➤➤ Dating ifor williams trailers
Steven Universe es una serie animada estadounidense creada por Rebecca Sugar Marty en el episodio Papá Pierde el Ritmo de la tercera temporada, debido a a Rose como "una rose cuarzo"; En el trailer latino de los episodios del arco "Portal Galáctico" en "El Pronóstico de Invierno" y "Pudo Haber Sido Genial". Netflix es todo un fenómeno en Chile. No te quedes fuera y revisa aquí la lista completa de todas las películas que tiene disponibles para ti. Main · Videos; Ip dating latino dating un papa genial trailer latino dating musique de mitchell musso dating musique de mitchell musso dating dating games for.
The fact that Gein's habit of sleeping next to the corpse of his dead mother makes its way into Hitchcock's film makes us question the miracle of how it ever got made at all. The title role is occupied, as well as it can be, by Anthony Hopkins who doesn't look much like Hitch but manages to embody his spirit and his eccentric sense of style. Those around him think that Psycho will ruin his career.
Paramount refuses to finance it, so Hitch and his wife Alma Helen Mirren mortgage their house and pay for it out of their own pockets. Hitch fights with studio executives and with studio censors who are aghast that he wants a picture that contains no less than corpses, blood, bare breasts, stabbings and - worse of all - an actual toilet flushing complete with sound effects. The story of the making of Psycho is only part of the story. Most of the film deals with Hitch's relationship with his wife Alma who, if the film can be believed, came up with some of the darker elements that made their way into Psycho.
Hitch tells her that Marion Crane dies halfway through the picture, but Alma isn't shocked and, in fact, suggests that he should kill her off sooner. The film also suggests that it was she who edited the film into perfection and was at odds with her husband because she thought that the shower scene could use some music.
The relationship is really quite beautiful. Alma is seen as a woman who is fiercely loyal to Hitch and stands by him at every turn - reminding us that behind every great man is a greater woman. Helen Mirren actually gives the best performance in the movie as a woman with stubborn resolve, who is his voice of reason and occasionally shares his sick sense of humor. Yet, the film isn't perfect. It is sometimes a jumble of interesting elements rather than a straight forward narrative.
There is a needless subplot involving Hitch's suspicion that Alma is having an affair with the writer Whitfield Cook Danny Huston. She calls off his suspicions with a brilliant monologue that won't be spoiled her. Then there are also several strange moments in which Hitch imagines conversations with Ed Gein that seem pointless.
Still this is a very entertaining movie, the story of a very strange man and his very strange movie, one that - against all odds - became the most popular film that he ever made. Hitch tested, Mother approved. There are few musical productions more beloved or more memorized, and so the end result is either going to be success or a colossal failure.
Seeing the finished product, it can be confidently said that director Tom Hooper, brings together a full-blooded production that is not shy. He pulls out all the stops, takes no prisoners and creates a big, lavish, garish, but always entertaining adaptation of a musical that leaves subtlety smoldering in the dust. Is it full of grimness and death?
Media Resources Center | UC Berkeley Library
The story, for the uninitiated, begins in on the day that Jean Valjean Hugh Jackman is to be paroled after serving 19 years for stealing a loaf of bread. By law of the land, he is to be on parole for the rest of his natural life. By law of the destiny, Valjean finds his place in the eyes of God after being shown kindness by a priest. Frustrated with the tyranny of his bondage, Valjean tears up his parole notice and goes on the lam. He knows that the stone-hearted Inspector Javert Russell Crowe will never give up searching for him, but he doesn't know that this defiant gesture will change the fate of both men.
Years later, we catch up with Valjean who has taken the assumed name Monsieur Madeleine and is running a factory that makes rosaries. Working in the factory is the sad-eyed Fantine Anne Hathaway who is working to feed her illegitimate daughter. A mishap reveals her shame and she is thrown out in the street by the shop foreman.
A whim of destiny keeps Valjean just out of earshot of what has happened to the young woman, who is eventually forced into prostitution. By an act of kindness, Valjean finds himself adopting Fantine's daughter Cosette played as a child by Isabelle Allen and as an adult by Amanda Seyfried. This will be the pattern of Valjean's life. Once the priest shows him kindness, it opens a door in his heart and he finds that the kindness that he shows to others comes back to him when he needs it most.
