When lead singer Jimmy Taranto dumps his girlfriend Candy then his rock band Gutter Filth, Candy decides to take his place in the band. Together with anal bass player GB, cross-dressing drummer Dee and Jennifer their loyal manager, they begin a journey to stardom. While their success eclipses Jimmy’s, Candy still can’t find the true love she is looking for. But sometimes the things you want are right in front of you.

DVDTalk – Tyler Foster wrote:
Just when I thought The Alcove was a particularly brazen example of ludicrously over-sexualized filmmaking, I found myself watching The Band, an Australian export about struggling rock musicians that features numerous, extended sequences of unsimulated sex. Aside from the sex scenes, the film’s plot is pretty unremarkable (and occasionally MIA), but writer/director Anna Brownfield’s hardcore vision for the whole film spins it off into unexpectedly gonzo territory. Too bad said territory is probably better left unexplored.

There have been a handful of films in the last decade to include unsimulated sex, including Michael Winterbottom’s 9 Songs and, most controversially, Vincent Gallo’s The Brown Bunny, and so far, it doesn’t seem like any of them have accomplished anything particularly interesting by taking the extra step. If the filmmakers’ goal is to dig up some raw truth with this technique (which is the only real concept that jumps to mind), the plan backfires; it’s a real challenge to watch the scenes in question and not spend them thinking about everything except the emotional or thematic points the film wants the audience to focus on. It also seems embarrassing for the actors, in a weird way. Porn stars may do the same thing, but they know what they’re getting into. I have to believe these actors thought they were apart of something special, and I think they got duped.

The other obvious problem with the technique, in the case of The Band, is that Brownfield doesn’t seem to have a cohesive vision when it comes to these scenes beyond including them at all. She basically just shoots the film as if it were pornography, lingering far too long, either on individual shots or just entire scenes, stringing together seemingly endless slow-motion montages of couples doing the nasty and guys masturbating (wonderful). What does Brownfield expect out of her audience (other than repulsion) that we’re asked to sit and watch strange people ejaculate in slow motion in the name of independent cinema? (Yes, Brownfield is particularly fascinated by semen, so prepare yourself for a veritable pool of the stuff — including someone licking it up — should you decide to give this one a look-see.)

The cast is not particularly great, although they’re probably far better than one would expect given how limited the talent pool must be for a film like this. Amy Cater plays Candy Morgan, who joins the flailing band Gutter Filth after her boyfriend, the egomaniacal Jimmy Taranto (Jimstar) quits Gutter Filth and cheats on her in the same night. The label, spurned on by the free PR the band gets by replacing its popular lead singer with his ex-girlfriend, sents Gutter Filth on a national tour. The Band’s budget is very limited, which quickly saps the believability that Gutter Filth is either a) well-known or b) more than a garage band, playing in ultra-cheap dive bars while trying to play said cheapness off as part of the film’s screenplay (ho ho, look at what our wacky label did now!). The film’s plot listlessly connects Amy with Jennifer (Anthea Eaton, who actually has a spark of charisma), although it takes them the entire movie to notice their obvious attraction to one another.

Before then, though, the film spirals off into coke binges and poop jokes (one half stolen from Trainspotting, the other best left unmentioned), before lazily arriving at a deus ex machina for the villain and closing off with a lesbian sex scene in the most laborious slow-motion yet. It’s not a painful sit (it’s really very generic), but if you took all the sex scenes out of The Band, you’d probably be left with a movie that ran about 35 minutes, since each one of these scenes takes an increasingly long time to get through. You’d also have an entirely forgettable piece of filmmaking, which pretty much tells you all you need to know about The Band.

Conclusion
If there weren’t at least one scene near the end that nobody needs to see, I might have half-heartedly considered suggesting The Band as a passable amateur adult film, but the agonizing direction would probably just frustrate people, and if you’re looking for porn, porn is better suited to your viewing needs. Skip it.

http://www.nitroflare.com/view/916C205541BEFF2/The.Band.2009.DVDRip.XviD-CiTRiN.avi

http://keep2s.cc/file/836ded9cdd494/The.Band.2009.DVDRip.XviD-CiTRiN.avi

Language(s):English
Subtitles:No

The Sex Pistols’ last UK gig – a benefit for the children of striking firefighters at Ivanhoe’s nightclub in Huddersfield on Christmas Day 1977 – remains their most implausible.

