See Girl Run

See Girl Run

A young adult woman decides to revisit her past relationships in order to find some guidance in her current life.

A young adult woman decides to revisit her past relationships in order to find some guidance in her current life. . You can read more in Google, Youtube, Wiki


See Girl Run torrent reviews

BRUNO V (kr) wrote: Okee one , no happy ending i gues , bit strange ending Still don't know why Brian in the ending has to pay back his own money to those drugdealers ...

David W (mx) wrote: Not a strong sequel, but good enough

Rachel R (it) wrote: flag azb FDA ah bz b.s. vxbbdbbdbct

bill (nl) wrote: Loved this film. If you love swords, adventure, the meaning of life, check this film out, lots of great shots and music!

Ian M (us) wrote: I stumbled upon this movie maybe 15 minutes into it. So I missed some of the set up. But the plot is still pretty direct as to whats going on. Overall the movie is a fun and touching experience. Covering a subject that could easily be a depressing dramatic film, this movie takes a more light-hearted route. While I love the feel of this film and, even moreso, the goals of the movie with certain elements, the movie never really went deep enough for me. It had moments were some depth could possibly be read, but even those scenes would be reaches for significant death. And the credits scene was a great ending to this film with all of the build up.

John Z (kr) wrote: c'est tres bon, ce film... it s very intense, but very good... it s a good real-life french film

Blake P (it) wrote: If they were schoolmates during their teenaged years, Benigno (Javier Cmara) and Marco (Daro Grandinetti) would, without a doubt, not have been close. Benigno, shy and sweet, most likely grew up friendless, acting as a teacher's pet that perhaps even the teacher didn't want moping around; Marco, a strong, silent type, feasibly hung around the art stars or the faux intellectuals, returning friendships out of obligation only to return home to process his own deep thoughts. Presently, the former is a mama's boy all grown up and without a mother, the latter a journalist who carries a heart hardly tattered by the ruthless nitpickings that often streak across his profession. The two meet under circumstances too horrifying to imagine: Benigno is a nurse taking care of comatose ballet student Alicia (Leonor Watling), who has been in a vegetative state for four years; Marco is the lover of bullfighter Lydia Gonzalez (Rosario Flores), who has been gored and is now brain dead. Benigno has become infatuated with his patient, quick to admit that he loves her on several occasions, and Marco, shocked by the sudden loss of the woman he adores, sulks around as he tries to decide whether to move on with his life or not. Dwellers of the same hospital, Marco and Benigno soon notice each other's destituteness and strike up a friendship, fused together by their similar empty devotion. Months ago, I would have admitted to being a bigger fan of the screwball Pedro Almodvar, a filmmaker more inclined to concoct a situational comedy with the visual style of Douglas Sirk - "Women on the Verge of a Nervous Breakdown" would be the fuel to my fire, "Live Flesh" and "The Skin I Live In" working as additives more akin to sticks than gasoline. But 2002's "Talk to Her", one of his most mature, emotionally draining works, is so painstakingly passionate it becomes difficult not to favor Almodvar when there's a feeling that he's pouring parts of himself out onto the screen. It showcases nearly everything he does best: his untamed eye for melodrama, his fiery regard for human sexuality, his dark sense of humor, his enviable ability to jerk tears, and his breathtaking, saturated cinematographic aptitude. We don't just watch "Talk to Her"; we devour it, licking our fingers contently as tears metaphorically cascade down our cheeks. It crams the frippery of soap opera in a different headspace and turns cheap bauble into intoxicating emotional flamboyance. Almodvar gives us an idea as to what kind of women Alicia and Lydia were, but he, methodically and smartly, doesn't reveal enough to let their mysterious, exhilarating personas unravel. They are mostly kept as placeholders that allow the viewer to study the complex relationship between Benigno and Marco. There is something eerie about their affection for these women: neither actually knows the person they're idolizing very well, but they're willing to give up a comfortable life just to care for them. Marco stays by Lydia's bedside out of romantic responsibility, as if trying to make up for the time they never got the opportunity to spend. Benigno's obsession, however, is a little more unsettling. He is often willing to spend more than 24 hours with Alicia at a time, and though she cannot sense his presence, he figures that they're in love with each other. But Almodvar doesn't dare judge his leading characters - he analyzes the kind of men they were before and after each woman's accident, pondering just how much they've changed. Perhaps Marco has grown more mature, more thoughtful of how he lives his life; Benigno, already emotionally unstable before he even became a nurse, is being given the chance to let his infatuations get the best of him to a dangerous extent. Almodvar's direction and writing bears the same sort of empathy his most poignant films possess, and yet "Talk to Her" is more like the sort of movie you'd expect him to make during the end of his career, retrospective and considerate in his every action. It's ordinary by his standards. Cmara and Grandinetti are just as stunning, Cmara making Benigno a lovable oaf until innocence becomes accidentally malicious, Grandinetti embodying the sadness of Marco while still managing to keep himself enigmatic in comparison to the easy-to-read qualities of his co-star. Watling and Flores are devastating their few minutes of living, breathing screen time At its core, though, "Talk to Her" is pure Almodvar, heartfelt one moment and taboo the next. There are times it resembles a surly 1950s melodrama, in others a psychological thriller. It's a spectacular film underrated when put next to "All About My Mother" and "Broken Embraces"; it may as well be the film of Almodvar's career.

Oliver O (ru) wrote: if you liked the prince of Egypt you'll definitely like this

Jason L (ca) wrote: this is a teenage stand-off movie great flick and brings out some major flaws in our system

Roy C (au) wrote: Zenon: Eloise of the 21st century.

Wahida K (br) wrote: Good Old Bollywood days.

Felipe F (jp) wrote: Edward Scissorhands is a sweet, beautiful modern fairy tale with fabulous gothic set pieces and a touching story that introduced the Burton/Depp duo.

Marilyn F (ca) wrote: It's not ground breaking, but I loved it. I've seen it many times (which is rare for me) and loved it every time. It's simply fun. And Glen Close is wonderful in it.

Brinn O (fr) wrote: Well filmed and the cinematography is superb. But only if the acting was as good.

jay n (nl) wrote: With that cast this should have been more involving but after a decent start if drags to its conclusion.

Robt B (us) wrote: ranks with lavender hill mob for heist movies

Ash M (au) wrote: Robert Zemeckis makes some good movies, that's all i can say!

Harry S (ag) wrote: Not One Point I Laughed At This Film.