Tough cop Prabha (Bipasha Basu) is haunted by the demons of her past. Being an illegitimate daughter of a prostitute, she has had a very bad childhood and there once occurred an incident in... . You can read more in Google, Youtube, Wiki
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Felipe P (es) wrote: Esse filme realmente me surpreendeu, afinal um filme centrado em um homem que adora a vida de solteiro e no tem/quer responsabilidade e que acaba descobrindo ter uma filha j crescida, e que por algum motivo vai morar com ele, j foi feito vrias vezes. Mas mesmo assim Kokowh consegue ser divertido, interessante e diferente. Talvez o principal diferencial seja o fato de que nem o protagonista nem a filha acabam o filme transformados em criaturas fantsticas sem falhar. Em Kokowh ambos comeam e terminam o filme com defeitos. E o fato de a criana ter uma famlia, como pai e me, tambm um diferencial, pois a menina termina o filme com dois pais, uma me e uma madrasta.O elenco incrvel e excepcionalmente bem escolhido, principalmente a menina para o papel de Magdalena. A trilha sonora tambm muito interessante e ecltica.
Scott R (de) wrote: This is a "Crash" want to be, and although many of the stories were resolved, I felt there was never any resolution on the main problem of immigration. That probably was the point, but I wish that alternatives would have been shown rather than just stirring the pot and at times trivializing American Citizenship saying that "it's one of the greatest days in your life when you take the oath", and then turn around and ruin the ceremony by arresting a participant during the proceedings (I'm not saying that these ceremonies are sacred, this just seemed contradictory). I was also not sympathetic to the deported muslim daughter. In fact, I felt she may have deserved it considering she was illegal and yet still did not show respect to the country in her school presentation. In reality this never would have happened, and the girl would have kept a much lower profile with her parents influence. But then again there would have been no reason to deport had she not been such an indirect advocate of 9/11 and there wouldn't have been much of a plot there.However, I am glad that they chose to tackle the issue and raise awareness about it. For instance, ICE is one of the least known government entities and to know that there are full time employees enforcing immigration and customs is eye opening. Additionally, the injustices of the system were shown. How you can have a religious impersonator/trying to be a singer (who does not deserve it) get a green card, but then have his friend deported for getting a card through an "inside contact", the splitting up of an entire family for "national security", or the Korean criminal escaping capture and become a citizen because of the compassion of an officer? In the end, it shows that immigration policy needs to be changed.
Mua S (mx) wrote: This film only gets my sympathy vote for having the word TONGAN hence it made my top 10 Aotearoa Films. As a Pasifikan I had to look for the Tongan but I believe that a Tongan will rise to give us some real Tongan hope. So to my Tongan whanau heres the challenge now make it happen Maori and Samoans are ahead Mua
Carrie T (jp) wrote: Stuart Little 2 is sweeter and more charming than the first.
Mike N (gb) wrote: Steve McQueen is my hero! Not his best work, but very entertaining.
Bruce B (br) wrote: Back when role models wore Ten Gallon White Hats and the good guys always rode the best horses. Johnny Mack Brown plays U.S. Marshal Nevada Jack McKenzie. who rides into town Undercover to find out why the stage was robbed, and why people are being murdered after finding some special dirt. This is one of the many 60 minute westerns that one time dotted the big screen. You have your bad guys, old sheriff who does nothing, and your pretty gal in distress. Johnny Mack Brown made over 165 movies and most were westerns. There is a Johnny Mack Brown Festival held each year in Dothan Alabama. A great old school family film. 4 1/2 Stars
Cameron J (gb) wrote: Marlon Brando is heading back to the desert, and this time, he's not the one pretending to be Mexican. Yeah, John Saxon better get a Golden Globes nod for Best Supporting Actor for this film, because it's kind of racist how he's expected to pull off Mexican bandit, just because he's of Italian descent. In all fairness, Sidney J. Furie is Canadian, and he was expected to direct films as American as this western, then most "The Purple Hearts", most of the "Iron Eagle" movies, and 2005's "American Soldiers". ...You know, thinking about those films, and the fact that one of Furie's most infamous films is "Superman IV: The Quest for Peace", it's easy to get terrified about the quality of this film, even with Marlon Brando attached. Actually, I think Brando's involvement is most disconcerting, because even though I think that "Viva Zapata!" was pretty good, and that "One-Eyed Jacks", I'm the only one who thinks that Brando has a decent track record with westerns. Sure, those two films only got mixed reviews, but they must have turned someone off to seeing a third western starring Brando, although, in all fairness, by 1966, America had to have been tired of westerns. I guess that's why they got a Canadian director, even he has to be Furie, who does a decent job with this film, but can't get it past its issues.The level of subtlety in this drama is rather uneven, and when things do get subtle, they tend to get just subtle enough to dry out the atmosphere, at times in which a subdued tone falls over moments of meandering that get to be dull on more than a few occasions. When that level of subtlety settles, the film often takes an extreme turn by drawing thin character types and melodramatics, resulting in some sense of contrivance that goes backed by cloying moments in director Sidney J. Furie's directorial plays on tone, score work and visuals. If there is ambition in this piece of revisionist western filler, then it is mostly applied to some sort of exaggeration, in both writing and direction, rendering the film somewhat cheesy with its handling of potentially intense material, not unlike so many other westerns in its vein. It's only fitting that this film be exaggerated in such a way, because