The Low Down

The Low Down

Frank is a restless young man in his late twenties whose life revolves around his friends and his work. When he becomes involved with Ruby, her optimistic and fresh approach to life and its problems begins to have a dramatic effect on him.

  • Rating:
    4.00 out of 5
  • Length:96 minutes
  • Release:2000
  • Language:English
  • Reference:Imdb
  • Keywords:independent film,  

Relationships as they are really lived. . You can read more in Google, Youtube, Wiki


The Low Down torrent reviews

Ana B (it) wrote: Based in real events, this is the story of a group of the Resistance that defied the German occupation of France by committing terrorist acts against German targets. From common privates to high ranks, German army members were killed in the name of freedom. Curiously enough the men were mostly non French, their leader was an Armenian poet but they were also Jews, Hungarian, Polish and Italian. It is good quality cinema with good performances and solid story, but in trying to portray a group we get to see only snippets of their clandestine lives and that make it too diversified, there isn't a true focus, main thread or a "hero" and that is detrimental for the movie. Despite the obvious quality of the film and the remarkable historical research I find my mind drifting off to other matters.If you are a fan of the Resistance and World War II you must watch this film, it is a political statement of a group and an era.

Brandon B (fr) wrote: I really liked the film! The film started out good, realistic, and poetic, then towards the 2nd half it gets a little too over-dramatic and adds excessive and unnecessary plots which kinda damaged essentially a good film. (Class distinction (rich boy vs. poor boy plot) was well explored in strict and homophobic Korean society.

Clemens E (kr) wrote: Bereits in der ersten Szene fhlen sich Trash-Fans bei ??Deep Threat?? wohl. Der Film bietet alles, was ein Film dieses Genres braucht: Klischeehafte Szenenverlufe, durchschnittliche Schauspieler und die obligatorischen schlechten Special Effects.Letztere befinden sich allerdings ungefhr auf dem Niveau der Effekte der TV-Serie ??Babylon 5?? und sind fr das Produktionsjahr des Films (2005) zwar nicht abgrundtief schlecht allerdings schon gar nicht zeitgem?.Die Story des Films bietet dann zwar einige Klischees und wird keine allzu gro?en ?berraschungen bieten knnen, wird dafr aber sehr flott erzhlt, sodass stellenweise trotzdem Spannung aufkommt. Die Darsteller sind allesamt noch eher unbekannt, wissen ihre Rollen aber trotzdem halbwegs berzeugend darzustellen.??Deep Treat?? ist insgesamt eine sehr professionelle Produktion mit mal mehr mal weniger Trash-Flair ?? Genre-Fans wird dies kaum berraschen, wenn sie wissen, dass dieser Film von keinem Geringeren als Richard Pepin ?? seines Zeichens Mitbegrnder der bekannten PM Entertainment Group ?? realisiert wurde.

Hadi B (ru) wrote: Five hapless robbers attempt to break into a bank while hosting a club night at the Lucky Dragon next door. The prize is a 12th century Chinese artefact with which their leader Ben (Scott) will settle a Mob debt incurred by his late brother. Their problem: if the music decibel levels rise too high, the club owner will close the joint down; too low, Ben's 'crack team' can't use their explosives. The would-be robbers includes a superstitious epileptic who flips out when confronted with strobe lighting, a cracksman who works better when stoned, and a feisty Lucy Liu-type who swears a lot. In fact, they all swear a lot, perhaps to cover for the paltry script. This is a smorgasbord of special effects, split screens, gadgetry and rapid camerawork, not to mention a frenetic score. Unpersuasive on almost every level.

Jim D (it) wrote: Just a dam good film. Really enjoyed it!

Malique M (br) wrote: Very entertaining, very funny, laugh out loud humor!

Liam K (fr) wrote: Good movie. It's one you watch every few years though.

Private U (us) wrote: It started off promising, though the plot really unhinged itself late in the game. Serious pacing issues plagued this film and the psychological suspense that was SUPPOSED to be there just wasn't. And neither was the gore. Disappointing.

Stacey O (us) wrote: Still one of my fav films.

Mark T (kr) wrote: Walter Koenig *and* Bruce Campbell in the same movie!

Nishlank J (ru) wrote: Wow! Fantastic! So very enjoyable. The performances are striking and captivating, including those of the train passengers. And how very shocking indeed in terms of sexual subject but in a humourous and cynical manner. This is yet another masterpiece from Bunuel and probably his best I've so far seen.

Stephen C (mx) wrote: One of the very best Hollywood epics of all time and one of Director Martin Scorsese favourite filmsAnthony man tackles the story of Spanish hero Rodrigo Diaz De Bivar better know as El CidEl Cid is portrayed by Charlton Heston who gives a superb performance as he battles rival kings and the war like moors in order to win the favour of the woman in his life Chimene played by the beautiful Sophia LorenThe film is of course huge on a grand scale but as with all his epics Anthony Mann manages to apply plenty of detail a high quality acting to add to the spectacle on the screen.Heston gives one of his very best performances as El CID he simply holds the screen in a role he seems made for.Loren proves more than a match for him and gives as good as him when Rodrigo kills her father for a slight against his familyBut of course the best part of the film is the huge battle scenes involving a cast of thousands and a suitably sinister Herbert Lom as leader of the invading armies proving that there was a lot more to his range than Inspector Clouseaus beleaguered boss.The final siege on the castle in one of the greatest spectacles ever committed to the silver screen.Its fantastic to see all those extras up on the screen it feels much more a live and vibrant than tons of CGIa masterpiece of its type and we will never see the like again which is a great pity

Troy A (ca) wrote: What a great movie. It's been one of my favorite movies since I was 12.

