An impoverished farmer's threat to end his life invites attention from politicians and media.
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Peepli (Live) torrent reviews
Emily Y (de) wrote: I like this movie! It touched my heart. I like the characters, I like reading books, doing sudoku. I related to the feelings that one develops such attachments and somehow has to cut it. I feel sad, but it is probably a good end.
Tristan P (jp) wrote: Categorized as a horror film. But it's more of a romantic, psychological thriller. Amanda Ooms is convincing and likeable as the lead heroine, who is condemned to become a wolf once a month.
Valentina K (es) wrote: Meh. A typical high-school comedy that isn't very funny nor endearing. Well acted, though. Wish the screenplay was better.
Michael M (ru) wrote: Another movie that has some high points (some pretty fantastic not entirely CGI action scenes) and it's low points (Vin Diesel's "acting") but all in all it's worth another watch if you haven't scene it since '02.
Forrest P (us) wrote: Every single goddamn attempted joke in this movie fails. Every single goddamn character in this movie is an irritating and inhuman waste of flesh. Every single shot in this movie made me angry. This movie was a Judd Apatow "wannabe" before Judd Apatow even got going. Whipped stars four actors--Brian Van Holt, Judah Domke, Zorie Barber, and Jonathan Abrahams--as four incredibly selfish, incredibly sexist, and incredibly shallow human beings. I hated them the moment the started talking and inserted dick joke after dick joke. And not a single one of them is funny. This is a good example for all those people who complain that crude humor is too easy. Because it's not. This film clearly shows that crude humor has to be treated carefully in order to have any sense of coherence or decent funny reaction from the audience. Four guys sitting in a diner for twenty minutes talking about how awesome they are at having sex with women does not constitute good humor in my book. And besides that, the film does nothing to redeem itself. The characters are so completely unlikeable in every scene that they're in that I could not care when or where or how or if they had sex with Amanda Pleet's character. I mean, the premise of the picture isn't too bad, I guess. Four self-centered womanizing buddies fall in love with the same woman. There are a lot of opportunities in there to make a great statement. But the film elects instead to just show these selfish, callous human beings for exactly what they are. The reason movies like Superbad and Knocked Up work so well is because we can really like and relate to the guys trying to get the girls, even if they are crude. That never happens here. So, does this film have any redeeming factors? I'm about to surprise you: Yes. The very last scene of the film prevented me from putting this on my "Most Hated" list. ***Warning: Here There Be Spoilers*** During the very last scene--literally the last five minutes of the picture--the film begins to try to redeem itself. And to a degree, it does. How does it do this? By trying to balance out the great sexism it had been playing to the entire time. In the last scene, it is revealed that Amanda Pleet's character had purposefully tried to get the three men to fall in love with her just so she could "play" them. In other words, she was just as self-centered and callous as the other guys. This is a very interesting perspective--to have the girl be just as shallow as the guys to show exactly how shallow they are. It actually comes out to be a decent scene, but it does little to make me enjoy the other hour and fifteen minutes of the picture. *** In spite of that scene, this movie is too irritating and too randomly sexist for me to enjoy. I hated most of the picture and disliked the characters to a degree that baffles even me. And plus, to add insult to injury, it's just not put together well. The editing is choppy, the camerawork is sloppy, and a lot of the direction is staged poorly at best. And, of course, it is just plain UNFUNNY. 1/10
Alex K (ca) wrote: The 3rd is here and the series is still going strong.
Ola G (ag) wrote: Tri-Oceanic Corp has hired a crew of undersea miners to do a 90 day mining operation on the bottom of the Atlantic Ocean. The head of the corporation, Miss Martin (Meg Foster), has employed Steven Beck (Peter Weller), a geologist, to assist in mining operations as well as command the undersea mining station. While outside their vessel in a pressure suit, brash worker Sixpack (Daniel Stern) trips and stumbles upon a wrecked ship. Because he didn't respond to hails over his radio, Williams (Amanda Pays) goes to look for him and finds him excited over a "treasure" chest he has found. The research specialist and local physician, Dr. Thompson (Richard Crenna), sees that it is a Russian ship and identified the ship as the "Leviathan" from it's markings. When checking on records of Leviathan, the crew discover that it is still marked as an active ship on duty in the Baltic Sea. Meanwhile, Sixpack and the rest of the crew open a safe from The Leviathan and find several crew records relating to deceased crew members, as well as a video tape from the doctor of Leviathan. Among the materials, Sixpack finds a flask of Vodka. There being no alcohol on their own ship, he hides this for his own use later. Bowman (Lisa Eilbacher) figured out Sixpack had hidden away the Vodka and persuades him to share it. That night, Dr. Thompson and Beck review the videotape of the Russian doctor of Leviathan and believe his medical log was cryptic over the crew's poor health condition describing his infirmy filled with sick crew members and that "something's off" before the tape suddenly ends. They also went through the video tapes of Leviathan and noticed the hull was possibly hit by a torpedo. The following morning, Sixpack awakes feeling sick, with lesions throughout his back. The doctor is unable to offer any explanation for why Sixpack ended up like this. He asks the computer for an opinion, and it respondes with a "guess", suggesting "genetic alteration." Sixpack dies eight hours after first feeling sick, but the doctor and Beck hide the news of his death to avoid a panic amongst the crew. Beck and Thompson understands that something strange is happening related to the Leviathan. The question is how they can stop it...In the wake of "The Abyss" this Alien/The Abyss/The Thing rip off came out a year later. Directed by George P. Cosmatos and with a pretty ok ensemble this is, well a lot better than "Deep Star Six". Its a claustrophobic B-horror piece that as said rips off all sorts of things from the mentioned movies, but I reckon thats ok in my eyes. I reckon the minus is the (as in "Deep Star Six") creature in the movie, which is maybe a bit too campy and not so well made (even if they worked pretty hard on it from what I know). At least when reseeing it so many years later. Had forgotten about the lovely Amanda Pays and nice to see Lisa Eilbacher as well. Not too bad, but not overwhelmingly great either.