“It’s footage I filmed on a big old crappy U-matic low-band camera,” explains director Julien Temple, who dodged flying cake and pogoing punks to record the two performances (an afternoon children’s matinee and an adult evening show) from 25 December 1977. “But it’s right in their face. I’m right up there with them. It’s probably the best footage of the Pistols on film but it’s never been seen.”

This aired on the BBC on Boxing Day 2013 – more at the guardian. Done in the Temple style, with lots of wacky old footage from the 70’s.

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http://keep2s.cc/file/e4a5fd2349309/BBC_Never_Mind_The_Baubles_Xmas_%2777_With_The_Sex_Pistols_2013.avi

Language(s):english
Subtitles:none

Quote:
The film, a thoroughly enjoyable ‘odd duck’, with a typical quasi-political artistic stance on the follies of war. Highly entertaining and, at times, touching.

Quote:
WHEN Joan Littlewood’s London improvisation, “Oh! What a Lovely War,” opened on Broadway five years ago, it had a cast of 18 men and women dressed as Pierrots and Columbines. In the pit was an orchestra that managed to recreate the nostalgic musical sounds of World War I and to comment on them—sometimes simultaneously.

The show itself, described as “a musical entertainment,” was a jolly satire on the madness of the First World War, done mostly in period songs and sketches in which the Pierrots and Columbines slipped in and out of almost invisible disguises as emperors, generals, nurses, music hall stars, Tommies, wives, nurses and spectators, some appalled, some bored.

It was the sort of highly stylized theatrical presentation for which, I believe, there is no comfortable screen equivalent, unless you photograph it more or less as it is, as you might for television.

Richard Attenborough, the British actor and producer who makes his directorial debut with this movie adaptation, has gone in essentially the opposite direction. He has chosen to make a big, elaborate, sometimes realistic film whose elephantine physical proportions and often brilliant all-star cast simply overwhelm the material with a surfeit of good intentions.

“Oh! What a Lovely War,” which opens today at the Paris Theater, was shown twice last night at Alice Tully Hall as the concluding presentation of the seventh New York Film Festival.

Most of the show’s original material seems to be in the film, but it has all been so enlarged, stretched-out and over-orchestrated (both musically and pictorially) that the ultimate effect is dramatically anesthetizing. Attenborough attempts to bridge the gulf between spare, stage fantasy and movie realism by opening the film in what looks to be the ballroom of a lovely, skeletal cloud palace where Europe’s crowned heads and their chief advisers have gathered on the eve of the assassination of Archduke Ferdinand.

They make small talk, gossip, proclaim their peaceful intentions and prepare, as the film’s recurring master of ceremonies (Joe Melia) tells us, for the “ever popular war games—songs, battles and a few jokes.” With the outbreak of war, the cameras glide into a realistic British seaside resort and a glistening, white amusement pier, a gingerbread delight, where Englishmen and their families line up to receive their tickets to World War I, which is spelled out in light bulbs over the entrance.

Thereafter, “Oh! What a Lovely War” cuts back and forth these symbolic settings, which always represent the environment of fantasy (staff officers headquarters, recruiting centers, English country houses), and very real locations, such as battlefields and field hospitals, which are usually the settings for the recognition of despair.

Some of the sketches, vignettes and songs are absolutely superb, especially early in the film before a certain monotony sets in. Chief among these is a music hall number in which Maggie Smith minces to center stage and sings a raucous, deliberately naughty recruiting song, “I’ll Make a Man of You.” In this short interlude, the film achieves the precarious balance it seeks between satire, nostalgia and ghastly humor. As the men scramble to the stage to enlist, there is a quick close-up of Miss Smith, who has suddenly turned into the War Whore — her eye shadow grotesque, the skin across her face as taut and hard as pink leather.

Also fine are a blackout sketch featuring Dirk Bogarde and Suzannah York, a couple of bored British aristocrats who discuss the hardships on the homefront, and the vignettes that thread throughout with Laurence Olivier, John Mills and Michael Redgrave as staff officers who might have been conceived by Punch, but whose lines are often recorded history.

