This is a profoundly dumb and misguided roaming-junior-male-ape-gang roadmovie type of thought. Damn wagnerian homoerotic Quest for a Holy Grail. Murder mysteries. Spoilers. "Nyaah we already got the Grail!" taunt the French knights Arthur & co. in Monty Python´s Holy Grail:
ellauri069.html on line 362: A rocket hangs poised above a movie theater in Los Angeles.

Dhruva Chatterjee – writer and screenplay writer of Hindi movies
ellauri196.html on line 675: Brando was ranked by the American Film Institute as the fourth-greatest movie star among male movie stars whose screen debuts occurred in or before 1950. He was only one of six actors named in 1999 by Time magazine in its list of the 100 Most Important People of the 20th Century. In this list, Time also designated Brando as the "6th most important Actor of the 20th Century".
ellauri206.html on line 61: Show, don't tell is a technique used in various kinds of texts to allow the reader to experience the story through actions, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. It avoids adjectives describing the author's analysis, but instead describes the scene in such a way that readers can draw their own conclusions. The technique applies equally to nonfiction and all forms of fiction, literature including haiku and Imagism poetry in particular, speech, movie making, and playwriting.
ellauri210.html on line 381: In the summer of 1914, Cravan began another phase of wandering. In 1916, he found himself in Barcelona where he somehow managed to book himself a high-profile fight against Jack Johnson. Johnson was in the midst of a celebrated stay in Spain, during which he was received by royalty and starred in movies. Photographs from the fight give some idea of the scale of the event, which was held at Barcelona’s huge bullfighting arena La Monumental. What the photos don’t convey is what a mismatch the fight was. Even a ring-rusty, thirty-eight-year-old Johnson was leagues ahead of Cravan. Johnson won with a sixth-round knockout, though it could’ve been over much sooner had he wished it. There are reports that Cravan shook with fear before the contest began, knowing how out of his depth he was. One writer has suggested that “Johnson and Cravan were more collaborators than competitors,” and that the event was a con, just a hype-fueled payday for an aging legend and a flamboyant interloper with no credible chance of a win—the Mayweather-McGregor of its day. Olikos tää se mazi josta toinen nyrkkipelle Heminwau kirjoitti siinä sonniromaanissa?
ellauri210.html on line 576: Kurt Hiller wurde in Berlin als Sohn eines jüdischen Fabrikanten geboren, sein Großonkel mütterlicherseits war der SPD-Reichstagsabgeordnete Paul Singer. Hiller machte 1903 sein Abitur als Primus Omnium am Askanischen Gymnasium in Berlin. Danach studierte er an der Berliner Universität Rechtswissenschaft bei Franz von Liszt und Philosophie bei Georg Simmel. Im November 1907 wurde Hiller als Externer an der Ruprecht-Karls-Universität Heidelberg vom Juristen Karl von Lilienthal mit der Dissertation Die kriminalistische Bedeutung des Selbstmordes zum Dr. jur. promoviert. Die Dissertation war der Teil einer rechtsphilosophischen Arbeit unter dem Titel Das Recht über sich selbst, für die Hiller in Berlin keine Anerkennung fand, und in der er die Forderung aufstellte, das Strafrecht müsse die Selbstbestimmung des Menschen stärker berücksichtigen.
ellauri214.html on line 72: Though Rowling’s transphobia has been publicized the most, fans have also begun to notice prejudice in her writing. Very few people of color are featured in J. K. Rowling’s books, and those that are have few lines and no detailed story arcs. One of the people of color given more thought was Cho Chang, Harry Potter’s love interest who was first introduced in the third book, Harry Potter and the Prisoner of Azkaban. Rowling’s racism toward Asians and lack of knowledge of Asian culture is clearly evident from just the name Cho Chang, which is a mix of Korean and Chinese surnames. Korea and China have a longstanding history as political adversaries and each country has a distinct culture. While Rowling went to great efforts in creating a wonderfully immersive wizarding world, she gave no thought to what Cho’s ethnicity is. Cho was also sorted into Ravenclaw house, the school house for those of high intelligence, playing into a common stereotype of Asians. The only other Asian characters mentioned in the series are Indian twins Padma and Pavarti Patil. While Rowling appears to have given more thought to these characters, placing Padma in Ravenclaw and breaking the Asian stereotype by placing Pavarti in Gryffindor, she ultimately fails to adequately write Asian characters. While Pavarti, as a member of Harry Potter’s house, was given more depth than Cho or her sister, many South Asian fans were irritated by the girls’ dresses in the fourth movie, Harry Potter and the Goblet of Fire. The twins wore dull and unflattering traditional Indian attire, which many saw as a mockery of Indian culture. Cho herself wore an East Asian style dress in this movie which was a mix of different Asian styles. Rowling continued her habit of stereotyping Asians in the Fantastic Beast Movies, the first of which was released in 2016 and set in the 1920’s, several decades before the Harry Potter series. In this pre-series, the only Asian representation is displayed in the form of a woman who has been cursed to turn into a beast. Fans may remember the villain Voldemort’s pet snake, Nagini, who served him throughout the Harry Potter series. Fans were surprised to learn when watching The Crimes of Grindelwald, the second movie in the Fantastic Beasts series, that Nagini was not always a snake, but was actually a woman who had been cursed to turn into a snake. In the movie, Nagini, in human form, is caged and forced to perform in a circus. Though we do not know how Nagini came to meet Voldemort, we do know that she became his servant and the keeper of a wee snakelike portion of his soul. This is more than slightly problematic. Not only was Nagini the only Asian representation in the film, but she was also a half-human who was forced to serve an evil white man for a great part of her existence. Author Ellen Oh commented on Nagini’s inclusion in the film saying “I feel like this is the problem when white people want to diversify and don’t actually ask POC how to do so. They don’t make the connection between making Nagini an Asian woman who later on becomes the pet snake of an EEVIL whitish man.”
ellauri214.html on line 112: I’m a troubled teenager girl in a Hollywood action movie.
ellauri214.html on line 116: In a rare chance, I might be black. If I’m black, I’m more likely to be pregnant. I’m more likely to be dead in the first 20 minutes of the movie (or first episode of the TV show).
ellauri214.html on line 154: The protagonist of the movie, who's actual family are fridged to create cheap motivation, will serves as my surrogate father or brother figure. And I will be his replacement family.
ellauri214.html on line 161: 15 minutes into the movie, I'm entitled to know the deepest darkest most painful history of the protagonist. Because I can't trust him unless he told me everything.
