The God Of Cookery
The God of Cookery, a brilliant chef who sits in judgement of those who would challenge his title, loses his title when a jealous chef reveals him to be a con-man and humiliates him publicly. As this new chef takes on the God of Cookery's role, the former God tries to pull himself back on top again, to challenge his rival and find once and for all who is the true God of Cookery.
- Stars:Stephen Chow, Karen Mok, Nancy Sit, Man Tat Ng, Stephen Au, Tung Chen, Christy Chung, Clarence Hui, Vincent Kok, Liz Kong, Suet Lam, Tats Lau, Kar-Ying Law, Suet-Ling Law, Kin-Yan Lee, Vincent Kuk,
- Country:Hong Kong
- Director:Stephen Chow, Lik-Chi Lee, Li Lik-Chi,
- Writer:Stephen Chow, Man Sang Lo, Kan-Cheung Tsang
john is the best chef but he is betrayed by two close disciples. Sadness and disappointment, he meets a woman ugly but has a special cooking named Turkey. Together they found a new restaurant and plan to retaliate two disciples betrayed. . You can read more in Google, Youtube, Wiki
The God Of Cookery torrent reviews
(br) wrote: As I started watching "Jug Face," I immediately found so many reasons to stop, so many cliches.Backwards hill people, an unknown entity whose portal to this world is a pit, cultbehavior in said hill people, including human sacrifice. As I kept watching, however, I beganto realize that it wasn't trying to introduce these elements as tropes. It was telling a story,about a close-knit community with strong religious beliefs that inform every individual'sdaily life. This community has a moral code, it has a certain order, it sustains itselfthrough various specialized labor areas, including a shaman, who is separate from thecommunity leader.Outside of the supernatural elements (I know I'll catch flack for this) this moviereminded me of "Fidldler on the Roof." A community with religious traditions that extendto arranged marriage, and hiding secrets, a younger generation in sexual awakening andresistant to the cloyishness of their existence. I found that the supernatural elementsdid not make me think horror movie, but rather, this community had a real entity they hadchosen as their god, who exacted real punishment for not following established order, andultimately could only be satisfied by confession and penance, and taking personalresponsibility for disrupting the prescribed order.It initially seemed like a rip-off of Shirley Jackson's "The Lottery," then it went so muchfarther, with "The Lottery" as just a starting point. This is the kind of story Steven King wastrying to tell in "Children of the Corn," and came close in so many other of his storiesand novels. Small towns with their traditions both essential and horrible, with their rigidexpectations and entrenched hypocrisy. I was also reminded of another Shirley Jacksonstory/novel, "We Have Always Lived in the Castle." The father of the protagonist is ratherunexpectedly tolerant, the mother shrewish but protective of community tradition and morals.The only relationship I found distasteful was that between the protagonist and her brother,and his casual treatment of her, as if she were merely toy for him. She tells him she'spregnant with his child, and his only response is that she cannot hold it over him.I recognized love in so many different expressions while watching this movie, somethingI have not seen in pretty much any horror movie I've seen. It's a complicated movie,uncomfortable, yet with an eloquence and power, like "Deliverance," only, to me, I wasnot left with stereotypes of hillbillies and good ol' boys, just people trying to negotiate a life based on powerful tradition and belief.
(us) wrote: This film starts off with a very stylish direction using the visuals of Kenya to great effect. This style at least is abandoned to an extent once the story takes over and it's a very sincere depiction of sex tourists, their naivety towards the locals and their poverty and exploitation by both sides. It's a very interesting star to a thoughtful film trilogy.
