🎦 Requiem for a Dream full movie HD download (Darren Aronofsky) - Drama. 🎬
Requiem for a Dream
IMDB rating:
Darren Aronofsky
Ellen Burstyn as Sara Goldfarb
Jared Leto as Harry Goldfarb
Jennifer Connelly as Marion Silver
Marlon Wayans as Tyrone C. Love
Christopher McDonald as Tappy Tibbons
Janet Sarno as Mrs. Pearlman
Suzanne Shepherd as Mrs. Scarlini
Joanne Gordon as Mrs. Ovadia
Charlotte Aronofsky as Mrs. Miles
Mark Margolis as Mr. Rabinowitz
Michael Kaycheck as Donut Cop (as Mike Kaycheck)
Jack O'Connell as Corn Dog Stand Boss
Storyline: Drugs. They consume mind, body and soul. Once you're hooked, you're hooked. Four lives. Four addicts. Four failures. Despite their aspirations of greatness, they succumb to their addictions. Watching the addicts spiral out of control, we bear witness to the dirtiest, ugliest portions of the underworld addicts reside in. It is shocking and eye-opening but demands to be seen by both addicts and non-addicts alike.
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Good Lord!
I was tempted to title this "Drugs are bad, mm'kay?" because "Requiem" was so sad I was desperate to inject some humor. Man, what a sad, scary, excellent, grim, disturbing, well-made movie. The more I read about RFAD and learned, the more fascinating it seemed. I'm one of those people who, upon hearing a movie is extremely shocking, has a burning urge to see it as fast as possible to see if it shocks me (especially unrated or NC-17), since I'm pretty jaded. So, I eagerly anticipated seeing it.

Unfortunately, I read so much about the making of the movie that I knew a little too much about the plot going in, so there were few plot surprises. "Requiem" concerns four addicts. Jared Leto and Jennifer Connelly play a young loving couple, Harry and Marion, who dabble in heroin and plan to make a big sale with their friend Tyrone (Shawn Wayans) so they can be set for life and Marion can start her own business. Their recreational drug use turns into day-to-day addiction, and things start to get ugly. VERY ugly. Ellen Burstyn plays Harry's mother Sarah, a lonely widow who wants to lose weight to fit into a red dress to appear on her favorite TV show. She starts out addicted to TV and candy, but has the bad luck to visit a doctor who-in what I thought was the only unrealistic aspect-gives her an RX for 'diet pills', that turn out to be speed. I say unrealistic because, as anyone who's ever worked in the medical profession knows, few doctors will write a new patient a huge prescription for extremely powerful, addictive controlled substances without even an exam.

I found her story thread the most memorable and heartbreaking. Sarah takes her pills and starts losing weight, plus suddenly becoming energetic and chatty. Like any addictive drug, her happy blue pills stop working after prolonged use, so she ups her dose more...and more...and things slowly start getting very weird and scary. In one of the best scenes midway through, Harry visits her --the only visit where he doesn't openly steal her TV to pawn for dope. He's briefly riding high (in more ways than one) and announces he bought her a big-screen TV; he wanted to do something nice for her and figured out that "TV is her fix". He looks uneasy when she's babbling happily about how she has a reason to get up in the morning, then he hears her grinding her teeth, and figures it out ...the first time in the movie you see real fear in his eyes. Sarah soon starts having very scary strung-out hallucinations-starting out with subtle things like time woozily slowing down and speeding back up, and when her refrigerator suddenly starts moving on its own, the real nightmare begins. An aggressive fridge may sound Monty Python-esque now, but trust me, you won't be smiling by the end of the movie.

One review I read said that the movie not only pulls the rug out from under you, it drags you and the rug down a long flight of stairs into a very dark basement. Another reviewer compared the experience of watching the film to a drug, and that's not too far off the mark either. Whenever a character gets high, there's a slam-bang fast-cut montage of the same images over and over; a sigh, a pupil dilating, cells changing color. The description I probably agree with most came from Aronofsky himself; he compared the film to a jump from a plane without a parachute, and the movie ends three minutes after you hit the ground. The last few minutes that show the gruesome, depressing, worst-case-scenario fates of all four characters are just as intense, hard to watch, and nightmarish as I heard they were. I don't think I will ever forget Harry's mother's transformation from a harmless, plump, friendly older woman to someone so frightening looking that people cringe away in fear and revulsion at the sight of her.

