Words of Devotion

Words of Devotion

Ootani and Tachibana have been inseparable since high school. Now that they're in college, they live together, they're happy and everything seems prefect. But their little world is ...

Ootani and Tachibana have been inseparable since high school. Now that they're in college, they live together, they're happy and everything seems prefect. But their little world is ... . You can read more in Google, Youtube, Wiki

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Words of Devotion torrent reviews

Ben Y (es) wrote: This was a fairly interesting look into the world of wine-making in Arizona. Maynard could be the least charismatic person on the planet and he's generally awkward on screen, but when he speaks I always want to listen for some reason. Fans of Tool will like this cause you get to hear Maynard speak for more than 4 minutes, wine lovers will appreciate the risk in making a winery in Arizona.

Peter P (nl) wrote: To make a great art about blasphemy and transgression, what one needs most is a light, delicate touch, a genuine admiration for gentle and childlike innocence, and a sense of humor that is never crude but always conveys the sentiment of wonder when it is most biting. Lunacy, written and directed by the Czech surrealist Jan Svankmajer, is a film that contains many grotesque images, including an extended scene depicting a black mass and numerous sequences involving animated raw meat, but there are innumerable details that are incongruously touching: the lullaby that plays whenever the protagonist dreams his recurring nightmare is both syrupy and menacing, the depraved antagonist who models himself after the Marquis de Sade recounts a moving childhood memory, chickens roam free in the rooms and corridors of an insane asylum, a mute coachman plays an intricate board-game modeled after the tortures inflicted on him and other inmates at an authoritarian institution, moving game-pieces made of bones and rolling a die made of teeth. Much of the film takes place at an insane asylum where the patients are allowed absolute freedom and the doctors view themselves as equals with the inmates. Thus, it is an institution where there is no difference between health and sickness, between sanity and insanity. It is a damning portrait of the permissive, relativistic society, where anything goes and everything is permitted. The director, to his credit, refuses to idealize this setting, and in fact highlights the ugliness and cruelty, the violence and brutality, that are unleashed when restraint is cast aside and no higher principles are operative in helping the patients recover. But in the third part of the film, the opposite form of social organization takes hold, the authoritarian regime of old-fashioned punishment. The carnival of freedom comes to a bitter end when the less imaginative authorities, who are even more violent, impose order and hierarchy in the form of appallingly brutal cures.Lunacy is a film that could not have been made by someone born after 1950. Svankmajer has been called the last of the surrealists, the only living exponent of the authentic European avant-garde. That is to say, his work remains curiously untouched and uncontaminated by the sensibilities created by mass culture and consumerism, which have had a determining effect on art and culture in the postwar era, whether in the form of rock and roll, postmodern irony, ideological self-righteousness, etc. Svankmajer lacks that the traits of the earnest sanctimoniousness and defensive hedonism that so widely dominates the late capitalist culture of the West. In other words, Svankmajer retains the wit and delicacy of a earlier, more violent and oppressive age. Much like Luis Bunuel, Svankmajer has the capacity to suffuse apparently ordinary gestures with a haunting grotesqueness. The most disturbing scene in Lunacy is not one showing blasphemy or killing or maiming, but one in which a group of people sit at a table and eat a chocolate cake, with close-ups showing their lips smeared with brown frosting.

Toby C (us) wrote: A fun and enjoyable adventure film starring the Rock in one of his earlier films.

Alaura S (de) wrote: This was kind of sad =( it was pretty good though. the teacher was a little old

Jonathan S (ru) wrote: Might wanna skip this one.

Adam G (fr) wrote: A quirky drama/comedy from the Czech Republic. Imagine a less stylized version of a Guy Ritchie film. Now picture that film in Eastern Europe. Then you'll have Up and Down.

The Critic (kr) wrote: A visually superior films that engages with cinematographic beauty. The dialogue is minimal, but the film has a lot to say about male relationships and the impact of jealousy.

Eliabeth R (jp) wrote: This is a very good movei and it will have to be one of my favorite moveis that i have seen in my life.

Adam R (es) wrote: Gordy was made and released before Babe, so it's a little unfair how it so commonly gets overlooked as a ripoff. However, I do have to agree with the consensus that Babe is the better film and more suitable for all ages, whereas Gordy is more childish. (First viewing - Childhood)

Waleed A (ca) wrote: Strictly as a comedy this movie was very funny and Jim Carrey is amazing. Overall as a movie it is horrendous in so many ways. But I don't really care with dumb comedies like this as long as they make me laugh. Some of the jokes miss but most of them made me crack up (about 3 viewings)

Orlok W (de) wrote: Great atmosphere, great plot, fair otherwise--Weird, uneven, bizarre, but never boring!!

Lynda P (mx) wrote: One of my all-time favorite love stories, full well knowing that Clark Gable takes advantage of Loren's character.

Christopher Dylan P (us) wrote: The Raven was a huge disappointment with a paper thin characters that were generically pretty but had no personality. It was a slasher film with no actual slashing. The killer would wave his arm at people while holding a costume shop prop and the FX people would squirt a line of blood on the victims neck. Very amateurish. The sex scenes were long and the opposite of provocative. Save your time, by skipping The Raven and watching HellBent again.