M. Sadeghi stars as the title character in filmmaker Reza Varzi's epic retelling of the life and times of Abraham, known as the patriarch of Judaism, Christianity and Islam, the world's ... . You can read more in Google, Youtube, Wiki
You may also like
Abraham: The Friend of God torrent reviews
Mo U (au) wrote: I will never understand this film . I had no sympathy for terra throughout the film and thought she deserved to die at the end , they gave her character no redeeming features and it didn't help that her character was also very dislikable. Hence this movie didn't have as much as an emotional impact as I think the directors wanted. But I think overall it was just badly executed. Bit disappointed as I really enjoyed the other movies of the franchise
Al M (ca) wrote: 13th Unit made little to no sense. As it tries to be clever and jump back and forth in time and from one group of people to another, it loses any sense of cohesion or suspense-building. The writer and director are simply not talented enough to pull off such a complicated narrative structure. The result is a badly written, poorly directed, rottenly acted, and unscary horror film that will make 83 minutes seem interminable.
Jairo O (kr) wrote: A master piece. It is the story of a gay icon, a simbol of the underground culture of the 70s. Peter Berlin is the Garbo of the gay porn. The material of the document is fascinating.
Daniel R (es) wrote: He accomplished probably what he wanted: a spy movie without suspense, action, or intrigue. More of a dialogue than a movie, this film does nothing special with the cinematography and plain bores the pants off of me.
Michael T (kr) wrote: Despite the awesomeness of Rockwell & Farmiga in the cast, the movie never sustains much suspense.
Seb S (es) wrote: A warm little film that deals with some of the real problems faced by both gay and straight relationships in a comical way
C H (jp) wrote: "Howard e Anita - Jovens Amantes"
Stafford V (fr) wrote: Though it is not great it started a show that is. Besides it is pretty fun.
Blake P (us) wrote: Hitchcock has "Psycho," Godard has "Breathless," Buuel has "Belle de Jour," and Almodvar has "Women on the Verge of a Nervous Breakdown." A knuckles-to-the-face romp that has a big bite and a big heart, "Women on the Verge of a Nervous Breakdown" sets its sights on Pepa (Carmen Maura), a fashionable but depressed voiceover actress. Her career has been mostly successful, but in just the past week, her life has turned into a housewife's dream of a soap opera. Her lover has left her, she's pregnant, she faints at the slightest source of drama, she nearly overdoses on sleeping pills, and her friend (Mara Barranco) is dating a terrorist. If that doesn't sound like Almodvar, then you must not associate Steven Spielberg with "E.T." and all-American families thrown into otherworldly situations. Almodvar isn't in the mood to bump us around; he'd rather charm us, in the same way Doris Day vehicles did when soap commercials were still around. For Almodvar, the '80s were a time to figure things out, drape his colorful images and themes onto unusual projects, and hope they'd stick. Usually, they'd be so outrageous that they'd be inevitably smacked in the face with the dreaded NC-17 rating. By "Women on the Verge of a Nervous Breakdown," it seems as if he's bored with outright camp, in the same way John Waters was in the days of "Cry-Baby." As one of cinema's most confident directors, Almodvar restrains his inner wildness and lets the zippiness of the film speak for itself. In return, it becomes his calling card. Audiences don't want to be left in shock, after all; they want to have a good time. And I dare you to not be entertained by "Women on the Verge of a Nervous Breakdown." There are only highly saturated colors, faux, pop-arty sets, six emotions, and women (save for Antonio Banderas and Fernando Guilln Cuervo). There are no subtleties to be found in the film, and it's all the better for it. It's a 1930s women picture on acid. It's such a madcap comedy that anything regarding realism would ruin its potent screwball scent. The conversations are so witty and so rapid-fire that they only exist in a blink-and-you'll miss it idealogy. When the dialogue is serious, it has all the seriousness of a Lichtenstein painting. When the dialogue is funny, it would prefer to derive its laughs from the melodramatic turmoil of the film's leading characters. Almodvar jumps all over the place, defining comedy, drama, romance, pulp, and action in a single swipe. In any other case, the film would be a lost cause in terms of identity, never knowing what it wants to be. Yet Almodvar makes "Women on the Verge of a Nervous Breakdown" singular. It's so broadly drawn in the first place that any case of camp seems to be begged for. Hell, if an elephant decided to join in on the complicated situation in Pepa's nutty apartment, it wouldn't come as a surprise. Yes, the film is a comedy; but it's so Almodvar it deserves its own unique genre, off on some weird, cartoonish planet.
Peter F (gb) wrote: A watermark for feminist cinema. Agnes Warda's film about a young female drifter is as playful with narrative as a Jean-Luc Godard film, yet that doesn't lessen the film's impact as a tense drama about human suffering. Through an episodic structure that includes documentary-esque interviews, Varda combines her prowess as both a documentarian and storyteller to give viewers a very unique film, that is as surreal as it is palpable. A hidden gem of 80s art house cinema.
Justin R (gb) wrote: Bizarre, twisted sibling relationship wreaks havoc on an isolated group of listless French youths.
Max C (au) wrote: This film was one of the few that allowed Elvis to show his Acting skills.
Nathan R (ru) wrote: I'm not usually a Cage fan or a Cher fan too for that matter, but something about the lighthearted, humorous attitude about this film changed my mind about both. With a real witty script and a spot on cast, it's a rom-com that will definitely stand the test of time for years to come.
Wes S (gb) wrote: It doesn't hit every mark the first film does, but it brings back Rocky, proves to be a interesting story, and a exciting climax. Same great characters. It may be bit of a retreat, and ignores the deeper meaning of the first film, but it's good on its own right.
Kyle M (de) wrote: With some of the original's magic, the sequel can't beat it due to being way under its predecessor's standards. It's completely silly when the animation underwent a dull change. It's Disney's first animated direct-to-video sequel that's like what most of the others will be like with some of them can't beat their original, but there are some that actually did. Also, this movie is a nice pilot/kick-off to the TV series. (B)