La bella Lola

La bella Lola

La Bella Lola is a struggling singer trying to make a living for herself and her sister Ana in late 19th Century Spain.

"La Bella Lola" is a struggling singer trying to make a living for herself and her sister Ana in late 19th Century Spain... . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

La bella Lola torrent reviews

chris t (it) wrote: Freight mOpposition parties wep

Virginia W (ag) wrote: Not a bad movie, but the ending was unbelievably weak!!! It ended in a manner that left one searching for the sequel...but alas, "that's all folks". As previously noted...unbelievable!!!

Ali G (ca) wrote: sorpresivamente buena.

Reno V (es) wrote: "A BEAUTIFUL SINGER + A HIDIOUS MONSTRE = MUSICAL ADVENTURE" - 'Un Monstre Paris' is a 2011 3D animated film inspired by the novel 'The Phantom of the Opera'. The story and visuals are okay, but for me it's the soundtrack that makes the film worth seeing (and hearing). 'La Seine' from Vanessa Paradis is really catchy and lingered in my head for days. For some reason it reminds me of 'The Broken Circle Breakdown. A good movie to watch with the youngsters. Paris 1910, cinema projectionist Emile joins his friend Raoul, who is a delivery driver, to the botanical gardens. In absence of the professor, the place is guarded by the Charles the monkey. While Emile starts to film the exotic plants, Raoul is fascinated by the mixtures on the table. When two chemicals are mixed and come in contact with a lice from Charles, a monster is created. It flees into the nightly streets of Paris. The creature is seen by several people who all react scared. Hiding in an alley near a cabaret, the monster follows a young beautiful singer named Lucille inside. The two of them become friends and discover their share a passion: music. Wearing clothes and a mask, the creature joins Lucile on stage.

Daniel I (ru) wrote: Quite slick, but ultimately for Danny Boyle this is under par. Still just about watchable though.

Walter M (jp) wrote: "Wolfsburg" proves once and for all that one should never talk on the phone when driving when Philipp(Benno Furmann), distracted, runs over Paul(Martin Museler) on his bike. Fleeing from the scene, Philipp returns home just in time to stop his girlfriend Katja(Antje Westermann) from leaving. The news reaches Paul's mother Laura(Nina Hoss) as she and her friend Vera(Astrid Meyerfeldt) are about to steal a little lobster from the supermarket where they both work. At least, things are looking up for Paul by the time they get to the hospital... "Wolfsburg" is a thoughtful movie about grief and guilt that makes a valid, if obvious, point at the end that it had already made. On a more commercial level, set in the city where the main Volkswagen factory is, the movie is also concerned with the conflict between autos and bikes. In Europe, it is a balance between the two but here in the States the autos are winning by a landslide partially because of their appeal in supposedly granting larger freedom of movement. But to Philipp, they only serve to be something of a prison and a trap. All of which is nice but there is more to developing an original story than having the amazing Nina Hoss on speed dial and thinking about important themes, as "Wolfsburg" is dragged down to earth from more than its share of formulaic predictability.

Walter M (de) wrote: "Triumph of the Ice Nymphs" starts with Peter(Nigel Whitmey) returning home after four years in prison. So, it's no surprise that a mysterious beautiful woman(Pascale Bussieres) asks him to steal back some jewelry for her before disappearing into the night. On the home front, his sister Amelia(Shelley Duvall) runs an ostrich farm which Cain Ball(Frank Gorshin) hopes to one day take over. But first there is Dr. Solti(R. H. Thomson) she is curious about. On the one hand, "Twilight of the Ice Nymphs" differs from a lot of Guy Maddin's other films in that it is less a pastiche this time, more an original world that did remind me a little of "A Midsummer Night's Dream." In fact, this might be his only film in full color. But that is not to say it is not as daft as anything else he has concocted.(Any movie with ostriches playing a prominent role is bound to be at least a little off kilter.) On the island where the movie is set, time does not flow naturally, as it seems to move in a circular motion, allowing elements of the supernatural to seep in.

Masaio S (br) wrote: This so fuckin hilarious! Has alot of similarities to Peter Jackson's Dead Alive, but so more comical. One of Steve Buschmis best performances.

La K (nl) wrote: Sinister impulses betray the most innocent longings, nothing is more tragic than a genuine drive to attain the unattainable.

Adri L (it) wrote: With a wonderful photography, the performances of Isabelle Adjani and Gerard Depardieu are perfect. The deep blue eyes of Isabelle is moving. Truly a lesson of interpretation of these two great actors.

James O (it) wrote: Boring, stiff acting as usual from Sigourney. The plot is patronising and dumbed down to a ludicrous degree. The gorillas are half realistic but unless you want a simple emotional tale then keep clear.

Claire T (ag) wrote: CRY LAUGHING AT THIS EVERY TIME I WATCH IT EVEN THO I KNOW WHATS COMING, MINT!

Ghiuli R (it) wrote: This is an excellent BBC adaptation from T Hardy fatalistic tale with Nathaniel Parker and Paloma Baeza, which are superb in their roles, especially Parker who does a wonderful job as Gabriel Oak.

Logan M (fr) wrote: It's not a bad movie, but it hardly a stands out amongst the classics.

Dana C (br) wrote: i really loved this film, Mark and Denzell had a lot of chemistry

K C (ag) wrote: Naughty, Bawdy, 42nd Street... Musicals in the 1930's were the early salvo's fired in the war between MGM & Warner Bros. for domination of Hollywood. Columbia had short reels, Paramount has a few grenades to drop starring Gary Cooper and Fox was there... but MGM & Warner's were the powerhouses. In the end, MGM ruled musicals while Warner's led in Gangster films and later 'Action' films... but '42nd Street' along with the early 'Goldigger's' films were the blockbusters of the musical line. Sporting Busby Burkley's direction (choreography), the film delivers us into the depression era world of starving stage actors with the realism of the actual depression era it is filmed in. Introducing us to an already budding Dick Powell and fresh faced awkward seeming Keeler, as well as a young pre-MGM Ginger Rogers. Well paced in story song and dance, the film is lively and carries itself exceptionally well. If you have an opportunnity to see it on the big screen... do so.

Cheryl C (gb) wrote: Excellent adaptation of a brilliant short story

Jesse M (fr) wrote: Are You Here seems to try to be different and succeeds story-wise, though as a film it's clunky. It's stunning in its honesty and grasp on reality (and the realities of psychological pain); I was personally invested somewhere near the 25 minute mark and in tears over how much this hit home nearly all the rest of the way through. My favourite moments are the razor in the bathroom and the electric horse. If I were objective, I'd probably have given only 3 starts to this big story which seems to have had its arms and legs cut off in order to be squeezed into a feature film and because I feel a little hollow without the deeper sense of emotional vindication I was expecting at the end, but instead it was also so beautiful and touching in its hollowness that I had to give it four.

Sam M (kr) wrote: Almost convoluted but thrilling and horrific at the same time.