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Description: Over the course of a late-summer's day in Moscow, Veronika, a charming if naive girl in her thirties, unwittingly embarks on a adventure of self discovery as what begins out as a quest for romance leads her to some unexpected places.
Description: A young couple after many years from their marriage are after having a baby but because of some medical issues and the need for unique treatment they can not having a baby. They decide to travel to London for the treatment and start to manage cash for that but some incidents create the girl to start to doubt about continuing this trip.
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Description: Maruis Reves scores large with the winning lottery ticket. His fortune and nice luck rise, not to mention all the large uncut cocks in this fresh international blockbuster.
Description: Opera singer Renee Dupree is in love with struggling composer Julian who falls very seriously ill. She goes to impresario Mueller for the cash Julian needs but is saved from sacrificing her virtue when a jealous lover kills Mueller.
Description: Raging Stallion/Falcon, the world's largest gay porn studio, launches its first fresh DVD Line since they merged. The fresh line, under the direction of Andrew Rosen, is named Guys Like Us and it launches with Just For You, its first DVD, focusing on young boys having nice sex.
Description: "Brides of Nothingness: Female Terror." What connects Magda Goebbels with Ulrike Meinhof? - Both girls represent a various side of modernity: continuity and fractures of a female mentality storyline in which the unconscious of history is sedimented. The fanaticism of both girls was a publicly lived love storyline with politics.
Description: Hot For You is the phrase you can see in the eyes of every of these studs as they look at every other. It's a look that begs a reply, and these young studs with cocks as difficult as their ripped muscles are fast to respond with intense action. Their youthful bodies are so horned up that they can't support but share their cocks and asses with every other.
Description: The storyline is based on true events, a adventure of a famous Moscow actor to shoot a movie in Yakutia. Through his eyes, we see the mysterious worlds of "Olonkho" culture in the Sakha republic and of the contemporary Yakut movie tradition, with all its national uniqueness. In this island of creativity very various folks unite to make rather than destroy.
Description: Two folks meet in the dark. The darkness of an invisible exhibition. Through the film, we follow them as they receive closer and transport apart from every another by crossing blurry boundaries. Boundaries that exist between and within folks and are mostly invisible. Not only for the blind.
Description: Making Porn is difficult work! And these pretty boys will prove it. Randy Blue gives you a behind the scenes look at all the hot times our models have when the cameras aren't even on. These guys can't receive enough fuckin' and they'll do it before shoots, after filming or even off on their own.
Description: In Vancouver, there are slow nights and there are quick nights. With BRENT EVERETT in charge, it ain`t gonna be a slow night. Discover all the nasty nooks and crannies of the town as Brent shows us that nothing compares to being horny. Join PIERRE FITCH, JEREMY HALL, and sizzling hot new-cummer SHANE LEBLANC, as dignity is lost... young boys are brought to their knees... cum flies... and the sexual actual of Vancouver crackles like never before.
Description: Brazil, 1964, military dictatorship. The young Juca lives in countryside and is influenced by an outsider Uruguayan smuggler. This boy happens to live with the adolescent and transmit to him what he knows about life and social relations. Later, influenced by Paula's life force, a young left-wing activist, Juca, progressively joins political activism and then into clandestine direct-action groups.
Description: As horny uber-agent, Brad uses his legendary oral skills and jackhammer personality to support his number one artist—hard-body twink TORY MASON—reach fresh lengths in his career. Weith the support of super-hung JARETT FOX, Brad splits launch his own stable of up-and-cumming talent as Tory finds a mate or two for some deep anal exploring of his own.
Description: JONATHAN LOWE gets his hole worked over, sucks some difficult cock, and licks some hot ass with this hard-bodied young cast. LEX SABRE gives Jonathan the large dick ride of his life. This movie is a explosive cum filled sexcapade of hook-ups and cruising.
