One of the most celebrated films at the Spanish Film Festival of Malaga, Three days with the family is about the relation between three brothers and one sister, with their wifes and sons, whose father has just died. They don't see each other often, and their different opinions about common problems soon become a problem itself. . You can read more in Google, Youtube, Wiki
Three Days with the Family
- Stars:Philip Seymour Hoffman, John Ortiz, Richard Petrocelli, Thomas McCarthy, Amy Ryan, Daphne Rubin-Vega, Lola Glaudini, Rafael Osorio, Nausicaa Bonnín, Eduard Fernández, Philippine Leroy-Beaulieu, Ramon Fontserè, Francesc Orella, Amàlia Sancho, Aida Oset, Artur Busquets, Isabel Rocatti, Maria Ribera, Greta Fernández, Cristina Gàmiz, Abel Zamora, David Verdaguer, Mercè Compte,
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Three Days with the Family torrent reviews
Liana S (us) wrote: It's called Alien Western in Australia. It's still the same bad movie though.
Ellen D (au) wrote: Kind of a sloppy knockoff of Godard's Masculin-Feminin. "The children of Myspace and coca cola." Bla bla bla. Some one should make a good movie about this subject.
Alexi T (ru) wrote: surprisingly good Finnish drama
Marischa B (ca) wrote: it has a great twist in the end that the girl killed everyone including her own mother for the money.
Bobby F (nl) wrote: Hellboy is a great superhero movie with incredible action and funny wit.
Ariel V (gb) wrote: I expected something near "GATTACA", but it fails. And, what the hell was that ending all about?
James H (es) wrote: 4.5/10. The story is absolutely stupid and ludicrous. However, technically, not bad. Some good cinematography and sets. Very "Omen"ish, but not in that league. Some good special effects. Other than that, a waste of time.
Danny R (ag) wrote: Michael Douglas delivers a mesmerizing performance as William Foster, in this tragic tale of a man that has been driven over the edge, divorced and estranged from his wife and little girl, he also has been fired from his job as an engineer in the defense industry. One morning stuck in a traffic jam on a freeway in the sizzling summer heat he snaps and abandons his car and starts walking slowly towards the streets of Los Angeles, there he begins to vent his rage like a wounded animal, he starts lashing out at society injustices with increasingly violent acts, his odyssey begins when he trashes the grocery store of an irate Korean owner who has over charged him for a can of Coke, a belligerent fake war veteran who really is just pan-handling for quick cash bugs and presses him for money, each one of these encounters chip away at what remains of his tolerance and sanity, he then has tense confrontation with members of a Mexican gang, in which he takes a gym bag filled with guns from them after they try to kill him in a drive by shooting, but end up missing him and crashing their car. There is a priceless scene with Douglas at a Whammy Burger joint where he orders breakfast but they are now serving the lunch menu, he makes them change the menu back to breakfast again with help of a machine gun from the gym bag, but things really take an ugly and deadly turn when he meets a racist, homophobic neo-Nazi owner of a surplus value center, chilling played by Frederic Forrest. Robert Duvall gives an superlative performance as a veteran cop on his last day on the force before retiring who begins to put together the pieces of this mysterious crime spree that is plaguing the city by a seriously emotionally disturbed man, who is described as a white man in a white shirt and tie, wearing glasses and carrying a gym bag. Fine direction by Joel Schumacher, with terrific supporting performances by Barbara Hershey, Rachel Ticotin, Tuesday Weld, Lois Smith, Raymond J. Barry, and Vondie Curtis-Hall, but it's Michael Douglas's astonishing show-stopping performance that is the heart of this motion picture, and it is one of the most memorable roles of his distinguish career. Exquisite photography by Andzej Bartkowiak, and a superb score by James Newton Howard. A thought-provoking, unsettling gem from the early 90s. Highly Recommended.
Dave B (us) wrote: "Black Robe" is an incredibly moving yet deeply disturbing film. Absolutely its best feature is the magnificent on-site scenery of the Qubec wilderness. The scenery is overwhelmingly beautiful. The film depicts the devotion of the French Catholic missionaries to the Indians and the huge culture gap between the two cultures. It does not offer an idyllic view of native Americans. As other reviews have noted, it is incredibly different from the politically correct "Dances With Wolves." It shows the strengths and weaknesses of both Europeans and Native Americans. For the Christian, it shows how the devotion and burden of the missionaries to reach the unreached faced such overwhelming obstacles, human weakness, cultural misunderstanding as well as spiritual conflict. The main character faces a seemingly hopeless task in reaching the Hurons. Yet, in a key line near the end, the Hurons ask him, "do you love us?" "Yes," he responds. "Then, baptize us." The Hurons are baptized, though, as the last lines indicate, they are later slaughtered by the Iroquois. I'm thinking the producer must have studied extensively the first-hand records of the 17th-century Jesuits who were the protagonists in real-life history of this vivid depiction of historical fiction. I would love to give this incredibly powerful film 5 stars. However, the immorality and violence graphically shown are too disturbing, thus I can only give it 4 stars. Its negative features, however, are likely accurate in terms of what the missionaries actually faced.
