Till My Heartaches End
The moment these two saw each other at the café, they couldn’t take their eyes off each other. Their attraction was apparent and it seemed that destiny brought them together. As they got to know the other better, they found solace and comfort in each other’s company. But the security they found in each other soon started to shake when their different life paths take them to different directions. Despite the love they both still have for each other, one must choose to decide when to let go, even if the other is still holding on.
- Stars:Kim Chiu, Gerald Anderson, Boots Anson-Roa, Mark Gil, Matet De Leon, Desiree Del Valle, Angel Jacob, Guji Lorenzana, Cacai Bautista, Eda Nolan, Manuel Chua, Lui Manansala, Niña Dolino, Martin del Rosario, Jaco Benin,
- Director:Jose Javier Reyes,
- Writer:Jose Javier Reyes
The moment these two saw each other at the café, they couldn’t take their eyes off each other. Their attraction was apparent and it seemed that destiny brought them together. As they got to know the other better, they found solace and comfort in each other’s company. But the security they found in each other soon started to shake when their different life paths take them to different directions. Despite the love they both still have for each other, one must choose to decide when to let go, even if the other is still holding on. . You can read more in Google, Youtube, Wiki
Till My Heartaches End torrent reviews
(de) wrote: Love It..Those R my girls..So Proud Of Them As Black Women And Sisters....
(ru) wrote: Nice bit of light viewing! I've never watched a bad Matt Damon movie. The story is based on a real one, although names and the timelines are altered for dramatic effect and the story is moved from the UK to California. There is just about enough emotional value in this without it going too Hollywood. Not an easy film to get right, I think some of the characters are probably a bit too much of a characature, but it did provide enough light relief to balance it all out.
(us) wrote: Yet another Woody Allen film that I didn't care for. It's a sorry excuse for a comedy. (First and only viewing - 9/20/2014)
(nl) wrote: I'm frequently moved after seeing good movies, but rarely am I completely captivated by every aspect of a film. I can count on one hand how many times I've experienced such a thing while watching a movie. It happened to me for the first time during Eternal Sunshine of the Spotless Mind. Not until Lost in Translation and Paris, Texas would it happen again. These are the movies that made me fall in love with movies. I saw them years ago and after seeing Ratcatcher, I was again reminded of the feelings I experienced while watching them. This is one of those films that reminds me of how much I love the expressive power of filmmaking. Albeit bleak and somewhat hard to stomach, Ratcatcher is a masterpiece of imagery and poetic structure. The narrative is the circumstance of its characters, and their story is told with an approach that is observant, patient and unflinching. Every shot is exquisite and deliberate. It's a story told with meaning embedded in imagery: a wheat field sprawling out under a rare Scottish sunny sky; a mouse whose tail has been tied to a balloon that is floating away; a boy wrapped in the bright white fabric of a curtain, so on and so forth. Ratcatcher chronicles the unfortunate existence of James (William Eadie) and his friends and family. They live in a highly impoverished section of Glasgow, Scotland during the summer of 1973. The garbage men have just gone on strike, leaving trash and filth scattered across every section of the neighborhood. Entry ways are barricaded off by accumulating waste. The kids play in a canal full of stagnant, muddy water. Families live in bleak, gray, lifeless flats. This is their existence. It's unchangeable, at least until the garbage men return, but no one knows when that will be. The neighborhood kids-including its main character, James-have nothing to do but keep themselves entertained anyway they can. Their circumstance is ever-present in their minds, and they do anything they can to distract themselves. This is the film's narrative and subject matter. I know that doesn't sound uplifting. It isn't. But in a strange and haunting way, it's all strikingly beautiful in the way it's captured. I wouldn't blame you if you chose to stop reading after this paragraph, but I beg you not to. How can such dismal subject matter possibly be associated with words like "beautiful," "poetic" or "captivating"? Despite the disparaging circumstance of the characters examined in the film, a sense of hope lies at its core, seeping through the story at a noticeable, meaningful pace. It builds slowly, unveiling itself through the shot; it's a look in James' eye, his reactions to the neighborhood bullies; his youthful contentment with what you and I may consider trivial. It's heartwarming in this scenario to see a boy who never seems defeated by his existence. He possesses introspection, optimism and the nave qualities of a young boy, all of which contribute to his coping mechanisms. His ability to keep himself entertained by his imagination is essential to his forward progress. The best scene in the film is when he takes a bus to its maximum location on a route. He's on it just to ride. It turns into an escape for him; a safe haven where none of the grim, gloomy and all-consuming activities taking place in his neighborhood can haunt him. He finds himself in a newly developed neighborhood of homes that are halfway finished. The