Description: Its a while since we've seen hunky Kieron Knight, we knew him when he was smooth twink, but you know what we prefer here at ButchDixon, and actually he's a strapping, stubble chinned stud, still as hungry for uncut dick as ever, and actually he really knows what he's doing to please his super sexy top guy - Ryan Buck. Actually THIS guy is a entire lot hot levin, as brawny, hairy and hung as you should ever wants, packing a throbbing, thick length of uncut cock and a sweet, tight arse to bang it home with. Kieron is luving feeling that burly, hairy body banging his difficult arse cheeks into aching submission as he opens up with each rampant thrust of that stiff software in his hole, yum and yowler ( look like it gonna be a nice year).
Description: About a young professional poker user and melody composer involved in photos of a partition filled with life, doubt, friendship and love, around destinies linked by possibility up to the last note.
Description: Volume 3 of Corbin Fisher’s Large Boys on Campus series follows the sexual conquests of college studs with heavy dicks, including Brayden, Chandler, Connor, Drake, Harper, Parker, Reagan, and Sylas Swift.
Description: This is a coming-of-age storyline of friendship, parenting, growing up and finding yourself. A 17-year-old boy's relationship with his parents is inspected as he discovers teenage rebellion and fun in the company of a cool but troubled 19-year-old woman who shakes things up giving him the courage to be real to himself.
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A nice and wise director (whom shall remain nameless) once remarked A film is risky if only for the mood it may evoke, and the choice of when to see a film is just as necessary as the film you select to see. IF YOU WERE YOUNG, is the type of film that will definitely change your mood, no matter the mood you were in prior to viewing it. Fukusaku Kinji, the director of this unbelievable lesson, has remarked that during the time of this movie the Japanese Social System was concerned with encouraging the youth of the country to test and search a method for themselves, to NOT be so easy discouraged by failure and that failure in reality is a path to starting again. Fukusaku not only explores the potential possessed by youth but he also wades through the delicate topics of the criminal nature that exists in us all.What begins out as a GROUP of mates eventually BOILS (literally) down to ONE. Only one mate remains standing at the end of this movie and his remark to himself is that HE TOO WILL START OVER because after all there is everytime hope. Perhaps in a cheeky type of method Mr. Fukusaku was being cynical in his portrayal of youth in this film.For example: after spending a night in Jail the young boys of youth are released, bounding with energy and full of Hope deciding to pool their monies to purchase a truck. HERE Fukusaku shows us that JAIL for wayward youth can be a unbelievable occasion for self discovery. I doubt many youth would search that to be the case, Nevertheless this is where the storyline begins...EVENTUALLY every youth is lost---victims of crime, circumstance or missed occasion after every of which Mr. Fukusaku would have us trust that underneath disappointment lies opportunity. Cynical? Perhaps. YET Fukusaku also shows us that YOUTH by it's very nature is NOT a time to RAGE (most likely because of how easy it is for disaster to strike) BUT a time for introspection, a time to TRY and challenge oneself--- to be something one may not trust one can be. Quite simply... there is everytime hope.RAGE is a subtle bittersweet film. To be watched on an early rainy afternoon with the lights out and the curtains open. A movie that is both cynical and optimistic. Perhaps in his end, Fukusaku Kinji realized, like that nice director who lectured on whispers in movie language, that movies in themselves ARE moods, slaves to the Category they gotta obey. Sure there may be many who will never consider RAGE to be one of the nice directors greatest but in my humble opinion it is easy the most enlightening picture in his masterful oeuvre.
While not denying the criticisms leveled by another reviewers, I found a resonance in this film that transcends the narrow framework on which it is set, the economic challenges of Japan in the 1960's.The case has been fairly well laid out--five friends, drawn together in a dream of hope for the future in a heartless city, the low are weeded out, the two who succeed search no happiness.But the movie is not about the storyline of a dream deferred, it is the storyline of the individuals. Every of these characters is defined not by what they are striving for together, although that is the one thing they share in common, but by the weaknesses in their characters, the baggage they have brought with them from childhood, that have made them who they are and conspire to conquer their goals. One was traumatized by his mother's promiscuity, which creates an insurmountable barrier in forming intimate relationships; one was twisted by his insecurities into becoming a chronic liar and vicious coward. These characters rage more vs their private demons that betray them at each turn more than they are fighting vs society. They wish to fit in, to form loving families, to believe and sustain their friends, but they end up betraying one another. It would be accidental if it weren't consciously decided upon, and even they are unable to articulate why they gotta behave as they do. Their own confusion is translated to the audience, and the cinematography contributes to this.There is a bleakness to the movie despite the vivid colors, but at the same time there is a sense that the surviving characters have not given up hope for the future, and the final message in this movie is the same as in "Battle Royale"--Run for all you're worth. Run!
