The Wedding

The Wedding

Shelby Coles (Halle Berry) is engaged to marry talented white jazz musician Meade Howell, but the pair face opposition from both Meade's family, who object to an inter-racial marriage, and Shelby's parents, who want her to marry a professional. As Shelby is afflicted by pre-marital doubts, handsome Lute McNeil arrives on the scene, determined to make Shelby his at any cost.

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The Wedding torrent reviews

J F (es) wrote: A fantastic, invigorating take on the Werewolf Genre. Part of the story pays great homage to the original Howling.

Mohamed F (gb) wrote: Shot on a $2,500 budget..A mumblecore flick, heavily inspired by "Before Sunrise", though falls short on many aspects, mainly because of the completely improvised dialogue, which most of it was nonsense that should've been edited out, which also lead to some poor acting that shows heavily on the screen.There was also the almost total lack of cinematography, which made it look like an average home video, not something that's been shot on HD, with the exception of very few scenes.Another aspect that totally intensified the movie's amaturish feel is the terrible sound, it wasn't professionally done, leading to that home movie feel once again.

Heather M (de) wrote: This was a little insane, but it was an interesting departure from the usual zombie movie.

Christopher J (mx) wrote: Better than expected! I enjoyed it and although it suffers from some of the problems of the cheesy Korean action films (like Shiri, which was god-awful), it has some great action scenes, some great tension, and it keeps its pace up only until the last 25-30 minutes. Which is pretty good, all things considered! Worth checking out for action fans.

Tatsuhito K (ru) wrote: A quite ambitious film adaptation of a supposedly unfilmmable novel (which I have not read yet). If it's lucky, this all-star cast road movie could become an ultimate travel guide for hippies, Aristocrats, and artists across the globe in the next few years (maybe decades, just as the novel became one of the American classics over a long period of time). I think I admire the film rather than like the film, and it can be tedious at times. But the performances are strong (Garret Hedlund and Kristen Stewart are sensational), the visuals are beautiful to look at, and the score is an aural treat at its best. On the Road has issues, but it's certainly not a failure. I may change my mind once I read the book, but for now I think it's a solid film.

Ross C (gb) wrote: Airy-fairy dross that lacks substance.

Cheffoi Z (fr) wrote: SO MUCH BETTER THAN CHARLIES ANGEL. This movie was presented well with a good choice of actresses. The fight scenes were simple and neat. Everything was great. The soundtrack was great, I really loved that song. "Why do birds, suddenly appear" All in all, this movie will rock you!

Mark S (ru) wrote: Great inspirational Movie here. Really raises your spirits...

Olivier L (gb) wrote: entertainimg.. sans plus

Fran M (us) wrote: One of my favorite music video movies from one of my favorite artists, Sting.

Tony P (kr) wrote: Yet another horror set in grimy 1970s New York City about a man who becomes as the title suggests a Driller Killer.A struggling artist with weird living arrangements (he lives with a couple of lesbians) cracks as he has to endure a strict agent and a punk band practicing for what seems like all hours next door.He goes on a killing spree armed with an electric power drill powered by a portable battery. The film was one of the video nasties in the early 1980s that was banned in the UK. As well as being pretty gruesome. I can only think the film was banned for being so poor! The ban was lifted in 1999.

Dustin R (gb) wrote: a guy carries around a rabbit in his pocket the whole time. crazy joe d'amato.

Nicholas A (fr) wrote: What a charming little romp

Mark K (ag) wrote: One of the worst werewolf flicks I've ever seen. The ironic thing here is the only werewolf flick that's actually worse than this one and quite possibly the worst film ever created.... Shares the exact same name.

Serge L (kr) wrote: I'm a sucker for love stories. This little film is like a good reenactment of the two years adventure Errol with underaged Bev. It is very TV movie. Frankly, this movie was due to be made if only to repay Bev and her mom some respect. The epoch recreation was fine although probably limited by the budget. I think the film rendered the story well enough and since it was based mostly on the mom book, it went as far as it could. Bev spent the rest of her life far from hollywood and the limelight. Possibly hating it.

Blake P (de) wrote: ?Devil in a Blue Dress? is a film with the same blood as a Raymond Chandler novel pulsing through its veins: hard-boiled, appropriately serpentine, lightly quixotic in its pulp, and penetrated by an aura that makes the misery, violence, and doomed romances of film noir curiously erotic. Like an aging rock icon sipping black coffee with their twentieth cigarette of the day in hand, an iconically cool look regards the frame, anguish certainly there but difficult to see underneath the smoky semblance. So we could say that ?Devil in a Blue Dress? suffers from the fact that much of it is familiar, its edgy dialogue, sweltering ambience, and stylistically sensational setting updated but certainly too focused on paying homage to the days of Bogie and Bacall to really stand on its own two legs. It has too many debts to pay, afraid to go out on a limb and subvert everything we?ve come to know. The only things permeated over the years that are missing here are Hays Code diminished linguistics, black-and-white, subtle sensuality, and a primarily Caucasian cast. Everything else is film noir 101. But ?Devil in a Blue Dress?s? unfortunate dependence on its sheen does little to diminish the frank commentary on the part of writer/director Carl Franklin, whose willful magnification of race relations in 1948-era Los Angeles gives the film fortuitous depth that only makes it an homage in terms of style, its substance mostly flirting with Dashiell Hammett radness but often times turning to deeper cultural thinking that makes it feel as authentic as it frequently doesn?t. It stars Denzel Washington as Ezekiel ?Easy? Rawlins, an everyman whose livelihood is suddenly crushed after abruptly getting laid off from his job at Champion Aircraft. A WWII-veteran, he is not one to crumble under the weight of unemployment, willing to do anything to at least pay off the upcoming month?s mortgage payment. So he considers himself to be a fortunate victim of the hands of fate after he is asked by DeWitt Albright (Tom Sizemore), a mysterious stranger, to play private eye and find Daphne Monet (Jennifer Beals), a missing white woman said to be hiding the outskirts of the black neighborhoods in the area. Her disappearance holds great importance, as she is the girlfriend of Todd Carter (Terry Kinney), a mayoral candidate whose recent dropping out of the race stumped and still stumps the residents of Los Angeles. As in all film noir (this one especially is reminiscent of ?Farewell, My Lovely?), everything is not what it seems, and Miss Monet is part of a much more arduous plot than what is initially revealed. A standup citizen with good morals, Easy is not an experienced detective but a newly minted one, making the seedy characters, the dangerous situations that come with the territory, as shocking to him as they are to us. Besides its believable but not overtly dominant reminders of segregation during the time, ?Devil in a Blue Dress? is conclusively more of the same. Yet devouring one?s popcorn is never a belittled factor. Appearances by slinky femme fatales, by thugs, by shady characters, is never something that grows tiring, and that?s why ?Devil in a Blue Dress? is a pastime that works. It reinvestigates already established style with eminent passion while also producing social waves not seen by most film noir of the time period, and it?s invigorating. ?Devil in a Blue Dress? is a mixed bag, though a good one, and Washington, along with an underrated Beals, take done-to-death character archetypes and breathe life into their well-dressed carcasses. I just wish it weren?t so worried about the ultimate factor of tribute ? it wants to break borders but is often held back by a recognizable approach.