Frustrated housewife/writer Cathy Palmer ghostwrites a story about Rebecca Ryan, a dashing international spy, and wins a trip to Paris. While there, she is involved in an accident, and ... . You can read more in Google, Youtube, Wiki
American housewife Cathy Palmer loses her memory on a trip to Paris after being hit by a car. She wakes up in the hospital believing she's the fictional international spy, Rebecca Ryan.
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American Dreamer torrent reviews
Gimly M (ag) wrote: It's one of SyFy's better CGI-palooza Creature Features, but that doesn't mean it's *good*.
Matt L (it) wrote: This movie sucks horribly, i don't have much else to say about it. As a musical it is a failure, as a film pandering to a black audience it is a failure, it has very few redeeming qualities.
roger t (nl) wrote: recommended by littlemissbloodandguts.....
Matthew F (it) wrote: All in all, a reasonably well communicated film about coming of age and the struggles of adolescence, mixed into an interesting plot that somewhat matches the great ook series.
Samitha B (mx) wrote: Good story. Bad storytelling. And they went overboard with slow-mo. -_-
Francisco L (es) wrote: Austin Powers 2 is a boring, unfunny, cliched movie that won't keep the spectator interested and that won't please that persons who are expecting to see goofy gags, because we can't consider something as a gag if it isn't funny.
Everett J (kr) wrote: Son of the Pink Pantherdirected by Blake Edwardswritten by Blake Edwards, Madeline Sunshine, Steven Sunshinestarring Robert Benigni, Herbert Lom, Claudia Cardinale, Shabana Azmi, Debrah Farentino, Robert Davi, Jennifer Edwards, Anton Rodgers, Oliver CottonA beautiful Princess (Farentino) is captured by a gang of aesthetically challenged thugs who demand 100 million dollars and that her father King Haroak (Cotton) step down from the throne. For an utterly inexplicable reason third year Gendarme Jacques Gambrelli (Benigni) is selected to investigate. Eventually Chief Inspector Dreyfus (Lom) hands him the entire investigation which leads to the requisite chaos everywhere he lands.The film, which was released ten years after ?Curse of the Pink Panther? was an attempt to reboot the series with a new protagonist attempting to fill the shoes of the great Peter Sellers. It?s ultimate failure in this aim has nothing to do with the casting of Roberto Benigni who proves himself to be a singularly talented physical comedian who is in Sellers?s class. What holds the picture down is simply the plot which is uninspired and unsophisticated. In the end it?s just not intriguing enough to carry the film despite the inspired efforts of Benigni who brings a definite charm and innocence to the character.Jacques Gambrelli is an exceedingly likable character for the duration of the film. Unlike Sellers?s Clouseau he comes across as a fledgling whose legs are wobbly and who is not quite ready to leave the nest. He lives with his mother Maria (Cardinale) and is perhaps pathologically close to her. When he apprehends Princess Yasmin for the first time he is immediately smitten although at that time he isn?t aware that she is the same person he has been hired to rescue. Once he learns of her true identity he makes a secret vow to save her from her captors. This is more of a personal conviction that an official call of duty.The story involves the machinations of a group of fiendishly unattractive villains who have hit upon a valid scheme that they attempt to exploit for fun and profit. They make many attempts on Gambrelli?s life but he, like his idol Clouseau, manages to escape every attempt mostly through his clumsiness rather than any deft maneuverings on his part.The key component of the story has nothing to do with the captured Princess. It is revealed half way through that Gambrelli is none other than the son of Jacques Clouseau after a brief encounter between Maria and the famed Inspector. It would seem that such a revelation would imbue the film with a tremendous amount of energy but instead it falls dead in the dust and begins to rot. In the end it doesn?t much matter whose son Gambrelli is. The film only introduces this element to explain away Gambrelli?s freakish similarities to Clouseau and also to keep the memory of both Sellers and Clouseau current in the minds of viewers.Benigni brings a style uniquely his own to his many falls in this film. His clumsiness is mostly due to his discomfort in his own skin when he is out in