Angelo Tsarouchas: Bigger Is Better

Angelo Tsarouchas: Bigger Is Better

Angelo draws on his family experiences growing up Greek mixed with his travels of the world and the people he encounters.

Angelo draws on his family experiences growing up Greek mixed with his travels of the world and the people he encounters. . You can read more in Google, Youtube, Wiki


Angelo Tsarouchas: Bigger Is Better torrent reviews

Marta B (fr) wrote: Love is so short, forgetting is so long. This movie will be hard to forget. Through this very intimate memoir Sarah Polley explores her own identity, family relationships and something more meaningfull than truth, love. Completely charmed with this one.

Dale R (de) wrote: Got through it : this could have been a brilliant film if only they'd stuck to the science fiction aspect of it and not insisted on making it a silly shoot-em-up movie as well. And it doesn't seem to matter which level of reality you're on : the baddies are still lousy shots!

George H (es) wrote: Gotta love the action

David F (it) wrote: blah...I thought this movie was ok but nothing really that great

Sherry B (mx) wrote: I loved it! Well done one and all.

Lee M (ru) wrote: Give Michael Mongillo's modestly clever mockumentary Being Michael Madsen some time to sink in. There's actually alot to like here.

Cameron J (de) wrote: "She is watching the detectives, 'Ooh, he's so cute"; she is watching the detectives when they shoot, shoot, shoot, shoot!" Oh yeah, you can choke on some American pie, Don McClean, because that is real lyrical brilliance right there, my friend. Man, forget Elvis Costello, and forget this film for reminding me of that song, although I might only have myself to blame for that. Yeah, either you have to kind of go out of your way to find a film like this, or you have to stumble upon this film when looking up Elvis Costello's song... or Cillian Murphy, or Lucy Liu, or Jason Sudeikis. Wow, this film actually has some impressive names behind it, yet it ended up going straight to video regardless, and the lazy bums who probably aren't active enough to go to the cinemas who Elvis Costello was singing about still didn't want to go through the trouble of watching this on pay-per-view or whatever. Yeah, see, right there is probably why no one is watching this film, because it's about a guy who works at a video rental store, and by 2007, people were starting to lose interest in actually going to a store to not actually purchase a film, and it doesn't help that this film about video rental stores isn't all that interesting. No, I guess this film is a little more entertaining than the Elvis Costello song of the same name, but limited relevance isn't its only issue. Not unlike plenty of comedies of its nature, this film has a few refreshing ideas, but they're so light that they go lost in the midst of conventions, which thrive and thrive until the final product borders on hopelessly derivative, with its narrative and its humor. I won't say that nothing is original here, because, at the very least, the film tries hard enough for you to get a little taste from those conceptual elements that are kind of offbeat, but at the end of the day, this is by no means new, being unoriginal to the point of being kind of blandly flat. That sense of blandness isn't exactly helped by spots in the film's humor, which is often reasonably effective, and just as often too lacking in uniqueness, if not wit to be all that colorful, with moments in which it truly falls flat, at least as mediocre. Of course, in all fairness, it's kind of hard to have fun with characters who aren't that worthwhile, or at least even, having a couple unlikable traits, in addition to traits that fail to compensate for the distancing ones because of their twisting characterization into a direction that is more jarring than layering, and not even all that convincing. Really, even outside of the characterization, storytelling doesn't always convince, because on top of being unoriginal, this story has a tendency to slip in probability, often getting too carried away with its eccentricities, as surely as it has a tendency to get carried away with ambiguities behind Lucy Liu's intentionally strange Violet character, who leaves the narrative that she drives as the central focus of plotting to lose focus before too long. It gets to be a little challenging to tell where exactly this film is heading, no matter how predictable it is in a lot of ways, and with momentum being further retarded by improbably spots in storytelling and flat spots in humor, the final product ends up falling as a pretty underwhelming, almost mediocre comedy. Yeah, there's nothing special here, but neither is there enough flatness for the final product to bore, entertaining adequately, sometimes through, of all things, lively scoring. Well, whether it be because it's unoriginal or because it's not especially prominent or dynamic, this Ryan Amon's score isn't especially worth talking about, but as far as comedy scores go, Amon turns in more than a few decent and fitting compositions, the highlights of which include noir homages, as well as lively, organ-driven spots that feature some impressive musicianship, while capturing a sense of eccentricity that defines certain aspects of this piece. Of course, the score is perhaps at its most effective when well-utilized by direction by Paul Soter that, despite frantic moments, if not limp moments, has enough nifty plays on style - anchored by some snappy editing by Jeff Canavan - to keep pacing smooth and entertainment value pretty sufficient. Granted, this aimless film doesn't go too many places with its smooth pace, and entertainment value is pretty limited by plenty of other elements, but mediocrity would stand as a greater threat if it wasn't for Soter delivering on plenty of color as directorial storyteller, as well as a writer. Plenty is lacking in Soter's scripting, even in humor, which is a little too lacking in originality and sometimes even a little too lacking in wit, but serviceably enough to keep up some degree of fun more often than anything, with moments in dialogue and set piece structuring that are clever enough to amuse pretty thoroughly. Soter makes his share of mistakes when it comes to handling humor, but through it all, he makes a pretty funny flick, as surely as he makes his share of mistakes when it comes to characterization, until cutting through all of the unlikable, improbable and even uneven traits in order to craft aspects colorful enough to endear you to the characters who drive this fluff piece, but are better sold, not by anything that Soter does, but by the performers themselves. At least carrying a respectable cast, this film is saved by its performers, specifically the leads, whose lack of racial consistency and certain lack of character consistency admittedly shakes chemistry that is still pretty firmly secured by the combination of Cillian Murphy's and Lucy Liu's charismas, both of which are distinguished, and equally effective. Whether it be Liu as the unpredictably eccentric girl looking to live life to the fullest, or Murphy as the reasonably tasteful, but still pretty flawed and strange man with only so much direction in his life, the leads are handed conventional roles that they bring a lot of life to, more so than Soter does as director and writer, which isn't to say that there isn't enough done right on Soter's behalf to make the final product pretty entertaining, despite its questionable elements. In conclusion, conventions, flat spots in humor, unlikable and uneven characterization elements, and some improbability bring the final product to the brink of mediocrity, while generally decent scoring, direction and writing, as well as solid chemistry between and distinguished charisma by Cillian Murphy and Lucy Liu bring enough decency to Paul Soter's "Watching the Detectives" to make an adequately entertaining and clever, if forgettable, eccentric rom-com. 2.5/5 - Fair

