⚝movie4k⚝ Watch Lost Girls and Love Hotels [2020] Online Free Live Stream


Release Date - 2020

Directed by - William Olsson

1456 vote

Country - USA

movie info - Haunted by her past, an English teacher explores love and dust with a dashing yakuza gangster in Tokyo

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Synopsis Searching for escape in Tokyo's back alleys, a haunted English teacher explores love and lust with a dashing Yakuza, as their tumultuous affair takes her on a journey through the city's dive bars and three-hour love hotels. Cast Crew Details Genre Director Producers Writer Editor Cinematography Composer Sound Studios Countries Languages Alternative Titles I Am Not a Bird, Загублені дівчата та готелі кохання, 迷慾東京 Popular reviews More It seems like Alexandra Daddario is Looking for Mr. Goodbar in Tokyo. Lost Girls and Love Hotels mixes the cultural dissonance of Lost in Translation and the absurd fetishization of the Fifty Shades of Grey trilogy in an hour and a half film. The movie presented a psychological slice-of-life of an unanchored woman in a location she’s not generally attuned with, in such a shallow, one-dimensional manner. Her motivations are undisclosed and it is uncertain as to why she is the way she is, making me lose my interest after the first half of the film. Her relationship with the yakuza guy is incredibly forced, the side characters are tossed around to extend the time, and the ending doesn’t even… Someone save Alex Daddario from her career i put tokyo love hotel by rina sawayama on repeat the second this ended which really sums it up This is a really horrible movie that kind of blew every other bad movie out of the water. And since I am backlogged writing reviews for like 10 films, I can't get around to giving it the nasty review it deserves. Vegan alert: Margaret (Alexandra Daddario) asks if they're going to eat screaming baby or bacon. I feel like I watched this at a really good time. It’s Sunday afternoon and I’ve been napping all afternoon, drifting in and out of sleep, and then I put this on, and it was a nice cold and dreary exercise of a film that really matched my mood. It’s going for a Lost In Translation meets Berlin Syndrome kinda vibe, and no it’s not near as good as either of those movies, but it has something special of its own. Alexandra Daddario gives a good performance, probably one of her best pieces of acting so far in her career I’d say, and the glittering nightlife of Tokyo is a stunning backdrop for the story. I think if there had… Yang menarik dari film ini cuma pesona Alexandra Daddario sebagai predator cowok Jepun yang sangat ganas, keindahan alam dan kota-kota di Jepang, dan penggunaan music scoring yang sangat minim, sehingga sepanjang film penuh dengan keheningan dan kesunyian. Selain itu ya begitulah. Very attractive western woman falls in love with a native in Japan before things get weird. Unless you're gagging to see Alexandra Daddario whisper in dimly lit rooms you're better off just watching Earthquake Bird, which was a bit crap but infinitely more interesting than this extremely boring nothingness. The title says it all, Lost girls and Love Hotels. That's basically all the movie is about. The main character is a lost girl in multiple ways that goes to love hotels with random guys to fill the empty void that dwell with her. The plot is poorly written and the acting is average. There's nothing entertaining about this flick. Worth watching on a rainy day. In normal terms, boring would be something like watching paint dry, but what this film does is redefine the term so that an entire story can play out before your very eyes and, somehow, it makes you long for the paint drying. Snails could run laps around the pacing of this film. Also, Margaret is an awful character. I get that she is plagued by personal demons, but she is completely self-destructive and it's hard to root for her in any real way. Alexandra Daddario needs help choosing projects. It's clear now more than ever. Quiere ser The Girlfriend Experience con pizcas de Lost in Translation, pero termina siendo