The Redemption of Henry Myers
Henry Myers (Drew Walters) is living a hard life, surviving on the frontier any way he can – even if it means robbing a bank. After his latest heist backfires and his partners (Bea Smith and Rio Alexander) betray him and leave him for dead, Henry's life takes a surprising turn when he finds kindness and compassion from a widow (Erin Bethea) and her children (Jaden Roberts and Ezra Proch).
- Stars:Drew Waters, Erin Bethea, Jaden Roberts, Ezra Proch, Beau Smith, Rio Alexander, Luce Rains, Dylan Kenin, Michael McCabe, Vic Browder, Marc Comstock, Robert H. Doudell, Susie Gillespie, Chad Gundersen, John Hardman,
- Director:Clayton Miller,
- Writer:Clayton Miller, Charlie Shahnaian, Chris VanderKaay
Henry Myers lives a hard life. After his latest heist goes wrong and his partners betray him and leave him for dead, Henry is surprised to find extraordinary kindness from a widow and her ... . You can read more in Google, Youtube, Wiki
The Redemption of Henry Myers torrent reviews
(jp) wrote: good feel good romantic muvi... spontaneous dialogs...cool performances..Enjoyable!Only regret is that it is too short for a bollywood film... :)
(au) wrote: Set during the second Manchu invasion of Korea, Nam Yi, the best archer in Korea, goes up against the Qing Dynasty to save his younger sister Ja In - who was dragged away by Manchurian.
(mx) wrote: Jackie Chan presents 1911, a gripping historical drama that explores an interesting chapter in world history. At the turn of the century China stands on the brink of revolution, as nationalist rebels work to overthrow the Qing Dynasty and establish a Republic. Jackie Chan, Winston Chao, and Lee Bing Bing all give good performances and create compelling characters. However, there are a few problems with the storytelling and with the transitions between the various character stories. But overall, 1911 is a solid, gritty war drama with a riveting story.
(fr) wrote: A woman grieving the loss of her aunt is helped by a number of people who visit her during the course of a day to move on. Touching and deep, DuVernay's film still cannot help feel a little lacking in urgency and even a little overstretched despite its length which doesn't exceed the hour by very long and makes it seem like a longer episode of a daytime drama. There are some nice touches which redeem it throughout, particularly a musical element which acts as an admirable macguffin, and an inobtrusive style of photography which heightens the power of the performances.
(gb) wrote: Great movie, with a very interesting topic. At first you'll feel a little lost, but the plot grows intriguing and in the end most of the pieces come together, although I disliked the happy ending.
(jp) wrote: GOOD & FUNNY MOVIE!!!
(de) wrote: this I really did find funny Brendan Fraser Adam Sandler and Steve Buscemi were hilarious together I love the story of a band Stuck radio station surrounded by police also love Chris Farley's roll decent flick
(ru) wrote: pretty decent movie if you like crocodile dundee youll like this its a pretty good feel good film not a academy winning plot but pretty decent
(us) wrote: Pretty sure they speeded up the action sequences. Dodgy bruce lee ghost.
