Ralf Milan, a hitman, arrives in Montpellier to kill an important witness. He checks in a hotel without knowing that his neighbour has become neurotic after his wife left him. . You can read more in Google, Youtube, Wiki
A Pain in the Ass
Ralf Milan, a hitman, arrives in Montpellier to kill an important witness. He checks in a hotel without knowing that his neighbour has become neurotic after his wife left him.
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A Pain in the Ass torrent reviews
Daniel M (br) wrote: For all the doom and gloom around sequels, prequels, reboots and remakes, 2011 has also been a year of striking debut features. Adding to The Guard, Sarah(TM)s Key and Oranges and Sunshine, we now have Love Like Poison from French-Ivorian director Katell Quill (C)v (C)r (C). What appears on the surface to be just another coming-of-age story slowly reveals itself as a subtle, haunting and emotionally charged look at religion, sexuality and adolescence.Love Like Poison is set in the Brittany countryside and follows a 14-year-old girl called Anna Falgures (Clara Augarde) as she prepares to take Catholic communion for the very first time. Her mother and father are recently estranged, and the former increasingly seeks comfort in the company of local priest Pre Franois (Stefano Cassetti). Both women are left to care for Anna(TM)s bedridden grandfather, who spends his days listening to old records and smoking cigars. While all this is going on, Anna is being wooed by Pierre, a boy younger than her who loves his football and loves her even more.The first real asset of Love Like Poison is its strong colour palette. Tom Harari(TM)s cinematography is melancholic and beautiful, resting on a prominence of blues and in particular whites. The white is not intrusive like the shimmering walls of a hospital, but pale, wan and pure like the chalk cliffs of the French and English coasts. Sometimes it is so bright that it drowns out the characters, like the yardsticks of purity to which they must aspire, knowing full well that their desires will cause them to fall short. In one scene where Pre Franois lies praying in his bed, his black clothes fade into the dark blue covers, like he is sinking or even drowning in the gathering darkness.In its evocative and symbolic use of colour, the film draws an immediate comparison with Three Colours Blue. The visual similarities are clear, with both Krzysztof Kieslowski and Quill (C)v (C)r (C) using different shades of blue to emphasise the sadness, grief and alienation which surrounds the central characters. And there is a narrative similarity in that one of the central characters has lost her husband, and is finding it hard to connect with the world around her. But whereas Kieslowski took a very humanist perspective, focussing on the hidden reserve of Juliette Binoche(TM)s character, Quill (C)v (C)r (C) is more concerned with the conflict between three kinds of devotion " to God, to one(TM)s family, and to the passion of young love. It takes more of a religious angle, albeit one in which religion does not come up with all of the answers.The central character in Love Like Poison faces three different but related dilemmas as she moves to take her first step into adulthood. The first concerns her attitude towards religion and the church. Anna(TM)s faith at the beginning of the film seems well-rooted and taken for granted: she keeps a picture of Christ at her bedside, and attends church with her family, of her own will as much as out of ritual. But by the end of the film this has grown lukewarm, as she faints in front of the Bishop and remains silent when he asks questions to the congregation, asking them to affirm their faith. There has not been a decisive volte-face on Anna(TM)s part, but doubts have entered her life which makes an outright committal impossible.The second dilemma concerns Anna(TM)s attitude towards her family. There are a number of awkward conversations between Anna and her mother as her confirmation approaches. Anna asks her mother about what she looked like at her age, and gets an inconclusive answer. Later her mother comes into the bathroom as she is topless, saying that she wants to look at her; Anna unfolds her arms to reveal her bare breasts and snipes sarcastically: Do I turn you on?? Anna has to care for her mother for much of the film, and is determined not to end up like her, looking upon her relationship with Pre Franois with some suspicion.In her effort to avoid turning into her mother, Anna turns towards the affections of her estranged father. When he first returns home to deal with the death of Anna(TM)s grandfather, he seems to genuinely want to bond with her, taking her to the beach and talking about coming to live with him in Quimper. But as the action moves on the distance between them re-emerges: he leaves without a moment(TM)s notice to return to his new life, leaving Anna angry and alone.This encounter leads onto the third of Anna(TM)s dilemmas, namely her relationship with and attitude towards men. Her grandfather is dismissed as harmless but becomes pervy as the film rolls on, fantasising over a magazine and getting turned on by Anna washing him. Both her father and the priest come across as well-meaning but ultimately incompetent, or at least too at odds with their own