(ag) wrote: Danish master and film festival favorite Susanne Bier became a household name in 2007 with her brilliant Hollywood drama "Things We Lost in the Fire". She didn't remain in Hollywood though, but followed her commercial breakthrough with another Danish drama "Haevnen," which became an international success story of its own, earning Bier a deserved Oscar for the Best Foreign Language Film as well as a Golden Globe.Written by Anders Thomas Jensen, the film built up into an intense story about two families whose lives intersect through the friendship of two 12-year-old boys. Christian (William Jhnk Juels Nielsen) has just moved to Denmark from London after losing his mother to cancer. His relationship with his father is strained by grief and anger. As a new kid, Christian gets immediately targeted at school by bullies who usually torment Elias (Markus Rygaard). The boys team up and start plotting for revenge. In the schoolyard you wound or get wounded, Christian figures.Elias is going through a family crisis of his own. His parents have separated in the aftermath of an affair by his Swedish father Anton (Mikael Persbrandt). Anton has just reunited with Elias, his mother and younger brother to settle things after being away as a doctor in a Sudanese refugee camp. The possibility of a divorce is looming, but things remain civil, both of the parents being diplomatic and consciously reasonable.As the original title suggest, themes of justice and revenge are pervasive throughout this film. The dramatic catalyst is an argument between Anton and a mechanic whose child has a fight with his younger son. The mechanic turns the argument physical with Anton deciding to be the better man and withdrawing from the situation. He tells Elias and Christian who witnessed the incident that he is the moral superior. But the boys don't agree. They have just seen a scene from their schoolyard repeated in the adult world, and they crave what they feel is justice. The seeds of tragedy are planted.The script is absolutely perfect, holding tension, nuance and meaning in every scene. What might have easily turned into simplistic equations between the cruel world children inhabit and the more two-faced one upheld by adults are balanced carefully. The acting is superb throughout and Bier once again proves she's one of the masters of contemporary European cinema.Bier succeeds in examining the bestial aspects of humanity both in an intimate, psychological level through the interaction of the characters in Denmark. She's equally successful in dissecting those same themes with a grander scope in the scenes taking place in the refugee camp in Sudan. There extreme violence against women is burdening Anton, who has to confront direct sadism and dehumanization practiced by a local warlord.There is nothing nave about any of this. At times it feels as if the film is echoing the chillingly plausible nihilism of12-year-old Christian, but it doesn't take this easy way out either. "Haevnen" showcases how people repeat the simplifications arrived at by the children throughout their lives, see a cycle of vengeance as inevitable and rationalize their own involvement as required justice. It also reminds us that the idea of a child's innocence implies something about anyone who reacts with violence. Bullies, negotiators and reactionaries exist in the schoolyards and in conflict zones all over the world. There is very little difference between them; anyone can be turned into whichever at almost anytime.
(jp) wrote: In Tinker Bell's third adventure of her pre-Pan story, the basics of her focus are pretty much covered up while giving the first one a little more pixie dust to make this same-hearted entry the best yet. (A-)(Full review coming soon)
(it) wrote: Clint Eastwood provides an original movie on the social commentary of domestic violence, racial tension, and the religious idea of redemption all with the painted backdrop of the Korean War, Gangs, and the bleakness of the inner city.
(de) wrote: I'm all for a movie that shows tits but it was pretty stupid ,
(ag) wrote: Beautiful foreign film with a great story and great characters.
(it) wrote: So touching! I almost cried.
(gb) wrote: A darkly satirical Shakespearean story of revenge and betrayal set in contemporary (or perhaps future) Liverpool. The original dialogues is preserved for the most part, and the story translated to contemporary world quite well. Alex Cox's directing style works very well here, creating a surreal tale with a good dose of black humor.
(mx) wrote: It's a baseball movie, yet it's a love story. I don't know. But in the end, everybody wins. *YAWN*
(jp) wrote: Great fun with some good action, effects and cheesy 80's music - the best parts of a great B-movie. Much better than some of the other creature films out at this time and very watchable
(nl) wrote: Great fun! Dark humoured satire regarding Classic Trained actors, their critics and the unwashed masses.