ellauri214.html on line 167: Because I'm often the MacGuffin of the movie, my self-centeredness is often justified at the end. It really is, all about me.
ellauri214.html on line 201: Other than the Chosen one (Harry Potter), this is my most hated character in any action movie.
ellauri219.html on line 187: Mae West initially refused to allow her image to appear on the artwork. She was, after all, one of the most famous bombshells from Hollywood’s Golden Age and felt that she would never be in a lonely hearts club. However, after The Beatles personally wrote to her explaining that they were all fans, she agreed to let them use her image. In 1978, Ringo Starr (No.63) returned the favor when he appeared in West’s final movie, 1978’s Sextette. The film also featured a cover version of the “White Album” song “Honey Pie.” P.S. Mae Westillä oli melko mahtavat maitomunat ja varmaan herkullinen mesipiiras. Vaikka jäävät kyllä 2:si Savonlinnan Paskalle.
ellauri219.html on line 231: In contrast to Mae West (No.3), Fred Astaire was reportedly thrilled to be asked to appear on the Sgt Pepper album cover. A child star who initially started dancing with his sister on stage, it was with Ginger Rogers that Fred made his greatest mark, in a series of classic Golden Age movies including Top Hat and Swing Time. He also appeared with John and Yoko in the 1972 television film Imagine. Limainen mafioso luikero.
ellauri219.html on line 250: Along with Huntz Hall (No.13), Leo Gorcey was one of The Bowery Boys, a group of on-screen hoodlums who grew out of The Dead End Kids and The East Side Kids. Their movie franchise ran throughout the 40s and 50s, and totaled 48 films. As the gang’s leader, Gorcey was a prototype street thug who set the template for many to follow, though he refused to let The Beatles use his image unless they paid him a fee, which was declined.
ellauri219.html on line 290: A satirical novelist and screenwriter, Terry Southern bridged the gap between the Beat Generation and The Beatles; he hung out with the former in Greenwich Village, and befriended the latter after moving to London in 1966. His dialogue was used in some of the most era-defining movies of the 60s, including Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb and Easy Rider.
ellauri219.html on line 300: Striking and versatile, Tony Curtis was a Hollywood idol who made a dizzying amount of movies (over 100) between 1949 and 2008. He will always be remembered for his role alongside Jack Lemmon and Marilyn Monroe (No.25) in the 1959 cross-dressing caper Some Like It Hot, but another stand-out remains his performance alongside Burt Lancaster as fast-talking press agent Sidney Falco in the 1957 film noir The Sweet Smell Of Success. Tässä jää nyt mainizematta Veijareita ja pyhimyksiä (The Persuaders!), ITC Entertainmentin 1970–1971 tuottama televisiosarja. Sen pääosissa esiintyivät Tony Curtis (Danny Wilde) ja Roger Moore (lordi Brett Sinclair; koko nimi Brett Rupert George Robert Andrew Sinclair, Marnockin 15. jaarli). Sitä tehtiin 24 jaksoa. Tony ja Roger eivät voineet sietää toisiaan. Läskiintynyt Tony kuoli kasarina sydämen pysähdyxeen. Rooger aateloitiin, vaikkei käynyt loppuun edes teatterikoulua. “But because of the war there were 16 girls in every class to four boys so while I didn’t learn that much about acting, I learned a hell of a lot about sex.”
ellauri219.html on line 389: In his iconic role of Johnny Strabler in the 1953 movie The Wild One, Marlon Brando captured the growing frustrations of the generation that gave birth rock’n’roll. Hailed as one of the greatest actors of all time, it’s also notable that Brando’s rivals in The Wild One, The Beetles, were almost-namesakes of The Beatles.
ellauri219.html on line 394: As the man who became Hollywood’s first-ever Western icon, Tom Mix starred in a staggering 291 movies between 1909 and 1935.
ellauri219.html on line 404: A Hollywood heartthrob of the 30s, 40s, and 50s, Tyrone Power was known for starring as the titular hero in the swashbuckling adventure film The Mark Of Zorro, though he also played the role of outlaw cowboy Jesse James, and starred in musicals, romantic comedies, and war movies.
ellauri219.html on line 493: Just as The Beatles did, Marlene Dietrich had continually reinvented herself, moving from silent movies filmed in 20s Berlin to high-profile Hollywood films of the 30s, before taking to the stage as a live performer later in her career. In November 1963 she appeared at the same Royal Variety Performance as The Beatles and was famously photographed with them.
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ellauri219.html on line 975: Underworld (also released as Paying the Penalty) is a 1927 American silent crime film directed by Josef von Sternberg and starring Clive Brook, Evelyn Brent and George Bankrupt. The film launched Sternberg's eight-year collaboration with Paramount Pictures, with whom he would produce his seven films with actress Marlene Dietrich. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. Time felt the film was realistic in some parts, but disliked the Hollywood cliché of turning an evil character's heart to gold at the end. Filmmaker and surrealist Luis Buñuel named Underworld as his all time favorite film. Critic Andrew Sarris cautions that Underworld does not qualify as "the first gangster film" as Sternberg "showed little interest in the purely gangsterish aspects of the genre" nor the "mechanics of mob power." Film critic Dave Kehr, on the other hand, writing for the Chicago Reader in 2014, rates Underworld as one of the great gangster films of the silent era. "The film established the fundamental elements of the gangster movie: a hoodlum hero; ominous, night-shrouded city streets; floozies; and a blazing finale in which the cops cut down the protagonist."
ellauri219.html on line 1014: As a child of the 20th century, I suppose, this book sorta speaks to me. Talk to the hand. It precipitates into meaning historical movies I’ve seen. Don is like Wilt Whatman who addressed, in the poem “Crossing Brooklyn Ferry”, the people of the future. Sublime but ironic.
ellauri220.html on line 187: The Zapruder film is a silent 8mm color motion picture sequence shot by Abraham Zapruder with a Bell & Howell home-movie camera, as United States President John F. Kennedy's motorcade passed through Dealey Plaza in Dallas, Texas, on November 22, 1963. The film captures the moment of the President's assassination. Abraham Zapruder (May 15, 1905 – August 30, 1970) was a Ukrainian-born American clothing manufacturer.
ellauri220.html on line 191: Some critics have stated that the violence and shock of this home movie led to a new way of representing violence in 1970s American cinema, both in mainstream films, and particularly in indie and underground horror movies. Brugioni recalled seeing a "white cloud" of brain matter, three or four feet (91 or 122 cm) above Kennedy's head, and said that this "spray" lasted for more than one frame of the film.