The movie also achieves a moment of real sentiment as it recounts the famous Christmas Day truce when British and German soldiers threw down their guns to exchange schnapps and cigarettes in the no-man’s land between their trenches. But this sequence is eventually overdone, sunk by the movie’s realism, which also diminishes the effect of the sad, lovely, nostalgic songs.

There are dozens of songs in the film—patriotic things like “Belguim Put the Kibosh on the Kaiser,” sentimental ones like “Keep the Home Fires Burning,” and marvelous parody lyrics to hymns like “The Church’s One Foundation.” However, if they are not over-orchestrated, they are over-sung by a huge men’s chorus to the point where they all sound alike.

Some people may seek parallels between the events satirized in the film and more contemporary confrontations. “Oh! What a Lovely War” is a musical entertainment that has grown too big for its puttees, but its point of view remains focused on a dim, far-off era that now seems almost as remote as the time of the Wars of the Roses.

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Language(s):English + Commentary
Subtitles:English, Danish, Dutch, Finnish, Norwegian, Swedish (idx)

From Mosfilm:
Andrey Balashov, a pianist, had to quit music after being wounded during the Great Patriotic War. Having failed to say goodbye to his friends and Natasha whom he loved he left for Siberia. He worked at the construction of an industrial complex and sang in a teahouse. An accidental meeting with his friends and Natasha changed his life. Andrey left for the Arctic region where being inspired by heroic labor of the builders he wrote a symphonic oratorio «Tale of Siberian Land» that won everybody’s recognition and made him popular in Moscow where Natasha was looking forward to see her true-love.

http://www.nitroflare.com/view/4FE949B5178297E/Skazanie_o_zemle_sibirskoj_%281947%29.avi

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http://rapidgator.net/file/92222faeab9c2db9fde6f5c1ce4f239a/Skazanie_o_zemle_sibirskoj_(1947).avi.html

Language(s):Russian
Subtitles:Japanese (hardcoded)

Breadcrumb Trail is a 90-minute documentary about Slint and their classic 1991 album Spiderland. It’s directed by Lance Bangs and includes interviews with the band, plus James Murphy, Steve Albini, David Yow, Ian MacKaye, Matt Sweeney, and others.

http://www.nitroflare.com/view/A4C160ACB2F24BF/Breadcrumb.Trail.avi

http://keep2s.cc/file/d43af51e8245a/Breadcrumb.Trail.avi

Language(s):English
Subtitles:none

Review
This 1980 attempt to cut in on the “midnight movie” market created by The Rocky Horror Picture Show has become a camp classic for all the wrong reasons. The Apple is fascinating because it takes a conceptual wrong turn at every angle: the ‘futuristic’ production design looks garish and cheap instead of sleek, the tone constantly veers back and forth between comedy and melodrama and the script is a mind-boggling muddle of religious overtones, heavy-handed “showbiz” satire and silly attempts at an anti-totalitarian message. The Apple’s serious intentions are further crippled by weak performances: George Gilmour makes a stone-faced, emotionally inert hero and Catherine Mary Stewart is too bland a romantic lead to inspire any interest in the film’s romantic subplot. The only actor who escapes unscathed is Vladek Sheybal, who applies a light comedic touch to the villainous Mr. Boogalow that escapes the rest of the cast. Despite these seemingly insurmountable flaws, The Apple remains surprisingly watchable if one has a taste for schlock: director Menahem Golan keeps up a speedy pace that delivers the film’s bizarre melange of mismatched elements at a breezy clip and the outrageous musical score delivers an unintentionally funny but always catchy musical number every few minutes. The finished product seldom makes sense but delivers so much sheer oddness at such a high speed that it is virtually impossible to be bored by this film. As a result, The Apple will probably baffle most viewers but trash devotees will find it to be a ‘schlock musical’ classic worthy of Can’t Stop The Music or Grease 2. ~ Donald Guarisco, All Movie Guide

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http://keep2s.cc/file/ee31639aa50df/The_Apple.1980.USA.WEST_GERMANY.KG.avi

