An epic mosaic of interrelated characters in search of love, forgiveness and meaning in the San Fernando Valley.

Magnolia.1999.DVDRip.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	3h 0mn
Size:	2.84 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	718x424 ~> 1017x424
Aspect ratio:	2.40:1
Frame rate:	25.000 fps
Bit rate:	1 797 Kbps
Audio
English 5.1ch AC-3 @ 448 Kbps

https://nitro.download/view/86D7184C5003042/Magnolia.1999.DVDRip.x264-HANDJOB.mkv

Language(s):English, German, French
Subtitles:Turkish

The post Paul Thomas Anderson – Magnolia (1999) first appeared on Cinema of the World.

Set in 1977, back when sex was safe, pleasure was a business and business was booming, idealistic porn producer Jack Horner aspires to elevate his craft to an art form. Horner discovers Eddie Adams, a hot young talent working as a busboy in a nightclub, and welcomes him into the extended family of movie-makers, misfits and hangers-on that are always around. Adams’ rise from nobody to a celebrity adult entertainer is meteoric, and soon the whole world seems to know his porn alter ego, “Dirk Diggler”. Now, when disco and drugs are in vogue, fashion is in flux and the party never seems to stop, Adams’ dreams of turning sex into stardom are about to collide with cold, hard reality.

Boogie Nights 1997 1080p BluRay x264-CtrlHD.mkv
General
Container:  	Matroska
Runtime: 	2 h 35 min
Size: 	14.9 GiB
Video
Codec: 	x264
Resolution: 	1916x800 
Aspect ratio:  	2.40:1
Frame rate: 	23.976 fps
Bit rate: 	12.9 Mb/s
BPP: 	0.351
Audio
#1:  	English 5.1ch AC-3 @ 640 kb/s (English Ac3 640 Kbps)
#2:  	English 2.0ch AAC LC (Commentary with P.T Anderson )
#3:  	English 2.0ch AAC LC (Commentary with P.T. Anderson, Mark Wahlberg, John C. Reilly, Don Cheadle, Julianne Moore, William H. Macy and Heather Graham)

https://nitro.download/view/151503AE6BBDA93/Boogie_Nights_1997_1080p_BluRay_x264-CtrlHD.mkv

https://fikper.com/x7Xes2APnz/Boogie_Nights_1997_1080p_BluRay_x264-CtrlHD.mkv

Language(s):English
Subtitles:None

The post Paul Thomas Anderson – Boogie Nights (1997) (HD) first appeared on Cinema of the World.

Quote:
Given Robert Altman’s fondness for working with ensemble casts, it comes as no surprise that his films often provide a shambolic cross-section of a particular institution or locale, whether the titular mobile army hospital of M*A*S*H, the indigenous country music scene in the great network narrative Nashville, or the intersecting lives of 20-odd Angelenos in 1993’s Short Cuts. For Short Cuts, Altman and co-screenwriter Frank Barhydt mashed together nine stories and a poem from “dirty realist” writer Raymond Carver, shifting their setting from Carver’s beloved Pacific Northwest to suburban Los Angeles—a place Altman clearly feels much more ambivalent about. The result is a shared cinematic space in which the various characters can carom off each other in unexpected ways. Discovering the unanticipated linkages between the storylines becomes one of the film’s frequent surface pleasures.

Altman famously gave his actors plenty of room for improvisation. This emphasis on behavioral naturalism—as well as his penchant for orchestrating overlapping dialogue—imbues his films with a down-to-earth, lived-in feeling. Carver’s stories are equally low-key: Typically, some random occurrence leads the protagonist not, as in James Joyce, to a hifalutin existential epiphany, but rather to a bittersweet moment of often ironic clarity. The biggest difference between Carver’s fiction and Altman’s film is that while the sexual and ethical tensions that are rife throughout the stories rarely come to the surface, they find collective and catastrophic catharsis in Short Cuts’s earthshaking finale.

Disaster is implicit from the start. The film’s opening shots follow helicopters as they spray sections of Los Angeles with pesticides to combat medfly infestation. For Altman, the city is quite literally a quarantine zone, a hazy megalopolis that’s still as insular and isolated as in his previous, Hollywood-skewering The Player. This introductory vignette, while considerably less flashy than the eight-minute tracking shot that opened the earlier film, similarly serves to delineate Altman’s extensive cast of characters: White-collar or working stiff, they’re almost always couples, and we invariably meet them just as they’re about to turn off onto one of those unexpected existential detours that lend the film its title. The only characters not plucked directly from Carver are jazz chanteuse Tess Trainer (Annie Ross) and her cellist daughter, Zoe (Lori Singer). While the pair has their own narrative downbeats to hit, their music functions as a kind of Greek chorus, bridging storylines and even supplying some mordant thematic counterpoint.