My only complaints would be that I wished there was more time for character development. The film is divided into 3 segments, Summer (things going fine, having fun getting high) Fall (the beginning of the downhill slide) and Winter (end of the line). I would've liked more scenes of what these people and their lives were like before addiction, as well as their relationships with each other. The cast is stellar- Wayans shows that he has the most range and talent of the Wayans bros- I laughed so hard at him in Don't Be A Menace that I ended up buying it, but here ...wow. I would've liked to see more of his character. I never liked Leto much before, but he's excellent and also almost unrecognizable (he dropped 1/5 of his weight for the role and oh, it shows). Connelly I actively disliked before, but I was very impressed and now know she can act. Burstyn gives the performance of a lifetime- not only convincing, but dedicated enough to let the filmmakers make her look like absolute and total hell; few actresses over 55 would probably be as fearless.

Not recommended if you're easily shocked, squeamish, or upset. If you only like movies that take you to a happy place, stay away. Everyone who left the movie theater looked like they had just been hit over the head with a very large board, and we all who knew what we were getting into. Recommended for those who want to see a movie that will completely overtake you and involve you emotionally. In addition, this film should be required viewing for everyone in the fashion industry that supported/glorified that whole 'heroin chic' crap. Also a good movie if you are having some problems in your life and want to put them in perspective VERY fast. 9 out of 10 stars. I'll probably never look at my fridge quite the same again...
Way, way, way over rated

I was told this movie is really depressing, but in order for that to be true I would've had to watch a movie with engaging characters. Guess what? I couldn't empathize with any of these losers, because they were flat, one-dimensional and pathetic. Most stories of drug addiction give us some glimpse of a character's potential for success--their charm, their attractiveness, their intelligence, a successful career or academic promise--and then show it all going down the drain. Or maybe we'll see why they turned to drugs, what their problems were, what they need to escape. Here we get none of that. In this movie they start as loser/addicts and end as loser/addicts. Everyone gets what he and she deserves. Some initially neat camera and editing work that gets old very quickly--would've been cool in a music video, but that's about it. Why does Hubert Selby Jr. have to end all his movies with women whoring themselves in especially degrading ways (cf. Last Exit to Brooklyn)? 3/10
Thoroughly despisable characters, utterly worthless film
I walked away from the film disgusted, and annoyed at the friend that recommended it. The characters demanded no sympathy and deserved their respective fates. If the movie's aim was to show how bad drugs are, or can be, then it is stating the obvious. If meant as a lesson to prospective drug users, the wrong medium was chosen to send such a message. There was a hint of glamor and excitement when dealing with the decadence that was the characters. I am no sadist and in no way enjoyed watching imbicile youngsters destroy themselves in a movie that glamorizes the process. Utterly despicable.
Unique, but extreme, preachy, and overrated film
This will likely be the most modest review you'll read of this film in the first few pages of a sea of 10s. I nonetheless, am convinced a 7 is the highest the film deserves. Aronofsky creates a unique film about the horrors of four characters spiraling into a chaotic conclusion due drug addiction. However, his reliance on creating an extreme, hyperbolic film undermines the movie's appeal. The film seems to be an example of pushing the boundaries simply for the sake of pushing boundaries, as no real message. It would be similar to calling a horror movie a 'classic' because the director showed a bloody decapitation after bloody decapitation or a romance movie being considered a 'classic' because it has 1/2 hour of real sex. Nonsense. The best films are the ones that leave the gory or gruesome details to the imagination yet leave you with an extraordinary impact and a message. I really got no message from the film which is heavily focused on torturing four miserable characters again and again....and again and again. What's the point? The four main actors in the film are phenomenal. Marlon Wayans surprisingly gives a stunning break out performance for someone known for starring trivial and mediocre pop culture comedies. He may have given the best or second best performance of the four. Jennifer Connelly gives a credible performance as a desperate and loyal girlfriend forced to do unthinkable sex acts. The actors strengths are their modesty and ability to succumb themselves to the most demeaning things possible.

