Set in a rural Quebec village in the dead of winter, Jean-François, a single father works at a deserted bowling alley at night and in a rundown motel during the day. His daughter, Julyvonne never leaves their home. Jean-François isolates her in fear that contact with the outside world will scar her the way it has him.
- Stars:Emmanuel Bilodeau, Philomène Bilodeau, Roc LaFortune, Sophie Desmarais, Muriel Dutil, Yves Trudel, Johanne Haberlin, Anie Pascale, Olivier Aubin, Geoffrey Gaquere, Raoul Fortier-Mercier, Jérémy Fidèle-Côté, Simon Bourassa-Doiron, Benoit Lapierre, Hugo Giroux,
- Director:Denis Côté,
- Writer:Denis Côté (screenplay)
Set on the fringe of society, in a remote part of the countryside, Curling takes a keen look at the unusual private life of a father and his daughter. Between his unremarkable jobs, ... . You can read more in Google, Youtube, Wiki
Curling torrent reviews
(de) wrote: J'ai ador! Mais faut dire que je suis au dpart une grande fan de films coming-of-age. Trs bien fait, le jeu d'acteur parfait. Et Steve Carell qui prouve encore comme il peut jouer hors de ses rles types. Wow!
(jp) wrote: Have it...haven't watched it yet.
(us) wrote: The first and only Gamera film in the Millennium series (and also his last film up to this point) will easily turn on your kid perspective and enjoy a kind-hearted and delightful Gamera film, cheesy enough to love and not enough to puke.Gamera: The Brave starts right off with the sacrifice of the title monster in order to eliminate all the Gyaos that invade random Asian area no.51 in these movies. Years later, a little kid (our main human character) finds an egg that quickly grows as days go by, until he realizes this egg is actually a new Gamera, which he names "Toto". As expected, this film is more kid friendly than the previous trilogy, and goes for a more safe point of view and execution. It doesn't show anything new, it certainly isn't the best Gamera film, but it's entertaining to watch. There is the requisite monster action and delightful cheesiness to hold up. This feels different from other films in the series, while also still being true to it at the same time, so there is a no-cop-out factor here. The best way to enjoy this movie is having a kid's perspective, without asking too much complexity or achievement in a movie like this, just enjoy what's there to enjoy.No film of Gamera has been produced since this. The series had been on sleep since 2006, and I think it is proper time to give the turtle monster a new reboot. Maybe even a Godzilla vs Gamera, who knows. Overall, this movie is light and safe, but entertaining and good for the kids.
(fr) wrote: Fantastic and fun movie!!
(jp) wrote: Although City of the Living Dead did not amaze me, the general style of the film fascinated me enough to continue the Gates of Hell trilogy with The Beyond , particularly considering that it was received more positively.Though it stays true to the body horror roots of its predecessor, The Beyond falls more into the genre of a haunted house film. The narrative of the film is still a thin one which mostly exists to throw together many uses of clever blood and gore effects, but at least it ties things together better and ensures that there is more consistency in the feature. The Beyond is still a far from great film because it adheres to its limitations and thin narrative, but it shows director Lucio Fulci taking another step in the right direction which is a fairly significant improvement over the preceding film in the trilogy, City of the Living Dead. This time around, the concept feels more claustrophobic because the setting is less ambiguous and more singular as to fit into the haunted house type context of the narrative, and so it makes the plot easier to keep up with. It doesn't have complex characters, brilliant dialogue or even flawless dubbing for that matter. But for what its worth, The Beyond stays true to its roots well enough to stand up as a strong film for its genre. The success in The Beyond is predicated on the role that Lucio Fulci plays as director. While the script of the film is basic, it does contain some mildly interesting concepts which Lucio Fulci is able to find creative ways of exploring. Following the same sort of visual style he put into City of the Living Dead, The Beyond features some traditional Italian cinematography techniques as well as a really intense use of zooms. The interesting elements of the cinematography fall into the fact that the imagery of the film tends to be a lot of intricate little elements which push beyond the boundaries of their size in the way that Sergio Salvati puts such an intense focus on them. The imagery of the film is mostly highlighted during the gory death scenes of the film, but there are times when it goes beyond that and captures a sense of artistic appeal in many artefacts used as props. The editing on this is all gentle as well, so the cinematography in The Beyond is composed mostly of extensive shots of creepy visuals.When I say the visuals are creepy, I mean they are either haunting or sickening in a manner which does not make the viewer want to look away. With The Beyond, Lucio Fulci turns blood and gore into an art form, taking the concept of exploitation from shock factor to artistically shocking. That sounds strange, but it is the truth. With the importance in The Beyond resting on predominantly the death scenes in the film, Lucio Fulci puts all his passion about filmmaking into them more than anything else. Stepping things up from City of the Living