Edgar is living in the shadow of his wife's sudden death. Haunted by vivid hallucinations and a faceless city threatening to swallow him whole, Edgar's world begins to unravel as his nightmares become a reality and Edgar is left with a choice: prison or paradise.
- Stars:Tyhr Trubiak, Mel Marginet, Warren Louis Wiltshire, Nadine Pinette, Daryl Dorge, Johnny Marlow, Andy Rewucki, Chris Hodgson, Erika Rintoul, Ward Massner, Ashley Hirt, Meghan Duffy, Nicole Marcynuk, Warren Ellis, Phil Wisman,
- Director:James Rewucki,
- Writer:James Rewucki
Edgar is living in the shadow of his wife's sudden death. Haunted by vivid hallucinations and a faceless city threatening to swallow him whole, Edgar's world begins to unravel as his ... . You can read more in Google, Youtube, Wiki
Aegri Somnia torrent reviews
(ru) wrote: This is an older movie. I'm not sure why I never saw it. It's really good. Funny and emotional. If I were here, I would have switched the ashes and not said anything. Right? No one would have ever known!
(ag) wrote: one of the best movies i've ever seen.
(es) wrote: Others Who Would Like to Stand I studied the Federal Theater Project in college, as I tell everyone who will let me. I maintain that it is one of the best federal programs of the twentieth century, possibly in US history, and we'd all be a lot better off if they brought it back. It isn't as well known as a bunch of other Works Progress Administration programs. Even its sister program, the Federal Writers' Project, produced books of the narratives of former slaves. The Civilian Conservation Corps goes on in California. There's Social Security, of course. However, the FTP left a legacy most Americans will never know, and this film touches on it by showing us one of the program's most notable alumni. Those events do not entirely coincide with the other plots the movie introduces, not in time. Writer-director Tim Robbins has brought various events together into the same moment to encapsulate an image. Marc Blitzstein (Hank Azaria) is one of thousands working for the FTP. He has written a musical (Wikipedia calls it an operetta) which speaks out against the practices of the wealthy and for the unions called [i]Cradle Will Rock[/i]. Hallie Flanagan (Cherry Jones), real-life FTP director, brings it to Orson Welles (Angus Macfadyen) and John Houseman (Cary Elwes). They are scheduled to put it on in an FTP theatre, and Aldo Silvano (John Tuturro) and Olive Stanton (Emily Watson) are cast as the leads. Across town, ventriloquist Tommy Crickshaw (Bill Murray) is supposed to be teaching no-talents Sid (Jack Black) and Larry (Kyle Gass) in what he is told is a program to prolong vaudeville, which he refuses to believe is dying. Hazel Huffman (Joan Cusack) testifies before Congress about the Communism and miscegenation in the Project; they will not listen to any of Hallie Flanagan's rebuttals. And, of course, Nelson Rockefeller (John Cusack) has hired Diego Rivera (Rubn Blades) to paint him a mural in the lobby of Rockefeller Center. The invasion of what they persist in calling Ethiopia (from a period perspective, it's Abyssinia), the painting and subsequent destruction of [i]Man at the Crossroads[/i], and various other events took place in scattered times between about 1934 and 1938. What Robbins has done here is bring them together into a single concept. The performance of [i]The Cradle Will Rock[/i] and the jackhammering of the mural (which may, according to legend, have been taken down and hidden somewhere) are shown in parallel with a party hosted, I believe, by Rockefeller and attended by William Randolph Hearst (John Carpenter), Marion Davies (Gretchen Mol), and the fictional Gray Mathers (Philip Baker Hall). Marion is getting silently drunk (she's more a prop than a character), and rich people are dressed as pre-Revolutionary French aristocracy. Robbins intends us to focus on the contrast, so he compacts events to heighten it. Really, the only thing which seems out of place is the closing shot of modern-day Times Square. It's easy to be snide in retrospect, of course. Joan Cusack's character yells at her coworkers that they all know she's right. The office is filled with Communists and miscegenation and anti-Fascists. Leaving aside whether or not there's anything wrong with that, the last two complaints at least would show her to be on the wrong side of history, one within ten years. Margherita Sarfatti (Susan Sarandon) claims that Mussolini--her lover--was not friends with Hitler, but it would not be very long before Italy was not safe for her anymore; she was Jewish, you see. Bill Murray's character cannot accept that vaudeville is dying. The failing