Yasar ne yasar ne yasamaz

Yasar ne yasar ne yasamaz


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Yasar ne yasar ne yasamaz torrent reviews

Val H (ag) wrote: May be as good as The Hurt Locker?

Christopher H (mx) wrote: Consider Finding Bliss a tasteful adult film, which is what the characters are striving to make in the film. Unlike most films portraying adult entertainment, Finding Bliss has a glimpse of heart and opens the world of filmmaking up for discussions. Though it appears that many of the parties, like Sobieski and Richards, have fallen far, the truth is, there are worse places to be in this industry? like porn.

Eliabeth T (mx) wrote: I saw this movie on television at a friends house. It was more of a documentary than the original. I'm trying to find both on disc. Very interesting movie.

Denis B (kr) wrote: Pretty boys don't make up for a pretty movie. Full of cliches, bad acting, cheesy/self pitying dialogue and wannabe witty lines.

Nate Z (fr) wrote: Halle Berry has not exactly followed up her 2001 Best Actress Oscar with wise choices. There was a starring role in a James Bond movie, Die Another Day, but she sucked so heartily that you wished she could have been dipped in gold. Then there was Gothika, a spooker that didn't scare anyone, except studio executives who saw the final gross. Now there's Catwoman, a big-budget superhero film that's got such a ripe odor to it to smell from miles away. It's not good when a studio pulls a trailer because fans laugh at it, and it's certainly not a good sign when the studio hires reshoots a month before the film is released. Catwoman's looking for a big chunk of the superhero money out there, but will it land on all fours? Patience Phillips (Berry) is a frazzled, down-on-her luck graphic designer at Hedare, a giant cosmetics corporation led by husband and wife team George and Laurel Hedare (Lambert Wilson and Sharon Stone). Patience is described as being "fun-deficient," and lets people walk all over her. She tries saving a cat from a ledge one morning, and Officer Tom Lone (Benjamin Bratt) jumps out of his car to intervene, thinking she's a jumper. He rescues her, though she doesn't need it, and then asks to go out some time for coffee, the universal first date without it having to be a date. Patience is returning her designs late one night and overhears that Hedare's newest product has the unfortunate side effect of making people's faces melt if they discontinue use. The Hedare goons chase her down a water drain and flush her into a river. She's revived somehow by the same cat she tried saving from the ledge. Patience reawakens with superhuman powers, heightened sense, and expert agility. There are some kinks, though. She sleeps in odd places, gobbles tuna by the handful, and loves to swing a whip. Who knows what she does to go to the bathroom. The new Patience is a bit confusing to Tom, but he goes along for the ride. He's also on the hunt for the Catwoman, a mysterious leather-clad woman responsible for some jewelry theft. Patience unravels Hedare's cosmetics conspiracy and aims to stop George and Laurel from mass production, all the while staying one step ahead of her boyfriend's investigation. But Laurel is also experiencing some growing pains of her own. Unsatisfied with being pushed out her company's advertising spotlight for being "too old," she begins using heavy amounts of their newest beauty product and makes her skin as tough as living marble. With this new power, she schemes to retake power from her husband, as well as eliminate a pesky Catwoman Let's not mince words and get directly to the elephant in the room: Berry's hideous, trashy costume. This is, by far, the worst costume ever in a superhero movie, and possibly the worst costume in cinematic history. It's so overwhelmingly ridiculous that perhaps the filmmakers felt Catwoman's ultimate weapon against evil was having it die from laughter. It's a bizarre combination of a mask with large mouse ears, leather bra, criss-crossing belts, gloves with diamond-tipped nails, and leather pants that look like they were mauled by a bear. Oh, and then there's also the open-toed shoes. What? A superhero who wears open-toed shoes? All evil doers would have to do is step on her feet. The only purpose the outfit serves is to make Berry look sexy, but you didn't need a stupid, tacky outfit for that. The story of Catwoman takes a giant leap into weird mythology. Apparently, possibly immortal cats decide someone will become a Catwoman, a woman we're told is not bound by our foolish rules. There's no explanation why the cats choose who they do, what the purpose of this is, or what is even expected in return. We do get a montage of Catwomen through the ages dating back to ancient Egypt. Apparently, Catwomen follow the same lines of mythology like Buffy the Vampire Slayer: "Unto each generation, a Catwoman is born." It's also kind of funny that a film called Catwoman, about mythic Catwomen, has a crazy old cat lady (poor Ruth Fisher). The villainous scheme in Catwoman is awful. I can't imagine the FDA not having some grumblings when their test bunnies start having their faces melt off. More importantly, what company would [b]EVER[/b] release a product that melts your face in our litigious society? Just think of the mounting class action lawsuits that could very likely bankrupt that company. So, right there the villain's plot is moronic for two big reasons. Don't even get me started on Stone's superhuman strength aided by the beauty cream we learn melts faces. The acting is what you would expect. Berry is a beautiful woman, no doubt, but her performance is split between flighty wallflower and naughty dominatrix, neither of which is convincing. Bratt is the worst police officer ever (he can't identify Catwoman even though only a tiny part of