Saviour Square

Saviour Square

A story of a married couple with two children, whose housing problems, the man's infidelity and the woman's fragility lead the family to destruction.

The movie tells the story of a family, living together in Warsaw, next to the Saviour Square (Plac Zbawiciela)... . You can read more in Google, Youtube, Wiki


Saviour Square torrent reviews

kaeli s (fr) wrote: I think it is fake thefaces and the fact that apparitions are clear as day

Braydan H (br) wrote: The cover sums it up. Pretty chest & blank stares... of boredom? Probably.

Ernest C (fr) wrote: This is a refreshing addition to the Santa mythos containing both solid entertainment and genuine heart.

Mikael K (kr) wrote: A nicely constructed and beautiful episodic film about the destinies of ordinary people. The stories are connected in an interesting way...

Cat H (fr) wrote: HAHA was...different! :P

Thomas N (it) wrote: 'La Zona' er en intelligent og samfundsbevidst thriller om social uretfaerdighed. Den kan virke en anelse firkantet i dens historie og maaden den stiller tingene op paa, men pointerne er skivskarpe, vedkommende og ofte soergeligt tragiske.

Marilee A (de) wrote: I wasn't gonna see this, but my buddy Beachbunni says it's good

Yan E (de) wrote: Probably one of the best movies if not the best movie I've ever seen.

K B (kr) wrote: Stranger than Fiction has a creative plot-line but not the execution required to carry it. Stranger than Fiction was written by Zach Helm and directed by Marc Foster. The story follows Harold Crick a mundane IRS Agent, and his ordered life when it is interrupted by a disembodied voice that begins narrating his life and foreshadowing his death. Stranger than Fiction stars Will Ferrell in his first drama, revealing an interesting aspect of Ferrell as the IRS agent Harold Crick. Stranger than Fiction also stars Emma Thompson who brings life to the now memorable character Karen Eiffel. Overall this American mix of comedy, drama and fantasy left me not thirsty for more in the usual sense but in the sense that I was ready for a redone better-executed version.The story of Stranger than Fiction follows Harold Crick in his meticulously ordered yet mundane life as an IRS agent in Modern day Chicago. Harold Crick's life begins to change when it is interrupted by a disembodied voice of a woman of whom only Harold Crick can hear, it begins to narrate his life and foreshadow and hint towards his ultimate demise. Through the narrating of the woman all of Harold Crick's organized life begins to fall into a chaotic and unpredictable story line. In order to make sense of his narrator, Harold Crick visits first a psychiatrist and then an english professor so as to make sense of why his life was being narrated. After meeting with the Professor, Harold Crick learns that his life is a story and it is up to him to discover if his life is a tragedy; a story ending with the demise of the main character, or a comedy; a story ending with the betterment of the main character.An Aspect of the film design that led me to want more of this movie was the beautiful skill with which some of the actors embodied their characters. Emma Thompson's expertise as an actor brought depth and sophistication to her character Karen Eiffel, the narrator and author who is incidentally writing the life of Harold Crick. One example of the excellent execution of the character Karen Eiffel was through her smoking habits and her reactions and tendencies towards it. Nearing the end of the film when Karen Eiffel is in a moment of high stress, her smoking habit seems as almost a crutch and she begins to continue her smoking but with shaking hands and almost a slobbering mouth. Those small details in Emma Thompson's acting gave depth to her character and showed the true mortality and brokenness of her character who was nevertheless in a spot of ultimate power.An Aspect of the film design that led me to be disappointed in this film was how the director allowed for the movie to tell us ideas, rather than show them to us. An example of this was in the writing that appeared on the screen throughout the movie representing the thinking and calculations of Harold Crick's mind. The filmmakers used those simple writings as a crutch to tell us about Harold Crick and inadvertently took away from his believability and humanity of his character. Showing rather than telling is a common guideline among writers and has been expanded upon by great writers such as Ernest Hemingway, yet here the writers disregard that simple rule and take away from the potential that Stranger than Fiction could have shared with us.Overall I feel that Stranger than Fiction has an intriguing plot line and enchanting characters but not the technical finesse to match its other qualities. I would still recommend Stranger than Fiction to any watcher, but am disappointed myself in the now lost opportunity to make an even greater film. I would compare this film to an egg yet unhatched, being still wondrous but still full of much more potential. I would rate this movie a 7/10, but why don't you watch it yourself to see if you share my feelings, sincerely the bored teenager of a twelfth grade English class.

Alex W (kr) wrote: Damn this movie was fun and the action was intense and awesome which is surprising considering the budget they had.I never thought this is where the Godzilla franchise would end up but since it did i'm glad about it.

Joetaeb D (fr) wrote: With overblown action, lack of campy charm and a surprisingly wooden performance by William Hurt. The lost in space movie is a dully vapid sci-fi that is lost as the title