ellauri220.html on line 472: Many shows and movies don't bother getting a foreign language right when they portray them. The incidence of this increases along with the obscurity of the language. But first and foremost, if the intended audience won't be able to tell the difference anyway, why bother? A variation on this is that the foreigners speak English, but are identified as foreign by an accent or are parading universally known national images.
ellauri222.html on line 213: Podhoretz told Leader that he considered all of Bellow’s characters puppets. And there is something animatronic about them. This is especially true in “Augie March,” where the extended procession of too vivid personalities is like a Wes Anderson movie. Bellow tended to make his characters look the way a child sees grownups, unalterable cartoons, weirdly unself-conscious in their one-dimensionality.
ellauri236.html on line 537: Tää oli siis jonkun M. Cainin kovaxi keitetty 30-luvulta josta pidettiin 80-luvulla uusi meteli koska siitä tehtiin uusi filmatisaatio pääosissa epämiellyttävä Jack Nicholson ja hevoshampainen nainen nimeltä Jessica Lange. En ole nähnyt rainoista kumpaakaan, saati lukenut alkuteosta. Juoni lyhyesti: The sensuous wife of a lunch wagon proprietor and a rootless drifter begin a sordidly steamy affair and conspire to murder her Greek husband (i.e. the said lunch wagon proprietor). This remake of the 1946 movie of the same name accounts an affair between a seedy drifter and a seductive wife of a roadside café owner. This begins a chain of events that culminates in murder. EFK ihan pikku pussissa.
ellauri240.html on line 219: Peyton Place was made into a movie starring Lana Turner and Hope Lange in 1957. The town of Gilmanton opposed having the movie filmed there, and eventually it was filmed in Camden, Maine, a location totally unlike any rural mill town. A television series, starring Mia Farrow and Dorothy Malone, was produced that lasted from 1964-1969. Both the film and the television show were cleaned up and did not contain the language or sexual specificity of the novel.
ellauri243.html on line 506: Brown’s books have never made it into movies. The closest they have come is with some of the characters appearing in computer games. When asked the question on his website, he said it would be cool if his books could be made into movies, however he doesn’t have an agent in Hollywood so the chances are low.
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ellauri248.html on line 98: Justin rated it shit: The protagonist of this book really, really annoyed me. It felt like a parody of one of those old black-and-white movies where the picture freezes and the guy steps out toward the camera, lights a cigarette, pulls his hat down, and goes into this long monologue about life or women or his past or whatever. The action would pick up or a new lead would be uncovered, and here comes Rob rambling on for pages and pages.... and pages.
ellauri248.html on line 152: 1875 promovierte er „Über den Begriff des Schönen (sittlich Guten) in der Moralphilosophie des Aristoteles“. Sein Versuch, über eine Habilitation in der Wissenschaft Fuß zu fassen, scheiterte 1877.
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ellauri266.html on line 250: Probably one of the worst movies I've ever watched. They live in the woods, and walk in the woods. That is all.
ellauri266.html on line 252: Without a doubt, the most boring and slow movie I have ever watched. No build-up, no climax. No explanation for anything. Zero explanation for what the father's reasons, intentions, or goals are. I have never seen such a pointless movie, especially one with such high ratings. Just an awful way to spend your time.
ellauri266.html on line 254: This movie should never have been made. It is a love ode to irresponsible broken men, our nation's need for lunatic asylums, and the failure of Child Protective Services. The producer's mother must have written the rest of the reviews.
ellauri266.html on line 256: Knew nothing about the characters. Nothing made sense. Nothing was believable. Ending was awful and left me and my wife in shock as to what we even watched. The movie was dragged out and extremely boring. I was not inspired and got nothing out of this movie. The acting was good however, but the story was one of the worst. If I got to come up with my own assumptions, then you did something wrong.
ellauri266.html on line 262: In a world of superhero movies, this film stands out and reminds you of what the art of filmmaking is all about. No explosions, gunfights, or unnecessary sexual content, simply a group of phenomenal actors. The story is both sad and uplifting and it says more about PTSD (post-traumatic stress disorder) than any film I've seen in years. The fact that this film was so underappreciated is an indictment of the viewing public.
ellauri266.html on line 268: Are people insane? Like honestly. Are the people who reviewed this movie certifiably insane? This movie got 100%?????????? How. Like really, howwwww??? The most boring, slowest, most depressing movies ever. The only movie worse than this was Marley & Me. If this movie was based on a true story, then ok. But this was just a made up sad story? Like why? It does not deserve a 100% score AT ALL! That's just absurd and outrageous. And it now calls every score into question. Simply insane.
ellauri266.html on line 274: Psh. Unreal. Watched this movie in hopes of some type of entertainment but it was just a dude and his daughter walking through the woods for 2 hours. Unreal. Pppshhhh
ellauri266.html on line 276: One of the worst movies i've ever seen.
ellauri266.html on line 280: Wow talk about about fake news or breaking not so breaking news we got suckered into watching this because big tomatoes said 100% a plus rating. I'm not sure if we are talking about the same film because this movie is the type that makes you keep checking your phone hoping someone has texted you with something interesting. Wish they had a money back guarantee.
ellauri266.html on line 288: The whole time i was waiting fo there to be a plot twist or a big climax and when the movie just ended i was disappointed.
ellauri266.html on line 290: Actors did a great job. However, the movie was slow and confusing with no explanation or reason.
ellauri266.html on line 292: This was the dumbest movie ever. There is no explaination to anything and it just feels like youre waiting for something to happen but it never does. The story line was barely there. DO NOT RECOMMEND
ellauri266.html on line 296: I signed up for rotten tomatoes today specifically to rate this movie a ZERO. It was a complete waste of time. The movie is lax and boring. Characters are completely monotone throughout. I felt no empathy or emotion for any of the characters. It was a snooze fest.
ellauri266.html on line 302: Boring and very cheaply made. Lousy movie: 99+% of words not understood.
ellauri266.html on line 304: This without a doubt the worst film I've ever watched. It goes absolutely no where throughout the movie.
ellauri266.html on line 310: If you watch this movie and say it's "breathtaking" or "remarkable", you're the worlds biggest cuck.
ellauri266.html on line 314: The movie was one of the worst I've ever seen. So many unanswered questions. Why did he keep moving? Where was his destination? I'm sorry but you don't just keep walking around forever. I don't. I'm a 100% disabled veteran from Iraq. I know about PTSD. The movie is annoying.
ellauri266.html on line 316: If you like looking at trees, this may be your movie. I don't understand the complete lack of negative critic reviews here. Maybe it's my fault for being able to remember what it's like to watch truly well-directed films. Have today's critics forgotten what it's like to go see a film by Hitchcock or Wilder or even Blake Edwards or Ron Howard. Those guys knew how to tell a story. What we have here is a good example of bad storytelling.
