Caperucita roja

Caperucita roja


  • Rating:
    4.00 out of 5
  • Length:69 minutes
  • Release:1947
  • Language:
  • Reference:Imdb
  • Keywords:Caperucita roja 1947 full movies, Caperucita roja torrents movie

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Caperucita roja torrent reviews

KJ P (mx) wrote: Banking off the hot zombie craze that has been floating around nowadays, "Life After Beth" follows Zack after his girlfriend dies in the forest from a snake bite. Learning that she has come back from the dead and is slowly decaying into a zombie, he must learn to somehow tell her and help her deal with it. The dark-comedy undertone made this film much more watchable than it would have been, had it been taken 100% serious. Dane Dehaan and Aubrey Plaza are solid in these roles, although for some reason it seems they overact a tad too much. In the end, "Life After Beth" has an atmosphere that is believable enough, and a cast that is quirkily endearing. I loved watching this film for what it was, however, it does get tired by the end, and that is not a good thing considering it's short run time. It begins to fall into the predictable category by the last act, even though it held up the sheer fun element. Overall, a predictable film that is fun to watch!

Michael M (au) wrote: Short, simple, and very very funny. Didn't matter that I was the only one in the theater when this thing was playing, I still laughed my ass off.

noel f (mx) wrote: lacks action... I could not get the sense of the story... waste of my time... :(

Kyle S (br) wrote: I swear I've seen at least a dozen covers at the movie store with Cuba Gooding Jr. in that exact pose.

Cassius H (fr) wrote: decent movie from tyler perry. I felt there was way too many fat jokes.

Stacie W (br) wrote: Pretty good for a semi-foreign film.

Owen M (gb) wrote: This is indeed the worst movie I have ever turned off.

Adriana A (ag) wrote: Banderas best times!

Jay M (br) wrote: Roy Knable is experiencing the rotten roll of having a mid-life crisis; burnt out with his job as a plumbing salesman; he has lost the desire to do anything at home except be a complete TV watching couch potato; his wife Helen is nearly at her end with his neglect for her. This all changes when Roy Purchases a high tech satellite system that has 666 channels (with nothing on except the same Satanic junk) that will suck him & his wife into the world of Hell TV; where they will be-forced to survive the next 24 hours in order to obtain redemption. I thought this movie was a very-entertaining comedy; it had lots of one timer jokes, & I did not know what would happen next. Two thumbs up from me to this film. It will go into my twenty favorite comedies of the century.

Bill B (us) wrote: I was expecting more of a straight up ghost story with this one, then it opens almost like a Disney movie of the week, before taking some truly dark turns, and I felt like the varying tonal shifts just turned me off overall.I may revisit at some point just to see if it changes my mind, but my first impression is that this one just isn't for me.Rental?

Filipe C (gb) wrote: All life's life is in Forman's Amadeus, a stunning meditation on art, its origins and the triumphantly inspiring nature of creation. It is as compelling as it is heartbreaking.

Tom H (nl) wrote: despite the fact that the picture and sound on the dvd transfer was awful, i found the film to be an ok slasher. not nearly as good as i epected it to be.

