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Hello My Dear: Wrong Number torrent reviews
Glenn M (fr) wrote: Obvious child is a nice film with charming performances, especially from Jenny Slate and Jake Lacy. It is a short film being less than 90 minutes and that is a positive aspect because it does become pedestrian at points. The comedy on display from Jenny Slate is painfully honest and ironic. I feel at times this worked and at times it just doesn't sadly. If anything this film is held aloft by its fine performances and honesty making it worth a watch in my books.
Chris S (mx) wrote: All style, no substance.
Kevin P (nl) wrote: In een film waar het meeste is geleend van de Koreaanse film Oldboy, is Samuel L Jackson zelfs iemand die duidelijk kan laten zien wanneer hij niet veel zin heeft in acteren. Het heeft ze momenten voor een betere film, maar die moet je toch echt goed kunnen vinden.
Jon C (es) wrote: for any comic book fan or general moviegoer this a fun, entertaining rideyou'd think it'd be just the Man of Steel and the Dark Knight but no, it actually has Wonder Woman and Supergirl of all thingsit has a lot of well-staged action, slick animation, and is very character-driventhe focus is mainly on Kara-El who lands on Earth and is lost on how to find her place in a strange new worldBatman is very skeptical seeing as she's the only last survivor of an extinct planet but Wonder Woman feels she may be better off in an advanced-trained environment with the Amazonian warriorsall 3 heroes clash over what's best for Clark's cousin and Kara only wants to be her own championon the planet Apocalypse the villainous Darkseid is looking for a new guard warrior under his command, Kara looks like the perfect candidate the film teaches the viewer that the best we can strive towards is heroism no matter where we come fromit's our own choices that have us aspire to be normal while still doing the extraordinary fun fun fun
Matthew M (nl) wrote: SEE-FEE! what do you expect? yep that is exactly what you would expect... SEE FEEE! I learned if you been attacked by a dragon then dont!!! open your door...
Lyndon P (gb) wrote: This movie was actually a lot better than I anticipated. Angus Macfadyen gives a stellar performance for the character of Will Tunney, best movie villain I've seen in a while. The film is a bit cheesy at times but it's still better than 99% of the crap I've seen in the last few months. ***SPOILERS AHEAD!!!*** I have only 2 complaints about this film, first of all I didn't like the main theme song, it felt out of place and shattered the illusion that we were in civil war times. My second and biggest complain tho is the last 3 minutes of the film where James Connors goes off to die. This was not only completely unnesessary but also turned the film into a complete contradiction of itself. The recurring theme throughout the film is the battle of forgiveness versus vengence. James Connor is warned of this over and over throughout the movie, first by his father, then his love interest, then her brother who even goes so far to say that if the follows that path he will lose any chance of being with Mary at 'the end' and then again by Miakoda. In spite of all this James is unable to turn the other cheek and hunts down Will Tunney and kills him in cold blood. Ok fine and good. Certainly this gives the audience some satisfaction who are longing to see Will get his. John even utters the words 'I failed' in reference to failing to find forgiveness in his heart. After all that, we have this final scene where he dies, sees his lover Mary, and walks off into the light with her. WHAT THE FUCK. I guess the moral here is that it's ok to kill in cold blood as long as the person deserves it? Bah. Would have been so much better if they just left that out, it was so cheesy anyway and the aformentioned poorly chosed theme song playing with it didn't help either. Anyway in spite of that rant it's actually a pretty decent flick.
