The story about a teen that falls in love and discovers his life is about to change. a film about wanting something and fighting to make it happen.

The story about a teen that falls in love and discovers his life is about to change. a film about wanting something and fighting to make it happen. . You can read more in Google, Youtube, Wiki


Inspiración torrent reviews

Ankur B (kr) wrote: Considering how difficult it is to tell a story of a real life person, attempt from director Omung kumar is worth a watch for all hard work priyanka chopra had put to portray real life Mary Kom.

Dennis L (ca) wrote: Steven Segal sure loves the sound of his own voice.

Steve S (de) wrote: Interesting and detailed telling of the making of and significance of George Romero's "Night of the Living Dead". Lots of interviews with film historians and one very entertaining one with Romero himself. A lot of comment on its historical perspective, and its, mostly inadvertent, social commentary. Also, lots of gushing about its significance in film history, which probably Romero would poo poo (one critic compares the script to Beckett. Certainly a treat for all zombie fans and Pittsburghers.

Jason T (kr) wrote: Part Saw, part lame o romance/family, all bore. A slasher movie where the villian is dull, the acting is bad, the characters are stupid, even the sound on this movie was messed up. What a waste of time.

Vikram T (kr) wrote: it sucks priya looked like a slut

Veronica R (it) wrote: One of my top favorites!

Nik M (jp) wrote: The story is fleeting from one turn to the next, quickly jumping to and from character motivations and location changes without first building a recognizable world. The mythology is thin and spread over a meaningless tale of rebellion and freedom. However, the music is top-notch and memorable, and the occasional play of words between Quaid and Connery is entertaining.

