A curious and lost Eleonore looks for something everywhere, even in the bags of strangers who find themselves sadly smiling only well after she's left their lives. They owe her their thanks. . You can read more in Google, Youtube, Wiki
The Pleasure of Being Robbed
A curious and lost Eleonore looks for something everywhere, even in the bags of strangers who find themselves sadly smiling only well after she's left their lives. They owe her their thanks.
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The Pleasure of Being Robbed torrent reviews
Eliabeth M (au) wrote: " Two families divided by fate. United by understanding."The Other Son toca un tema polmico que es el de el conflicto rabe/israel y lo aborda desde un plano idealista y hasta utpico. Las vidas de Joseph y Yacine cambian para siempre cuando se enteran que fueron intercambiados por error cuando nacieron y no pertenecen a sus familias biologicamente. Obviamente con tal revelacin todas las personas involucradas reaccionan de distintas maneras y tratan de resolver de mejor manera esta situacin. Joseph se ve angustiado con la posibilidad de no ser judo, y Yacine se encuentra ante la disyuntiva de aceptar su nueva identidad cuando es gracias en gran parte a los israeles es que l y su familia viven oprimidos. La pelcula hace un buen trabajo en el mensaje que brinda, que hay que dejar las diferencias de lado y tratar de encontrar un punto de reconciliacin, pero el mensaje ya est lo suficientemente claro, y pareciera que tratan de manipular y presionar para que el pblico se sienta conmovido, porque surgen situaciones durante toda la pelcula que son irreales y hasta idealistas. Si el mensaje hubiera sido ms sutil, toda la pelcula se hubiera visto beneficiada. Tambin las actuaciones se quedaron corta ante las circunstancias al igual que el guin en ciertas partes.
Roland F (jp) wrote: Disjoint and incomprehensible plot. Script is a series of non sequiturs Action sequences are exiting but contradict protagonist's own description of the operation his supposed 'no brakes , no coaster' bicycle. All hinges on smuggling a child out of China, I think... If you find it in a discount store for a buck or two like I did, buy it..
Sally S (ca) wrote: This movie was not horrible; but I can't give it anything higher than a 1. It was a Canadian movie and it showed. I'm happy it wasn't long because it didn't need to be. Jay B did fine with the role - I like the guy and I think he can act. Randy Quaid did a fine job with his character as well. The plot was good, but not amazing. I probably wouldn't recommend this to people mainly because there really wasn't a lot of substance - it just was.
Sikander J (ag) wrote: its an easy watch..good watch..a little bit ameture movie .
Dana R (it) wrote: One of the best warm comedies I have seen.
Anthony I (de) wrote: Prepare to check your mind in at the door, make sure it's healthy and clear, and prepare to have it implode on you. Waking Life is the most philosophically engaging film of all-time. It meanders through time and space, and reality and dreams. It questions everything, and I mean, everything. Life, Death, Freewill, Recorded History, Society, Politics, Behaviors.. you name it, Linklater covers it all in a span of 90 minutes. There's so much here, it's just too much to take in. It demands patience, intelligence and repeated viewings. Unfortunately, I think this will only be a one time experience for me. This film is astounding and absorbing in many of its parts, but it asks a lot of your mind to take. I think it was a great decision to animate this in vivid rotoscope, because without it, many audiences would get restless and annoyed. I really admire Linklater as a director, for challenging the way we watch movies, and the way we think about ourselves and others. I'd love to just chill with him one day, and see how well he could pick my brain. He's a genius. I think he understands the world, and humanity, more than I ever will.
Mike N (es) wrote: really clever and funny.
Marco F (ca) wrote: This movie is a real disappointment- I was expecting something here. TEQUILA SUNRISE is an incredibly boring and dull motion picture- the film goes down a seemingly endless alley, and it never deviates. This is the work of Robert Towne, the writer of CHINATOWN. It's also quite dated- almost 30 years out of date. This movie starts off great, but it goes nowhere. Nothing happens at all. Witty dialogue throughout, good performances by Mel Gibson and Michelle Pfeiffer and great cinematography by Conrad Hall, but this is barely watchable material, simply because it's soooooo boring. A movie that is boring is fucked. There is no way out if a movie is boring. That is the lowest of the low in terms of a movie experience- boredom.
Paul D (fr) wrote: Ridiculous plot, but at least they got it out before Top Gun.
