Ask Any Girl is a 1959 Metro-Goldwyn-Mayer romantic comedy film starring David Niven, Shirley MacLaine and Gig Young. Plot: A wide-eyed Meg Wheeler comes to New York City and takes a job in market research for a large firm. She's also keeping an eye open to meet the right man, her research making her aware that the United States has five million more females than males. Upon meeting two clients, the reserved and somewhat stodgy Miles Doughton and his playboy younger brother Evan, it doesn't take long for Meg to realize she's romantically interested in Evan. Miles is willing to help. He has seen so many of his brother's conquests come and go that he knows what Evan likes in a girl. Therefore, in a Pygmalion-like way, he sets out to transform Meg into exactly that kind of girl. What she doesn't know is that Miles secretly comes to want her for himself.
Sales girl falls for the younger of a company run by two brothers. The elder falls for her but plans to help her get his brother because he doesn't know he's in love. . You can read more in Google, Youtube, Wiki
Jordan A (gb) wrote: Oh my goodness, Judd what did you do?! This movie had me cringing more than laughing. Deb and Pete were the worst part of Knocked Up and Apatow did a spinoff on them! Why Judd Why! Also, those kids were both brats! Maude and Iris are cool kids but those characters were gosh awful! This is 40 should of been called This is Judd Apatow's Lowest Point. 2 out of 5 stars but the
Michal P (ag) wrote: Captivant du dbut la fin, une camra exceptionnelle. Chapeau au cinma roumain!
K G (nl) wrote: Slower than its Predecessors however still fun and enjoyable
Sera F (ru) wrote: I almost fall sleep at the beginning, but as story goes I couldn't stop watching this beautiful friendship.I love the idea of this story.
EvanJOk E (es) wrote: this film is really good
Justin A (fr) wrote: It's supposed to be a comedy horror film, though it's not funny and it's not scary or creepy. It just sort of... is. It's kind of like Clue, only not as memorable and there's no mystery (although there is a twist at the end of the movie). The whole reason for this movie's existence is to see Christopher Lee, Vincent Price, Peter Cushing, and John Carradine (four of the biggest horror stars of all time), but truthfully they're mostly underutilized. They instead take a backseat to Desi Arnaz Jr. I understand the screenwriters were probably trying to have a fish out of water character for the audience to connect to, but I think it's fair to say that horror fans would have preferred one of the horror stars filling that role, or finding a younger horror star to fill that part. Christopher Lee gets plenty of time and he's wonderful as always, but Peter Cushing has absolutely nothing to do until he gets killed off. Vincent Price and John Carradine get a bit of attention, but don't do much of anything. It could be because the three of them weren't in the best of health at the time and needed to slow things down, but that just makes things a bit more underwhelming. It's the kind of movie that should have been done in the 60s, but unfortunately we get this unfunny comedy with a predictable plot.
Tigger R (ag) wrote: this was a good film well worth watching
Jon W (ru) wrote: I always liked Hayley Mills' films, but those were Disney, this wasn't. It just didn't have that magic that her other movies had.
Brody M (es) wrote: Started off good then started falling apart in the middle & ended with a terrible ending
Joetaeb D (it) wrote: While it's nothing too meaningful, Alexander and the bad day is a pleasant family movie that surprisingly offers some solid subversions to the kid movie genre.
Eddie D (jp) wrote: This is amazing! Such a great movie. Not really horror, actually more of a mellow drama, in a sense. Only two kills, but they are awesome! But the whole concept of Harry being visually molested as a child, groweing up making toys and wnating ot be Santa Claus and ending with one of the most epic endings!!! MUST SEE!