Director Kinji Fukasaku was a winner for Japans post-war youth, posing and protesting why they were exploited so by business and government alike. It's simple to see the context in which the movie is based. After WW2, Japan's youth were often disadvantaged in opportunities, whether in education, family or simply rootlessness; and from this felt discouraged. The government zoned in on this and ushered a lot of juveniles into towns such as Tokyo, where the movie is based, to fuel the growing, yet still unstable economy. And so we have our context.Imagine four Johnny Men from Scorsese's mean Streets. Imagine them on a street to establish their own careers in what was still a fragile lower class and an envious one at that, especially if they were to establish their own independence. Would you think them to succeed? The economy dropped, and our flint five, jobless and impecunious, are hoarding themselves up in their old post-bust warehouse. They lack inspiration, they lack ideas. Their 'nook' in the workforce that was promised to them by the Government has morphed into a ditch. At this point, and since they are exited from their shanty condominium, we would expect them to become like the yakuzas of a Miike film, destroying themselves. And they do, yet they destroy themselves through their dreams. It's this that is the strong theme that Fukasaku injects into our ruddy faces: that the impuissant, though they may dream of success, when on the street to it will destroy themselves inevitably and possibly only one will live the dreams of the outcasts he slipped from.When one hits upon a plan- that they are able to make their own nook in the workforce by buying a truck if every of them labors for it, becoming their own bosses, deleting the dust around their trodden existence, we see hope with their eyes and wait for the buying of 'Independence 1' and ride with their eagerness.But Johnny Men they are, and their weak brows are the voracious magnets for obstacles unhoppable: one falls into jail, other is cut-down by the police and the third becomes to much of a gynophiliac. Only two are left with their target completed. Was all worthwhile? They dreamed. They tried. They faced adversity. They were willing to destroy themselves for one another. But is this what Fukasaku is aiming his camera for? To simply create a statement of will? No, in the end the two are weighed down by what has amounted to be their destiny from all their mates failings; they are left waiting for the tidal wave. The two do not jump for joy like the door-porter in Murnau's 'The Last Laugh', as he wears his suit which gives him worth, but simply feel destroyed and useless still.He has made a statement about inevitability: it is not only that the youth could will, but that the government could be willing to support them, otherwise we are left 'with children raised to die'.Though Fukasaku is aligned in his film-making to the Fresh Wave, with his editing styles, gangster stories and even Godardian tales of youth-here the cinematography of Takamoto Ezure, whether or not by order from Fukasuku, with it's jaunty angles, tempo-like movements and the montage and editing, reading like a Fresh Wave piece, makes it unnecessarily seem like we are riding with their destruction for the Freanch pleasure of the website itself. This is wholly inadequate, for what Fukasaku seemed to really be trying to do was create a ruining impact of social brutality and lacrimation at what may be recurring social forces, how the failings repeat themselves, again and again. He fails here, and by watching it seems more like the ruining impact of the vehicle ruin at the end of Godards' Le Mepris, a statement about film. We can't receive past the dolly droll of stylizations to the simplistic, raw statement that was so near to cinematic disclosure. Instead it reads like Pierre Belmondo and Anna Karenina in a Godard film, colourful sticky tape stuck upon the day with no mind for the day after tomorrow, holding up a line of stylized celluloid sunglasses for our pleasure.However, it comes down to the viewer to gain something from a film, and if you watch this you will see and feel the social discussions I have talked about. They may or may not affect you strongly, since the movie is muddled and confused, ununified- yet the storyline exists, it is strong. The celluloid exists, it is stylistic.
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