Mohan is a college student and a slacker. His father asks him to come to their village home so that he can continue on with his studies without any interruptions, and also look after his ... . You can read more in Google, Youtube, Wiki
Mohan is a college student and a slacker. His father asks him to come to their village home so that he can continue on with his studies without any interruptions, and also look after his ...
- Stars:Robert Alexander, George G. McMurtry, Charles W. Whittlesey, William J. Cullen, Arthur F. McKeogh, Augustus Kaiser, Jack Hershkowitz, Philip Cepaglia, Herman J. Bergasse, J.J. Munson, Abraham Krotoshinisky, Jack McLean, Gaston Glass, Marion Coakley, Lieutenant Jordan, Vinod Mehra, Moushumi Chatterjee, Padma Khanna, Jalal Agha, A.K. Hangal, Lalita Kumari, Paintal, Raja Paranjpe,
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Bryan D (fr) wrote: Well done. Gyllenhaal shows off his talent and dedication as an actor. The movie is well shot, the music is powerful, and it does a great job triggering the targeted emotions.
Michael W (nl) wrote: Like Napoleon Dynamite, it is a humor that some people somehow just don't grasp or otherwise appreciate, but I personally thought the whole movie was silly perfection - so wonderfully unique, funny, and charming. Just a bona fide gem of an international film!
Tom K (au) wrote: "The Angels' Share" is strikingly hilarious, but that doesn't distract from it's more solemn moments. With that said though : "BRAVEHEART! CHEERS!"
Christopher T (nl) wrote: which side will church turn to? good / evil ? this documentary clearly shows that even an organisation whose been selling god, heaven & faith for decades, is not necessarily clean. a definite must watch documentary
Jeff B (fr) wrote: A decent story, but way too melodramatic. Tamara Hope was extremely annoying as well.
Mig P (au) wrote: At times stagnant, the film however progresses with more interesting scenes in the latter parts.
Jim H (ag) wrote: In a 1970s bourgeois neighborhood a naive teenager copes with his father philandering and his mercurial love interest.I think Flixster Super Reviewer Pamela De Graff said it best: "We've seen Lymelife's somber imputation in other movies about suburban values and relationships, Lymelife's is not a pensively warm-hearted slice of life, nor merely a bleakly cynical condemnation of the American dream. It's a reasoned, dryly tongue-in-cheek indictment of yuppie hypocrisies and contradictions." And I liked the acting -- particularly by Keiran Culkin, who has grown up into a smarmy smart ass.Overall, I think writing more would be redundant as I found De Graff's review to be spot on and more intelligently written than I can attempt here.
Mohammed A (de) wrote: It's good movie to watch
Brian C (ag) wrote: Receipe for greatness...MeatLoaf, mumified bull penis, making wishes, and a hot female lead... This movie was surprisingly good. Really decent story, some pretty good teenage characters, and a serial killer going around with one teen making wishes with the Totem (i.e. bull penis). Great stuff. Lots of fun.
Jeffrey L (de) wrote: In this sequel, a young, naive college girl comes across a box of Ivy's things, including her diary, in her new house and begins modeling herself after Ivy, slowly turning into it.Ok, so this movie made no sense. First of all, this acts like Ivy is the girl's real name, where as anyone who saw the first movie knows its not. It then doesn't explain WHY this girl suddenly starts thinking she has to model herself after Ivy. Just she finds the diary, starts reading it, then starts dressing and acting like her for NO REASON. However, that descent into darkness was pretty cool to watch, despite making no sense. Also, the acting is horrible this time around, although Alyssa Milano does a pretty good job.And my final complaint - NOTHING happens during this movie. Nothing AT ALL. The first at least had an interesting suspenseful final half hour. This has NOTHING.
Ellen S (jp) wrote: A great and creepy movie.