The music of the film is memorable. The film has one main theme song, but it is the most memorable and haunting theme song ever I've ever heard. I downloaded it immediately after the film. The music emphasized the tone of the film.

The major weakness of the film, despite the great acting, are the characters. There's no bones about it, the characters are pure idiots. The fact that they're idiots leaves me little ability to sympathize with them, and I was trying my hardest. Furthermore, despite other reviewers efforts to paint them as "tragic heroes", the main characters are not heroes in any form. It's even a stretch to suggest that they're good people. For instance, Connelly's character initially seduces an older man simply to get money. Leto's character upsets his mother repeatedly by selling her television set. Yes, they all do this to subdue their addiction.. but the term hero cannot be thrown around aimlessly. They're simply dubious protagonists. Yeah, they try to aim to get out of the drug culture and start prosperous lives. The characters have great chemistry with each other, they are somewhat slightly charismatic, but they don't do anything remotely generous or pious in the film to warrant praise as "tragic heroes."

You can watch this film and immediately see the end coming. Part of you naively and helplessly hopes the film takes a sudden right turn into brighter pastures, but that is simply not the case. Aronofonsky might tease you in the beginning, but he brings you to the most overly dramatic conclusion like a car crashing into a brick wall. Ironically, while many critics bashed 'The Passion' for overemphasizing torture and maiming of Christ again and again and again and again over other aspects of Christ (and rightly so, that film has its flaws as well), it surprising these critics praise similar methods of repetitive "how can it get any worse" torture done to rather shady characters nonstop.

I'm not saying this film needed a happy ending to be a good movie. But if it has a tragic ending, it should have a message. If it's just "don't do drugs", than that's a grave disappointment and waste of time for a supposedly deep experimental film.

To his credit, the director utilizes a neat and impressive artistic style known as "hip hop montage." The surreal spinning directing was a doozy but a great asset to the film.

This film I guess is worth a watch once. But once is only time I've seen it, and I'll never sit through that film all the way through again. Period. I'm pretty confident in saying that most of those "10s" people have only seen it once and will make an excuse not to see it again. The only people who will see this film again are overly depressed and eccentric, pessimistic types.... A classic has to be more than a overly nihilistic novelty act.
a wannabe Trainspotting
After watching the above movie again, I was reminded of how much Requiem for a Dream resembles it (from Requiem's initial scene of the television theft, to the more general theme of hopeless drug addictions). And yet it also became more apparent to me how poorly Requiem compares to the British masterpiece, particularly in the method of direction by Darren Aronofsky. To me, his style in this film was reminiscent of the early commercial for DVD players -- catchy, yet in a choppy/gimmicky/dizzying way. Nowhere near worthy of its high rating. 3/10.
The triumph of form over substance ranks as audience abuse
This movie struck me as utterly phony, which was surprising as Aronfsky's prior film, "Pi," was amazing. Never once, from the very beginning, did I believe I was watching anything but specific actors play-acting. Ellen Burtsyn's thick slice of ham cut close to the bone was embarrassing, and her New York "Jewish" accent coming in a film released in the year 2000 struck me as outrageous! I mean, are we going back to "The Goldbergs" and 1950?

The whole film struck me as ersatz, artificial -- it had this 1950 junkie sensibility of Selby grafted onto this "hip hop" style that was simply jarring. The screenplay, which was co-written with Selby, was so predictable I began amusing the woman I was watching the film with by actually giving her the next line. I was right too often for comfort. The massacre during the dope dealing sequence in the back of the supermarket not only was telegraphed far ahead, but was incredibly STUPID. I did not believe the scene for a minute. Is it supposed to be a dream? I ask that as it has NO LOGIC.

