Expecting Mary

Expecting Mary

Expecting Mary is the story of a young girl, who's had all the trappings of an upscale life, but it's only when she finds herself in a small New Mexico town, in a downtrodden trailer park, that she learns the real meaning of love, sacrifice and family.

Expecting Mary is the story of a young girl, who's had all the trappings of an upscale life, but it's only when she finds herself in a small New Mexico town, in a downtrodden trailer park, ... . You can read more in Google, Youtube, Wiki

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Expecting Mary torrent reviews

Surajit Kumar M (it) wrote: Superb...Awesome...Fantastic...What a comeback from Sridevi...Take a bow!!

Daisy M (ca) wrote: i thought it was pretty bad. the stuff involving time stopping/daylight never coming/the exit disappearing/the food rotting was cool, though.

Joanna G (it) wrote: i barely got through 7 1/2 minutes of it

Shawn W (jp) wrote: Shot on video cheapie with all-rookie cast and director. A family with a paranoid patriarch go to the Ozarks to retrieve buried gold they smuggled out of Peru. Ok story but killing those copperheads was appalling. I wish they used rubber snakes.

Javier M (mx) wrote: Great movie, I was quite moved by it. Overall, the vision that gives of the muslims civilians ... I enjoyed a lot.

Catherine S (ag) wrote: Fan of Mira Nair, and was just lucky to watch it on HBO at the time.

Anvita P (gb) wrote: This movie makes me forgive Bollywood for, well, Bollywood.

Dankwa B (gb) wrote: Loved it! The shots and editing were excellent as was JOHN LEGUIZAMO. Great performance by him!

Fallon H (kr) wrote: Everyone should watch this. Why did HBO ever stop making these?

Asya K (us) wrote: One of my early teen faves :)

Cody Y (au) wrote: Rebecca De Mornay and Julianne Moore are great. The rest is dull, cliched and flat.

Movie K (jp) wrote: So-so movie. Everything is lacking, got saved by the action at the ending part. Blackie Ho is one really tough baddie. Stephen and Jacky chemistry is alright only. Too bad Eric Tsang died.

Noel V (it) wrote: Unbearably beautiful. Davies takes autobiographical traumas and pins them on the big screen like dried bleeding trophies for all to see. The early scenes are almost all group portraits of family members harboring some horrifying memory, almost all involving the father (Pete Postlethwaite, monstrous and brilliant). The family looks like diorama figurines in a picture frame only inches deep, backgrounded by an intentionally blank wall, trapped as well as immortalized in Davies' inescapably airless museum. It's as if the father were directing this picture, deciding on the featureless wallpaper, the size and depth of their cage, their only escape being dance, music, song. An amazing, agonizing film.

Edith N (de) wrote: Madness in Africa With Werner and Klaus I haven't seen all of Kinski's Herzog films; we have two left there. On the other hand, the only not-Herzog film I've seen him in, I didn't realize it was him. (He plays a minor character in [i]Doctor Zhivago[/i].) Most of the not-Kinski Herzog I've seen has been documentaries. Therefore, I cannot say for sure if either man ever managed movies of the quality they reached together, but I don't think such chemistry would have been possible with anyone else. Oh, don't get me wrong--this is the last movie they ever worked on together, and by the end of filming, they were done with each other. I'm quite sure they weren't on speaking terms when Kinski died just a few years later. Herzog knew how to drive Kinski to the depths of madness needed to portray his various megalomaniacs, and the fascination Kinski seems to have held for him created an intensity in filming that is almost stalkerish. This time, Kinski is Francisco Manoel da Silva, the titular [i]Cobra Verde[/i] (green snake). He is a bandit in the depths of Brazil (again), turned so by the failure of his ranch and the subsequent murder of an abusive boss. He is taken on by Don Octavio Coutinho (Jos Lewgoy), a local sugar baron, who wants da Silva to oversee his slaves. Alas, that's not all da Silva oversees--he impregnates all three of Coutinho's daughters. In the aftermath, da Silva reveals his identity as [i]Cobra Verde[/i]. Coutinho, in cahoots with several other pillars of the community, arranges to have da Silva go to Dahomey and start up the slave trade between the two countries once more, with everyone pretty much in agreement that they're really sending da Silva out to get himself killed. However, he instead entangles himself in some pretty byzantine Dahomean politics, with various rivals from the throne each trying to take advantage of the willingness of the white man to trade guns for slaves. I know as near to nothing as makes no difference about the African royalty of the era, though the events don't strike me as all that improbable. Wikipedia confirms that there were female soldiers in Dahomey at the time, so there's that, and mad kings aren't unheard of. The story's based on a book which is based on someone's real life, but the only article of the three with any real detail is that of the movie. However, it does appear true that the real person, Francisco Felix de Sousa, kept trading after the trade had been abolished. And while I'm not entirely sure when the movie's set, the slave trade between Africa and Brazil wasn't abolished until 1850. However, from what I can work out (it's proving more difficult than I'd expected), Portugal abolished slave trade with Africa before Brazil became independent, so I think there was a span of about five years' abolition before it was started up again. And the UK stopped their African slave trade at the same time, so I think that works. However, as with the other two Herzog/Kinski period pieces I've seen, the history doesn't entirely matter. The real Fitzcarraldo made hauling that boat over the mountain easier on himself than Herzog did. Herzog doesn't know any more about the real Aguirre than anyone else. It's just that the period setting in and of itself sets us outside the world inhabited by these people, so we can look at the people almost as artifacts. It doesn't matter what a historical da Silva would have been like, really. Oh, much of what Herzog shows about the slave trade is, so far as I know, pretty much historically accurate. However, he shows a detachment from what's onscreen. There is a scene where da Silva and another man are walking through a room where slaves have been chained, and da Silva casually steps over a few of them without missing a beat or a word of conversation. Everything is furniture or backdrop except the one man we're supposed to be watching. It does feel a little uneven, though of course it's still not actually a bad movie. (Herzog must have a bad movie in him; everyone does. I just haven't seen it yet.) At times, it seems as though Herzog is more interested in the scenery than the story. There's a sequence where a message is being sent by semaphore, and we see a whole long row of slaves, shoulder to shoulder almost, flashing their white flags in movements slightly stuttered from one another, the message following its winding course to its destination. This is, of course, silly. For one, it would be hard to see your neighbour's movement that way. For another, that would take an insane number of slaves. On the other hand, it is a beautiful image, and perhaps it's intended to be insane. It's just another example of the profligacy shown by da Silva once he has power, which echoes and is echoed by everything Coutinho does to him. There is also something about Kinski's face which suggests that he's pondering what it might be like to live such a lifestyle himself.

John A (nl) wrote: After An Excellent Opening Act, A Pretty Decent Second Act, This Is A Great Final Act, In A Three Film Story Arc. To View This Film Is Like Watching Something Completely Different, It Never Actually Looks Like A Star Trek Movie For The Most Part. This Was Made On A Lighter Subject On Purpose After The Slightly Dark Themes Portrayed In The Previous Instalments. This Is The Closest To A Comedy You'll Find In The Star Trek Universe And It Works Extremely Well, This Once Again Showcases The Directorial Talents Of Actor Leonard Nimoy.

Christian W (br) wrote: Great acting, cool location, god awful script and directing. Go watch the 1972 version, it is very good.

Alan W (es) wrote: This is a classic comedy, very funny

Javor B (us) wrote: Murray as a gangster, De Niro as a nice guy cop and Uma Thurman between the two of them - you gotta love this!