Who Is Cletis Tout?
A comedy about a hitman who sees everything in terms of the movies and how mistaken identity is getting in the way of recovering a stash of diamonds that was stolen and subsequently hidden more than 20 years earlier.
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Who Is Cletis Tout? torrent reviews
Todd S (jp) wrote: The Bag Man is one of these incredibly weird and twisted movies, that you really don't want to sit through, but once you start it, you'll finish it, because you'll want to know what's in that bag?! During a secret meeting, a mob boss gives his hit man a seemingly easy job. Pick up a bag, go to a motel in the middle of nowhere, and wait there until the boss comes to pick it up. The hit man does as he's told and gets a room at this motel, which is not only in the middle of nowhere, but is also filled with a group of ridiculously strange people, who all want this mysterious bag. John Cusack stars and no matter the role or the film, he's always fun to watch. There is just something about him that always makes his films entertaining and it's a good thing, especially in a film like this. While Cusack is along for the ride, it is very hard to follow along and like what you're seeing, because the film is just so bizarre. The cast of characters coming for this secret bag, include a pimp, a Russian midget, a corrupt sheriff, and a very weird guy in a wheelchair just to name a few. As the night wears on it becomes harder and harder to protect this bag, and in the end, when the bag is finally opened, you'll realize, that you just wasted 90 minutes for that!? I admire anything John Cusack does, De Niro is always terrific as a gangster, and if nothing else, The Bag Man is unique, but not for it's story. The hook, the thing that really drags you into this is that mysterious bag, which in the end, isn't as special as are you're lead to believe.
Carlos M (it) wrote: The two types of love that it presents are not comparable and the consequences of Jacqueline's obsession are just ludicrous, but this is a mysteriously charming film about how things change in our lives - and that wonderful song Caf de Flore will probably stick in your head.
K J E (gb) wrote: Although Lake City plays like a Lifetime movie, the cast is strong and the performances are gripping. The plot may be tried, but it is true. Going home and finding love and redemption.... A nice and touching film.
Cameron J (ca) wrote: Trippy how a Chinese woman is playing Japanese, but hey, Zhang Ziyi, that kind of profiling is what you get when you have Americans make a film like this. Between the American jazz dancers of "Chicago" and the Italian crooners of "Nine", Rob Marshall paid a visit to Japan, and even there, all he did was see about their dancing industry, so he really is a "gaysha". Seriously though, this film is a fairly different project for Marshall, although, more than that, it is way different from its predecessor. I was surprised enough to find that it took them just shy of a year to get this sequel enough, but this is hardly anything like "Diary of a Mad Black Woman", partly because geishas try to make themselves as white as possible, and largely because this film is actually good melodrama. Well, if Rotten Tomatoes could say nothing else about this film, it was that it's still better than its predecessor, yet "Diary of a Mad Black Woman" and this film remain startlingly popular, despite critical reception (Who would have thunk that we film critics wouldn't have had that big of an impact on general public opinion?). Sure, it got as many Oscars as any film of 2005, but just about every film that won something tied for most Oscar wins that year, which is bogus, because "Brokeback Mountain" was robbed of that tie-breaking Best Picture win. Yeah, I prefer "Memoirs of the Gaysha" (Making that just once was more than enough, but forget y'all, I just had to), although this film is better than many are saying, which isn't to say that I don't subscribe to many of the complaints. To be a conceptual pseudo-epic whose interpretation is ultimately rather lacking in nuance, this film's runtime of just shy of two-and-a-half hours tends to outstay its welcome with various forms of excess in storytelling, at least enough to cause certain shifts in focus to jar, due to overdrawn focus on individual segments. Really, I don't know if dragging is a tremendous issue, so, at the very least, the film is limp enough with its structuring to feel rather repetitious in its wandering along a path which is surprisingly lacking in scope, and a little less surprisingly a touch too familiar. Well, actually, there is a potential for freshness that is sometimes well-explored, but when originality lapses, conventions fall in, and heavily, coming with generic dialogue and characterization, and a formulaic narrative that feels all the more predictable when storytelling takes melodramatic tropes. The film portrays a very romantic time and subculture, and the story itself actually thrives on melodramatics, so histrionics are typically, perhaps even