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La mujer de mi hermano torrent reviews
Hugo G (ca) wrote: It felt fresher and more original than any other found footage movies, because of its reality tv show premise, which ended up helping it. The acting was also good, and even though it lacked scares and somewhat of buil-up, it felt like a Paranormal Activity without all the scares but with some credibility. Also, the ending was very unexpected but it also left many unresolved questions and some very important plot holes. ~May 22, 2014~
Brendon C (kr) wrote: i need to see this movie
Justin T (ag) wrote: If not for Thora Birch this movie may have been intolerable. Sound effects were nicely done though.
Liddy S (de) wrote: I saw this movie about 10 years ago. Maybe more. I still think about it from time to time, and it really opened my eyes to how easily these things can happen, while making the innocent look guilty. Watch and you might learn so something. All these reviewers complaining about the ending being predictable would not be able to handle the truth. They are simply espousing their liberal agenda, and following suit by denying that terrorism is real. Even within our own country. Definitely a sleeper keeper.
Cassie H (gb) wrote: Good movie. I enjoyed it alot. Great peformances by Jeanne Tripplhhorn, Dylan McDermott, Jennifer Aniston and Sarah Jessica Parker. You should rent this movie. :)
Mark F (fr) wrote: Heck, it's funny. Broderick plays his familiar role, Cusack is a bit weak, but the story is good and funny.
Owen P (kr) wrote: On par with the likes of "Spartacus" and "Ben-Hur," "El Cid" is (at least in my opinion) the greatest epic film to ever come out of Hollywood. The story of the 11th century Spanish knight who united Christians and Muslims to drive out Moorish invaders is the stuff of legend, and the film does justice to (but takes some liberties with) the real historical figure and the epic poem his life inspired. Charlton Heston, infamous for his melodramatic overacting, brings his usual commanding presence to the role of the Cid, but for one of the only times in his career also brings a certain amount of subtlety and nuance to the part. It's easily his best performance. Sophia Loren is ravishing as the beautiful Chimene, and the script does an excellent job of developing and exploring the relationship between the Cid and his bride. Speaking of the script, "El Cid" is unique in its genre in that it never chooses to go over the top with its drama, keeping things grounded and realistic. Director Anthony Mann, known for a string of uncommonly intelligent westerns in the 1950s, keeps a tight grip on the story and never lets things get off track. He also brings a distinctive, realistic visual style that benefits the film immensely. The look and feel of medieval Spain is believable thanks to authentic and detailed sets and costumes. Better yet, the film's action sequences--sword fights, battles, a jousting duel--hold up much better than other such sequences in older films, with genuine excitement and suspense, and a surprising level of violence. El Cid is such a noble hero and his story so compelling that this is a film I would not hesitate to recommend. Seek it out if you can, you will not be disappointed.
Rabab M (nl) wrote: i so want to see that movie
John R (au) wrote: 160809: Tough call this one. My highlight was the car chase scene. Liked Dobby as well. At 2 hours and forty-one minutes, The Chamber of Secrets was a bit long for me. An ok follow-up but did not feel the same passion as for The Philosopher's Stone.
Maria (it) wrote: Long and slow. thought I would give it a chance after reading reviews. Hard to follow nothing exciting.
Robert B (es) wrote: Sleepaway Camp 3: Teenage Wasteland (Michael A. Simpson, 1989) After suffering through the first two movies in the Sleepaway Camp franchise, I have to wonder what on earth possessed me to go onto the third, other than a burning desire to finish the box set and get it out of my house. But I have to admit...despite the third being the lowest-budget movie of them all, and despite it being basically shot as leftovers from the second film (the two movies were shot back-to-back with the same locations, etc., an old Roger Corman "how to make movies for five hundred bucks" trick), I think it's the strongest of the three, for reasons we'll delve into eventually. Plot: a year after the events of the second film, an enterprising older couple, Herman and Lily Miranda (Michael J. Pollard, nominated for Best Supporting Actor for his work in Bonnie and Clyde, Norma Rae's Sandra Dorsey) and uses the spot for an experimental sort of camp: it will bring together teenagers from both sides of the tracks in an attempt to get them to better understand one another's lives. You can already tell how well this is going to work. In any case, Angela slips in by offing one of the inner-city campers with a garbage truck in the movie's funniest scene, then catching her ride back to Angela's old stomping grounds, where she quickly discovers that, yet again, the campers don't live up to her expectations. (At one point, in frustration, she yells, "why did I expect things to be different this year?" Indeed.) As with the last film, where she had Molly, she discovers one camper with a generally sweet nature, Marcia (The First Power's Tracy Griffith). Maybe she'll finally find someone worth saving? The Sleepaway Camp movies were always about cardboard cutouts getting killed, but there's actually a glimmer of characterization in this one between Marcia and one of the underprivileged kids, Tony (2012's Mark Oliver), with whom she strikes up a tentative relationship. (I don't know if it's a spoiler, so I'll tell you to skip to the end of this parenthesis if you don't wanna know: there's a great one-liner at the end that shows just how off Angela is in reading Marcia's character. But if you're not paying attention, you might miss it.) I guess it couldn't be helped, since the idea behind Fritz Godron's script pretty much forced examination of some social issues-and did so in at least slightly more sensitive a way than did the idiocy of the first film. I wish there'd been more of that sort of thing; you can't put an Asian woman who goes by the name "Arab" in a movie and not explore that, though they do here-but someone at least made the effort in a few places. Don't get me wrong, it's just as dumb as the first two, but at least it's dumb with a scrim of substance. **