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Unstable Fables: Tortoise vs. Hare torrent reviews
Marcus C (kr) wrote: This kind of PG13 Filipino love story film crossing the conservative environment of our conceptualization industry is a turning point or a new light. Yes, it may have copied the concept of American Flicks like Friends With Benefits, Love and Other Drugs, and No Strings Attached, but at least it changed the way Filipinos should face such themes or issues like sex. The cinematography is high for a Filipino film but the sounds and visuals are plain-faced and sometimes unclear. Still, I commend the artists(TM) performances especially that of Locsin and Cruz. Over-all, its(TM) a great movie for Valentine dreams.
Benedikt F (jp) wrote: Good, well-acted drama with interesting characters.
John S (de) wrote: 2/10- This movie is 3 thing: Very Boring, Unfunny, and a waste of my time to watch. I really dont have any good reviews for this movie except for this, the only thing i liked in this movie was the way the kids acted like adults, i thought it was kinda funny, but overall this movie is an epic fail!
DC F (it) wrote: I get and agree with the social commentary, etc of this movie, but obviously Romero is getting desperate for new material. Overall, I am a zombie fan and glad I rented it, but wouldn't buy it.
Mike B (ru) wrote: Very entertaining, with excellent performances from the leads. This is more truth than fiction.
Joby D (ru) wrote: I love these movies! I do highly recommend this one and "Support Your Local Sheriff"
John W (es) wrote: Director Luis Bunuel's masterpiece is one of the most enigmatic films of its period. Erotic but not gratuitous, the film is infused with a certain elegance which seems out of place in the setting of a brothel, where much of the action takes place. Ultimately, it may be that this film is nothing but the fantasy of a bored, sexually repressed housewife, played perfectly by the gorgeous but frigid Catherine Deneuve.
Murat D (fr) wrote: With a powerful cast and a terrifying story The Stanford Prison Experiment is a great movie.
Blake P (fr) wrote: I've never thought of the Western as an art form - so set are conventions and expectations that many of the genre seem to work (especially in the cases of Golden Age superstars like Roy Rogers and Randolph Scott) as exercises in simplistic recreation with more charisma than craft. Widespread homogenization leaves many covered in dust and spiderwebs, profits to be temporarily enjoyed only to lose their luster later on. So it's fair to say that Westerns aren't my most favorite category of pastime, but enough chutzpah and enough character can turn me into a casual fan. Howard Hawks's "Red River," a pice-de-rsistance of the form, doesn't have much in common with the lowest common denominator that I rest most of my disbelief on - existential drama and brewing tragedy are more prolific than genre norms. It's a saga of self-doubt and familial tension coincidentally set in the sweaty south during post Civil War-era America; it's an accumulation of the genre's most awe-inspiring features. "Red River" basks in the glory of an expansive, sweeping landscape, bowing down to the rolling seas of grass and the surrounding, shimmering sky. An indelible, heroic soundtrack distinguishes its most triumphant of moments; its men, classic cowboys of the sort one looks up to during their imaginative youth, are stoic and brave, their dirtiness and their thirst for catharsis only adding to their enviably rugged demeanors. "Red River" is such a greatest hits collection of what makes the Western unparalleled that it's sometimes easy to undermine the fact that it was a film that both set trends upon release and also idealized certain genre characteristics. Ruggedly directed by Howard Hawks and smartly written by Borden Chase and Charles Schnee (who manage to find shades of feeling within their characters' durability), it's appeasing aesthetically and emotionally, a rarity for thrill-seeking and sometimes style-oriented ilk. But the incredible craftsmanship is hardly the most impressive thing about "Red River" - finest of all is the odd yet fruitful teaming of John Wayne and Montgomery Clift. Complete opposites in their every attribute - Wayne is tall, brawny, emotionless, tough, and grey; Clift is short, slight, passionate, cautious, and lusty - the juxtaposition of their respective personas is spellbinding, on edge. In the film, they are Tom Dunson and Matthew Garth, brought together by violent circumstance. As a young boy, Matt was the sole survivor of a Native American attack that also resulted in the death of Tom's true love, Fen (Coleen Gray). As a way to numb his emotional collapse, Tom, ever since, has acted as Matt's adopted father, stringing him along through the years as he's slowly amassed a prosperous cattle ranching business. The majority of "Red River's" action, though, takes place fourteen years after Tom and Matt's initial meeting, a time where Tom is scroungy and nearly broke following the economic roller coaster of the Civil War, where Matt is ambitious and becoming increasingly interested in starting a life of his own. Shortly into the film does Tom decide that the best way to deal with his dire financial situation is to drive his herd, comprised of thousands of cows, up north, hoping to stumble upon a buyer poised with a too-good-to-be-true offer. But while this plan is fantastical and none too realistic - to make things worse, Tom isn't willing to take an unfamiliar but much shorter route - the men, along with some extra hands, set off on the to-be grueling journey. Expectedly, morale deteriorates as time passes, preventable accidents and Tom's tough love approach the biggest contributing factors. Most are resilient enough to accept the drive as a shitty job to be remembered years into the future. But after Tom goes one step too far in his management, using threats of violence as a way to keep his men in check, Matt is forced to betray his father figure and take matters into his own hands, leaving the scorned Tom hurt, left behind, and ready for revenge. "Red River's" building to its climactic conflict is languid and perhaps even unexpected - as most are accustomed to Wayne's standing as America's roughest superhero, it's a strange phenomenon to watch him demoted to the status of a quasi-villain, an anti-hero acting solely out of self-interest rather than the greater good. Resulting is one of his most exceptional performances; instead of embodying the usual John Wayne character, which mostly asks for a portrayal, not a performance, he wears the skin of a tortured individual accidentally wearing his life on his face. His villainy is not due to methodical menace but because of an inability to look past his own misery. Clift's opposition to that - his Matt is level-headed and tender-hearted - drives "Red River's" terse tension, which builds so subtly that we don't much seem to notice it until it matters most. So it's disappointing that the film is a classic tragedy minus the tragedy; the writers inexplicably utilize a tacked-on happy ending that seems better suited for something disposable. Had it been pessimistic to its last breath, it'd be a picture incapable of being criticized. But what comes before its misgivings of optimistic finales and ineffective romantic detours is too staggering to put down. Aside from a few forgivable missteps, "Red River" is a perfect Western.
Jr R (es) wrote: This cartoon brings back great memories of my childhood. I view some episodes available on YouTube.