Een vaste kijker van het Sinterklaasjournaal wil graag van de Hoofdpiet weten, hoe groot de stoomboot precies is. Om dit goed te kunnen demonstreren, roept de Hoofdpiet alle Pieten bij elkaar om het pakjesruim leeg te halen. Maar als bijna alle pakjes op het dek staan, komt de stoomboot in zwaar weer terecht... Het Sinterklaasjournaal: de meezing moevie volgt de avonturen van de enige echte Sinterklaas en natuurlijk de Hoofdpiet, Welles Piet, Rare Piet, Paardenpiet, Pietje Precies en alle andere bekende pieten. Met behulp van het publiek in de bioscoopzaal, weet Dieuwertje Blok contact te leggen met de stoomboot, terwijl deze nog op volle zee vaart vanuit Spanje. . You can read more in Google, Youtube, Wiki
You may also like
Het sinterklaasjournaal: De meezing moevie torrent reviews
Peter A (fr) wrote: You could do far worse with many of the bigger budget movies coming out these days. If you can overlook that the low budget, mediocre special effects of this film, you'll enjoy it because it's a great story and the acting is well above average.
Manu G (it) wrote: A couple goes to dangerous lengths to find a lung donor for their daughter. Great Film! Acting was really good from everyone and the story is just gut wrenching and even though it's been done before but never from this perspective/angle. This movie might be short on run time but it illustrates this sort of organ trafficking very well as it would have been longer. Easy to the eyes and compelling yet informative.This is the type of film that 10 years ago would have owned the box office but today, they're a gamble. Unless you stick a product name like Russel Crowe or Tom Cruise in it, it's hard to say which way it will go. It also reminds me of how the grading curve has changed due to the collage of genres we know get in a single film which is probably one of many reasons films are now so often struggling at the box office. Wicked ending!In the thriller drama Inhale, up and coming District Attorney Paul Stanton (Dermot Mulroney) is a family man who has built a solid reputation for defending the law. Now in the middle of prosecuting a high-profile sex offender case, he tries to remain focused although he has serious problems of his own.Paul and his wife Diane (Diane Kruger) have one daughter, Chloe (Mia Stallard), who has been diagnosed with a rare degenerative disease. She needs a double lung transplant, but there are many patients ahead of her on the waiting list for donors.But when news arrives that Chloes condition has worsened, Dr. Rubin (Rosanna Arquette), tells them that it is beyond their ability to save Chloe's life, but she also tells them that if they have money, there is another way for them to find a lung donor.Stunned with the possibility of having to break the law to save their daughter's life, Paul, contacts his friend James Harrison (Sam Shepard) for advice. Harrison tells him that he has information about a mysterious Dr. Navarro (Vincent Perez) who performs transplants in Tijuana, Mexico, but warns him that pursuing this course could cost him everything; his reputation, career and possibly even his life as well as the life of his daughter.Confused and frantic, Paul and Diane decide to take the risk to find this doctor if there is a chance they can save Chloes life. Their journey takes them across the border to Mexico and into the dangerous territory of the underworld. Paul's search brings him face to face with the corrupt police officer Aguilar (Jordi Moll) and the discovery that Dr. Navarro is connected to an illegal organ harvesting operation where the donors are in reality victims. Paul finds himself caught in a desperate situation of choosing between saving the life of his daughter or exposing the criminal activity that could save the lives of hundreds of children.
Joseph W (ca) wrote: This was one of the first films I remember watching that had such a heavy theme. It was pure true & inspirational story-telling, with perfect characters arcs with both the students & the teacher, along with astounding performances from each actor. What Erin Gruell did with those kids was simply amazing!
gary t (br) wrote: it was more like a made for tele flm..some of it was ok but it wasnt that good for a film...i think they should have just made it for a tele film but anyone else may enjoy it.
Laslo F (us) wrote: Very good movie... Strongly recommended to see...
Fong K (br) wrote: This Pedro Almodvar's exotica is unsettling to watch not only because it is one of his darker stories but also suspiciously autobiographical.
Deborah J (es) wrote: A down south love comedy
David T (nl) wrote: i thought josh would of seen and rated this. must say i'm disappointed. major letdown.
Lene W (us) wrote: was a little slow, and I did fall asleep, but probably worth another watch.
