You may also like
Sacred Earth torrent reviews
Lilian L (nl) wrote: 4 starts for Bob hahaha. Guess he is the number one animal actor I've seen so far. Too cute <3
Jerry R (it) wrote: I have to admit that ever since news of his death from lung cancer in 2001, I hadn't given much thought to Morton Downey, Jr. Not to seem unkind, but truthfully, there wasn't much to think about. Downey's legacy in television history is so forgettable that the subsequent generation has no idea who he was. If you've ever seen "The Morton Downey, Jr. Show" you probably have an idea why.For 20 months from 1987 to 1989, Downey ran a self-titled TV talk show that was part-riot, part-circus, a little bit Jerry Springer, Rush Limbaugh, Bill O'Reilly and a dash of Michael Moore. What would come of his show would be an example, not for others to follow, but for others to correct upon. Downey's show was a loud, obnoxious and fairly monotonous platform of screaming and bullying, the format of which (he said) was to give a voice to the silent majority. Actually, it was a textbook case of ratings at any cost - Downey wasn't shy about this. It was a platform for cheer-leading sensationalistic bad behavior. His audience, comprised mostly of young college kids, behaved as if they were attending a hockey game. Downey screamed in the faces of every kind of guest from vegans to the gun nuts to the KKK and even celebrity guests like Ron Paul and Alan Dershowitz. Famously, he clashed with Al Sharpton over the Tawana Brawley incident, in which the young woman falsely claimed that she was raped left for dead by six white men and then covered in hate slogans and feces. The story would be exposed as a fraud, and it would be the first of several incidents that would bring the show to a sudden stop.The new documentary "vocateur: The Morton Downey, Jr. Movie" examines Downey's brief rise and quick demise from television. This is a professionally-made, talking-head documentary that features interviews with former colleagues, family and friends who try to help us get inside Downey's head to figure out what drew him to become the screaming meemie of late-night television and what personal demons drew him to television and what led to his eventual downfall.We learn that he was a bitter man, the son of a celebrated Irish Tenor (whom his son loathed) who was a friend and neighbor of the Kennedys. The junior Downey grew up in the shadow of his old man, even attempting to launch a singing career of his own. His singing voice was competent but unremarkable. His looks weren't exactly top drawer either. He bore a strange resemblance to Don Knotts. Despite his familial legacy, Downey would become a walking irony. He would make his living destroying his voice, by screaming on television and chain-smoking four packs a day.Downey would prop himself up as the voice of the angry right-wing Republican, sort of an Archie Bunker with a lectern - even down to the smoking habit and the white collared shirts. His show wasn't exactly insightful. Fellow talk show host Sally Jesse Raphael remarks that his show was "that prurient excitement of not-nice people saying not-nice things." His show would turn talk shows on their heads. The common thread of talk shows in the mid-80s was the polite, conversational style of Phil Donahue, Merv Griffin and a newly minted Chicago-based neophyte named Oprah Winfrey.The difference between Downey and his contemporaries (even Springer) is that they stayed off-stage, letting the audience run the circus. The mistake was that Downey tried to play the role of ringmaster, lion-tamer and lion, and so the show had nowhere to go. His singular quest was ratings and he got them, until the television audience grew tired of the act. The movie doesn't shy away from the facts of why the show - and Downey's career - came to an unglittering end.The movie finds some measure of pity for Downey, but it never backs down from the fact that he was the propagator of his own downfall, particularly with the infamous Tawana Brawly incident in 1988 in which a black woman claimed to have been raped by six white man, an incident that was later found to have been staged. Later Downey would try to become the propagator of his own headlines by claiming to have been beaten up by skinheads in an airport men's room, which he staged to get himself one more headline. The result of this documentary is the pitiful, but not unmoving, story of a man who build his house on sand and got caught in his own trap.
DJ J (nl) wrote: Great christian like drama. Also a pretty good love story.
MarcAndr M (ru) wrote: Interessant, divertissant, bien fait. Les acteurs fond le film. Le scenario est bien construit.
Amar Z (au) wrote: I watched the film because it had Norah in it. I don't feel like writing more right now. All the actors - Law, Portman, Weisz - were fantastic. Particularly Weisz, she is strong on the screen. It's a tough film to portray a character and perform with complexity in because of the plot's simplicity. Bought on DVD. ??