ellauri267.html on line 97: Based on the novel by Walter Wager, "Telefon" has not aged well because it'(TM)s so dependent on the cold war tension that existed between the USSR and the US in the Seventies. The film is basically a cat-and-mouse game with Soviet agent Major Grigori Borzov (Charles Bronson, that's right Bronson is a commie) tracking rogue Russian scientist Nicolai Dalmchimsky (Donald Pleasence) across America to prevent him from activating sleeper agents. Borzov is assisted by Barbara (Lee Remick. fresh from "The Omen") who asks more annoying questions than necessary, leading the audience to believe she may not be completely true to the motherland. The film's middle section is dragged down by repetitive bomb scares. Dalmichimsky is working from outdated intelligence so his targets are all de-classified U.S. Military installations. Once Borzov realizes the pattern and hones in the next target the action shifts to a more linear chase that'(TM)s further heightened by Barbara'(TM)s loyalties. But the ultimate showdown is deflating because beyond some silly disguises Pleasence's Dalmichimsky is never built up to be a threat. Director Don Siegel uses his flair for montage to craft a his action sequences without dialogue. "Telefon" is a road movie, much like Alfred Hitchcock's "Saboteur" and "North by Northwest" had their leads criss-crossing America here we see plenty of seventies architecture including San Francisco's Hyatt Regency Hotel (used in "The Towering Inferno") and a modernist house resting on top of a barren rock outcropping. The supporting cast is uniformly good (but trapped in underwritten roles), and it'(TM)s nice to see veteran character actors Alan Badel and Patrick Magee playing snotty KGB strategists, and Tyne Daly in a small (and ultimately irrelevant role) as a computer geek. Trivia note: The poem that activates the Russian sleeper agents was used by Quentin Tarantino in "Death Proof" as the lines Jungle Julia has her listeners recite to Butterfly. The lines are an excerpt of the poem "Stopping by Woods on a Snowy Evening" by Robert Frost. "The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep."
ellauri283.html on line 114: Beyond the Heavens is a very ethereal and mystical experience, one unlike any other movie we have reviewed. However, this is not a good thing. The ‘plot’ is very unclear and murky, consisting of vague and meandering ideas and cryptic dialogue. It’s like Corbin Bernson is winking at the audience with every scene, waiting to reveal some great secret, but it’s never revealed. The whole has a very tip-of-the-tongue feel, like the characters know something you don’t but never intend to let you in on the secret. As the characters wax eloquent and philosophize about the true nature of reality, the viewer is left, in the end, with a more confusing view of reality than before. Is Bernson advocating for or against Darwinism? Is he a creationist? Does he really believe that angels come to earth on the tails of comets? Is Bernson suggesting that reality is not what it seems? If so, what is his view of reality? Only God knows the answers to these questions as Bernson spends 90 minutes toying with his ‘big reveal’ and dancing around whatever his philosophical worldview is. It’s basically just a waste of your time.
ellauri283.html on line 122: Video stalled a couple times the first time we watched it. Maybe scratched?? Or a sign from beyond? We found the movie to be a little odd.
ellauri297.html on line 89: anguished lines in the 1954 movie “On the Waterfront”: “I
ellauri309.html on line 973: moviepilot.de/files/2ca89b27e10a4d6800fe55fbe510ceaf29a4a95b33beceff5c107648fa72/limit/720/405/zzzzzzz.jpg" width="90%" />
ellauri310.html on line 584: Yes. Fact-checking the Genius movie confirmed that Thomas Wolfe's tendency to not want to cut anything from his novels and to continually want to add more pages, presented a challenge for his editor, Max Perkins. At the insistence of Perkins, Wolfe reluctantly agreed to cut 90,000 words from his first novel, Look Homeward, Angel (1929).
ellauri310.html on line 586: Was Thomas Wolfe and Maxwell Perkins' relationship in any way romantic? Though the movie at times edges on a near-romantic relationship between Wolfe and his editor Perkins, others have described the real Max Perkins as being more of a father figure to Wolfe. Indeed there was a special bond between the two men, as evidenced in Wolfe's letters to Perkins and Perkins' own remarks about Wolfe, calling their friendship "one of the greatest things in my life" (Publishers Weekly). Despite some speculation, there is little doubt that the two were just very, very very close friends.
ellauri321.html on line 322: Matthew Ryder KC is a barrister and founder member of Matrix the movie specialising in human rights of way, media, data and information, crime, and regulatory law.
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ellauri332.html on line 445: Slaughter, sin, and sex in classic-turned-movie misfire.
ellauri332.html on line 456: The movie has removed the character's (characters'?) sense of guilt, and therefore the story's drama.
ellauri345.html on line 266: Der Sohn des jüdischen Mathematikers Sigmund Gundelfinger (Professor an der Technischen Hochschule Darmstadt) und dessen Ehefrau Amalie Gunz (1857–1922) studierte als Schüler von Erich Schmidt und Gustav Roethe Germanistik und Kunstgeschichte an den Universitäten München, Berlin und Heidelberg, wurde 1903 in Berlin promoviert und habilitierte sich 1911 mit einer Schrift zum Thema Shakespeare und der deutsche Geist. Ab 1916 wirkte er als – zunächst außerordentlicher – Germanistikprofessor an der Universität Heidelberg, wo er 1920 eine ordentliche Professur bekam. Noch ein Jude der an dem Nazitotem knasperte! Und ein Schwul zudem! Seit 1899 gehörte Gundolf dem Kreis um Stefan George an, nachdem er sich dort durch ins Deutsche übersetzte Sonette Shakespeares eingeführt hatte. In der Folge wurde er Georges engster Freund und Liebhaber.
ellauri365.html on line 276: Leo Tolstoy used Maupassant as the subject for one of his essays on art: The Works of Guy de Maupassant. His stories are second only to Shakespeare in their inspiration of movie adaptations with films ranging from Stagecoach, Oyuki the Virgin and Masculine Feminine.
xxx/ellauri076.html on line 155: And put them into the movies Ja pani niitä elokuviin
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xxx/ellauri085.html on line 359: What happens is this.. Give a blue collar worker $2000 and he will buy new furniture, or clothing, ir maybe put a down payment on a new car. He will definitely take his family out to dinner and a movie, therefore stimulating the economy. However, those in charge of the companies will not do this. They already have their purchases, parties, dinners, and vacations planned and payed for. When they get an extra $2000 or $200,000 they keep it. They purchase more stock ir perhaps an insurance policy. Maybe they just stick it into a CD. In any case they are NOT helping the economy or even interested in doing so.
