Tornado and the Kalahari Horse Whisperer
Tornado is a true life story of patience, endurance and passion. The picture tells the story of two damaged souls: Pierre, a depressed and damaged young man and Tornado, an emotionally tormented horse. Sensing Tornado’s potential, Pierre travels to Noenieput, in the Groen Kalahari, to find Barrie Burger, a horse whisperer. With Barrie’s advice, Pierre and Tornado embark on a journey of healing
- Stars:Danny Keogh, Quentin Krog, Lean van den Bergh, Joanie Combrink, Angelique Pretorius, Carl Stemmet, Tommy Kyd, Jennifer Steyn, Richard van der Westhuizen, Mabutho 'Kid' Sithole, Ivan Botha, Amor Tredoux, Jack Devnarain, Bernice Malan, Andries van Wyk,
- Country:South Africa
- Director:Regardt van den Bergh,
- Writer:Paul Boekkool (additional writing), Darron Meyer, Regardt van den Bergh (additional writing)
A burdened young man finds a troubled horse and contacts a South African horse whisperer for help. The horse whisperer leads the pair down a path of redemption where they heal one other. Inspired by actual events. . You can read more in Google, Youtube, Wiki
Tornado and the Kalahari Horse Whisperer torrent reviews
(mx) wrote: ...oh and thank god there's a sequel!
(it) wrote: Surprising good and re-watchable
(de) wrote: greattt movi, real funny, great family film, gurantey ull LUAO laugh ur ass of
(gb) wrote: Pretty good movie, entertaining none the less.
(jp) wrote: This was decent because Tom Hanks is always good. The kid was funny.
(de) wrote: One of the best Steve Martin movies. One of Goldie's best too.
(mx) wrote: Finally! A movie that combines the fine romanticism of John Carpenter's Starman with the internal bleeding of Humanoids from the Deep. At least that is what I think what this film is like judging by the original movie poster it's about a monster that steals a pouty kid's chocolate milk. So for those of you who were blessed never seeing this giant hunk of elephant crap, Xtro is a 1983 alien horror film meant to capitalize on the good natureness of ET the Extra-Terrestrial. Some aliens want your Reese's Pieces; other aliens think you are just as delicious Reese's Pieces. I for one will stick with real "fuck you" ET movies, thank you very much, like John Carpenter's The Thing. Hell maybe a few years down the road this movie will have its own shitty prequel. So by now you may be asking yourself why I picked this as the next film to my Countdown to 200 and the answer is quite simple. I am a fucking moron! Apart from that, lately I've been expanding my horizons by watching foreign films for the past year. Low and behold; not only was this low-budgeted British movie a sci-fi flick, but it has spawned two more sequels with news of a fourth to come out sometime in the near future making this kind of a cult following. So after hearing about this I decided to run to my local Good Will Store, bought me a VHS copy, and enjoyed some horrendous acting followed by bizarre shit that even Ron Jeremy would get sick to his stomach from. So sit back and relax as I kick things off with my review on Xtro.So the general plot of Xtro is about the horrific story of a British man who gets kidnapped by aliens, while his son witnesses the whole thing, and is returned three years later carrying infectious spores that have transformed him into a kind of crab thingy that causes all kinds of perverse sexual and violent mayhem.The movie has a series of awkward moments in here from a boy who stares at his mother having sex in bed to aliens having the ability to use toy soldiers as killing machines. Not to mention the alien in this looks like a baby sized version of the Cloverfield monster that likes to impregnate dumb blondes and becomes reborn into a human. Philip Sayer plays the young boy named Sam and he is so blatantly stereotyped that I'm expecting a scene where Ebenezer Scrooge sends this kid down to the market to pick him up a goose. Bernice Stergers plays Rachel Phillips, the mother in this movie, whose acting is as bland as their cup of tea and has a haircut in every scene where it looks like Dudley Moore's Arthur after a forty-eight hour binge. There are also scenes where the actors talk off screen and you wouldn't even know where they are half the time. One positive thing that I will say about this is that this movie does start establishing things, but just at completely at random. Overall, this movie is a prime example of how much you can fuck up a sci-fi film and not care one bit what the general audience thinks about it. Take my advice and NEVER watch this movie, otherwise your mind will be infected the same way these aliens infect the people in this film. The only real question I'll be asking myself, for years to come, is what the hell is an Xtro?