Joanna B (ru) wrote: Reworked from George V. Higgins Boston based 1974 novel Cogan's Trade, Killing Them Softly showcases Andrew Dominik's articulate directorial acumen. With Great characters, cutting dialogue and a very simplistic plot, this pithy and grimy American crime yarn has be repositioned with neatly provocative tact to a post-Katrina New Orleans and laden with modern political overtones as a metaphor for the ills of American capitalism circa 2008.An obvious lover of irony, Dominik artfully immerses us into the recession-poor no-hold-barred sardonic underworld. Contrastingly depicting graphic slo-mo killings though a haze of intelligent banter and squabbling by supremely talented actors whilst highlighting the dark comedic undercurrents through a shock-tactic score that culminates into a taut, slick and watchable yet casually pessimistic all-male milieu. Host to New Orleans secret highly-lucrative poker games, Markie Trattman (Ray Liotta) is loved by all, lining the criminal elite's pockets with fistfuls of cash from the piles on his tables. A potential honeypot to any criminal daring enough, under the instruction of bottom-feeding lowlife Johnny Amato (Vincent Curatola), two unwashed kids, the inept Frankie (Scoot McNairy) and strung-out Russell (Ben Mendelsohn) decide to cash-in and knock the game over. Suspicion to the heists mastermind falls on Markie; having previously fleecing his own game, the idea of another inside job seems obvious. A second bite of the pie is enticing and the fact that Markie was allowed to get away with it due to his favour, the powers-that-be highest level of organised crime worry that if their lack approach to order got out, copycats would have a field day causing a financial meltdown so they bring in professional mob enforcer Jackie Cogan (Brad Pitt) to investigate and contain the situation. Instructed by a mysterious driver and 'corporate' go-between lawyer (Richard Jenkins) as to the course of action, the shrewd Jackie is not paid to wait around and deals with this disruption to business as usual with swift brutality. Jackie refuses to kill Johnny however as he already know. Claiming familiar people's useless pleas for life are embarrassing; he prefers to kill subjects cleanly, without feeling, from a distance, softly. Under his recommendation another killer is brought in, New York heavyweight Mickey (James Gandolfini) at a slightly inflated cost. But Mickey has had a fall from grace; constantly drunk, surrounded by hookers and unable to focus on the task at hand. Jackie is unimpressed and takes matters back in his own hands shedding the blood required to restore order. If 'America is not a country, it is a business' and its business is crime, then everyone is guilty of something and who decides whom actually deservers punishment?A tight, absorbing and terribly smart genre piece, this profane crime drama is drawn from the shadows of society and will provide drama students with vocal audition pieces for years to come. As en ex-prosecution attorney, Higgins intentions about greed, institutional rot and what needs to be done to keep your economic house in order is abundantly candid.Finally able to relish more abrasive roles, Pitt delivers yet another effortlessly wonderful performance. Callous, cold and snake-like, caustic monologues drip from lips scolding those intended and the audience alike. His irresistible way of squirming into the heart of a character is simply to be beheld but whether the academy will finally recognise it is yet to be seen. Gandolfini has his usual powerful presence, whilst Mendelsohn; allowed to retain the Aussie accent, is the clear standout simply stealing attention. The Verdict: Where words have as much impact as bullets, this sour vision of a country in economic distress is worth cherishing simply for its honesty. As Cogan eloquently states "it's not what you have been doing, it's what guys think you have been doin" is often the tared brush with which outsiders opinion of America and organised crime are brandished. Published: The Queanbeyan AgeDate of Publication: 26/10/2012
Chloe A (br) wrote: 4 stars! I love all the step ups including the dance moves and the music used!
Takee A (jp) wrote: Andrew Garfield was a smart choice, but unfortunately he wasn't able to surpass Toby Maguire's original role. At least the basic elements of his personality was still the same, which is a good factor. It was well directed by Marc Webb & well written by James Vanderbilt, who also did an amazing job in creating the screenplay alongside with Alvin Sargent & Steve Kloves. All of these implications make "The Amazing Spider-Man" a great & desirable movie to watch.
TIM O (ag) wrote: There's an art to making a horror movie with limited resources, one that involves suggesting danger rather than showing it and building tension out of virtually nothing happening. But sometimes suggestions just hang in the air pointing nowhere and virtually nothing happening feels like just that. Just because there's an art to something doesn't make everyone who attempts it is an artist. The Apparition, the first feature by writer-director Todd Lincoln, features a small cast and takes place largely in an empty suburban home, one of the few occupied houses in a California neighborhood filled with unsold lots. It's an eerie premise, but this director does not have any of the talent to pull it off.
joseph v (jp) wrote: The best documentary of the year. A far better film than the more celebrated Amy. About a far superior artist.