Goodnight, Mister Tom

Goodnight, Mister Tom

A shy and quiet World War II evacuee is housed by a disgruntled old man, and they soon develop a close bond.

We're in an English village shortly before Dunkirk. "Mr. Tom" Oakley still broods over the death of his wife and small son while he was away in the navy during WWI, and grief has made him a... . You can read more in Google, Youtube, Wiki


Goodnight, Mister Tom torrent reviews

Josh M (it) wrote: This is straight up the worst movie I've ever seen.

Blake P (it) wrote: Called anti-American by some critics and tiresome in its simplicity by others, "Dogville" is not anti-American nor is it tiresome: it is, instead, a deceivingly bare-bones, bizarro masterstroke of a satirical small town America. Not echoing the satanic elements of "Twin Peaks" or the ugliness-under-the-beauty breadth of "In the Heat of the Night"'s Sparta, "Dogville" would rather take on the old trait that the human race is inherently cruel and violent, despite an initially hospitable facsimile. Von Trier, the most controversial director of the 2000s (sorry Tom Six), doesn't make such a bold claim with outright magnification; he takes nearly three hours to build upon the suggestion, mounting and mounting until the thought becomes dreadfully exaggerated. And, in a polarizing method of story amplification, sets are not sets but chalky squares on a soundstage, given identity through minimalist props and map-like text designating the area (the main road is stamped "Elm St.). For most, "Dogville"'s austere texture will be off-putting. Its complete lack of a structural "setting" and its epic running-time are attributes easier to leave than to take.I, perhaps in the minority, don't just appreciate von Trier's daring filmmaking approach here; I applaud it. It works. It's thrilling. "Dogville" dawdles at times, and it is especially difficult to avoid clock-watching after the second hour, but impressive is the way that von Trier manages to pull off a film so stylistically eyebrow raising. We are only distracted by its design for the first few minutes; the screenplay, so strong in its ideas and dialogue, gives the environment a three-dimensional shape. Thought-provoking and thoroughly one-of-a-kind, this is a film you won't be forgetting any time soon.Set during The Great Depression, "Dogville" follows Grace (Nicole Kidman), a woman on the run from gangsters. Fleeing the law, she stumbles upon Dogville, a miniature Rocky Mountain town with a population so small it is nearly familial. Tight-knit and untrusting of outsiders, the citizens are unsure of whether to accept Grace into their community. It is eventually decided, through Tom (Paul Bettany), the self-appointed spokesman of the public, that Grace can stay as long as she makes herself useful, acting as a maid for anyone who asks. People are reluctant, but before long, she becomes a welcome addition to the normally close-minded Dogville.While most films would end happily, with Grace starting a new chapter in her life, "Dogville" continues on and descends into more malevolent territory. As one too many secrets come to light and more and more citizens begin to harbor hateful feelings toward Grace, it doesn't take long for the once pleasant town to transform into a poisonous brewing of malice. It took me three days to finish "Dogville", pacing myself at an hour every night -- not a response of boredom, but a response hoping to savor. With nine chapters and a prologue, the film is decidedly a magnum opus of ideas, most of them penetrative if you take the time to really think about what you're watching. By spacing viewing out as far as possible, I was then able to digest the film -- helpful considering its size -- and in return, I found myself riveted. Not riveted in the same way I was when watching Elizabeth Taylor and Richard Burton play verbal cat-and-house in "Who's Afraid of Virginia Woolf?": riveted by the performances, von Trier's unfolding of his conceptual idiosyncrasies."Dogville"'s plunge into perniciousness does not come swiftly; it climbs slowly, arriving almost inevitably. "Evil can arise anywhere," von Trier stated about the film upon release. "As long as the situation is right." With a relationship built on enigma and dead end, the town's disdain for Grace comes as no surprise, but the way they make it known is terrifying, affecting us enormously. Humans may be inherently cruel and violent, but von Trier's delivery of the sentiment is hardly contrived. If most were to philander around a hellhole like Dogville long enough, how long would it be before they spoke their minds instead of hiding their feelings for the sake of manners? How long would it be before confrontations became a norm? The shocking conclusion places morality itself in question. Heaven may be a place on earth if you find the right person, but if your life is sinful, crime-riddled, lonesome, does politeness, unfiltered kindness, matter?A film like "Dogville" requires performers unafraid of ambitious material, and the cast, large and monumental, transcends limitations. Kidman is fearless, by turns sympathetic and maddening, and her co-stars, particularly Bacall, Clarkson, and Bettany, startle us in their ability to convincingly walk around wearing two faces and really mean it when they rip off their inviting one."Dogville" is an extremely difficult film. It requires a viewer that regards patience as a virtue. But with its cerebral ideas and deceptively condensed setting, it offers filmmaking thrilling in its unwillingness to conform. Von Trier doesn't fear his audience and he doesn't fear his innermost beliefs. Call him controversial, call him xenophobic; he goes where other directors wouldn't dare.