xxx/ellauri086.html on line 511: The west-side story here, reduced to its elements: “Manhattan” is a movie about a five-foot middle-aged Jew who beds a sweet 17-year-old girl, breaks her heart when he leaves her for someone else and only comes crawling back when he gets dumped. It is not simply that so many of us were so besotted with the film for so long; it’s that we were perfectly content to look and see the small tits and the virgin butt. The problem was an addiction to “the self-gratifying view,’’ Mr. Allen suggested - having made another movie about how he relentlessly does what he pleases. Butt on fire. Joey Buttafuoco quickly became an object of derision, the butt of the joke instead of Allen.
xxx/ellauri103.html on line 248: Behold, the reviewer in the Washington Post, who groundlessly accused this book of being “racist” because it doesn’t toe a strict Democratic Party line in its political outlook, described the scene thus: “The Mandibles are white. Luella, the single African American in the family, arrives in Brooklyn incontinent and demented. She needs to be physically restrained. As their fortunes become ever more dire and the family assembles for a perilous trek through the streets of lawless New York, she’s held at the end of a leash. If The Mandibles is ever made into a film, my suggestion is that this image not be employed for the movie poster.” Your author, by implication, yearns to bring back slavery. Failing that, she does the best to poke fictive fun at a fictive member of the underprivileged race. Nobody laugh?
xxx/ellauri103.html on line 531: Gifford left Today in order to pursue a movie career both as an actress, and as a director and producer. She did a number of voice overs most notably as a spiny anteater in the 1998 TV series Hercules and in Higglytown Heroes as the Mail Carrier Hero in 2004. In 2018 she filmed a Hallmark Christmas movie for Hallmark Movies & Mysteries called A Godwink Christmas. Gifford intends to make movies about the experiences of losing a loved one and being a widow, as she now has first-hand experience of the role.
xxx/ellauri122.html on line 846: frequenting movie theaters only to yell and condemn the
xxx/ellauri123.html on line 551: Instructions on a well-lived life for dropouts and losers, courtesy of a 25-year-old teen movie. Tää netistä vahingossa löytynyt plokkari Niklas Käki selkeästi maalittaa Isokynä-Lindholmin laulussaan tarkoittamia säälittäviä häviäjiä, löysiä kukkoja ja kanoja.
xxx/ellauri123.html on line 585: In 1995, Studio Ghibli, a Japanese anime company, released a movie called Whisper of the Heart. It’s about two high school students struggling with their artistic callings, their feelings for each other, and coming of age.
xxx/ellauri123.html on line 670: I don’t know how long the rules from the movie will last for you on this never-ending mission, but, like one of its characters, I’d like to remind you:
xxx/ellauri127.html on line 732: line ("A thing of beauty is a joy for ever") is quoted by Mary Poppins in the 1964 Disney movie, while she pulls out a potted plant from her bag. It is also referenced by Willy Wanka in the film Willy Wanka & the Chocolate Factory upon introducing the Wankamobile. https://en.m.wikipedia.org/wiki/List_of_people_claimed_to_be_immortal_in_myth_and_legend
xxx/ellauri128.html on line 438: Jennie Lee (born Virginia Lee Hicks, October 23, 1928 – March 24, 1990) was an American stripper, burlesque entertainer, pin-up model, Union activist, and a minor role movie actress, who performed several striptease acts in nightclubs during the 1950s and 1960s. She was also known as "the Bazoom Girl", "the Burlesque Version of Jayne Mansfield", and "Miss 44 and Plenty More".
xxx/ellauri137.html on line 634: Dancing to Mozart is a satire of Hollywood values and fantasies, Latin American dictatorships, Da Vinci Code conspirators, movie violence, magical realism, televangelists, mixed wrestling, extreme cosmetic surgery, and a host of other sensational idiocies that thrive on 21st century self-delusion. This whimsical contemporary “Candide” offers a trip through the world of out-of-control egos to a final revelation of ordinary common sense. The send-up is a mix of shrewd perception, lampoon, and wacko action that includes the Society of the Crystal Skull, the Opus Dopus, a female wrestling Amazon with one breast, an Arab who wants to recruit Islamic converts like an American billboard evangelist, two energetic film directors with crazy ideas, a rescue from captivity through “mind-invasion” (á la Inception) and a Hindu swami who tries to set all straight with a Bhagavad burrito. And a lot more.
xxx/ellauri148.html on line 100: McCormack has recently been accepted to the University of California at Los Angeles pornographic film school; he and his silicon wife will be moving from Nebraska to Los Angeles in the fall. He says he is eager to begin erecting and also has future plans to break into film as a character actor. McCormack, who someday hopes to develop some of his (well, his, Mahatma's and Hemingway's) novels into movies, says he has waited to go to Hollywood until the time felt right and he had paid his dues.
xxx/ellauri148.html on line 104: "I feel absolutely ready for pornographic movies," McCormack says. "It's this wild feeling of sturdiness and joy, kind of a creative euphoria."
xxx/ellauri149.html on line 123: Peter Szulczewskin net worth on noin puolitoista biljardia. Esa Saarinen's net worth is $10 Million. No voi helvatti. Known for movies: Pääosassa Esa Saarinen (1982) as Himself, A Parliament of Minds: Philosophy for a New Millennium (2000) as Himself, Enbuske & Linnanahde Crew (2014) as Himself, 80-luku: Minä olen muistanut (2008)
xxx/ellauri149.html on line 366: Conversely, Howard Thompson of The New York Times wrote, "Broadway and Israel meet head on and disastrously in the movie version of the rock opera 'Jesus Christ Superstar,' produced in the Biblical locale. The mod-pop glitter, the musical frenzy and the neon tubing of this super-hot stage bonanza encasing the Greatest Story are now painfully magnified, laid bare and ultimately patched beneath the blue, majestic Israeli sky, as if by a natural judgment." Arthur D. Murphy of Variety wrote that the film "in a paradoxical way is both very good and very disappointing at the same time. The abstract film concept ... veers from elegantly simple through forced metaphor to outright synthetic in dramatic impact."