desires to be of any real use. Pierre, on the other hand, begins very aggressively, pinning her down on the rock to kiss her when they are out in the woods. But by the time they take their tops off they are on equal terms, and when Anna kisses Pierre in his room, she seems to have come into her own. What makes Love Like Poison interesting as a coming-of-age film is that the struggles of the central character don(TM)t feel isolated, like some weird disease which only affects young people. The adults in the film have the same concerns and qualms with regard to religion and relationships, and there are no convenient plot devices to tone these down. Where American coming-of-age films tend to portray the step into adulthood as something with a definite endpoint, with the lines between child and adult clearly drawn, the characters in Love Like Poison are still walking the treacherous emotional path that Anna has just begun to explore.Love Like Poison is a deeply atmospheric film. Beyond its visual claustrophobia, its use of sound and music in particular is haunting and thought-provoking. In one early scene, when Anna wanders through the ruins to meet the priest, a version of ~Greensleeves(TM) can be heard. This folk tune, erroneously attributed to Henry VIII as a love song to Anne Boleyn, has strong sexual connotations: green gown? was a euphemism for prostitute, since such garments would disguise any grass stains caused by outdoor lovemaking.Over the end credits, where Anna seems to have found some kind of uneasy peace with Pierre, there is a choral version of Radiohead(TM)s ~Creep(TM), previously used on trailers for The Social Network. Although the effect is not as powerful as in Fincher(TM)s film, it cements the tone of unease and eeriness which lifts the film while keeping the air close and thick with rumour. Like Tinker, Tailor, Soldier, Spy, Love Like Poison is a film in which on the surface nothing is happening, but in fact there is so much going on.There are a couple of flaws with the film which stop it totally achieving a knock-out punch. Apart from some standard quibbles over paucity of plot and occasionally languorous pacing, the main concern is over the amount of nudity. For the most part the film handles the matter sensitively, if not poetically; while it doesn(TM)t shy away from nudity as a concept or rite of passage, it doesn(TM)t by and large see this as an excuse for ill-judged gratuity. But while the woodland scenes are well-judged by showing hardly anything, the sight of the old man(TM)s erection is disgusting, even when it(TM)s in his trousers, and when Anna lifts her dress to show him her womanhood, it feels totally unnecessary to both plot and mood.Love Like Poison is a very promising debut effort which both avoids the clich (C)s of coming-of-age stories and does just about enough to cover up its own flaws. Katell Quill (C)v (C)r (C) directs with finesse and sensitivity, creating an atmosphere of great unease and a host of complex characters, anchored by Clara Augarde(TM)s great central performance. You will want to spend some time afterwards trying to work out where you stand with regard to the people on screen, especially over Anna(TM)s state of mind in the denouement. While not perfect, it contains much to be admired, along with a great deal that will linger.
Phil H (nl) wrote: Well when I first heard about this a long time ago I pretty much assumed it would be a shameless cash grab with a rehashed plot trying to copy any number of big hit animated movies. Looks like I got bitch slapped pretty hard here!Holy stickle bricks Batman! even the opening logos before the film are made out of Lego...CGI Lego. Yes everything in this film is made out of Lego, [b]everything![/b], explosions, water, steam, soap suds, rocks, clouds etc...this is most definitely a world of Lego. Within this world everybody is happy and lives in harmony doing what they do for the good of the Lego community, that is until 'Lord Business' rears his ugly head and threatens everything with his evil secret weapon of mass destruction. Well sticky destruction...right up until the plot reveal towards the end I didn't really get why the bad guy wanted to encase everyone in glue.The plot is basically your everyday action flick hocus pocus about a chosen one who will lead the rebels to victory against an evil force. Now you may think that sounds boring and indeed it is, difference here is the plot is mocked and spoofed hard, it uses all the regular action cliches in the book and basically rips on them to its hearts content. For this to work as well as it does many many different types of characters from various genres and franchises are used to enhance the lunacy. Of course being a film about Lego you can do virtually anything you want using any form shape or character for maximum results...this cleverly feeds into the plot twist premise too.I won't lie, for me this was all about seeing the huge range of Lego's from all the generations stuck together and I wasn't disappointed. In this crazy ass world there are different regions...medieval, pirate, space, wild west, civvy etc...so this naturally allows plenty of retro visuals much to my joy. I absolutely loved seeing all the individual Lego themes and figures popping up, the best of these must be '1980-something