Jonathan D (au) wrote: Get Smart will have you smiling the whole time, chuckling and giggling for a healthy chunk of it, and a handful of times it'll make you laugh until it hurts. Surprisingly solid action, a very likable role for Steve Carell, and Anne Hathaway showing more charm than ever. Alan Arkin, Dwayne "The Rock" Johnson...they're all good. Not an instant classic, but definitely worth catching if you need a laugh. Some terrific one-liners and physical comedy. Steve Carrell seems to be channeling more of his Daily Show persona and less of Michael Scott, and it's good to be reminded of his comedic range. Rated PG-13 for a few profanities and a handful of vulgar jokes/innuendo. ***1/2 (out of five).

Cameron J (br) wrote: I'm so tempted to make a reference to The Band's "Up On Cripple Creek", but that song is way too fun for a film this slow-I mean, sad. This film is reasonably entertaining, I guess, but it's more family dysfunction, and features Henry Fonda about a year away from dying, and that is some sad stuff, and premium Oscar bait, at least in the early '80s, when family dysfunction dramas were still being popular after "Kramer vs. Kramer". First, it's "Ordinary People", and now we have "Old People", with Jane Fonda being pretty decidedly an exception. Man, she was nearing her mid-40s in this film, and she was still hot, as well she should be if she was going to fulfill certain daddy issues that this film kind of helped her resolve. I guess annoying liberal democrats have to stick together, even if they are part of the family unit that they are trying to destroy, or at least deconstruct. Before this film, with "The Rose", Mark Rydell even made the rock star lifestyle look depressing, so as if family pond trips weren't already a bummer, just wait until you see this. No, really, I would recommend that you see this film, because it's a good note for Henry Fonda to go out on, despite its shortcomings. This film holds the potential to be pretty refreshing for what it is, and in a couple areas, it is, but on the whole, it's pretty predictable, hitting a number of tropes as it progresses down a familiar path, and at something of a limp clip, as well. Mark Rydell's steady directorial approach to storytelling is thoroughly realized more often than not, with adequate entertainment value and a solid deal of intrigue, but things really start to bland up once Rydell loses material to draw upon, as he does fairly often, or at least just often enough. By that, I mean that there is enough dragging to the storytelling to beget a sense of repetition, if not aimlessness, until the film begins to lose focus, if not consistency to focus. Minimalist though this film's narrative may be, it does have certain distinct segments, and a sense of aimlessness goes exacerbated by jarring shifts between them, established through the film's dedicating too much time to each segment, yet not enough time to fleshing out the layers of this plot. Immediate development is barely there, and gradual exposition does have its lapses, in spite of nuanced storytelling whose depth would be more realized if there weren't certain sentimental extremes to the dramatics which shake a sense of genuineness, and overemphasize an ambition to milk this drama for all its worth that, in turn, overemphasizes the limitations of this drama. There is plenty about this story which is rich with a potential that, upon being hit, is thoroughly fulfilled, but there's also a lot of simplicity to it, and that is stressed by the predictability and questionable pacing and structure of this inspired, but ambitious and sometimes sentimental project. Of course, the final product compels pretty thoroughly throughout its course, delivering on resonance for every challenge to engagement value, to the point of immersing, with the help of a distinguished setting. As the title might suggest, this film focuses a good bit on its setting, filmed at Squam Lake in Holderness, New Hampshire, a lovely location that the filmmakers explore thoroughly, and polish through cinematography by Billy Williams that only stands out with its lighting, but stands out a good bit in that department. There's something beautifully tender about the visual style of the film, and about Dave Grusin's score, which is underused and conventional, but tasteful and lovely in its complimenting the genuine heart that drives a lot of the storytelling, and the story concept itself. The subject matter followed by the film may be predictable and light in scale, but it is of considerable value, at least in theme, dealing with an aging man coming to terms with his condition and finding a firmer grip on life, partly through his relationship with loved ones. Ernest Thompson's script is not as extensive as it could have been in fleshing out its narrative, no matter how much fat it leaves around the edges of storytelling, but it holds your attention through clever dialogue and humor, as well as a number of thoughtful spots to characterization that draws distinguished roles for the intimate storytelling to thrive on. Even Mark Rydell's direction is intimate, with a thoughtfulness that is a pinch bland at times, but near-consistently realized, enough so to milk the wit of Thompson's writing and sustain plenty of entertainment value, punctuated by sentimental touches that, when subtle, are near-piercing in their genuineness and resonance. This is a very moving character study, but it couldn't be if the characters weren't so well-portrayed, and sure enough, just about everyone delivers, with the lovely Jane Fonda, the endearing Dabney Coleman and the young Doug McKeon being pretty convincing in their respective supporting roles, while Katharine Hepburn, with her classic sparkling charisma at its most realized, would have stolen the show, if it wasn't for Henry Fonda's final performance, which is rich with charm, and with effortless dramatic layers whose more subtle spots capture a sense of fear in a man nearing the end of a long and happy life, and whose more charged spots sell the great deal of life and humanity still left in the Norman Thayer Jr. character. This is among the better performances Fonda gave throughout his career, and is therefore a good note for him to go out on, for it does about as much as the inspired storytelling when it comes to driving the final product as a touching tribute to life. In closing, the film is a little predictable, draggy and slow, and fairly uneven, with enough undercooked and sentimental touches to emphasize the natural shortcomings that most threaten the final product, whose solid engagement value is consistently and firmly secured by the lovely location, cinematography and scoring, clever writing, tasteful direction, and inspired performances - especially the final one by Henry Fonda - which drive Mark Rydell's "On Golden Pond" as a consistently compelling and sometimes deeply moving drama. 3/5 - Good