Randal O (ag) wrote: Creating a story about just two people in one room seems like a formula for disaster and unmitigated boredom. There are no sweeping scenes of visual grandeur to keep the eyes and mind alert, no outside characters to play off against. Perhaps it is even the ultimate test of a writer or director. He or she must be not only consumately capable of probing a character with the insight of a sculptor like Donatello - but also of creating characters compelling enough to give the reader or viewer reason to sit through, characters which only raise more questions about themselves with the progress of the plot. Only a few examples come to mind easily, which may be a sign of the success rate. The play "Dear Liar" adheres closely to the rules: George Bernard Shaw and the actress Mrs Patrick Campbell are portrayed reading their letters to each other. A few other stories adhere to the format for most of the time: Noel Coward's "Private Lives", and, in cinema, Bergman's unsettling "Who's Afraid of Virginia Wolf?" Paul Castellaneta, who prefers to be known as "P.J.", cites "Virginia Wolf" as a large influence on the interaction in his film, "Together Alone". Two men have just met in a bar and come back to the apartment of one of them. "Their thing" is done off-camera, and is over minutes into the film. When they have dressed, and begun talking, it becomes apparent that Castellaneta is tackling head-on the daunting, strict, two people-in-one-room format. The dread eases as it becomes evident that he is going to pull it off. Minutes into the film, he has begun an astonishing power-play of individual will and force. The tension eases at times into wry, laugh-aloud humour, or wooing lyricism, (many of the lines are double-edged and yes, the audience is meant to laugh) but then spirals again until two jolting plot twists almost violate the unspoken limits of their clashes of ideas and values. At a screening during Toronto's Festival of Festival's, a man in the audience asked why there was no sex on screen. "I didn't realise until later," said Castellaneta, "that he was heterosexual. In answering him, I would have used the example of two women in bikini bottoms, wearing nothing else. You're not going to be looking at what they're saying, you're going to be looking at their bodies. That's not to say that I have anything against naked people - I love them - but I had something very specific in mind. What he had in mind was "homosexuality, not sex." "Together Alone" examines one-night stands, commitment, family, confusion of sexual lines, coming to terms with ones self, and, of course, AIDS. Whenever cinema has seriously covered these in the recent past, the treatment has usually been on a broader, political level, with the characters compressed by the issues into mere "types". This year, though, with van Sant's My Own Private Idaho and Castellaneta's Together Alone, cinematic treatment of homosexuality begins to come of age. Issues start to define themselves in terms of the characters, bringing all the uncertainty and blurring that that implies. Castellanta is masterly in his camera work, using closeups that are almost violent at times in their probing to entwine the issues with his characters. He zooms around with the camera while they are talking and testing each other, and then uses a closeup to give a person preemince over an idea. "It's very important to me," says Castellaneta, "to make every shot tell what's going on." He succeeds. Each shot encapsulates their efforts to build a human bridge over the chasm being ripped open by their clashing viewpoints. Castellaneta's inate empathy with human nature prevents judging one viewpoint as right or wrong, one character as the winner or loser. Though the film has taken Best Feature award in both the San Francisco and Los Angeles Lesbian and Gay Film Festivals, Castellaneta has been criticised because some views expressed by characters in the film do not get explicitly labelled as Uncorrect. Much of gay art lately almost seems as though the creators thought it had to be subtitled for the homosexually impaired. "You can be gay and not agree with the party line," says Castellaneta. "In the gay movement, there's a real need for tolerance and responsibility. Tolerance for the way other people live; responsibility for the way you live your own life." Though the dialogue is mostly tight, and witty, he lets it spin out at times into monologue, an unusual and risky device on the screen. "With monologues, I wanted to skewer what people say cinema is. Though I suppose the film could be done as a play, I took a very cinematic approach. I control where you see these people. You could hear those same monologues on stage, but you're not (his hands framing his face) here. You don't see his eyes. When you have such discussions, as now, their face is right into yours. You can't get that in theatre." The monologues not only get off the ground, they soar in moments of brilliance (though at times heart-felt background music dampens their wings), conjuring images that are powerful because they are created in the intimacy of the mind. The characters recount just having had the same dream, of swimming under the sea together. Again, the heart-felt music, but despite it Castellenata seamlessly stitches together cinema and the primaeval art of live storytelling, where a compelling voice and the listener build the story together. The mastery of screen and words work together to produce insights that are frighteningly honest about the human condition. At one point in the film, one character argues that the penetrator in the sex act got the most out of their encounter, because he conquered, he took. The other character reponds, "After I come I feel - less. Like Christ. As though virtue has gone out of me." Because the hard evidence has been hidden off screen, we can't judge whether he has been a bit overwheening in his choice of comparisons. There remains to contemplate, however, the underlying truth that sex, whatever one's role, can be an essentially emptying act. Its immediate aftermath ruthlessly lays bare a void inside. The black-and-white film was done entirely in Castellaneta's own apartment in a month, on a budget of $7,000.00 borrowed from his mother. Though his parents supported the film, and knew its content, they have not wanted to see it. "On the one hand, they don't like the fact that I'm gay. On the other hand, I'm their son." The two actors, Terry Curry and Todd Stites, deliver the script so unfalteringly naturally that at times one suspects the film was done by hidden video camera. These two had, in fact, never acted professionally before, never been on camera. They rehearsed for a month with no pay other than meals provided by Castellanata. He gives himself a catering credit on screen. "I threw the catering credit in because I don't want people to take the film too seriously. It deals with serious things, but this is something I made in my apartment. I don't want people to lose sight of that, that it was from the Mickey Rooney/Judy Garland hey-let's-put-on-a-show school of filmmaking. Castellaneta's previous film, a short, is titled What's a nice kid like you? "Imagine that you are at college," says Castellaneta, "not out of the closet, and you fall in love with your roommate. The film is about this. The main character resorts to bathrooms as a release for sex. He goes there and finds his "straight" roommate... I'm interested in how heterosexual men express themselves, trying to deal with feminism and still trying to be who they are. In a lot of ways, it's easier now for two men and two women to come together. It seems more natural to me." The next film planned is My Mother the Lesbian. (Not autobiographical, he notes.) "It's a very calculated film and title, designed to hook a mainstream audience into the gay problem. I have the screenplay for it written: I'm looking for commercial support for it now. I'm very interested in families. Their structure has changed so much now, yet they remain a primal human need. I have a bunch of gay friends who have evolved into an extended family for me." Some reviewers have found Together Alone slow. Playing strictly by cinematic rules, one would have to say they were right - but play by the rules Together Alone doesn't. It's a film that draws freely but selectively upon many different ways of examining people: sometimes it's a Bergman, sometimes the intensity of the inquisition the characters submit each other to seems like a Friedrich Durrenmatt play. At other times it feels like the mastery of an Alice Munro short story. Together Alone feels young in some respects. It ends with uncertain optimism. It is, after all, the work of a director who is only 31 years old. It marks the dbut of an extraordinary talent in cinema, gay or straight, which transcends customary limits of both screen and sexual orientation. Castellaneta takes homosexuality from the sanctity of the preserve where it has sequestered itself while proclaiming liberation, and uses its weaknesses and strengths to sculpt out an image of Everyman. Quietly, with confidence and dignity, he has in Together Alone advanced gay cinema from "We're gay, what are you going to do about it?" to "We're gay; how shall we then live?" How shall we then all live?