her face is obscured) and tries valiantly to hold his own amongst the ridiculousness. Wilson was such a stock corporate villain that they could have erected a cardboard cut-out of him and gotten the same performance. I never thought I'd say this, especially after The Muse, but Sharon Stone is the best thing about this movie. She's an ice queen, but an entertaining one until she goes overboard on her beauty cream. Catwoman is the first superhero film for Warner Brothers since their disastrous franchise-killing Batman and Robin in 1997. It's hardly a coincidence that Catwoman is the also the worst superhero film since Batman and Robin. The film is trying really hard to be Spider-Man. Before her feline transformation, Berry is a frumpy dweeb, and afterwards she gets heightened senses, a new jolt of self-confidence, and the love of her man. Catwoman even has the guts to rip-off Daredevil, an amusing but flawed movie itself trying to be Spider-Man. There's a scene where Patience and Tom play a competitive game of basketball surrounded by chanting children. This is a direct rip-off of the scene in Daredevil where Ben Affleck and Jennifer Garner play fight on a playground. I don't know about you, but when you're ripping off Daredevil of all movies, you have problems. This film has five credited writers, which works with my Rule of Five for films: if there are five or more people responsible for the script, then there was no script. Who among the five wants to take credit for all the dreadful cat puns in the dialogue, like Catwoman saying, "What a purrr-fect idea." There's also this wonderful repartee where Laurel says, "For you, Patience, it's game over." Then Catwoman responds, "It's overtime!" It also hurts the story when Patience has to have a horny friend (MAD TV's Alex Borsetin) make wisecracks while wearing business attire that consists of whatever her boobs have the possibility of falling out of. There may be a feminist message about our culture's emphasis on beauty and its fear of aging, but whatever feminist message about accepting beauty there may be is tempered by having our heroine in S&M day wear. Catwoman is director Pitof's (perhaps short for Pitof-[i]ful[/i]?) first real break as a director. He began his career as a visual effects artist on films like Alien: Resurrection, City of Lost Children, and The Messenger, but can anyone recount a visual effects artist that went on to become a decent director? (If you bothered to answer with Joe Johnston, then I don't think you understood the question). ]Movie Director Pitof has a love for cheesy CGI shots, but what's more harmful is his penchant for confusing quick-cut edits. After watching Catwoman, I had to pop some Advil when I got home because the film's editing had actually caused me a headache. It became so annoying that I started counting "one Mississippi, two Mississippi, etc." to gauge the average length of a shot. Let's just say that we didn't make it past "one Mississippi" about 95% of the time. Now, there's nothing inherently wrong with quick-edits; The Bourne Supremacy used them effectively to keep a lively, unpredictable experience. Catwoman's editing is just jarring, especially during action sequences where you'd be hard-pressed to figure out what's exactly going on. The effects work is also rather pathetic. Pitof adores zooming exterior shots that become tiresome after the eighth or ninth time. Worse are all the scenes where Catwoman jumps and leaps through the city like she's Spider-Man's long-lost sister. The film is bending over backwards to try and ape Spider-Man, and these joyless, silly sequences of CGI Halle Berry crawling and jumping around the city don't help the comparison. I do suppose that making a CGI Halle Berry flex and bend in her leather outfit was probably the most rewarding work for an animator since digitally making a breast grope itself in Hollow Man. Who exactly is this movie intended for? If the filmmakers were going for fans of the Catwoman character, then why did they break away from the comic's history and create something distant and different? If the filmmakers were strictly making an action movie, then why all the visual fluff, idiotic romance, and headache-inducing editing? I suspect that the producers felt that the names Catwoman and Halle Berry would be enough to put butts in the seats. So, then, I deduce that the selling point of Catwoman is, "Wanna see Halle Berry in a sexy leather outfit?" Now, most males will say, "Sure thing," but why would they pay seven to ten dollars to see sexy non-nudity when they could rent Swordfish and Monster's Ball and witness the full extent of Halle's berries? Makes no sense to me. The short answer to who this film is intended for is, of course, no one. Catwoman is derivative, incomprehensible, dumb, and just plain boring. The only people who will get a kick out of Catwoman are either hormonal teenagers aroused by Berry's outfit, or those who enjoy jeering a terrible movie. I can't even recommend seeing Catwoman because of its ineptness. It's bad, oh boy is it bad, but it's not insanely idiotic like Bulletproof Monk or Dungeons and Dragons to the point where the lunacy is a must-see. It's just boring bad, enough that it almost put me to sleep. ]Perhaps the funniest thing of all, Berry has publicly stated in interviews weeks after Catwoman's release that she'd love to don her leather outfit and do a sequel. Maybe she needs to talk to the producers who lost a bazillion dollars and inadvertently created a midnight movie howler. Then again, Berry isn't exactly making the best film choices post-Oscar. Catwoman will certainly get delegated to the litter box, but how many lives does Berry have left in Hollywood? Looking at her current slate of roles, including a remake of Foxy Brown, my guess is . . . not much. Nate's Grade: D

