The Book of Stars

The Book of Stars

A tale of two sisters. Penny (Masterson) cares for her younger sister Mary (Malone), who suffers from cystic fibrosis. "Cares for" is a questionable term, as the hardened, edgy Penny secretly makes her living in the world's oldest profession while popping pills to help numb her from the grim reality of her job and the impending loss of her sister. Mary, a romantic daydreamer who faces her disease with a graceful, knowing spirit, remembers the days when her big sister was a "brilliant" published poet, and she pours her every thought, memory, and dream into a lovingly crafted scrapbook she calls "the book of stars."

A tale of two sisters. Penny (Masterson) cares for her younger sister Mary (Malone), who suffers from cystic fibrosis. "Cares for" is a questionable term, as the hardened, edgy Penny secretly makes her living in the world's oldest profession while popping pills to help numb her from the grim reality of her job and the impending loss of her sister. Mary, a romantic daydreamer who faces her disease with a graceful, knowing spirit, remembers the days when her big sister was a "brilliant" published poet, and she pours her every thought, memory, and dream into a lovingly crafted scrapbook she calls "the book of stars." . You can read more in Google, Youtube, Wiki

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The Book of Stars torrent reviews

Hctor M S (fr) wrote: MUSEUM HOURS: EL MUSEO COMO METFORAHctor M. SnchezHaca mucho que no veamos una pelcula tan bien hecha y que, adems, nos gustara tanto. Nos referimos a Museum hours, de Jem Cohen, un filme que se concentra en darle un nuevo significado al acto de la percepcin (visual, auditiva, verbal, etc.). Fue filmada en 2012 y cuenta con las actuaciones de Mary Margaret O'Hara (Anne), Bobby Sommer (Johann) y Ela Piplits (Gerda Pachner).En primera instancia, observamos a la percepcin visual en su relacin con el lenguaje: ya sea que se trate de los dilogos de caf entre Johann y Anne, ya de las explicaciones eruditas de la gua del museo, Gerda Pachner, la palabra siempre va acompaada por una serie de imgenes que a veces la complementan y a veces se le contraponen: una vista panormica a la ciudad de Viena, un collage de sus calles y sus estaciones de tranva o, bien, un acercamiento a un cuadro de Rembrandt. De esta forma, la cinta hace del museo una metfora: todos los objetos, aun los ms ordinarios, existen para ser vistos, descritos y, mejor an, interpretados, tal como las obras de arte en un museo; desde esta perspectiva, la larga secuencia en la que Gerda Pachner nos da su interpretacin de los cuadros de Brueghel El Viejo resulta no slo una de las ms intensas, sino tambin de las ms significativas de Museum hours. Pero lo mismo podemos decir de aqulla en la que Anne compara a los pichones que reposan sobre un canal seco con granos de pimienta lanzados al azar; he aqu la columna vertebral de pelcula: ya se trate de un brueghel, ya de un simple grupo de pichones, todo es perfecto para ser percibido.De aqu podemos desprender una nueva analoga: tal como, en La conversin de San Pablo o en El camino al Calvario, de Brueghel, lo importante no son Cristo o San Pablo, sino la plyade de gente ordinaria que transita alrededor de las figuras principales de dichos cuadros (as lo argumenta Gerda Pachner), lo ms relevante en esta pelcula no es la contemplacin, por s misma, de las grandes obras de arte, sino de la vida en su totalidad: desde los vendedores del flea market viens hasta Judith y Holofernes, pasando por los empleados del Museo de Arte de Viena a la hora del almuerzo. Por ello, el par de secuencias en las que la imagen de un hombre comn es puesta al lado de un retrato del museo que se le asemeja, as como el monlogo sobre las obras de arte como objeto de uso ordinario para los hombres (la nobleza) de pocas anteriores, parecen encaminarse hacia un punto comn: sugerir la ruptura de la barrera entre las obras de arte y la vida cotidiana, entre el velo mstico presupuesto en aqullas y la mundanidad simple de sta. Se trata, pues, de ampliar el concepto de lo artstico: todo puede ser una obra de arte.Ahora bien: Museum hours no slo nos muestra a la percepcin visual en su relacin con el lenguaje, sino por s misma; de all que el filme nos presente una multitud de cuadros en movimiento, o, mejor an, que ste pueda ser entendido como una gran pintura con distintas escenas que ocurren simultneamente (aunque la cmara slo pueda ofrecrnoslas una despus de la otra), tal como en una obra de Brueghel. Entre stas, no podemos dejar de mencionar la de los tres visitantes del museo que aparecen desnudos -cuadro de una belleza tan sublime que, por ella, bien podemos situarlo entre los mejores cuadros de desnudos a lo largo de la historia. Y he aqu un ltimo paralelismo -entre la pintura, la fotografa y el cine: el cine como una pintura en movimiento, caracterstica que, como se ha podido ver, est presente a lo largo de toda la pelcula, pero que se vuelve an ms explcita en las tomas a la ciudad de Viena con las que sta concluye: cine, fotografa y pintura conjuntadas para estimular el acto de al percepcin visual.Por todo lo que hemos apuntado, as como por su esplndido manejo de la cmara (lento y contemplativo) y la msica (casi nulo, pero exacto), y sus muy buenas actuaciones, le damos a este filme un diez de diez. Lo recomendamos ampliamente para aqullos que, en sus ratos libres, quieran darse una exquisita tajada de arte.Coatepec, Ver., a 21 de diciembre de 2013.