Chris W (ag) wrote: Based on a novel by Richard Price, who co-wrote the script with director Spike Lee, this is a grim and gritty look at how a police procedural affects the residents of an inner city neighborhood during the aftermath of a murder and the subsequent investigation. There are many players here, but the film predominately follows Strike (Mekhi Phifer)- a "clocker" or street-level drug dealer who works for businessman/supplier Rodney Little (Delroy Lindo). Though Rodney had illegal business dealings, he is also shown to be a mentor to the local youth, and he does give them guidance and opportunities, even if they aren't necessarily the most positive of things. Strike finds himself in deep when he gets involved in the investigation of the murder of one of Rodney's rivals- a man Strike was told to get rid off. While the film does eventually reveal the truth, the bulk of the story probes whether or not Strike actually committed the murder. Besides pressure from Rodney, fellow clockers, and his own conscience, Strike also has to deal with the main cops on the case, played by Harvey Keitel and John Turturro.This seems like a nice, simple, intimate story, and I would have been thrilled had it just stuck to being that. Instead, this small story is blown up, and used as merely a driving force in a broader story about the trials and tribulations of inner city life, specifically the issue of black on black crime. I'm not as thrilled that this film was expanded into a lengthy epic, but I don't think that's a major issue. By having the film become so drawn out and broad, things tend to lose steam and focus from time to time, and the meandering leads to the grit and intensity losing their edge once in a while. But, when the film is on target, it's really on target, and makes for some compelling, well done, and entertaining cinema. It's a decently well shot film, and the art direction and set design are suitably grimy, gritty, and show the plight of people in the inner city. An issue that really gets to me though is the music. Sometimes it's fine, but at others, it really clashes and sticks out. I'm all for ironic uses of music, but it's not really done all that well here, and seems kinda corny. We do get some good performances though, and the themes and ideas are well established, but then again, I'd expect no less from Lee. The film does have its problems, but I don't think they're egregious enough to keep me from giving it the grade that I am. You have to be in the right frame of mind, but if you can tap into this film's groove, and are wanting a broad tale, then sure, give this a look.

Steven R (it) wrote: Whilst this film semi reflects the budget from which it was made, it's a great story. The producers did a great job making this more of an Art film than a sexploitation flick which was the plan of the studio. Linda Fiorentino is fantastic as the femme fatale and protagonist. Maybe Kevin Smith saw this and her acting which led her to be cast in Dogma.

Private U (kr) wrote: Absolute perfection.

Croce S (gb) wrote: My experience of Red Sorghum comes a long time after I learned to appreciate Zhang as the director of wuxia films, which in spite of their narrative weaknesses manage to entertain through sheer visual beauty alone. Watching the director's debut, one is likely to be struck by a strong sense of dj vu in some places. Zhang knows how to squeeze every inch of beauty out of a location, and much like House of Flying Daggers the cinematography is exemplary. And, much like every Zhang film, the plot feels a little thin on the ground. Red Sorghum tells the tale of a Chinese peasant sold into an arranged marriage with a wealthy, but old and leprous, winemaker, who dies shortly after just as she falls in love with one of her palanquin bearers (it is strongly implied that he, a less than stable character, killed her husband). The narrative runs through her taking over of the winery, the continued difficulties posed by the bandits and the cockiness of the man who becomes her husband, and ends against the backdrop of the Japanese invasion. In reality, this plot is derived from the first two fifths of a novel by last year's Nobel laureate Mo Yan. I have never read Red Sorghum, but my experience of other Mo Yan novels renders the rich visual world Zhang creates as familiar as the vivid descriptions of Mo's other works. I do not think it is necessary to read the novel a film is adapted from to judge it as cinema, but I imagine that this great visual strength may derive from a successful adaptation of Mo's evocations of place. On the other hand, I also have the nagging suspicion that the film's Achilles heel - the plot - might also originate in attempting to translate Mo's uniquely surreal and disjointed narrative style onto the big screen. Unfortunately, in Red Sorghum the focus shifts too quickly from one period to the next, resulting in a feeling of incompleteness and leaving the audience wanting to see more. The peasants have some character, but none, other than the reckless husband (the narrator's grandfather), are memorable. Paradoxically perhaps, the peasant life portrayed is rich and textured, not only because of the stunning cinematography, but also thanks to the elaborate portrayal of the rituals, replete with bawdy songs, that punctuate these people's lives: the film opens with the ceremony of a marriage, is marked in the middle by the ceremony of wine tasting, and ends with a song, sung by the narrator's father (then still a child), wishing his mother a quick ascension to heaven, as the screen turns red to reflect the carnage that surrounds this boy and his father in the wake of a botched attack on Japanese troops. The significance of the narrator, a grandson of the main character, is not clear, and though it certainly does not detract from the film, it is unlikely that Red Sorghum would suffer from not having a narrator; it seems to me that this is a feature blindly carried across from Mo's novel. If the full novel had been adapted, then perhaps it might have served a more significant role, but Red Sorghum as it stands does not benefit from a disembodied third person guiding us through. For all the defects of its plot, which feels frustratingly incomplete (and indeed is, given that it covers less than half the novel) and structurally disjointed, Red Sorghum manages to evoke a crumbling peasant world in 20th century China, which in spite of the pressures of banditry and foreign invasion retains a unique character, portrayed particularly through the frequent songs and beautiful depiction of the sorghum fields.

Toni H (br) wrote: Don Knotts was such a terrific actor. RIP!

jay n (mx) wrote: Beautiful performance by Simone Signoret, completely deserving of the Oscar awarded, and perhaps a career best one from Laurence Harvey in this fine examination of naked ambition, wrong choices and the price paid for them.

Devilish G (gb) wrote: I like this sequel as much as Dr. Mabuse the Gambler! Horrifying and unsettling, I can see how Dr. Mabuse has inspired the "Saw" series.

Timothy J (ag) wrote: There is no way a human directed this movie.. Im crediting an OS for this incredible film.

Tori M (it) wrote: The scenery is great, but the plot doesn't move along very much at all. Good twist towards the end, and the two leads have their moments, but other than that it's pretty slow stuff.