PressPausePlay

PressPausePlay

The digital revolution of the last decade has unleashed creativity and talent of people in an unprecedented way, unleashing unlimited creative opportunites. But does democratized culture mean better art, film, music and literature or is true talent instead flooded and drowned in the vast digital ocean of mass culture? Is it cultural democracy or mediocrity? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world’s most influential creators of the digital era.

The digital revolution of the last decade has unleashed creativity and talent of people in an unprecedented way, unleashing unlimited creative opportunities. But does democratized culture ... . You can read more in Google, Youtube, Wiki

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PressPausePlay torrent reviews

Taylor h (ag) wrote: this movie is awesome!!!!

Dhaval P (it) wrote: Its a good film, and if you have not read 3 mistakes..then its a must watch! ;-)

Mark E (au) wrote: A good concept and premise, and the director did a lot with the very low budget but failed to make it all 'click'.

Lane Z (fr) wrote: Being a big fan of Korean cinema I'm pre-disposed to expect nothing less than excellence from everything coming out of their studios. Yea, it's unfair. It is, however, the highest compliment I can offer. That said, 'Moss' is kind of a mess.An overlong movie, 'Moss' took two sittings and a case of completion obligation to soldier though. As Roger Ebert once said, "No good movie is too long, no bad movie is short enough." And being an artist-for-hire I'm sympathetic to the question Mozart poses in response to his patron's editing request in 'Amadeus': "What notes should I cut?"Well, 'Moss' is not Don Giovanni. It wasn't built by connecting multiple strokes of genius into an unassailable masterpiece. It's a smallish idea of a mystery told in a puffed-up, convoluted manner to suggest that there's more here than there actually is. This may be read by some as "twisty". I found it a ponderous Rashomon-style misfire. A good example of how this film suffers (and didn't have to) can be found in one of the resolution scenes at the end.Two characters - who, for the entire film, have been at odds with each other - finally find common purpose. One or two lines of dialogue quickly establish that the bad blood is behind them and they've made peace. We, the viewer, get it. Nicely done. But NO! The director insists on an extended conversation beyond this point of understanding, whereupon one character says, "You're ok. We should have lunch. You're a good guy...", and so on. Such scenes read like notes the director made to himself to underscore character relationships, and then forgot to cut in the final edit. It could be misconstrued by the viewer as insulting to one's intelligence but it just feels like poor editing.Because 'Moss' is filled with overwrought scenes (some unintentionally comical like the above exchange), the eventual reveal feels way too little way too late. The power of the crime and cover-up at the heart of the story needed to have the weight to reward the viewer's commitment and justify the oh-so-important atmosphere of everything that preceded its explanation. By that point you just won't care.

Josh M (au) wrote: I shouldn't have bothered to see this movie. A horrible screenplay mixed with horrible acting mixed with a director that made a movie that just don't know how to entertain, sums up to the Max Payne movie. First off, the movie is really boring. I can't think of an action scene that lasted more than 30 seconds. So it can't be a good action movie. Because of the dissapointing performances, you can't watch it as if it were a drama. Basically, there's nothing to watch and there's nothing to think about during the movie other than thinking about whether you should leave the theater, turn off the TV, or if you should throw away the DVD. My score for Max Payne is 10%.

Alex B (br) wrote: " If you had a voice, take finance. "

Martin D (fr) wrote: Surprisingly taut and claustrophobic thriller. The script isn't always the best, but the good cast and confident direction pull it through.

Grant S (jp) wrote: Your average B-grade sword-and-scorcery movie, and a poor imitation of Conan the Barbarian (not that Conan was that good, but it was certainly better than this).

Johannes J (es) wrote: Easy Rawlins: "A man once told me that you step out of your door in the morning, and you are already in trouble. The only question is are you on top of that trouble or not?"

Richard M (jp) wrote: Directed by the man who did "Steel Magnolias" and "The Way We Were". This is a female road trip. I love this movie, but it tears me up every single time, mostly it's the way Whoopi sings the sad song at the end. I start bawling like a baby.

