Container

Container

Poetic, experimental and different, Container is described by Lukas Moodysson as "a black and white silent movie with sound" and with the following words; "A woman in a man's body. A man in a woman's body. Jesus in Mary's stomach. The water breaks. It floods into me. I can't close the lid. My heart is full."

Poetic, experimental and different, Container is described by Lukas Moodysson as "a black and white silent movie with sound" and with the following words; "A woman in a man's body. A man in... . You can read more in Google, Youtube, Wiki

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Container torrent reviews

Allan C (fr) wrote: Just awful horror film from the son of George A. Romero. While George A. gets credit for inventing the modern horror film, son Cameron gets credit for shamelessly ripping off horror films of the past and doing a terrible job at that. But the director is not the worst offender here. The acting and script get blame for being even worse. The film only gets one star for some decent gory scenes (if that's your sort of thing).

Taylor W (br) wrote: This was wild wild west's relative

Brendan R (au) wrote: I was watching the movie as background while I did other things. Not the type of movie that works well that way. The jumps in the continuity made it difficult to follow if you're not paying full attention. By the end I found the entire movie depressing. Definitely not a movie I will want to watch again. That's not to say that it's not well-made, but the quality of the film can't overcome it's depressing storyline.

Maxwell S (ru) wrote: Sure, these are just a series of oddly life affirming stories that nobody cares about, but Todd Solondz is so literate when it comes to screenwriting and directing. It's obvious that this film has meaning, just as all of his films do, but it's just a matter if it is too much or just enough. But, with Solondz film "Happiness", he analyzed life with just the title. It is a reoccurring theme with Solondz. While there are other themes he touches upon, he is right that life is about happiness. Now, just about every film out there is about that, but Solondz loves to deliver it on a silver platter. His disturbing imagery just adds to the extreme of every person's want for happiness. This film in particular isn't any "Happiness" or "Welcome to the Dollhouse", but it is just Solondz telling the stories he loves to tell, but in a more creative way. Just about as equal as "Storytelling".

Arthuro M (de) wrote: Un drame romantique qui vaut particulirement pour les faces--faces entre Deschanel et Schneider qui allient performances d'acteurs et ralisation de qualit. Le scnario lui n'est pas de ceux qui resteront en mmoire mais il assure l'essentiel, s'appuyant sur des dialogues russis pour accrocher l'attention du spectateur.

Luis G (de) wrote: Decent enough. James Cameron isn't the most engaging, Bill Paxton is Bill Paxton, and the ghost footage is lacking. I don't understand why they had to go ahead an create new documentary-style scenes when it would have been better to just use scenes from the movie. What I liked the most was probably the underwater footage of the actual wreck.

Jane L (fr) wrote: I honestly have no idea why people like this movie. Is it because of the horrendous pacing? The lack of comedy or sentimentality? The sometimes creepy but mostly irritating performance from Alan Alda? My guess is that the only reason MANHATTAN MURDER MYSTERY has a whopping 93% on RT is because critics were desperate to give Woody Allen positive reception after his controversial separation from Mia Farrow. That's the only reason. I'm not saying this because I hate Allen's films; I'm saying this because I love them! I'm a huge fan of his, but I have to say, MANHATTAN MURDER MYSTERY is, simply put, a complete dud.

David W (ru) wrote: Crazy good B movie fun. Terrible plot and acting, but still worth a watch. An early Seth Green performance.

Eton E (us) wrote: Holly flavour!! feeling disappointed

John H (mx) wrote: Van Sant's arty indulgences into the oddball are distracting, but DRUGSTORE COWBOY holds together by maintaining a naturalistic tone on drug culture - even during truly tense stretches that could have fallen into hysterical melodrama - and because of Matt Dillon's greaser charm as the lead.

Art S (kr) wrote: Almost anything would be a let-down after the exciting thrills of Jackie Chan's Police Story (1985) but I have to admit that Police Story 2 is pretty lacklustre. But never fear, because Police Story 3: Supercop (1992) would soon redeem the series with even more breathtaking stunts than before. It is worth noting that Jackie was also making the Project A and Armour of God/Operation Condor series at the same time. So, the fact that Police Story 2 contains proportionally less exciting stunts than other films from the same time doesn't really reduce the Jackie Chan awesomeness quotient. And if you only know Jackie from later efforts such as Rush Hour or beyond, then you are really missing out. After starting in Bruce Lee's shadow as an extra, Jackie worked his way up to the top of the Hong Kong industry, starting with gems like Snake in the Eagle's Shadow and Drunken Master (more or less straight kung fu) and then hitting his stride in the 1980s and early 1990s with the different series mentioned above that made him a true action star focused not just on fighting but on daring stunts which he always always performed himself (and put the accidents and mistakes into the end credits reel). Here in Police Story 2, he is again taunted by evil bad guys Mr. Chu and John Ko, variously supported or fired by Uncle Bill and Raymond (his superiors on the force), and in danger of being dumped by lovely May (played by a young Maggie Cheung). Of course, in the end, Jackie triumphs over all the obstacles - but he does get pretty beat up in the process. The big stunt is a fireworks factory getting blown up!

Ashley L (us) wrote: Really loved it!!! Really spoke to her life and the way she felt.

Alan Z (kr) wrote: A romatic whirlpool full of laughter. The performance of Greta Garbo couldn't be better. The amazing direction of Ernst Lubitsch and the screenplay consolidate the film as one of the greatest comedy masterpieces.

PieterJan V (au) wrote: The predictable, cliche laden ending ruined it for me.