Cameron J (us) wrote: "Another one bites the bullet, another one bites the bullet; and another one gone, and another one gone; another bites the bullet!" Man, that's a lazy reference, but then again, the song was a little lazy to begin with, though not necessarily when this film came out, because it's somehow older than the song in question. You know, I was wondering why Gene Hackman retired a whole decade ago, if he did, in fact, quit because of his age, but he was getting up there back in 1975, so at any time, he might really bite the bullet. Yeah, if this film's title is a metaphor for death, then it's a little more comprehensive than "bite the dust", although it might just be telling us that Gene Hackman is so awesome that he can catch a bullet with his teeth. To be an old dude who has never been young, Hackman is still a man I wouldn't want to cross, unless, of course, I was Superman or something. In retrospect, it is a little hard to take Hackman all that seriously in this film, when he was about three years away from getting his butt kicked by a flying alien in tights, but make no mistake, in this film, he's a good deal more groovy than Queens' "Another Bites the Dust"... if not the term "groovy". Of course, the film isn't too shabby either, although, unlike Hackman, it can get a little cheesy. There is the occasional cheesy set piece to plague filler, while dramatic material goes plagued by some histrionics, or at least dramatics which feel histrionic under the influence of a rather sentimental atmosphere. These consistently unsubtle and occasionally slightly cloying sentimental atmospherics reflect an overambition, until laziness is reflected in atmospheric dry spells, which dull down momentum in a film that is slow enough without a certain chilling quietness that blandly meditates upon storytelling a little too much. The slow spells at least allow you to meditate upon the familiarity of the narrative itself, because even though this is a '70s western, it feels a little too eager to dig up '60s formulas to plotting and characterization which could have at least been meaty if it was to be conventional. With its memorable characters and certain worthy dramatic themes, this project could have molded a juicy narrative, but the story concept, as a minimalist character study that is highlighted by some kind of an extensive segment, is ultimately lacking in consequence, but evidently not material. Running 131 minutes, this film of limited consequence still goes dragged out, with excess filler and material that, rather than livening things up, allows you to further meditate upon things like the natural shortcomings and sentimentality, through all of the genuinely strong aspects. The film opens reasonably strong, sheerly in feel, alone, and throughout the body is moments in which the palpable ambition truly delivers, but at the end of the day, the ambition mostly stresses the shortcomings, consequential and natural, until the final product ends up losing so much momentum that is slips shy of rewarding. That's a shame, as this film could have really been something, yet as things stand, it endears in spite of its flaws, partly with a certain artistic taste. Like I said, there's a certain flavor of the '60s left in this '70s western, particularly in a score by the great Alex North that, despite conventions and sentimentality, is lovely in only slightly coloring up '60s sensibilities with scoring advancements that were beginning to come to form in the '70s. Harry Stradling Jr.'s cinematography is also lovely, if a little dated, with flat spells that are broken up by a realized palette which anchors the beauty of certain nifty visuals that are established by near-immersive art direction by Robert Doyle. There is indeed a certain immersion value even within the film's style, subtle though it may be, and when it comes to substance, no matter how thinly or formulaically it goes handled, it carries a potential that is reflected in the film carrying wit and dramatic elements as a portrait on man's interactions with his environment and his peers, anchored by memorable characters who are themselves anchored by memorable performances. There's not too much material to this film, therefore there's not too much too the performances, but charisma is found across the board, with solid chemistry and dramatic highlights that do a lot to define the heart of this colorful human drama. Leading man Gene Hackman is particularly charming and genuine in his portrayal of a good-hearted rider seeking respect, as well as the respectable, which leaves Hackman to all but carry the film as an audience avatar who adds to the intimacy of the drama. Richard Brooks' direction is arguably most instrumental in establishing a sense of intimacy, which is ironically challenged by ambitious sentimentality and limp atmospheric cold spells, yet is adequately sustained by a certain realization to the plays on anything from decent action to subtly thoughtful dramatic highlights, if not haunting visuals, that just about grip in their shining a light on what could have been. Again, this film could have gone a pretty respectable distance, and although it ultimately falls short of doing so as often as it probably should, it gets there enough times for the final product to compel the patient just fine. Bottom line, there's something a little minimalist about this dramatically promising story, and it grows harder to deny that the more sentimentality, dry spells and excessive dragging slow momentum, to the point of holding the final product shy of a rewarding state, flirted with enough by lovely scoring and visual style, some worthy story elements, strong performances - particularly that of Gene Hackman - and inspired direction to make "Bite the Bullet" a decent and sometimes gripping western drama, despite lost potential. 2.75/5 - Decent
Jaws N (it) wrote: Despite what Hollywood would have you believe, this isn't a cartoon porno. The sex scenes (as short an un-detailed as they are) serve a purpose among the violence and drug use to depict this as one of the first realistic cartoons, and while its topics are lost on the pop culture of today (it is a period piece) it is still a recommended watch for anyone able to understand it.
Ben L (au) wrote: It only took about 10 minutes before I started noticing the similarities to A Fistful of Dollars in this film. Perhaps it's the fact that I just watched that one for the first time about a year and a half ago, but I noticed all the same plot points that get the story going. Yojimbo did it first, though, and it was really good at establishing characters and their motivations. Seeing the samurai enter the town and tricking both gangs into slaughtering each other is fascinating, because you never know exactly what his plan is but then it starts to unfold and you realize what he's doing. I love how subtly he manipulates them, allowing the rivals to do a lot of the dirty work for him. I also like this kind of character who is so much more skilled than the people around him, but he still holds a moral code which makes him a good guy. In a way it reminds me of the super heroes I used to love in my childhood who had all the power, but used it to help those in need.It wasn't perfect, though. I wish there were more frequent confrontations in the film, because the story does slow down for large sections. I don't need it to be non-stop action, but sometimes the movie was so caught up in building towards something that it felt like it was never going to get there. My only other struggle with this film would be all the names. They did a good job of casting distinct faces for the characters to make them easy to differentiate, but all their names got really muddled in my head. Aside from that I think Yojimbo was a better presentation of the story that I saw first in A Fistful of Dollars. If for nothing else, I just loved the contrast that comes when a gun is brought into the world of only swords. I definitely enjoyed watching this movie, but for my first Kurosawa film I feel like I was expecting something more.
maxwell w (ag) wrote: Disney a magnum opus. A great film in every way, finding a flaw in this film is difficult, but it's not exempt. Still, the flaws are minimal. I highly recommend this film.