xxx/ellauri149.html on line 374: Tim Rice said Jesus was seen through Judas' eyes as a mere human being. Some Christians found this remark, as well as the fact that the musical did not show the resurrection, to be blasphemous. Jesus var ingen Spartakus, för helvete. While the actual resurrection was not shown, the closing scene of the movie subtly alludes to the resurrection (though, according to Jewison's commentary on the DVD release, the scene was not planned this way). Some found Judas too sympathetic; in the film, it states that he wants to give the thirty pieces of silver to the poor, which, although Biblical, leaves out his ulterior motives. According to the black policeman in Whitstaple Pearl, ulterior motives usually means sex. The policeman is as talkative as John, and the detective cook lady looks a lot like Kirsi Riski. Not a comfortable thought.
xxx/ellauri149.html on line 400: here; has little to no bearing whatsoever on the plot; is WAY over the top in terms of ridiculousness, even within the context of the movie; and after it happens, no one ever speaks of it again."
xxx/ellauri154.html on line 203: Practically everyone knows Godard’s classic pronouncement, “All you need for a movie is a girl and a putz,” but a 1989 interview contains one of the more caustic charges Godard levels at cinema, that “Cinema is an ideology based on men living out through their imaginations what they could not do to women.” This chauvinist pig who openly played out his own marital problems with Anna-Kaarina in their collaborations of the ‘60s, now abrazes other toxic males for similar diversions.
xxx/ellauri165.html on line 415: Who's Winston Churchill? Did he ever make a movie? No? Then what's the big deal? Well reportedly he finagled to have this one made, Brit propaganda from inception to final credits, all about Brit superstar and icon Lord Nelson and his dangerous liasion with a married lady from the wrong side of the tracks. Delivered with finesse and verve by Olivier and Leigh, in the flush of their fame and talent, there is a sort of magical spell evoked, and the recreation of Nelson's passing (high on Brit radar, nil on American) (oh! spoiler alert!, dammit!) might tug a tear or two.
xxx/ellauri165.html on line 417: Of course, saying your empire is morally superior to the other fellow's is a sad exercise at best but then this movie was made during World War II so some allowances should be made,
xxx/ellauri165.html on line 419: That Hamilton Woman" is an opulent movie that takes a decidedly sideways glance at history, almost turning an important point in history into an overheated soap opera.
xxx/ellauri169.html on line 184: Despite watching Disney movies and films many times, you may not realize that some characters, who you think are harmless, are actually villains. Alright, let’s find out the answer with the top 10 Disney Characters who are not as good as what you assume. Bah, boring. Minor sex offenders Peter Pan and Aladdin. I was expecting Mickey Mouse and Scrooge McDuck.
xxx/ellauri176.html on line 164: is first of all a misnomer because the priest is alive and well at the end. A mixture of social realism and Walt Disney, it is a tale about a delicate young French priest, Father Mouret (Francis Huster), who elects to take a parish in the provinces where the peasants have long since embraced every sin there is. The priest himself successfully sublimates his own lustful thoughts in prayer until one day he meets a strange young woman, Albine (Gillian Hills), who lives with her atheistic uncle in the remains of an old chateau set in the middle of a magic garden.Well, one thing leads to another and poor Father Mouret loses his memory long enough to lose himself to worldly pleasures in the garden with Albine, who, like Eve, tempts the man, though in this case the author is clearly in favor of apple-eating. Things go very badly for the couple. The priest returns to his church and Albine commits suicide in a way that is unique in my movie-going memory: She smothers herself to death with calla lilies.The actors are steadfastly unconvincing. The one interesting character in the film is an old lady we meet only after her death—someone, we're told in shocked tones, who, during the Revolution, posed naked as a living-statue of Reason.
xxx/ellauri176.html on line 864: "The whole movie is like an NRA wet dream. Jack Reacher already feels as if it belongs to another era."
xxx/ellauri176.html on line 869: Lucy Mangan of The Guardian said. "This rollicking adaptation of Lee Child’s man-mountain ex-military sleuth is hugely fun, packed with punchups and far better than Cruise’s movie efforts."
xxx/ellauri176.html on line 877: "This movie is the height of by-the-book dullness."
xxx/ellauri177.html on line 205: The 24th feature from Hong Sangsoo, doppelgänger of the talkative celeb guy in the last scene of the movie THE WOMAN WHO RAN follows Gamhee (Kim Minhee), a florist and the wife of a translator who never in 5 years time has left her for a moment from his sight. She has three separate encounters with friends while her husband finally is on a business trip. Youngsoon (Seo Youngwha) is divorced, turned lesbian (the couple likes to feed alley cats) and has given up meat and likes to garden in the backyard of her semi-detached house. Suyoung (Song Seonmi) is divorced, has a big savings account and a crush on her architect neighbor and is being hounded by a young poet she met at the bar. Woojin (Kim Saebyuk) works for a movie theater and hates it that her writer husband has become a celeb. Their meetings are polite, but not warm. Some of their shared history bubbles to the surface, but not much. With characteristic humor and grace, Hong takes a simple premise and spins a web of interconnecting philosophies and coincidences. THE WOMAN WHO RAN is a subtle, powerful look at dramas small and large faced by women everywhere. Basically, they are 40+ ladies who may have met at some art school and get a chance to compare notes on how well their childless lives have turned out. Gamhee used to be the celeb's girl friend until the movie theater attendant stole the guy. Now both of them are sorry that she did, but really not that much. The Éric Rohmer of South Korea.
xxx/ellauri178.html on line 124: Mitähän Pili oli näkevinään John Le Carren vakoiluromaanissa A Perfect Spy? Vai pitikö se pikemminkin Davidista izestään? David reportedly enjoyed “playing” on his first wife’s suspicion that he was homosexual. The association between homosexuality and secrecy, furtiveness and potential treachery ensured gay characters were a recurring trope in Cold War-era spy fiction. John Le Carre's The Spy Who Came In From The Cold and Tinker, Tailor, Soldier, Spy include gay subtexts - made even more explicit in the 2011 movie adaptation of the latter. Merry Xmas from the onanist and the whore!
xxx/ellauri208.html on line 401: moviedb.org/t/p/w600_and_h900_bestv2/nr947rNN4H1TZzBFN8NfxbApScb.jpg" height="250px" />
xxx/ellauri215.html on line 147: Nathan, you don't have to defend yourself. Why shouldn't you enjoy your first bit of recognition? Who deserves it more than a gifted young man like yourself? Think of all the worthless people held in esteem every day: moviestars, politicians, athletes. Because you happen to be a writer doesn't mean you have to deny yourself the ordinary human pleasure of being praised and applauded.
xxx/ellauri224.html on line 59: Se oli nääsnääs ensimmäinen tähti jonka Smore näki nakkena. Leigh Taylor-Young nudity facts: she was last seen naked 51 years ago at the age of 27. Nude pictures are from movie The Horsemen (1971). Her first nude pictures are from a movie The Big Bounce (1969) when she was 25 years old. Was on TV Series Beverly Hills, 90210. Was on TV Series Dallas.
xxx/ellauri228.html on line 332: Soljaris (1972) Final Scene. SPOILER WARNING: For those who know & love this movie.
