Comedy sequel to "East is East". Manchester, North of England, 1975. The now much diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, the runt of the litter, is deep in pubescent crisis under heavy assault both from his father's tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. So, in a last, desperate attempt to 'sort him out', his father decides to pack him off to Mrs Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 35 years earlier. It is not long before Ella Khan (Mrs Khan No2) with a small entourage from Salford, England, swiftly follows to sort out the mess, past and present.
Ryan H (br) wrote: Come Back To Me was a low budget film that maybe if more money was put into it, it could have been a pretty good movie. After Sarah (Katie Walder) and Josh (Matt Passmore) go across the street to meet their new neighbor Dale (Nathan Keyes) she starts waking up with night terrors and sometimes wakes up with blood. She thinks someone is coming into the house so she puts up a camera in her bedroom. Long and behold she finds the answer, I'm not going to spoil it for you. The movie was predictable and then a few times it wasn't at all, but almost at the end of the movie it became very predictable. The director, Paul Leydein, was basing it of a book, "The Resurrectionist" by Wrath James White. I would hope that the book went into better detail than this movie did. Some of the acting to me wasn't the greatest and some of the effects could have been better. Katie Walder did great with the night terrors by being afraid. I will say that the blood and gore looked really realistic. You cant really miss a scene in this movie because it can be hard to try to follow once its missed. Somethings happen to quickly but some parts of this movie drags. Overall the movie was OK, but I feel if they put a little bit more money into it, it could have been a great horror movie.
The Critic (jp) wrote: Despite not offering a plot that hasn't been seen or done before, 'Bootmen' still manages to come across as a fresh and thoroughly entertaining piece. Adam Garcia doesn't always prove to be a strong lead, but is such a likeable presence and is supported by a host of great performers that it's easy to forgive the film's few shortcomings.
Lola G (ru) wrote: Typical of Larry David...if u like Curb your enthusiasm, chances are u r gonna like this. warning: u may fall asleep watching it, especially if u r an anti-LD
Anastasia (es) wrote: Its cheesy, but I can get over it mostly (14) LIBRARY
Andrew O (de) wrote: An honest and moving experience, which could have been predictable, but refuses to have a feel-good ending.
Wade C (jp) wrote: Another mindless religion-themed flick.
Sean L (fr) wrote: During the 1980s, only two years passed without an entry in the Friday the 13th series. That's eight films in ten years, and while the quality usually betrayed those short production times, they always felt like kin. Spiritual relatives. It took four years for a ninth chapter to see the light of day, plus a switch from Paramount to New Line Cinema, and somewhere along the way there was a great disconnect. A true B-grade picture in every sense, Jason Goes to Hell is the worst Friday yet, and one of the most desperate, flailing, pointless films I've ever seen. Though veteran blade-swinger Kane Hodder has returned to the role, this Jason bears little resemblance to the cool, creepy psycho killer of the earlier films. Inflated and deformed, at this point he's basically a roid-raging leper in a twisted, vaguely-familiar hockey mask, but he's changed in more than just a physical sense. The story revolves around his black heart, literally migrating from host to host to inspire fresh killings after Jason himself is blown to bits in the opening scene. We've swallowed some absurdly stupid plot devices over the course of this franchise, including a similarly lame-brained "fake Jason" angle in 1985's A New Beginning, but this one sets an awful new standard. It plays like cruddy straight-to-video '90s gimmick horror, not the quaintly under-produced slasher material that had typified the series to this point. Needless to say, the acting hasn't improved (somehow, impossibly, it's actually grown much worse) and the production values, which enjoyed a well-deserved bump in Jason Takes Manhattan, are once again cut-rate and pitiful. Not a good look for New Line, proving right out of the gates that they don't understand what they're making and don't honestly care, one way or the other.
Edward B (kr) wrote: Thai films have slowly been increasing in popularity, mainly thanks to Tony Jaa's influential and unprecedented martial arts style. From the opening scene, The Victim promises to be the next Shutter, but just as quickly collapses into an incomprehensible, unscary, and downright annoying piece of forgettable cinema. Its art-house ambitions grow more unattainable by the minute thanks to its poor production values, camera angles that don't even film the action properly, and jarring edits. There's no need to even talk about the story, because it's filled with so many blatant plot holes that if the filmmakers couldn't bother to find ways to fix them, what's the point of talking about them.