color and condition of them are very telling of the intended mood. The house he enters to explore is sheet white and full of new appliances. It sits in front of a golden brown wheat field under a sunny sky. It looks as if it's been pulled straight from a dream. The camera rests behind James' back as he stares out the open window onto the field. He jumps out and begins to run through it. He's ecstatic. The entire scene has a dreamlike feel that encapsulates both his predicament and his desire to move away from its gloom. It's one of the most moving scenes I've ever witnessed. As the film progresses, James establishes a slowly developing relationship with a neighborhood girl. In his scenes with her, director Lynne Ramsay reveals the feel of hope to us once more. After watching the neighborhood bullies have their way with her, James befriends the girl. It feels as if he's trying to create a better existence for himself by treating her with dignity and respect. It's almost as if the filth around him subsides (at least in his own world) as a result of his acts of kindness toward her. His time with her is an escape mechanism; another distraction from the eerie reality of life in Glasgow during the summer of 1973. None of this is more telling than in the scene where the two of them bathe together. They bathe because their filthy. Their motive is nothing sexual in nature. They bathe because it too is a temporary distraction from reality. They play in the water together and they're happy. A long hot bath is hard to come by during such pressing times. After the bath, the next scene opens with them sitting on the living room couch chuckling at the television. It's a reaffirming scene conveying how the simplest pleasures can be pure bliss when the rest of your life is devoid of them. Ratcatcher isn't for the casual movie watcher. Its subject matter is dim, and many people will find that unappealing. What I admire most about the film is the fact that the director places her art above the films' potential accessibility. Don't let that be read with negative connotation, though. To me, it's fascinating to watch a filmmaker work as a visual artist. Ratcatcher is a prime example of just that. You can tell that every shot was filmed deliberately and meticulously with purpose. A person or a situation is never filmed in a passive manner. The lighting is always just right. The spectrum becomes more robust in scenes of happiness, and much more solemn in scenes of gloom. What is even more fascinating is how the visual aspects of the movie enhance its emotional material, creating an exceptionally powerful and profound whole. The ending of Ratcatcher is its most moving sequence. It stayed with me for days. I can't remember seeing an ending that worked so well or resonated so powerfully. It's compelling and tragic, but open-ended. There are only two ways to perceive it, and no middle ground. Ratcatcher has the emotional resonance of some of the best films I've ever seen.
(us) wrote: a fun, funny and sweet romance.
(de) wrote: Funny, great movie...we all have that old feeling inside of us even if we do not want to admit to it...you have to see it...
(us) wrote: Even better than the original with more depth to the characters and amazing visuals.
(jp) wrote: After successfully rebooting the Godzilla franchise with the darker toned "Godzilla 1985", Toho studios forged on continuing the second incarnation in the Godzilla franchise (the 17th Godzilla film overall) which is commonly referred to the "Heisei era". Still it took a four long years to cobble a sequel together in which filmmakers decided to create an all new monster for Godzilla to face off against that hadn't been featured previously in the original classic "Showa Era" of films. The final results, though not terrible, disappointed audiences with lackluster numbers at the box office.After a quick recap of the ending to "Godzilla 1985", we open with a scientific team collecting a clump of Godzilla flesh from concrete rubble. It seems scientists want to combine Godzilla cells with plant cells in order to make a super strain of wheat to feed the world. Of course this is a BAD IDEA (seriously why the fuck would they do that?) and they create a new creature called Biollante, a hellish looking plant with alligator teeth that fights the king of monsters when terrorists blast him from his volcano prison. The plot is just a convoluted mess mixing scientists, terrorists, assassins, and giant monsters. They even throw a psychic girl into the mix to stir the plot into incoherency. I did like the continuation of the darker tone featured in the last film and I dug the idea of a plant based monster, but fans are going to be sourly disappointed by the extremely short battles between our to towering monsters that leads up to a hurried and almost laughable conclusion."Godzilla vs Biollante" is a little different than the typical Godzilla film and I do give it credit for that with its unique monster and dark tone but overall this is a disappointing entry into the franchise with its messy plot and short monster battles and audiences agreed with "Godzilla vs Biollante" failing to stomp the compitition at the box office. It also wasn't even graced with an American theatrical release and it was the last Godzilla film to make a video debut state side for almost a decade. It may not have been the embarrassment the early 70s Godzilla entries were (I'm looking at you Megalon!) but it was dark days ahead for the Godzilla fanchise when it came to entries being released in the U.S.