Movie P (es) wrote: So famous is Boogie Nights, that I didn't even realise that Paul Thomas Anderson had directed anything before it. Considering Boogie Nights was his breakout, not Hard Eight, I watched it, expecting something of lower, but comparable quality. Were my expectations met? Eh. Hard Eight is better than a lot of films you see, as it takes into account often overlooked details: Setting up the tone/mood of the piece, the camera as an essential piece of the action, and most importantly, the Actor/Script balance that Anderson mastered in Boogie Nights. Despite these examples of the brilliance that was yet to come, I can't help but feel that Hard Eight, or Sydney, as it was originally titled, is lacking something. The performances are all great (especially John C. Reilly and Phillip Baker Hall), and the dialogue feels natural and well-paced, but nothing ever feels like it is going to happen, happened or is happening. It follows the exploits of a 60-something man named Sydney (Hall, making the rare jump to leading role, and bringing all his talent with him), as he essentially saves the life of a half-bright loser named John. John is looking to make $6000, so he he can pay for his mother's burial. For reasons not explained, Sydney takes pity on John, and offers to show the skeptical young man how to make it big in Nevada's casinos. Jump to two years in the future, and John is living it up: His mother has been put to rest, and he is free from the problems of everyday life. His friendship with Sydney remains, as John owes him his entire livelihood, but Sydney is only interested in living out his days peacefully. John has made a number of friends, one of which Sydney doesn't approve of: Jimmy (Samuel L. Jackson, oozing an odd sort of polite menace). Despite his disapproval, Sydney stands by John, and even helps out a waitress (Gwyneth Paltrow, two years before her breakout role) whose hard life forces her to turn tricks for the local sleazebags. However, when Sydney gives her a room, echoing his kindness to John, her problems, and John's own, come to the forefront, and Sydney s forced to make a number of hard choices, so his way f life may be preserved. Now, on first glance, nothing in this film seems to be too out of place: The performances are great. Phillip Baker Hall can tell a story through the power of his facial expressions alone. His character is one of unprecedented depth, and Hall plays every shade, every nuance to perfection, proving why he is among the greatest Character-Actors is history. John C. Reilly (in a role I believed was the lead) proves why he is a former Oscar-nominee, bringing a mixture of innocent charm (as he does in most roles), and streetwise knowing to the character of John. Again, his history as a character actor assure that he fits right in with Paul Thomas Anderson's MO of lovable misfits, people who can't get their life quite together. Sam Jackson proves why he is one of, if not the most talented supporting actor in history as Jimmy. A role that starts off with something resembling courteous disagreement with Sydney's honourable character, soon turns into something darker, more menacing. Gwyneth Paltrow plays, in a role she would never take today, a waitress who part times as a hooker, leading up to the event that the entire film is predicated on. Her performance is one of the best in the film (of the four leads, and one supporting role), as she captures what I guess is that Pretty Woman-esque sense of knowing and world-weariness. However, this being a P.T. Anderson film, nothing goes down quite as smoothly as one would hope, and the problems associated with being a hooker soon catch up with her and the audience. Paltrow plays the role with great dedication, and it proves why she's now one of the most popular actresses in Hollywood. Even a supporting role, from Anderson regular Phillip eymour Hoffman goes down a treat, as he plays a loud, obnoxious young gambler, counterpointing Hall's timely Sydney. The performances are, as usual, the star of the show, but we get glimpses at what would become Anderson's trademark (at least) on Boogie Nights. The camerawork is dazzling, thrusting the audience right into the scene, making us feel as though we are a part of every quiet, private moment, stripping away the glitz and glamour of the lives of these people, proving that they are just that: People. Anderson's affinity for long takes give the film a natural, human touch, keeping with his love of characters, and all their flaws. Anderson's script, specifically the small dialogue, conversations, and such, is great. He has a way of writing (or perhaps it's the actors, but more than likely, a mixture of both), that feels incredibly natural, as though the camera is filming people going about there ordinary lives, regardless of the film's premise. All these are great on their own, however, I just can't help but feel that the film never coalesces into anything better than average. Yes, the performances are great, yes the script is good, when broken up into individual scenes, yes the tone is consistently built to perfection, but nothing ever happens, and that makes watching this film awfully fatiguing.The entire piece is centered around two incidents, one of which happens before the film takes place, and the other is presented with such frivolity, that I could never comprehend if we were supposed to care about any particular scene. As such, any bursts of action (and there are very few) come across as out of place, and really hurt the much touted atmosphere-building going on for most of the film. I know most of these criticisms feel intangible, and seem to be nitpicking, but the film genuinely feels like it meanders, and the noir-ish tone is seemingly for nought, when character motivations are so undeveloped, and characters are impossible to really root for or against as so little backstory is revealed in a satisfactory manner. It's been said that Hall holds the film down, moving at the right pace so the film doesn't run away with itself. Some say that his timing keeps the film at a leisurely pace, and aids immensely in it's atmosphere-building. This is true, Hall's professionalism (both as character and actor) is of huge benefit to the piece, but I ask you: What is there to hold down? If it weren't for Hall, I don't believe the film would run away with itself, I believe it slow down, to near unwatchability. It's pace is so lackluster: Nothing you feel it builds towards ever actually happens. Whereas great films like The Truman Show, L.A. Confidential, and Anderson's own Boogie Nights, have a moment of climax, or a sense of plot-building, Hard Eight only meanders, with some extremely lackluster revelations along the way. I really like Boogie Nights: It's a far superior film, and one of the finest films of the 90's. Hard Eight, however can't even come close to it's brilliance. Yes, the tone is chilling, and I could never keep my eyes off of Phillip Baker Hall. Despite this, I couldn't stand the insufferable lack of entertainment. In Boogie Nights, there are perfectly delivered scenes of comedy, drama, or mixtures of both. Her, there is no comedy (not necessarily a bad thing, but it could have benefited from it), and the drama is too clunky to really work. Despite a distinguished cast (most of whom would be seen again as early as Boogie Nights), and a great script, Hard Eight can't overcome it's poor story, and is severely hampered by the complete lack of connection between film and audience. Final Grade: B

