The unique feature of his film is the actors - they are not professional but celebrities on micro-blogs. Among micro-bloggers in the cast are publisher Zhang Lixian, folk singer Zhou Yunpeng and screenwriter Shi Hang. The film is based on the true story of a Beijing plainclothes policeman named Zhang Huiling, who has been working for more than 10 years in Shuangyushu, a community of Haidian District, Beijing. It depicts the stories of ordinary Chinese people struggling in the metropolis.
Beijing police officer Zhang Hui Ling, who patrols Haidian District's Shuangyushu neighborhood in Beijing, has a job to do. Every day, he has to go out in the street with his cohort of ... . You can read more in Google, Youtube, Wiki
Beijing Blues torrent reviews
(jp) wrote: This is Mystery Science Theater bait if ever I saw it. The writing reeks of amateur self indulgence... there are fifteen minute sections of pointless dialogue centered around someone's nickname, or someone's former lover. Do yourself a favor.. ignore those false quotations of praise from entertainment weekly and skip this garbage.
(nl) wrote: Really tragic and relevent tale, that isn't reeking with originality but the themes of innocents and friendship are really interesting and I like that with the tone of it Elgin James obviously wasn't interested in shocking people or leaving the film on a light note, he had his storyline in mind and stuck to it. also as far as acting goes everyone went into it with raw naturalism which makes the situations all the more painful and shows obvious trust in the Director. Kay Panabaker however seems to be left behind in other reviews with everyone seeming to praise only Juno Temple who was amazing yet the film I feel would be too immature and melodramatic with out the character of Alison and Kay's touching and unflinching portrayal.
(br) wrote: Good Lord this movie was so bad and wrong in soo many ways.
(gb) wrote: Fellowship starts off pretty wonderfully- rich in character, design, and elements of fantasy. It is a long journey that doesn't lead to much in this installment, leaving it to be not too fulfilling on its own. It is, nonetheless, a mighty production.
(au) wrote: Works well as a history lesson for children as well as a moral lesson for everyone else. It's not a completely faithful adaptation and I wish the ending had stayed the same, but the scene with Benjamin chasing after Boxer really got to me!
(br) wrote: I love this, it makes us cry.
(gb) wrote: I wish I could say this was a fun dark comedy,it's not but I wish I could say it.
(gb) wrote: billy blanks! superb action with his highness chocolate man billy blanks! the monkey actually can do some martial art kicking!
(jp) wrote: nice...and the music... and the little girl...
(nl) wrote: SCREENED AT THE 2007 SAN FRANCISCO INTERNATIONAL FILM FESTIVAL: Japanese filmmaker and Hokkaido native Takushi Tsubokawa took ten years to complete his first feature-length film, [i]Clouds of Yesterday[/i] (before that, Tsubokawa made a silent short, [i]Tricycles of December[/i]). [i]Clouds of Yesterday[/i] went on to win both the Grand Prix and Audience awards at the Turn Film Festival in 2005. Less than two years later, Tsubokawa is back on the festival circuit with his second film, [i]Aria[/i], a character study that explores the grief recovery through the elliptical prism common to arthouse films. With an eye toward observation, [i]Aria[/i] unfolds slowly over its 104-minute running time. Incident and plot points are few and far between, but [i]Aria[/i] has more than a few rewards for fans of arthouse cinema and Japanese films. A widower, Ota (Masayuki Shionoya) ekes out a living as a piano tuner. Ota is haunted by his inability to fulfill one of his wife's last instructions, to scatter her ashes on a remote beach. Ota refused to look at a photo of the beach or learn the beach's location. Now, all Ota has is a sepia-toned photo of the beach and the crushing burden of grief and guilt. When he's not tuning pianos and engaging in superficial conversations with his clients, Ota watches an antique/repair shop owned by his friend Kojima. One day, an eccentric puppeteer, Kuzo, appears at the door, asking for Ota's friend, the shop owner. The puppeteer drops off his prize possession, Miss Aria, an eerily lifelike doll he uses in his act, for repairs with Kojima. Later, Kuzo's apprentice, Senju, appears to pick up Miss Aria. Ota and Kojima attend one of Kuzo's performances. Kuzo collapses during the performance. Ota visits him in the hospital and the men strike up a tentative friendship. As it turns out, Kuzo also lost his wife at an early age and he still mourns for her. Kuzo's wife played the piano during his performances. Kuzo asks Ota to look for the piano he and his wife used during the performances. The piano is long