Ferrell Takes the Field
A documentary that follows Will Ferrell as he takes the field in five Major League Baseball training games, playing all nine positions for ten different teams in a single day.
In the Spring of 2015 Comedian Will Ferrell played 10 positions for 10 Major League Baseball teams - all on the same day. Ferrell spent one day as a player in MLB's
Arizona "Cactus League". 10 teams| 10 positions| 10 uniforms... 1 glorious day. What could possibly go wrong? . You can read more in Google, Youtube, Wiki
Ferrell Takes the Field torrent reviews
(au) wrote: It's good to know we have Anonymous fighting for our liberties, not only online, but in the real world--where governments, corporations, and institutions tend to abuse their power.
(br) wrote: I don't understand the poor reviews. I thought Clint Eastwood did a brilliant job of choosing actors from the show. Someone made a comment about the bad lipsyncing. Had to laugh, as Mr. Eastwood had the actors perform live on every song. The story was unexpected, but the movie made me laugh and cry. My new favorite movie! Music was excellent!
(mx) wrote: visually stunning, Nasa in collaboration with IMAX, show us a brilliant documentary about of the hubble telescope in your big brilliance.
(fr) wrote: Money making sequel, nothing more...time pass movie.
(ca) wrote: Even though it feels like a TV movie, it's still a nice little film with nice moments and good intentions. I liked it.
(gb) wrote: let's you know that life's something full of curiosity
(ru) wrote: I've seen this movie ever since I was in, like, fifth grade. I've gone back many times to re-watch it. I will periodically continue to do so.
(ru) wrote: this sequel is little cartoony at times but still not bad i'm giving it 3% cause of lin and roy love scene in the middle and the kiss towards the end that was romantic
(us) wrote: Not a damn flaw in this film from the legendary Martin Scorsese. Daniel Day-Lewis is the show stealer and DiCaprio is in top form as per usual
(fr) wrote: GOR is about a nerdy professor (Urbano Barberini) who inadvertently triggers a magic ring that teleports him to Gor, a fantastical land plagued by evil rulers and bad costume designers. Professor Tarl (yes Tarl, as in Karl with a "T"...very sci-fi) is forced to grow a pair and free the enslaved masses from the evil despot Sarm (that's Sam with an "R" thrown in for good measure.) Sarm is played by Oliver Reed. Oliver Reed looks fabuulooooousss. I have no idea why he's in this film, but I will say that the man earns his paycheck. He delivers his lines as if they were from a decent script in a good movie. As if GOR was being filmed by a competent director. As if he was sharing screen time with actors as professional and talented as himself.Okay. Jack Palance is also in the flick...for about three minutes, apparently fulfilling some minimal obligation required by his contract. I haven't mentioned Jack Palance before this because, despite his hefty billing in the opening credits, he's about as essential to this movie as Jack the Ripper. Palance makes his first appearance just before the end credits. His storyline is so tangential, I'm inclined to think it was spliced onto GOR from another movie. But it can't have been, I guess, because a few of the actors from the beginning of the film are standing next to him.GOR is directed by Fritz Kiersch - and by "directed" I mean Kiersch likely sat behind the camera, perhaps even while it was on. I say this to distinguish Kiersch from someone who exhibits talent.
(us) wrote: Sykhdyttv ja taidokas elokuva.
(ag) wrote: "I Confess" is a great suspense film in true Hitchcockian style. Montgomery Clift and Anne Baxter are amazing as they play opposite of each other in this film. His attractiveness and her classiness make each perfect for his/her role. Hitchcock used so many creative camera angles that have become standard in thrillers today. Some of my favorites in this movie include the view from behind Baxter's chair during her phone conversation where we just see part of her head leaning against her hand with the phone and hearing her sad voice. Also, when Clift and Baxter are on the ferry and suspicious that there are cops on board and the music booms each time the camera cuts to a different person. The concept of this movie is fantastic. It would be good if we had to wonder whether the priest would reveal what was told to him in confession. But it is GREAT when he would have to do so in order to prove his own innocence. All of the actors display great talent in this film, as every emotion can be seen each time Hitchcock shows a close-up of their eyes. You will feel frustration, uneasiness, and angst as you are left to anticipate the final resolution of this film.