Sally A (nl) wrote: Dear lord this is horrendous. Unwatchable, my 3yo found the first 5 mins vaguely amusing. Stick with the first one.

Joseph S (ca) wrote: What is the happiest moment of your life? If you had to pick one moment, one memory to keep with you and the rest were going to be erased what would it be? This is the central question of Afterlife a film about life, memory, happiness, movie making, and only in tangent, death. A group of dead people arrive at a dilapidated building where they are told to select a single memory that they will dwell in for all eternity. Heaven as it turns out is only a memory. The film is mostly these people talking directly into the camera documentary style reflecting on what was most important to them. I recently told a friend about this movie, who told me it sounded "corny", and if the film had only been about these people I, might agree. I told my friend that I liked the film because while watching it I reflected on my entire life, and what happiness had meant to me during it. I was almost shocked and a little saddened by how quickly I came to realize what my moment was, like the movie as a whole it leaves a bittersweet taste. My friend told me they didn't think about their life that way, and that it would be too depressing to do so. I told her that someone in the movie says that too, and what made the movie as a whole so good and not just a clever concept was how honest it was about the complications between notions of a meaningful life, nostalgia, and personal happiness. The dead have a half a week to choose which memory they want and the rest of the week is spent filming the memories in a sound studio. The screening at the end of the week is to be their moment of "ascension". Though silent at first the "counselors" shooting these memory-movies are not separate from the process, they too are dead. Takashi and his trainee Shiori we see handle most of the cases. It becomes clear that Shiori is infatuated with Takashi, but in a bureaucratic purgatory with dozens of films to make what time is there for love? And what would love possibly entail in such a place. Takashi is only concerned with his duties as counselor and helping people to clearly define their eternity. Everyone is ostensibly dead, but otherwise they are completely normal; eating, bathing, shaving, feeling warm, cold, anxious, and uncertain. Afterlife despite its title is not a film about death, but about memory and self-reflection. Two characters become problematic early on, one an old man who says he cant remember his life clearly enough to choose a specific moment, the other a young man who refuses to chose a moment, insisting it would be "avoiding responsibility for his life" and a surrender to empty nostalgia. Takashi becomes interested in the old man's case(for personal reasons we discover later), and has the man's life sent to him on videotape so that he may observe and report, in a quieter variation on Albert Brook's "Defending Your Life" (a conceptual cousin and precursor to Afterlife). I've never really been interested in seeing the greatest films ever made. I like to tell myself that one day I will get around to seeing all of the classics, but at the moment what makes me love cinema are viewing moments that do not just impress me for technical reasons, but that connect to me personally. Sometimes these connections are tangible and explainable with experiences that mirror my own, but with others they are intangible where I glimpse things I could never fully express but feel deeply as if I've known them forever. I think this is why many people watch films, at times to identify and at others to connect with what is unidentifiable. Afterlife is about producing films that capture only a single moment and that only have meaning to single person; films that will only be screened once, but will be remembered literally forever. They are so personal as to be inconsequential to anyone but their intended viewer, but I couldn't think of a more meaningful type of film to make both for an audience and their creators. Russian silent film director Aleksandr Medvedkin used to travel the USSR on a train stopping at random villages and asking the people what their problems, issues, and concerns were and then asked for their assistance in making a film about just that. Doing this Medvedkin wanted to give cinema to the masses. The world of Afterlife likewise gives cinema to the individual. Visually I've heard the film compared to Yasijiru Ozu, and since most of the film consists of static shots, I can understand the comparison, but I haven't seen enough of his work to comment one way or the other. I can say it is simple, sparse, documentary like, and non-obtrusive. Its style is intimate, serene, and quiet, in opposition to the romantic comic zaniness of Brook's "Defending Your Life"; which I also enjoyed, for vastly different reasons. It would have been understandable if this film was absorbed by the fantasy it springs from, but it remains so rooted in the interactions of its characters and the nuanced performances of its actors, that it feels effortlessly natural. There are sprinklings of melodrama in the film towards the end, but they allow the characters to actually reach important conclusions that the film wouldn't have been able to connect together otherwise. Even if you can't remember your own moment, isn't it possible that you are an extra or a main character in someone else's, and nothing as dramatic as some old flame pining over you, but maybe a moment spent with a friend or a family member. Maybe your parent's happiest moment was when you were born. It's only from an imaginary position like an Afterlife that we have the distance to reflect on such grand feelings intimately and sincerely. Since were not dead, this question can be written off as sophomoric or corny, our best days may in fact still be ahead. But I wonder if without some prior sense of what is truly beautiful, meaningful, and warm fuzziness incarnate whether we can know true bliss when we finally see it. This is assuming it's something you can even know when you see it, and not something that only occurs with memory. I was once told in a Sunday Sermon, happiness is predicated on happenings and events, but joy was something internal that had little relation to the outside world. Personally I think real happiness is created when memories generate joy that later events cannot soil or touch. In one scene Shiori speaks to a young girl who chose Disneyland and a ride on Splash Mountain as her moment, and tells her she is the 40th person to pick that same episode. Later the young girl reconsiders and chooses a moment with her mother doing laundry; a less exciting event, and not one that would come to mind quickly, but one closer to heart. Ultimately Afterlife is a beatific trip down memory lane that asks us questions that most people spend their lives asking themselves; I am happy, am I satisfied, and what are perfection, peace, and bliss. It handles these questions with minimal pretenses, conversationally and without judgment and reminds me of why I watch movies, and why I like sharing the things I love with others. At the end I just wanted to give this film a big hug. I can't think of any flaws in this or anything I wanted to see but didn't. Nor anything I felt was out of place, distracting, or insincere. The only objections I could reasonably see are often spoken by the characters themselves, particularly the young man, who thinks the entire system is flawed; what do they do if a baby dies for instance? My own moment (and no I will not tell you nor anyone else) was actually quite "corny", in fact it was the first time in my life I realized why a certain kind of sentimentality existed. This movie is sentimental for sure, but it's definitely sincere. If we get lucky in this universe and there is an Afterlife, we would all be very fortunate to find ourselves in a movie theaters like these with kind hearted counselors to help us grieve for and accept our lives, and if there isn't well at least there's still movies like Afterlife; things worth seeing, things worth talking about, and things worth sharing with each other.

