Harry Mitchell is a successful Los Angeles manufacturer whose wife is running for city council. His life is turned upside down when three blackmailers confront him with a video tape of him with his young mistress and demand $100,000. Fearing that the story will hurt his wife's political campaign if he goes to the police, Harry pretends that he will pay the men, but does not follow through.
- Stars:Roy Scheider, Ann-Margret, Vanity, John Glover, Robert Trebor, Lonny Chapman, Kelly Preston, Doug McClure, Clarence Williams III, Alex Henteloff, Michelle Walker, Philip Bartko, Tom Byron, Herschel Savage, Ron Jeremy,
- Director:John Frankenheimer,
- Writer:Elmore Leonard (novel), Elmore Leonard (screenplay), John Steppling (screenplay)
A secret fling between a man and his mistress leads to blackmail and murder. . You can read more in Google, Youtube, Wiki
52 Pick-Up torrent reviews
(fr) wrote: worst golmaal ever...Same old jokes...I dont understand how come hollywood comes up with original ideas likehangover n due date and bollywood only copies old hindi movie stories #fail
(kr) wrote: Excellent film biographique quebecois de Ricardo Trogi (Bref un annee de la vie du realisateur) , drole et nostalgique en meme temps. Ce qui etait plus interessant que le film lui meme, ca ete de rencontrer l'acteur principal et le realisateur a la fin du film et d'avoir des anecdotes du tournage. Courrez le voir ca vaut la peine.
(mx) wrote: Proof that Belgium's talent is "alive and well..." in spite of the political problems opposing the French and Flemish-speaking populations. Interestingly enough, the Belgian touch is revealed equally in French or Flemish, though it is Flemish in this case (and not Waloon made palatable for French-speaking audiences elsewhere) that pierces through, lulling this film with a tender-sweet quality that can also become justifiably rough (only Woody Allen's films match this). The acting is stupendous, as is the filmography. Yes, there is a European cinema, but each country in the EU has its own particularities.
(de) wrote: It's the kind of stupid humor that's offensive for the sake of being offensive that you find funny at the age of 13 and ONLY 13
(br) wrote: For weeks I have been waiting; waiting to watch that one film, that elusive film that would warrant not only a positive review but true praise. I went into Knowing hoping with all my might, if the 30 second trailer was anything to go by this effects-driven supernaturally-touched sci-fi extravaganza would be the one.I was only half right, well to be fair three quarters. The movie had so much promise and base, well for at least the first hour. If you were actually able to look passed Nicolas Cages over acting, the story premise of whether life is a predetermined fate and or simply a random string of events truly captures you and commands attention.There is a However. The final cornball out-of-place 1970's close encounters of the dreadful kind last 20 minutes negates all that came before extinguishing any hope the film may have making you want to flee the theatre screaming why did you ruin it? Either that or sit there mockingly humming black and white rerun sci-fi tunes.Knowing begins at the opening of a new elementary school in 1959, in celebration of the lunch students are asked to submit ideas to help commemorate. Deciding on the burial of a time capsule, students are requested to draw a picture of what they believe 50 years into the future will look like. Whilst drawing; the winning student, a troubled Wednesday Adams looking young girl Lucinda Embry (Lara Robinson), becomes visibly possessed, covering both sides of her page in seemingly obscure numbers. Although disheartened by Lucinda's continual antisocial and detached behaviour, the teacher places her offering into the capsule nonetheless. Fast forwarding 50 years, newly widowed MIT professor and astrophysicist John Koestler (Nicolas Cage) and his hearing "scrambled" son Caleb (Chandler Canterbury) are attempting to cope with his wife's death. John spends his days teaching but his night's finding the bottom of a whisky bottle.During the 50th anniversary unearthing of the time capsule, Caleb receives Lucinda's bizarre offering. Deciding it must be some kind of puzzle; Caleb takes it home against school wishes. John confiscates the letter intending to return it to the school. However, as he sits in his drunken evening state and realises that there may be something too seemingly unrelated pattern of numbers.John spends the night obsessed; googling and researching each pattern relentlessly. Reflecting on his zealous circling patterning, John identifies hidden amongst the numbers is every major human catastrophe taken place since its burial. Listing in order the date and the specific body count (and unbeknownst at the time, the location).John appeals to his MIT colleague and best friend (Australia's Ben Mendelsohn) and the daughter of Lucinda, Diana Wayland (Another Australian Rose Byrne) attempting to convince them that not only has he not slipped off his own axis and gone mad, but that only he knows where, when and how many people will be affected by the next incident on his list. Whilst John is running towards each upcoming preordained occurrence, a plane crash, a train derailment; Caleb is being communicated with and visited by a group of albino looking men known as "The Whisperers". Who are they? And are they here to harm or help Caleb?Knowing is a strong mainstream specimen of modern sci-fi, using striking music and shock visual effects in real-life relatable transport disasters.Oversimplifying and overdoing everything from character development to plot points, Knowing feels the need exacerbate each side of the religion versus science argument to excruciating detail. Is life random or destined and can we stop it either way? Unwilling to leave anything to the imagination, every possibility is spelt out; Social and technological breakdowns, familial and philosophical resolutions and the preposterous montage of disaster and demise. Without giving anything away, the finale with its queasy vomit-inducing subtext is unnecessarily over-the-top is merely more than tacky. Attempting to batter viewers into submission with overused clichs over-exposed blinding lighting and religiously prophetic post-apocalyptic euphoria was mildly offensive.The Verdict: Knowing initially shows a lot of promise, both in the trailers and through the first 80 minutes of the actual film. However with such a ridiculous climax there was no time left for salvation. If you aren't willing to wait for DVD, by all means go see it, but take my advice and walk out before you see the light. You'll know what I mean!Published: The Queanbeyan AgeDate of Publication: 03/04/2009
(ag) wrote: I have a current and constant interest in my invested future so this documentary gives me some insight as to what has given us purpose on a global scale when it comes to being significant!
