Wings for Wheels: The Making of 'Born to Run'
What can be said about Born To Run that hasn't already been said or written over the years? The album took Springsteen from punk to rock star, from rags to riches, from boy to man, educating his crowd in lessons of love, broken dreams and cars. This documentary details the making of the album and covers everything from the pressure that Springsteen was working under to produce a hit album for Columbia Records to working with the band in the studio to achieve the sound he wanted for the album. Finally the "Hype" of Springsteen that threatened to overtake the value of the album and the artist is also discussed. Featuring vintage footage and new interviews, it's a marvelous glimpse into the creation of one of the top ten albums of all time. There are also three performances from 1973 recorded in Los Angeles-"Spirit in the Night" "Wild Billy's Circus Story" and "Thundercrack".
What can be said about Born To Run that hasn't already been said or written over the years? The album took Springsteen from punk to rock star, from rags to riches, from boy to man, educating his crowd in lessons of love, broken dreams and cars. This documentary details the making of the album and covers everything from the pressure that Springsteen was working under to produce a hit album for Columbia Records to working with the band in the studio to achieve the sound he wanted for the album. Finally the "Hype" of Springsteen that threatened to overtake the value of the album and the artist is also discussed. Featuring vintage footage and new interviews, it's a marvelous glimpse into the creation of one of the top ten albums of all time. There are also three performances from 1973 recorded in Los Angeles-"Spirit in the Night" "Wild Billy's Circus Story" and "Thundercrack". . You can read more in Google, Youtube, Wiki
Wings for Wheels: The Making of 'Born to Run' torrent reviews
(gb) wrote: Decent British B-Movie Horror, Which See's Adele Silva (Emmerdale), Stab A Werewolf (Martin Kemp), In The Eye With A Silver Pen Killing Him. This Starts A Hunt By The Werewolves To Get Them Who Murdered One Of The Pack. Throw In UK Screen Icon, Steven Berkoff (Octopussy, Beverly Hills Cop), & Horror Icon Robert Englund (A Nightmare On Elm Street) As Cameo's, With Some Good Script Writing & Effects. And You Have A Decent Horror/Gangster Story.
(jp) wrote: Over the top, and definitely not solid acting, but a thoroughly enjoyable slasher worth watching
(ca) wrote: Loved it!Kind of cruel and unbelievable at times, specially at the ending. Great acting.
(us) wrote: It shows that there is a rule that some people do not have all needed feeling, that this man here after an operation in his eyes start seeing everything and forget his wife and get in love with a young girl, mean while not ling later again his eyes become blind and ...
(es) wrote: Loistava road movie junttityyliin 50-luvun cadillacilla. Hyvin halvalla budjetilla, mutta ammattimaisilla nyttelijill toteutettu poikamaisen railakas seikkailu. Vesa-Matti Loirikin vaikuttaa jlleen nuorelta.
(mx) wrote: I protested, but my friend forced me to watch this. I laughed all the way through at its awfulness. My god, how did all these people with zero acting ability become actors?!
(br) wrote: Despite a too-confusing ending, Ichi the Killer is a classic example of Japanese gore cinema. Because amid the slicing and spurting and rape and torture, there are characters that are being explored, commented on, and explained.A dip into Japanese core cinema is a lesson in human psychology such that it can stand on its own without any violence.But violence there is, which limits Ichi's potential demographic.
(kr) wrote: Last Action Hero is something special. It reeks of the 90's, but its a fun and enjoyable action fantasy that riffs on the genre and definitely entertains. Its full of a swell cast, some really cool meta humour, and definitely one of the more imaginative films, like the action hero version of The Purple Rose of Cairo.
(mx) wrote: Ah man, I had a fun time watching this flick. It's filled with a lot of cheap laughs, but they work. I went to flick thinking it was going to suck, but was suprised and laughed a lot. One thing that bugs me is the fact that this film is rated PG-13, but yet there is a lot of material that deserves R. And thought today's film get away with a lot of material that deserves an X-Rating.
(de) wrote: After the success of the Superman films, producer Alexander Salkind thought it would be a good idea to do a film based on the Supergirl series of comics, which started in 1958. It seemed like a good idea at the time, especially as Christopher Reeve was in no hurry to play Superman again. But Supergirl would prove to be a troubled production, filmed on the hoof and the special effects look rushed too, but it's just cheesy fun mostly. On the Kryptonian community of Argo City, Kara Zor-El (Helen Slater) accidentally loses a powerful orb known as the Omegahedron, which belonged to Zaltar (Peter O'Toole). Blown into outer-space, Kara follows it, and transforms into Supergirl along the way. The Omegahedron lands on Earth, and it ends up in the hands of witch Selena (Faye Dunaway), who uses to break her relationship with warlock Nigel (Peter Cook), and wreck power on the world. Kara arrives on Earth, and enrols at an all-girls school under the name of Linda Lee, quickly befriending Lucy Lane (Maureen Teefy). But when Selena wages destruction, Kara/Linda becomes Supergirl. It follows the same formula as the Superman films, but this was rushed into production to make a Summer 1984 release, but it ended up being delayed when Warner Bros. dropped it from distribution, and negative publicity saw it flounder at the box-office, which was a shame, as it's not as bad as it's made out to be.