Perhaps the biggest problem were the two leads -- Jared Leto and Jennifer Connelly. While their acting was quite good, they looked like they had deplaned at JFK from Beverly Hills that very morning. Connelly is too good looking for the role (she does not look the part of a junkie; in contrast, Samantha Morton, who granted is a better actress, looks the part of a junkie in "Jesus's Son"); a woman that looks like Connelly could be a call girl making many thousands of dollars a night, which made her "descent" into hell ridiculous. What is the problem with her character: she's just plain stupid?

Leto looks like a male model. (There used to be an old joke when I was a kid: Funny, it don't look Jewish. Leto, whose character I assume is at least half Jewish, looks as pure Irish as Connelly; in fact, they look enough alike to be brother and sister, which I'm sure was intentional but which was downright weird.)

The ending, the denouement of the three main characters' stories, was so over-the-top that my friend and I began laughing out loud. (I will say, Burstyn was excellent during the harrowing scene of the force feeding. The look on her face of pain, humiliation and resignation was haunting -- a great moment in screen acting.) Just intercutting two of the stories, son and mother, would have been enough, but the sexual imagery and situation of Connelly's character was so evocative of a throwing everything in but the kitchen sink mentality, we just couldn't stop howling. I mean -- COME ON! I'm chuckling right now thinking of the scene. It certainly dissipated the power of the son's horror (though not that of Burstyn, due to the great control she displayed in her acting; perhaps Aronfsky should learn the value of SUBTLTY from that part of her performance).

I think people were wowed by the directoral pyrotechnics, but frankly, this film's triumph of form over substance ranks as audience abuse!
First of all, don't watch this film if you are weak at heart. this is one bad trip. And it only gets worse until an unsatisfying ending. What is the point of this story? DON'T DO DRUGS. Jared Leto plays a junkie, Jennifer Connoly plays a junkie. Ellen Burstyn plays a woman who becomes a junkie. Junkie Junkie Junkie. Fast Paced clips does not help either. It is like those girls who comes out of the TV in all those very modern scary movies. Well it's well made and well casted. And if you are a sucker for drug movies, this is the one. Well one of them, not the best not the worst, but it's there. 6 out of 10, sensation is by far the word I would use. Pain is the answer to this movie. Pain to be alive, how much more emo could you get.
Shock Tactics that mean nothing
Yes this film does leave you in 'shock and awe' at the end and you could be fooled into thinking you have just seen a great movie. However, when you've had time to rationalise things it is obvious this film is an empty shell of tradegy which the root is caused by 'evil drugs'. There have been comments that this film is 'extremely realistic' and 'what drugs do to you'. These statements are ridiculous to the majority of people who live in the real world. This film shows the almost comi-tradegy spiral of 4 people into a 'drug hell' which could have been taken straight out of a government 50's educational film. It lacked sensitivity, reason and any notion of reality, an absolute joke of a film.
Innovative, Wow.
The story of four people who get too much into drugs, it poses several questions, not all of them about drugs. One of them is, how stylized can movies become before they are so thoroughly stylized that they lose their narrative roots? It's rather like music in some respects. At one end of the dimension, which I won't try to name, there is a simple tune like, oh, "Twinkle, Twinkle, Little Star," which is easy to remember, fun to whistle, cute, and rudimentary (although Mozart did some very odd things with it). At the other, three minutes and some seconds of silence. In movies, at the simple end, we can have, say, a one-hour film consisting of nothing but the same shot of the Empire State Building. At the other end of the dimension we might get something resembling what one sees in a kaleidoscope while stoned. (Or maybe we come back to the Empire State Building; maybe it's not a dimension at all, but a circle.)

