Rowan Atkinson: Not Just a Pretty Face

Rowan Atkinson: Not Just a Pretty Face

Rowan Atkinson and Angus Deayton in Boston doing a live performance of the same styles of humor we've seen in Mr. Bean and Blackadder. Included are lessons on Shakespearean acting, a school headmaster meeting with the father of a boy he's beaten to death, and tips for having a successful date.

Rowan Atkinson and Angus Deayton in Boston doing a live performance of the same styles of humor we've seen in Mr. Bean and Blackadder. Included are lessons on Shakespearean acting, a school... . You can read more in Google, Youtube, Wiki


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Rowan Atkinson: Not Just a Pretty Face torrent reviews

Andy P (br) wrote: The Dardenne Brothers channel Ken Loach and Vittorio De Sica with what feels like Kes with nods to Bicycle Thieves. The Kid With a Bike may not be the equal of those towering classics, but it's a film that depicts a side to growing up rarely portrayed as honestly.

Rachel M (us) wrote: i like the eye candy Brandon Routh. however, i don't like this movie though. boring!

Manda S (gb) wrote: I'm pretty sure this is the worst horror movie I've ever seen.

Nick C (ca) wrote: Pretty Duff. in the same way as he made 'White Chicks', Terry Crews also provides 90% of the laughs in this film. the Shawshank redemption references get old after a while and this is probably a film to watch while smoking a joint or something, even then in a heightened state of bakedness I reckon this film would have been tedious. I just got chumpatized for watching this.

Leo L (ag) wrote: This is a phenomenal movie! Amitabh gives a stunning performance! John and Salman are outstanding as well! In this movie, it is Amitabh's character, Balraaj, that shines throughout the movie. This movie is indeed a tearjerker and heartwrenching, but it also reminds one of the value and significance of friendship and family, especially that of the relationship between parent and child. Throughout the film, I couldn't help but wipe stray tears for the fact that it is simply amazing to see such love, affection, and caring that one single person, a father nonetheless, could feel for his loved ones. The hardships that a family has to go through after losing a loved one, but none less likely than that of a father losing his son/best friend (as Balraaj loses his son, his buddy, Avi). A scenic example: Balraaj witnesses the pain that his daughter is feeling after the loss of his son. He appears at the balcony and begins looking up at the stars, and begins talking to his son (but really talking to himself in comfort). Two great musical compositions give effect to the emotional states that each character are in: One would be Rajat performing at a concert that Millie and Balraaj attend. ("Bebasi Dard Ka..."). The other is simply used throughout the film, but the best portion is at the end/credits ("Kehta Hai..").

Kristen P (jp) wrote: Another Robert Rodriguez movie I love, with an outstanding performance from Benicio Del Toro.


Cathleen K (es) wrote: i dont know what was missing in this but i didnt feel it was as powerful or as good as "9 souls" -- perhaps i need to watch it a second time to get everything that was going on or maybe i am just tired of high school angsty films.

Felix C (mx) wrote: (Upcoming Review) Rating: 8.2/10

Toby C (br) wrote: Maybe not quite as good as the first two, this third film in the series is still one of the best action movies of the 90's. With Samuel L Jackson co-starring, this film is not disappointing at all.

Aaron E (ca) wrote: There is a reason why Scott Bakula is only known for Quantum Leap

Richard N (ca) wrote: This movie is something of an enigma. The best way I could describe it is that it's sort of like one long extended dream sequence, heavy use of soft focus, slow motion, haunting score, yet ultimately it leaves you desperate to find out the fate of the missing schoolgirls, but deep down knowing that you probably never will. Upon first viewing I recall Picnic at Hanging Rock made a deep impression on me, due in no small measure to the haunting beauty of Miranda, the embodiment of a tragic, ethereal yet forever beautiful "dream within a dream".

Arjun C (nl) wrote: This film has a very interesting and original plot, which is more than I can say about a lot of B-grade movies. The gore in this movie is also entertaining, though not exactly realistic. However, this film gets very repetative halfway through and just started to bore me.

Caroline R (ru) wrote: This is my favorite movie of all time. I really like Roman Polanskis movies. This one is funny with great characters. Also it's not incredibly long like so many movies now adays. I love this movie so much.