space guy'. I loved how this guys chest logo was faded, how he was hyper about building retro spaceships with retro Lego and how he even had the little crack on his helmet which did used to happen with those spacemen helmets...detail much!!! awesome!!! The only downside to this was the fact we didn't see enough of these lands, alas I really wanted to see more medieval involvement.As for the other characters well its a mega Easter egg hunt if you ask me. Aside from regular characters Batman, our plucky hero Emmet, not too sure what the hell 'Uni-Kitty' was suppose to be exactly but I did like her Manga-esque facial design, and 'Good cop/bad cop', there were loads of blink and you'll miss em guys. Talk about a Justice League flick oh my, some great camaraderie between Supes and The Green Lantern who is hilariously voiced by Jonah Hill (I like that guy). Also look out for Wonder Woman and a quick appearance of The Flash (quick..get it? hehehehe). We also see Gandalf, Dumbledore, Robin Hood, Teenage Mutant Ninja Turtle Mikey, Shaq O'Neal, Gillman (swamp creature) and how about THAT short Star Wars sequence huh!!! didn't see that coming and it was ace! top banana! Actual voice work by Billy Dee and Anthony Daniels, shame no Ford though, still...I think I got a little sexually excited.So all the franchise characters and retro Lego figures was enough fun for me but how about everything else? Well the visuals are amazing, talk about a 100% beautifully realised dreamlike fantasy world with so much colour and imagination bursting from the screen. The detail is incredible, everything is built from Lego so you can imagine how much small detail there must be, every little block, every little plastic piece you remember from your childhood, its all here in one form or another. Even all those odd bits which looked weird that you would have left over, every single Lego piece ever made is used here and you can see it...even the sharks.Next to that you then have the stunningly simple looking animation which blends CGI (can't escape that) and stop motion...or so it seems. Its like watching an episode of South Park in Lego form, you know, all that jerky movement that looks cheap and tacky but at the same time kinda cool. Some of the sequences though are mind blowing, an animated ocean of Lego and Bayplosions in Lego (not far from reality there). The plot is also really fresh and takes a turn you don't quite expect towards the end. Not sure I completely agreed with going down that specific route as it did kinda take me out of the moment, risky decision. But its purpose is the moral of the story, a lovely message that imagination and freedom to express yourself is important, be creative, don't box up your ideas and thoughts, run with them. This is why the plot is so wildly exhausting, explosively manic and never seems to stay on one course for very long. Always going off on a spontaneously surreal fantasy tangent just like a young persons imagination.The only thing I would say overall is I didn't quite find it as funny as I expected. I know its essentially a kids movie but its also in the realms of 'Toy Story' where adults have their own touches to enjoy. I loved how the Lego people live their lives by those little instruction manuals we all know and love. To be brutally honest some of the humour tended to miss more than hit in my opinion. If it wasn't for Batman (always upside down) and Emmet the film may not have won me over as easily.The film is top heavy with pop culture references as you will probably have guessed by now but that is by no means an issue. It never feels like an ad campaign for anything or anyone. One thing is for damn sure, even though the film has proved it wasn't a lazy cash grab (but still a very big promotion), Lego sales will definitely be going through the roof from this point on. I can see myself needing a '1980-something space guy' figure...and maybe a 'Metal beard'.
Tanya K (mx) wrote: Warrior WeddingHave you ever dreamt of having your wedding on the same day as your best friend? Yeah I didn?t think so. The story of two brides, best friends, and a mistaken wedding on the same day all begins in the movie Bride Wars, staring Anne Hathaway as Emma and Kate Hudson as Liv. Vera Wang dresses; best friends, soul mates, large cakes, beautiful decorations, and funky music are all a dream come true. As these two brides go to their dream wedding designation, the Plaza, to schedule their weddings together, it quickly escalates into a war. Having both their wedding being pushed into one day in June, the closely BFF?s turn into fast enemies. Tampering with each other?s weddings, the two brides go to great lengths to ruin the other brides wedding. Starting from an ?accidental? hair dye mix-up, to sending out fake baby shower invitations, to sending fatty chocolates to gain weight, and much more. This romance-comedy film turns two normal BFF?s into Best Enemies, war of the brides. A wedding of their dreams, that turns into a wedding of their fears, but all in a corky, and funny comedy. The two best friends manage to go from best friends to enemies, to back to being best friends. This is a great movie to enjoy with your family, at a sleepover, or even simply watching it by yourself. It is filled with lots of laughter, romance, and even emotional tears.
