Three Businessmen

Three Businessmen

An American art dealer (Miguel Sandoval), who specializes in southwestern topaz, arrives by train in Liverpool. Similarly, a very proper British art dealer (Alex Cox), who specializes in African art, arrives in the same hotel. The two meet in the hotel's abandoned restaurant and decide to set off in finding an evening meal, which becomes problematic immediately when the Brit reveals he is vegetarian. While following their pursuit of a mutually acceptable meal, the main point of the film is their discourse en route to their various attempts at an eatery.

An American art dealer (Miguel Sandoval), who specializes in southwestern topaz, arrives by train in Liverpool. Similarly, a very proper British art dealer (Alex Cox), who specializes in ... . You can read more in Google, Youtube, Wiki


Three Businessmen torrent reviews

Larry Y (ru) wrote: This film is just the tip of the iceberg exposing the hypocrisy behind breast cancer charities including how little goes to actual research and how their corporate partners are the same companies creating carcinogens.

Alberto G (mx) wrote: If you don't like the subject, then why bother watching a documentary about life after a career in the porn industry? This was a very insightful look inside the life of some of the mega stars of porn in the 80's and 90's after they retired (or tried to retire) from the biz.It really hits you when you realize this are human beings like the rest of us, with a real life, regardless of their life decisions. Definitely, not for the judgmental.

shaikh a (ag) wrote: DONT YOU EVEN THINK TO WATCH THIS SHIT i just got damn bored, never expected Robert englund to act in such a BEE shit, boring boring boring boring nothing to watch, nothing to scare you, nothing to erect you, total lose of money and time pls dont watch it. its asking me for the ratings also if there is any - meter available i would have given it all the - s but here i must slide the slider or it wont post my review.

Juliano K (es) wrote: It was great for a cold afternoon when you are sick and the world seems to be falling on you!!!! besides that, I dunno my score.

Adam R (de) wrote: (First and only viewing - 11/9/2011)

Guthrie D (ru) wrote: Love this little indie film.

Jay B (de) wrote: 'Happy Texas' is a quirky little comedy with lots of heart. Two escaped convicts pretend to be gay pageant runners while planning to rob the small town bank... how could that premise not pack the laughs? Zahn has become one of my favorite comedic talents of the last decade... and he does not disappoint here.

Justin P (gb) wrote: a very good look at this portion of greek mythology.

bill s (de) wrote: Jones and Busey save this from being just another Seagal ego trip

Michael M (nl) wrote: This movie, while well read, comes off as bland and kind of boring.

vissbll g (ca) wrote: I found this to be a very entertaining musical with some decent mixture of songs, comedy and romance. There are no less than three leading ladies and they all look good. Two of them are big names: Irene Dunne and Ginger Rogers. There's Fred Astaire in here, too, so I guess we can call this another "Astaire- Rogers film." If so, I think it's one of their best and certainly one of their most underrated. You don't hear much about this movie, and that's unfair. Rogers and Astaire both have some funny lines in this film and I wish Ginger's role had been bigger. She and Astaire do a couple of tap dance numbers that are excellent - some of their best work together. Dunne's first two songs aren't bad but you have the rest. Her soprano voice almost broke my eardrums, especially with "Smoke Gets In Your Eyes." Randolph Scott, Helen Westley and Claire Dodd also star in this dated-but-generally fun movie.

Felipe F (gb) wrote: Smart, unconventional, sharply funny, Annie Hall raises the bar for romantic comedies with Allens typically acid humour and Keatons remarkable performance in this classic meditation about relationships.

Alan H (ca) wrote: With the horrid live-action films based on this series, Degeneration is the only adaption to remain faithful to the source material, while new comers to the series or those who have only the live action films to base their opinions on, this isn't for you. This is a "sorry for that Anderson guy" letter from capcom to the fans, giving them a film continuation to the Resi 2 & 4 games and it works great, so if you've played one or the other then please watch this(if you haven't already) especially if you've just watched a Jovovich Resi.

Lee M (ca) wrote: It's not about exploring the outer boundaries of kink, as in Fifty Shades, but exploring the outer boundaries of fantasy itself, into the territory where exciting sexual roles must give way to the everyday intimacy of the real world.