gone, though, and Ota doesn't feel a sense of urgency to discover its whereabouts until Kuzo dies. At Kojima's suggestion, Ota decides to track down the piano. Senju volunteers to drive Ota to its last known location in Hokkaido. Before they can leave, however, a mysterious young woman, Kako (Mariko Takahashi) arrives at Kojima's shop. Kako claims she's Kuzo's long-lost daughter. She also wants to join Ota and Senju on their search for the piano. At that point, [i]Aria[/i] switches from character study to road movie. Ota gradually comes alive as he interacts with Senju, who whimsically adopts a Chaplinesque mustache, and the short-on-words Kako. On a nearly abandoned road, they encounter an eccentric innkeeper who once owned the piano (he's helpful with maps too), an elderly hitchhiker prone to non-sequitars and performing a song about the sea, and a religious procession making their way to a Shinto shrine. When the elderly hitchhiker disappears, leaving only her scarf behind, Kako spontaneously decides to adorn a fox statue with the scarf. [i]Aria[/i] slips increasingly into metaphorical and narrative ambiguity. Kako's presence gradually revitalizes the uncomfortably numb Ota, but the question about her identity, real, imagined (unlikely), or supernatural (possible), remains unanswered. Whatever she is, Kako functions as a catalyst character for Ota?s emotional and spiritual recovery. Tsubokawa complements his slow-building, elliptical approach to storytelling with an equally minimalist filmmaking style. Tsubokawa relies primarily on static shots, often at a remove, with minimal cutting between shots, eschewing the far more common master shot, shot, reverse-shot style that filmgoers have seen countless times in Hollywood films. Taking his cue from Japanese filmmaker Yasujiro Ozu ([i]Drifting Weeds[/i], [i]Early Spring[/i], [i]Tokyo Story[/i]), Tsubokawa often shoots straight on from a low angle and doesn?t ?cut? in to show the characters reactions. Paradoxically, that keeps us at arm?s length, but given its rarity, it also forces us to engage the characters at a deeper, more personal level, where every nuance of language, movement, and mise-en-scene (placement of objects within the frame), gain increased, heightened importance. That?s not to say [i]Aria[/i] is for everyone. It isn?t. With a slow-moving storyline that emphasizes character over incident (e.g., the puppeteer doesn?t die until forty minutes in, the characters don?t begin their quest until the fifty-minute mark) and a filmmaking style to match, [i]Aria[/i] will probably alienate some moviegoers and bore others unfamiliar or uninterested in arthouse cinema. The small subset of moviegoers who are, however, interested in less familiar approaches to exploring character through film, should make a concerted effort to find [i]Aria[/i] and give it a try (a difficult proposition since [i]Aria[/i] doesn't have a stateside distributor).
(es) wrote: Early "Almodovar"@ seem s like a cult...genuinely innovative..liked it...different in taste.
(ca) wrote: I have read a some critic reviews that say this was the worst movie that Richard Harris and Alec Guiness ever did. I disagree with that. This movie is great.
(au) wrote: Recently re-watched this one - after dismissing it as tosh for many years. It's now become of of my favourite of all films from Hammer. The reveal itself is still disappointing in its rubbery cheapness but it makes up for this by being an incredibly atmospheric and creepy film. Production-wise, it really is the quintessential Hammer film. Terence Fisher directing Peter Cushing, Barbara Shelley and Christopher Lee (their performances range from laconic to bored and bemused but no matter). Thrillingly scored by the studio's most instantly recognizable James Bernard who, along with cinematographer Michael Reed (who did such a fine job on Dracula: Prince of Darkness) are responsible for much of the film's gothic fairy tale feel.Love it!
(ru) wrote: "My way of thinking, folks ought to have what they want, long as they can pay for it." "So to speak, you're an investment, and you're gonna pay off." A realistic and sympathetic/sensitive (and early/influential) fugitive love story--loves and lives defeated by capitalism and the capitalist state. (Didn't Terrence Malick just steal the characters here for Badlands?)
(it) wrote: not as good as the other ones. but still a fine Tarzan film.
(us) wrote: great dramatic movies. she had sex with i believe all 3 brother and married 2.. but to watch the brother relationship mover forward in the movie is astonishing. i loved it. family drama/ war/ cultural differences. me or female you must watch this.. its a classic and i bet ull watch the whole movie... one of my favs
(mx) wrote: boring and kinda wierd
(fr) wrote: Good storytelling. Terrible message.