Language(s):English
Subtitles:None

The documentary is directed by Brett Morgen who began work on it in 2007 when Cobain’s widow, Courtney Love, approached him with the idea,] It is the first documentary about Kurt Cobain to be made with the cooperation of his family. Morgen and his team were given access to the entirety of Cobain’s personal and family archives. The documentary includes footage from various Nirvana performances and unheard songs, as well as unreleased home movies, recordings, artwork, photography, journals, demos, and songbooks] Morgen used the interviews in the film Lenny as a model for the interviews in the film. The film’s title, Montage of Heck, takes its name from a musical collage that was created by Cobain with a 4-track cassette recorder in about 1988, of which there are two versions; one is about thirty-six minutes long and the other about eight minutes long. Several of the film’s scenes were animated by Stefan Nadelman and Hisko Hulsing. Jeff Danna wrote an original score for the film. The film was co-produced by HBO Documentary Films and Universal Pictures International Entertainment Content Group. Cobain and Courtney Love’s only daughter, Frances Bean Cobain, was a co-executive producer on the film.<

Quote:
Through a mixed-media approach that includes not only the released archival materials, but new interviews, flip-book-style extensions of Cobain pencil sketches, and original animation, Montage Of Heck makes his life felt as acutely as his bone-rattling music. And from the beginning, the central theme comes from Wordsworth: The child is the father of the man. Morgen presents Cobain’s tragic life as a script that was written from early childhood and played out in full view of the public. He does this through brilliant pairings of songs and footage, like setting 8mm home movies of Cobain as a toddler against a music-box rendition of “All Apologies,” the In Utero track that served as a more succinct suicide note than the one he actually wrote. Or later, reflections on the divorce that fractured his family and profoundly shaped his childhood bleed into a montage set to “Something In The Way.” Scott Tobias for The Dissolver

http://www.nitroflare.com/view/D29E3ACEBA6BBDD/Kurt_Cobain_-_Montage_of_Heck_720p_WEB-DL.mkv

http://keep2s.cc/file/748d66615e4f8/Kurt_Cobain_-_Montage_of_Heck_720p_WEB-DL.mkv

Language(s):English
Subtitles:None

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Quote:
Jennie (Susan Strasberg) travels to San Francisco to locate her hippie brother Steve (Bruce Dern). She meets Stoney (Jack Nicholson) in a coffeehouse and he helps her look for Steve, who Stoney has seen in his various attempts to start a rock & roll band. Stoney and his pals transform the square girl into a swinging hippie chick, complete with a mod miniskirt. Along with their buddy Dave (Dean Stockwell), they search for Steve amidst the psychedelic splendor of the Haight-Ashbury hippie haunts. Dave is killed by a car when he wanders around in an STP-induced stupor. LSD, marijuana, and the good and the bad sides of hippie life are illustrated with non-judgmental accuracy. The soundtrack of the movie is a musical gem, complete with the international smash “Incense and Peppermints” by The Strawberry Alarm Clock. (The group reached the top of the charts with the song in October 1967.) Also on hand are the Seeds, although they don’t get to perform their best-known song, “Pushin’ to Hard.” (Seeds lead singer Sky Saxon would gain as much notoriety as an acid casualty as he would from his musical ability.) Also adding music are the Storybook and Cryque Boenzee. The latter group contained Rusty Young and George Grantham, who would join with former Buffalo Springfield members Richie Furay and Jim Messina from the legendary, long-lived country-rock band Poco. This time-capsulized gem was produced by Dick Clark, the world’s oldest teenager. (Allmovie)

http://keep2s.cc/file/336794d277ece/Psych-Out_-_1968_-_Richard_Rush.m4v

http://www.nitroflare.com/view/AF983EE12597198/Psych-Out_-_1968_-_Richard_Rush.m4v

Language(s):English
Subtitles:None

Running in from seemingly nowhere, Micky Dolenz, Davy Jones, Michael Nesmith & Peter Tork – better known collectively as The Monkees – disrupt a bridge opening ceremony. From where and why did they come to disrupt the proceedings? They were filming a series of vignettes in several different genres, including a wild west sequence, a desert war sequence, a Confederate war sequence, and a science fiction sequence. They disagree with much of what is happening around them, and try to figure out how to escape the oppression they feel – symbolized by a big black box in which they are seemingly imprisoned – by the forces around. That oppression is often shown in the form of “The Big Victor Mature”.

http://keep2s.cc/file/ac3da9d11a2f0/Head_-_1968_-_Bob_Rafelson.m4v

http://www.nitroflare.com/view/974C63488B6CDB3/Head_-_1968_-_Bob_Rafelson.m4v

Language(s):English
Subtitles:None

All Movie Guide says:
This film focuses on the trials and tribulations of Ira (Todd Solondz), who is an unsuccessful playwright trying to find himself in New York City. — Iotis Erlewine

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http://www.nitroflare.com/view/4A6948ECE97FED9/fear_anxiety_depression.avi

Language(s):English
Subtitles:none

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Story: A music group of girls need to learn to play a song before the school festival.