of everyone in the movie, hero and villain, is shortsightedness. There are many, many jokes about the prospect of selling out; Orson Welles is asked how long it will be before he starts doing soap commercials. Though to be fair, he doesn't really seem concerned on the subject. In the end, we are left with the remembrance of lost art. Left alone on the wall after the orgy of destruction is one lone syphilis bacterium. It turns out that Actors Equity only forbid the actors from performing [i]on stage[/i], so they couldn't have had sanctions brought against them for singing from the audience, right? (Alas, Wikipedia is silent on the subject, leaving only the mention that John Turturro's character was really Jewish.) There is a brief mention of [i]It Can't Happen Here[/i], brought to stages all over the country by the FTP. The film even includes the information that there was a Yiddish production. However, the project died a quick death, even before the final throes of vaudeville had passed away. There could never be an FTP today; there's too much debate over federal money for the arts as it is. But there is a certain longing evoked by the film. I mean, don't you want to see the all-black "Scottish Play" set in the Caribbean and directed by Orson Welles?
(nl) wrote: It is not earth shattering, but many consider it one of the best movies ever made. I liked it a lot.
(it) wrote: This movie had a good balance of funny and touching moments. Not very strong, but a good balance. I had a hard time suspending my disbelief that three old men could pull off holding up a bank. Still entertaining though!
(de) wrote: George Harrison once said that Eric Idle's parody of the Beatles life story was more accurate and honest than almost any other contemporary documentary about the fab four. That is pretty high praise, and its mostly true. It has a lot of great comedy talent in it, and some of the parody songs are pretty good. It isn't my favorite Beatles or Python related movie, but I liked it fine enough.
(br) wrote: Excellent. Everything is top flight.
(au) wrote: A certified classic, Dial M for Murder is quintessential Alfred Hitchcock and shows his skill for suspense and mystery. Though we know the real story of what is going on, it really makes you think throughout and it is captivating to see how the characters piece it all together and figure it out for themselves. Though Grace Kelly's acting left a bit to be desired, the film as a whole showcases why Hitchcock is a master of suspense in this largely shot in one room film. The whole film is really well done and the plot is incredibly compelling and it really works as a whole. Overall, Dial M for Murder is a truly great film that may have aged a touch, but is still phenomenal.
(ag) wrote: One of the more contrived Grant films, Cary is perfect as the broad shouldered, debonair, confused as ever bride to his officer wife. A dose of the unfamiliar makes it ever the more believable.
(es) wrote: Mixing a classic Japanese tale with fantasy element this action flick suffers less from the undecided tone but from underdeveloped characters. Some easily could have become quite interesting with just a few more brush strokes here or there. As for the effects, the beast-like CGI creatures look great, especially the one in the opening sequence. The man-like ones on the other hand are horrible and take you right out of the experience. While the showdown starts out fun, it's a little short and culminates in an infuriatingly stupid film ending. You gotta admire the film's attempt to respect Japanese traditions, but the message is ultimately a dull one. Overall an entertaining, but shallow and ultimately pointless experience.
(kr) wrote: It wasn't tacky like the Hercules movies, and although it was far too long, I did enjoy it. It seemed though that Yul and Gina far surpassed everyone else in terms of talent but there wasn't as much chemistry as I would have assumed, since Gina is so stunning. Not bad though.
(nl) wrote: Truly tough viewing knowing full-well that this kind of abuse happens all the time and goes unnoticed. This was DiCaprio's break-out role that pit him against the greatest actor of our time Robert De Niro, and he truly holds his own. De Niro really goes psychotic in this film and should surely be up there with one of his best performances. The content isn't always easy to stomach and there's a climactic fight at the end that had me holding my breath for ages. Probably the most honest and brutal depiction of parental abuse I've seen in film, and it will stick with me forever.
(ag) wrote: This movie is actually not half bad.
(kr) wrote: Watched it and was tons of fun. Vex is awesome