Trinity Goodheart

Trinity Goodheart

When 12-year-old Trinity Goodheart is visited by an angel who leaves her a pendant that belonged to her long-lost mother, Trinity concludes that her mother is in danger and needs her help. What ensues is an effort by Trinity to reunite her disjointed family; and in the process, she teaches them the value of love, faith and forgiveness.

When 12-year-old Trinity Goodheart is visited by an angel who leaves her a pendant that belonged to her long-lost mother, Trinity concludes that her mother is in danger and needs her help. . You can read more in Google, Youtube, Wiki

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Trinity Goodheart torrent reviews

Steve W (jp) wrote: Starts off as a romantic comedy about a girl finding new life and love at a college, but slowly transitions into a mature drama. Encompassing many years of the lives of different students, So Young is a cruel reminder that life doesn't always go as planned, and the wild nature of expectations when it comes to relationships. Its a hard and heavy film in the second half, but its definitely worth a look.

Alaina W (de) wrote: (TM)Flixster 1/4 1/4>>"?'''> (R),???'' (R)"'?"?= =+>-->>...... 1/2>"? 1/4<>" 3/4 1/4?~ 1/2?? 3/4-~" (R) 1/4???? 3/4? 1/4 (R)~ 3/4- 3/4 3/4 1/2?~>"?,??' (R)~ 3/4-- 1/2>////<

Joe J (ag) wrote: This film was weirdly good and bad at the same time. It was beautiful to look at and surprisingly captivating, but it was filled with clichs and stereotypes. The movie also didn't portray the first world war accurately at all, because this was apparently supposed to be a war film and a family film at the same time (Whose ridiculous idea was that???). Worst of all, it was too watered-down and sentimental to have the emotional impact it was aiming for.

Stephen H (nl) wrote: WOW, what a waste of an hour & a half. This was not a good movie at all. It was an interesting concept on the classic Robin Hood story but it didn't have elements of a film that would make it enjoyable. I gave it 1+1/2 stars just for the actresses Erica Durance & Katharine Isabelle, whose roles as Lois Lane on 'Smallville' & as Ginger in the 'Ginger Snaps' films are memorable.

Mike B (kr) wrote: Starts out well enough...

Adam A (gb) wrote: "Forgetting Sarah Marshall" is a funny and honest story with a great cast and beautiful cinematography.

Mathieu P (br) wrote: This was borderline ok... I wanted to give it 2.5 stars the crappy flixster page is bugging. The thing with this movie is that it's not really overall funny but it has some great jokes here and there. It's a form of scenario we've seen a lot, a bunch different stories that don't look related but that will all intertwine at the end... But it goes nowhere. Some characters are interesting and fun, but they don't have enough depth and the movie moves along too randomly to let you care about the characters. Ron Livingston I like, but he's kind of one-note here, Michael Clark Duncan & Jennifer Esposito work well together, And Rob Schneider plays his first ever non-stupid role... He doesn't say any dumb shit and doesn't act goofy... Worth a watch just for that!

Ana C (jp) wrote: The main characters look nice together, but it all seems unrealistic and so optimist that makes me bored.

Gabita G (ag) wrote: Foarte frumos filmul

Jaime R (nl) wrote: A weaker Woody Allen film.

Cody C (kr) wrote: Way better than I ever could've expected. A lot of fun and has a great sense of humor about itself.

CM K (fr) wrote: 5/5. Need I say more?