Altman described his approach to Short Cuts as “lifting the roof off” the characters’ homes and peering inside. Certainly there’s a wide vein of voyeurism running through the film. What’s more, Short Cuts maps out an intriguing psychological progression from looking to taking to destroying. When Honey (Lili Taylor) and Bill Bush (Robert Downey Jr.) agree to apartment-sit for a neighboring couple, their initial curiosity about the way other people live soon morphs into an aggressive takeover of their neighbors’ possessions. Stormy Weathers (Peter Gallagher) spies on his philandering wife (Frances McDormand) until he can gain access to their home in her absence and systematically take it apart piece by piece.

Another possibility exists: rather than objective demolition, an exchange of goods and services. Dr. Ralph Wyman (Matthew Modine) and his artist wife, Marian (Julianne Moore), set a dinner date with out-of-work Stuart (Fred Ward) and Claire Kane (Anne Archer), a professional clown. Because neither couple wants to be left alone with an inconvenient truth (adultery, the discovery of a dead body), their strained soiree soon devolves into a Felliniesque bacchanal, complete with clown paint, that teases the possibility of a partner swap. Picnicking in Griffith Park, Bill and his buddy, Jerry (Chris Penn), leave their wives behind to track down two teenyboppers on bikes. For Jerry, frustrated to the point of explosion with his wife’s at-home phone-sex franchise, Bill’s salacious shit talk takes on a lethal significance.

Altman’s Nashville concludes its scarily prescient examination of the nation’s emerging politico-entertainment coalition with a concert-cum-assassination. Short Cuts seems at first blush to lack such an eminently logical endpoint. But Altman and Barhydt hit upon one of the archetypal Angeleno obsessions: waiting for “the big one,” the cataclysmic seismic shift that will cleave California cleanly from the continent. What happens at the end of Short Cuts isn’t quite as apocalyptic as all that; nevertheless, it allows the characters to register their idiosyncratic responses to an extremely clear intimation of mortality. Suffice it to say, not all of them react with the same élan as Earl and Doreen Piggott (Tom Waits and Lily Tomlin), huddled helplessly in their double-wide’s doorway, pledging to ride out the end of the world together.

3.39GB | 3h 08m | 1024×432 | mkv

https://nitroflare.com/view/31D82B645C692DB/Robert_Altman_-_(1993)_Short_Cuts.mkv

Language(s):English
Subtitles:English

The post Robert Altman – Robert Altman – Short Cuts (1993) first appeared on Cinema of the World.

A young woman sits down in a chair. Only her mouth is visible as she begins to speak at a rapid clip, describing events that she insists did not really happen to her.

229MB | 14m 37s | 714×480 | mkv

https://nitro.download/view/764D7A2B0A87FFF/Not.I.2000.DVDRIP.x264.AC3.KJNU.mkv

Language:English
Subtitles:None

The post Neil Jordan – Not I (2000) first appeared on Cinema of the World.

Synopsis
The story of a young man’s adventures in the Californian pornography industry of the 1970s and 1980s.

Review :
Following his low-key debut Hard Eight (1996), Paul Thomas Anderson staked his claim to auteur status with his ambitious pornography and family epic Boogie Nights. Set in the late 1970s and early 1980s, the story of young porn star Dirk Diggler and his adult movie “family” upends convention, as Anderson non-judgmentally captures the spirited possibilities of ’70s hedonism before it passed into a nakedly acquisitive, coke-fueled Reagan-era hell. Along with the period music, costumes, and décor, Anderson’s bravura technique harks back to 1970s Hollywood, itself: there’s a widescreen, Robert Altman-esque tapestry of characters; split-screen montage in the vein of Brian De Palma; audaciously assured Martin Scorsese-style long takes; and a final shot that pays homage to Raging Bull (1980). The sterling ensemble cast further brings Anderson’s collection of dreamers to complex life, lending humane substance to the dazzling surface. In his best role in years, Burt Reynolds’ nuanced turn as director Jack Horner earned him numerous critics’ prizes and a long-desired Oscar nomination. Julianne Moore received equal approbation as maternal porn queen Amber Waves, while Mark Wahlberg’s head-turning performance as Dirk proved that he was more than the sum of his body parts. Despite doubts over the film’s latter half, Boogie Nights’ accolades and prizes — coupled with its decent box office returns and considerable longevity on video — burnished Anderson’s reputation as a new directorial star.(allmovie)

2.18GB | 2h 35mn | 720×304 | avi

http://nitroflare.com/view/C3D86E88907E5AB/Boogie_Nights_%281997%29.BDRip.part1.rar
http://nitroflare.com/view/A9B259E548783C3/Boogie_Nights_%281997%29.BDRip.part2.rar
http://nitroflare.com/view/1D0ED01CBD4D13C/Boogie_Nights_%281997%29.BDRip.part3.rar

Language(s):English
Subtitles:None

The post Paul Thomas Anderson – Boogie Nights (1997) first appeared on Cinema of the World.

