Wild Grass

Wild Grass

Marguerite loses her wallet, and it's found by Georges, a seemingly happy head of family. As he looks through the wallet and examines the photos of Marguerite, he finds he's fascinated with her and her life, and soon his curiosity about her becomes an obsession.

A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red ... . You can read more in Google, Youtube, Wiki

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Thomas B (de) wrote: Australia has never had the best track record for normal films. Transvesites in a winnebago, check. Bodies in barrels, check. So it shouldn't really be a surprise that a film about a guy's race against infertility should come out of Australia.When Jonah finds out that the treatment for his testicular cancer will make him sterile, he sets out on a mission to make a baby before his time runs out.Such a subject isn't the easiest to stretch out over an hour and a half, so it's a tribute to writers Michael Lucas and Peter Templeman that the film is constantly charming with a wry sense of humour and sarcasm, executed brilliantly by the three leads. The writers have also nailed the characters here, as each of them could easily be locked up in their own stereotypes, but instead are real and layered with hidden depths. Jonah in particular could easily come off as unlikeable after his funny moron schtick wears off, but instead his character imbues the movie with a childlike innocence, despite its initially crude subject matter. Templeman also has a keen ear for every day conversation and the awkward intricacies it brings. Some of the film's funniest moments are in the cringe-worthy conversations between a guy who needs to find someone who wants a kid immediately and his confused subject. At its centre, however, the film is a romantic comedy, and Templeman never forgets to focus on the real relationships developing behind the babymaking farce. The main romance never feels unrealistic or cheaply found. Instead, the two characters grow together naturally through their own developments as characters and understanding of themselves.Making these characters a reality is a fantastic cast who are perfect for each of their roles. At the front of the pack is Ryan Kwanten. Most people will know the Aussie star from True Blood but he has kept returning home to make independent, cleverly strange films like Griff the Invisible. Here, his Jonah has touches of Jason Stackhouse's stupidity but he's such a likeable guy that he's instantly endeared to the audience. His journey from aloof playboy to earnest adult is forced upon him at first, but by the end of the film he has made the journey in his own right. It's a performance which you can't help but like thanks to Kwanten's great comedic sensibility and an ability to convey a vulnerability and depth in what could easily be a shallow, unlikeable character. His counterpart, Sarah Snook, is more than a match for Jonah as the sarcastic Stevie. She's always the first one to point out the stupidity of a situation and bring a little sanity to the works. However, her sense of humour makes it tough for her to connect with others emotionally, something which Snook displays perfectly. Her awkward manouvering through a real conversation is as touching as it is funny. Ryan Corr provides even more to the comic relief side of things as Gus, the housemate constantly in the dark, constantly on the very edge of knowing what's going on. Other performances from Bojana Novakovic, Alice Parkinson and Laura Brent are welcome additions to an already great cast.Almost a member of the cast in its own right is the soundtrack. Full of an eclectic mix of party tracks and subtler, softer choices, the music does a great deal to heighten the film while also working in the crux of each scene.Peter Templeman's direction is a cut above your average indy film: confidently restrained, cleverly dynamic and unafraid of earnest emotion. He handles every beat of the film with the flair of someone who doesn't even realise this is their debut feature. Having written the script, Templeman very clearly understands his subject matter and his characters and, more importantly, how to convey this through his direction. Whether it's an incisive close-up during a key moment for a character or tracking an oblivious Jonah through a pulsing crowd, Templeman adds a mood and a beauty to his film through his camera.Australia can either make very good films or very bad films. For every Animal Kingdom there's going to be a Bait to follow it up. Not Suitable for Children wobbles a little throughout, but it ends firmly in the good column.Defining Scene:The cringe-worthy hilarity of an arrangement with a lesbian couple.

Joo d (br) wrote: "A Guerra Est Declarada" possui um tema muito difcil: o cncer. Felizmente, o longa no usa a doena como desculpa pra mostrar um mero melodrama. Pelo contrrio, apesar do filme ser um drama, ele nunca perde um esprito de esperana, ou seja, o filme ao inv (C)s de ser pessimista (C) sempre positivo, mesmo em seus momentos mais fortes. A trama (C) bem simples: um jovem casal (Rom (C)o e Juliette. Preciso dizer algo?) aps suspeitar de que seu filho possui algum problema - no anda, vomita constantemente, possui uma leve assimetria facial - descobre que o pequeno Adam, um beb de 18 meses, possui um tumor no c (C)rebro. Da comea uma luta (a guerra do ttulo) contra o cncer do menino. O principal triunfo do filme so os seus protagonistas. Durante toda a projeo eles no so endeusados nem tratados como pobres coitados, e sim como meros seres humanos, que riem, choram, acertam, erram. Dessa forma, o espectador consegue se aproximar mais de seu drama e acaba se envolvendo na batalha do jovem casal pela sobrevivncia de seu filho. Outro elogio que deve ser feito ao filme (C) o seu ritmo. O filme poderia ser incrivelmente arrastado, por (C)m ele (C) dinmico, possuindo um equilbrio entre momentos de angstia e felicidade. Infelizmente, o filme tm os seus problemas. Um deles (C) a trilha sonora irregular, que em alguns momentos est super bem encaixada com a situao, mas em outros parece meio deslocada. J a outra falha do filme refere-se a apenas uma cena do filme, mas que (C) to ruim que merece ser citada. Logo depois que (C) descoberto o tumor de Adam, h um momento digno dos musicais mais piegas que existem: o casal canta distncia (ela em Marselha, ele em Paris) uma cano de amor. At (C) a tudo bem, mas a incluso daquele efeito brega no qual a cabea de um dos personagens aparece semi-translcida no ar acaba com todo o clima. Al (C)m disso, a melodia da cano qual eles cantam (C) digna de DVD de karaok. Portanto, uma cena que poderia ter sido bonita e interessante acaba sendo piegas e hilria (mesmo que essa no seja a inteno). Mas no geral, "A Guerra Est Declarada" (C) uma bela histria de amor e superao.

