21 Grams

21 Grams

This is the story of three gentle persons: Paul Rivers an ailing mathematician lovelessly married to an English émigré, Christina Peck, an upper-middle-class suburban housewife, happily married and mother of two little girls, and Jack Jordan, an ex-convict who has found in his Christian faith the strength to raise a family. They will be brought together by a terrible accident that will change their lives. By the final frame, none of them will be the same as they will learn harsh truths about love, faith, courage, desire and guilt, and how chance can change our worlds irretrievably, forever.

A freak accident brings together a critically ill mathematician, a grieving mother, and a born-again ex-con. However, the accident is the one that ruins lives but ultimately also resurrects them. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

21 Grams torrent reviews

Matt C (fr) wrote: Even after premiering to some pretty strong reception at Sundance four months ago, Morris from America didn't seem to garner a ton of traction or talk out of the festival. It was a movie that I had heard of several times but didn't see a ton of online. I was pretty intrigued when I saw that it was the opening movie for the Chicago Film Critics Festival and even more so when I saw that writer/director Chad Hartigan and Craig Robinson (The Office, This Is the End) would be in attendance. Based on the Q&A, they seemed to have largely made the movie that they wanted to make. Between a rocky start and a sluggish resolution, Morris from America breathes funny new life into its fish-out-of-water premise. The movie follows the American thirteen-year-old titular character (newcomer Markees Christmas) living in Germany with his dad (Robinson) who moved for work following the mother's death, and Morris's coming-of-age experiences that ensue. If it sounds like familiar territory, it's because it is at its core. However, the movie is commendable for its lack of emotional manipulation that most similar movies have, as well as its different perspective. Here we have a protagonist that's black and into hip-hop living in an environment that's as white as mayonnaise--the fact that it isn't a misunderstood white kid is already a nice break from the norm. But it's the fact that Hartigan's script doesn't bash you over the head with its themes, nor do its character act in excessive or contrived ways. The relationships that are built--whether it's between Morris and his dad or Morris and his love interest--feel authentic and different in their own rights, and each character has a different voice. Being a comedy-drama that skews more towards the former, it's successful at both, with a ton of laughs that mine the naivete of its character and the inherent alienation that he faces. Some scenes are delightfully cringeworthy, some have a hidden emotional punch, and some just feel cute. While the movie generally succeeds, I was pretty unsure about Morris from America for the first twenty minutes or so. There are some issues that felt rather unavoidable for me, such as the film's lack of background or exposition. We never see what life was like for Morris or his dad before Germany, so the audience feels a bit lost in terms of the change that the characters are enduring. The beginning of the movie also feels a bit stiff, both in terms of the performances and the writing--and despite the fact that both work okay at times, the writing feels too on-the-nose and self-conscious, like it's trying to win your affection right off the bat. The movie finds its footing after that and it becomes apparent that the flaws mostly stem from the writing; when the writing is good, everything else is as well. Similarly, the ending seems dragged out a tad. The movie is only 91 minutes, but it almost feels as if it has several endings. I was never bored, but I was becoming aware of my waning interest. While it isn't perfect, Morris from America is a good amount of fun for a majority of its runtime and manages to recapture that sense of arrogance, alienation, and sometimes sadness that comes along with being thirteen years old. Markees Christmas is a strong talent to look out for in the future, and Craig Robinson's dramatic work here is impressive. If they had trimmed the fat a bit and injected a bit more meat into the beginning, it could have been even better, but what we have here is still enjoyable. 7.4/10, good, one thumb up, above average, etc.

Troy K (au) wrote: Cheesy, but watchable. I thought I had it all figured out, but it was even simpler than I had thought.

Jeremiah C (br) wrote: I Liked This Movie So Much

David B (fr) wrote: This is without a doubt lesser Murnau. But even lesser Murnau is better than most.

Andrew L (ag) wrote: the last of the death wish films and unfortunately only a reasonable film. it tries to follow on and includes the necessary guns and violence, but there is something missing from the film to make it really good. for the time it was a very passable thriller but obviously it has dated unlike a number of films done around the same time.

Kyle S (br) wrote: I generally like climbing movies. This one was alright.

Jack P (nl) wrote: Crappy hack sequel that kills any chance of a franchise the first film had. A total waste of time.

SV G (us) wrote: This movie from the 70s has a hodgepodge cast that surprisingly works well. Eric Roberts, Sterling Haden, Susan Sarandon, Shellie Winters, Annie Potts and great performance by Judd Hirsch. When a young gypsy's grandfather wants him to take over as King of the gypsies instead of his father, but he (Roberts) wants no part of gypsy life, he plans to leave until he comes back for his little sister, played by Brooke Shields. Wonderful costumes and soundtrack, fun to watch, in part for the 70s kitchy sort of way this comes across.

Tony D (fr) wrote: Not as good as the first one, but quite original too, the "dumb American" parts were just frustrating to watch, fuelling the prejudices between the Americans and the French

Private U (us) wrote: as good as it can get!

Nikki A (jp) wrote: a remote idyllic cottage by the scottish seaside and a cute otter to boot. a recluse's dream.

Morten B (us) wrote: Hvor er han henne denne Elvis bag de replikker som kommer ud af hans mund?

Daniel K (jp) wrote: 4: It isn't Hawks, but it works just the same. Bacall carries the film for me. It simply wouldn't work without her. It seems rather incredible that she is still around and occasionally working. Again, just like almost every other Monroe film (The Misfits being an obvious exception), it is mostly fluff, but very entertaining just the same. It's always nice to see NYC in a nostalgic golden age as well. The 50's have a certain glamorous and wholesome allure that I doubt will ever diminish. The ending is of course rather classic as well.

Mirkku S (jp) wrote: The music in this film makes me want to dance! A cute and colorful story about facing your fears and finding who you are. I like it!

Nurul I (br) wrote: Are they not do mistake about he year of this movie made? It's written 1982, R, over there. (im gonna find it later, im curious!) Well, i just watched it tonite. And do u wanna know about my opinion? It was a comedy-actions movie. I didn't know i just felt like this. Lawrence Fishburn felt like just wasted time in this movie. But Paul Walker i think he's fine here. Yah, u will not believe, that it has a very funny ending. I didn't even expect!

Kenneth M (br) wrote: I wish they would stop making these Hand-held Camera movies.

Lee A (gb) wrote: fun show but a little over my 5 and 7 year olds' heads