Juán returns to his native Buenos Aires after 20 years to visit his dying father. He tries to find Ana, his old flame of the past.
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Foolish Heart torrent reviews
Jamie C (ru) wrote: Not as good as I was hoping for but still a pretty solid action movie, I did expect more shootouts and the ending could of been better but with a good solid cast when the action does start it was pretty good, Apart from the story taking some time to kick in properly it's definitely worth a watch.
GColby P (de) wrote: I didn't hate it as much as a lot of people did, it's not great, but it's not terrible. It's fine
Fedor T (nl) wrote: A skillfully documented experience of watching a band that once decided to stop being a musical phenomenon and turned simply into a show instead, albeit a marvellous one.
mani s (fr) wrote: superb movie....Vijay appears to be having a rollicking good time with his scorching screen-presence and his infectious enthusiasm for dancin a good film by vijay , one of his best performances
Ama D (us) wrote: My family and I love the show. The ending is so epic!
Col S (fr) wrote: UK version of Singles on a low budget...they form a band,singer falls for the bassist,get record contract,love wins....good acting,great music,shit ending that makes you wonder if it was just a waste of time watching it......
Al M (ru) wrote: First off, the above description is of a different film called The Castle as is the cast list to the right. I am reviewing Michael Haneke's Austrian (not Australian) adaptation of Franz Kafka's novel The Castle. While I adore both Haneke and Kafka and Haneke remains flawlessly faithful to Kafka's novel, I found The Castle to be a bit intolerable. And frankly, I think I feel the same way about Orson Welles' adaptation of The Trial. Like Welles' The Trial, the film is incredibly stylish, and Haneke's fascination with alienation fits well on paper with Kafka. It features stellar acting, including the same pair that play the husband and wife in Haneke's Funny Games. It stays faithful to the source material even to the point of ending abruptly like Kafka's unfinished novel. But it just lacks the absurdist, bizarro magic of reading Kafka--Welles' film is the same way. Perhaps it is just because the worlds they depict do not match my visions of Kafka, but I think Haneke's film is another example of why Kafka adaptations should not be made. Perhaps if Terry Gilliam made one....
Bari T (jp) wrote: Really bad Even Hawkeye is not perfect.
Roy S (ag) wrote: The first three minutes is the gunfight at the OK corral. The rest is "the story exactly as it happened," according to the large message at the beginning of the movie. It certainly contains more lawyers than most other tellings. Director John Sturges reacts to the changing times a bit, I think, in that he makes things a bit more gray; Earp lets his more brutal nature out while Doc Holliday assumes the unusual role of moral compass. Still quite old-fashioned in its violence, which is almost bloodless. Garner and Robards are of course excellent.
Matt H (mx) wrote: A well done ghost story. I found the film to be overly brown/tan coloured so it has a strange look to it at times and at other times looks very good. For me this one was slow at first to get into and I didn't like the look as much as say, Black Sabbath, but by the end I was getting spooked and thought it looked good. Good cast and spooky story.
James T (gb) wrote: an okay comedy for the two of them but not one of there best
Leonard D (gb) wrote: Wasn't this movie renamed "Flying Wild"? Not a masterpiece, but a decent film.
Robert B (jp) wrote: The Devil's Hand (William J. Hole, 1962)One of the great things about having a Roku, and the proliferation of channels on same showing silly public domain movies, is that rafts of Z-movie silliness that has been unavailable for decades (even during the video store age, who was going to carry this stuff when DTV had suddenly become A Thing?) is now as close as the Play button on your remote. For years I had this basic idea-call it the disease of nsotalgia-that every movie that had been made before the dawn of the MPAA was a Great Film and that it was only in my lifetime that people were making crap. I am certainly glad I found out different...but how much different, well, sometimes you have no idea until you're surfing around Netflix and you come up with ridiculousness like The Devil's Hand.Rick Turner (Imitation of Life's Robert Alda, Alan's dad) and his fiancee Donna Trent (Three Sad Tigers' Ariadna Welter) are blissful and looking forward to their upcoming marriage, house, and two point four kids. That is, with the exception of these odd drams Rick has about hot chicks dancing in midair. But...what if they're not just dreams? As it turns out, the dancer is a real person, Bianca Milan (How to Seduce a Playboy's Linda Christian), who has ties to a nefarious cult. Rick finds himself drawn to them...but in order to join, he will have to make a sacrifice that calls into question everything he holds dear.I always think of that line from Billy Joel's "Zanzibar" when I watch movies like this: "melodrama's so much fun/in black and white for everyone/to see...". Oh Cold River, the melodrama. You know exactly where this is going, don't you? Hole took an idea that could have been used for at least a few chills (or, more likely, some unintentional hilarity) and instead created something with aspirations to a weepie, with a bit o' coochie dancing to keep the males in the audience from gnawing their own arms off in an attempt to escape the theater. Pretty much everything about it is terrible, but it at least plasters on the goop thick enough to allow the cheese factor to shine through in hindsight; if you're a connoisseur of awful horror movies, you owe it to yourself to give this one a watch. Others can, and should, safely avoid. * 1/2
Katherine P (au) wrote: In this insightful tale which never sentimentalizes its subject, Gyllenhaal's powerhouse performance elevates it above the myriad of drug-related dramas that promise salvation for the lead and inspiration for the audience. Unfortunately, Collyer's script leaves much to be desired and though the surface is gritty and at times disturbing, the storytelling is formulaic. Without Gyllenhaal's eyebrow-raising portrayal, Sherry would dissolve into nothing but a spicier-than-average Lifetime character.