Kiss Me, Guido

Kiss Me, Guido

When he discovers his girlfriend having sex with his brother, Frankie (Scotti) decides to head to Manhattan, leaving his Bronx pizza shop forever for the fame and fortune of show business. But before stardom, he needs a place to stay. Looking in the personals, he notices GWM. And thinking it "Guy with Money," he heads to the Village and the apartment of gay actor Warren (Barrile), who's in desperate need of this month's rent.

Warren has an extra room in his apartment (and is five months behind on the rent) after his lover moves out, so a friend places an ad on his behalf for a GWM roommate. Frankie, a pizza ... . You can read more in Google, Youtube, Wiki

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Kiss Me, Guido torrent reviews

Cedric L (ca) wrote: A good father-son story.

Dan A (es) wrote: Wow. So so stupid and bad. I have seen a lot of bad low budget horror movies and have even been in a couple....but wow. Amazing that the writer/director and the producer actually saw something good in this script. And Tony Todd....wow talk about desperation for work. :-/

Tim M (jp) wrote: Ranges between absurdly funny and absurdly annoying. After the ridiculousness of it sinks in and I accepted the premise (when AC/DC explains the importance of ducks) I had a much better time. A mixed bag.

Karlo M (gb) wrote: Takeshi Kitano is such an important figure in contemporary cinema that even his mediocre films are worth pursuing. Take Takeshis' for example, it is simply an idea of all Takeshi's ideas. In it stars his dopey blonde-headed doppelganger named Kitano who literally and figuratively dreams of starring in one of his movies but instead becomes entangled in a solipsistic web of the real filmmaker's onscreen persona. It is a film about a film in a Fellini kind of way and a dream about a dream in a manner that would make even Bunel jealous. It desires to be taken lightly in its heavy-handedness but is defensively sarcastic at the slightest thought of analysis. It is unapologetically ego-centric, cinematically reflexive, and decadently violent that only Takeshi and perhaps Godard can get away with. I have only seen a handful of Kitano's film but enough to find the humour in certain references. I imagine it to be completely frustrating for those who are less familiar with his canon of work. In all, it should be commended for attempting to try something different but falls short of reaching whatever precedence that this brilliant mind was trying to accomplish. I wonder what Takeshi's take on Kaufman's Synechdoche NY is, and by Takeshi I mean both.

bloody w (it) wrote: it was kind of funny I can't lie

Gabriel C (ca) wrote: Brilliantly animated and smartly written, Waking Life is a deeply underrated masterpiece from writer-director Richard Linklater.

Sandra D (ca) wrote: "Believe and you will see"This movie touched some very interesting factors about the mystical Loch Ness Monster. Ted Danson stars as an US scientist who travels to Scotland with the agenda to prove the existence of the Loch Ness monster. This movie was easy going and interesting, I liked the story and the fine touch of humour it has.

David F (es) wrote: Classic Italian farce concerning a team of inept bunglers who get wind of a jailed thief's plan to pull off a safecracking heist - but everything that can go wrong does go wrong. Vibrant cast is quite good, but the pratfalls and shenanigans are somewhat dull - since subsequent zany heist capers are now considered a dime a dozen, the antics are not too fresh to the modern sensibility. However, where the film excels is as a character sketch, with each gang member providing a distinct personality (however many played-up Italian stereotypes abound) and disparate motives. Also gives the viewer a interesting glimpse of an Italy mending and coming to terms with itself as a modern state after the war - outdoor shots juxtapose old grottos against the construction of modern apartment blocks, the bebop jazz soundtrack vying with traditional music.

Eric R (ru) wrote: Opening with some fantastic imagery, 'Moonrise' introduces us to Danny Hawkins, a young boy who is consistently mistreated and taunted because his father was a murderer, who subsequently was hung at the gallows. Using some great silhouettes, editing, and projection backgrounds, it's a pretty frightening sequence for a young boy to experience, with Borzage setting a tone and mood from the very beginning of a man who is constantly haunted by his terrible childhood and perceived inadequacies. Part Noir, part Melodrama, 'Moonrise' is really an expertly crafted film exploring the moral repercussions for Danny Hawkins after being involved in an accident, which leaves a man dead. Danny is such a tormented character, his father's wrongs weighting him down to the degree that he himself questions whether he is in fact a rotten person at heart. Fearing the worst, he tells no one about the accidental death, leading to even more torment, re-living the event over and over, torturing himself. The relationship he begins to form with Gilly Johnson, a schoolteacher, perfectly weaves around the Noir elements, creating a film that is both tough, yet ultimately redemptive. As amazing as the intro of the film is, the rest of it manages to keep this visual standard, with stylized cinematography, great shadows, and some solid use of sound. One prime example of this being the Carousel sequence, where Danny's paranoia hits a fever pitch when he dives off the carousel because he believes he is being followed. In the end, Moonrise essentially crushes all the Noir genre conventions with a story of redemption and ultimately a happy ending for Danny and Gilly. So, I've only seen 4 of Frank Borzage's films but I am totally convinced that he was one of the greatest filmmakers of all time.

