A middle aged writer of pornographic novels meets and falls in love with a sixteen year old school girl. This alone is cause for concern but when the couple get married and move to America,... . You can read more in Google, Youtube, Wiki
A middle aged writer of pornographic novels meets and falls in love with a sixteen year old school girl. This alone is cause for concern but when the couple get married and move to America, the trouble (and fun) really begins.
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Mike V (es) wrote: A truly wonderful documentary of this likeable horse-whisperer and his amazing life. D1
Alan H (br) wrote: Not even adequate to act as the background for DIY
Pat L (de) wrote: True Independent Dark humour - The children are disrespectful, the wife is abused, the husband is killed, and the story is totally unpredictable.
Andy H (ca) wrote: Oh god oh god I hated this film. I know for some it is a sweet chick flick but it just seemed incredibly contrived to me. No sense of plot whatsoever. Just throw characters and situations onto the stage and expect the audience to cheer... Somehow it made the theme of women going through difficulty and relying on friends for support seem trite and pukeworthy. And that is a real disservice. Boys on the Side recycled most of this film into something better. But Moonlight and Valentino is just garbage. I can't say it strongly enough: this may be the worst movie I've ever seen.
Kaleb S (ca) wrote: Glad I finally watched this one. So many quotes made by those around me now make sense.... "I practice safe sex." Perfect.
Petter S (us) wrote: En forunderlig spaghettiwestern som spriker i mange retninger. Django-regissr Corbucci leverer et ikke helt sjarmlst oppkok av komikk og action, smmorsomt til tider (med et stykke ufrivillig morsom svensk dialog), men overhodet ikke spennende. Ikke s stilfullt som man kunne hpe, og med temmelig treige karakterer - Franco ikke helt uanstrengt som den dannede svensken Yolof, en tlig god Milian som den grovkornede og klumsete Basco, og en stiv og ufarlig Palance som Yolofs erkenemesis John.
Adrienne L (us) wrote: One of the best crime dramas I've seen in awhile. Paul Newman makes for a sexy leading man with his good looks, comic timing, and ability to charm the viewers. Great supporting cast and a fun story. A genuine classic for sure.
Benjamin W (kr) wrote: While often being unnerving (thanks to the music), this film is certainly visually interesting. There's a simplicity to the lessons it tries to teach through the unending sand: The futility of fighting nature, coming to terms with a forced lifestyle change, and the power of a small amount of hope. It's certainly a movie that's as deep as the sandy dunes that occupy its setting . . .
Bob V (de) wrote: On the surface seemingly a straightforward May-December romance between an older woman and a strapping young man. However, underneath the surface plays a shattering condemnation of American class structure & hypocrisy. The visual styling of director Sirk are recognizable and often imitated or lauded in homage form (a very very clear example being "Far from Heaven" which takes its styling and basic story from this film, although twisting it and making it all its own in the process). Good to excellent acting from popular, if not all of them consistently adept, actors, and able direction from Sirk manage to ward off the always-near pathos the story inherently owns.
jay n (ca) wrote: Decent enough retread of Reap the Wild Wind but nothing extraordinary. Good cast, both Gail Russell and Adele Mara look great and Gail is properly ethereal.
Matt M (jp) wrote: A man on parole realises it's easier to stay in the crime circle than stay out of it, especially when he realises that the only way to keep his younger brother out of the life of crime he lived is to come up with a get rich fast scheme. Screenplay and direction seem pretty basic, but the cast, including a stand out Bogart in a small role, turns in excellent performances.
David S (ag) wrote: I love this movie and it seems like nobody understands it. It explores the AI in depth and the moral aspects perfectly. This is not a Hollywood mindless action/comedy movie.
Prashant C (gb) wrote: Sam Mendes who has served us heady cocktails like American Beauty, Road to Perdition and others comes up with a corrosive rendition of the America in the 1950's with the Eisenhower era struggling with the the ever entangling fabric of marriage where the despair on the assembly line like workmanship was shredding the institution of marriage. Leonardo Dicaprio and Kate Winslet reunite after Titanic (that was ages ago) and their onscreen chemistry has not lost any of its sheen rather matured like old wine and is crackling throughout the film. This has to be one of Leo's most maturd performance and Kate sweeps through the film canvas with a towering performance with her expressions of despair saying more than a page of dialogues. They are a couple who marry after meeting in a club and soon realise that though they are considered special in the neighbourhood, he is working in the same organizations as his father which he wished would never happen while she is a failed actress. The fantasy of Paris providing them all they never had becomes more than a fleeting thought much to the ridicule of the people they know. The insane Michel Shannon serves as the sane voice of the room and is spot on with his observations which undress the shields worn by the characters around him. He has woven an unforgettable piece in the short but vivid screentime in the film. The director does justice to the book by the same name by Richard Yates on which it is based upon, with a constant undercurrent of disillusionment where the Wheelers look towards extramarital sex as a cure for their problems or atleast as a respite. The ordinary couple get crushed by the false image created by the people around them and let loose the inner demons on to each other. Kate gets pregnant which Leo, who has suddenly found a possible promotion round the corner in his job and is having second thoughts of going to Paris, even uses the pregnancy as a justification for not crossing the Atlantic. The most moving scene is Kate standing in her living room after a messed up attempt at an home abortion to get back at Leo. This bout between the two ends with a tragedy which was inevitable and you shall leave the theatre with a punch to the gut. The couple of intimate scenes are an expression of the coiled up emotions letting go in the sack and the fluctuating emotional fortunes of Kate are reminiscent of almost a Jack Nickolsonesque performance, only much less loud but still very effective. She thankfully won a Oscar this year for the Reader and is turning out to be top notch Actor with a tremendous long term heritage in the making. Sam has extracted the best out of his wife in the film and Leo has shades of a schoolboy refusing to grow up and unwilling to take the bull by the horns for which he pays dearly in the end.If you are in the mood for a feel good light entertainment then please dont go down Revolutionary road but for a movie lover to the core with a strong gut and a heart do go down this road and you shall get a lot to chew upon and ponder about, and carry home three performances of memorable proportions.
Matthew D (ru) wrote: The most punchy and competent of the original Star Trek films ramps up the threats from the word go and continues to pile on epic space combat, horror and humour throughout its less than two hour runtime. Unlike the last entry which had disparate elements that never gelled, this expertly weaves them together and never feels overstuffed or neglects the human (and non-human) drama. It may not be the biggest on ideas which normally fuels the best Star Trek; in fact the basic plot, stop history from changing, is not particularly original or clever and has been done better before within the series, but it has some of the franchises most powerful and most haunting moments; it is small details that make the movie work. The 'historic' Earth-bound story thread may not be quite as compelling as the happenings in space, and the prime directive is jettisoned far too easily, but they integrate well into the main story and provide necessary quiet moments. The biggest criticism from a franchise viewpoint is the Borg leader, who arguably undermines the point of the Borg (and results in some clichd elements towards the end), but even then she provides the set-up for the completion of Data's story arc, achieving what the previous film could not. For fans there are a plethora of references that add up to a worthy 30th anniversary celebration, yet are delivered subtly, without overwhelming proceedings.The best 'pre-boot' entry demonstrates that the staid reputation of The Next Generation is undeserved and that Star Trek films can be cinematic, entertaining and dynamic.
Marc R (gb) wrote: A serviceable adaptation to a masterful work of fiction. Cheadle steals the show