james s (de) wrote: great grimey film uk based
Ryan C (de) wrote: it wasn't fantastic, but a good premise
Jared C (it) wrote: Geoffrey Rush at his best in this film. The film is not a film to be taken lightly as we dwell into the journey and road of a brilliant and unique pianist David Helfgott. His struggles of childhood been raised by his Jewish father and bad role model played with such harshness and devastation by Armin Mueller Stahl. The journey will take you through laughs and tears, but its performance by Rush is the one thing to keep an eye on more than anything.
Andrey B (br) wrote: Funny and a bit poignant story about 3 elder men bored of their monotonous lives, who decide to rob a bank. Great performances and funny moments ensue.
Greg W (gb) wrote: oh boy another car racing pic
Adam P (br) wrote: Absolutely amazing. David Tennant is a revelation in the lead, and the rest of the brilliant Royal Shakespeare Company breathe new life into the script's genius with their naturalistic and human delivery. Cleverly recontextualizing the play in an exciting and palpable contemporary setting, this is the definitive modern version of Hamlet.
Cynthia P (it) wrote: This was my favorite movie as a child that has since gone missing. It is a wonderful movie that shows how the love of one woman could change the life of a child. I love Greer Garson! The way she stands up for illegitimate children against the government was very inspirational to me as a woman and a teacher. And I will never forget when Tony has to go away...I cried every time. I would say this is an overlooked jewel of a movie that should be more widely circulated.
Tom B (ag) wrote: We finally finished this, after starting it a few nights ago. We loved it. Sometimes the joy of the pre-codes is the warmth and intelligence on display in all aspects of the stories. Yes, it's fun to see people in the thirties half-nude, or gay-lesbian acceptance. None of that is on display in Midnight Mary, but there are other things equally if not more vital, notably an acceptance of a higher moral code than the one imposed in the mid-thirties by the moral majority, that being the morality based on individual human happiness. To see a man and woman triumph in the way our heroes do in Midnight Mary should prove a great relief in our jaded modern age. In truth, the film makes us look like prudes baffled by politically correct prisons of conformity by comparison. Bringing luminosity to the film is Loretta Young, whose acting chops were pretty damn good, and a real looker besides. Opposite her stands Ricardo Cortez, truly despicable, yet sensually human, last seen playing a delicious Sam Spade in an early Maltese Falcon opposite beautiful Bebe Daniels (nekked in a tub, no less). The real joy of Midnight Mary is Wellman's attention to the romance between luscious Loretta and a dashing Franchot Tone. Their sensual openness - tender, human, and erotically charged, reminded me of Grant and Bergman's notoriously sexy kissing scene in Hitchcock's Notorious. Refreshing to say the least. I love Midnight Mary. It's the kind of film that makes no bones about being true to the spirit of being human in a world full of challenges, and openly warm. It breathes even after nearly eighty years, and still speaks generously about what it means to be.
Jake R (ag) wrote: Stupid fun, but still very stupid
Bryan D (br) wrote: This is a run of the mill zombie survival movies, except with vampires instead. It was well done but there was no true ending. Their destination was not explained well enough, it just seemed like more woods to get through. The leaving of Mister could have been better explained as well. Decent action and gore, decent special effects, with decent acting.
Brett B (ru) wrote: A thoroughly enjoyable, lightweight heist flick. While it doesn't reinvent the wheel, story-wise, the central performances from Schell, Ustinov, and Morley push this one over the top.
Graham W (it) wrote: Shot on location, the Jos Plateau of Nigeria this is a faithful adaptation of the novel which I read before seeing the film. Johnson was the kind of southerner detested in the north of Nigeria, an antipathy which eventually led to civil was in 1966. This is a faithful recreation of colonial Northern Nigeria and contains a sad moral dilemma.
Scott R (us) wrote: Look up "boring" in the dictionary and it simply says "watch From the Terrace and you'll understand the true meaning of this word."