Willy Signori e vengo da lontano

Willy Signori e vengo da lontano

Scampato a un incidente in cui un uomo è morto, il cronista Willy si fa inoculare un forte senso di colpa dalla fidanzata incinta del defunto e si dedica a lei. La sua fidanzata, energica come medico e ingorda come amante, lo molla. Lieta fine in Marocco dove vive il fratello di Willy su sedia a rotelle. Una gag ogni 10 minuti, ma sotto la media di Caruso Paskoski. Ogni trovata è replicata due o tre volte. Vero motivo di spasso è Haber, fratello disabile col mal d'Africa, Nastro d'argento come non protagonista.

Willy gets involved in a car accident. The girlfriend of the man killed in the accident, who is waiting for a baby, blames Willy. So he decides to care for her and for the baby. . You can read more in Google, Youtube, Wiki


Willy Signori e vengo da lontano torrent reviews

Amy L (de) wrote: Surprisingly tolerable.

William M (fr) wrote: FUCKING HYSTERICAL!!!

Alison S (nl) wrote: Poetic, I need to see it again!

David W (ag) wrote: It loses its energy in the last 20 minutes or so but otherwise this is a weird, gory and funny little B-movie that shows the beginnings of the South Park creator's style.

Michael T (it) wrote: Strange film with a great cast.

Turtle T (kr) wrote: I was forced to watch thos, twicw, to get my licence back. needless to day, great performance by Mr. Michael Keaton.

Alex r (mx) wrote: Death Ship is a terrific, low-budget cheesy supernatural tale that should definitely appeal to midnight movie horror fans. I thoroughly enjoyed the film, and I feel that this is one of the most underrated films in the genre. The cast do a good job in their roles, even though some of the actors go over the top in some respects (George Kennedy). If you love obscured horror titles, check this film out. I think that this is an underrated film that works well if you end up not caring about how flawed the plot is. The concept is really terrific and it's what makes the film work. Death Ship is a film that is made for a specific audience in the horror genre, and if you're not used to B movies, or cheesy horror yarns, you may want to pass up on this one. However for those who enjoy these types of films, and then definitely seek out this title. The film has enough good things going for it to satisfy the most diehard midnight film fan. The film is an ultimate guilty pleasure, and it's mindless fun, entertainment. As far as obscured horror titles are concerned, Death Ship is definitely one worth checking out. With good gore effects, a decent cast and pretty eerie atmosphere, this is a film that really doesn't deserve all the flack it has received. Ghost Ship is similar in its ideas, but as far as I'm concerned, this is a far better film. This is a film that relies on its atmosphere to create its horror, and in there's some pretty effective horror bits despite the fact that the film won't win any prizes any time soon.

Blake P (de) wrote: "Le Doulos" is a movie of style, not coherence, and that's what I like best about it. Jean-Pierre Melville, a director who has famously been referred to as an American in Paris, makes a 1950s film noir, sets it in France, and places the characters in 1962. But the film is so crisply cool and so conscientious of how it presents itself that it could be set in 1944, 1960, 1980, or 2025. It lives a timeless world where slippery bad guys in fedoras surround themselves with piling crimes and chic women. It's not based in realism, but in pulpy fantasy. Before the film even begins, Melville presents us with an ultimatum in which neither option is pleasant: "One must choose: die ... or lie?" The characters in "Le Doulos" don't get to pick. Most get both. In film noir you are never really safe. You can parade around looking suave and slick, carry a gun with confidence, and take a bath in diamonds. But one false move, and you're dead. The plot is thin but coats itself in chimerically shadowy cinematography and terrific performances. Maurice Faugel (Serge Reggiani) has just been released from a six-year prison sentence, and immediately commits another crime by double-crossing a fellow hoodlum, stealing scads of diamonds. Afterwards, Maurice begins to blueprint a risky jewel heist. He shares his plans with Silien (Jean-Paul Belmondo), who may or may not be a police informant. Storywise, this is the basis of the entire film; what comes between is a labyrinth of Hollywood-based, glittering crime thriller stylings. "Le Doulos" explores the themes of brotherhood, loyalties, and instant betrayals that pitfall the crime underworld, and it fills itself with so many different characters and settings that the dialogue doesn't truly ever push the plot forward. The conversations seem straight out of a Humphrey Bogart film noir, neatly witty, perfectly placed, and hard-edged. If the characters aren't always fleshed out as people, they're better looked at as added character archetypes, textures, if you will. Belmondo is the smooth talking gangster that may or may not be on your side; Reggiani, a Dana Andrews lookalike, is capable of violence, yet you can feel an underlying regret beneath his leather trench coat. Hennessy and Dali are the women, with Hennessy as the moll caught in the middle of some deadly action while Dali, with her winged eye-liner and jet-black hair, is a slinky B-Ava Gardner. As its piano-driven, martini glass score plays in the background of the more mundane scenes, "Le Doulos" emanates an icy, inexplicably bad-ass attitude that even makes the clichd "crime doesn't pay" message fresh again. The final shootout resembles Quentin Tarantino's "Reservoir Dogs" climax; Belmondo's performance is quintessential. Melville's homage to film noir feels less like an homage and more of a full-hearted exercise in style.

Li K (gb) wrote: Having recently read that the opening scene was cut from this movie, and after test audiences were unhappy with the ending and amount of graphic violence in this movie they changed the ending and cut a number of scenes throughout, it makes a lot more sense why it feels like a whole lotta nothing happened in this movie. The ending they ended up using makes more sense with the series and the whole "Chimpanzees are pacifists!" proclamation throughout the earlier movies, but doesn't really feel like it fit the rest of the movie either. Somewhere in between the two where perhaps the Gorillas don't listen to the commands of this talking Chimpanzee they wouldn't be able to understand anyhow would've made more sense to me. If test audiences didn't like it it could happen off screen or be less graphic. I don't really get why Armando would EVER take Caesar out of the circus knowing what kind of danger he could encounter, Or why when all the cats and dogs died of plague people thought to themselves "hey remember how those talking apes said we would have ape pets and then turn them into slaves and then have them over throw us? That sounded cool, lets do that." Instead of adopting ferrets or possums or something.

Gabriel M (ca) wrote: This well done, very entertaining, well explained, the director's work is very good. Everything was good.