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Baby & Mom: Pre Natal Yoga torrent reviews
Mark F (au) wrote: Was bored by this one.
Allen G (au) wrote: One of the most emotionally brutal films that I've ever seen- 'Tyrannosaur' flourishes thanks to a trio of great performances by Colman, Mullan, & Marsan.It's Lars Von Trier-level miserable here- completely unrelenting and deeply upsetting at times. It would be easy to resent the film for this and dismiss it but the cast give such compelling and rich performances that you allow yourself to become invested and you, basically, let the film make you feel like crap. Set in bleak suburban England, literally everything about this picture is bleak and unpleasant. Enough of this is justified, however, through the movie's focus on emotional abuse, as much as physical abuse. The film's look at masculine aggression in particular is extremely impactful and completely justifies sitting through it. It's a side point but, I must say that I really liked how the title of the film came up in the story- I was hoping that it would and it's brief mention actually resonated with me a lot so, bravo,Anyway- not for the faint hearted- 'Tyrannosaur' will leave you feeling sick but not every film is sunshine and rainbows, nor is every life, unfortunately, as is shown here.
Leonora S (mx) wrote: It was nice to see this movie with my parents at our local independent film theater. Being Latvian it was interesting to watch this movie because Estonia's history parallels Latvia's (& Lithuania's). Latvians also have huge song festivals with thousands of singers.
Scott D (kr) wrote: good film ,enjoyed it
Jason K (ag) wrote: post License to Drive pre Take me home Tonight, but with JLH looking dreamy
matlaine m (ca) wrote: I will like to watch the movie before rating
Matt G (jp) wrote: I'm not sure this era's mixture of immense silliness and patient pacing always hits me the way it does others. However, Brooks most (arguably) acclaimed film is a success because of two things: 1) it takes the stupidity of racism to its furthest extent in order to point out its idiocy, and 2) it is the kind of spoof that is more homage than straight parody, proving Brooks' great love for the genre. And that (literal) 4th-wall-breaking ending is gleeful, punk-rock perfection.
Ville H (jp) wrote: ihan ok ninki vanhaks
Blake P (kr) wrote: It already takes a lot of balls to make a movie directly inspired by the callous Columbine massacre of 1999, but to write and direct that said movie with no message, no overt sensationalism, and no cerebral explanation in mind is even ballsier. Helmed by Gus Van Sant ("My Own Private Idaho," "Good Will Hunting"), the legendary chameleon of indie, 2003's "Elephant" is so brilliant because it so unhesitantly refuses to view its focused upon day's tragic events through anything other than a helpless, almost detached lens. Unimportant is the analyzation of the killers' psyches; unimportant is the emotional aftermath. The film is more engrossed with seeing the shooting as it transpires, watching feebly as senseless violence takes the lives of rosy cheeked youths, so full of vigor and potential. One might wonder why a movie like "Elephant" exists. If a film is unwilling to do anything besides essentially recreate a tragedy, with no scrutinizational strings attached to its incendiary self, why be released at all? Evidently, Van Sant wants us to be active viewers. He wants us to be the ones to decide what the prime motivation of its antagonists is, what the repercussions for those involved looked like following the incident. By sidestepping resolution, we have to fill in the majority of the blanks ourselves. It's a conversation piece of a film, seemingly simplistic until a thirsting to dissect it makes it something furtively substantial. "Elephant" isn't a movie made for everyone - some will find its near clinical approach reprehensible, and others, if not offended by its intentional dryness, will find it fatiguing, at least until its disconcerting conclusion. Van Sant's extensive use of long-winded tracking shots (mostly utilized as a way to mundanely follow characters as they move from point A to point B, thus bringing out the paranoia that rests impatiently in our being as we wait) are a lot to take in, and the sparse dialogue forces us to attempt to delve into the minds of characters that are already too thinly drawn to truly understand anyway. But Van Sant's disturbingly naturalistic approach is what makes "Elephant" so consuming. Its characters, all kids you'd find in any high school in America - the introverts, the relentlessly bullied, the artistic, the eating disorder afflicted - are instantaneously recognizable. But here, even the confident basketball star who walks through the halls during times of trouble is not impervious to the dangers of young monsters who are hazards to themselves and others. And in an age where gun violence is more pressing of a cultural issue than ever, "Elephant" should serve as a graphic reminder as to why the gratuitous usage of arms is such an ugly point of conflict in American society. (Notice how easily the film's villains obtain their weapons - it's merely a matter of ordering from the right website.) Movie violence, with its peppering of heroism and machismo, is not to be found here. "Elephant's" violence is immediate, ruthless, inane. If the movie is hard to access and sometimes too dramatically barren to serve as anything else besides a disquieting take on the Day in a Life motif of cinema, it's at least a conclusive conversation starter. Only a filmmaker of Van Sant's exploratory resolve could have made a film of its caliber and make it all come across as instigative instead of irresponsibly provocative.