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The Suit torrent reviews
Kenny R (ag) wrote: kinda goes nowhere, but just shows Cuban life. Had a few laughs.
Blake P (ag) wrote: I like "Birth" best when the camera studies the characters like a psychiatrist with a hidden agenda. A scene defined by such a hypnotized lens comes early in the film, during which our leading lady, Anna (Nicole Kidman), attends a symphony with her fiancee, Joseph (Danny Huston). The music is all-encompassing and melodic, but the loud, sweeping sounds seem to have no effect on her. The camera holds a close-up on her face for what feels like hours, watching as her expressionless face steadily becomes subtly undermined by an emotionally rising undercurrent within her soul. Passing remarks from Joseph, faintly interrupting her concentrated turmoil, are an annoyance rather than a sign of an intimate relationship. Anna's relationship with Joseph is a breakthrough in and of itself - her husband, Sean, died ten years previously, and grieving has been slow and torturous. Her moving on is a quasi-festivity for her family. But this new sense of self is thrown completely out of whack when a little boy, also named Sean (Cameron Bright), pops in out of nowhere claiming to be her dead husband, reincarnated as a prepubescent. Of course, such a claim seems, at first, preposterous. But when Sean begins spewing out information to Anna that rings as unsettlingly intimate, she begins to lose sight of a clear psychological state, really and truly believing that this ten-year-old is Sean, harming her relationship with her fiancee and her family in the process. The aforementioned stunner of a scene is the most convincing example of unspoken mental ruin I've ever seen; in a film with such a ridiculous plot, a magnetic, drawn-out pause given to peer inside the mind of the subject is crucial. And so "Birth" is exceptionally acted and directed, moodily toned and distressingly ominous. But it carries the burden of a premise that I just cannot accept, not necessarily because director Jonathan Glazer doesn't know what to do with it, but because no direction seems to be the right direction. It could either come to the conclusion that Sean actually is Anna's husband reincarnated, or it could prove to us that everything is just a cruel snow job. We never necessarily react to anything because we don't know how to; it is a refined case of an impeccable film that is as apt at leaving the viewer cold as it is leaving them disturbed. When putting into consideration what kind of film this is, and what it is going for, I cannot think of a single fault. And yet, it sits as a mirage before me, straightforward in terms of vision, but empty when I try to reach out for it. It is the second Glazer project I've seen, the first being 2014's "Under the Skin," which left me with a similar impression at first but ultimately has become something I've felt was underrated by me. Though his calling card is 2000's "Sexy Beast," I've come to the premature conclusion that, while Glazer is a visual stylist of the highest caliber, he is not a filmmaker concerned with his audience, taking a liking to ensuring that the strangest of stories see the light of day and therefore acting as defiant counters to the mainstream. His challenging methods are difficult to warm up to, but I cannot deny the artistry involved in "Birth," his fondness for close-ups and muted colors making the film randily disquieting. In another filmmaker's hands, its offbeat story would become too vocal for anything else to matter. Glazer's understated techniques implicate more. And Kidman, an actress whose number of risky endeavors makes her the most daring popular actress in present-day Hollywood, gives one of her finest performances, convincing us of Anna's plight with sympathy that, in many other cases, could be misconstrued as desperation mixed with a slight pedophilia, if you'd like to go that far. But her character is a victim of melancholy, guilt, and instability - and if confronted with the information that Sean knows so well, who wouldn't, against their will, be persuaded by his knowledgeability. Likewise, Bright delivers what I believe to be among the best performances of a child actor - his expressionless face, paired with an odd maturity, coaxes us into dancing under the same spell Anna is so fixated on. Lauren Bacall, Huston, Anne Heche, as the most exceptional members of the supporting cast, are strong as people who either know more than what they tell, or who are maybe indoctrinated by Sean's presence themselves but don't want Anna to take the illegal path of falling in love with a ten-year-old. Some modern critics consider "Birth" to be a misunderstood masterpiece (the prolific critic David Thomson named it a forgotten work of genius), but I'm not so sure. A masterpiece should leave you spellbound, knocked off your feet, emotionally moved. "Birth" is brave conceptually and visually, but I don't think it's a forgotten work of genius. Let's call it an interesting experiment from brilliant minds - that might explain why there's an inexplicable disconnect.
Calvin R (gb) wrote: Excellent disney film. Fun, visually great, great voice over, and very good storyline.
Jonny P (au) wrote: "Pay It Forward" is the story of a boy's extra credit assignment to make the world a better place and the people who are touched by it. It sounds cheesy but the dramatic execution of this simple concept is enjoyable (a little farfetched, but enjoyable). It doesn't hurt that it employs the dynamic cast of Kevin Spacey, Helen Hunt, Haley Joel Osment, and Jim Caviezel. It also doesn't hurt that it has a whimsical score by Thomas Newman and generates a great deal of emotion with its ending. It touches on real-world themes like alcoholism, divorce, domestic abuse, and bullying so that all audience members can relate in one way or another. Spacey is as good as ever with this role that allows him to play both an inspirational teacher and a fragile, abused man. Caviezel is the other actor that stands out as really delivering his emotions. Osment again proves his ability to act as well as the adults and Hunt plays her vulnerable role well. It is a well-written story as the lives of these unrelated characters converge because of a single boy's dream. "Pay It Forward" is pretty straightforward but there are a few surprises and emotional monologues that set this one apart from Lifetime original movies.
Timothy E (au) wrote: More people need to know about Ultraman. A fine monster movie in the tradition of the original Godzilla.
Eliabeth S (es) wrote: I think I might have liked this more with any other lead actress.
Sutthirak P (kr) wrote: William Hurt was compelling and gave a great performance alongside Marlee Matlin with her amazing debut acting and Oscar-winning role. This movie demonstrated that "love" is unconditional, without words or even a sound.
Francisco F (mx) wrote: Fable subtile et derangeante sur la judeite et l'identite. L'un des meilleurs roles de Delon.
Mikko S (br) wrote: A.K.A "Invasion of the Bee Girls"
Stephen E (br) wrote: Aside from some twisted visuals and an ending that blends surrealism and horror together quite well, "Hour of the Wolf" is an unmemorable, almost sleep-inducing effort from Swedish auteur Ingmar Bergman. The pacing can get so unbearably slow at times that it'll have you checking your phone for the time every other minute, and the fact that it's so unentertaining and subtle doesn't make it any easier of a pill to swallow. Glimpses of brilliance shine through on occasion, such as the understated score and a haunting flashback sequence, but for the most part, it's pretty dull.
Robert H (de) wrote: A slow subtle horror film that preys on the fascination with voodoo that was going around in the 40s. Lighting is key in this film as it is the shadows and the lack of shadow that creates the mood and framework around this character study of complex human relationships. Multiple stories play out in this film with all being possible but not a single one being concluded.In the end, it's love and the lack of love, much like the light and dark of the film, that moves this picture forward im terms of story.Not really a film for those that enjoy lots of scares, violence, action or gore. It has practically none of the above. But it makes up for it in atmosphere which when used correctly, is a much more powerful force.
Michael T (it) wrote: Heavy on the drama, which is unfortunate since Alice Faye was never a very good actress; the film only comes alive during her singing sequences.
James C (ca) wrote: Considering its ghastly reviews, the film is decent. Although the plot is sometimes confusing and utterly pointless, the film still centers around Pinhead and The Cenobites thirst for souls. Still a grood slasher film.