Blake P (mx) wrote: If "The Beyond" is a horror masterpiece then I must also be an aardvark named Tim who somehow got ahold of a MacBook Pro - to call Lucio Fulci's cult classic anything but trash would be a ridiculous proclamation, far-reaching and implausible. Though it's divine trash, inventive with its low-budget and entertaining in its schlock and its gore, the widespread acclaim by Italian horror fans, who put it in the same category as Dario Argento's "Deep Red" and Mario Bava's "Bay of Blood", is nearly impossible to understand. Perhaps gorehounds couldn't accept the fact that the only masters of Italian horror were Argento and Bava (who were true filmmakers, photographically daring and confident in their craft), figuring that Fulci, Europe's answer to Herschell Gordon Lewis, would be a close enough counterpoint to their masterful shocks. "The Beyond"'s release came years after Argento and Bava's prominence came to an end - their specialty, giallo (sumptuously photographed stalk-and-slash thrillers that combined beauty and barbarousness), waned in the late 1970s - and so it's less giallo and more splatter, so in love with its gore effects and its atmospheric lensings that it forgets how to be an actual film when it isn't agitating us. Fans of "The Beyond" applaud it for its carnage, its nightmarishly incoherent atmosphere, and its haunting score - and while all those aspects are agreeably strong, they aren't quite strong enough to make for a horror movie anything less than an above-average B-movie. The film opens in Southern 1927, depicting the brutal killing of a "warlock" by an angry mob. The death is disturbing and disquieting - imagine what Jesus Christ went through on that godawful cross but with acid thrown in his face in addition to all the savageness. The scene sets the tone of the film, fairly ludicrous and fairly vomit-induing. Cut to 1981 and beautiful blonde Lisa Meddle (Catriona MacColl), a New Yorker, has inherited the very same hotel the aforementioned warlock met his end. Crumbling and in no shape to shelter guests, Lisa is in the process of some serious cleanup - little does she know, though, that the property is much more than what she bargained for. Because horror film characters enjoy making bad decisions for our enjoyment, it turns out that the hotel is actually built on one of the Seven Gates of Hell; it doesn't take long before employees begin meeting gruesome (and bizarre) ends and Lisa starts to realize that it might not be such a good idea to renovate after all. Of course, "The Beyond"'s famed incomprehensibility makes this storyline seem minor in the face of so many imaginative slayings - Fulci's goal, you see, is not to deliver a plot worthy of our time but to instead present us with a series of macabre images meant to unsettle. The mystifying nature of the story is supposed to make the film scarier: the objective is to take a nightmare directly from the mind of a child's brain and throw it onto the screen for us to endure. Such an ideal has worked before, the example being Dario Argento's "Suspiria". "Suspiria", which burns in the memory the second it ends, was, yes, unintelligible, but the imagery, so gothic, so Technicolor, so hellacious, actually does feel as if it were taken out of a nightmare. It helps that the stalk-and-slashes are lined with suspense, hard-hitting once blood is drawn. Fulci, always jealous of Argento's successes, isn't as gifted of a visual storyteller, figuring that an abundant usage of fog machines, close-ups of Cinzia Monreale's pupil-less eyes, and slow-moving terror are good enough by way of concocting a hair-raising ambience. It mostly works, in a chintzy, Halloween haunted house kind of way. But Fulci's speciality has always been gore, and the bloodbaths don't disappoint: best of all is the scene during which a zombie wrestles the creepy hotel maid (Veronica Lazar), slams her into a wall, and, horrifyingly, gets her eyes punched out by an unruly piece of wood. The sequence is only the finest, though, because it is the only gore showcase with a hint of nail-biting during the entire film. The other bloody points come by with laughable incongruity - one man falls off a library ladder only to get his face eaten off by an army of tarantulas, and another woman, later on, is, one minute, sitting by her dead husband in the hospital, and is, the next, unconsciously lying on the ground as a gallon of acid tips over by itself onto her poor face, ketchup fizz pooling through the room as her pigtailed daughter looks on. It's not so much that I don't appreciate "The Beyond"'s carnage-based inventiveness; it's just that its overall goal seems to involve copying what giallo legends did best during their heyday. Fulci's reputation as a hack seems fairly agreeable, but he's a talented hack, to say the least. The film has its moments, but I can hardly say I did more than cringe in disgust or sit in boredom. There's no such thing as an in-between throughout its quick 87 minutes, except for the moment when I noticed that a hospital door sign cautions guests to "Do Not Entry" - then I breathlessly laughed. Perhaps that was accidental?