Synopsis:
“Savage Grace,” based on the award winning book, is the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, heir to the Bakelite plastics fortune. Beautiful, red-headed and charismatic, Barbara is still no match for her well-bred husband. The birth of the couple’s only child, Tony, rocks the uneasy balance in this marriage of extremes. Tony is a failure in his fa

ther’s eyes. As he matures and becomes increasingly close to his lonely mother, the seeds for a tragedy of spectacular decadence are sown.

Review:
Based on the real life story of the Baekeland family and the themes of sexuality, socialization, incest, and acceptance, Savage Grace is a richly toned film, but muddles itself in too many inconsistencies to establish what it sets out to accomplish.

The story spans from 1946 to 1972, and follows ex-actress, now socialite Barbara Daly Baekeland (Julianne Moore), who is married to Brooks Baekeland (Stephen Dillane), who is the very wealthy grandson of the actual inventor of plastic. As the film opens in New York City with Barbara now having an infant son named Tony, she still irritates Brooks with her yearning to be accepted in the social rich class society. As the film shifts to numerous European countries and years, a now adult Tony (Eddie Redmayne) sees his parents’ relationship dissolving. Eventually, an ex-fling of Tony named Blanca (Elena Anaya) actually steals away and marries his father. Barbara turns her suffocation for acceptance and happiness to Tony, who struggles to understand his mother and his sexuality. Brooks denounces Tony once he does learn that he is homosexual and Barbara does anything to give him comfort, which includes jumping in bed with him and a bisexual art dealer. Madness and confusion ensues which leads to a tragic and mysterious story of a really challenged and wealthy family.
As one can tell by the synopsis of this film, Savage Grace has a lot of baggage and director Tom Kalin does his best to sort through all of it. Kalin beautifully photographs the film from all the different locations of the family and he does pace the film on its emotions. However, so much indifferent themes hamper the film’s melodrama, and Kalin choices become drenched as well.
Based on the novel by Natalie Robins and Steven M.L. Aronson, screenwriter Howard Rodman also bashes the audience with one more disturbing concept of psycho-biological problem after another. Once Brooks takes off with Blanca, the film shifts to total focus on Barbara and Tony and it almost takes no time to get to the ‘shocking’ climax, with hardly any depth or structural roads to get there. Other choices become bleak as well, such as the drowsy voice over narration by Tony, which supposedly was crucial to the novel, but is a wasted concept in the film. The themes of the film are not for the faint at heart and not for everyone, but it is what happened with this dysfunctional family.
Julianne Moore returns to the screen with her best role in years and she masterfully holds one’s attention as the very complex Barbara. Stephen Dillane is stellar in his few scenes as Brooks, who is embarrassed by his wife and looks for an outlet with his son’s ex-flame. As Tony, Eddie Redmayne struggles with the role and his performance is nearly a cut out cardboard, when his character is the most important to the film. His climatic character discovery is neither surprising nor as effective as the script calls for it to be.
The courage of director Tom Kalin is evident in tackling a story as weird, challenging and disturbing as Savage Grace. The film is made well from a directing standpoint and has a terrific performance by Julianne Moore. However, the script adaptation stumbles and crashes trying to juggle too many elements and structural aspects of this melodramatic real life mystery.
Savage Grace has made its way around the film festival circuit; it opens in the United States on May 30, 2008 and in the United Kingdom on July 18, 2008.

	
Savage.Grace.2007.720p.WEB-DL.AAC2.0.H264-FGT.mkv

General
Container:  	Matroska
Runtime: 	1h 37mn
Size: 	2.88 GiB
Video
Codec: 	h264
Resolution: 	1280x686 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	
BPP: 	
Audio
#1:  	English 2.0ch AAC

https://nitro.download/view/3288D34105BE2D0/Savage.Grace.2007.720p.WEB-DL.AAC2.0.H264-FGT.mkv

Language(s):English, French, Spanish
Subtitles: English

The post Tom Kalin – Savage Grace (2007) first appeared on Cinema of the World.