Patricia J (ca) wrote: This is one of the best romantic dramas of the 90;s I put it up with Good Will Hunting, and A River Runs Through It, legends of the fall. The actors are all in the beginning of their careers and they are stunning.

Rian T (jp) wrote: At first glance, some may perceive this movie to be confused - but that is largely because most movies these days seem to spoon-feed their audience. To me, Toys explores how life often requires us to two between two different extremes - must we always trade one for the other, or can is there another way that accounts for both?

scott f (br) wrote: its okay counldnt take sean penn serious very chick movie

Jemal A (ru) wrote: good back then, cheesy now

Kendall C (it) wrote: A big wasted opportunity

Jeroham O (jp) wrote: One of my favorite love films. Really defines that love goes beyond the physical.

Dan W (jp) wrote: What a godawful mess

Chantal v (us) wrote: I can't do anything else but give it five stars. I love every minute of this movie - especially on a summer night like this. It's funny to see that some reviewers think this is a fake, unrealistic movie. That says so much about their way of living. I think it's real, wonderful, hopeful, atmospheric. Warmly and naturally acted as well. An unexpected gem when I first stumbled upon it on tv years ago - and keep coming back to. See you next summer.

Bill T (es) wrote: With many favorite films from my youth, I feel they don't hold up that well (The Strongest Man In The World is a great example) but "Escape From Witch Mountain" still is a great movie. I love tony and tia, two kids struggling to find out where they came from and why they have the powers that they do. Ray Milland and Donald Pleasance play the bad guys who want the two for no good, and Eddie Albert plays, yes, the man in the camper. (They all get billed higher then the kids, who are the real stars of the show), some special effects are sort of sloppy, but you can get past that and enjoy the show.