primarily forgivable, but not exactly consistently so, for there are some glaring superficialities to dramatics, as surely as there are certain superficialities to the fleshing out of depths to this melodrama. With all of my complaints about dragging, the big issue with this potentially piercing drama is undercooking, for storytelling often grazes over exposition and subdues a sense of scale and nuance would should keep consistent in this pseudo-epic and heavily layered plot, resulting in natural dramatic shortcomings that shouldn't stand in the story concept, and make other missteps harder to ignore. Sure, the issues beyond a lack of nuance are not quite as severe as I and other critics might lead one to believe, but they do still stand prominent enough to play their part in holding the final product back. Shy of rewarding, like many are saying, however, it is not, because no matter how problematic, the film engages the dramatically and, of course, aesthetically willing. This film's sort of western interpretation of East Asia musical sensibilities makes for a score that isn't exactly original by its own right, but very unique for the great John Williams, whose already distinguished tastes mix with the beauty of classical styles befitting the culture embraced here in order to craft a richly diverse and captivating soundtrack that consistently livens things up, and often resonates. Dion Beebe's Oscar-winning cinematography, with its seamless alternations between the rugged grit and subtle richness which both characterize classic Japanese film visual styles, is also lovely by its own right, as well as supplementary to the selling of this film's world, although that might simply be because it draws your eyes to outstanding art direction by Patrick M. Sullivan which celebrates the immersively diverse and utterly stunning tastes of production designer John Myhre and costume designer Colleen Atwood as artistically remarkable. Musically, visually, technically and all around stylistically, the film is about as outstanding as you've been told by the critics who at least give the film credit for its aesthetic quality, in spite of their deconstruction of storytelling which doesn't exactly do its subject matter all that much justice. A portrait on the struggles of a Japanese woman of great style and equally great misfortune during Japan's important transition into the mid-20th century, this story concept finds itself thoroughly underexplored by a script that is minimalist in scale, yet still thin in nuance, and yet, potential still stands. This potential's betrayal has left many to be underwhelmed, but for me, although there is something lacking here, storytelling has its fair share of strengths, with Rob Marshall, as director, delivering the most by challenging many of the slow spells with frequent color, and challenging many histrionics with a genuine tastefulness to dramatics which never allows heart to abate, and often truly touches. The combination of entertainment value and resonance to Marshall's direction carries the final product far enough beyond the shortcomings in Robin Swicord's script to compel, but if that isn't enough, Marshall also gets some pretty solid performances out of a talented cast, with the lovely Zhang Ziyi being most effective in a subtle and graceful leading performance whose emotional immersion and delicate layerings result in nuances greater than those featured in writing. This film could have been so much more than it ultimately is, and yet, with that said, I still find the final product rewarding, with enough realization to style and substance to entertain and compel time and again, maybe as much as it can. Bottom line, the film gets to be a little uneven and repetitious with its dragging, as well as a little too formulaic and melodramatic at times, though not as much as it gets to be lacking in nuance, enough to hold the final product back, and yet, entertainment value goes anchored by strong scoring and cinematography, and outstanding art direction, while a solid story concept is fulfilled enough by genuine direction and acting to fully secure "Memoirs of a Geisha" as an aesthetically satisfying and generally compelling tribute to the glamor and struggles of womanhood in 20th century Japan. 3/5 - Good
Boot F (ag) wrote: i really don't like thriller movies but when my husband was watching it, i was glued to my sit and finished the movie. luv the twists, special effects he created and the action. so far, the best dvd film i've watched this year. good well-rounded story. highly recommended
Silvestre S (ca) wrote: When i first saw the announcement for this movie i thought "great another spoof movie thats going to ruin my horror favourites" yet while seeing the movie i laughed here and there but the bad acting and laugh filled jokes this movie can't take anything serious but yet thats what makes a spoof movie a spoof movie
Josh M (fr) wrote: This a go-to movie , that I can watch once a year, but always seem as Fresh as the first time I watched it, it just seems like it will never get old.