Alexander C (de) wrote: Need to see sometime, some of my good actors and plot sounds reasonable..

Sam P (fr) wrote: This is not a brilliant film. Mike Basset, England Manager, whilst at times funny, also has it(TM)s weak jokes. Unfortunately, the weak jokes outnumber the strong jokes immensely, and make it difficult to enjoy. One good aspect, thankfully, is Ricky Tomlinson, who unsurprisingly is a solid lead who carries the film, playing the buffoon of Mike Basset very well, as well as also hitting the best moment of the film, a poignant reading of If? by Rudyard Kipling which silences the journalists who doubt him.Probably the best element of the film is the direction, the use of mockumentary for a football manager is an original idea, possibly inspired by a similar supposed documentary about Graham Taylor in 1994. It is good to see it from the Manager(TM)s point of view for once where he is destroyed for every little thing he does, and the movie stands up well even today when looking at how England Managers are treated. The supporting cast aren(TM)t particularly memorable, and sometimes are very one-dimensional, but then, so are most footballers, which probably makes the film suit more.Overall, an okay film, mostly best for the style of direction and the If? speech.

Salvador D (es) wrote: Remade French movie, chock-full of mainline actors/comedic talent that seems to be in competition with itself from beginning to end. Maddening and tough to believe throughout, only with a handful of laughs.

joe i (mx) wrote: not a film to watch before or after eating

Paul D (us) wrote: Steady frontier western pitting the well worn theme of progress against interests. It's always lively though.

John B (nl) wrote: I thought this was a good movie and interesting story that kept you guessing until the end. Good cast too

Rachel H (br) wrote: Great chick flick! Loved it!

Russell G (jp) wrote: Super greedy heartless Slumlord forced to live in one of his testaments sounds like a good idea, Joe Pesci sounds like a good idea, but it wasn't good. It never got going and was not that funny. I recommend avoiding this one.

JuanKa P (nl) wrote: En el sistema penitenciario se ha instalado un campeonato de boxeo con regulaciones profesionales. Por ms de diez aos Monroe Hutchen (Wesley Snipes) es el campen invicto. El campen mundial de pesos pesados, James 'Iceman' Chambers (Ving Rhames) va a parar a prisin por un crimen. Los celos al saber que Monroe es el campen dentro de la prisin, hacen que Iceman est decidido enfrentarse, marcar su territorio, e inclusive negociar con mafias que regulan la prisin su libertad a cambio de demostrarse como el mejor. Por su parte,Monroe no teme un enfrentamiento con el campen del mundo. No tuvo mucho apoyo de los crticos, pero a mi me gust mucho

Dana S (nl) wrote: Exceptionally underrate movie, has its own feel and super music, casting and visuals.