Three people - a criminal, a bank officer and a cop - end up in a catastrophic situation in the midst of a global economical crisis and are forced to betray any morals and principles to solve their financial problems. . You can read more in Google, Youtube, Wiki
Life Without Principle
A criminal, a bank clerk and a police officer find their destinies entwined when a loan shark gets assaulted after having withdrawn $10 million from the bank in the midst of the world financial crisis.
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Life Without Principle torrent reviews
Mike O (ca) wrote: Cambridge Film Festival 2007
Esha K (mx) wrote: :An exceptionally guy-friendly chick flick". ... this is the best description of this film... :)Opposite of Pretty Woman in the spectrum.
Jeffrey J (ru) wrote: Depardieu is brilliant in this.
Matt M (it) wrote: A businessman prevents his wife's wish to leave her house to another woman from coming true. For all its intensity and its compelling portrayal of British rigidity, Ivory's film lacks in pace and often feels uninspired in its building up in intensity.
Ryan M (gb) wrote: Though I can understand how this might be the appeal for some, I thought Varda stretched her material rather too thin with 'Vagabond'. I'm all for cinematic exercises in ambiguity (see 'Au Hasard Balthazar', which this film quotes a number of times), but I thought Varda's effort got redundant for lack of development. Varda puts a structure in place that could make for a really satisfying film: an urchin's past is reconstructed through dramatized flash-backs and pseudo-documentary footage. Unfortunately, I found the film imbalanced, with the mostly non-communicative flashbacks favored over the under-utilized documentary footage. I can accept ciphery characters in movies, but there's an admittedly subjective "aura" of interest that I feel directors are responsible to develop around said ciphers in order to float their films through the minimal content they work with. Robert Altman for example does this beautifully in his film '3 Women'. Varda in my opinion doesn't succeed in this (again: super-subjective) process. I think it's the writing that has to be faulted, because Bonnaire does well with what little she's given, and there are glimmerings of interest in the relationships that develop between Bonnaire and the farmer or Bonnaire and the old woman. Though it's tonally in a whole different universe -- and I may be guilty of comparing apples to oranges here -- 'Vagabond' might for me be consigned to the category I place Herzog's 'Fitzcarraldo' in: something like the "sufficiently interesting but curiously dead" category. A repeat viewing might erase this impression and discover new points of interest in both films (I'm skeptical), but for the moment I'll go on remembering both as sadly hollow missteps.
Trea L (au) wrote: Very humorous and entertaining. Currently being on a western kick, it was refreshing to have some good laughs from an excellent cast. Recommended.
Dan N (ca) wrote: After Il Gattopardo and this film, Burt Lancaster easily avances to being one of my favorite character actors, if not actors in general. I'll be sure to check out some of his Westerns during the next few weeks. As for Birdman, he creates a character that is dangerous, generous, brave, masculine and yet believable and relatable at the same time. I don't know any other actor who can combine toughness and friendliness in 1 character and perfectly get away with it. The movie itself is nothing special, it's all focused on that one person and the things he lives through and his power of will and his strength. The frame plot is rather weak (no idea how much of that really happened). But if it wasn't for the bravura performance of Lancaster's, I'd have pretty much forgotten about the movie already. Rating: 21 points. As for what it is - a great character study - it's definitely a recommendable piece of film.
Adam R (nl) wrote: (First and only viewing - 12/14/2013)
Clay B (ru) wrote: RASPUTIN AND THE EMPRESS (1932)
Martin H (mx) wrote: Seen this twice now and even though it's not the best Bruce Willis movie out there it's still fun seeing him in an action comedy. 6.5/10
Joo P (fr) wrote: I was just a lad of ten when I saw this 1973 BBC production of "Jane Eyre" for the first time. Michael Jayston and, above all, Sorcha Cusack made an everlasting impression on me. After all these years, to be able to see her again as Jane is... all joy! To acknowledge how well both these actors did portray their respective characters from Robin Chapman's fine script and under Joan Craft's competent direction, allow me to transcribe here the following excerpts from Charlotte Bront,'s immortal novel: From chapter XIV (Jane about Rochester): - "[...] he rose from his chair, and stood, leaning his arm on the marble mantelpiece: in that attitude his shape was seen plainly as well as his face; his unusual breadth of chest, disproportionate almost to his length of limb. I am sure most people would have thought him an ugly man; yet there was so much unconscious pride in his port; so much ease in his demeanour; such a look of complete indifference to his own external appearance; so haughty a reliance on the power of other qualities, intrinsic or adventitious, to atone for the lack of mere personal attractiveness, that, in looking at him, one inevitably shared the indifference, and, even in a blind, imperfect sense, put faith in the confidence." From chapter XVI of the novel (Jane about Rochester and she): - "[...] I knew the pleasure of vexing and soothing him by turns; it was one I chiefly delighted in, and a sure instinct always prevented me from going too far; beyond the verge of provocation I never ventured; on the extreme brink I liked well to try my skill. Retaining every minute form of respect, every propriety of my station, I could still meet him in argument without fear or uneasy restraint; this suited both him and me." From chapter XXVII (Rochester to/about Jane): - "[...] You entered the room with the look and air at once shy and independent: you were quaintly