Erica S (au) wrote: I watched this when I was a kid, and still to this day I try to find this movie.. I love the killer guitar :D
Weul S (fr) wrote: A grizzled veteran catcher & sultry literate aficionado help mold an up-and-coming pitcher. Baseball is boring & baseball movies are barely any better.
Jeremy R (ca) wrote: One of the funniest movies I've ever seen. An underrated classic. Robert Townsend created a gem. Really shows the blaxploitation with African Americans in film which still goes on today.
Juliano K (nl) wrote: exctalty what I would expect!=)
Blake P (ru) wrote: "All you have to be at twenty-three is yourself," a character reassures Winona Ryder's Lelaina after an occupational crisis leaves her feeling worthless in 1994's "Reality Bites." But such positively-minded messages are easier said than done when one's life appears to be crumbling uncontrollably. Following a five year stint at a respected university, most expect to find success immediately, and the lull that oftentimes occurs shortly after graduation commences is capable of being soul-crushing. You can thumb through the autobiographies of all your childhood heroes and notice that the majority of them did not become icons in their mid-twenties all you want, but when you have yourself to live with and you're not meeting your own high standards, it's hard to tell yourself that good things are waiting around the corner when everything seems to be falling apart. In the twenty-two years since its release, "Reality Bites" has become a touchstone in the capturing of the woes that befell Generation X. Arguably, few other movies have so authentically portrayed the confusions and the lows of being a young adult trying to navigate the world. Its Helen Childress penned screenplay beautifully engages with the youthfully scary unknowns of marriage, professional happiness, and personal contentment, and the direction, by a twenty-nine year old Ben Stiller, validly characterizes such adversities and makes them universal. The film follows the trials and tribulations that overtake the lives of a quartet of friends in the wake of college graduation. Their leader, Lelaina, was valedictorian but is struggling to find the right job in a field that isn't ready to have her. Her sidekick, Vickie (Janeane Garafolo), declares that all she learned in college was her Social Security number; currently, she's working as an assistant manager at the Gap, covering her misery in wry wit to tell herself otherwise. Sammy (Steve Zahn) is perhaps occupationally steady but is nonetheless tormented by his still being in the closet; and Troy (Ethan Hawke), whom Lelaina head-scratchingly considers to be her best friend, is a slacker who reassures his ego that his coffeehouse homed musical performances will eventually go somewhere bigger than himself. We'll never know if these characters do end up finding the happiness they're all so desperately seeking -- focused on are their attempts to get to that point -- but while "Reality Bites" exceptionally distinguishes the frustrations of its characters and intelligently brings empathetic urgency to the bountiful dissensions that overwhelm people in their twenties, it fails in the creation of its central conflict, which is the love triangle that exists between Lelaina, Troy, and an older man, Michael (Stiller), who's also professionally interested in her. Childress is convinced that the right guy for our leading lady is Troy, despite the fact that he's a selfish poser who reads ponderous novels immersed in existentialism as he combs his greasy hair and strokes his three-day beard, waiting for his next opportunity to humiliate her. He treats her badly more than he treats her right, but we're made to believe that it's all a ruse to cover inner conflict. He doesn't really mean to be so bad; some people are just unconventional in how they show their love for someone. But supposedly Michael is miles worse, if only because he accidentally botches Lelaina's shot at notoriety. Though he's more considerate of, more interested in, and more patient with her than Troy could ever be, he's made as the film's villain, a backwards notion that dramatically inhibits "Reality Bites" from being the great movie it has the potential to be. When a film doesn't seem to know its characters as well as its audience does, irreversible is the damage done to its overarching success. And so the movie is only occasionally terrific, greatly hindered by the reality that maybe it isn't so wise after all. But Ryder is luminous, Garafolo an embodiment of barbed shrewdness, Hawke genuinely detestable. "Reality Bites" is excellent until it isn't anymore, and it's a shame that it undermines its acumen with the forced fakery that it mostly curbs.
Eric J (ru) wrote: The November Man is a much better movie than the critics, and Flixster users say it is. If you watch a movie to pick it apart then don't bother watching them. They're movies, fiction, make believe. If you watch movies to be entertained and involve yourself with the character(s), you should enjoy this movie as I did.
stefano l (br) wrote: I have to admit this kind of cinema is not my favourite, and I cannot say anything else that Upstream Color could well be the best example of abstractism and american experimental cinema (directly quoted from a critic), but I wouldn't be able to appreciate it. I tried to simphasize with the characters but I was not able to get involved with them, except maybe for a brief moment, that went away just as it came. Visually I found Upstream Color amazing and very strong, with a choice for the music nearly obsessive. The fact is not surprising if you consider that these two elements are probably the pillars of the movie, but again I didn't appreciate the movie and for more than half of the lasting I hoped that it would end soon.
Danielle C (br) wrote: Fun & made me smile!!
Carlton R (br) wrote: Classic Horror about a group of soldiers in Scotland who come across a gravel pit which emanates an unusual amount of Radiation, many deaths follow,and of course the team must find a way to stop this radioactive horror. Lots of well known stars, good acting and a good story, make it a compelling budget thriller, The special effects are well done for the time,Look out for Johnny Briggs, I think, But he was later in coronation street