(br) wrote: Don't get me wrong. I appreciate Helen Hayes; I always do. Keenan Wynn reprising the role of Alonzo Hawk? Delightful. And it's not as though I'm a huge Buddy Hackett fan. It just seems weird, that's all; the man did about a dozen Disney movies, including coming back for [i]Herbie Goes to Monte Carlo[/i], but for some reason, he's not in this one. I can only assume it's some weird choice of the fine people at Disney. Apparently, they wanted a kindly old man at first and only later went with a kindly old woman instead. Just as well; I don't think it would work as well that way. And, at least in theory, Herbie is really the hero here. Everyone else is kind of window dressing, except the obligatory villain--at least David Tomlinson seemed to have a twirling-ready moustache! Willoughby Whitfield (Ken Berry) is a bright, eager young lawyer coming to work for his Uncle Alonzo, who is planning to build the world's tallest office building. He is doing this in San Franciso because that's where Herbie lives, but it is assuredly a bad idea architecturally. At any rate, Uncle Alonzo sends Willoughby off to convince old Mrs. Steinmetz that she should sell her home, an old, decommissioned firehouse, and move into a retirement community owned by Mr. Hawk. She refuses, and her granddaughter, Nicole (Stefanie Powers), decks him a good one. Willoughby finds out that kindly Uncle Alonzo is not the picture of charity and generosity that Willoughby's mother painted him to be, and he quits, deciding to help old Mrs. Steinmetz keep her home. Aiding them in all this, of course, is the indefagitable Herbie. I mean, what do you want me to say, here? It's a Herbie movie. He doesn't race any in this one, which as I recall is unique for the franchise. (But I don't remember [i]Herbie Goes Bananas[/i] very well, just that the kid keeps calling him "Ocho," which I heard as "Old Joe" until it was explained at the end of the movie.) There's a game of chicken at this vaguely tournament-y thing against Guy Who Looks Like David Tomlinson (Rod McCary). In fact, I think he's supposed to be David Tomlinson's character from the first movie, Thorndyke, thouroughly demoralized and beaten down by his losses against Herbie in the first movie. Mostly, he just drives around the Bay Area. Helen Hayes doesn't even bother steering, or even looking at the road. They ended up driving through a hotel restaurant at one point, and she doesn't know, because she's looking for something in her bag. So how is Herbie such a matchmaker? I mean, let's leave aside the fact that he seems, in this movie, to have magical control over all the VW Beetles in San Francisco--and that should be a [i]lot[/i] more cars. Leave aside that he has the mystical ability to intimidate the hell out of Typical Live-Action Disney Villains. Apparently, all it takes to unite a couple is to lock them in a car and drive them around scenic San Francisco. I'm sure that's good for stalkers in the Bay Area. I mean, just lock the girl in the car and everything's fine, right? He can't talk. Is it just that he lucks out and gets the couples who already like each other and just need to talk it out? Even there, he can't make them talk. What are they going to do if they don't want to? Herbie--the name is synonymous with Herbie movies. It's not like you go into one of these expecting anything unusual, right? I mean, yeah, that's also true of other live-action Disney movies. A lot of other movies, too. And it's hardly as though it's a surprise when Alonzo Hawk gets his comeuppance. It's Alonzo Hawk, right? The montage of blowing up buildings at the beginning is cute, but it's another one of those things where, if he had the right kind of moustache, he'd be twirling it. He seems to take positive glee out of the idea of personally blowing up a little old lady's house--he doesn't even care if the little old lady's out of it yet. This is what you get with these kinds of movies. It's Herbie. He rides again. What more is there to say?
(us) wrote: The wonderful thing about the films of Federico Fellini is that they don't quite begin and they never really finish. When watching a Fellini movie, one is dropped into the middle of a life or a community and pulled away when Fellini feels a point has been made, or that the viewer has seen enough to walk away differently than they walked in. In this, often regarded as one of his greatest works, we are allowed to follow Cabiria (Giulietta Masina), a prostitute who, despite her feisty attitude and her tendency toward conflict, is quite innocent. Her dream, as revealed by a hypnotist halfway through the movie, is one of a normal life. She wants to be cared for, she wants to blend in; she wants security, and to stop having to look behind her all the time. Masina, Fellini's real life wife, plays the part with a vaudevillian twist, something many critics have admired about the performance but something that I find distracting and at times counterproductive. In 'I, Fellini', the director notes that Chaplin had a direct influence on the character and on the film itself, mentioning that several scenes were even direct homages to Chaplin's wonderful 'City Lights'. The idea behind the reference- that the harder a person's life has been, the more resilient that person will be- is a good one, but it becomes too overpowering and silly and detracts from many of the great scenes, in my opinion. Still, Masina and Fellini deliver some powerful and often tragic sequences, and the movie strikes a good balance in its final scenes between melodrama and comedy, disaster and hope.
(br) wrote: This movie was quite impressive. It transcended time and the language barrier. The medley of adultery, murder, and the ever growing web of paranoia sucks you in. Dramatic without being cheesy, with a touch of humor and a clear commentary on society. And I have to say the consequences were all quite fitting.
(kr) wrote: Audie is always good western
(es) wrote: My Favorite Musical Film Is 1952's Singin' In The Rain.