Matt S (gb) wrote: With a cinematically muted color palette, strong indie rock soundtrack and the city of San Francisco as a supporting character, this is an incredibly promising debut feature from Barry Jenkins.After Micah and Jo drunkenly hook-up at a party, they end up spending the next 24 hours getting to know each other. It's an oft-charming, sometimes awkward period of time even in the best situation, even more so here when Jo reveals she has a boyfriend who is abroad in London. After spending a night out dancing in an almost all-white bar (to a soundtrack that includes White Denim, Oh No! Oh My! and The Answering Machine), Micah expresses his frustration with the scene that they both seem to gravitate towards: ??Everything about being indie is tied to not being black.??

Paul D (it) wrote: The plot is no more than the well used formula of a lone cop hunting down a mystery murderer, however the director uses the location well and it's a film with plenty of atmosphere. The dream sequences from the civil war give the film depth, but are irrelevant and confusing.

Tor M (jp) wrote: In this quite confusing break-up flick, set in Prague, it's not easy knowing what you really want to happen, or which side you support. The plot got shifted around in my head as subplots show up quite often. Subplots that are quite huge and important to the story and the entire package is put together in a great way. It's not easy to understand why the couple deal with the issues the way they do. They hate each other, they have sex, they yell at each other and then they have sex again. Sure, I do understand that it's a difficult situation, and maybe they don't really know what they really want, but staying at the same hotel together? It's like they are breaking up and getting back together for two weeks straight.I found the movie well paced and lovely to watch. The score is beautiful, the cinematography is captiavating and the actors deliver. Otherwise this film was haunting but not very emotional. It's a drama, but not a great or typical drama. Either way, i liked it.

Tom H (it) wrote: Better and more entertaining than the Hill`s film. Other than there is fighting inside a prison, there is no real connection to the story that went on in the first film.

Jerem M (au) wrote: Fascinating insight into the realities of homelessness in New York. Made me step back and appreciate my own good fortunes. Only complaint is that at an 80 minute running time, I was left wanting a lot more insight!

Gregory W (ca) wrote: descent quirky emsamble comedy/drama about a small town where everyone seems 2 know everyone's business with mixed results.

Brandon W (fr) wrote: Scarface is directed by Brian De Palma, written by Oliver Stone, and it stars Al Pacino in a crime film about a Cuban refugee that comes to America, and worked very hard to become a very rich man. I've never seen this movie before in my life, despite the fact that I got a 3D poster of Scarface in my room, and I had it in my DirecTV list for a few years. So when I wanted to delete something, I figure I'll just go at the bottom at the list, and watch this, which turns out to be an insane film. Al Pacino gives a maniacal performance that you can't help but love that kind of acting, especially when it's from Pacino himself. I thought that at first, Scarface was going to be like The Godfather since it's a crime film, and of course it has Al Pacino in it, but it actually didn't felt like it at all as the characters are more insane in this than The Godfather, and the plot gives in more towards the extremes of it while the other is more of a calming and professional way. The direction by Brian De Palma is very kinetic that keeps it on feet, and the writing by Oliver Stone is very well-written that I'm surprised that this is from the same guy who did Platoon, JFK, and Wall Street. The characters are very memorable, especially from Tony Montana who you just love to hate, and when it gets to the end, I just ended up feeling sorry for him for being so pathetic in this. Despite the fact that it's 170 minutes long, it manages to be very interesting, although there were some slow patches on the way there. It's interesting to see Michelle Pfeiffer in one of her first roles, and even back then she was really good in it and make more than that type of character that she plays it to be. Scarface is a really great that I can see why it's considered to be one of the best crimes ever made.

Kirk J (de) wrote: I really wanted to like this film. A 1950s neo-noir in an LA setting. The big-name cast was promising. The synopsis sounded intriguing. Despite all of this potential, the film turns out to be a major disappointment thanks to a vapid screenplay that lacks substance. Nick Nolte gives an inspired performance that practically carries the film. Jennifer Connelly is beautifully haunting and mysterious despite having limited time onscreen. I applaud director Lee Tamahori for creating a film that is visually pleasing and stylish. Unfortunately, it was impossible for him (and probably most film directors) to turn this screenplay into anything more than a ho-hum, predictable mess.

Joetaeb D (au) wrote: Director Werner Herzog makes a fantastic survival story with Rescue dawn, a true life story that's realistically shot and anchored by Christian Bale's amazingly human performance.