A member of the English upper class dies, leaving his estate and his business to an American, whom he thinks is his son who was lost as a baby and then found again. An Englishman who thinks he is an Indian comes to believe that he is actually the heir. He comes to hate the American who is his boss, his friend, and the man who has stolen the woman after whom he lusts.
- Stars:Eric Idle, Rick Moranis, Barbara Hershey, Catherine Zeta-Jones, John Cleese, Sadie Frost, Stratford Johns, Brenda Bruce, William Franklyn, Charu Bala Chokshi, Jeremy Clyde, Richard Huw, Eric Sykes, Bridget McConnell, Bill Stewart,
- Director:Robert Young,
- Writer:Eric Idle
A member of the English upper class dies, leaving his estate and his business to an American, whom he thinks is his son who was lost as a baby and then found again. An Englishman who thinks... . You can read more in Google, Youtube, Wiki
Splitting Heirs torrent reviews
(mx) wrote: While this movie is pleasing on a very superficial level (i.e. plenty of sci-fi eye candy action sequences) it lacks heart and soul. The movie is simply too far removed from the spirit of Star Trek for me to give it a good review.
(es) wrote: This is an extremely smart, thought-provoking and innovative film that captivates and mesmerises you entirely throughout its runtime, and refuses to let go after viewing.
(de) wrote: A unique story, which is always refreshing. The acting ebbs and flows but winds up above average.2 stories of past and present are interwoven beautifully. And the story holds just enough back and reveals with great timing. It builds and gets better as the movie progresses.Its not likely to be one of the best you'll ever see, but it is memorable.
(br) wrote: I was really hoping that Harold Ramis making a spoof of the Biblical epics of the early 20th century would turn out really funny. The end result was a semi-sacrilegious and frankly lousy attempt.
(ru) wrote: All the writer tried to do is to encourage the audience to predict what is not been covered, basically. Even the end. You would keep guessing about who was nighthawk ( the slasher)? the doctor? or sarra? grhhh, I'd never know that.Not that I care.It was a below average horror movie. There were very few scary scences. Background music wasn't too bad. But this film just fails to creep you out, actually everything that director tried to do, Failed!Watch this movie when you've got nothing else to do. The storyline(or plot) is weak and doesn't make any sense. Sarra's acting was good. Actually I'd give this movie 3 out of 5 for acting.
(us) wrote: Ouch. Despite being set in a different era and among an especially turbulent time in Chile's history, this film quite accurately depicts the harsh social inequality that still reigns in South American countries. However, the realism is appreciated as a social commentary and quite important in depicting both what was happening in Chile's time during this portion of history, and the current state of affairs throughout the continent.
(us) wrote: "The Beyond" is a slightly plot-less, surrealist, and frightfully gory horror film that remains cult to this day, and for good reason. For a film that doesn't have much plot, and dives between characters without building them up to take the blows, there's a lot that remains memorable and entertaining about this Lucio Fulci classic. It deals with a lot of horror staples and expands on traditionally taboo topics such as extreme gore and killing innocent characters. The characters in this film are pretty forgettable and one dimensional in personality, though Emily the blind girl does stand out, not for her character, but what she means to the overall storyline. Little is explained in the film, as the director wanted, so it's not clear where Emily came from, what her connection is to the hotel, and why she is blind, but there are clues, scattered around the film that vaguely answer some of our questions. That and her dreadfully mangled eyes stand as a symbol for the rest of the film, gracing the movie poster as well as most film stills. The story remains fragmented because Fulci throws in a lot of different horror staples including haunted house, zombies, a doorway to hell, and gore upon gore. The zombies were added because the distributor noticed that there was a zombie trend at the time, similar to nowadays. Raising the dead via curse, and using a doorway to hell under the hotel was an interesting expansion of zombie lore up to that point, and further raises questions such as: Why do only some people get raised in the beginning but at the end all corpses rise? Why are people going blind? Does it have anything to do with the ending, which it seems to emulate? Not everything is cut and dry, and that's something horror films of today can learn from. Exposition is tirelessly thrown in to explain why things are happening nowadays. This film may be vague, but it lineated in plot and carefully imagined its visuals and gore. The gore scenes do stretch way too long in some instances, especially the tarantula scene, and the characters are no good, but everything else made this film a classic cult film.
(au) wrote: Such a good movie, well directed, you feel as if you're going through the same trip they are
(mx) wrote: I like this movie, the actors are really good, N its a KRAZY ASS movie.