(ag) wrote: "Quit while you're ahead". The first Austin Powers was good and funny. But on the third Austin Powers they've lost what made the original so good, and now are focusing on childish toilet humor. Still there are some funny moments, and it's watchable, but I got so turned off by them catering to 6 year olds that I lost interest. I'm glad they ended the series at this one. And please, no more Fat Bastard huh? Geez...
(ru) wrote: Breathless has the proportions wrong. Too much rambling, too little point.
(ru) wrote: People Say Animation is Terrible, But this is not an animated movie.This is one of the better Found Footage Films out there.This is actually the first found footage film i have ever seen in my life and saw it in the theatres, Congratulations Josh Trank, You have been rewarded the best director of found footage movies.Score: 8/10
(es) wrote: Oldboy is sublime, and easily the standout film for me in the Vengeance trilogy. This brilliance is reflected in its widespread popularity. Winning the Grand Prix at Cannes, this film is by far bigger than Sympathy for Mr. Vengeance and Lady Vengeance. It fully deserves its popularity. Chan-Wook here made a masterpiece, with a dark and intriguing story, complex characters, and nightmarish yet breathtaking visuals. It fulfils the potential on display in Sympathy for Mr. Vengeance.The film is mysterious and immersive from the start. Oh Dae-su, a drunk businessman and a bad father - who misses his daughters 4th birthday party -, is imprisoned by an anonymous figure. He remains incarcerated for 15 years, meanwhile building himself physically and plotting his revenge. The disturbing imagery and intensity of this scene set us up perfectly for what follows. Suddenly, after 15 years, he is released, and from then on this becomes a film full of twists. Oh Dae-su, a man sexually deprived and tortured by fetishised female figures on the TV, meets the young and beautiful Mi-do, and they start a romantic and intimate relationship. He then discovers that an old schoolmate, Lee Woo-jin, has been behind his imprisonment all along, exacting his own revenge. Oh Dae-su medalled in Woo-jin's incestuous relationship with his sister, the revealing of which led to her suicide. We then receive one of the most shocking plot twists ever. Mi-do, who we see having intense and passionate sex with Oh Dae-su, is really his daughter. Woo-jin has manipulated their lives all along, a parallel of the media Oh Dae-su was manipulated by during his imprisonment. Woo-jin gets his revenge, which is enhanced by the grovelling Dae-su chopping out his tongue in a symbolic gesture whilst begging Woo-jin to keep Mi-do in the dark. This plot-twist, though arguably perverse and contrived, is treated with such delicacy and subtlety. In Star Wars, Darth Vader is obviously Luke's father, but here we have no idea which way this film is going, and when we find out it is gut-wrenching. Chan-Wook's poetic and lyrical style hypnotises us and whisks us along, disarming our critical faculties. It is a genius and unpredictable twist, playing on our support for Dae-su's and Mi-do's partnership. It can only really work because of Chan-Wook's success in developing fully fleshed-out, complicated, and likeable characters, enhanced by their strong performances. It's still exquisitely shot, but there is much more than just style to this film. Where Sympathy for Mr. Vengeance fails is in its attempts to make us care about the story, but Oldboy succeeds with aplomb. Our acceptance to dive in, and go on a dizzying ride with Oh Dae-su, is essential.Though for some too emotionally manipulative, overly gory, and shock value oriented, if you are able to let yourself become absorbed in this film then it is incredibly rewarding. Chan-Wook's mature handling of the plot means that we are never alienated by the subversive plot and its sickening twists. It proves that Chan-Wook can make narratively sound cinema, without having to compromise his bold aestheticism. If you don't mind cinema with sex, blood, and taboo subject matter, then this unusual slice of brilliance is a must-see. It represents the height of Chan-Wook's artistry and is the pinnacle of quality in this trilogy. Despite Hollywood's best efforts, a film this unique could never be reproduced.
(au) wrote: Malgr les nombreuses incohrences, j'adore ce film
(ag) wrote: Decent and quite light.