Kenneth L (nl) wrote: This is, in some ways, one of the most unusual movies that you will ever see, and the fact that it was not only made in 1985 but actually won William Hurt a Best Actor Oscar at the time and got a Best Picture nomination is astonishing to me. It's a great movie, intelligent and playful and moving, but its subject matter is so very far outside of the 1980s mainstream that it seems impossible for it to exist. But it does.Let me sum up the plot in one sentence that will make clear how unexpected this movie is: In Brazil in 1985, a flamboyant homosexual (Hurt), who has been jailed for having sex with a minor, regales his cellmate, a committed Marxist revolutionary (Raul Julia), with verbal recountings of his favorite movie, a 1940s romance that may or may not have been a Nazi propaganda film, while we in the audience see recreations of scenes from said movie. If someone tried to pitch this movie to a Hollywood executive today, can you even imagine how many red flags the preceding sentence would send up in that executive's mind?The plot gets even more complex than that, but I don't want to spoil anything. William Hurt's performance is indeed extraordinary, and like nothing else you've seen before. It's a character who in many ways does play to gay stereotypes, but is never played for laughs and is instead taken completely seriously. It does seem a bit odd for the very white Hurt to be among the mostly Hispanic actors populating the rest of the movie, but then again maybe it's just one more way this character doesn't fit into his society. Raul Julia is also very good as the revolutionary, who for a long time seems to simply fit the stereotype of such revolutionaries, but eventually surprises us through his relationship with his cellmate.The movie sets up an odd rhythm, as it bounces between Hurt's verbal retellings of the movie he loves, scenes actually showing that movie, political and philosophical discussions between the two characters, and moments of personal drama between them. It doesn't seem like it should all work together, but it does. The recreated scenes from the other movie are fun - they're shot in a sepia tone, with grandiose 1940s-style music and deliberately hammy acting. But it's obvious they have a serious relation to the rest of the movie, but it doesn't break down into any simplistic 1:1 correspondences.Aside from the interludes from the movie-within-the-movie, the narrative and visual style of the movie is fairly straightforward and conventional. It's the particulars of the story being told, and in particular Hurt's excellent performance, that make the movie so weird and so memorable. It's like no other movie I can think of. I don't know how this movie happened, but I'm glad it did.
Marc L (us) wrote: Cet etonnant petit Ovni cinematographique peut se targuer d'etre l'un des tous premiers films tournes par Sam Raimi et egalement l'un des premiers scenarises par les freres Cohen, rien que ca ! Basiquement, on pourrait le definir comme une comedie noire, mixant meurtres et humour dans un style assez ecule qui a pris un serieux coup de vieux aujourd'hui. Ce qui le sauve de la relegation au placard des antiquites sans interet, c'est l'inventivite dont fait preuve Raimi tout au long du film. Dans chaque sequence, il y a un truc a voir, un detail sournoisement planque dans les decors, un procede original pour amorcer la scene ou agencer ses composantes, ou un assemblage de couleurs et d'elements volontairement tape-a-l'oeil, qui donnent l'impression de regarder un veritable Comic-book mobile sur ecran. Deuxieme surprise de taille du cote de l'humour : ce dernier repose presqu'exclusivement sur le burlesque et des effets tres visuels qu'on se serait davantage attendu a rencontrer dans un dessin-anime de la Warner bros ou un Tex Avery : aucune enclume ne tombe sur le crane des personnages mais on n'en est vraiment pas loin. La musique, les bruitages incongrus -style bruit de coup de feu a chaque remarque sensee seduire une demoiselle - et les acteurs grimacants et hysteriques renforcent encore cette impression cartoonesque. Certains jugeront a bon droit que cette optique est grotesque et qu'un humour de cet acabit n'a rien a faire dans un film qui ne s'adresse pas exclusivement aux enfants de moins de six ans, mais, pour peu qu'on soit bon public, on peut aussi estimer qu'il rend le film rafraichissant et intemporel. En tout cas, cette audacieux particularisme fait de "Mort sur le grill" un travail anecdotique mais sans conteste tres attachant.
David B (it) wrote: starts out as a standard John Wayne cavalry film and very quickly turns into a standard John Wayne western... good fun though
Basil W (fr) wrote: Like I say I am a big John Wayne Fan
Matthew M (ca) wrote: Creepy, gritty, and simply unforgettable. One of Jack's greatest performances make this thriller-noir one of the best films ever made.