Cameron J (ru) wrote: "I don't always watch movies, but when I do, I prefer 'Equus'". Oh, that must not be the most interesting man in the world after all, because just how interesting can you make a film about a teenager and a bunch of horses? ...Mind you, the film is actually about the zoophilic, religiously loony teenager in question stabbing the horses' eyes blind with a metal spike, but I don't know why Sidney Lumet has to take two hours and a quarter to talk about that, because he couldn't even keep a bank robbery consistently interesting for just a pinch over two hours. No, I quite liked "Dog Day Afternoon", as well as this film, although I'd figure that it's all about length with Lumet when it comes to intrigue, considering that "12 Angry Men" was so entertaining at 97 minutes, even though it didn't have the guts to actually show the kid they were talking about commit his crimes. Actually, I kind of like horses, and I would rather witness a castration than an eye-gouging, so it actually limits intrigue here, though not as much as retrospect, because, let's face it, how do you get more interesting than Harry Potter going full frontal? ...Well, Hermione Granger going the same way would have done the trick, but even now, we're going to have to settle with the "Equus" we are given, as surely as we had to settle for this "Equus" back in 1977. Hey, I'm more than willing to take it, because this film is mighty compelling, despite the lack of Harry's wand, in addition to other shortcomings. Running a relatively whopping 137 minutes, this film is one of Sidney Lumet's longest, and as much as I joke about how that's too long, considering the minimalism of this story concept, the final length is achieved largely through fat around the edges, found in aimlessly expendable set pieces, as well as meandering dialogue, neither of which are as excessive as I feared, but excessive through and through, nevertheless. Although the film is consistently engaging, to one extent or another, it is repetitious, being slickly directed enough for you to not feel the length, but still so aimless, maybe even limp, particularly when questionably paced plot structuring is backed by lapses in Lumet's directorial pacing. As director, Lumet adopts an almost stagey dryness to his storytelling, and more often than you think, it succeeds near-remarkably in immersing you with a genuine thoughtfulness, thus, the final product is rarely, if ever all-out dull, but man, it sure can chill down at times, once written material to thoughtfully draw upon really flattens as too meandering for the steady storytelling to transcend blandness. This is a challenging film, not just because it's so dramatically and thematically weighty, but because its structure and direction might be a little too subdued to embrace, as they do certainly hold the film back in a number of ways, and yet, for me, they aren't too big of an issue, and are still the only notable consequential shortcomings here. Still, although the actual problems are lacking in quantity and severity, the final product stands far from outstanding, and the reason for that is, of course, natural shortcomings, because no matter how compelling this story concept is, it's light in scope, with only so much to say, no matter how much time storytelling dedicates to its themes. The natural shortcomings are actually so great that there are glimpses of underwhelmingness found here and there throughout this consistently inspired drama, and while the final product ultimately emerges as truly rewarding, it can go only so far enough without all of the excess and dryness. Still, make no bones about it, this film does, in fact, reward the patient, not as strong, but as recurrently thoroughly compelling, even in its light-scope story concept. As I said, this film is held back a fair bit by its dramatic plot's having only so much actual scope, and yet, themes regarding the mental instability of a youth, and how it is influenced by religion, his peers, and a psychiatrist who comes to find great challenges to his abilities and to his views on many element regarding passion and life itself, craft actually engrossing subject matter, establishing a certain potential that surely relies a great deal on its written interpretation, considering the minimalism of the subject matter. The natural shortcomings are stressed by Peter Shaffer's script, which keeps the excess from the original play which Shaffer himself wrote that doesn't exactly translate to film particularly organically, yet doesn't exactly overshadow the strengths in Shaffer's writing, which is never short on sharp dialogue and extensive characterization that audaciously establishes edgy characters, backed by gripping themes that truly resonate because of Sidney Lumet's storytelling efforts. Lumet even delivers on directorial style, which is subtle, mind you, but realized enough in its providing haunting visuals for Oswald Morris' cinematography to polish, and in its utilizing Richard Rodney Bennett's biting score, to liven things up, yet only occasionally. Style is actually rarely used for the sake of style, being generally subdued in order to supplement substance by combining with Lumet's directorial thoughtfulness, which is often too dry for engagement value to be consistently sustained, but even more often well-realized as gracefully subtle, immersive and, of course, resonant. Being that there's only so much momentum to this drama on paper, the moving highlights of resonance are somewhat rare, but compellingness never abates, and those highlights really shine a light on what could have been, anchored by powerful onscreen abilities. If nothing else is consistently effective, it is the performances, all of which are strong, with the strongest being by the leads, whether it be Richard Burton as a charismatic psychiatrist who seems to gradually transform when he begins to observe life more closely through a patient, or the show-stealing Peter Firth, whose profoundly layered and emotive portrayal of an unstable lad filled with fear, passion and anguish ranges from engaging to mesmerizingly transcendent. Firth is simply marvelous, and Burton isn't too shabby either, and although the other, offscreen performances fall quite a ways short of being as effective on the whole, inspiration is found in most every area of this drama, which should compel the patient thoroughly enough thoroughly reward. When the sessions are concluded, a great deal of dragging and a little bit of bland dryness allow you to soak in the natural shortcomings to this light-scale story concept which most hold the final product back, but by no means to where intriguing - nay - thought-provoking subject matter isn't done enough justice by razor-sharp writing, effective directorial style and thoughtfulness, and a pair of powerhouse performances by Richard Burton and, of course, Peter Firth to secure Sidney Lumet's "Equus" as a compelling, if not all-out engrossing portrait on the dark depths of passion. 3/5 - Good

Bilal S (es) wrote: If you want catch a classic... its pretty good!

Summer M (au) wrote: Paul Telfer= fine, fine, fine!