Daniel M (us) wrote: The surprise commercial success of Save the Last Dance ushered in a wave of films focussed around street dance and hip-hop. Where classic-era Hollywood dance films were dominated by ballroom, ballet and tap dancing, the 2000s gave us film after film in which impressive street or hip-hop choreography came face-to-face with decades-old romantic and dramatic conventions, with varying degrees of success.At the more mainstream end of this wave we have Step Up, the first in a series of five films (to date) which combine predictable plots with often jaw-dropping dancing. But where its sequels increasingly sacrificed narrative for the sake of set-pieces, the film that started it all gets a good balance and is the most focussed of all the series. It's hardly game-changing in its construction, but it is surprisingly heartwarming and comes across as more genuine than you might expect.It's very easy to view dance films as essentially a series of set-pieces held together by a threadbare story. Even in the so-called golden days of Fred Astaire and Ginger Rogers, around ten times the effort seemed to be expended on the dancing than on the events that made them dance in the first place. As I argued in my review of Crouching Tiger, Hidden Dragon, it is possible to enjoy these films as artistic endeavours rather than narrative ones, but for the less freeform among us, even the best leave us with an unsatisying niggle.The best dance films, in any sub-genre, succeed because they are not really about dancing. The Red Shoes is about the boundary between fantasy and reality, and the tension between creativity and common sense. Black Swan is about the need to embrace one's dark side in striving for artistic perfection, even at the cost of one's sanity. Even Strictly Ballroom, Baz Luhrmann's raucous debut, is less about ballroom dancing than the fight against orthodoxy and how the fear of failure cripples people.Step Up may not boast the richly-layered themes of any of these offerings, nor is it as visually ravishing. But it does belong in the same camp, since its dancing is used to explore ideas and character traits rather than just serve as a distraction. Instead of dazzling you with MTV-style cuts and empty, shallow bombast, the film is an altogether gentler beast, whose moments of posturing are tame and infrequent.Despite not having the visual splendour of Luhrmann, Darren Aronofsky or Powell and Pressburger, Step Up is still a decent-looking film. Michael Seresin has spent much of his career working with Alan Parker, lensing all of his films between Bugsy Malone and Come See The Paradise. You won't find here any of the evocative colour shifts and shadows that he achieved in Angel Heart, but the colour palette is inviting and his use of wide angles is judicious.Much like Charles Walters, director of High Society, Anne Fletcher comes from a background in choreography. There are occasions when we get the impression that the sets have been deliberately designed to be as big and spacious as possible, to allow more room for the dancing and more scope for the camera movements. But while Walters ultimately failed to tell his story in an interesting way, Fletcher has enough grasp of cinematic narrative to hold our attention.The set-pieces in Step Up are of a very high quality. While less kinetic or feverish than in some of the sequels, there's still an awful lot of physical effort that goes into the various sequences. As a showcase for how exciting dancing can be, the film is on a par with some of the classic Hollywood offerings I mentioned. Channing Tatum's appearance doesn't suggest that he would be a good dancer, but he both looks and feels the part, and his deadpan nature plays into the hands of the role, unlike his later performance in The Eagle.The story of Step Up, by contrast, is incredibly conventional. It's the classic story of two people from completely different backgrounds whose only means to get what they want is to team up. Over the course of the film they swap tips and interests, gradually grow to like and respect each other, and after a brief cooling of their relationship, they decide they really need each other and triumph. This plot is among the most well-worn in film, but it is applied in a somewhat engaging way.Step Up uses its two conflicting styles of music to reflect the flaws of the individual characters. Tyler's laid-back, devil-may-care attitude gives him the freedom to take his dance moves wherever they choose to go, but he lacks the ability to focus which could make him potentially dance for a living. Nora, by contrast, is a prisoner of rigidity, being so tightly bound by the rules and traditions of classical music and dance that she can neither innovate nor stimulate.The relationship between our two main characters is a breaking down of barriers, with both sides learning to respect traits of the other. Tyler not only understands responsibility, but he actively seeks it, eventually commiting to putting on a killer show and making a living. Nora learns to loosen up and have fun, which makes her dancing more natural and appealing. Tatum and Jenna Dewan have good chemistry together, which eventually led to them getting married in 2009.There is also a nice comment in the film about how snobbery and tradition can actually put off the most talented people in a given field. Tyler's natural talent is plain for all to see (except himself), and yet it's hard to imagine him being given a level playing field with the more privileged members of the school. The film does, however, become a little more cartoony in this respect, with Nora's dance partner Brett being very thinly-written.Step Up also deserves credit for maintaining control over its tone. Many films which are melodramatic in nature feel the need to inject some kind of darkness partway through their plots in a desperate bid to be taken seriously. While the film isn't as nuanced as Fame in this regard, the dramatic twist involving the younger boy is handled delicately, so that it compliments the drama rather than pulling us out of it.Step Up is a surprisingly decent dance film, which acquits itself perfectly well as both a physical showcase and a piece of storytelling. Aspects of it are cartoony or melodramatic, and it's hardly the most original or accomplished piece of cinema around. But it is a great deal more agreeable than many would lead us to believe. If only its narrative standards had been maintained for the sequels.
Hrant B (mx) wrote: Justin Long was remarkable in this movie, although this movie had other great actors. Steven Root's character reminded me of his character from the Office Space. This was a very interesting movie. I didn't expect it to end the way it did. It just wasn't realistic but I would definitely recommend this movie.
Billy M (kr) wrote: Jamal Wallace was a very likable character. It's the kind of character that makes you wonder what happens to him later in his life.
Marsian S (es) wrote: What the actual fuck?
Tyler S (fr) wrote: Don't understand the bad reviews on this one...I found this to be a first rate suspense thriller with an excellent female lead. Gere is good here and the suspense keeps you locked in...it's very predictable however which docks points from the movie.
Quentin C (nl) wrote: J'ai trouve ca plutot chiant en fait...
Reynard J (br) wrote: It has a great ending, but poor opening. One thing that makes me laugh, why Roger, Freddie, and Brian use the same adidas shoes?! :D
rosemarie s (jp) wrote: good about love & money - sometimes people get both from different people...
Kilo D (au) wrote: An essay on Lewton and co. is on its way, refer to that when it's posted.