How to Download or Stream movies/video Disclaimer:Rating 17+ This film is unrated, but may only be viewed by persons 17 years of age or older. By streaming/viewing, you are agreeing to our MATURE AUDIENCES AGREEMENT. Streaming video on this site ~Video Instructions.XTABLET Users: VERY IMPORTANT!! IF you still can't view. Your "SECURITY" setting maybe too high/strong for your web browser. Try and lower the security setting; and you should be able to view/stream... ***IF you ENJOY this site, please "LIKE" on Facebook to receive updates***'My way of pinching myself?' Emma Watson admits to renting Harry Potter film on Netflix to watch herself in actionHarry Potter Movies PicturesHarry Potter PicsHarry Potter HermioneGeorge HermioneHarry Potter Fred And GeorgeHp MoviesFred And George WeasleyRon And HermioneHarry Potter WorldForwardEmma Watson admits to renting Harry Potter film on Netflix to watch herself in actionSee more Max Richter (Hameln, 1966) è un compositore e musicista britannico, nato in Germania.

Nato in Germania, ha studiato pianoforte all'università di Edimburgo, alla Royal Academy of Music di Londra e poi a Firenze, presso l'accademia di Luciano Berio.[1] Dopo aver finito gli studi, ha fondato l'ensemble Piano Circus.[2] Per alcuni anni ha fatto parte dell'ensemble, che ha collaborato con Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe e Steve Reich ed ha prodotto cinque album.sushi cape town kloof street Nel 1996 ha collaborato con i Future Sound of London per il loro album Dead Cities. chinese food delivery london se1Successivamente ha lavorato con la band per un periodo di circa due anni, partecipando anche agli album The Isness e The Peppermint Tree and Seeds of Superconsciousness. jiro dreams of sushi deleted scenes

Nel 2000 Richter ha lavorato con Roni Size ed i suoi Reprazent per il disco In the Møde. Nel 2005 ha prodotto l'album Lookaftering di Vashti Bunyan e nel 2008 Rocking House di Kelli Ali. Nel 2002 ha pubblicato il suo album d'esordio da solista: Memoryhouse, un disco di musica sperimentale registrato con la filarmonica della BBC.buy seaweed paper sushi Nel suo secondo album The Blue Notebooks, pubblicato nel 2004, Richter ha preso spunto dai Quaderni in ottavo di Franz Kafka ed ha coinvolto l'attrice Tilda Swinton, che nel disco legge alcuni passi. Nel 2006 ha pubblicato il suo terzo album, Songs from Before, a cui ha partecipato Robert Wyatt ed indirettamente Haruki Murakami. Il quarto album, 24 Postcards in Full Colour, è una raccolta di 24 mini-composizioni pubblicata nel 2008. Nel 2010 ha distribuito Infra, una composizione di 25 minuti eseguita da piano, elettronica e quintetto d'archi scritta come accompagnamento per una coreografia di Wayne McGregor.

Il portale di Pitchfork Media, nel recensire il disco (voto 8,3/10), lo ha definito come "dolorosamente splendido". Nell'ottobre 2012 ha proposto dal vivo Le quattro stagioni di Antonio Vivaldi insieme alla Britten Sinfonia, poi pubblicata su disco. Discorso a parte meritano le colonne sonore di Richter, scritte sia per il cinema che per la televisione. Una delle più importanti è la colonna sonora del film del 2007 Valzer con Bashir di Ari Folman (che gli è valso un European Film Award quale miglior colonna sonora). Ha scritto inoltre la musica per il film indipendente Henry May Long (2008) e per Die Fremde (con Stéphane Moucha) di Feo Aladag. Nel 2010 ha partecipato alla colonna sonora del film Shutter Island di Martin Scorsese con On the Nature of Daylight e il suo remix. Inoltre ha scritto la colonna sonora del documentario di Peter Richardson How to Die in Oregon e di Les Impardonnables di André Téchiné (2011). Il suo brano Sarajevo (tratto da Memoryhouse) è stato inserito in Venuto al mondo di Sergio Castellitto, nei trailer internazionali dei film Prometheus di Ridley Scott (2012) e film Need for Speed di Scott Waugh (2014).

La traccia November (presente anch'essa in Memoryhouse) è inclusa nel trailer dei film To the Wonder di Terrence Malick e J. Edgar di Clint Eastwood. Due altri film che includono brani di Richter sono Perfect Sense di David Mackenzie e La chiave di Sara di Gilles Paquet-Brenner. Nel 2012 ha scritto la musica per i film Lore di Cate Shortland e Disconnect di Henry Alex Rubin. Nel 2013 ha composto le musiche del film d'animazione The Congress di Ari Folman. Nel 2014 è autore delle musiche della serie tv HBO The Leftovers - Svaniti nel nulla.Do you like food? Do you like movies? Do you like movies about food? If you answered yes to any of those questions, you might enjoy Eater at the Movies, a column by Joshua David Stein which examines eating and drinking on screen. When gang leader Rob Brown is sentenced to prison for a fifth time, he must confront his role in bringing violent drug culture into his beloved American Indian community in northern Minnesota. As Rob reckons with his past, his seventeen-year-old protégé, Kevin, dreams of the future: becoming the most powerful and feared Native gangster on the reservation.