This one certainly hasn't lost touch with the events it describes but it's pretty highly stylized too, as far as the direction, photography, editing, and sound are concerned. Sometimes this stylization works to support the narrative and sometimes it doesn. Sometimes it actually works against it. Example: all of the drugged-up scenes are in fast motion, including those involving, not just speed, but marijuana and heroin. The hyped-up action we get while Ellen Burstyn is on diet pills is evocative, peppy, full of accelerated business. But heroin doesn't work that way. And marijuana practically ablates one's sense of the passage of time so that, for instance, it sometimes seems to take half an hour to urinate -- so they tell me. If you stop using speed abruptly you can get some wizard hallucinations. But no one hallucinates on heroin, although this film suggests they do. The result is that the stylization is sometimes over the top, not slowing down enough to give us a chance to take a breath. It's nerve jangling and leaves the viewer a neural shambles. The performances are fine, by everyone concerned. In particular, Jennifer Connoley has by far her juiciest role and, somewhat surprisingly, is up to it. Burstyn is excellent too, her accent pretty well Brooklynized. But some of that shredding of sensibilities is unearned and unnecessary. The editing is increasingly jumpy and shocking, though it never leaves us in doubt of where we are or who we are with. The score is a blend of mostly scratchy, unpleasant electronics and ordinary sounds with the gain on high -- each pill accompanied by a "plop" on the sound track, each flick on a lighter by a "pfft," and so on. (Sometimes it sounds like a Popeye cartoon.) The photography too is highly distinctive. Fisheye lenses abound here. Cameras are fixed by harness onto an actor's body so that the actor's face and shoulders are immobile while the background seems to swivel around him and he walks and turns corners. The effect is so disturbing that it keeps your eyes glued to the screen.

I found Aranovsky's earlier film, Pi, plan irritating and depressing because of the high-contrast photography and other directorially imposed effects. This one is depressing too, but less irritating because, despite the high style, a story is being carried, and the story is about characters we care something about. They may be self absorbed, like the subject of "Pi," but they're hardly self confident. Their weaknesses are pathetic but entirely recognizable. Ellen Burstyn wants to lose weight so she can look good in that red dress, just as she did at her son's graduation. She pursues the cultural ideal of slenderness and youthfulness. Her son and his pardners in euphoria pursue the cultural ideal of pleasuring one's self. The drugs could be a neat stand in for the values that prevail in our community currently. Why else, except out of a desire to look good, would people buy a three-hundred-dollar simulacrum of a rowboat and use it so regularly? Why else, except out of a desire to feel pleased with one's self, would anyone buy a forty-thousand-dollar ten-gallon-per-mile Suburban Assault Vehicle with a revolving machine gun turret atop it? Hey! Look at me, everybody, I'm young, beautiful, and happy! Of course I can't figure out why I'm alive, but I don't ask myself that question.

This is an extremely innovative film, but the director has made clear his admiration of earlier movies, including "The Panic in Needle Park" (the same general idea), "The Godfather" (ominous oranges), "The Little Shop of Horrors" ("Feed me, Sara!"), and maybe "Koyaanisqatsi" (the acceleration of the cuts, tempo, and onscreen movements from moderato at the beginning to molto agitato towards the end).

It left me saddened and panting for breath. I'm not sure I'd like to sit through it too often, but I certainly wouldn't have wanted to miss it.
R-Rated Afterschool Special
Hollywood's gratuitous attempt at an anti-drug message showcases an array of characters (you're bound to relate to one of them) in a this-is-your-brain, this-is-your-brain-on-drugs kind of way.

You watch it and think, hey if I was and so-and-so, my-brain-not-on-drugs was the way to go!

However, if you have any remote sense of logic, then you don't actually have to endure the film to figure that out.

There's a gritty, depersonalizing element to the film which adds style and extreme worst-case-scenario scares, but overall, it's got that afterschool special obviousness - drugs are bad!

When it's over, you expect the guy with the eggs and frying pan to lurch out and say, "Any questions?"
📹 Requiem for a Dream full movie HD download 2000 - Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans, Christopher McDonald, Louise Lasser, Marcia Jean Kurtz, Janet Sarno, Suzanne Shepherd, Joanne Gordon, Charlotte Aronofsky, Mark Margolis, Michael Kaycheck, Jack O'Connell, Chas Mastin - USA. 📀