Porgy and Bess
Set in the early 1900s in the fictional Catfish Row section of Charleston, South Carolina, which serves as home to a black fishing community, the story focuses on the titular characters, crippled beggar Porgy, who travels about in a goat-drawn cart, and the drug-addicted Bess, who lives with stevedore Crown, the local bully.
- Stars:Sidney Poitier, Dorothy Dandridge, Sammy Davis Jr., Pearl Bailey, Brock Peters, Leslie Scott, Diahann Carroll, Ruth Attaway, Claude Akins, Clarence Muse, Everdinne Wilson, Joel Fluellen, Earl Jackson, Moses LaMarr, Margaret Hairston,
- Director:Otto Preminger, Rouben Mamoulian,
- Writer:Dorothy Heyward (play), DuBose Heyward (libretto), DuBose Heyward (play), N. Richard Nash (screenplay)
In this legendary Gershwin opera set among the black residents of a fishing village in 1912 South Carolina, Bess - a woman with a disreputable history - tries to break free from her brutish... . You can read more in Google, Youtube, Wiki
Porgy and Bess torrent reviews
(ag) wrote: Looks nice, but didn't have much in the way of plot. The little plot it did have concerned characters that I didn't care much for. Looks very stylish, though. There is a lot technically that I like about this, but it couldn't save the script.
(us) wrote: Good action flick. Love Gene Hackman in this role.
(gb) wrote: Though some will see it as juvenile, the hilarious father-son chemistry between Ferrell and Duvall makes K&S worth viewing.
(es) wrote: Chow Yun Fat , the coolest guy on earth when it comes to action flicks and so far he have managed very good indeed. This is an early 90's movie and he did some really great flicks like The Killer and Hardboiled at that time. Full Contact doesn't quite reach that level im afraid. There is alot of action scenes which were really nice and a fair story aswell but overall it falls behind some of his greater flicks but still this is action at its best nevertheless.
(us) wrote: Tough-as-nails police detective Robert Malone (Williamson) must protect a beautiful fashion photographer from a gang of psychopaths after she takes a picture of their leader (Landgren) during one of their many murder sprees. But can even Malone succeed against a gang willing to kidnap a police chief's daughter to get get what they want? "Black Cobra" is, for most of its running-time, a perfectly average low-budget action film that ripped off... oh, sorry... [i]inspired[/i] by the early "Dirty Harry" pictures. In fact, the Dirty Harry connection is so strong that the movie looks and feels like it dates from the 1970s (despite the fact it was made in the late 1980s) and Williamson delivers a speech that's a near verbitum copy of the famous "do you feel lucky?" speech from "Dirty Harry". So, if you're not too picky, this film will entertain with its not-terribly-original plot, setting, and characters. (Although, I think Robert Malone is probably the only movie tough guy who is cowed by his pet cat, a touch that I found to be one of the nicest elements of the film and probably the only bit of originality in it.) On the other hand, the film really goes south in its last 15 or so minutes, so you're well-advised to stop the film after it copies the demise of Scorpio scene from "Dirty Harry", because you see a nonsensical return of a dead villian, one of the worst and completely illogical car chases ever put on film (how DID they get from an upscale restraunt into an abandoned string of warehouses?), and more proof than you'd ever want to see in a wide-release film that the filmmakers really had no idea how to bring things to a satisfactory close. With so-so acting (Williamson was better even in "Fist of Fear, Touch of Death" than he is here), a script with everything except a tiny kitty-cat begged, borrowed and stolen from other films, and a pathetically executed ending, "Black Cobra" isn't a movie to go out of your way for; it barely rises to the Five Rating I'm giving it. But it's got enough well-handled cliches to be fun, and it would definately be a fine addition to any Bad Movie Night line-up. Black Cobra Starring: Fred Williamson, Eva Grimaldi, Karl Landgren, Vassili Karis, and Maurice Poli Director: Stelvio Massi
(au) wrote: I had never seen this movie before and it is now one of my favorite movies of Clint Eastwood's many movies. But I have to say that the orangutan stole the entire movie away from the rest of the cast.
(de) wrote: With the standout scene being a naked Kirk Douglas kicking a leather clad Harvey Keitel's ass, this film otherwise manages to be jarringly un-fun for it's seemingly endless 88 minute running time. It's the decision-making that went into this film that is the real horror.
(ru) wrote: Bette Davis was great in this, as was Humphrey Bogart. The story could have been better but it's definitely worth watching.
(nl) wrote: Robert Townsend's Hollywood satire is quick, funny, on-point, and fortunately a little prophetic.
(fr) wrote: I am not gonna lie, I watched this for Simon Pegg purposes only. But yeah, nothing special. It seems to me like sunny rocknrolla wannabe with less grace and lot less humor and style. Nevertheless, the first half of the movie got me interested enough and I loved the scenography and sounds, so it's three stars from me. For should be point out though it fact, that this most deffinitely had potential to be bigger than what came out of it.
(au) wrote: Fun and interesting.
(it) wrote: For my money, Wes Anderson just doesn't get any better than this. The Royal Tenenbaums is where he strikes that perfect blend of heartstring and humor, spontaneous weirdness and obsessive attention to detail. The family itself has enough history to carry an entire franchise, but the film doesn't bother to wallow in it for long; there's just too much going on in the foreground to spend more than a few savory moments on back story. Loaded with talent, it pulls everything from its cast. Whether it's Gene Hackman as the conniving, two-faced patriarch with a sudden need for intimacy, Anjelica Huston as his long-sacrificing ex-wife, Ben Stiller, Luke Wilson and Gwyneth Paltrow as their never-had-a-childhood offspring, or the vast array of eccentric, colorful supporting characters, it's tough not to appreciate each as a leading-caliber performance. The Royals' tale is vivid and real, emotive and wounded but also spirited and playful. It resonates in a modern setting, especially, when so many of our friends' and family members' tightest circles are similarly dysfunctional. Layered and complex without feeling superficial or overstretched, it's a whole bundle of emotions, flavors, sights and senses smashed into a single, rich, evergreen portrait. I feel this one in my heart's private pantry and my stomach's deepest pit. Wonderful.