Not a good idea to watch without seeing the whole. (Andrei antaa suuta isän housuille autiolla saarella.)
xxx/ellauri228.html on line 358: Kurosawa commented: "I love all of Tarkovsky's films. I love his personality and all his works." The Turkish filmmaker Nuri Bilge Ceylan stated that: "To be bored in films is not important, it may be because you are not ready for that movie. It's not the fault of the movie."
xxx/ellauri229.html on line 249: Bing Bong, the childhood friend of Riley in the Pixar movie Inside Out
xxx/ellauri229.html on line 355: Harvey, the rabbit in the movie and play of the same name
xxx/ellauri229.html on line 515: And then there are a legion of Mr. Hyde type doppelgängers in more or less crappy B movies, which do not really deserve the name, since they hardly count as friends, though imaginary. There´s even a TV film whose name is Imaginary friends. The plot is too lame to relate here, see for yourself.
xxx/ellauri229.html on line 519: Jodie from "The Amityville Horror" could very well be a ghost, or she could be a figment of Amy´s imagination. Either way, there was an empty rocking chair rocking in that movie, and that´s just creepy.
xxx/ellauri230.html on line 697: movie/crop/0x1080/1/4/6/4/9/7/9/concatabd15f27b59792b57ae37f5a949fc154_1609979749_12.jpg" width="50%" />
xxx/ellauri250.html on line 164: This is not a movie for the masses. It is, however, a small film about real life hardships and their tragic consequences. While the dialogue and careful pacing befits the original novel, the film sometimes drags because of it. Towne has not given us the great American love story, but he has presented us with a captivating view of 1933 Los Angeles and a tale of romance that involves us in the plight of the characters.
xxx/ellauri250.html on line 424: The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications.

xxx/ellauri250.html on line 431: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.
xxx/ellauri252.html on line 48: Documentario capostipite del genere "mondo movie", è incentrato su usi e costumi inconsueti o scioccanti dei vari popoli nel mondo, tra curiosi riti tribali, scene di alcolizzati, varie uccisioni e maltrattamenti di animali, inquinamento dei mari, funerali bizzarri, fan scatenate che spogliano Rossano Brazzi. Nel film vengono poi mostrate le cruente processioni tipiche del venerdì santo, che tuttora si svolgono in alcuni centri del meridione, in cui i partecipanti si autoflagellano il corpo per devozione, fino a sanguinare copiosamente, e una cerimonia nel sud-est asiatico, in cui vengono decapitati alcuni tori.
xxx/ellauri259.html on line 699: The movie is based on the cult novel by Kari Hotakainen, itself a comedic, exaggerated vision of the author's own bohemian life. A newspaper editor hints at Hotakainen (Martti Suosalo) that he should write autobiographical texts about real-world subjects. The lonely and quiet writer is confused since he has little life of which to write about. So he decides to buy a used car and write about the experience. But he has to meet some strange people such as the nihilistic salesman Kartio (Matti Onnismaa) and the jobless layabout Pera (Janne Hyytiäinen), in order to do so. Pera in particular will stop at nothing to get his hands on the same car Hotakainen has been viewing, which sparks up a huge rivalry. These flabby machos drive the disgruntled small guy over the edge.
xxx/ellauri268.html on line 347: Watto, the hook-nosed, greedy small-businessman in “Star Wars: Episode I — The Phantom Menace” even “happens to have a thick Yiddish accent,” as Bruce Gottlieb wrote in Slate. Hans Gruber in “Die Hard” is a foreign, sneering, anti-Christmas villain who murders for gold. Then there are the skeletal-like shape-shifting aliens in John Carpenter’s “They Live,” who combine stereotypes of Jewish greed with tropes of Jewish alienness and shape-shifting assimilation. The parallel here was so blatant that neo-Nazis embraced the movie as their own, much to Carpenter’s horror.
xxx/ellauri268.html on line 554: He established The Simon Wiesenthal Center, a Jewish human rights organization, in 1977 to continue his work of pursuing Nazi war criminals and fighting anti-Semitism. His efforts inspired the multiple books, including “The Murderers Among Us” and a HBO movie of the same name starring Ben Hur as Simon Wiesenthal.
xxx/ellauri296.html on line 301:
xxx/ellauri304.html on line 454: Almost every movie, almost every story, almost every novel, almost every story of any enduring value is structured this way….in four parts. The same parts in a normal intercourse. (Actually there are five, but the last one is often played down or put in an Epilogue.)
xxx/ellauri304.html on line 474: As a boy, I remember a movie where Tarzan is asked by Jane to fight against some Nazis who have come to their neck of the jungle. But Tarzan refuses; the F.D. Roosevelt of his time, he’s got nothing against Nazis. But then they bomb Pearl Harbor sorry kidnap Tarzans son, Boy, and Tarzan bestirs himself, sticks a knife in his arse, and says “Now Tarzan fight.” Että jenkkitolvanoille pitääkin ihan kädestä pitäen opettaa tätä paskan lapparointia.
xxx/ellauri304.html on line 478: One way is to cast your friends or acquaintances as characters in your book. Another way is to cast the eventual movie while writing your book. In the writing of a novel called “Jericho Day,” in my mind I cast the young Burt Lancaster as the hero, Luke Darling, because I love the look of the square-jawed stubborness of Lancaster and his performing hips.
xxx/ellauri304.html on line 482: And remember this: a great hero needs and deserves a great recognizable villain. That is what was wrong with a movie called “Remo Williams: the Adventure Begins,” which was based on my Destroyer book series. In the Bond movies, 007 confronts people who want to nuke London or steal all the gold in Fort Knox etc. etc. My guy, Remo Williams went up against some mope who was selling cheap rifles to the government…and no one gave a damn. Great heroes need great villains; otherwise they just look silly. The AI monster made of garbage in Remo vanha vainooja, now that was something else.
xxx/ellauri304.html on line 517: Sometimes though they might do a little more. They won’t steal the real action but they set the mood, they add humor, they make the setting more believable. You can do this by making placeholders eccentric or obsessive. I read analysis once of an old flick called Beverly Hills Cop. It featured a clerk in an art gallery. He was effeminate. By itself, that’s not unusual. But he had a Jewish accent, and that was unusual because Jews weren’t generally treated as queens in Hollywood — it teems with them (although today H’wood can say anything it wants about Jews, even Christians. You can tell this was an old movie.) What that character did however in the film was to help make Detroit cop Eddie Murphy, the negro comedian, feel even more alien in L.A. than he otherwise would have.