(br) wrote: Matching Academy Award winners Nicolas Cage and Shirley MacLaine in a comedy, Guarding Tess sounded like a fun mismatch comedy feature .I certainly did not get what I was expecting out of Guarding Tess. With such a ridiculous premise, you would have presumed that it would mainly focus on a Driving Miss Daisy type situation where the central basis for the film is the banter between the determined young man and the grouchy old woman. In a totally unexpected turn of events, Guarding Tess actually turns its premise into one that is dramatic while the atmosphere attempts to be comedic which means that the tone is very strange. It is a difficult one to grasp because you can never be certain that what you're watching is comedy or drama as the film goes back and forth between them without ever being settling. Because of this, it is never properly interpretive as dramatic but also sporadically funny as a comedy. Most of the entertainment value of the film comes into play primarily because it is just so strange in its approach, but in that same regard it is possible that viewers will find themselves isolated from the film because it cannot always decide what it wants to be. I could not decide how to interpret it, but the whole time I was trying to do that I only found it to be slightly entertaining. Really, it all falls down to the fact that Guarding Tess cannot decide whether it wants to be a legitimate political thriller, a parody of one or a simple odd couple themed comedy regarding different states of class. The problem is that there is too much to fit in there, and writer-director Hugh Wilson cannot for the life of him find the right balance to make it work. It is material which is virtually beyond repair as it is so loosely constructed without a strong base. It is just too strange because the screenplay does not have enough clever quips about the world in it or any real recognizable jokes. Despite a high concept premise and interesting setting, Guarding Tess reduces itself to being a derivative political story without much creativity to it whatsoever. The story in the film is not one which is worth remembering in the slightest because it is not clever enough, and it just seems like a wannabe version of Driving Miss Daisy which gets too caught up in being a political thriller to really do justice to its viewers as a comedy. I never felt any shocks from the film which meant that it was not an absorbing drama, and the supposed comedy of the film did not leave me laughing at any point so it is safe to say that it fails in both areas predominantly because of the fact that the two genres prove to really counter each other in a negative fashion. Things clash in Guarding Tess, and when I say that I do not mean the banter between mismatched characters.The main thing establishing the atmosphere in Guarding Tess as being comedic is the musical score because the screenplay itself does not really have enough jokes in it, and so the only thing really reminding viewers that things are meant to be funny proves to be the music in the feature, even though it doesn't do much else for the film. Its production values are also good.The one thing which makes Guarding Tess memorable and really entertaining on any level comes from the performances from the central two cast members.Nicolas Cage's performance is a serious asset in Guarding Tess, and that can rarely ever be said about an intentional Nicolas Cage comedy film. Nicolas Cage's over the top demeanour which has been known for turning many films such as Deadfall or The Wicker Man into unintentional comedy works to a comic benefit in Guarding Tess. Since the film takes itself so seriously but also wants to coexist as a comedy, it is actually the perfect fit for Nicolas Cage because he takes his leading role on in such a hardcore fashion where he is merciless with aggression. Nicolas Cage takes the role on in such a dramatic fashion while the film around him mixes the atmosphere between comedy and drama which actually makes things funny in such a ridiculous fashion. His over the top performance is one of the funniest aspects of the film and proves to be one of the best examples of his over the top nature in cinema which actually proves beneficial for once as it makes Guarding Tess a memorable film. He stands out as the best aspect of the film.Shirley MacLaine is also a nice addition to the cast. As the titular Tess Carlisle, Shirley MacLaine fits the profile well because she captures all the grouchy elements of the character without going over the top. She manages to make Tess Carlisle a sympathetic character without forgetting to implement in the little elements that make her follow a comedic archetype. She isn't as funny as you might hope because her character is not as light in nature as she should be to really make a funny impact, but Shirley MacLaine has no difficulties getting the nature of the character correct. It is certainly one of her less funny roles of her many comedic efforts, but within the strange mood of the film she is able to play the role out in a dramatic fashion fairly well. Her chemistry with Nicolas Cage is fairly good since they both take the project so seriously and are able to make a strong match for each other, and so Shirley MacLaine's confidence proves to be a nice touch to Guarding Tess.So Guarding Tess benefits from the surprisingly dedicated performances from a rather funny Nicolas Cage and a firmly dramatic Shirley MacLaine, but the loosely constructed screenplay and inconsistent tone make for a rather shaky experience which isn't funny or dramatic enough to work on any level.
(it) wrote: Cheesy 80s movie, but I loved it as a kid! Now, having watched good movies, I realize it was such a waste of time, but hey, I enjoyed it then! I love one song in the soundtrack, which I can't find anywhere...I'd pay anything to have that song!!!!!!
(nl) wrote: I never saw that ending coming
(ca) wrote: I don't think that old Epic Sword & Sandal Pictures are really my thing...even when they are directed by the awesome Sergio Leone. This movie is sweeping, it has great use of widescreen and color and set design...but the characters are dull and the story isn't terribly captivating. This was Leone's first officially credited work as Director, which is cool, but the picture lacks that certain something needed. Some of the violence is cool, just too little of it. Leone's very next picture would prove much stronger and vastly more memorable than this or his earlier uncredited work.
(ag) wrote: Racism and abuse of the young are two powerful themes in this very unusual Buuel film.
(de) wrote: not interested in this short :P
(it) wrote: A rousing remake of the classic tale by William Golding about the dark side of human nature