French Film

French Film

Jed prepares to interview French cineaste and self-appointed expert on the nature of love - Thierry Grimandi. The worldly and somewhat jaded Jed is dead-set on dismissing the auteur's musings as pompous and, well French, until his own relationship with Cheryl starts to fall apart and he is forced to re-evaluate the illusive subject. Soon everyone is talking about love: his relationship counsellor, drinking buddy Marcus and Marcus' girlfriend Sophie Beginnings, endings, tricks...could the French be on to something?

A comedy about how French and English cultures differ in their attitudes on relationships. . You can read more in Google, Youtube, Wiki


French Film torrent reviews

F B (us) wrote: A very complicated film which was enjoyable but I got lost at times with who's who and who was doing what to who.

Kelly F (kr) wrote: Engaging and insightful -- you'll never look at your simple household items the same again!! Makes you really think about "what you want to do when you grow up" and where your passion is in regards to work.

Greg S (gb) wrote: A young couple's about-to-be-consummated love is threatened when the women of their village organize a sex strike against the lazy townsmen who will not fix the pipe that brings water to the hamlet. Set in an exotic, timeless locale and so spare with it's dialogue that it's almost like a silent movie; it's a lusty romantic comedy that manages to feel completely original without sacrificing the romance and sentimentality fans of the genre expect.

Arabella S (de) wrote: I am sentimental...and I love good love stories and this one has got several... plus its in Rio, so who can really resist?

Diana W (fr) wrote: worth every penny! some catchy tunes, youth spirit, love triangle, and smart dialogues, and of course with great and funny performance from all of the members of the cast!

A David A (br) wrote: Despite executive meddling, unnecessary voice-overs, and some of the most painfully bad songs you'll come across (and that is quite a big 'despite'), the beauty of Richard Williams original vision manages to shine through. While certainly not the best version of the film one could ask for, even in this cut the film is far from without merit.

Michael F (nl) wrote: This one was playing on a premium cable preview so I was lucky to catch it. I remember watching the first two before Rotten Tomatoes existed. I say this trilogy was Mel Gibson's best work. The characters in this film do seem over exaggerated with too much wit and acting. But they make up for it with comic genius. The plot is a bit complicated, so if you run to the bathroom you will miss a vital scene. I can't wait to watch the first two again!

Art S (fr) wrote: What impresses most about Zelig, of course, is the incredible dedication of Woody Allen and his team to verisimilitude, despite everything about this faux-documentary being false. Allen plays Zelig who, during the 1920s and '30s, developed a psychiatric disorder that led him to transform (often physically) to be like those around him - a "chameleon" effect. Mia Farrow plays his psychiatrist. Although Allen claimed that the content of the film (about conformity and needing to be liked, one supposes) was his main focus, the no-holds-barred effort to shoot the film using old cameras (and even to rough up the film stock), to create songs and other ephemera featuring Leonard Zelig the Chameleon that appear true to the period, to entice real people like Susan Sontag and Saul Bellow to reflect on the fictional Zelig, and most famously to super-impose Allen himself into stock footage featuring various celebrities and politicians of the era, suggest otherwise. The whole thing flows very smoothly and you could, if your thoughts wandered for a moment, forget that you were watching a 1980s film (or at least forget that the footage of the past was faked). Alas, the content itself does not necessarily sustain the enterprise, but there are a few good jokes.

Tyree G (kr) wrote: A mind-expanding, horrific, and artistic masterpiece!!!

Kris V (fr) wrote: Japanese exploitation about an undercover girl cop trying to save a hostage by infiltrating the gang that kidnapped her... Miki Sugimoto's gloomy performance gives the movie an unusual dark and broody ambience, but the overall movie feels somewhat duller and more dated than i.e. Norifumi Suzuki's movies form the same era.

mike d (ru) wrote: Ok well first thing has to be has great music, you know the type of music that gets into your head?....the problem with the actual film is something that's difficult to say exactly....there is always something great in these movies though....i love looking at the miniatures.

Karsh D (ag) wrote: Violent action as Stallone plays a hitman who has to team up with a cop to bring down a mutual enemy.

Arseniy V (es) wrote: A highly interesting and engrossing character study.

Maximiliano D (ag) wrote: This new Action-packed Star Trek sequel has an excellent story line and interesting characters with way better issues than the last sequel. There's a palpable new comfort level among the performers in their iconic roles for the second time and working from a script that has a moved beyond introductions and reacquaintances for audience. Obviously, there has been a lot of Star Trek fans that just dismissed this new sequel as a real Star Trek movie because it was just a crappy copy of The Wrath of Khan. There're right in some points but this new sequel was totally different with an all new idea that just surprised and enjoyed me. Seriously, Benedict Cumberbatch was exceptional as villain, he was just brilliant. There was something missing that didn't make this film bad but also didn't make the film a total masterpiece...

Cory T (jp) wrote: Compared favorably to Henry: Portrait of a Serial Killer, White of the Eye actually departs from that time-honored template with a more scandalous character study. The quasi-spiritual opening of an Arizona hawk in flight weirdly glazes the film with a red-blooded Americana feel. This was produced under the Cannon Films label and automatically the notion of a kamikaze bloodbath flashes before the viewers. Expectations aren't dissuaded during a fashion model's assault in her kitchen. It's par for the course except the voyeuristic close-ups of a crazed eyeball darting around. It's an effectively hellacious shot selection. David Keith is brilliant as Paul White whose untoward talent is echolocation like "there is a tuning fork in [his] sinuses". It's a niche trait but it also substantiates that White isn't bordering on normalcy. White is not antisocial. He is a blue-collar sound installation man with a family which might be more galvanizing when he is aroused by predatory hunting. The crown jewel is Paul ranting his ethos about being "chosen" to eradicate the "misery" of women and the female "black hole" in the universe. The 70's flashbacks are retro-corny with bouffant hairstyles, tape decks and hippie attitudes. The surreal camera angles are avant-garde (a Fritz Lang exchange about cookie between Paul and his daughter) but the real culprit is pointless dawdling. An introspective expose on the tightrope act of a moonlighting serial killer would've been a fruitful area. Instead Donald Cammell squanders the opportunity on frivolous subplots around Paul's supposedly extramarital affair and Joan's (Cathy Moriarty) splintered relationship with Mike (Alan Rosenberg). By the point where Keith is stalking his prey with Apache war paint, it is too foolish to be taken seriously anymore.