When her TV star husband Alex decides to divorce her so that he can start a career in politics, newly single mother Maddy goes shoplifting and ends up in jail. Losing custody of her infant child, Maddy hatches a scheme to break out of prison with the assistance of her friend Gillian, who's avoiding the law herself for credit card fraud. Now Maddy has to find the couple who have adopted her son and avoid falling in love with selfish Alex all over again.
- Stars:Anna Friel, Joanna Lumley, Anna Massey, Phyllida Law, Greg Wise, John Standing, Nicholas Woodeson, Judy Cornwell, Prunella Scales, Geoffrey Robertson, David Ryall, Mohamed Al-Fayed, Megan Matthews, Rustie Lee, Badi Uzzaman,
- Director:Sara Sugarman,
- Writer:Sasha Hails, Kathy Lette (novel), Sara Sugarman
A single mother's postnatal state leads her on a race to save her child and her sanity. . You can read more in Google, Youtube, Wiki
Mad Cows torrent reviews
(gb) wrote: Fairly average entry into the DC animated universe.
(fr) wrote: To give this film a rating would be an insult to films everywhere.
(fr) wrote: Nazi ghosts? No thanks.
(nl) wrote: This MOVIE,is funny, emotional, and romantic. I haven't seen any other movie like this. The girl is really insensitive n most of the time extra mean, but he succumbs to everything she requests as stupid as that might be, it doesn't matter, he would just obey or pay the consequences. And of course LOVE begins. The movie has 3 sections, which work just perfect. The end is a bit twisted, they were destined for each other, whether they met earlier or later, they were just supposed to meet. I really liked this story, although I have never met a guy as stupid as this.
(ag) wrote: Is "Tales from the Hood" shooting for true profundity, or is it intentionallly a big goofy spectacle? It's hard to say: that so-bad-it's-good magic is hard to capture in a bottle, arising more often from painfully earnest intentions than from any above-it-all pranksterism (like those parodies of 50's scifi? dreadful). But there are just SO many bits here that couldn't have been imagined as being scary by, y'know, anyone, ever, and there are sundry bewilderments of a more fundamental sort as well. Take the segment that features one Crazy K, which begins as a barefaced ripoff, Clockwork Orange in the hood, then undermines what little point it might have been making by faking us out and going the route of "An Occurence at Owl Creek Bridge". There is no point and no moral to the story, just a big wtf.Accordingly it is the most earnest segment of the anthology that is the weakest, lacking as it is in this anarchic spirit. I'm thinking of the segment about the little boy and the monster, which is an unsubtle parable about child abuse. Even here, there's a bit of that wild magic, when the abusive stepdad, played by a cold-as-ice David Alan Grier (believe it), is reduced to rubber by the boy's lame superpowers.The other two segments are spectacular. Some white cops kill a black lawyer, who comes back as a magic zombie and kills them in ways that... Boy, there is not an adjective I know that will complete that sentence. Here's the play-by-play. Daune Whitaker pisses on his grave, so the zombie lawyer grabs him by the balls and pulls him screaming into the ground (a tribute to Peter Jackson's "Braindead", aight? everybody take a shot!). Michael Massee and Wings Hauser look on in horror as Whitaker meets his grisly end, and Hauser unloads his gun at the zombie lawyer's headstone for some reason before they beat a hasty retreat in their cop car. Somehow, though moving at a zombie shuffle, zombie lawyer catches up with the car and he pulls off Wings Hauser's head. Then he levitates some heroin needles and pins Michael Massee to a mural in a Jesus Christ pose. There is then a POV shot of a needle flying into Massee's mouth (clarification: not from the point of view of the neeedle, but from the point of view of Massee's uvula). Then Massee melts into paint and becomes part of the mural. Of course! It all makes so much sense! But hey, anybody: why is there a bottle of glowing green liquid inside the zombie lawyer when he gets ripped open? This was a little detail I didn't understand.As for the other segment, let me merely say this: I would watch a feature length movie starring Corbin Bernsen as a racist gubernatorial candidate menaced by little black claymation dolls. If all I can get is 20-minutes of that, then I can ask for no more. Hypothetical readers, as I type these words, tears of gratitude spill down my face. I am not kidding you.I would be remiss if I didn't give a shout-out to the great Clarence Williams III, who plays the hissing undertaker who relates these tales from the hood to three bored gangsters.