public. The character has a wonderful capacity for poetry and music, particularly opera. It?s a divine pleasure to hear him recite Byron and his devotion to opera is a testament to his artist?s soul. It?s an aspect to his character that explains a great deal about what kind of person he truly is although it says nothing about what kind of officer he may turn out to be. It?s not something that was explored in the earlier films in the series. We didn?t get this sort of insight into the tastes and delights of Clouseau or any of the other characters for that matter. It works considerably well because it elevates Gambrelli in our eyes into something more than a mere Gendarme. He has class and culture which are belied by his inability to stay on his feet when he is forced to act in a decisive manner.There are aspects to this story that have been explored in previous films. Mostly, the character of Professor Auguste Balls (Stark) adds another layer of absurdity to the film. Just the name alone is enough to elicit a few titters out of the audience. His eccentricity is exquisitely rendered here by Graham Stark. Also, his wife, Marta Balls (Liz Smith) has a certain air of authenticity about her which renders her as an deeply mournful creature who hides out in the dingy confines of the joke and disguise shop out of some deep revulsion for society. She?s easily one of the most fascinating recurring characters in the series as well as the most mysterious. There?s a running gag throughout the film where Police Chief Charles Lazar is repeatedly subject to injuries that almost cost him his life by the end. All of these ?accidents? are caused inadvertently by Gambrelli who is also responsible for many of Dreyfus?s brushes with death. The idea of a lesser officer subconsciously trying to murder his superiors is actually quite intriguing and has remained so over the course of the series.Again we have a central character who is a sex magnet and who is irresistible to women. Gambrelli and Princess Yasmin hook up while prisoners and this little diversion adds a bit of necessary sex appeal to the film. Certainly Debra Farentino is utterly beguiling and quite easily to follow along on her arc. Along with Claudia Cardinale she provides the film with a decisive hormonal rush. Cardinale appears in the series thirty years after her work in the original film. She has lost none of her grace and continues to project an intense, yearning sexuality that isn?t quite exploited enough for my tastes in this film. Farentino is smouldering in this film and is truly one of the true sirens in the series. She manages to make helplessness into an aphrodisiac and her glamour is unquestionable.The performances in this film serve the narrative quite well. Although the story lacks viability the work of Roberto Benigni impresses. Firstly, it?s an exquisite character and Benigni does the most with it. It?s arguable whether or not his physical work is equal to the master but I tend to lean in the more unpopular direction and declare that it is. Much of his appeal has to do with the character?s lack of sophistication. It?s a direct departure from Sellers and for the most part it works in this film. Herbert Lom again makes Dreyfus into an obscenely likable character whose misfortunes manage to sting just a little bit. We care about Dreyfus because Lom injects him with a fatal charm that always brings us back for more.Overall, this film isn?t up to the standards set by many of the previous films in the series. In the preceding films, Sellers?s genius was matched with a compelling story that was engaging from start to finish. Also, each film had a rhythm about it that this film never establishes. Still, it does introduce to the world outside of Italy the fundamental talents of the great Roberto Benigni. In this film he?s more of a clown than a buffoon and his antics are more Harold Lloyd than Laurel and Hardy.
Mike P (mx) wrote: Big step down from the charming original
Jed D (nl) wrote: "10mins into this one, i was begging for Mark Hamill, to break out his lightsaber." This is insanely, bad.
Richard Y (br) wrote: Cute gathering of horror greats.
Jeffrey C (au) wrote: It had some funny moments.
Byron B (br) wrote: want to see this because it won best picture with the BAFTA, and was nominated for best foreign film by NBR, the golden globes, and the oscars
Larry S (fr) wrote: Big disappointment... enjoyed De Niro's work in the past, but...this movie was chocked full of gratuitous vulgarity and drug use.