(au) wrote: There seems to be some character parallelism in Chabrol's first films given the cast decisions he made. I'll use Le Beau Serge (1958), the director's debut, as a comparison in this case:- Grard Blain, Serge, is now the urbane cousin Charles, who seems to cope with the lifestyle of a decadent society much better than his cousin, Paul.- Jean-Claude Brialy, Franois, is now Paul, the honest man moving to Paris seeking to study law and looking forward to having a healthier, stable relationship. - Juliette Mayniel, Yvonne, is Yvonne once again, maybe reflecting that the female condition has stayed the same in some women characters, but not all.The trouble ensues when Florence, the woman that makes Charles fall in love, is one of Paul's acquaintances. How will he react? Well, fuck, I'll be damned if he didn't fucking react!!!!Now, I do want to point out that Les Cousins is the darkest film I have seen not only in the entire French New Wave, but also during the entire decade, and that includes Rudolph Mat's D.O.A. (1950). Chabrol's new drama is often called a "somophore effort", but that barely scratches the surface. It is a no-holds-barred depiction of the decay of the bourgeois class in its drunkard banalities and superficial intellectualisms displayed in poetry, art, music and theater. Although it remains true that we see how two contrasting personalities of different backgrounds and ambitions react when they meet each other, it is also about how the absorbing tendencies of a new social class increasingly disinterested in moral is powerful enough to make join others regardless of their origins. This new class seems to be more influential over all people than the other way around. This is where Paul comes into play. To begin with, his performance is just fucking spectacular, completely out of this world. He is a dangerous iconoclast with a cultured mind but turned upside down, surrounding himself of people who share the same (or similar) of his idealized fundamentalisms. Sex, alcohol and power are in his mind, in his life and in his speech. Grard Blain gives life to Paul with the enthusiasm (and screams) of the most renowned Japanese actors, providing a true feeling of anarchy. He outdoes everybody else.If the film's increasing disorder had been even more daring, with the delivery and execution matching the pessimistic darkness embracing it all, maybe I would have raised the rating by a full star. This is one sadistic show, scary as shit, which didn't push the envelope hard enough, even if this is the 50s we are still talking about. Still, the execution remains brilliant, even if one has to wait for it, featuring wonderful pieces of orchestrated anarchy and interesting moments during the party scenes (especially the first), including one candle-lit recital of an epic German poem by Paul, which gets interrupted, predating a very similar occurrence in Fellini's La Dolce Vita (1960).HUGE SPOILERS FOR THE REST OF THE REVIEW UNTIL THE SCORE /100----------Maybe I'm the only one, but this film was scary as hell. The film had no aim, but the message was consistently delivered. The whole anarchy had a point. I'm also terrified by the film's closure, which, even if I have not come to a resolution about its meaning yet, I know that it is depressing as shit:Paul gets away with everything!!! He conquers Florence with an extreme mental and physical macabre manipulation, and with the aid of Marc, the man living in Paul's Flat in an extremely bizarre, partially intellectualist, disturbingly abusive and quasi-homosexual relationship. The horrible parties being held in Paul's flat do hamper Charles' study for his law exam, which he fails. He unfairly fails the exam, loses his woman, is put against almost everybody, is uncapable of adapting to this decaying lifestyle, and fucking DIES! No matter how much negative influence or harm he received from Paul, the moment in which he decided to play with chance to determine Paul's final fate with a gun, it backfires against him! One single mistake costs the life of the "innocent" one! Charles is an object of a very sophisticated torture from beginning to end.I see this as a shockingly reflection of real life as these lifestyle tendencies have found their way into our lives, taking over everything, including the quality of the way we live. What a daring movie. Chabrol can be one asphyxiating bastard.----------85/100
(ca) wrote: To Be or Not to Be struggles with its difficult tone at times and the editing is problematic, but the performances are excellent with Jack Benny being the standout here, the direction is strong and the film is a very different and unusual comedy as it mixes different types of humor from situational comedy to slapstick to satire to dark humor with the awkward, unpleasant situations being the funniest parts. It could have been better, but it's still a very memorable, clever and funny Lubitsch film.
(au) wrote: Actors! They're all actors!
(de) wrote: joanna showed a bit of skin to save this zzz movie with crap background music :P
(ca) wrote: Screen legends David Carradine and Richard Roundtree are the cops given the impossible task of taking down a giant serpent who is going to Munchie City and New Yorkers are the buffet. The special effects are truly terrible and it is not as good as I remember it been when I saw it as a kid. Michael Moriaty is a right scumbag as Quinn. Plenty of evidence of Larry Cohen filming without a permit and despite Q looking like it was created by a three year old in arts and crafts class, he still turns out a good flick.