Gunfight at the O.K. Corral
Lawman Wyatt Earp and outlaw Doc Holliday form an unlikely alliance which culminates in their participation in the legendary Gunfight at the O.K. Corral.
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Gunfight at the O.K. Corral torrent reviews
Chase V (ca) wrote: There's an interesting story but instead we focus on the brat that doesn't seem to care. Also the writing is atrocious.
Lovable M (mx) wrote: Interesting concept, but the story seemed to be lacking.
cory A (nl) wrote: Actually a pretty good movie. The 007 movie for kids
Matt K (jp) wrote: I forgot how great this is. RZA!
Zainab A (nl) wrote: its one of the most touching movies i have watched.has a very nice story.very nice songs.makes me cry sometimes i watched it,its very indian and remins us of our roots and that we will always be indian no matter where we are...sweet;) a classic. SRK is at his best and mahima chaudhry is flawlesss. the chemistry between them is almost tangible. the story is warm and the cinematography is beautiful Shah Rukh Khan's best performance by far.his love story with Mahima was done totally differently than any other love story put on screen.
Brian R (ag) wrote: This is an excellent film about a group of men going to the Million Man March. Lee was very smart in the way he introduces his characters. I got to know about their hopes, their fun and struggles, and prejudices, and learning how to become close as a race during tough times, and simply becoming better men.
Greg W (br) wrote: perfect example of the Italian genre of films like this 1 called 'giallo films'
Blake P (us) wrote: Noah Baumbach has found a muse in Greta Gerwig. A kooky blonde with the spirit of Goldie Hawn and the mannerisms of Diane Keaton, she is the Keaton to his Allen, the Cruz to his Almodvar. She fits his casually observational style so well that it's a wonder she's only taken part in three of his films: they're dexterously able to finish each other's cinematic sentences. So it's no surprise that Gerwig co-wrote their most recent two collaborations ("Frances Ha," "Mistress America"), and it's no surprise that the duo has been in a personal relationship ever since they completed their initial partnership. They're made for each other, professionally and, as it seems, personally. Having not seen the film that began their connection, 2010 Ben Stiller vehicle "Greenberg," but being big on their "Manhattan" riff "Frances Ha," I suppose it's safe to assume that "Mistress America" is the most effortless fun (and funny) of their pairings, as I can hardly imagine that either would make screwball comedy after screwball comedy just for the hell of it. In common with Baumbach's overlying filmography are themes of loneliness, impending failure, and that awful sense of being intelligent yet distinctly unaware of one's place in the world. But "Mistress America" is also self-aware and snappy, its bleaker aspects vocal but still dressed in delectable wit. Like with all of Baumbach's films, I often find myself hesitant to jump for high praise, as he's the kind of filmmaker more adroit in his writing than in his direction - his movies are almost always flatly shot, documentary-like in the way they refuse to be as visually adept as his dialogue. I reach to fall in love with them, but always end up with a bad case of intense liking, and I dream of the day when such a desire becomes a reality. Fortunately, though, "Mistress America" comes close, so laugh-out-loud funny and so fluid in the way it channels and updates the screwball comedies of the 1930s that I can't help but fall prey to its facetiousness. In a role that could have perhaps made her a bona fide star had "Mistress America" been a wide release instead of an indie gem, Gerwig ebulliently portrays Brooke Cardinas, a free spirit in her late twenties with a personality that could kill. Aimless but somehow infectiously confident in an unforgiving New York City, she is called upon by Tracy Fishko (Lola Kirke), an eighteen-year-old struggling to adjust to college life in the city. As Tracy's mom and Brooke's dad are getting married in a few months, Tracy figures it wouldn't hurt to get to know her soon-to-be stepsister. Being previously lonely and plagued with immense boredom, the decision proves to be life-changing. Basically taking her under her wing, Brooke becomes Tracy's guiding light and stand-in best friend, the cool gal pal you always wanted to have but never really got to experience for yourself. Misadventures around the city ensue, Tracy having the time of her life. But, being an aspiring writer, she makes the not-so-wise decision to write about and potentially publish her exploits with Brooke, which paints the young woman in a less-than-ideal light. Throughout "Mistress America," we find ourselves having such a great time that we forget that it isn't shy when it comes to jumping into the heavy too. When it does, we grow to appreciate just how accomplished Baumbach and Gerwig's writing is, and how appealing, how authentically drawn, his performers are. I like how none of the characters are conventionally likable - Tracy takes herself too seriously and is maybe even a little sociopathic, Brooke a person that, as one person in the film describes, is the type who is able to see everyone through clear eyes but herself - and I like that the screenplay is aware of its characters' intellectuality but sees through them almost immediately. "Mistress America" is not the atypical screwball comedy, no - it's too human for that - but it glows with wit, speed, and soft pragmatism. It reminds one of Woody Allen's best days, and its performances are as much of a throwback (we can picture Jill Clayburgh or Diane Keaton as Brooke, Mariel Hemingway or Sissy Spacek as Tracy). It might be the most accessible movie Baumbach as ever made. I'm just waiting for the day when he pours his heart out and I'm left moved. But impressed I remain to be with his works, and I don't see that changing in the near future.