Quote:
What distinguishes Nobuhiro Yamashita’s Linda Linda Linda from the crowd is a refreshing modesty. Rather than the usual underdog struggle against the odds culminating School of Rock style in the obligatory spectacular stage show and a fat recording contract, Linda Linda Linda’s story revolves around four highschool girls for whom learning how to play a single song in time for the school festival is the ultimate challenge.

Known for his deadpan comic minimalism, director Yamashita is an expert at turning the uneventful into the resonant. His previous films Hazy Life (Donten Seikatsu, 1999), No One’s Ark and Ramblers all featured aimless youth with nothing better to do than walk or sit around. Plot was never a part of the young director’s vocabulary, but the films were all the more memorable for its absence. Compared to these films, Linda Linda Linda is a move toward a more conventional narrative, but only slightly. It sees Yamashita shaking off the Aki Kaurismäki comparisons, but holding on firmly to his own peculiar idiosyncracies, resulting in a film that is refreshing both for the genre and for the director.

With all-girl Japanese rock groups like The 5.6.7.8’s, Shonen Knife and Melt Banana being regulars on club stages around the world, Linda Linda Linda arrives at exactly the right time for an attempt to conquer foreign audiences. True, to get full enjoyment out of the film it helps to know who The Blue Hearts are, but even for those entirely unfamiliar with the history of Japanese rock music, this film’s infectious, three-chord charm will prove hard to resist. And that former Smashing Pumpkin James Iha provides the score won’t hurt its international appeal either. (Midnight Eye)

http://keep2s.cc/file/c5d5d72750def/gmr-linda-cd1.avi
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eng srt:
http://subscene.com/subtitles/linda-linda-linda/english/438381

Language(s):Japanese/Korean
Subtitles:English

Synopsis: A Woman abadoned by the husband, suffer and pass for differents adventures until she finds the love.
The film was never shoted in cinemas, only in TV -1985

http://keep2s.cc/file/e708bf6e0790b/Trailer_para_amantes_de_lo_prohibido.avi

http://www.nitroflare.com/view/7D68ACA4B8BC716/Trailer_para_amantes_de_lo_prohibido.avi

English srt:
http://www.opensubtitles.org/es/subtitles/3765943/trailer-para-amantes-de-lo-prohibido-en

Language(s):Spanish
Subtitles:English

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Plot Synopsis [AMG]
The last—and to some aficionados, the best—of choreographer Busby Berkeley’s three Warner Bros. efforts of 1933, Footlight Parade stars James Cagney as a Broadway musical comedy producer. Cagney is unceremoniously put out of business when talking pictures arrive. To keep his head above water, Jimmy hits upon a swell idea: he’ll stage musical “prologues” for movie theatres, then ship them out to the various picture palaces in New York. Halfway through the picture, Cagney is obliged to assemble three mammoth prologues and present them back-to-back in three different theatres. There are all sorts of backstage intrigues, not the least of which concerns the predatory hijinks of gold-digger Claire Dodd and the covetous misbehavior of Cagney’s ex-wife Renee Whitney. Joan Blondell plays Jimmy’s faithful girl-friday, who loves him from afar; Ruby Keeler is the secretary who takes off her glasses and is instantly transformed into a glamorous stage star; Dick Powell is the “protege” of wealthy Ruth Donnelly, who makes good despite this handicap; Frank McHugh is Cagney’s assistant, who spends all his time moaning “It’ll never work”; and Hugh Herbert is a self-righteous censor, who ends up in a censurable position. The last half-hour of Footlight Parade is a nonstop display of Busby Berkeley at his most spectacular: the three big production numbers, all written by Harry Warren and Al Dubin, are “By a Waterfall”, “Honeymoon Hotel”, and “Shanghai Lil”, the latter featuring some delicious pre-code scatology, a tap-dance duet by Cagney and Keeler, and an out-of-left-field climactic salute to FDR and the NRA!

