Grijpstra & De Gier

Grijpstra & De Gier

When a hanged man is found, the question is whether it is suicide or murder. Possible suspects are available; the world of drugs and a suspecious sect...

When a hanged man is found, the question is whether it is suicide or murder. Possible suspects are available; the world of drugs and a suspecious sect... . You can read more in Google, Youtube, Wiki


Grijpstra & De Gier torrent reviews

Bruno L (nl) wrote: Il se peut que tu aimes la marine franaise, mais la marine franaise te dit m**de!

Frdric H (ca) wrote: A funny movie with lots sarcasm and good moments

Brian P (ca) wrote: Andy Warhol was convinced we'd get 15 minutes of fame, but in this modern world, we're doomed to five minutes in a YouTube clip. We live in a disposable shaky-cam society, where most of us spend our time with our eyes locked on a screen: television, computer, or cellular. Our lives exist in bite-sized bytes of boredom, writing paragraph after paragraph about the commonplace minutia of our lives. Major political events are Twitter Trends, and CNN broadcasts footage of assassinations captured on camera phones. We forget to have lives because we're too busy building Facebook albums with the same fourteen photos taken at ten-second intervals to prove we know other people. We've seen everything the world has to offer, because somebody somewhere put it on the Internet. We're bored, and so we've become boring. Afterschool is a testament to the drudgery of existence. It can be summed up in a sentence: high school sucks because life sucks. It reminds me of Gus Van Sant's Elephant, with this sort of musical chairs of high school verite where normal looking teenagers "um" and "uh" for an hour and a half as we wait for something to happen. Except writer/director/editor Antonio Campos doesn't offer any enlightenment, insight, or original thinking. Bad things happen because bad things happen in life. And now we have to watch it through terrible film-school-thesis cinematography. Blurred backgrounds and half-frames aren't artistic metaphors; they're just the sign of someone trying to show off they've seen a foreign film before. It only works if you actually have something to say. This film is like watching footage of someone trying to light an M-80. For almost two hours. You keep waiting because you figure someone's going to blow their hand off or something, right? Nobody would make a movie about this unless something devastating happens, right? So you wait. And wait. And wait. Then you make a sandwich. Probably turkey. Turkey's a good sandwich. And then finally, in the last five minutes, something of interest finally happens, and you realize life is really a series of waits, from unpleasant experience to unpleasant experience until you finally die. Which you are now welcoming because you sat through this pointless dreck. The most frustrating part is Afterschool isn't a bad film. You just can't really figure out why you're still watching it. Rob (Ezra Miller) is a lonely, losery, kind of quiet prep-school kid. He likes watching violent videos on the interwebs (like Saddam Hussein getting hung or random high school girl fights). He likes watching demeaning pornography where anonymous trailer-tarts get physically and verbally abused by their filmers. He doesn't have a lot of friends, doesn't think people like him, and doesn't really like school. Rob likes Amy (Addison Timlin), and they join the AV Club because you have to join something. They spend the next few minutes videotaping nothing and awkwardly flirting. While shooting footage of the hallway at the school, they accidentally capture two popular senior twins overdosing. Now, I'm making this sound far more captivating than it actually is. I had to go back and rewatch the trailer to figure out why Afterschool was supposed to be so interesting. I realize in watching the snippets of fistfights and awkward sex and the screaming face of Rob why you'd be drawn in. Distilled and repackaged, it seems like it would be this wild insane madness. Instead, every single one of these moments is drawn out and pulverized, like cocaine cut with baking powder. So much so, you'd be better making a cake with it. Every moment where something of even mild interest might occur is bastardized with cheap film school trickery. Campos is trying to pull an Emperor's New Clothes by creating scenes that occur out of frame or by filming at a distance. If I do it all arty, it's art! And I guarantee there will be people drawn in by this. I wholeheartedly await getting berated for my lack of appreciation for this delicate masterpiece. Truth be told, if it were just a terrible story, it wouldn't nearly be so frustrating. Campos and his young and relatively unheard-of cast do a remarkable job capturing the navet and awkwardness of high school. The teachers are portrayed as oblivious and useless, particularly the guidance counselor and dean. The last five minutes have the possibility of being something outstanding and haunting and telling. But really, in the wake of everything that comes before it, it just feels like more shoddy razzle-dazzle. I can almost feel Campos waiting behind the screen, wearing a beret and tiny chinbeard, ready to leap out and rake the air with cat claws while hissing "arteeeeeste". Afterschool would be an effective and interesting film if it hadn't been done before, a thousand times, and better. Like blogs and Twitter, not everything really needs to be said. More importantly, if you are going to say it, say it well, and have a point. Campos had a million chances to punch the audience in the face with insight or horror, but instead, he seemed too busy setting up the next shot with the actors in dim light and out of frame. Filmmaking can and should be painting with light. But when you blend all the colors together, they turn a muddy brown. And we all know what else is that color.

holly r (us) wrote: Three sisters inherit a motel from an unknown grandfather. One sister that was adopted gets killed off and dumped in the lake. The father warns them not to go. Their family at the motel wants to continue their family line with incest, "family tradition". There's more of a story to this slasher movie. Does have a few scenes of blood splatter. Lake Dead is from the collection After Dark Horrorfest, 8 movies to die for.