(fr) wrote: I really don't get why this is always rated so low, it's truly beautiful.
(jp) wrote: this movie was the bomb
(nl) wrote: Great family friendly movie
(br) wrote: In an engaging encounter between fantasy and reality, screenwriter Zach Helm in his 2006 American film, Stranger than Fiction, brings to life the journey one embarks on when finding themselves confronted with fate. Will Ferrell plays the main role of Harold Crick, a monotonous, average ISR auditor. Starring with him in this dramatic comedy are actresses Emma Thompson and Maggie Gyllenhaal and actor Dustin Hoffman. The film opens in a narration by Karen Eiffel (Emma Thompson) discussing the mundane, tedious details of Harold's robot-like scheduled life until one Wednesday morning when Harold begins to hear the voice narrating everything he does. The action rises as Harold begins to deal with the panic and bewilderment that accompanies his revelation. Harold is forced to step out of his safe and familiar everyday life into a world of uncertainty and excitement as he struggles to find out the truth behind the voice narrating his life. He meets rebellious baker, Anna Pascal (Maggie Gyllenhaal) and ventures into new territory as their romantic relationship unfolds throughout the film in a quirky and heart-warming way. Soon after meeting her, he finds himself at the door of Professor Hilbert (Dustin Hoffman), an expert in literature, to find answers about what the voice in his head means. Professor Hilbert helps Harold define the meaning of the voice by learning that the narrator is all-knowing because of a line Harold repeats out loud to him, "little did he know". The professor narrows Harold's fate into two options; his story is either a tragedy or a comedy. While Harold continues on his quest to define his story, the audience is shown that the voice in Harold's head belongs to writer, Karen Eiffel. Eiffel is a chain-smoking, strung-out author who is struggling with a bad case of writer's block as she tries to figure out how to end her story about Harold Crick. She is set with the fact that Harold must die eventually but cannot find it in herself to write his fate. As this action plays out the audience is confronted with questions about whether or not Harold will figure out Karen Eiffel is the narrator in his head, and above all whether or not he will ultimately be able to find a way to direct his fate. One aspect of this film that is particularly well done is the on-screen special effects that enhance the portrayal and impact of characters and their actions in a concrete way. The audience is able to literally see the calculations of Harold's mathematical brain as he counts every tile in the bathroom and performs mathematical calculations at work. The unique use of criss-crossing diagrams that detail the mundane, boring facts down to the number of times Harold brushes his teeth (76 times) helps the audience understand his personality and the structure of his monotonous life. Another aspect of the film that created an overall effective and endearing experience was the phenomenal performance of Will Ferrell as Harold Crick. In a more dramatic role than his typical well-known comedic previous roles, Ferrell pulls off the character of Harold Crick through effectively portraying each emotion experienced on Harold's journey to take control of his fate (bewilderment, panic, and uplifting liberation). The psychological trauma his character goes through is so effectively revealed in his facial expressions throughout the movie. An example of the way Ferrell portrays Crick's awkward social dynamics so perfectly occurs in a scene where he is talking to Anna Pascal at her bakery. He so obviously misses social cues with a straight face and rigid demeanour that leaves the audience laughing in true comedic fashion at his inability to understand her actions. Overall the film Stranger than Fiction is thoughtfully executed and stands in its own category of ingenuity. It strikes the true discerner and intellectual with the resonating message that our lives are impacted in all sorts of ways, in all sorts of small moments. This film shows that when we break free of the dull, mundane cloud of grey that can control our lives, we experience creativity and inspiration and reach a new height of living through learning what it really means to be alive. I would recommend this feel-good film to anyone looking for a heart-warming, light yet impactful film offering a fresh perspective on life and fate. I rate this 4 cigarettes out of 5 in honour of Karen Eiffel: Penny Escher: And I suppose you smoked all these cigarettes? Kay Eiffel: No, they came pre-smoked. Penny Escher: Yeah, they said you were funny.