(kr) wrote: The godfather of Italian horror, Mario Bava made his mark with this gloomy B&W gothic potboiler. It may be dated and silly at times, but still has the power to illicit creeps and shivers.
(br) wrote: a fair to good western filmed in nice areas but the nice horses and riding skills save the movie.
(ag) wrote: See Joan act with her EYES.
(de) wrote: An interesting idea that takes a long time to get going... and then just kinda fizzles out falling into the category of the same old same old.
(it) wrote: Dorothy Arzner is often remembered (and rightfully so) for her bravery -- the only regularly employed female director during the Golden Age, the first woman to join the Directors Guild of America, and the first feminist filmmaker some 30 years before it became a social issue -- but Dance, Girl, Dance, her most personal film, follows an almost identical trajectory: a critical and commercial failure that lost a pre-Citizen Kane RKO a crippling amount of money, only to be reclaimed over the years as a film of relevance to the feminist movement. Dance, Girl, Dance is a milestone in the dance film and musical, despite its B-movie production values (featuring lots of back projection). Key sequences which demand critical attention include Judy's (Maureen O'Hara) attempt to be a hula dancer, stunningly upstaged by the sexy wiggles of Bubbles (a pre-I Love Lucy Lucille Ball), and the burlesque routine which gives Bubbles her biggest chance to shine, "Mother, What Do I Do Now?" Hollywood also shows us classical ballet, with an extended routine choreographed by Steve Adams (Bellamy) - relying on the assumption that classical ballet/high art is not as appealing as good old low-down burlesque, regardless of how much money and talent is thrown into the "art" pot. While it may have made use of the resources from Fred and Ginger's RKO musicals, the ballet sequence looks flat against the earthy sexiness of Bubbles' hula dance.Judy's most stunning set piece, a speech near the end berating the men who go to watch strippers on the burlesque stage, could be considered as a barbed attack on the movie audience - after all, part of the Hollywood myth was the objectification of women, and despite Arzner's input, Dance, Girl, Dance is as guilty of this as any other film of the period. The film could be classed as high camp, but it has much more to offer than this implies. Although Arzner's experience with musicals was limited, she ensured the film was tightly directed and gave the finished product considerable power. However, this art vs. commerce mediation was her penultimate film. It succeeds because of its sheer charm and attention to detail; we can understand perfectly how it feels to sleep in a room of the type rented to chorus girls, how seeing a ballet performance can fuel the ambitions of one of their number. It is also a kind of fairytale where Judy is the good princess and Bubbles the wicked witch, although the ending isn't brought about by masculine intervention, but by sheer determination and self-faith.
(ru) wrote: I like how this movie are not glorifying Mandela. It also showed some of his not so adorable past. Makes it feels true.
(nl) wrote: One of the lesser-known Ridley Scott films, Matchstick Men (2003) could have been just another heist film, and in some senses, it is. Upon watching the film again, one can easily pick up exactly when the "long con" starts up and which events lead toward the inevitable conclusion. So, perhaps it doesn't have the ability to demand repeat watchings (past about two) on its heist aspects. However, I believe the characters are what give this movie most of its charm. After all, characters make a story, and this one has some good ones.In one of his best "crazy person" roles, Nicholas Cage does an incredible job portraying Roy, a con-artist with severe Obsessive Compulsive Disorder. His performance is often difficult to watch and is cringe-worthy in the opening act. If this is what it's truly like living with OCD, I never want to joke about having it . . . ever. I'm almost amazed he even managed to con as many people as he did considering how serious his condition appears. The little tics and freak-outs Cage brings to this character make his disorder real to the audience.Sam Rockwell ends up portraying the same kind of character he always does in these types of films, but Alison Lohman ends up being the Yin to Cage's Yang with her role as Angela, Roy's 14-year old daughter. She pulls out all the stops and tropes of the teenage girl, which makes for a convincing performance, especially since it's a performance within a performance. Because her presence changes Roy for the better, it's obvious something was missing in his life, and she managed to bring him stability by providing it. On top of all these characters, the spot-on Hans Zimmer score and choice of musical pieces to accompany it make Matchstick Men a fun watch.A standard heist film with a non-standard main character, I give Matchstick Men 3.0 stars out of 5.