Daniel M (jp) wrote: The 1970s were the golden age of the conspiracy thriller. Cold War paranoia, the OPEC crisis and the long-term fallout from Watergate created a heightened public interest in the workings of government and big corporations, which filtered through into a series of classic films. But although conspiracy theories will always enjoy a certain amount of popularity, there is no guarantee that the films which entertain such theories will stand the test of time. Some of them, like All The President's Men, still hold up after more than 30 years; others, such as Capricorn One, do not. Despite the shared presence of Hal Holbrook, Capricorn One is structurally much closer to The Fog than to All The President's Men. Like John Carpenter's film it starts very well, with an intriguing and spooky premise; Holbrook's briefing of the astronauts is like the campfire scene where John Houseman tells the dark tale of the Elizabeth Dane. Then there is a long middle section full of boring soap opera dialogue and people wandering around in the desert, akin to the scenes in Antonio Bay before the fog comes in. Finally, the film picks up with the plane chase, which ends things on a high without quite making us forget our disappointment. Capricorn One does have an interesting idea at the heart of it - namely that, in the near future, the US government would fake landing on Mars to maintain public interest in the space programme. Holbrook talks about needing to recapture the imagination of the American public, who have become disengaged and cynical. He remarks that when Apollo 17 landed on the Moon, more people complained about re-runs of I Love Lucy being cancelled than actually watching the landing. These discussions precede similar ones included in Apollo 13, although it must be said that Ron Howard's film handles the subject in a way which is more dramatically engaging (in other words, by not having it all come out in big speeches). The story of Capricorn One is a classic conspiracy theory premise which taps into many big issues in 1970s culture. Although it was made six years after the last Apollo mission, theories that the Moon landings were faked were still hot currency. The Flat Earth Society went so far as to claim that the landings were shot on a Disney soundstage by Stanley Kubrick, with Neil Armstrong's dialogue being written by Arthur C. Clarke. The US was still reeling from both Watergate and the back end of the Vietnam War, two events which made blaming or being suspicious of the government both very easy and very popular. The icing on the cake is the casting of Holbrook; having played Deep Throat in All The President's Men, we instinctively know that he's up to no good. Not only is the plot a conspiracy theorist's wet dream, but whole sections of Capricorn One's dialogue feels like it was written by such theorists. There are a lot of frankly anal conversations about readouts between the technicians - conversations which labour the points and go round and round in circles, restating the same arguments without really engaging us. Proof of this lack of dramatic engagement is found in our attitude to Robert Waldon, who first notices a problem with the telemetry. Even while we are on his side, agreeing with everything he says, the main thing that interests us is his more-than-passing resemblance to Roman Polanski. This middle section is where the film slowly but surely starts to droop. Because it takes longer to get to Mars than to the Moon (obviously), there is a lot more time to be filled in before we get towards the money shot of them landing - time that cannot just be filled with routine checks and news broadcasts. But for whatever reason, Peter Hyams' script can't come up with anything interesting or relevant to justify taking so long. The central question is this: considering they have so much time to play with, why isn't Caulfield or anyone else doing more to follow up the strange goings-on, including the sudden disappearance of his friend? Comparing this film to All The President's Men makes its issues with narrative all the more apparent. All The President's Men had a clear objective and endpoint, but it kept feeding us information so that we could build up a picture of the Watergate scandal with the added tension of the short timescale. It's like watching a guy going to visit his girlfriend, but stopping on every street corner to buy her a present; we know where he's going, but when he gets there the reward will be greater. Capricorn One is like a guy blowing all his money on one big present, but having to walk to her house because he has no change left for the bus. We have to watch him trudge along the same route at a slower pace, almost begging him to get on with it. The various attempts to grab our attention through character development fail to make any kind of lasting impression. Elliott Gould spends most of his time wandering around looking glum or grumpy, moaning about how hard is it being a journalist to the point at which we just want to slap him. The romantic banter with his female colleague, played by Karen Black, is entertaining in passing but never really goes anywhere. And Gould's conversations with his assignment editor (David Doyle, who looks like Bob Hope) have their moments, but equally feel like we have wandered into an episode of Abbott and Costello. The film has the same dramatic problem as a great many whodunnits. Like an episode of Columbo, in which we know from the start who the killer is, we already know that the American government is behind what has happened. There is no immediate tension in the events involving the astronauts, because regardless of what happens to them we know who was responsible. Like The Paradine Case, the characters are so clearly drawn that there is precious little dramatic irony to be had, and therefore little reason to stick around. In terms of its direction, Capricorn One has moments of accomplishment. The Martian scenes themselves are well thought-out; we are introduced to the film set with a long rising shot of the craft, and when Caulfield stumbles upon the warehouse he is first seen as a speck in the background compared to the swathes of dusty red sand on the floor. Hyams adds a nice touch of showing the producers deliberately use slow-motion at certain key points, to simulate the effect of there being less gravity. This is all well and good, but there are an equal number of scenes in Capricorn One which fail to make the grade. Some of these are a case of the film dating poorly: the model shots of Sam Waterston climbing up the mountain side do feel a little bit Thunderbirds, as do some of the closer shots of the helicopters. But others are utterly silly and have no place being in the film. The silliest comes when Caulfield's car is tampered with: while driving along, his brakes stop working and he starts rapidly accelerating. Hyams then cuts to a camera mounting on the front of his car which spools forward in fast motion, as if we have suddenly wandered into the beginning of Naked Gun. The performances in Capricorn One are also a mixed bag. Gould is a decent actor but he's not a leading man by nature, having neither the charisma nor the likeability to carry the film in its quieter moments. OJ Simpson (who was later in Naked Gun) is very wooden and stilted, only becoming convincing when he's delirious. And Sam Waterston, who later starred in The Killing Fields, feels underdeveloped. Out of the three astronauts only James Brolin gets the development he needs, who kind of gives away that he will survive. In its final section, Capricorn One does pick up a little bit, delivering on spectacle where it cannot excel on substance. When Gould uncovers the conspiracy, the plot begins to move up through the gears, culminating in a very good plane and helicopter chase. Telly Savalas provides great comic relief as the crop-dusting pilot, who calls everyone he distrusts a "pervert" and keeps telling Gould to "put your goddamn head down!". The distant shots of the helicopters have a creepy quality, and the film gets away with the cheesy use of slow-motion at the end. Capricorn One is a watchable but disappointing conspiracy thriller. It has an interesting idea at its heart, but this idea is executed in a jobbing fashion, without the sense of imagination or creativity needed to bring its substance to the fore. In its end its multiple flaws are fairly easy to overlook, insofar as you never feel offended or incensed enough to make it worth holding a grudge. But considering that the conspiracy thriller is meant to provoke debate, perhaps being forgetting is a worse crime to commit.

Patrick D (it) wrote: An emotional experience. Great movie, one of Bergman's best!

David L (jp) wrote: Very talk-intensive in the first 45 minutes or so, which equates to a little more than half of the entire film, unfortunately. "Da Hump" is displayed here in full sour-puss, one-note glory, his break out role in fact. Also most likely the role where he was established as the go-to actor when you need a grumpy middle-aged guy who doesn't require much acting range and has a flashy screen-name. In some scenes his arms appear to be stuck in a bent position which we later realized must have been a bizarre attempt on Da Hump's part to toughen his persona. However, most will just have the same reaction I did, asking themselves "why are his arms bent like that? Does his character wear a prosthesis on both sides of his torso? How sad! Oh wait! I think I saw one move a little!!" Betty Davis is her usual "pretty good for a 1930's actress" self here, nothing too memorable aside from her usual bug-eyes. All in all, worth seeing so you too can wonder how this firmly mediocre film became the breakout vehicle for a mostly unknown Humphrey Bogart to go headlong into a career of mild mannered yet angry, all the while robotic, leading man roles.

Leena L (gb) wrote: Fun and enjoyable, ended a bit oddly but certainly worth the time. To look that beautiful at the ripe age of 100......

Steve F (nl) wrote: Better than the last couple