dressed - much as you are now. I made you talk: ere long I found you full of strange contrasts. Your garb and manner were restricted by rule; your air was often diffident, and altogether that of one refined by nature, but absolutely unused to society, and a good deal afraid of making herself disadvantageously conspicuous by some solecism or blunder; yet when addressed, you lifted a keen, a daring, and a glowing eye to your interlocutor's face: there was penetration and power in each glance you gave; when plied by close questions, you found ready and round answers. Very soon you seemed to get used to me: I believe you felt the existence of sympathy between you and your grim and cross master, Jane; for it was astonishing to see how quickly a certain pleasant ease tranquillised your manner: snarl as I would, you showed no surprise, fear, annoyance, or displeasure at my moroseness; you watched me, and now and then smiled at me with a simple yet sagacious grace I cannot describe." In these three passages of her novel, Charlotte Bront, gave to all readers a crystal-clear synthesis of how she imagined Jane Eyre and Edward Rochester; and it is exactly this we have the exquisite privilege to contemplate in the 1973 BBC production of "Jane Eyre". Please, believe me: in no other production (not even in the rightly praised BBC 1983 production, with Timothy Dalton and Zelah Clarke...) you will find these characters portrayed so faithfully to the novel and so perfectly on screen as in this one! Michael Jayston is a great, truly great Rochester; Sorcha Cusack, with that beautiful round face, those lovely eyes and that velvet voice, is a Jane from the other world; and the connection between them is way, way far beyond simple "chemistry" or "physical connection": it is genuine empathy - just like the connection there is between their respective characters. The portrayal of the secondary characters is made in much the same way. The performances of young Juliet Waley, as young Jane, Tina Heath as Helen Burns, and Isabelle Rosin as Adle, of reliable veterans John Philips as Mr. Brocklehurst and Megs Jenkins as Mrs. Fairfax, of glamorous Stephanie Beacham as Blanche Ingram, and of "Leslie-Howard-like" Geoffrey Whitehead as St. John Rivers, are all very good and quite close to what can we read in "Jane Eyre". The real marrow of Charlotte Bront,'s novel: this is what one can get from this, the 1973 BBC production of "Jane Eyre". Nothing of real importance is missing here - above all, God. The final lines said by Sorcha Cusack, taken out of the last chapter of novel (sadly missing in all the other TV and movie versions...), are a sort of resume of Charlotte Bront,'s faith in God: after helping both Jane and Rochester going through their ordeals, God blesses her supremely and judges him with mercy; so, there is reason to believe in God. Just like the novel, this TV production is a story told by Jane's own point of view: it's a "flash-back". The use of narration through Jane's "inner-voice" is as effective here as it is old in the History of English Theatre (and Cinema, for that matter): it harks back to William Shakespeare, who used to make his characters turn to the audiences and speak out their intimate thoughts. Drama and humor, suspense and surprise are all very finely balanced in this BBC production of "Jane Eyre". As for the humor, I don't mean to be rude to those reviewers whom have written here criticizing Sorcha Cusack's performance, but I'm afraid they simply don't grasp British humour - particularly, the "understatement", which is present in almost every line of many of the intimate dialogues between Jane and Rochester (both in the novel and in this production). Every time I see Sorcha (with a naughty smile) saying to Michael (with a wicked grin): "Won't she [Miss Ingram] feel forsaken and [pause!] deserted?", I roll myself with laughter! That's Bront,'s humour at its best! What a cracker! It should be noted that this is neither a "romantic" nor a "gothic" production of Charlotte Bront,'s novel. In fact, I'm not even sure that "Jane Eyre" is a true romantic or a true gothic novel. As far as I remember, it was Jorge Luis Borges who stated that it could be classified as one of the predecessors of the so-called "Magic Realism" in Literature. Indeed, between "Romanticism", "Gothicism" and "Magic Realism", I personally find "Jane Eyre" much closer to the latter... and, judging solely from what we can watch in this TV production, both Robin Chapman and Joan Craft fond it the same as I do. I've seen the DVD release of "Jane Eyre" (1973) so many times since I bought it that I'm seeing it now in bits and parts - specially those witty ones with Jane and Rochester. That's how good this production really is! To my mind, in a scale of 1 to 10, the 1973 BBC production of "Jane Eyre" deserves 9.9. It would get a clear 10 out of me if it had (as it should!) at least fifteen episodes; but, since it was a "low budget" production, it has only five - and, because of that, the "gipsy scene" had to be pruned up to the point of becoming just a hilarious scene, and the character of Rosamond Oliver had to be simply tossed off. Nevertheless, it is the best of all screen versions there are of "Jane Eyre": the most faithful to novel, superbly tight and paced, very well put up together, with first class performances and Elgar's Introduction and Allegro for strings, Opus 47 (1904-05), as the musical background. In short, it is a sublime piece of Art. Don't miss it!...
Raven D (nl) wrote: John Wayne is inevitably Boss,and Kim Darby is perfect as the stubborn, serious,14-going-on-30 girl out for revenge.The short hair is perfect.The interaction between both and La Boeuf is very interesting,as the partnership of the 2 men withers and the girl finds a way into the old gruff bastards heart.I love how she chooses,after hearing the options,Rooster Cogburn because he sounds like he has "True Grit".Girl knows what she wants,no-nonsense.And nice intro song,unlike in The Searchers.
Vincent N (br) wrote: A different yet interesting take on the Universal Soldier franchise.