Yann (Guillaume Canet) and Nadia (Leïla Bekhti) fall in love. Nadia has acquired a crumbling building in a Paris suburb and the couple decide to renovate it to launch a restaurant. But ... . You can read more in Google, Youtube, Wiki
Une vie meilleure
Yann (Guillaume Canet) and Nadia (Leïla Bekhti) fall in love. Nadia has acquired a crumbling building in a Paris suburb and the couple decide to renovate it to launch a restaurant. But ...
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Une vie meilleure torrent reviews
Brendon M (us) wrote: Loved it and learnt a lot about Marley and Jamica's history that I never knew. He really was like a Rasta Gandhi - just loved life. Wonder what he'd think nowadays with so much hate. I left half a star off as I would've liked more explanation where more songs came from. Know this might be hard as only Marley probably knows. One song I really wanted to know more about was Redemption Song - which is probably is biggest and kinda skirted over. "Love, prosperity, unity, Jah..Rastafari"
Rachel S (ca) wrote: could be interesting.
EliT3Miik3 A (br) wrote: corney @ times but is funny
Sam P (es) wrote: Salacious comedy directed by Monty Python's Terry Jones. Julie Walters is great in this and there are plenty of scattered guffaws but the film lacks something. It's not exactly very well structured and there's no real compelling narrative; however, it is engaging enough but by no means a 'must-see'.
Richard S (ru) wrote: It's amazing what kind of perspective a few years can bring. Initially I found this one of the lesser bits of Fassbinder's final era. Too indebted to Von Sternberg. Too close to Sunset Blvd. Too tied to a lost period of German film for me to truly appreciate. Now, despite an often convoluted plot, it's easier to brush the tangents aside and focus on the heart of it all. For me, it's idea of unrelenting devotion to an idea or person who you know to be a lost cause. It matters little what you're told and even less what the reality of the situation amounts to. Fassbinder presents self-destruction with the clarity that only someone deep in its clutches could understand. To say this is one of the best two tiered films about l'amour fou neglects his critique of the film industry and post-war culture, but for me, those issues are only gloss on an already captivating film.I'm also drawn to the way that he captures the charisma of a once stunning, now faded star. Even knowing that the best days are long since past, there's the feeling that you'd like to bask in those last remaining rays of light- regardless of the cost or consequence.It's also worth noting that Fassbinder manages to make a film about addiction (on multiple levels) and codependency without pandering or forcing the audience to reflect on some silly moral or nugget of truth. Further, it's one of his most stunningly composed b/w films. Effi used to be my favorite, but I think Voss eclipses it with the stunning high contrast shots and a real understanding of (and finally a budget for) spaces that suit the characters' lives.All in all, it adds up to one of RWF's most penetratingly personal features."All I have left to give you is my death" will linger for some time to come.
Art S (nl) wrote: The title is the best thing about this later entry from Hammer, even though Peter Cushing is here, reprising his role as the Baron Frankenstein. It seems after being sent away to an asylum for the criminally insane, Frankenstein has managed to blackmail the director into letting him look after the inmates and also continue his experiments. With the help of a young doctor convicted of a similar crime (sorcery), Frankenstein grafts parts of different patients' bodies onto one ugly ass monster (formerly human). This doesn't work out so well, but the film is rather low on shocks (or deeper philosophical content even), opting instead for almost comical squishy gore.
Aj V (nl) wrote: Not great, but a good spy movie with romance and danger, but not enough excitement.
Angelina C (de) wrote: This is not a romantic comedy. Extremely superficial and tepid romance going on here. Hollywood doesnt seem to make good old fashioned romantic movies anymore. Chemistry between Eckhart and Aniston was so fake that it was painful to watch. The movie consists of one ridiculous clich (C) after another. So easy to predict, you can do so from beginning till the end.
David B (de) wrote: The first film only had a low budget, and this up steps making the most of the concept. Tobin Bell (Who is perfect and was in the first film as "A body that comes alive twist scene in the end) comes back as John/Jigsaw but is now in it for most of the film. The traps are more brutal, shocking at times and bloody, the best for me being the painful looking Needle Trap. We get to understand John's ways. Introducing Donnie Wahlberg as Detective Eric Matthews (Great edition to the series) trying to find his son only to find he is part of Jigsaws games. The cast are great and another fantastic twist at the end. Well written by James Wan and Leigh Whannell, who both did the first Saw. The camera work and editing is once again brilliant and it's rare to get a great follow-up. This macabre follow-up to 2004's low-budget horror smash can't rival its predecessor's fiendish ingenuity. But it makes up for it with a deliciously devious plot and enough gory shocks for a dozen Halloweens. Great film and now a big fan. Horror sequels don't get any better than this.
Lee M (us) wrote: At best, this aspires to the whimsical charm of Local Hero; at worst, it simply steals from it.
Farah R (ca) wrote: A dreary endeavor to revive the shabby Transporter franchise which should have ended after the first movie. This new "Refueled" addition has nothing new to offer other than cheap stunts and poor narrative.