Robert I (ag) wrote: That's so funny they made Donald Kaufman's final screenplay into a movie!!!

Randy T (mx) wrote: The lethargic pace and avant garde style will limit the audience of this artsy offering from director Bla Tarr. My suggestion; skip this one and watch Temptation Harbour (1947) instead.

William C (fr) wrote: Grade: 6.5/10Perfume: The Story of a Murderer is a kind of crime and weirdly fantasy movie drama that tells us all about the scent of humans and how sinister it can get. Now it is a good story in my opinion and although Is a bit shaky all the way through here and there, patchy if you will, It does again in my opinion come out OK and a kind of movie where you feel satisfied but quite possibly let down by what it could have been.Now the whole piece is well acted, and yet certain scenes are so utterly random and not really useful for the plot, the actors suffer and our main Character Jean-Baptiste Grenouille portrayed by Ben Whishaw makes the biggest loss from this. Whishaw is good enough though and although looking inexperienced, still believable and almost animal like which I guess is what the original book wanted for him. Alan Rickman and Dustin Hoffman are among the veteran actors involved and although fine, still used poorly in casting and in direction.Now it is written OK to say it is adapted and the script does bring a little life to the story but in truth the words are not one of the highlights, even though the people behind this I feel wanted it to be. The same has to be said of the directing from Tom Tykwer who also partly writes this, it is pretty alright stuff but the way in which he coordinates this can make it seem too random and quickly the film can turn into ugliness or make an actor seem lost and like he just came for the day.Now one major fine point is the way this movie looks, now of course 18th century Paris was far from nice to be in, I just found the sets remarkable and really beautiful. I think also the way in which the perfumes are brewed and thought up by our main characters makes this fine again, even though we cannot smell, it almost gives us a near chance in a way to be able to. The setting is also fantastic in Spain, and really shows off the fine architecture and landscape too.Now off the way this looks and onto the way it makes you feel. This is the kind of film where I believe people will be mixed, and not in a way where some hate it and some find it kind of OK, but I feel people will love this and find it excellent, yet some just another bad movie. I think the reason behind that is the topsy-turvy nature of the movie that makes it hard to connect with at times yet draws you in at others so I think some will get annoyed. This is also a movie I strongly recommend reading reviews for it to get a good sense if you will like it or not, and I mean the critics will tell you straight. Overall I felt it to be alright and OK as I have said and the reason I gave it the grade I did is because it is not near being average, in fact I found it near to pretty good. The thing I will say though is that I stress that it isn't a movie all will like, some will be won over by the look and feel, and some will hate that and all the dark twisted kind of things that happen here and the film really doesn't connect you well with our main man Jean-Baptiste. All in all though it is definitely worth a little peak, could have been better to see at the cinema but it does just as well on a TV etc, the kind of movie that can be enjoyed but not too much.

(de) wrote: Loved this movie :):)

Robert I (us) wrote: A film by a Canadian who doesn't know who the Prime Minister is.

Ashley W (au) wrote: This film is sequel abuse. It's so unimaginative and a joy kill to the original that it should have never even been produced.

Par M (br) wrote: The great one to see and chat about [email protected]

Merryn S (gb) wrote: Absolute rubbish, with no production values, amateurish direction and crass over acting. Even the stock used is pants.....

Itay M (ca) wrote: Score breakdown by categories: *arranged according to level of relevance to this film* Story 3/10 acting 6/10 Directing 5/10 Soundtrack 4/10 concept 6/10 Style 3/10 Cinematography 7/10 Editing 5/10 Cinematic expression 5/10 Design 6/10 Fundamental values: Opening 4/10 Ending 3/10 Integrity 5/10 Replayability 4/10

Veniea T (mx) wrote: All CLASSICS are GOOD

Jessica H (jp) wrote: It makes me laugh for many many reasons, yes bring on the cliches and predictability.

Mike V (gb) wrote: is this a new subgenre....dramorror?