Richard L (nl) wrote: "Der Letzte Mann" is a 1925 German film directed by F.W. Murnau. It is about a doorman, played by the incredible Emil Jannings, who is demoted to bathroom attendant because of "age and frailty." So proud of his doorman position, complete with a dapper uniform, he is thrown into despair and his descent into sadness is quick and mean.Emil Jannings is so wonderfully expressive in both facial expressions and his posture. There is a fantastic scene late in the movie when we see by shadow how his posture changes as he pretends to his family and friends that he is still a doorman. Inevitably, someone finds out he is a bathroom attendant and vicious rumor spreads quickly, suggesting that he was never a doorman in the first place. Shunned by family and friends, the movie seems to end on a depressing note.However, the director is not done with the audiences. In a horrifying happy ending full of slapstick, an alternative ending is providing for the man. It overturns the sad ending, but in the process allows a fascinating critique of society. This twist, I think, is part of what makes this movie a masterpiece, because it says "here's your happy ending, but I'm really going to make you think about how such happy endings really don't happen. This is The Last Laugh."Oh, my goodness. So incredible. I highly recommend!

Larry W (br) wrote: The quentissential Nicolas Cage/Later Travolta film. Caster Troy's assgrab face and Travolta's "Weee! What a predicament!" are over the top performances you will never forget.

Randy Y (br) wrote: A character film that sputters along. Some funny parts, some pop-culture, but not quite enough plot/character development to have an interesting, decently paced film.

Kristen P (nl) wrote: Fantastic family comedy with great music.

Moya W (it) wrote: I really enjoyed this movie. This is pure drama when it's at its best. It's about three women who all intertwine in this movie about mothers and children and their lives. Mother and Child really shows the love that mothers have for their children and that biology has nothing to do with being able to call someone your child. Great acting from Naomi Watts, Annette Bening, Kerry Washington, Samuel L Jackson and Britt Robertson. This movie was heartfelt and emotional and no matter how crazy a character in this movie might seem, I believed in every word they said and every action they made.

Lourdes T (br) wrote: The book its better... the movie mixes characters...

Eric M (de) wrote: "What Dreams May Come" is a phenomenally ambitious film visually and thematically, but flounders thanks to awkward pacing, bad editing, weak dialogue and surprisingly uninspired acting from a usually excellent cast. The film plays with fascinating themes about love, marriage, the spiritual, and the afterlife, but these explorations are handled in a rather cornball, shallow fashion that never really says anything truly insightful on any of the topics presented. There are also some painfully obvious continuity errors, and one can't help but wonder if this film awkwardly had about a half an hour shaved off of it. It really is a shame, because occasionally moments of power appeal, and the references to the Divine Comedy are intriguing, but "What Dreams May Come" is all Romantic style and unfortunately little substance.

JohnnyLee T (br) wrote: Overly long for such a straightforward plot. Wonderful photography along the trail. Wayne and Clift superb acting. But I really disliked the narrative intrusions and the disjointed feel of scenes hurried or skipped altogether. SPOILER ALERT But I loved the undercurrent of sexual roles, where the girl is really on the outside despite what she wants. Thank God she didn't end up in one of the leading man's arms at the end. And what's it between Matt (Clift) and Cherry (that's his first name BTW, not a nickname) who when he lays eyes on Matt immediately leaves his job to join in with Matt and Tom (Wayne) and keeps admiring Matt's beautiful gun, and in the end dies defending him (did he realise now that Tom was back on the scene he didn't stand a chance?) As the girl says at the end, they (Tom and Matt) should marry each other.. Anyhow, anyone studying the depiction of gay sensibilities on screen during the Hays Office time would be interested in the overtones in this movie