xxx/ellauri304.html on line 533: In Hollywood where they are always looking for blockbusters — but then don’t know what to do with them so they go back to filming comic books — for the thing they most desire is “high concept.” That means a clean plot, a story you can tell in one sentence. If you can't summarise your novel, well, imagine your novel-to-be is a movie already and tell us about it in a sentence. That should be easy enough.
xxx/ellauri304.html on line 592: Scene by scene construction. It’s not one long narrative that never ends. Not usually, not any more. Instead, the story stops, starts again somewhere else, stops, starts again. These scenes are like chapter breaks, except more frequent. This is all copied from movies. How sad.
xxx/ellauri304.html on line 625: The Destroyer Series played a huge role in getting me interested in economics, geography, politics, history, and even in Jewish Mysticism and the paranormal! Richard Sapir (+1987) after all was a Jew. The Body, which was made into a movie in 2001, is about a Jewish archaeologist who finds a skeleton underneath an Arab shopkeeper's basement that might be the body of Jesus and the American Jesuit priest who is sent by the Vatican to investigate.
xxx/ellauri306.html on line 411: Jordaneen mukaan gootit olivat alun perin lähtöisin pohjoisessa valtameressä sijaitsevalta Scandza-nimiseltä kylmältä saarelta, jonka on tulkittu viittaavan Skandinavian niemimaan eteläosiin. Ne olivatkin alunperin jöötanmaan jööttejä! Tämä sopi Ruozi-Suomen ja Nazi-Saxan propagandapirtoihin. Sittemmin osa kateista amerikkalaisista tutkijoista katsoo nykyisin, että goottien skandinaavinen alkuperä on pelkkä myytti. Scandzasta gootit purjehtivat kuninkaansa Berigin johdolla kolmella laivalla Itämeren yli ja asettuivat nykyisen Pohjois-Saksan ja Puolan alueelle kukistettuaan siellä ensin vandaalit ja useita muita germaaniheimoja. Jordaneen mukaan gootit muuttivat etelämmäs Vistulan eli Veikselin alueelta johtajanaan Filimer, joka oli Berigin jälkeen viides kuningas. Useiden jännittävien seikkailujen jälkeen gootit saapuivat Mustallemerelle. Tacitus mainitsee teoksessaan Germania gothonit-nimisen germaanikansan, joka hänen mukaansa eli luugien pohjoispuolella mutta ruugien ja lemovien eteläpuolella. Ensimmäiset taistelut goottien ja roomalaisten välillä alkoivat 230-luvulla, samoin ryöstöretket Rooman Tonavan-provinsseihin ja Balkanille.
xxx/ellauri306.html on line 578: Täytyypä kazoa mitä Mätien tomskujen tampiot tästä sanovat! Top critics: Cruise’s toothy heroics are ill-suited to moral complexity, but he is elevated by a stellar supporting cast... A summer genre movie for grown-ups. Too-long Grisham thriller is full of adult themes. Höh, montako panoa? Näytetäänkö muka kuinka se menee sinne? (Ilmeisesti noin 2, ei näytetä.) The Firm amusingly satirizes the New Traditionalist aspirations of today's young urban elite -- not so much the lifestyle itself as the illusion of utter security it represents. Alas, Tom Cruise is Tom Cruise, playing yet another variation of his screen image. A first-class thriller and thought-provoking morality play. Is this a thriller? You've never scene (sic) a 'suspense film' drag its heels so deplorably. Moderately entertaining... and a big step up from the book. No, the book moved at turbo speed. At two and a half hours, the movie crawls. Two-and-a-half hour movies -- jeez, there ought to be a law.

xxx/ellauri306.html on line 580: Nimetön: I find this movie boring and predictable the acting was poorly done which is hard for me because of the great cast the writing was awful and at times the movie went flat the chase scene at the end was comical and silly the whole movie was a mess. To put it simply, the film completely ruined the book. And that wasn't easy. This is such a bad film. It is an hour and a half too long, and the beginning and middle are insanely dull. The production value and score do not stand up to the test of time at all. This is an example of all of the worst things about the 90's, which might be one of the worst decades for filmmaking. Es wird einfach viel zu viel geredet, als man schon längstens in die Tat umgesetzt hätte. Fazit: Lieber eine kürzere Geschichte dafür intensiver erzählen und Spannung aufbauen!

xxx/ellauri307.html on line 743: Benjy DeMott -vainaa "saw as three pervasive social myths: the assumption, held by many Americans, that we live in a classless society; the promise, held out by movies and television, that individual friendships between blacks and whites can vanquish racism all by themselves; and the images of women, ubiquitous in popular culture, that render them almost indistinguishable from men." He opined that movements of the lower classes have a tendency to 'go awry.' Benjamin Haile DeMott was born on June 2, 1924, in Rockville Centre, N.Y.; his father was a carpenter, his mother a faith healer. He joined the Amherst faculty in 1951 and earned a Ph.D. in English literature from Harvard two years later. He observed that a tenet of national faith in America had been that "goodness equals laughter, that humour can banish crisis, that if you pack up your troubles and smile, horror will take to the caves". Critical response to Mr. DeMott's work was divided. His detractors saw his pop-culture references as forced efforts to look au courant.
xxx/ellauri329.html on line 151: performing in explicit hardcore movies at age
xxx/ellauri337.html on line 209: Max Ferdinand Scheler (* 22. August 1874 in München; † 19. Mai 1928 in Frankfurt am Main) war ein deutscher Philosoph, Anthropologe und Soziologe. Scheler war der Sohn eines Domänenverwalters und einer orthodox-jüdischen Mutter. In Jena wurde Max 1897 bei dem Nobelisten Rudolf Eucken mit dem Thema Beiträge zur Feststellung der Beziehungen zwischen den logischen und ethischen Prinzipien promoviert. Im Jahr 1899 habilitierte er sich in Jena mit dem Thema Die transzendentale und die psychologische Methode. Im selben Jahr heiratete Scheler Amelie Ottilie, geborene Wollmann geschiedene von Dewitz-Krebs (1868–1924). Aufgrund der Lektüre von Husserls Logischen Untersuchungen und eines Skandals um seine Affäre mit Helene Voigt-Diederichs, der Ehefrau von Eugen Diederichs, musste er seine Position in Jena aufgeben.
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