(ca) wrote: Imagine the sound and this movie have informed my music and the way I think so much.
(gb) wrote: Eu amo este filme, o roteiro um dos melhores que eu j vi, assim como a dura crtica perante ao rumo onde a sociedade est tomando.
(es) wrote: Busting is a cop show encapsulated, purely episodic in structure as the two vice cop heroes team on various assorted cases, with unstable degrees of success. It's in keeping with the refreshing realism of this period in the film's genre, as it's exceedingly cynical, robustly indicating that crime does pay, and that the biggest criminals in society are dishonest politicians and businessmen who will never be penalized. Were the production not as befuddled and awkward, this rather poorly titled actioner could easily rank among the two French Connections, Bullitt and the Dirty Harry series. Against an abrasive cityscape of backstreets and littered alleyways, Elliott Gould and Robert Blake star as vagabond vice squad detectives, the type who in actuality set the judicial system back decades. Elliott Gould, the tall one, incessantly chews bubble gum, ambles somewhat hunched and talks in the manner of someone fashioning himself on the star of an Elliott Gould movie, which is awesome. Robert Blake, an unlit cigarette inexplicably hanging from his lips, behaves like a guy who wishes he were tall and realizes he never will be. It doesn't trouble him, though it makes him a bit less compromising than most guys. Gould and Blake inhabit their work lock, stock and barrel. They consume most of their time apprehending people who are more of a perceived threat to society than a real one: call girls, massage parlor staff and gay bar regulars. It's simply what they do to keep the wheels turning, like road cleaners. It's one of the existential quirks of Busting that when the vice boys do get mixed up in their work, when they find themselves pursuing the Mr. Big accountable for the considerable multi-million-dollar L.A. rackets in addition to the trivial ones, they get thumped, both by the crooks and by their Police Department superiors who may, it would seem, stand for the posture of the society whose protectors they are: The action sooner or later gets around to charging Allen Garfield, cast as a local peer of the realm, with practically all illegal goings-on in town. Garfield, as ever an exceptional actor, brings poise and a sense of being wholly together to the role. As bemused as the Philip Marlowe Gould interpreted a year before in Altman's brilling Long Goodbye, this 1974 film was the first film by Hyams. His aptitude as a director is more apparent in this film than in any other he's done perhaps, especially in the visual highlights and in the performances. I have an idea that that the qualities of Gould and Blake, instead of the screenplay, are answerable for the distinctness provided the roles. They try a bit too hard for idiosyncrasy and funny habit, nonetheless they're effective at establishing particular characters. Hyams engineered something of an achievement by crafting a rough cop film sans taking advantage of the right-wing scorn that warns us all to arm ourselves. I.e., it recognizes that when cops and robbers are firing guns at each other in open places, the lookers-on aren't impervious to the bullets. When Gould and Blake chase some heroin pushers through a supermarket in a continuous gunfight, the movie shares the panic of the bystanders to the extent that it does the tension of the pursuit. It's this plane of alertness that secedes this possibly pioneering buddy cop picture from the subsequent second-hand goods in marketeering mockery of the genre that was given that healthy dose of gritty reality in the 1970s, not only by transcendent pictures like The French Connection and classics like Dirty Harry, but even bargains like Busting.
(es) wrote: hepburn and finney are great in this unconventional romance.
(de) wrote: Blame it on the Samba, Pecos Bill, and Johnny Appleseed are the only great segments. The others are dull and forgettable.
(us) wrote: not a bad movie for an old movie. errol flynn seems to exceed my expectations whenever i watch something with him in. immediately when i read the description of a flick with him in i usually sigh to myself and think this will be boring, but something about him and his on screen magnestism draws me in and makes it interesting. a perhaps slightly too long movie but poignant especially when it comes to showing how the "monkeys" used to treat their P.O.W's. also the action sequences weren't too bad for an oldie. not quite tears of the sun but for it's time i imagine as engaging
(ca) wrote: It was not great. This is Japanese anime but English language and little Japanese... Famous Japanese actress Youki Kudoh's voice was not great too. Only 48 minutes and I wasted my time again...
(br) wrote: Michael Caine plays a jewel thief recruited by a beautiful young woman & her older husband to help them in their own criminal enterprises, only to encounter some strange secrets to their relationship. Overall, this film fails as both a heist flick and a psychological study and despite the odd flash of interest, it's merely dull.
(ru) wrote: This movie is based on a true story of an undercover cop who becomes part of the mob. The real name of the undercover cop is Joe Pistone but when he is in the mob's presence he uses the name Donnie Brasco. Brasco befriends a mobster named Lefty and thus finds it difficult to bring him down. This movie is a well acted movie but is simply neither entertaining nor suspenseful enough to be a memorable movie. If you want to watch a crime movie based on real events watch Goodfellas or Casino instead.
(mx) wrote: I had wanted to see this for a while as I believe it is the film that turned Matthew McConaughey's career around. He plays against type and is great in this film that is twisted and filled with very dark humour. Unfortunately I didn't like the story or anyone else in the film so can't recommend it. Worth watching solely for McConaughey's performance.