A new waitress working at an Italian restaurant in New York City finds herself entangled in a mob-run underworld of drug dealing and murder.

  • Rating:
    4.00 out of 5
  • Length:96 minutes
  • Release:2002
  • Language:English,Italian
  • Reference:Imdb
  • Keywords:bribery,   murder,   sexism,  

A new waitress working at an Italian restaurant in New York City finds herself entangled in a mob-run underworld of drug dealing and murder. . You can read more in Google, Youtube, Wiki


WiseGirls torrent reviews

Paul K (us) wrote: Good, absorbing tale of life and love in black working class Paris. The narrative is observed in snapshots, so the viewer has to work a little to make sense of the plot. Such as it is - this is a slice of life and not primarily a tale with a beginning middle and happy ending. Good stuff.

Shamith G (kr) wrote: Another brilliant masterpiece from farhadi. He creates such a atmosphere out of a simple story that we will be super excited to watch what happens next after each scene...also the actors involved showcase their enormous talent to such a good writing tht we just brood till the very end...

MRFIERCE (ru) wrote: it was ok i was looking forward to more but it got dum at times the olny reason why i wacth it cuz my role model america is in it.

Michael T (au) wrote: Stylish Vigilante Flick.Romantic Sub-plot.Darkly Humorous &Enjoyable Viewing.

JJ M (au) wrote: Slick, extremely funny and cooly-acted. This is a film that in my opinion has not been surpassed for sheer quality and quirkiness by any other Irish production. Why it isn't held in higher regard I will never know. The locations are familiar of an Ireland I grew up in and the humour is familar too (The scene with the guard at the checkpoint is priceless). And you can see from this the true brillance of Brenden Gleeson as an actor.

Kc E (ru) wrote: Pusher begins its trilogy with aggressive tension of criminal world with such raw and impeccable performances.

abc d (it) wrote: Saw this a long time ago, around 1994.

Justin A (us) wrote: Fun characters and plenty of car stunts and action. This movie just seems to ooze 70s. I like it, but I like road trip movies and films from this era.

Lauren D (kr) wrote: For the most part, I found it boring. As Alain Delon has made his way from not existing one day, to my favourite actor the next, I loved him in it. It was quite weird actually, when he cried, I actually had to hold back tears; despite me not caring at all about the events of the movie or the characters (and me being an unemotional robot in RL). He is just that awesome.

Issac L (kr) wrote: I am a tyro in view of Japanese cinema (one reason why I often feel ashamed to call myself a cinema buff), and among Mizoguchi's filmography, my only previous viewing is his later epic saga SANSHO THE BAILIFF (1954, 7/10), a haunting revenge tale with a cogent message about sacrifice and redemption, whereas in THE STORY OF THE LAST CHRYSANTHEMUMS, which is shot much earlier, pre-WWII, the same ideas have been incubated through a love story barred by the class gulf, Otoku (Mori) is a symbol of devotion and forbearance and Kikunosuke (Hanayagi) is a man of moral integrity, occasionally under the affliction of hardship, he is worn out and evinces rather disappointing male chauvinism, but she accepts and assimilates all these negative effluvia until the ultimate sacrifice, as long as Kikunosuke can regain his social status and fame through his bona-fide acting after years of studying and training. What a role model couple, depicted as the kernel of the mentality of Japan at that time, behind every successful man there is a capable wife, who doesn't has her own ranking or vocation, but should be fully devoted and (if lucky) intelligent to assist her husband (maybe now is still the same), a standpoint may sound outdated and even putrid nowadays. At the first scene, the novel milieu of Kabuki brings immediate exotic flavor to foreign viewers, but it is hard to be truly appreciated in an outsider's eyes, I can not tell the qualitative leap of Kikunosuke's acting skill, plus the orbit of the plot is stereotyped and take the twist and turn for granted, Hanayagi and Mori's acting is too hammy for my taste as well. But impressively the film contrives outstanding mise en scne, the camera never dare to be too near its characters, as we watch from a distance, everything is presented in an implicit rhythm with gracefulness and subtlety, which wholesomely leads its viewers through the voyage of a tearjerker behind the times with its mellifluous soundtrack sets the mood. I might feel a bit disheartened about this film, but it never too late to excavate the treasure of Japanese cinema, so I will keep up and continue to divulge my true feelings after watching them.PS: one interesting note, I find it rather peculiar to put salt on watermelon, at least not in my culture, the mixed salty and sugary flavor doesn't seem to be scrumptious to me, anyone who has the experience can give an explanation?

David R (us) wrote: Kind of stupid looking but I'll give it a try

Angela P (ru) wrote: My favorite D.W. Griffith movie. Not quite the epic that Intolerance is, but I liked this one better than Intolerance. Lillian Gish's character is just heartbreaking, it's got some nice light moments of comedy, good bits of romance, lots of drama, and because it is D.W. Griffith, a bit of epic action near the end. I really enjoyed it.