentally" pushes her off the roof a short while later? It's not clear whether Alyce is vindictive and a little crazy, or merely reckless, and irresponsible. Danielle stands on the ledge, tempting fate, Alyce mock-pushes her. Alyce is playing a game and behaves as if she doesn't intend the result -Danielle's dive to the pavement. But Alyce definitely intends to make contact, and under the circumstances it's no surprise when Danielle plunges to her doom.Despite that it led to tragedy, Alyce decides she likes ecstasy and trades sex for the drug from a repulsive dealer. Under the influence of the psychedelic, Alyce locks herself in her apartment for marathon-length trips during which she perpetually masturbates to violent videos. Conniving to obfuscate her complicity in Danielle's misfortune leads Alyce to take increasing risks until she pulls out all the stops. Traipsing across an urban landscape of bizarre characters, settings and situations, Alyce taunts the family of her victim, and eventually conspires bloody murder against those who annoy and inconvenience her.Having now lost Danielle's boundary-defining structure, Alyce's fragile veneer of sanity falls away like an uncoupled caboose from a speeding express. Her locomotive throttle is wide open and there's no engineer in the cab. Alyce resolves to take charge of her own life, but her brand of self-assertive, feminist "empowerment" is to embark upon a self-indulgent journey of risky behavior. Yet it's more like a spree, and it degenerates into a maelstrom of self destruction, dragging those closest to her along for a hell-ride on her crazy train.The theme of women scheming against men has been around at least since ancient Greece. From Aristophanes' Lysistrata, to the Biblical Eve convincing Adam to bite the proverbial apple, we've seen versions of the femme fatale in various literary incarnations through the ages. A few include Shakespeare's Lady Macbeth, and Cleopatra, Daniel Defoe's opportunistic Moll Flanders, Oliver Goldsmith's lighthearted, scheming, Katie Hardcastle in his 1773 play, She Stoops To Conquer, the conniving Matilda in Matthew Gregory's 1796 supernatural Gothic novel The Monk: A Romance, and the malevolent man-hater, Miss Havisham in Charles Dickens' Great Expectations. Whereas these feminine plotters employed cunning and sexual manipulation to achieve their aims, their modern counterparts resort to brute force. The concept of the fairer sex outwitting men has evolved into the myth of womens' domination over men, and convoluted orchestrations have given way to the karate kicks and machine guns used by characters such as secret agent Emma Peel (Diana Rigg; Uma Thurman in the 1998 film version) in BBC's The Avengers, to Max Guevera (Jessica Alba) in TV's Dark Angel, and La Femme Nikita (Anne Parillaud; Bridget Fonda in the US remake). The latest trend has dark-psyched vixens engaging in just plain psychopathic killing sprees.Alyce's quirky, but undeveloped character may be inspired by the leads in May (2002), and Neighbor (2009), two similar stories about loner hellcats who indulge their necrophilic and cannibalistic urges through acts of violence. Yet May (Angela Bettis), the film's namesake, commits her violence via a misguided search for an similarly misfit mate. In Neighbor, "The Girl," (America Olivo) thrill-kills for the sheer sadistic pleasure of it, making a living by robbing her victims and using their homes like motels. Alyce however, lacks any sensible or even cognizant motivation at all. Her deeds defy logic, her methods are unsound, and Alyce's lack of planning is sure to bring her only more trouble. We're not sure if even she understands her actions. This makes her singularly one dimensional. It's a profound disappointment, too. What's engrossing about Alyce's sexy character is not what she does, but the wry way she does it with her distinctively iconoclastic demeanor. It's not the revulsion inherent to her wanton acts of sex and violence that catches our attention, but the manner in which her smug, witty bearing holds out the promise of a satisfying payoff. We keep waiting to tumble into an epiphany of insight into her disturbed psyche, or at least some commentary about human nature or revenge. It never happens, and we're left feeling like the lone passenger on a runaway train with no destination in sight, and no emergency pull-cord to stop the projector.
(kr) wrote: This was super lame!! ugh! Kellan Lutz still some serious eye candy!
(mx) wrote: Lewis Black is hilarious in his rants....but in small doses. This one isn't too long so it's good.
(br) wrote: I am a fool for this sappy stuff... just love street dance
(ru) wrote: this is a funny ass movie a must have
(nl) wrote: Cute, funny and enjoyable romantic comedy with Louis Koo in top form. Decent chemistry with Gigi, who does her signature squeal a couple times too many, and with Charlene in a Faye-Wongish role as some sort of a tarot-card-reading relationship consultant. There's quite a few big names in the supporting cast as well, including Donnie Yen in the most ridiculously one-sided fight scene ever, Gillian as a juicer in a leg brace, Alex Fong, Rain Li, GC Goo Bi and Shiu Hung Hui. It's directed by Dante Lam and writer-director Chan Ha-King -- who came to fame through his script for A Better Tomorrow, and has done a lot of the great Louis Koo vehicles, such as La Brassiere and Good Times Bed Times. This film carries the spirit of HK cinema; it's light-hearted, creative, inventive, has a bit of black comedy, and succeeds in places where other industries would make it too sappy, too unbelievable, and too serious. All in all, it's good fun and kept me laughing throughout.
(au) wrote: This was quite funny even though it made fun of some movies that I also like. I liked it.
(mx) wrote: September 11 is a collection of 11 different short films from 11 different directors providing, you guessed it, 11 different perspectives of that tragic day. Some of the shorts are outstanding (including the one from Mexico), some are silling but others are useless (Sean Penn's entry).
(fr) wrote: It seems that the horror movie sequels made during this period where low budget and boarded on the comedic side. This movie tends to prove that point. Not as good as the first one this movie was a big let down.
(au) wrote: good western melodrama
(jp) wrote: Travis Bickle: Loneliness has followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man.
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