The Angry River
The plot has to do with a reign of terror conducted by a mysterious killer dubbed "Poison Dart," who is hitting all kinds of prominent people with poison darts.
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The Angry River torrent reviews
Ashley N (us) wrote: Loved the screen play and how eloquent and thoughtful the characters were, as well as the way all the moments in the movie and linked together while not all being chronological.
Mark C (mx) wrote: So this kid goes to Paris, picks up random chicks and just messes with them, makes them do all manner of weird crap and just sorta messes up their lives for sport... I guess?
Manal S (jp) wrote: The underlying premise of any vampire movie is "what if your friendly nice neighbor is a scary vampire?" Jim Jarmusch asks the question differently: "what if the scary vampire is actually your friendly nice neighbor?" Lovers Left Alive pumps new blood into the vampire genre (pun intended) and explores the soft and vulnerable - almost mundane - side of the blood-thirsty creatures.Thanks to the out-of-this-world, dreamy ambiance Jarmusch masterfully creates, watching the film feels like being under drug effect; you're enjoying the mesmerizing images and music while contemplating the main characters' unfolding relations and existential ordeals.As a literature student, I love all the literary allusions the film is ripe with. Even Adam and Eve's (Hiddleston and Swinton) relationship feels like it came straight out one of the imaginary worlds created by Poe or Byron.Tom Hiddleston is good but the one who really stands out in all her exquisite beauty, grace and talent is Tilda Swinton as the ultimate motherly female figure/vampire.
Bruce C (ca) wrote: This is a wonderful, clever, funny spoof a teen monster-in-the-water movie. It has great dialog, stellar actors, good photography and a 30-foot crocodile. What's missing that disappointed so many viewers? No skinny-dipping. In fact, no sexual content at all. Well, this isn't a movie for shallow teens trying to get laid on a Friday night. The jewel in the crown is Betty White in one of the funniest performances of her career. Highly recommended--but only if you are deeper than a rain puddle.
Tiffany M (ag) wrote: Favorite romance movie of all time! Based on true story!
Ethan H (fr) wrote: It feels like the exact same movie.
Jard M (de) wrote: Kind of disappointed by this one, I thought it was going to be great but it was just good. For one, it makes no sense how these two become friends, I can't really reveal too much, but yeah it's just bizarre. I was hoping for a dark comedy parody of Strangers On A Train but was left disappointed. Overall, it's an ok movie, nothing terribly awful but it just doesn't elevate into the territory of a great movie.
Peter T (es) wrote: Your standard teen pseudo sci-fi flick that unfortunately doesn't stand the test of time.
Private U (ca) wrote: Havent seen it. But I understand it gave the name to one of my fav musical bands.
Greg W (ca) wrote: campy good fun & the 100th movie from AIS (american intl studios)
Mike R (mx) wrote: As corny and hokey some of this movie may feel at times, I actually think it's entertaining.
Blake P (ru) wrote: Tim Blake Nelson likes to use the thesaurus function on his laptop more than I do, but I suppose I'm better off because I'm not the one making a living by making films. As I sit here trying to spend less than 1,000 words attempting to persuade or dissuade you from seeing a given movie, it's important than I maintain a level of ethos to make it seem as though I know what I'm talking about (which I sometimes don't). Nelson, an actor turned writer/actor/director, is gifted when it comes to concocting a screenplay in which characters are so articulate and intelligent that it almost seems otherworldly. Trouble is, watching a movie whereby every single character sounds exactly like the annoying, pretentious kid in your 100-level sociology class is next to insufferable. So it's a feat that 2016's "Anesthesia" does, by its end, find success in several areas. While it's a sporadically entertaining, only episodically outrightly successful ensemble drama, it contains authentically powerful moments of acting that perhaps stand as the only reason to take the time to watch the film at all. Treading along as if it were a deserted university course where the professor drones on and on about nihilism, existentialism, and misanthropy, it's a noticeably calculated mood piece high on star power but lacking it nuance (and humility); it reads as a forgettable Off-Broadway play that comes in-between two masterpieces made by an auteur. I liked "Anesthesia" sometimes, but not often, and that's the trouble. At its center is the brutal mugging of Walter Zarrow (Sam Waterston), an earnest philosophy professor who's gained momentous tenure at Columbia University. Eyeing retirement, the event is traumatizing within a life that's exclusively flourished. And so the film covers the twenty-four hour period leading up to this seemingly gratuitous act of violence, not only focusing on Walter but also on the people that rescued him (Corey Stoll, Mickey Sumner), the drug addict that attempted to save him (K. Todd Freeman), the wife (Glenn Close) and son (Nelson) left behind, and more. Funny, though, is how the most investing characters in "Anesthesia" are the ones that are not directly (or, at least, don't seem to be directly) involved in its protagonist's life. Gretchen Mol, as an alcoholic housewife struggling with her drivel life in suburbia, is excellently in-control of her character's kept-hidden complications. Hannah Marks and Ben Konisberg, as Walter's horrifically selfish grandkids, are interestingly detestable as they find themselves worried about their own well-being and success after it's discovered that their mother (Jessica Hecht) might have cancer. But my favorite thing about "Anesthesia" is Kristen Stewart, who plays the small but crucial role of Sophie, a self-harming student in one of Walter's classes that longs for connection. Disgusted by how the world around her has become obsessively reliant on technology, never able to have completely uninterrupted conversation, Stewart's Sophie is in an apparently unfixable state of despair. Stewart, who at one point gives an impassioned monologue that solidifies her place among Hollywood's most talented young actresses, gives the youthful, chaotic energy the film (which is dryly intellectual) so desperately needs. But Stewart isn't in "Anesthesia" nearly enough to make it a decidedly flawed must-see. It's only decidedly flawed, uneven in its spotlighting of its disparate characters and more than a little seduced by its own aptitude. Nelson is a talented filmmaker. But Ivy League linguistics are never going to win an audience over - without realism, all you've got is acting and writing that feels too much like acting and writing, and an ambience of chintziness is never a good thing in a movie trying to show life in its most unpredictable state.