Pam L (au) wrote: This is another movie that makes me cry no matter how many times I watch it

Nicolas M (it) wrote: Nunca cre que un automvil asesino pudiera ser tan divertido, la simple idea me pareca absurda.Me retracto por completo

D M (it) wrote: This Pre-Code film featured a masturbation joke early-on. This film is listed as the first color horror. There is a series of murders that lead the police to investigate a local medical research institute. A journalist is also secretly following this story, and learns that the police let the head of the academy do his own investigation before the officials are let to do their own investigation. The Dr is a able to deduce at least one of his colleagues is guilty, so he uses his super lie-detector machiney thing. There are some cool graphics with the creepy synthetic flesh which at part looks like the Grandpa in Texas Chainsaw Massacre. There is also a clitoris joke (or at least thats how I took it!).

Matt B (jp) wrote: Carnage is far from amazing, but the cast and Roman Polanski's detailed miss-en-scne make it enjoyable.

Phillip M (mx) wrote: I, Robot provides a fun mystery with a few predictable, but interesting, turns. The mystery aspect is clever enough to keep you guessing without frustrating you to the point of taking you out of the movie. You'll care about it right up until the point you realize that the movie is actually a summer blockbuster and your thinking cap should be put on the backburner while you're bombarded with one action scene after the next.Outside of the movie's decent attempt at having a brain, I, Robot has a few other redeeming qualities that at least keep it in the neighborhood of a Folding Clothes Movie. Yes, Will Smith's solid performance is worth a mention, but ladies first. I have to show some love for Adrian Ricard playing the role of Granny. In her short-but-sweet time onscreen, she was every bit as entertaining and funny as Smith was. There's a special place in my heart for actors/actresses that can maximize their time, however long it may be and she certainly accomplished that mission.Taking place in 2035 Chicago, I think director Alex Proyas does a solid job of giving us a glimpse into what our future could look like. Interactive holographic messages can converse with you based on a predetermined conversation. Vertical parking garages free up space on the ground for Americans to build more nonsense. Self-driving cars allow you to kick back and read a book during your drive home. These little touches give the film that extra sci-fi touch that helps add to its magic and intrigue.And, yes, Will Smith did his thing as troubled detective Del Spooner. He has a certain charisma and energy that translates well onscreen. Not only is he funny (although over-the-top at times), but the emotion he is able to evoke provides for some pretty strong moments. There's one moment in particular where he's explaining how he came to have such a dislike for robots. This is a turning point for the viewer as you finally start to understand why Spooner seems to always have his guard up.There are a few corny moments that take you out of the enjoyment of the film at times. I don't know if Smith just has an awkward body because he's tall, but some of the special effects sequences involving him seemed stiff and unbelievable. In one scene, you'll find him surfing over debris on a door. Let that sink in for a moment...I could stop there and you would probably get my point, but there's one more moment that really sticks out: There's a scene where Smith is in a tunnel being attacked by robots. After getting a little bit of breathing room, he picks up the biggest weapon he could find, turns to the robots, and yells at the top of his lungs, "Come on!" Cheddar. Mozarella. Gorganzola. Take your pick, it was cheesy.I, Robot is the story of a man trying to get to the bottom of a murder that he is convinced was done by robots. What he discovers could end up being even worse than his original fears. It's a film that won't change your world, but is worth a watch for a good two hours of escape. I give it a 76.

Senor C (au) wrote: I had wanted to see this when I was younger because I wanted to see Caren Kaye naked & I must say she has a smokin body & after Matt Lattanzi sees her skinny dipping all he wants to do is bang her. Nudity aside this May/December romance is pretty annoying because of the immaturity. The only thing that is decent aside of the nakedness is that this has Crispin Glover in a eariler role where he couldn't get laid even if he went to Mexico

Steve W (fr) wrote: Nicolas Winding Refn directs an ethereal and trippy violent Viking story with Mads Mikkelsen as a hateful slave. He escapes his captors with the help of a boy, and joins up with a group of Christian vikings on a doomed journey to the Holy Lands that would make Werner Herzog drool. The movie is not afraid to be too arthouse, with crappy CGI blood one moment and reflective usage of cairns and baptism for its final scenes. The performances and themes are very very subtle, so is a divisive film for all viewers. I dug it, but it wasn't altogether amazing.