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http://keep2s.cc/file/7f09c5ed10f36/Footlight_Parade_%281933%29_DVDRip_BBM_%5BCG%5D.avi

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

From wiki: The Company is composed of stories gathered from the actual dancers, choreographers, and office staff of the Joffrey Ballet. Most of the roles are played by real-life company members. While there are small subplots involving a love story between Campbell’s character and a character played by James Franco, most of the movie focuses on the company as a whole, without any real star or linear plot. The many real-life stories woven together show the dedication and hard work that dancers must put in to their art, even though they are seldom rewarded with fame, fortune, or even a statue, painting, or album on which to look back.

The Company was an idea of Campbell’s for a long time – she began her career as a ballet dancer, having been a student at Canada’s National Ballet School. [2] Altman was reportedly reluctant to take on the directing of the movie initially[citation needed], but later relented. After filming was concluded, Campbell was offered a position to dance in the company, but turned it down due to injuries and a desire to keep acting.

# Altman’s first foray into High Definition Video.

# Altman shot 10 ballets in full specially for the film.
Ballets Shown : – Light Rain: Choreography by Gerald Arpino – Tensile Involvement: Choreography by Alwin Nikolais – Suite Saint-Saëns: Choreography by Gerald Arpino – My Funny Valentine: Choreography by Lar Lubovitch – Creative Force: Choreography by Laura Dean – Trinity: Choreography by Gerald Arpino – Strange Prisoners: Choreography by Davis Robertson – La Vivandi È Re Pas De Six: Choreography by Arthur Saint-Léon;transcribed by Ann Hutchinson Guest – White Widow: Choreography by Moses Pendleton and Cynthia Quinn – Momix The Blue Snake: Choreography by Robert Desrosiers.

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Language(s):English
Subtitles:None

Quote:
Geneviève, 17, lives with her widowed mother, who owns an umbrella shop in Cherbourg. She and Guy, a twenty-year-old auto mechanic, are secretly in love and want to marry, but when she reveals this to her mother, her mother objects on the grounds that Geneviève is too young and Guy is not mature or well-established enough, particularly since he has not yet done his required military service. Shortly after this, Guy is drafted to serve in the war in Algeria. Before he leaves, he and Geneviève consummate their love for each other, which results in her becoming pregnant. While Guy is away they drift apart, and Geneviève, strongly encouraged by her mother, accepts a marriage proposal from a well-to-do gem dealer named Roland Cassard, who has fallen in love with her at first sight and has promised to bring up her child as his own. (The character of Cassard is continued from Demy’s earlier film Lola (1961).) Guy is wounded and is discharged before his two-year term is up, but when he returns to Cherbourg Geneviève has already married and moved away. He struggles with depression and anger, but eventually is healed by falling in love with and marrying Madeleine, a young woman who had been caring for his now-deceased aunt Élise. Using an inheritance from his aunt, Guy fulfills his ambition of opening a service station. Years later, the now conspicuously wealthy Geneviève, traveling with her daughter, Guy’s child, accidentally meet Guy at his service station. While the two have only a brief conversation about the state of their respective lives, the conversation is clearly fraught with unspoken fondness and regret.

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http://keep2s.cc/file/e9c3a250a0a33/the.umbrellas.of.cherbourg.1964.720p.bluray.x264-cinefile.mkv

Language(s):French
Subtitles:English

Fred Astaire, Ginger Rogers and Others in a Musical Film
For the benefit of the holiday throngs the Radio City Music Hall’s screen program consists of an expensively staged musical comedy known as “Flying Down to Rio” and a new Walt Disney prismatic “Silly Symphony” called “The Night Before Christmas.” These films make for a thoroughly enjoyable entertainment.

Some idea of the cost of producing “Flying Down to Rio” can be gained from the fact that with the five principals there are more than forty persons in the cast, a number which does not include the hosts of dancing girls or the musicians. The settings are very striking and there are several clever process scenes which help to reveal that those responsible for the film have succeeded in giving an unusually good impression of Rio de Janeiro, for the actual photographs of that city are blended with those of studio structures.