Samuel N (au) wrote: Great just great.....amazing gory fun love pinhead and the centobites can't wait for judgment

John H (jp) wrote: This anti-"Rocky" boxing movie is a great character study of has-been boxer/alchoholic/onion picker (brilliantly played by Stacy Keach) who befriends a up-and-coming young boxer (played by a baby-faced Jeff Bridges). Gritty, and uber-realistic, it's portrait of a down and out loser is not exactly an uplifting experience, but it is a fascinating one. Susan Tyrell is amazing as Keach's horrific boozer girlfriend. John Huston's masterful direction shows a grace and subtly that's virtually gone in movies today.

Pete S (au) wrote: My favourite ever performance, my favourite ever photography. The film that made me into a buff and a must-see for anyone who hasn't.

Matheus L (es) wrote: A great horror movie. Hitler, as a god on Earth, is hailed by throngs of brainwashed zombies for the entire duration of the film, in a very cult-like manner. The best showcase for the evil side of marketing. Should be followed by Schindler's List, Shoah, or cat videos.

Nick K (ru) wrote: Despite a so-so story, most of the musical numbers are fun and have a dainty-like quality to them.

Nick C (it) wrote: A great story, interesting twists, and great casting makes this Batman worth the watch. The whole mystery concept has always worked well with "The World's Greatest Detective" and the Batwoman is a facinating character.

Marcus L (jp) wrote: Casino Royale is an excellent feat, mixing James Bond thematic elements with modern action shooting in delivery of a very stylish, sumptuous Bond film that sets a high bar for all the spy film that follows. It is so thoroughly complete as a film that I couldn't find reasons why it is not a 10/10, because I very much enjoy the 2 hours of watching and such genre of filmmaking is my cup of tea. (Plot holes shall be blamed on Ian Fleming's original novel)In particular, I live how the scenes are cliche-free and cool, accentuating the badassery of Daniel Craig's Bond. The dialogues are very good. They appeared to be well-thought and was sometimes humorous. From "Shaken or stirred? Do I look like a give a damn." to "or I'll kill her. Allow me to." Old school humor in the lines also describes the character's situation and attitude in discreet ways are a shining aspect of the Bond film. Besides, how can one also not appreciate the acting chops by Daniel Craig, especially during the torture scene, and Eva Green's effort in portraying Bond's 101th bond girl, which has to be one of the more memorable ones amongst all of them. As for the small, detail aspects, the new Bond is given a personality and incredible build-up with scenes like the bomber murdering scene that showed his ego and Vesper's death scene that exemplified Bond's emotional vulnerability. His character was fully developed at the end and that in such graceful spontaneity.My favourite moment, which I am often overly elated to tell, is in the app. half an hour poker showdown bet. Le chliffe and James Bond. Before the game Bond told the waitress a bunch of description for his drink, being cool and unorthodox. He soon screwed the thing after an all-in lost in which Le chliffe won all his money, as he was asked choices for his drinks, and it looks like he ain't got no damn to give this time. Spot on.

Wade H (de) wrote: Full of Raimi's oddball humor and a dark comic tone, the movie is certainly never boring with an exceptional different performance from Liam Neeson.