nikhil7179
Entrou em jan. de 2006
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Classificação de nikhil7179
A young man tracks down an eccentric recluse re: a rare, old music recording.
This leads to an invitation to a strange gathering of oddball characters at a remote mansion.
They are all here for an audience with the one and only Sarah Gordon, an enigmatic chanteuse of long ago.
The adoring guests all bear exotic chocolates, tobacco, alcohol and other expensive gifts for their hostess.
As the evening draws to a close, the young man is made an unusual request.
The great diva needs the use of his bathtub for her weekly soak.
He readily agrees. But what follows is more than he bargained for.
Strange, mysterious and dreamlike, this is a very promising short film from Victor Holland, and hints at greater things to come.
Perhaps an expanded feature length version.
This leads to an invitation to a strange gathering of oddball characters at a remote mansion.
They are all here for an audience with the one and only Sarah Gordon, an enigmatic chanteuse of long ago.
The adoring guests all bear exotic chocolates, tobacco, alcohol and other expensive gifts for their hostess.
As the evening draws to a close, the young man is made an unusual request.
The great diva needs the use of his bathtub for her weekly soak.
He readily agrees. But what follows is more than he bargained for.
Strange, mysterious and dreamlike, this is a very promising short film from Victor Holland, and hints at greater things to come.
Perhaps an expanded feature length version.
Pretty pictures do not a film make.
Though Earwig has great cinematography and an ethereal glass harmonica score, it is dramatically inert from the word go.
It comes off as dull and pretentious and squanders its moody setting and mysterious premise.
Lucille Hadzihallilovic's third feature is arguably her weakest and most self-indulgent yet.
Though Earwig has great cinematography and an ethereal glass harmonica score, it is dramatically inert from the word go.
It comes off as dull and pretentious and squanders its moody setting and mysterious premise.
Lucille Hadzihallilovic's third feature is arguably her weakest and most self-indulgent yet.
Maud, a young nurse with a troubled past tends to Amanda, a retired dancer and terminally ill patient in a sleepy British town.
Guided by the voice of 'God', Maud takes it upon herself to save Amanda's soul before she shuffles off this mortal coil.
More a character study than conventional horror, the film is reminiscent of Diary of a Country Priest and Taxi Driver and even Breaking the Waves, rather than say, Carrie or The Exorcist.
Genre fans maybe disappointed by the lack of scares, but Saint Maud does manage to create a consistently creepy and unsettling atmosphere.
And Morfydd Clark delivers a strong, unwavering performance in the lead role. Jennifer Ehle is equally good as the dying, dance diva Amanda.
Saint Maud is ultimately a solid slow-burn that falters around the halfway mark and struggles to regain its momentum.
And oddly, its climax feels rushed.
Still, the final image of the film is undeniably powerful and though it goes by very quickly, leaves its mark.
Guided by the voice of 'God', Maud takes it upon herself to save Amanda's soul before she shuffles off this mortal coil.
More a character study than conventional horror, the film is reminiscent of Diary of a Country Priest and Taxi Driver and even Breaking the Waves, rather than say, Carrie or The Exorcist.
Genre fans maybe disappointed by the lack of scares, but Saint Maud does manage to create a consistently creepy and unsettling atmosphere.
And Morfydd Clark delivers a strong, unwavering performance in the lead role. Jennifer Ehle is equally good as the dying, dance diva Amanda.
Saint Maud is ultimately a solid slow-burn that falters around the halfway mark and struggles to regain its momentum.
And oddly, its climax feels rushed.
Still, the final image of the film is undeniably powerful and though it goes by very quickly, leaves its mark.
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