Teaming with acclaimed ski movie producer Jon Klaczkiewicz and kayaking filmmakers Arden Oksanen and Trask McFarland, director Jason Winkler delivers the first high-definition ski film, offering a clarity and crispness never seen before.
- Stars:Shroder Baker, Julian Carr, Doug Coombs, Reggie Crist, Zach Crist, Dean Cummings, Kajzac Drisson, John Griber, Stian Hagen, Jon Klaczkiewicz, Sverre Liliequist, Brant Moles, Jamie Pierre, Lyn Seydyer, Jason Tattersall,
- Director:Jason Winkler,
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Waiting Game torrent reviews
(it) wrote: Charming and full of humour which kids will love.
(it) wrote: Twenty-something hipsters shuffle around trying to play in a band and deal with relationships, and I want to punch them all in the face. It's not an altogether painful experience, but the strained authenticity of a pseudo-spontaneity and B&W 16mm roving camera is an issue at times. In the end I couldn't be made to care very much about the crushes and naive outlooks of the characters who would benefit more from asking questions like "does my life actually matter?" and "should I end it all now?".Though it is likely to go completely unnoticed, there is also a pattern of female domination under the surface that reflects the apparent emasculation of the male characters here who are spineless and directionless wimps easily bent to the whims of the females around them.
(it) wrote: It's such a shame that more people don't know about this film, it's outstandingly good, very probably one of the best films that has ever come out of Bollywood and that's not an overstatement. The acting is magical, so is most of the technical work, especially the editing. The direction is really great, Rituporno Ghosh captures the melancholic and grim mood of the film with absolute perfection. I really could not find a flaw with the film, it's a work of genuine class.
(mx) wrote: What is so intriguing and interesting about this film is that it shows us some of Dylan's masks (the means by which he conceals his actual appearance) in order to examine what lies beneath them, and it also looks at his personality in order to suggest how he has protected, changed and diffused it. It gives us a good deal of truth about Dylan, but realises that in his case the best route to the truth is 'slant'. Casting him in the role of 'Jack Fate' is essential to all this; it means we are pushed a step back from Dylan himself, and therefore see him more clearly. In some respects, Fate is not like Dylan at all - he is a rock star past his sell-by date, who has spent the last twenty-odd years playing in obscure honky tonks and bars and refusing to deal with the dodgy administrators of the music business. At the same time, he has qualities we recognise as Dylan's own: he shares Dylan's deepest preoccupations, and he plays his music (of course). In particular, Fate is like Dylan because he exists at the point where an amazingly creative imagination is permanently scrutinised by its audience. He wants to think of his work as a self-sufficient universe, but his is constantly - sometimes threateningly - required to interpret it, and to justify or explain its connection to surrounding events. At the film's savage climax, Friend attacks Uncle Sweetheart, and is in turn attacked by Fate then Cupid - who murders him. As we watch the journalist bleed to death, it's hard not to think that Fate/Dylan is getting his revenge for a lifetime of intrusion - but when Fate is falsely accused of the murder, and taken off for sentence, we realise that things are not as straightforward as that. Fate meets his fate without complaining, and in his silence seems to assent to the accusation made against him. On the face of it, Masked and Anonymous is a film about political corruption, the tensions between religions, and shady business deals - all subjects close to Dylan's heart. Its deeper concerns are closer still: do artists have a responsibility to interpret their work? What value does art have in a corrupt world, and what use? How can the artist protect his gift from his admirers, let alone his detractors? And then there's a third and even more personal level of interrogation. Can happiness be pursued, or must we wait for it to come to us? Are dreams an acceptable alternative to realities? Can our tangled relationships with family and loved ones ever be 'straightened out'? At all these depths, and in all these respects, the film is deeply engaging. It is also revelatory - in the paradoxical sense that it allows Dylan to say some important things out loud, and to keep the silences, and retain the elements of mystery, which are essential to his genius. We should ask for nothing else. And if there are people watching who still can't resist trying to rip off the mask, and shatter the anonymity - well, they should concentrate on the face we see in the film, and the music we hear. The face with its extraordinary mixture of immobility and expressiveness. The music with its exhilarating sweep and range, and its delivery in a voice which with every passing year has become more haunting in its grace, more compelling in its command.
(kr) wrote: makes you think, leaves you contemplating
(es) wrote: Hilarious - best of 80's charm on the screen.
(de) wrote: My Favorite Musical Film Is 1952's Singin' In The Rain.
(us) wrote: Despite being slightly dated dishonored still stands as a fascinating and stylish film.
(de) wrote: Underrated comedy. Not a great movie, but it has a good amount of laughs.
(us) wrote: Very light film which is easy enough to sit through, and despite some poorly written characters and moments within the script, the film is lifted by the performances of Amy Adams and Clint Eastwood. Timberlake, whilst an adequate actor who tries hard in the role, feels miscast against the high quality of Adams and Eastwood.