Dead, The Beyond features a superior quantity of kills in them which are all done in darkly creative ways. With all kinds of dismemberments in the film, The Beyond is not a film which is easy to stomach. But if you can appreciate the merciless exploitation nature of the blood and gore then The Beyond is certainly a film for you. I tend to find that horror films that rely on blood and gore instead of an intense atmosphere are shallow, but The Beyond is a somewhat strong balance of the two which largely compensates for the lacklustre nature of the plot. Of course, the best part really is the death scenes. Notorious for them, The Beyond makes a creative use out of various forms of death which are shocking to behold, ranging from having one's eye torn out by a nail or face dismembered by spiders. With a slow burning atmosphere filled with horror, the death scenes in The Beyond jump out at the viewer with eye popping imagery, literally. This is built mainly upon the incredibly detailed makeup effects of the film which capture a detailed sense of blood and gore. It is so gleefully sickening to watch because of how realistic is seems at times, while at others it is both creepy and hilarious with a sense of deadpan humour that has come with the age of the film. For exploitation cinema fans, The Beyond is easily a treat on the eyes, and it doesn't get too caught up in its plot to forget that this is where the importance lies.The atmosphere in The Beyond is powerful. Instead of succeeding strictly as an exercise in blood and gore, The Beyond is a very atmospheric feature. Making use of its simple setting but finding clever ways to expand on it, there is a sense of claustrophobia that comes with the film. The fearful nature of impending deaths is what brings the tension to the film, and this combines with the shock factor of the blood and gore to exact its full effect down on the viewer. The Beyond not only looks scary, but it genuinely feels that way too. The musical score of the film is a key factor in this because it captures the eerie sense of horror as the film progresses to its more climactic moments and then emphasizes them with pieces heavy on bass energy. The music in The Beyond is not just intense, but it is also nostalgic because it is music iconic of the low budget Italian horror film genre which I continuously find myself fascinated by. So The Beyond is a large step up from City of the Living Dead from director Lucio Fulci. With a loose but improved narrative, and increase in blood and gore and a continued sense of atmosphere, it proves to be an effectively intense horror film and a clever exercise in exploitation which is appropriately excessive.
(de) wrote: So, I didn't like it much... the first time. The second time, WOW. A+. I just had to mature a little I guess. Everyone is excellent, and the plot is crazy and more or less unimportant, which I've come to admire more and more. The kind of naughty cousin of the bottle drama -- the aimless serial. Scene after scene, with some connection to it, but mostly a vehicle for badass performances, witty conversation, filmmaking expression, and a good time. Overstuffed, sure, but who's counting? Enjoy it!
(br) wrote: One of those movies that doesn't get enough love for being what it was. Certainly not a great cinematic achievement, but it was genuinely funny and touching, with strong adult leads and a charming ensemble of children, many of whom went on to have impressive careers (Mae Whitman, Eliza Dushku, Amber Benson).
(es) wrote: A French film about a love triangle - imagine that! A middle-aged suit & tie type of man (Montand) and his attractive and slightly younger lover (Schneider) seem content in their bourgeois Paris lifestyle, built off the buying and selling of salvage. In fact, five years earlier, Montand picked up Schneider for a bargain price off the scrap heap when her Bohemian artist boy friend (Frey) dumped her and skipped town. Now Frey's back and Schneider's all too ready to forgo Montand and the wonderful life he's provided. Montand becomes morose, lost, confused and prone to fits of rage and violence. Something's got to give - and director Sautet reels off about 90 minutes of film teasing the viewer along regarding what that something will be.If this plotline set-up sounds just too similar to Adrian Lynn's "Unfaithful" (2002) to be coincidence, there's good reason. "Unfaithful" is based on Chabrol's "La Femme Infidele" (1969), a film only three years younger than this one - and one that Sautet surely knew all too well. The difference is that Chabrol, as most of the French New Wave directors, criticized the French bourgeois as shallow, complacent and hypocritical, while Sautet was far more sympathetic to their plight. So this film is essentially Sautet's rejoinder to "Unfaithful." This film is not anywhere near as engaging as Sautet's excellent, highly recommended later works "Un Coeur en Hiver" and "Nelly and Monsieur Arnaud." Here in this film, the viewer is forced to watch Schneider callously "try on" first one of the two men for fit, then the other, over and over, as though she were at a Macy's shoe sale. There's not much cause for sympathy in that. RECOMMENDATION: Only for genre completists.
(es) wrote: "my favorite wife" doesn't have the best plot, but it's so funny that it doesn't really matter. cary grant and irene dunne are such a great pair. this is definitely one to see for anyone who has a strong appreciation for screwball comedies.
(mx) wrote: really need to watch this! required eh! for reaction paper