Richard Pryor: Live and Smokin'

Richard Pryor: Live and Smokin'

Richard Pryor: Live & Smokin' is the first stand-up act of Richard Pryor to be filmed out of the four that were released in total. This film was filmed in 1971 but not released until 1985, on VHS. This was the first stand-up act that Pryor did before he hit the mainstream audience. With only 48 minutes of footage, it is the shortest of Pryor's stand-up routines.

Richard Pryor delivering his one-of-a-kind routine. One of his earliest live performances in 1971 at the Improvisation in New York. . You can read more in Google, Youtube, Wiki

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Richard Pryor: Live and Smokin' torrent reviews

Ayrton Anthony C (jp) wrote: Felix Herngren hace un estupendo trabajo al convertir esta pelcula con un humor tan absurdo, en una trama intrigante y satisfactoria para quien la vea.

Amanda H (ru) wrote: I liked it a lot more than I expected.

Alejandro O (kr) wrote: a good story and average acting. Its one of them stories that would motivate u to get some things goin in your life :)

Robert H (ag) wrote: Elite Squad shows potential but ultimately doesn't deliver enough to truly make it a great film. It is a great look at Brazil and their slums, police corruption, and the military style with which a country might have to fight something like gangs and drugs.The sequel to this film manages to improve on it and produces a much better viewing experience. Both are long in the tooth but the sequel never feels it.Elite Squad is a good starting point for Jose Padilha's cop series, but it has better shots coming down the barrel.

Brendan N (au) wrote: poor film that tries hard but it honestly came across as a boogie nights wannabe

Carlos M (mx) wrote: A film of sheer formal beauty, with a gorgeous cinematography and an enthralling allegoric story about the subjection of women in a patriarchal society, but it is infuriating how it collapses in its last forty minutes, turning into a melodramatic soap-opera with a terrible ending.

Geno Peppino (it) wrote: Growing up as a child in the 80s there were a few things I'd been exposed to in film that scared the shit out of me. Nuclear War, anything from poltergeist, and the aliens from Strange Invaders. I'm happy to report that even after renting the movie, and re-watching it more than 20 years later, it is still creepy. They are some of the best looking aliens ever brought to the screen. The movie itself is entertaining, and draws on the mid to late 1950s alien films for inspiration. But really, see it for the make-up effects and you won't be disappointed.

neil L (gb) wrote: Colossus - The Forbin Project is a weird old film about a supercomputer that takes over the world. What I loved about it was the outdated technology and the retro look of the film. Plus, its a cool idea.

Omar K (mx) wrote: Italian Neorealism, otherwise known as the Golden Age of Italian Cinema, was a term coined for the Italian national film movement, like the French New Wave or German Expressionism, which dealt with the difficult economic and moral conditions of post-World War II from the perspective of the working class. But, Neorealism went further than just the aftermath of war; it got to the crux of the Italian psyche and characterised the changes to the conditions of everyday life. Vittorio De Sica??s film, Bicycle Thieves, known in Italy as Ladri di Biciclette, had an enormous impact on world cinema for its honest depictions of post-war society, influence on future filmmakers and simple yet universal meaning, suggests Bicycle Thieves is an indelible film for every generation as its content relates to everyone, some more than others. Made only three years after the worst war in history, Bicycle Thieves is undeniably an indication of a post-war bitterness that infected many. Bicycle Thieves follows the life of a poor father, Antonio Ricci, whose family, a wife and young son, are on the verge of becoming impoverished during post-World War II Rome. After attaining work and earning enough money to buy a bicycle to travel there, Antonio??s bike is stolen and the film spends time searching with Antonio for his bicycle, without which he will be unable to work and in turn support his family. On this quest to retrieve his bicycle, Antonio bonds with his young son and comes to terms with the despondency the post-war strife instilled into people. Bicycle Thieves essentially utilises something so simplistic in a bicycle and through this emblem makes scathing indictments of post-war society. A typical aspect of Neorealism is the use of non-professional actors to add to the sense of underlying realism. Lamberto Maggiorani portrays Antonio Ricci, a blue-collar worker desperate for work to support his family. Maggiorani has the look and the appeal to pull off the protagonist. With an almost withered-looking face, eyes of intolerable desperation and a sense of universality to his general appearance, Antonio could be played by anyone because the post-war discord affected everyone... but Maggiorani is faultlessly brilliant. Enzo Staiola is Bruno Ricci, Antonio??s son. Staiola??s young appearance should not taking anything away from his acting as he stands side by side with Maggiorani for the entire film. Staiola??s plucky performance serves the father-son relationship well for his perceptiveness proves that his character is as profound as Antonio. It is the script that allows Maggiorani and Staiola to thrive because by focusing on two characters and their quest, it becomes possible to immerse oneself completely in the story and mould an understanding of how the context of 1948 affected civilians. Bicycle Thieves?? lasting success lies in the fact that it is so simple in its representations of post-war society, yet the magnitude of these depictions is immense. Its simplicity, or ordinariness, comes in the form of the bicycle being used as a major plot point, white sheets are integral, the protagonists have lunch in a restaurant, then move on to a market, church and football stadium. Even the black and white footage heightens the sense of reality as it lays bare the city and characters for the audience to assess. These mundane elements are so integral to the film that as a collective their significance becomes amplified and they then take on a critiquing function towards society. The manner the regular locations, meanings behind scenes and the bare authenticity of the acting compliment each other emphasises the hopelessness of the society these characters inhabit as the mirror image of the actual society of many nations after the war. Although considered one of the greatest foreign films ever made, Bicycle Thieves is undoubtedly the greatest Italian film to be created, surpassing the likes of Life is Beautiful and La Dolce Vita with this title. Not only did Bicycle Thieves influence the filmmakers that have influenced the current crop of filmmakers, it has become a timeless film that is now utilised as a source for educating film. Nowadays, black and white flicks are ignored for being boring to watch and out of touch with society, as they lack the visually ecstatic blockbuster material needed to whip up a storm. But, because not much attention was paid to the visuals, everything else is rich with more depth than you could imagine. Bicycle Thieves is a classic in achieving the ??less is more?? look because who would have thought that a man searching for his bicycle would have profound contextual connotations and a critical stance over the detriments of society. Many countries have their own films to represent the effects of war, with America it is more visibly dramatic and emotional, for Britain it is a gritty, war-torn land with strong individuals, but for Italians the straightforwardness of their depictions revealed the true face of a corroding society. The Verdict: Created only three years after the end of World War II, Bicycle Thieves is very much a symptom of the post-war struggles inflicted upon society, for its simplistic approach to such a complex condition renders it powerfully meaningful. ???????????????????? 9/10

Jareth S (jp) wrote: One of the most underrated Hammer horror films. Clemens had some interesting ideas regarding vampire mythology and all the James Bond gadgetry. I'm a bit upset that Brian Clemens never got the chance to do any more Kronos films, since this one was so much fun. I think I heard that they had wanted to make this a tv series at one point.

Ian C (us) wrote: Loved it, great movie