As a corporate auditor who works in a number of different offices, Jonathan McQuarry wanders without an anchor among New York's power brokers. A chance meeting with charismatic lawyer Wyatt Bose leads to Jonathan's introduction to The List, an underground sex club. Jonathan begins an affair with a woman known only as S, who introduces Jonathan to a world of treachery and murder.
Corporate auditor Jonathan McQuarry (Ewan McGregor) is introduced to a mysterious sex club known as The List by his lawyer friend. There Jonathan begins an affair with a woman known only as S (Michelle Williams), who introduces Jonathan to a world of treachery and murder. . You can read more in Google, Youtube, Wiki
Deception torrent reviews
(ca) wrote: Watched a little of this. Wasn't a Japanese movie as such - more set in America and seemed like a caricature of Japanese people. Found it a bit insulting actually. Reviews suggest it improves but honestly couldn't be bothered watching on to see.
(nl) wrote: Very well acted, understated but overrated (won 13 Australian 'oscars'!) tale of a barely legal runaway nympho looking for love in a small skiing town; tries a bit too hard to be deep and thoughtful as reflected by the extra-emo music and out-of-focus/color-filtered shots, etc...
(ag) wrote: A Quirky movie to watch on New Years Eve showing on STRZT.
(ru) wrote: this movie is really really weird!
(ag) wrote: You ever notice how a cop in a movie can blow away 5 guys in a shoot-out and then walk away without having to file reports or being put on administrative leave for an officer-involved shooting. You got to love movies like this where Nick Nolte plays a Texas Ranger going after his old friend played by Powers Boothe as if Jim Jones was dressed as Panama Jack. A movie like this would only have been allowed to be made, more or less released, if not in the 1980's, where action movies were prominent. All those directors brought up on cowboy movies made their own movies. This is a modern western with a plot so complex that the twists and turns are given a mulligan. The characters in this movie seem like real people. There is a funny scene in which Nolte and the local sheriff Rip Torn reminisce about how well behaved the people they are going to go bust were back when they were kids. This the time of movie that comes on around midnight on The Movie Channel that sucks you in. You really don't want to admit liking it, but you just got to. Also, the Wild Bunch style shoot-out at the end followed by a shoot-out showdown between Nolte and Boothe's character is worth sitting through plot holes in the movie. I also like that they cast Larry Scott (the effeminate Lamar Latrelle from the Revenge of the Nerds movies as an Army soldier.)
(us) wrote: Wickedly black satire of WWI and how it was waged - although its main target seems to be the English class system, which was shattered by the Great War, making satire somewhat redundant. Its deeply symbolist depiction of the concepts of war in general carry far more meaning than later attempts to depict its horrors literally with simulated bloodshed (cf. Saving Private Ryan).
(mx) wrote: Ozu's simplistic style kills me every time. Early summer was specially fantastic though, although devoid of pans and tilts, Ozu's serene tracking segments are always astounding. Also, the crane shot which reveals the beautiful Japanese ocean shoreline - the only crane sequence featured in Ozu's surviving films - triggers the desire to see more Ozu crane sequences, of course a grand majority of his films will never be recuperated. The opening of Early Summer, featuring Setsuko Hara's slightly irritating smile and such merrymaking musical score, made me feel as if I was embarking on a two-hour voyage where I would witness the mundane tales of a perfect family - Usual for an Ozu film. I was wrong, in fact, I was diving into an abyss of reality, the reality that Ozu loved to color in his post-war work...The war's effect on the Japanese people (women who object the male prospects chosen by their families); The assimilation of western culture (drinking coca-cola; how about some tea or sake instead?); The arrogance of younger generations towards the elder (at every and any age level), which is also the leading motif of what is acclaimed to be his chef d'oeuvre: Tokyo Story. Its also important to know where Ozu stood in order to understand what message he attempted to convey (that is if you are not able to discern it from watching a couple of his films). He supported traditional standards and felt that society, as he and the Japanese knew it, began to collapse as the westerns stormed their nation with their liberal views. Hence the recurring theme of the widowed wife, or the mother losing a child, to make it short, the irremediable sundering of families. I previously mentioned Setsuko Hara's irritating smile. It is not my intention to suggest that she has no talent, or that I find her performances to be irritating. However, after going through six hours of her just smiling I have realized two things: one, the constant smiling can really become annoying after the first hour, and two, people are not wrong when they refer to her as one of the world's all-time greatest performers. There is a reason why she was Ozu's biggest star. Her smile tells a different story every time: in late spring we see a naive girl too optimistic for the world, thus arriving at a rather unfortunate and traditional denouement; in Tokyo Story, a widow whose altruistic demeanor disabled her from sincerely expressing her sadness to her in-laws who adopted her as a member of their family although she did not rear any children; and ultimately in early summer, a woman with concerning behavior towards marriage, who suddenly must face the decision of her family concerning her marriage to a man she has not even met. Not only do we see her smile for two hours in this one, there are a lot more realistic sequences involving sad conversations and hardcore weeping, present from the second fourth of the film, unlike other Ozu films where such sequences about the sorrow of her character are non-existent until a few minutes before the credits roll. Ozu's specially large cast in this film makes it the more intriguing. I have been used to the multitude of characters he likes to feature but this time the distribution was much more balanced across a much larger cast. We learn more about the overall background of all of the families and have a better chance of analyzing all the themes he wants to expose. Also, when a grand part of the ensemble cast is conformed by some of the greatest performers from Japanese, and world cinema, from every age level, what erupts is an incredible plot which only a talented and celebrated Auteur such as Yasujiru Ozu is able to compose so equivalently - in terms of screen time, and character significance. I love Ozu's simplicity, and his very low 3-feet-above-ground shots. His interior sequences are just overwhelming. also the scenes with the oldest family members alone, so harmonious. The children walking along the coast, and the flagpole challenged by the strong wind...ultimately, the ending, probably my favorite Ozu ending, although they all have been extremely amazing, and to some extent sad.
(us) wrote: The Strangers is a terrible film but still scared me. Weird