Robert B (ca) wrote: Hopscotch (Ronald Neame, 1980)What happens when the CIA decides to put a longtime, successful, high-powered spy out to pasture because he's getting old? That's a question that's been dealt with many times (usually in Robert Ludlum-esque cold war thrillers), but never so amusingly as in Ronald Neame's 1980 film Hopscotch which, in the age of Valerie Plame and the media dimwits who outed her, is"as is more and more often the case with political flicks we found absurd-yet-compelling in the seventies (viz. The Conversation)"even more relevant today than it was thirty-two years ago.Miles Kendig (The Bad News Bears' Walter Matthau) has flipped from the asset? side of the balance sheet to the liability? side, as far as his boss, Myerson (Deliverance's Ned Beatty) is concerned. And for Miles, the feeling's mutual"he's fed up with the incompetence of Myerson and his new flunkie, Cutter (Law and Order's Sam Waterston). In order to show them just how incompetent they are, he issues them a challenge: prevent him from writing a tell-all memoir that will expose reams of highly classified information, not to mention how horribly it's handled by the CIA, the KGB, etc. And thus begins Miles' last great spy game.Perhaps the movie's most surprising note is that the romance subplot (and I use the term romance? loosely here; Matthau and Glenda Jackson behave more like an old married couple) doesn't feel in any way forced in a movie that really has no place for a romance subplot. Neame and Brian Garfield (Death Wish), adapting his own novel, take enough of a slice-of-life approach in between the car chases and stuff blowing up that it works. (Imagine a romance subplot in, say, Ronin and you'll see just how ludicrous the idea is.) And that's a great example of what a surprise this movie is decades later; with the cold war long over and most of the countries mentioned in the film as enemies now considered our allies, this should feel as dated as a Bell Telephone commercial, and yet it still pops. Ronald Neame, who died in 2010 at the ripe old age of 99, was nominated for three Oscars in his career, all in the forties"twice for writing (both times for David Lean films) and once for special effects. Hopscotch is a very good case that some of Neame's directorial work should perhaps have been more closely scrutinized by the Academy. *** 1/2
Rich A (gb) wrote: The movie is so awful it's hilarious! They give complicated lines to extremely thick accented Arnie, who does his best to get through them. What comes out is a crack up! When the bear escapes the zoo? It looks like a man in a ape suit growling comically through Central Park (some park shots seem from another Central Park, not in NY). Arnold battles valiantly the dreaded bear-ape, and the editor sped up the film to, apparently, add more comic relief! I got through the first hour, and I hope to have more laughs as I finish it tonight.
Art S (es) wrote: Bud Abbott and Lou Costello are a pair of gas station attendants who accidentally find themselves the last people with a notorious gangster when he is killed in a shoot-out with the police and, surprisingly, become the beneficiaries of his will. They inherit a seemingly haunted roadside tavern. Trapped there with several other people (including comedienne Joan Davis) they find trouble and eventually treasure. This story is book-ended by scenes in a nightclub with The Andrews Sisters (who also appeared in Abbott and Costello's first film) and bandleader Ted Lewis. These scenes seem tacked on to add a variety element to the picture, not all that uncommon during the forties. Bud and Lou are in fine form, hilariously and ridiculously bumbling through every scene and situation. The plot is just an excuse for their routines and antics. But this isn't Bergman and it's all easily forgotten a few hours later.
Blake P (gb) wrote: Known not only for being one of Carole Lombard's many screwball comedy classics, "Nothing Sacred" in recent years has been deemed to be one of the first full-on black comedies. It's an entertaining film; its humor is dry, quick, and a bit smug. It's years ahead of its time, but at just 73 minutes, you can't help but wish there was a little more. But Lombard has never been better, and Frederic March turns out to be a willing straight-man. March plays Wally Cook, a down-on-his-luck journalist who's doomed to writing obituaries. After finding a story about Hazel Flagg (Carole Lombard), a young woman who is apparently terminally ill due to radium poisoning, he convinces his bastard of an editor (Walter Connolly) to travel to Hazel's small Vermont town in hopes to bring her back to New York and make her famous before she dies. Bad news: the day Wally arrives, Hazel's perpetually drunken doctor (Charles Winninger) tells her that she isn't dying after all. But when she meets up with Wally, she instead goes along with the fact that she's going to become the Belle of New York. And that decision spirals out of control rather quickly. "Nothing Sacred" historically is the first film to use true Technicolor, but it's ironic that it receives the prettiest of colors but truly is so dark in tone. The film fools you at first, thanks to Lombard's typical goofy performance and Connolly's squeaky-voiced portrayal, but in truth it's a satire on the media industry that is so subtle that it's almost invisible. The writing is amazing. It's perfectly scrumptious when looked at basically as a screwball comedy, but when you dig at its deeper messages, it's funny in itself that movie studios approved it. "Nothing Sacred" pokes fun the media's obsession of milking every little detail out of a publicized tragedy to get a juicy story. We see both the sides of the media machine. The do-ers are the money-hungry newspaper company's, who make sure Hazel gets all of the attention possible before her untimely death (in order to make a good profit) and the receivers are the public, who see her as a saint for being so brave. In truth, there is tragedy everyday that we aren't aware of. The difference is, is when the tragedy itself is thrust into the spotlight, it becomes a national phenomenon. The topic is thought-provoking: do we actually care about the person the hardship is happening to, or the compelling drama revolving around it? Of course, "Nothing Sacred" isn't a depressing drama, but it forces us to confront so many questions afterward that it seems impossible that it is such a funny movie. Black comedy today may revolve around loony situations that involve some of the scariest sins, but this film proves that that doesn't necessarily has to be the stereotype. The older "Nothing Sacred" gets, the better. Media today is much more extreme than it was in 1937, and taking a look back to when all of the craziness started might even be enlightening.
Kyle M (kr) wrote: Sort of suits well as an inferior, typically-enjoyable prequel to a great benchmarking classic with the imagination and art direction given an update through Disney's trademark approach, resulting the film to have managed a standing rate of 4 stars. Some performances went too much to match the intended level, while the narrative pieces and transitions were short and rough, as well occasionally cartoonish. (B+)(Full review TBD)
Paul D (br) wrote: Probably better watched in 3-D given it's tailored to that medium. This is otherwise a fairly average story of survival underground.