(ca) wrote: About two weeks ago, I read news about the independent deaths of two black civilians, Philando Castile and Aldon Sterling, under the hands of local police forces. Soon after that, I heard about two separate incidents of lone black civilians shooting and killing multiple officers of their respective police forces. All of these stories reminded me of where I normally believe violent tendencies root from: pressurized frustration. I generally sell myself as a pacifist, and, no matter how large of a protest I may ever take part in, would never want to resort to violence for achieving my means. However, having watched Do the Right Thing in light of what has happened -- mind you, this movie is almost thirty years old -- there is something to be said about the fact that such incidents are what leads the vast majority to talking about these issues otherwise brushed to the side. Spike Lee does not want you to choose a side. He wants you to choose both sides, and, pardon this moment of exploitation, know what is the right thing to do in a given situation. He wants you to understand where everyone comes from, what each individual wants, and why particular incidents are bound to happen. Do the Right Thing is phenomenal. I have not said a word about the movie.1989!! Brooklyn, on a hot summer day. Oh, but first, Spike Lee takes the time to introduce one of hip-hop's all-time greatest songs, Public Enemy's "Fight the Power," to the world in its full three-verse glory, while female dancers break it down like a revolution were about to burst through their souls. Okay, Spike(R), I am ready. Brooklyn, on a hot summer day. We see a small chunk of a neighbourhood, almost entirely black in its community. Exceptions include a favourite pizzeria named Sal's, owned by, you guessed it, an Italian-American Sal (Danny Aiello), and a grocery store owned by a recently immigrated Korean family. On the morning of this day, tensions between everybody seem normal, in that any anger is primarily released between people of the same race. This provides us with the comedic portion of the script. The relationship between Da Mayor (Ossie Davis), local old drunk, and Mother Sister (Ruby Dee), local old crazy, is very playful in how they express their resentment. The fact that the actors were married in real life might have helped. Main character Mookie (Spike Lee) and his girlfriend Tina (Rosie Perez) quarrel with one another constantly; this may come from Mookie's historically irresponsible attitude about everything -- parenting, working, loving, and, arguably, standing up for himself when appropriate. Throughout the day, we hear the optimism of the local radio host (Samuel Jackson), the stuttered soliciting of Smiley (Roger Smith), and the industrial funk of Radio Raheem (Bill Nunn) and his loop of Public Enemy's "Fight the Power." Mookie works for Sal's pizzeria as a delivery boy, and during his travels around the block, he encounters these localized tropes over and over, not fully aware of the resentment building inside everyone against one another. No one except Buggin Out (Giancarlo Esposito), who has no qualms in confronting Sal about the lack of a single black person on the establishment's wall of fame, has any clue of what such containment can lead one to do.As the sun goes down and the moon and artificial lights brighten the nightly streets, stakes rise higher and higher. Each race continues to confide in one another for peace, escapism, agreement, strategy. Spike Lee does not blame any particular group for that. He blames everyone, but he also forgives everyone. Biologically, we are inclined to confide in those we trust the most. Those people tend to be those that we grew up with or raised, and from there, we cling to those who look like people we grew up with. It is practically inevitable, when we are not conscious about it. That is what is so illuminating about Do the Right Thing. This is a wake-up call that has been ringing for the entire duration of the movie, but we may not even notice until huge tragedy strikes. And when it does strike, everything I love about this movie hit me at once: the humanity, the political enlightenment, the urgency, the despair, the optimism. A masterpiece of art like this is not easy to find. With all due credit to the craftsmanship of director and screenwriter Spike Lee, this may have more to do with the industry's desire to reject works like this for being too confrontational. Personally, I live for facing confrontation.
(gb) wrote: Another Claudia Jennings flick from the To-Watch Pile, this one finds her playing a backwoods gator poacher whose life is interrupted by the idiot son of the sheriff, who tries to frame her for his own accidental shooting of a friend. Surprisingly arty at times with the shot composition, this one never actually got as sleazy as the box art and set-up might indicate, but it's still a very watchable flick.Give it a look if you can track it down.
(gb) wrote: cannibal holocaust is my favorite cannibal movie the affects are amazing but the movie has a very good point to it.
(mx) wrote: Rejection of materialism seems to be a common theme in movies. Will Ferrell and a strong supporting cast manage to keep Everything Must Go fresh with subtle humor. Sincere Will Ferrell is much more compelling to watch than the goofball characters he usually plays.
(nl) wrote: Think "Dawson's Creek" meets "Revolution" and you have "Goodbye World"
(kr) wrote: Trs bon film d'horreur, bien construit !
(br) wrote: A tremendous character study of a long time wife's doubts of her husband brought into focus by an event from the past reappearing. Rampling just gets better with age, and the husband/wife relationship seems authentic.