It is a hearty and lively show, the story of which is just about equal to that of other musical offerings. There is the pursuit of the beautiful girl, who in this instance is portrayed by the ebony-eyed Dolores Del Rio. As for the gallant American, he comes to life in the person of Gene Raymond, who, as Roger Bond, is torn between flying and composing music, and therefore to satisfy himself he arranges to have his hobbies brought together by having a specially made piano in his private airplane.

Bond has also a weakness for the fair sex, particularly for Belinda Rezende (Miss Del Rio), to whom he “gives a lift” in his plane from Miami to Haiti. The young scamp decided to land there because he did not wish to hurry to Rio de Janeiro while Belinda was with him. Apparently they do not know that it is Haiti, and Belinda thinks that it is an island peopled by savages. The black inhabitants, however, happen to be bellboys from an adjacent hotel and a golfer who is out for a little practice.

An impressive series of scenes are devoted to a dance known as the Carioca. During this interlude that nimble-toed Fred Astaire and the charming Ginger Rogers give a performance of this Carioca. The music is delightful, and besides Mr. Astaire and Miss Rogers many other persons dance the extraordinarily rhythmic Carioca, one feature of which happens to be that of the couples pressing their foreheads together as they glide around the floor.

This production seems to get more and more lavish as it continues. In its latter stages it takes to the air again and there are some effective ideas of girls strapped to the wings of flying machines and going through a precision drill. These scenes have all the sensation of the girls being actually in the air.

Among the beguiling songs are “Orchids in the Moonlight,” “Carioca,” “Music Makes Me” and “Flying Down to Rio.” Both Miss Rogers and Mr. Astaire give splendid performances. Miss Del Rio is alluring and efficient, and Mr. Raymond does well as the handsome hero. Raul Roulien, a Brazilian player who has appeared in several Spanish-language films, appears as a man about Rio who realizes the futility of trying to force his attentions on Belinda.
Morduant Hall, NY Times, December 22, 1933

http://www.nitroflare.com/view/3B46D10FCFC02F0/Thornton_Freeland_-_Flying_Down_to_Rio__1933_.avi
http://www.nitroflare.com/view/84336A4E916638C/Thornton_Freeland_-_Flying_Down_to_Rio__1933_.idx
http://www.nitroflare.com/view/F97C3B20C72ED8C/Thornton_Freeland_-_Flying_Down_to_Rio__1933_.rar

Language(s):English
Subtitles:English, French

SYNOPSIS:
Selma is a Czechoslovakian immigrant, a single mother working in a factory in rural America. Her salvation is
her passion for music, specifically, the all-singing, all-dancing numbers found in classic Hollywood musicals.
Selma harbors a sad secret: she is losing her eyesight and her son Gene stands to suffer the same fate if she
can’t put away enough money to secure him an operation. When a desperate neighbor falsely accuses Selma
of stealing his savings, the drama of her life escalates to a tragic finale.

Nominated for 1 Oscar. Another 28 wins & 34 nominations

Quote:
If nothing else, Mr. von Trier is a brilliant engineer of dread; Selma’s every moment seems to contain the possibility of suffering, humiliation or betrayal. She wears her guileless, faltering vulnerability like a target on her back, and the movie follows her through the stations of her martyrdom like a medieval pageant.

And once again Mr. von Trier’s methods elicit a performance from his lead actress that deserves to be called miraculous. Like Emily Watson in “Breaking the Waves,” Bjork, in her movie debut, seems to be inventing a new style of film acting, if not an entirely new kind of human being. Her eyes are obscured behind thick glasses and the high cliffs of her cheekbones, but Selma’s capacity for feeling – for joy as well as agony and terror – overwhelms her mousiness.

When she hears a song she likes, her tongue darts out between her teeth, and her anxiety registers in her hands and in the tendons of her neck.

Like Ms. Watson’s Bess McNeal in “Breaking the Waves,” Selma is sacrificed on the altar of intellectual bad faith. The earlier film was about the collision between repressive religious orthodoxy and pagan sexual spiritualism, and this one posits an equally schematic conflict between the liberating power of pure imagination and the intractable authority of the market and the state.