Cameron J (nl) wrote: "Woah, we're midway there, woah, livin' on a prayer"! Yeah, sorry about that anachronism which is so great that the song is somehow not even as old as this film. This film is so old that it features Charlton Heston... Henry Fonda, James Coburn, Glenn Ford, Hal Holbrook, Robert Mitchum, Cliff Robertson, Robert Wagner, Toshiro Mifune and, if you can actually find him in this sea of faces that are recognizable without moustaches, Tom Selleck. Wow, this is a heck of a cast, although, in all fairness, Fonda might just be here to make up for "Battle of the Bulge", because this is, of course, yet another one of those overlong, star-studded war films that's just about one big battle. That's only sort of worked up until now, but here, you do have to at least give this film credit for not being, like, three hours long for no good reason. Mind you, it's still 132 minutes long for no good reason, but that's still less than "midway" to the five-hour runtime that "The Longest Day" felt like it had. Well, I suppose this move has worked out, because, wow, this is surprisingly good, although, like its predecessors, it drags its feet at least enough to pick up some issues somewhere along the way. The film stands to feel much more manufactured, but war pieces of this type thrive on realism, thus, when the film resorts to contrivances, perhaps even histrionics, no matter how moderate, it kind of annoys, thought that might simply be because its laziness is exacerbated by familiarity. Yes, I ramble on about how this war film which relies a lot on rambling on is, oddly enough, nothing new, but this is a rather formulaic both dialogue and action-driven military pseudo-epic, made all the more familiar by a few clichs to dialogue and characterization that, at this point, really help you in getting used to the natural shortcomings of this formula. There's a potential to this ambitious story concept, and this film explores it about as much as any of this type, but, as we've seen in "The Longest Day", "A Bridge Too Far", "Battle of the Bulge", and so on and so forth, the reliance on dramatically slim military babble, followed by exhaustingly extensive action threatens compellingness with a thinness that shouldn't go drawn out, yet typically is. Perhaps this film's being so much shorter than others of its type is instrumental in the final product's feeling tight enough to not stand as too great of a challenge to one's patience, but alas, at about two hours and a quarter, this film is still way too blasted long, meandering alone with repetitious dialogue and action set pieces, and even getting a tad overwrought with its plot layering. The narrative is also not as heavily branched as other of its type, yet when you get down to it, there's way too much going on here, and only so many of the plot branches are particularly distinguished, which isn't to say that you can't get enough of a sense of distinction between the story layers to feel when one is jarred out of the narrative, resulting in a focal unevenness that slowly, but surely devolves into convolution. It's hard to figure out what's going on here on occasions, and at times, it's admittedly harder to get invested in the first place, because no matter how much more realized this realist military battle epic is than its counterparts, a manufactured-feeling, formulaic and, of course, overblown structure threaten to way momentum down to an underwhelming point. Of course, in the end, the film really delivers more than I expected, in storytelling, that is, for it delivers about as much as I figured it would when it comes to technical value. Well, beyond some extensive designs of military property that are just subtly varying enough to not run together too often, it is a long while before technical value is really played with, but once it is, it typically arrives in the form of some flashy traditional effects along crippling sets that supplement a sense of scope and believability to the action which will need all the help it can get if it's to be so ambitious. After a long, long build-up, the film turns to extensive action for a long while, in the style of other realist action war flicks, and it delivers to the patient with technical value and staging so prolific it's hard to not be at least a little immersed. Jash Smight's stylistic directorial tastes deserve much praise for selling the action as gripping heights in tension and entertainment value, but until those heights, it's not as though Smight commits the common sin of allowing this often talky war drama to get too dull, keeping scenes tight enough, or at least livened up enough - partly by a formulaic, but solid score by the great John Williams - to rarely lose some degree of intrigue, perhaps even intimacy with the characters who drive this ensemble piece. I'd say that the intimacy derives from Smight's working so well with the performers, but the filmmakers spare no expense in building a solid cast full of distinguished talents, all of whom do what they can and ultimately endear with charisma and chemistry so naturalist that you further feel thrusted into this environment. Really, many strengths are subtle, but that subtlety actually plays a huge part in making the final product so compelling, as comfortable inspiration in a lot of departments immerses, whether there be military, if not melodramatic chatter or booming action on display in an interesting idea. You'd figure that a narrative revolving around extensive military strategizing which ultimately comes down to an extended combat segment would be unique, but, as I've said time and again, it's been done time and again, by underwhelming mishandlings of overambition, and yet, it's still intriguing and promising, and actually pulled off here, largely because of the intelligent direction, and charismatic acting, and largely because of a script by Donald S. Sanford that, for all its bloatings, conventions and inconsistencies, actually finds that balance between tight, yet extensive military realism - colored up by some snappy, if typical dialogue - and genuine, if overblown characterization that has been missing out of potentially rewarding war films of this type. Once again, it all ultimately comes down to the subtle strengths that go a long way in making this a thoroughly interesting and grippingly tense war drama which ultimately rewards, albeit barely, yet nonetheless decisively. In the end, through all of the contrived occasions and many conventions to a somewhat dramatically thin story concept whose interpretation is extremely overdrawn and convoluted in its focal inconsistencies, excellent technical proficiency and action, flashy direction, charismatic performances and a mostly narratively and thematically tight script render Jack Smight's "Midway" a surprisingly rewarding military battle epic that intrigues and entertains thoroughly. 3/5 - Good