(gb) wrote: An authentic and accurate portrayal and description of an era of our people's history as told through this story. I thoroughly enjoyed this movie and I hope and recommend you watch it.
(kr) wrote: Great! Very shocking and twist ending.
(au) wrote: Again, I think I may be lacking the testosterone to be truly appreciative of Cagney.
(es) wrote: great cast & more this is a unique look at NYC 90 years ago better than any news or doc footage from that time coney island at its peak-priceless!
(ca) wrote: A thriller that can be alluded to an obvious real-life scandal, 'Arbitrage' moves surely with a smooth performance from Richard Gere as Robert Miller. Watching his character attempt to keep all the skeletons in his closet is thrilling enough. He has to balance family, infidelity, fraud, manslaughter, old favors, and just about everything you can think of. The sensational part of this film is that it always seems like Miller will get caught. His wealth and influence wane, but somehow he gets out. Imagine if the real-life Bernie Madoff had gotten away with his Ponzi scheme. Watch this film to find out.
(jp) wrote: Crowe does Rocky and this film proves that Ron Howard and Russell Crowe are a dream team. 'Cinderella Man' really demonstrates that it is all about the execution. The outcome of the film may be apparent right from the start, however, it is based off of a real life story so it's not like it has been Hollwoodized, but it doesn't take away any of the power and life that this film has and actually does have some surprises in store. An excellent Russell Crowe, who, with his haircut, reminds me of a young Cliff Robertson, once again shows his ability for versatility and mastery of accents. He just has this aurora about him that really brings these characters to life and really makes them likeable. Paul Giamatti was a lot of fun, seeing him be so lively on the side of the ring like a little jumping bean was a lot of fun to watch, he was quite funny too. I'm surprised this is what got him an Oscar nod, he certainly wasn't bad, clearly, but I thought it would have been 'Sideways' or something but maybe it's because of how different he was here is the reason why he got it. Rene Zellweger did a good job but she felt like wasn't in the film enough, as well as Paddy Constantine, who was a surprising but great choice for the role; they're not poorly developed or anything, they just didn't seem to be on screen much or have all that much to do and have little point. The main focus here is Braddock and Gould.The look of this film is outstanding and very authentic, the cinematography is gorgeous and vividly brings the era to life; the script develops its characters well and doesn't rely on any clichs to get its story across. That is besides one, whilst everyone else has some depth Max Baer doesn't really have anything to him at all, besides being the antagonist to our story. It works because he really annoyed me and I couldn't wait for the fight to happen but the tiniest bit of depth wouldn't have gone a miss, and from the sounds of it, the actual Baer did have quite a lot to him, saying that, he did respect his opponent, but when the fight started? Well, all bets were off, still, Craig Bierko did a very good job. Speaking of, the boxing matches are excellently filmed and very involving; they are just dazzling to watch, gritty, powerful and really grab onto you. The final fight, that could have easily lasted about 20 minutes, I'm not all that sure, I lost track of time because of how involved I was, featured some masterful directing. I found the overall film very involving because before the final fight I was actually starting to get a little nervous for Braddock, now that's great filmmaking. I also never felt like Braddock was 'washed up' he just had a bit of bad luck, it happens to everyone, but then again I guess that's why they say he's only 'supposedly' washed up, but even so.Like most successful boxing films, the story follows a familiar arc but this film succeeds because it is written really well, absolutely nails the setting and has good, likeable characters. It doesn't manipulate emotions out of the viewer, it actually earns them very well and it is ultimately a very feel good film but it's the best kind. However, it would have been interesting to see it break convention and show us what happened in his next fight, but, hey, who am I to kill the mood? It tells us what happens in Braddock's future right after he wins and I found that a little disheartening, it actually ends the same way 'A Beautiful Mind' did, only in terms of the text it shows on screen; the film also starts the same way as well, actually, with the music playing over the opening titles of the same companies that worked on both films. I also like the way the film handled flashback scenes and the way that it shows what characters are thinking, it's just really creative and smart. With excellent acting from a powerful cast, solid writing, excellent cinematography and all around well crafted by Ron Howard, 'Cinderella Man', is a fantastic example of classic filmmaking and it's another film off of the list.
(br) wrote: Liam Neeson is cool.