It may be, though, that the real struggle we’re witnessing on screen is between Bjork and Mr. von Trier, between artistic conviction and aestheticized cynicism. It’s hard to say who wins, and impossible to avert our eyes. “Dancer in the Dark” is one of the most sadistic films I’ve ever seen, but it also raises the possibility that sadism might be, in spite of itself, a species of love.

The extras are:
100 Cameras : Capturing Lars Von Trier’s Vision
Choreography : Creating Dance Sequences
Alternate Scenes – 3
Selma’s Music – audio bit rate is 320
Extras are in English audio with no subtitles except for Selma’s Music – English subtitles.

http://www.nitroflare.com/view/B155CCE9455EEFB/Dancer_In_The_Dark.mkv
http://www.nitroflare.com/view/502B20689A4DB95/extras.rar

Language(s):English
Subtitles:English

from imdb:
A rather incoherent post-breakup Sex Pistols “documentary”, told from the point of view of Pistols manager Malcolm McLaren, whose (arguable) position is that the Sex Pistols in particular and punk rock in general were an elaborate scam perpetrated by him in order to make “a million pounds.” Silly and hard to follow at times, but worth seeing for some excellent Pistols concert footage, some wickedly amusing animated sequences, and Sid Vicious’ eerily prophetic performance of “My Way.”

http://www.nitroflare.com/view/7359835F52311A1/The_Great_Rock_%27n%27_Roll_Swindle.mkv

Language(s):English
Subtitles:nope

Quote:
Oingo Boingo fans and midnight movie mavens will love this bizarre black-and-white feature packed with music, madness, and members of the Elfman clan. The story revolves around the Hercules family, who live in a house that just happens to hide a secret entrance to the Sixth Dimension in the basement. When daughter Frenchy (Marie-Pascale Elfman) skips school one afternoon, she finds herself irresistibly drawn to the forbidden door, and winds up a prisoner in this alternate world. King Fausto (Herve Villechaize), the diminutive leader of the Sixth Dimension, is enamored with the beautiful young Frenchy and keeps her in the same cell as his favorite concubines, despite the disapproval of Queen Doris (Susan Tyrrell).
Frenchy’s brother, Flash (Phil Gordon), follows her into the Forbidden Zone with Gramps (Hyman Diamond) in tow, intending to save her, but they too are captured and must call school chum Squeezit (Toshiro Baloney, aka Matthew Bright) for help. Squeezit tries to assist, but ends up captured and decapitated by Satan (Danny Elfman), though this development doesn’t keep his disembodied noggin from flying about and informing King Fausto that the Queen is planning to dispose of his beloved Frenchy. The appearance of the King’s first wife and the kidnapping of his topless daughter further confuse matters, but everything is wrapped up neatly with an elaborate song and dance number at the conclusion.

http://www.nitroflare.com/view/8649545D3C898C1/Richard_Elfman_-_%281980%29_Forbidden_Zone.mkv

Language(s):English, French
Subtitles:English

Quote:
The film was originally to have starred Gene Kelly, but Kelly was injured just prior to production and Astaire, who had announced his retirement from film, was coaxed back to replace him. (Astaire would “retire” several more times over the next decade, but he would also go on to make a number of additional classic musicals in between retirements.) This film marked the major MGM debut of tap-dancer Ann Miller (who had previously been under contract to RKO), replacing Cyd Charisse, who also had to bow out of the production.

The film featured some of Astaire and Garland’s best-known songs, including “Steppin’ Out With My Baby” and “We’re a Couple of Swells.” One musical number, a seductive performance by Garland of “Mr. Monotony” wearing the top half of a tuxedo and nylon tights (a style of dress which would become something of a trademark in later years after she wore the same outfit in 1950’s Summer Stock), was cut from the film as it was deemed too risqué for a film supposedly set in 1912. Audiences finally got to see this number in the 1990s when an edited version was included in the 1994 compilation film That’s Entertainment! III, though audiences wouldn’t get to see the complete performance of “Mr. Monotony” until it was included in a special DVD box set of the three That’s Entertainment films in 2004; it was subsequently included as a special feature on the 2005 DVD release of Easter Parade.

http://www.nitroflare.com/view/E133495AFDB9EE1/Charles_Walters_-_%281948%29_Easter_Parade.mkv

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