Jay B (jp) wrote: Should have known better to make this sequel .... then again they make sequels of anything .... just bad
Temur N (es) wrote: still can't place if its a tragedy or a comedy...the story is written simply great and the actors did a very good job. It just sucks that Henry helps out and gets into deep shit at the same time.
Staci B (nl) wrote: I really enjoyed this movie. Women have NO idea what one false accusation can do to a man, much less in those times 4 a white woman to accuse a black man.
Chad A (es) wrote: An entertaining film with great performances and an outstanding score. One of those great films that allows the viewer to reflect both on themselves and on humanity.
Anthony H (nl) wrote: It may deter a little when they leave basic training, but the jokes are spot-on, the script highly quotable, and Murray as funny as ever.
Eric B (nl) wrote: Stephen Frears hit the big time, see, with 1971's "Gumshoe," a likable detective yarn. It was the acclaimed director's first theatrical feature, and he didn't direct his second until eight years later.Albert Finney stars as Eddie Ginley, who's feeling restless in his crummy job as a Liverpool nightclub emcee. He fantasizes being a fast-talking detective as found in pulp fiction and old movies, and places an advertisement in the local paper. Shortly, he is contacted by someone who gives him a mysterious envelope containing a woman's photo, a wad of money and a gun. The story unfolds from there. The details of the case are hard to follow, but it doesn't really matter. The film's thrust is just the stylized rhythm of its dialogue and its winking homage to the Sam Spade/Philip Marlowe archetype. "Gumshoe" can't be labeled a mere spoof, however -- it aims for smiles rather than laughs, and plenty of scenes have a dramatic tone.The prime targets of Eddie's wit are his brother William (a wealthy jerk whose shipping business may be crooked) and William's wife Ellen (Billie Whitelaw). Ellen is Eddie's former lover whom the more stable William stole away, but she still holds onto her feelings for Eddie. The crackling chemistry between Finney and Whitelaw is easily the film's greatest virtue. Two other enigmatic women dip in and out of Eddie's investigation, but don't quite make a mark like they should. A rival detective (Fulton Mackay) has some sharp moments, however.Music fans should note that the young Andrew Lloyd Webber composed the film's score -- a rare undertaking for him.
Timothy M (jp) wrote: Unengaging and stilted for the most part, which is disappointing since the subject of a waylaid tribe trying to find home, while the white folk are wracked with guilt and torn by indecision over the whole thing is fertile ground indeed. The photography is stunning, as would be expected, and there are some really great moments (Malden staggering through the dead bodies is magnificent), but about an hour and 20 minutes into the film, we enter this bizarre comedic segment that is astonishingly wrong-headed and totally inappropriate. We've just had nearly an hour and a half of serious, dour commentary about racial relationships, the similarities between the Cheyenne and the white folk, as well as their differences, and then we get treated to something out of [i]The Hallelujah Trail[/i], with Jimmy Stewart and Arthur Kennedy cameoing as Wyatt Earp and Doc Holliday for basically no reason whatsoever. All sorts of wacky, Fordian hijinks ensue, and the main plot is abandoned for the next 20 minutes. I'm all for a bit of levity, but A) it was already being provided by the Johnson/Carey combo (unobrtrusively), and B), you're about halfway through the film. You can't just go ahead and introduce a massive structural and tonal shift that late in the game without cause or preamble. It just about kills the film stone dead. I guess it was the only way that Ford could get in his machismo absurdity and the mutation of legend themes in the most obvious and loud way possible. By comparison, it would be like if the car chase from [i]The Blues Brothers[/i] was spliced into the middle of [i]Schindler's List[/i], or if the Wayne/McLaglen fist-fight from [i]The Quiet Man[/i] was spliced into the middle of [i]The Grapes of Wrath[/i]. Thankfully the film returns its focus to Widmark et al, and Gilbert Roland gets an opportunity to deliver a really excellent performance. And as mentioned, the cinematography is great, and it's a treat to see how Ford handles Super Panavision 70, creating some really striking images. Alex North's score is suitably... loud and roadshowy. All in all, it's not a stinker, but boy does it have issues.
Dylan W (kr) wrote: I really enjoyed the chemistry of Micheal B. Jordan, miles Teller, and Zac Efron. I wanted the film to make me laugh more. I wish the film had a bet more clever humor and less sophomoric humor. Overall it's a clichd and predictable film, with a good acting through out it run time.
Jack M (gb) wrote: While the adaptation is loyal to the novel, the script and characters wear thin after a while. Not to mention the endless cliches, scarcely believable story and many 'no way they could of escaped that' moments.