From executive producers Terrence Malick, Natalie Portman, and Chris Eyre comes this haunting and unflinching debut feature directed by Jack Pettibone Riccobono.Have you guys ever seen the Korean film, Oldboy? It's a great movie. A stylish, intense, hyper-violent thriller with a plot like a bullet train. It's one of the Founding Films of the PPCC - something we always wanted to write about, and decided to start a blog to do just that - yet it lingers on our To Review list for an embarrassing 1.5 years now. Now that we've just watched a very similar Hindi movie, Calcutta Mail, we're reminded just how good Oldboy is, and how we really should get to reviewing it. Lots of great shots of Calcutta. The parallels between the two films are eerie, though the plot of Calcutta Mail differs in several key respects (and it's a remake of a Telugu film, Choodalani Vundi, anyway). In both films, we begin in media res, with a tormented, haunted protagonist getting harried by all sorts of goons and bad memories.

(Oldboy shows us at least some of what's haunting protagonist Choi Min-Sik - being forcibly imprisoned for 15 years without any apparent justification.) Both protagonists are likable Everymen who are driven by an intense and mysterious desire for revenge (and gosh, they even resemble each other physically!). Both have iconic moments of totally flipped out intensity - the scene in Oldboy when Choi Min-Sik eats a live octopus, or the scene in Calcutta Mail when Anil manages to blow a police officer's desk aside by the sheer force of his screaming. Both films feature a seemingly implausibly bubbly female foil, a perky potential girlfriend who both aids the protagonists and keeps their tenuous morality in check. And, of course, both films are moody, dark thrillers that leave the final mystery's details unsolved until the very, very last moment. Both have some pretty kick-ass fight scenes, though Oldboy's (especially that legendary single tracking shot in a corridor) are generally better. That said, Calcutta Mail is dark, fun and intense.

It is a genuinely thrilling thriller. Without giving too much away - as the mystery of the narrative is one of Calcutta Mail's strongest points - the film begins with our harried hero, Avinash (an exhausted-looking Anil Kapoor), arriving in Calcutta from Bihar. He is searching for one Lakhan Yadav (Sayaji Shinde), and is, by his own account, bahut pareshan ("very troubled"). As he phones shady-looking goondas at mysterious telephone numbers, he arouses the interest of the evil Lakhan himself, who starts trying to kill him. Meanwhile, Avinash finds a room in a chawl (yay! we love chawls!) with the zesty Bulbul (Rani Mukherjee). Bulbul, an aspiring writer, is immediately attracted to this mustachioed Byronic hero spending sleepless, weepy nights on her balcony, and she - by way of two songs (one which is completely inappropriate considering the film's vibe and one which is an adorable fantasy) and some fake drama - weasles her way by Avinash's side. Her support becomes very useful as knife fights, train crashes and Manisha Koirala scenes begin piling the problems up.

The director, Sudhir Mishra, is an expert at building and maintaining tension. He establishes it with brooding "before the storm" moments and punctuates it with excellent editing - for example, there are several scenes where he'll cut away from the drama, just when Anil is to be squished by two oncoming trains, to show us a wide shot of the countryside, or the city. "Argh!" we would scream. Show us what happened!" And he always does - don't worry. His camerawork provides excellent pacing - shaky, disorienting fight scenes, sweeping mob scenes, and quieter stuff for intimate moments. The palette - if our crappy VCD can be trusted - is muted and filled with shadow. He makes everything - even the expected comfort of a homey middle-class chawl - look hostile and threatening. Black and white flashbacks, shaky cameras, scary! Some things to note, for those that have watched the film: Isn't Ishu the Hindi name for Jesus? If so, that's interesting. Is it just us and our Shashi-shaped glasses, but to what film is Anil referring when he does his Shashi-impression?

("Jahan baaaaap hai to kya baaaaat hai?") Aa Gale Lag Jaa? Anil Kapoor, newest PPCC favorite, is a legend, as usual. One of our favorite things about our favorite actor, Toshiro Mifune, is how he would totally flip out sometimes. He would just lose it! Indeed, our highly-honed and practiced Toshiro Mifune Impression is us, spouting garbled Japanese ("Domo arigato!!! Toshiro Mifune gas ki des!!!") at an increasingly frenzied pitch. Anil has some similarly demented scenes of maximum voltage - and we loved it! It was intense and it was awesome! He's good at those. We were also impressed by how sleepless he really did look - method acting, or cunning lack of make-up? One of the very satisfying Anil meltdowns. Poor Rani had a bizarre role and did what she could with it. Her scenes of light-hearted teasing, her invented drama and total initial misunderstanding of the gravity of Anil's problems were loud false notes in the narrative. Unfortunately, the best she could do was get out of the way.