it is nothing but a very typical 1960s revisionist western, featuring all of the same characters, all of the same themes and all of the same plotting tropes we're used to, to where there's some sense of laziness to accompany some sense of predictability. It doesn't help that, for a revisionist western drama of its time, this film's subject matter is rather light in weight, having its dramatically potent moments, but mostly aiming to be something of an inconsequential piece of revisionist western that focuses on an entertainment value that ironically ends up being somewhat lacking. The film is reasonably engaging, with compelling occasions, but much too often, it is too dull to justify the lightness of its story, and too contrived and clichd to compensate for the pacing problems. The final product is pretty forgettable, but for the moment, it is adequate, and more than just in a few areas, particularly those of an aesthetic nature.Frank Skinner's score doesn't always fit the tone of this somewhat tonally versatile drama, and it is always some degree of conventional, but its spaghetti western influences, encompassing western classical stings and Latin twang, break the monotony of the quiet spells with inviting musicality that is generally complimentary to the storytelling. The visual style of the film is even more complimentary, with art directors Alfred Sweeney and Alexander Golitzen, joined by impeccable costume designs, crafting a conventional, yet immersive portrayal of the revisionist West that is made all the more striking by Russell Metty's deliverance of excellent cinematography, whose emphasis on gritty coloration and bleak lighting ranges from handsome to truly stunning. Sidney J. Furie's direction further draws you into the visual style of the film, with near-perfect framing that throws a broad scope over well-staged action sequences, and utilizes stylish angles and intimate close-ups during dramatic segments, whose effectiveness is fumbled by Furie in most every other way, though not to where the bland thoughtfulness fails to beget immersion value, or to where the contrived dramatic kicks fail to resonate. These occasions of effectiveness derive from highlights in the material within James Bridges' and Roland Kibbee's thin and clichd script, whose moments of realization are almost as solid as the moments of misguidance, featuring moments of excellent, dramatically-charged dialogue that prove to be touching, while establishing an adequate sense of character motivation and nuance which brings life to themes on whether or not defending your honor is worth risking your life, and the lives of good, perhaps more innocent people. After something of a lazy body, the film comes down to a pretty compelling final act, although the drama has its strong aspects throughout its course, too spare for the final product to transcend underwhelmingness, or even come close to doing so, but prominent enough to bring some heart to this inconsequential project. The cast is most consistent in humanizing this drama, for most every member turns in an admirable performances, particularly the beautiful Anjanette Comer, the bitingly effective John Saxon, and, of course, leading man Marlon Brando, who plays his usual western role, complete with a nuanced presence of both strength and vulnerability. The performances are always pretty compelling, even though the film fails to compel all that thoroughly all that often, ultimately falling as pretty decidedly underwhelming, but still having enough admirable qualities to be worth watching, through all of the shortcomings.Bottom line, the film gets to be dull with its slow spells, contrived with its melodramatics, and clichd in its sometimes lazy telling of an ultimately relatively inconsequential revisionist western tale, ultimately falling as underwhelming, in spite of the highlights the thrive on the excellent score work, art direction and cinematography, often effective direction, sometimes nuanced writing, and consistently strong acting which make Sidney J. Furie's "The Appaloosa" decent, with compelling highlights, few and far between, though, they may be.2.5/5 - Fair
Andrew L (br) wrote: This films task was to introduce both young Harry Potter & film goers world-wide to his mysterious & unknown history, paving the way for the subsequent sequels in order that they may flesh out his development in more depth. For this instalment, director Columbus manages to portray the key issues & events clearly enough for his very young target audience to understand & follow. However the imagination & creativity of the piece is routed solely in the designers corner - their work allowing the viewer to witness the strange new world they have created as if they themselves were Harry Potter. Despite a star-studded supporting cast, it's only Alan Rickman & Ian Hart who stand-out, delivering decent performances that keep you guessing as to their true motivations. The three lead children are exactly that - three children with no prior acting experience - which is all too obvious & remains a problem throughout the sequels. Columbus' directing is clearly standard & lacking substance despite his success. Being a Terry Gilliam fan & knowing Rowling wanted Gilliam to direct the film - I still believe that despite his ability to portray work from a child's point of view without talking down at them (see 'Time Bandits' & 'Tideland'), I think Gilliam would be better suited to one of the latter instalments of the series, which would allow him more room & freedom for his creative & 'oddball' style.
Jacob S (it) wrote: This movie is stupid and goofy and is nothing in comparison to The Big Lebowski. However, for some reason this movie has a charm on me and this goes down as probably one of my favorite movies ever.
Jayakrishnan R (ru) wrote: 78%Saw this on 2/8/15Wild Things has a lot of genuine unpredictable twists and a few enforced and misplaced ones, however, on the whole, I liked the finished product, especially the way in which they brought everything to light in the end. Director John McNaughton does a considerable job with what he is provided with and as far as the acting is concerned, only Bill Murray shines with his comic timing. Wild things remains better than most of the rest of the erotic thrillers.