Ivan D (gb) wrote: Aside from being a masterful surrealist, it is also very notable to state that Federico Fellini is also a morally powerful and spiritually transcendent filmmaker. This is, of course, very much evident here in "Nights of Cabiria", an unforgettable cinematic masterpiece that traverses the widely unseen and unheard (at the time) world of prostitution and the soulful humanity that bleeds through and through albeit the blind sexuality contained within it. Although it is much expected that the film shall highlight the more obscene aspect of what many consider as the 'oldest profession in the world' just like, say, Luis Bunuel's later film "Belle de Jour", "Nights of Cabiria" is surprisingly very mellow with the jobs' details and instead delves not on the inner workings of the affordable sex that they offer or on what motivates prostitutes to continue on doing what they're doing but on the reasons why they should not anymore. At the center of it all is the energetic yet at times very temperamental Cabiria (played by Giulietta Masina), a prostitute who can be the most romantically jaded one minute yet can also be the most hopelessly romantic in the next. With a face that still echoes her heartbreaking turn in Fellini's earlier film "La Strada", Giulietta Masina, with her sometimes tomboyish facial expressions and mime-like gestures reminiscent of silent film stars, is a beautiful embodiment of both melancholy and hope. With her consistently comical body language and a face that fluctuates between naughtiness and confusion, Cabiria is evidently a most complex character to pull off. But despite of that, Masina has done it as if without much effort. Yes, perhaps there are no scenes that show her participating in any simulated sexual congress. And yes, perhaps Giulietta Masina does not, in any way, physically resemble an actual prostitute, what with her small stature and relatively frail body frame. But with the help of her masterful evocation of Cabiria's romantic naivety and pure humanity, she has been most believable as one in much the same way Philip Seymour Hoffman is never a dead ringer for Truman Capote (Toby Jones relatively gets that distinction) yet he has made us believe that he actually is the "In Cold Blood" writer for close to 2 hours mainly because of how inspired his performance was. But then of course, Giulietta Masina's powerful performance wouldn't really be as penetrating if not for Nino Rota's stirring musical score, the film's often dream-like photography and Fellini's patient direction which has perfectly built-up the film until its heart-breaking yet hopeful finale. Just like Fellini's masterpiece "La Dolce Vita", "Nights of Cabiria" is a film that's highly dependent not on how or where the so-called 'carnival of life' will bring the main characters to but how he/she may figure in the playfulness and hysteria of it all. In one of the film's most resonant sequences, Cabiria, along with her co-workers, joined a small pilgrimage heading towards the Santuario della Madonna so that they can ask her for forgiveness and guide. Albeit her countless pleads for mercy and various promises to change her way of life, Cabiria never felt any better or different, and so do her co-workers. Although a filmmaker that largely incorporates religious symbolism into his films, Fellini seems always aware that religion will always be a mere spiritual opiate and nothing more; that fate solely depends on whatever life a person leads and not on some higher power; that some music and a smile, not some wooden idols and a haplessly fevered devotion to the great unknown, can make the world of difference. With "Nights of Cabiria", Federico Fellini has made us all believe that despair can merely be shrugged off by a more than hopeful countenance. For the longest time, cinema has often made us feel the utter fruitlessness of existence and how it is almost impossible to graduate from life pristine and unscathed. "Nights of Cabiria", perhaps the best film ever made that deals with the emotional and moral conflict buried deep within the heart of prostitution, is a precious piece of art that genuinely captures the elusive essence of hope amidst anguish rarely seen in today's cinema.
Dave R (fr) wrote: It was an alright movie not so funny though thought it be a lot more funnier then it was
Brian C (au) wrote: Beautiful story about Adam and Eve, vampires who have been in love for centuries trying to cope with a changing world.Everything about this movie is lovely....the characters, the acting, the story, and progression they take.
Simon R (it) wrote: interesting concept. slow paced.
Ken S (it) wrote: Francis Ford Coppola returns to filmmaking after a ten year absence...and it is long and confusing and pretentious. Tim Roth stars as an elderly man who is struck by lightning and then becomes young again once he has healed from his injuries. He is also talking to himself in mirrors...and then the nazis show up. Visually, the film looks great, but story-wise...it is missing something. The pretentious nature of this film makes me think about Coppola's early work, Pre-"The Godfather". They were made by a pretentious film student, and this feels like the kind of film that a young guy like that, who never grew up, would make. It is as if Coppola in the 70s was a fluke. This movie is long and kind of boring...if you want to make a slower film with a longer duration...you better have something deeper than interesting visuals and a neat initial premise...this movie doesn't really have more than that.
Alex P (fr) wrote: This movie is beautifully acted, screen written and from a tremendous author. It a story of falling in love, homesickness, and growing up. This movie competes with my all time favorite movie "Carol". Saoirse Ronan at her best, a future legend... trust me. Want to re-experience falling in love for the first time, this is your ticket.