You may also like
Hard Corps torrent reviews
Miriam S (jp) wrote: I just happened to see this film while channel surfing HBO last night. This story,about about two college aged boys, one Palestinian the other Israeli switched accidentally in the hospital at birth, seems so incredibly improbable as to have no chance of being a believable film. But , against all expectations it is more than believable; it is a good, sensitive and very human movie. Thought provoking, it avoids sentimentality but remains a warm touching exploration of two families working through a situation difficult under any circumstances, let alone in the setting of the Palestinian / Israeli conflict. Beautifully done; succeeding on many levels, I heartily recommend this to anyone who feels even the smallest interest and empathy for the human element on both sides caught in the difficult nature of the current hostilities. It is not a perfect movie, but the excellence of the script, performances and direction overcome the movie's flaws and make it well worth seeing.
Jack S (nl) wrote: After watching this, I questioned everything, but mostly if what I watched made any sense. The best part was I didn't care. Must see for anyone who exists.
Caroline C (au) wrote: Typical example of a filmmaker with an agenda - in this case, pro-natural birth, anti-hospital, anti-pharmaceutical intervention, etc. The Business of Being Born is basically the same movie, but much easier to watch & overall more enjoyable. Too many truncated interviews make the flow of this movie too choppy.
TheJimbobs123 (au) wrote: Terrible acting, poor plot. Keeps skipping back and forth from past to present. Gets kind of annoying. I would say - avoid.
Arianeta L (ru) wrote: Idiots and Angels is a beautiful animation with striking imagery and a unique ability to change its tone and message in a heartbeat. What starts off as a comment on banality turns into a noir thriller then transforms into a morality tale before surging head on into romance. It's also a superhero film and also a comedy. Just as the animation morphs with wildly inventive transitions so does the story and pace. Plymton has an excellent eye for imaginative and outrageous imagery and often one is uncertain if what we are seeing is really happening or just in the characters mind. The soundtrack as well as the visuals has a lot to do, essentially making up one half of the experience and it just shines with some great choices of both classical and contemporary pieces.
Private U (ca) wrote: The scenery was beautiful and I absolutely love watching extreme sports, so it was so much fun to see what people could do w/ their bodies and skies, or boards!! Very much fun!! Sad twist, but it was a good movie.
Mariana L (de) wrote: Very good; very israeli. I would only recommend it for those who don't need constant action in their films, and even then, may want some knowledge of Hasidism and/or possibly Middle Eastern culture.maybe not, though!Pretty entertaining and funny throughout as well. And, oh, such a funny but sad conclusion! Those who haven't seen it will probably never guess it, either.
Private U (jp) wrote: This is an insanely good movie. It was my favourite when I was 7, and it's my favourite Tamil movie now.
Juuso L (fr) wrote: Great tourist's guide to the decadent city of Prague.
Kevin N (us) wrote: A mystical cinematic achievement that can be, during any given sequence, funny, morbid, exhausting, tragic, joyful, playful and disturbing. It is a brave film, made in France in the heat of its occupation by the Nazis, and there is an angst and a tension that coats the film, giving it an urgency that comes off of it in waves even today, some sixty-seven years later. It is probably the best film that was ever entirely cinematic while basking in the world of theater, and it is the film's ability to occupy both arts that makes it so fascinating and so unique. There is also the movie's stars, incredible thespians that give performances of such weight and meaning that they become invisible. I cannot, for instance, imagine Baptiste as a character separate from the actor Jean-Louis Barrault; they become one and the same, and are interesting because of the significance they lend each other. The other members of the cast are equally magnificent, from Arletty's playful bud lonely Garance to Pierre Brasseur's tragically egotistical Frederick Lemaitre to Marcel Herrand's psychologically fractured Lacenaire. These characters all want something in life, just one thing, and none of them get it, and it is the playful irony of the depths they plunge in their pursuit of each other that make the film at once so humorous and so sorrowful. Unlike his contemporary, Jean Renoir, who was often laughing with the victims of his films and who so often injected himself right into them, director Marcel Carne is interested in creating a complete separation between the tragic lives on "stage" and his audience. We are never encouraged to identify with these characters but instead look on with pity, longing, or disgust. The characters are free enough to live lives outside of the characters they play in the Funambules (the theater in which they perform), yet we are ever aware that they are locked inside of Carne's film, destined to bad ends for the quenching of our dramatic thirsts. I think, in the end, it is a film that acknowledges its own escapism, and the idea that performance art has always been a way to focus the things we are so often forced to keep to ourselves.
Neil B S (gb) wrote: Acting fro the two main stars was SO good, I wasn't sure that they weren't together in real life. Good comedy, great moments, acting was flawless to the point of it seeming like the main actors really were real-life friends.
Rania A (es) wrote: A magical film that i would have loved as a child