Fifty Shades of Grey imitando un thriller psicológico. Ni siquiera los azulados ojos de Alexandra Daddario son un esfuerzo suficiente para un rol apuñalado por la ineptitud del guionista, que la hace poner al lado de un interés amoroso muy cringe carente de química. Y es que el rango actoral de Takehiro Hira no sé si de por sí es limitado o es que su personaje es un cartón caminante; sin embargo, ese no es el mayor incoveniente de Lost Girls & Love Hotels, sino que es su vaguedad argumental la que finiquita su intento de ser algo. El círculo vicioso que ha hundido a la protagonista… Si yo tuviese el 🍑 que se carga Alexandra Daddario no lo desperdiciaria trabajando en proyectuchos como este 😣 I would say it's worth watching just for Daddario, but the movie centered around her is just slacking. Recent reviews Pretty decent forlorn vibe and Alexandra Daddario tries really hard the whole time (nails the vacant dead-drunk stare). Just zero emotional attachment to anyone here aside from the cool flight-school lady. bruv Alexanda Daddario needs a better agent. Beautiful Japan. Tragic story. A deep and dark dive into the life of a girl living in Japan. This movie delivers a very interesting character study of an alcoholic girl with some sexual deviancies and mental health issues. This was a pretty striking film as it went further down the sexual path than most movies without being overtly titillating. Keeping you in the darkness throughout. Fear and excitement are chemically the same. Sadness is a hair away from melancholy. Melancholy is almost pleasure, brushing against happiness. It’s all the fucking same. - Catherine Hanrahan Besides Alexandra Daddario doing a good performance and respectively gorgeous to look at, this movie was depressing and boring. Did you know? Original cut of the film which was filmed in 2017 and shelved until its official release in September of 2020 was longer and darker, showing more of a disturbing reality of love hotels, and with more graphic and longer sex and nudity scenes. However some time before release the film was cut down in order to tone it down and attract more wider audience. This is also why most of… Daddario get lost, not in japan. But in her careerr. If the films being like this. Boring and very disappointed. I love Alexandra Daddario. She’s got the whole package. She’s got great comedic timing, eyes that convey everything and she’s downright gorgeous. Someone save her from her own agent! This and We Summon the Darkness are awful. She’s too good for this trash. There’s no spectrum of emotion here. The characters don’t feel real. Real human experience is full of ups and downs. There are only downs in this story. Margaret never gets a moment of joy or positivity, which makes it hard to form an attachment to her. It’s supposed to play as a journey of self-discovery, but I can’t tell you a single thing she learns about herself during this film... came in here howling at the moon. This film holds back, on all levels, just enough to make it nothing special. Acting aside, if only it had leaned into it's multiple angles that it builds on enough to make it less drab then it could have been something really great. no sé si será la mejor película que hay, pero me dejó con las emociones a mil Alexandra Daddario y las calles de Tokyo. Ya con eso me ganó porque soy débil de corazón Popular Lists Quarantine Watches The list of short and feature films I’ve watched since the start of quarantine, and subsequently, my account’s creation, sorted… Kink Cinema BDSM, fetish, sexually transgressive cinema. Narratives and docs. Not all of these are good movies or even necessarily sex positive… Love Melancholy abusive relationships; bitter longings; conflicted emotions; doomed romances; deteriorating marriages; eternal regrets; forbidden passions; inevitable disappointments; inexplicable desires; irreparable heartbreaks;… 2020 releases (001 - 041) ~ January (042 - 089) ~ February (090 - 127) ~ March (128 - 162) ~ April… Movies - 2020 (Ranked) A continuously updated ranking of all the movies I’ve seen for the first time in 2020.

