The four boys go together to Vegas to entertain. They are stunned when surprisingly witnessing what they have not thought about. So they try their best to play. The film is the process of planning the construction of the city conquered by the World famous playboy of four these weird guys. . You can read more in Google, Youtube, Wiki
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Josef H (ca) wrote: Part 3 of the trilogy. Still think part 2 with the twins was the best in series. This one was another good visual showing by Valentine. Glad Ameara was back. Great performance. And FYI for fans, this one preceded A Serbian Film.
Meirion H (br) wrote: Hilariously bad documentary that must be seen to be believed. Poor Celine, this makes her out to be a complete and utter lunatic. Would make a great companion piece to Troll 2.
Wiebke K (de) wrote: The story of two Europeans and their involvement in the 1994 massacre of Tutsis in Rwanda -- very moving, very well done in its portrayal of the tough choices these two make, offset by the sheer brutality of the situation. Survivors of the genocide helped making the movie, and it was shot on location.
Heekiah J (gb) wrote: I've watched the movie and then I watched the "Making of" right after. What I thought during the movie was that the writer/director was being pedantic about what Bollywood film structure is like and how we should find pleasure and quality in it. Sadly along the way he wrote a thin script even for all but the second tier Bollywood flick. When I watched the "Making of" it was confirmed, that is what he was trying to share, his discovery and subsequent love of Bollywood. I feel he focused on the wrong things. In my opinion he focused on the minutia of the Bollywood methodology and sacrificed telling a meaningful story. Furthermore he hamstrung himself by trying to straddle the two markets by making a Bollywood structured film, explaining why it was made that way in the text of the film for an American market. All he was left with was an American's solipsistic rendition of his perspectives on how to bring an already mature and beautiful storytelling technique to a different cultural sensibility. By trying to say "Look, these are good stories too" you are revealing your own sense of superiority. He would have been better off just making a really good Bollywood flick with American actors, that way he would have shown respect for the medium without seeming to condescend to it. No one in the Indian market needed an explanation of the structure of their films, and no one likes to be told why they should like something, they either like it or they don't. It's a bit like having to explain a joke. I applaud the desire to bring the Bollywood sensibility to the American market, however I detest the manner in which it was handled.
Ahmed A (ca) wrote: Difficult to watch and challenging in terms of interpretation, yet a must for Bergman's fans.
Hannah H (us) wrote: "Dear White People" is a film which follows the racial tensions erupting at an Ivy League school. The film focuses on four young black students who each struggle with their identity and how it fits in at a prestigious university mostly populated by white students. Although narration is sprinkled throughout the film that discusses several stereotypes and racist attitudes perpetuated by white people and directly addresses them in this discussion (hence "Dear White People") much of the film deals with characters on a more personal level, delving into the reality of being a person of color in a mostly white community. The film does not treat racism as the sole struggle and motivation for the black characters in it but rather the complicated icing on top of the identity crisis cake. This focus on black characters as individuals is incredibly effective in humanizing a group of people who are often represented as marginal or one dimensional. While the opportunity for film roles given to people of color are already few and far between in Hollywood, the characters which are portrayed by people of color often represent stereotypes or tropes of their race. Consider Queen Latifah's portrayal of a "sassy black woman" in "Bringing Down the House" where her character's main purpose is to help lighten up the tight buttoned, white main character. This is just one example of the ways people of color are pigeonholed in film but "Dear White People" steps away from this habit by giving each character depth and room to grow within the film. Take for instance the character "Sam" who is aggressive, outspoken and unafraid of confrontation. This trope of the "mad black girl" is erased by displaying scenes where the audience is shown her sensitivity and vulnerability. She is represented as a stratified being, experiencing the same fears and anxieties as anyone else and trying her best to maneuver through them under all of the other pressures associated with life. This portrayal of people of color, in particular black people, as capable of being critical of a system that they are expected to be a part of while also being humans with complex emotions and desires which are easily relatable is one of the best examples of representation in film. Few other films which are blatantly directed at white people, portray black people as anything other than slaves, maids, thieves, perpetrators or violent. Better yet these films almost always feature a white main character acting as the hero or savior of these black characters. Upon hearing the title of the film I think many white people would initially be put off or defensive assuming that the film's intentions are simply to point a finger or place blame. However, after watching the film I think they will find (subconsciously or not) that they can relate to an extraordinary amount of the same feelings, insecurities, desires, and experiences as black people. This film is crucially successful in its representation of black (and white) people, and the complicated nature of being alive.
Dann M (fr) wrote: One of the most notorious box office bombs, Showgirls is a satirical exploitation film from Paul Verhoeven. The story follows a drifter named Nomi who hitchhikes to Las Vegas and struggles to become a dancer for a high-profile burlesques show at the prestigious Stardust casino. The plot is ridiculously stupid and poorly written; especially the dialog (which is atrocious). And Elizabeth Berkley's performance is awful; as the she comes off as violently schizophrenic. Additionally, the gratuitous nudity is tasteless and vulgar. An insipid piece of garbage, Showgirl is spectacularly bad.
Francis P (it) wrote: Was funny at the first bit then got boring towards the end
Joe W (ru) wrote: A smart intense thriller with doses of horror a sad but amazing ending