Live And Let Die

5 days 12 hours ago     halden says : fantastic! Great family entertainment

2 weeks 6 days ago     nafisah says : great movies i ever watch and my sister is the number 1 fan of this movie

1 month 4 days ago     voice says : Good movie :D excellent and fantastic action

1 month 1 week ago     ShawnW says : Love the movie and the actors, I love louisiana

1 month 1 week ago     akaolisa says : #casino royale;daniel craig @ his best!007 all the way.

1 month 1 week ago     akaolisa says : #iron lady;a well researched,thought-provoking movie.showed that hardwork pays!Gr8 work!

3 months 3 weeks ago     aedenb says : Not my favorite Bond, but Jane Seymour is a beautiful Bond girl.

8 months 2 weeks ago     harismawardi says : just wanna watch Live and Let Die thousands

9 months 3 weeks ago     teto_pop2019 says : DDDDDDDDD JJJJJJJJJJ

1 year 1 month ago     bibhutidas says : the oddesey inception

1 year 4 months ago     babacu says : Roger Moore's long and campy reign as James Bond begins with "Live and Let Die", which has a similar structure to the classic 1960's Bond films, but is notably inferior. First, Roger Moore is too prim and proper and lacks Sean Connery's grit, edge, and intelligence. Next, the voodoo villains in "Live and Let Die" are not interesting or formidable. Whatever fascination people had with voodoo in the 1970's is long past. Finally, the action sequences and Bond girls are pretty good but left me wanting more. Paul McCarty's theme song is the best part of the movie, and it does get used repeatedly. If you've exhausted the Sean Connery Bond films and have time to kill, then "Live and Let Die" is okay, but just okay.

1 year 4 months ago     AnonymousMan says : Beast movie but i forgot...who was the original bonds in first movie...he beast to the max

1 year 4 months ago     raller says : Roger moore is a good 007 (bond James) James Bond

1 year 4 months ago     efraser says : irginal ballet dancer Nina (Natalie Portman) wins the lead in Tchaikovsky’s Swan Lake. But she might just lose it again if she can’t find a way to offset her technically perfect White Swan with a Black Swan that breathes sex, bile and chaos in big, ragged gulps. Pirouetting about Nina are people who help, hinder and ultimately unhinge her – though a little lunacy might be just what she needs right now. Artistic director Vincent Cassel hectors and (sexually) harasses. New arrival Mila Kunis offers booze, ecstasy and her tattooed body. Protective mom Barbara Hershey turns into a screeching harridan when her baby flies the nest. And a woman who is Nina’s mirror-image haunts the edges of the frame. Set in a cloistered world full of pitter-patter feet and stomping egos, Darren Aronofsky’s fifth feature starts off hysterical and raises the barre from there, fusing genres (psychodrama, horror, backstage musical) and masterpieces (The Red Shoes, All About Eve, Suspiria, pretty much all of Polanski’s early work) with spirited, nay, reckless aplomb. So while Matthew Libatique’s sublimely mobile photography exhibits the grit and grain of The Wrestler as much as the sheen and shimmer of The Fountain (the twinning of Aronofsky’s oppositional styles offering a subtle extension of the doppelganger theme that is elsewhere thumped home), Black Swan has little truck with reality. It is, instead, a crazed monument to cinema. Nina might be granted recognisably human foibles – hopes, dreams, fears, frailties; all of them startlingly realised by a never-better Portman – but her mental disintegration is, primarily, a plot device: the shards of her sanity twinkle brilliantly while never cutting to viewers’ hearts like the soft eyes of Mickey Rourke’s Randy ‘The Ram’ Robinson. Rather, Aronofsky plunges all of his energies into creating a palace of mirrors haunted by doubles and allusions, an edifice/artifice as elegant and vulgar as anything created by De Palma. Black Swan is a film obsessed with movement, colours, sets, sound design, Clint Mansell’s clanging score and, of course, performance, this last allowing Aronofsky to indulge in a little self-reflection by poring over the artistic process. Here, the scintillating style becomes part of the content. It still doesn’t mean you’ll care, perhaps, but you’ll sure as hell be exhilarated. Verdict: The most toxic, rapturous, melodramatic, operatic movie about a mentally disintegrating ballerina you’ll see all year… And featuring some of the best dance sequences ever.

1 year 4 months ago     efraser says : Travellers Unresolved class tussles are all the rage in UK horror right now (F, Cherry Tree Lane), and writer/director Kris McManus’ no-budget debut is a patchy survival thriller that pits city-boy bikers against angry pikeys (their words) with bug-eyed, but rarely boring, results. Though all-but scuppered by scripting issues and variable acting, it boasts a beautiful slide-guitar score, a fearsome bare-knuckle boxing sequence and a sweary cameo from Charlie Boorman. Whether that constitutes ample recompense really depends on your tolerance for enthusiastic, if amateurish, exploitation.

1 year 4 months ago     getshivu says : Three British agents investigating drug smuggling are killed under mysterious circumstances. Each murder is linked to a Harlem crime boss, Mr. Big, and an international diplomat, Kananga. The British send agent James Bond to investigate. When 007 arrives in New York he is nearly killed by one of Mr. Big's hoods, but the attempt gives Bond a lead and he soon discovers a plot to flood the US mainland with a billion dollars' worth of heroin.

1 year 4 months ago     teenuleo says : die another day is a fentastic movie tomarrow never dies intresting one

1 year 4 months ago     Bond says : Excelent and very good

1 year 4 months ago     Bond says : Excelent and very good

1 year 4 months ago     Bond says : Excelent and very good