Alexandra Daddario gives one of the best performances of 2020. She stars as Margaret, an American in Tokyo, who lives as a flight attendant instructor by day, and a submissive broken sex-addict for random strangers to enjoy by night. It is moody and atmospheric. Shot beautifully and acted impeccably. It is an exercise in blistering cold cynicism, with a smattering of hope and romance. Then we could understand why they cast daddario for this movie...

 

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If it wasn't for the few Alexandra's nude scenes, it would be a 1 star movie. The COVID epidemic must be rough for sex addicts — something that lends at least a temporary tinge of nostalgia to “Lost Girls & Love Hotels, ” whose promiscuous heroine seems unconcerned even about old-school STD risks. This adaptation of a 2010 semi-autobiographical novel by Canadian Catherine Hanrahan stars Alexandra Daddario as a North American expat in Japan, escaping murky demons via endless partying and anonymous sexual encounters. Hitting notes variably redolent of “Fifty Shades” and “Looking for Mr. Goodbar, ” with the added element of cultural dislocation, William Olsson ’s film works as an atmospheric mood piece and sometime erotic drama. It’s less successful as a character study. That creates a certain hollowness at the core of a movie that ultimately should expose the tortured psychology of a figure who instead not only remains elusive, but never fully earns our sympathy or interest. Astrakan Film is releasing the feature (which was reportedly shot on location three years ago) to digital and on-demand U. S. platforms this Friday. Margaret (Daddario, probably best-known for stints on TV shows including “Why Women Kill, ” “American Horror Story, ” “True Detective” and “Parenthood”) is a young woman teaching English to aspiring flight attendants at a Tokyo training school. She seems to enjoy the job and her charges well enough, despite frequently testing the patience of a headmistress (Misuzu Kanno) by showing up late and disheveled. The reason for that is what Margaret really seems to be here for: Escaping every night into boozeups with fellow expats (Andrew Rothney, Carice Van Houten) that frequently end in a rented bed beneath some just-met stranger. There is definitely an element of self-destruction in this behavior, particularly as she encourages her pickups to act out S&M scenarios, deliberately leaving herself vulnerable to potential harm. When one squeamish conquest declines strangling her, saying “I want to know your mind, ” she snaps, “No you don’t. ” This unsatisfied hunger is suddenly quenched upon meeting Kazu (Takehiro Hira), a handsome, mysterious older man whose air of authoritative dominance rivets her attention. Though their first assignation is in yet another “love hotel” room, he’s different from prior partners — for one thing, nudity reveals he sports the full-body tattoos of a yakuza. In and out of bed, the two lead performers have good chemistry, and their scenes together give “Lost Girls” a lift as both non-cheesy erotica and character drama. But in adapting her own novel, Hanrahan’s screenplay doesn’t give Margaret the definition (beyond her outré external behaviors) that might make up for the loss of a first-person narrative voice. She remains not so much an enigma as a bit of a blank, a party girl in too deep whose recklessness is meant to compensate for deep pain. We never glimpse much below the flailing surface, however, apart from fleeting mention of a broken family past. Daddario conveys the hung-over disarray of someone who doesn’t care how she looks, nor what strangers think of her (a jarring anachronism in discreet Japanese society), but that surface note grows monotonous. An otherwise graceful fadeout is marred by the fact that Margaret is meant to have had some kind of cathartic breakthrough, yet we aren’t sure why, or even just what she had to overcome. Nor is it terribly compelling when Kazu’s obligations to others cause her great pain. Tearfully ambushing him in public, she seems a banal needy mess whose appeal (beyond free sex) to this very interesting man no longer convinces. Hira’s charismatic performance does a lot to sell a character conceit that’s basically a pulp romantic cliché: The deadly outlaw turned ardent gallant for the heroine whose special-ness only he can detect. Olsson, whose few directorial features to date have roamed from his native Sweden to the U. and now Japan, does a fine job capturing the outside-looking-in gist of expatriate life in Tokyo’s overwhelming playground. The film’s audiovisual textures nicely convey the disconnect between Margaret’s garishly lit nocturnal adventures and perpetually harsh morning-afters. One gleans the novel was also a somewhat fragmentary narrative, reflecting its protagonist’s rudderlessness. The script’s leaning more heavily on her involvement with a glam gangster provides some structure, however credibility-stretching. But it’s the film’s cinematic sense of inebriate weaving through a foreign land’s labyrinth of clubs, bars and beds that makes the most striking, lingering impression here.

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