Kenneth B (ru) wrote: This is complete tripe. If you want to see an interesting 'real sex' film the watch In the Realm of the Senses. It has something called character development, radical I know.

Indiah W (kr) wrote: Yang suka Dustin Hoffman, boleh banget nonton film ini. Ceritanya menarik, tentang wartawan yang membombastiskan sebuah peristiwa sepele, hingga ia termakan sendiri oleh ulahnya. Pelajaran bagus buat para jurnalis, agar make hati kalo bekerja.Pemeran utamanya John Travolta lho... tapi jangan ngarepin tari2an telunjuk di film ini. hehehe....

gabby L (fr) wrote: such a beautiful movie, really liked it

Ey W (ag) wrote: is the world ok for us.

Jacob H (fr) wrote: This movie has been on my list of films to see for a while and finally I sat down and watched it last night. Both Denzel Washington (One of my all time favorite actors) and Kevin Kline are both extremely young and are excellent in their portrayals of Stephen Biko and Donald Woods. I did enjoy this movie and afterwards when I researched the true story more thoroughly I was pleasantly (and sadly) surprised at the accuracy of the movie which was far closer to the truth than most other historically based movies. My only real complaint is that I feel that the movie spent too little time on showing the audience how truly terrible it was in those times to be a black person living in South Africa during apartheid in the 70's and that the Stephen Biko character was not given more screen time to show the depth of such an obviously flawed but incredible and important person. Donald Woods obviously also was an amazing person too, but I can't help but feel that a better balance could have been struck in the movie (plus more screen time for Denzel Washington can never be a bad thing). Nevertheless this movie should be watched as this is an important story that should not be forgotten by anyone any time soon.

Corey W (gb) wrote: Finally appearing in the final third of the film, Godzilla again saves the day but fails to save the movie.

Kevin M (ru) wrote: The only good thing about this heap of vintage trash is Rita Hayworth. Everything else will hit you like a tranquilizer. Orson Welles directs and stars with a terrible Irish accent; even I could do a more accurate Irish accent than that. It's not only distracting, but annoying. The plot goes in way too many directions for anyone to stand a chance of grasping it and the lean 87 minute running time feels like an eternity.

David M (us) wrote: This is one of the weirdest movies I've ever seen...

James H (ag) wrote: Over-stylized. The camera work and story was there (of course, it could be better) but the editors went way overboard. I could see what they had envisioned but fell short. Quantity over quality.

Jesus S (ca) wrote: I knew this movie was going to be crap just by watching how horrible the previous movies were. I was okay with the first film of the franchise, but every film that came after was a competition to see which could fit in the most horrible acting, irritating direction, and unbelievable romance and conflict, with a script that seems to have been written by a second grade class. And the entire film was predictable, these two crews hate each other so they're going to battle in a crowded club and they also have the dance perfectly choreographed for that specific club like if they knew the battle was going to take place weeks in advance. Then they pull the "Who's this? Our..." clich (C), and of course they have to dance battle in order to prove their abilities. Then they pull the "Oh, our old friend wants to make a crew, okay let me just quit without telling my manager!" clich (C). After they walk into the studio at the same time without meeting the other teammates that seemed to have walked in seconds before them, they just shove minor conflict after minor conflict at us. Then it happened, they walked into the building that just gives keys to all their employees and find useless machines that shouldn't and wouldn't be in said building, and of course the turn them on and film a video in one take on their first time being there. Then we see the "Going to Vegas, let's stick our heads out and look at the pretty lights" clich (C) from every film ever made in Vegas. And when Moose started dancing on his own with a hot girl I turned and whispered to my friend, "How much do you want to bet that his girlfriend walks in at this very moment?" my friend's response was, "She can't, she's in LA and he's in Vegas." I won the bet, then I stopped watching when the guy was making out with the girl and discussing their "evil" plans in plain site. I assume that the "alphabet crew" and "The Mob" make up, beat "that other crew", get the money and dance untill the credits. I seriously don't know how the film ends because I had to throw up after seeing that abomination of a film. Someone please tell me if my predictions were correct.

Kimberly L (es) wrote: Meryl Streep can play any role seamlessly! It's amazing how easily you believe her as a rocker in this one. Also a touching story about the dynamics of family. No family is perfect that's for sure but it certainly makes you think how everyone is fighting their own battles within themselves even if the surface doesn't show it.