Jack W (nl) wrote: There are some funny and quotable moments from Mr Wilson, but the rest is childish slapstick that will only entertain younger audience members.

Christine H (au) wrote: One of the most memorable and mesmerizing movies ever. Made me wish I had my own mischievous id-driven appendage to converse with.

Alejandro O (fr) wrote: got to see it again, saw it back in chile, circa 1986 when attending the university in valdivia, brought lots of good memories....

Steve Z (mx) wrote: Pretty cool old school 70's horror starring Sorrell "Boss Hogg" Booke, and Leif Garrett. Not extremely gory but more psychotic and demented.

Martin T (br) wrote: An occasionally absurd bit of propaganda, but an entertaining one. The fact that this plays out as an adventure film from the perspective of the Nazis is novel, and it ends up being a pretty fun time, and fairly effective despite its ham-fistedness. The low point is without a doubt Olivier's vile attempt at a Quebecois accent. Whether he's hamming it up for comic effect or because that's just how he acts, it's an embarrassment. The highlight is MacGinnis as the one reluctant Nazi.

James B (us) wrote: I Really enjoy this movie, it's on now on TV. Some great moments, feel good movie.

John R (fr) wrote: 121213: Other than being a bit slow in the middle this is still a great movie. Reign got a little bored just before the bad guys entered the house. Once they do however, the real fun, and laughs, starts. Adults should be able to make it through the slow moments. Good Christmas movie.

Kaylor C (br) wrote: It's like fuckers but it's fockers