The pattern of the story is centered on two separate figures, Valjean who sees kindness as a balance to the natural order, and Javert who is blinded by his devotion to duty. Their duality is seen appropriately against the backdrop of Paris' June Rebellion in which angry citizens rise up against the French army.
Of course, all the elements of the story are told through music - non-stop music. Even the speech is a form of talk-singing and Hooper was smart to cast well-known actors who can actually sing. Jackman, of course, is a Tony Award winner for "The Boy from Oz" and imbues Valjean with a kind of good-heartedness that comes from within. Russell Crowe is less schooled but has been in music since Amanda Seyfried as Cosette has a bird-like lilt to her brief musical interludes.
Also, along the edges of the film, is an unforgettable performance by 22 year-old Samantha Barks who has been in the stage production. They are all wonderful, but no one can outclass Anne Hathaway who, with limited screen time, brings to light the disparity of being a poor woman in 19th century France.
Cast out in the street for the crime of having a child out of wedlock, she is forced to sell her hair before being forced into prostitution. For six unbroken, unforgettable minutes, Tom Hooper's camera holds steady on her withered face as she cries out for the once-golden promise of a life that has crumbled. Hathaway has always been a good actress but here she reveals a depth and a range that are beyond anything we ever expected.
That moment is a showstopper, but the rest of the production never slouches either. You walk in asking whether director Tom Hooper scored a masterwork, or a sour note? The answer to that question may rest with you. Your enjoyment may depend on your personal history with this production. What can be confidently reported is that this is probably the best adaptation of this musical that one could hope for outside of a concert hall.
It is rousing, beautifully mounted and wonderfully well-acted production that entertains and does the job quite well. Tolkien, then his enterprise to bring Tolkien's vision to the screen would be for nothing. This is a story very close to his heart and the evidence is there on the screen.
For this venture, he has put everything in his filmmaking arsenal into his work, and it pays off beautifully. That was apparent ten years ago with "The Lord of the Rings" but it is even more apparent as he begins another three-legged journey into "The Hobbit. An Unexpected Journey" is a giddy, red-blooded adventure, teeming with atmosphere; filled with dread and wonderment, action and suspense, wondrous and fearsome creatures, magic and mayhem, and of course, a quest - no great adventure has ever been without one.
The story takes us back 60 years before the events of "The Lord of the Rings", but this is no mere imitation. This first leg of the trilogy breaths with a life and an energy all its own.
We catch up with the elder Bilbo Baggins Ian Holm who is about to celebrate his th birthday. Seated at his writing desk, he begins a journal to his young nephew Frodo Elijah Wood who is on the cusp of a life-changing adventure of his own. The story flashes back three generations and we meet the young hobbit Bilbo Martin Freeman who is cozy and comfortable in his solitary life in The Shire, thank you very much. Soon, he his visited by the wizard Gandalf Ian McKellan who enlists him for a quest.
Knowing that Bilbo's answer will be a firm no, Gandalf tells the others in the party to show up unannounced at Bilbo's house. The purpose of the mission is quite desperate. Some time ago, an army of Orcs and a dragon called Smaug ripped apart the home of the dwarves and sent the survivors running for the hills.
With no home and no hope the dwarves vowed to reclaim their home. This is the reason that Gandalf has brought 13 of their best men to Bilbo's door. Bilbo is reluctant but eventually agrees, mostly when he wakes up the next morning and realizes that the party has left without him.
The 13 dwarves, Bilbo and Gandalf are a motley bunch but they are far from slouches in the defense department. The dwarves are led by the melancholy Thorin Oakenshield Richard Armitagewho is haunted by what he saw when his home was taken over.
This is not just a silly quest for weapons or jewels but the desire to return home. You can see it in his eyes. Bilbo's journey is crucial to the story. The central underpinning of the story is the mysterious connective power of home.
Bilbo has always been a home-body, more comfortable with dishes and doilies than swords and sorcery. He complains that he is not fit for this quest, but there is a conversion in his soul when he comes to realize that whereas he has the creature comforts of home, he has to set aside his selfish concerns to help a group of men who have no home. What follows this brave band on their journey is a nearly non-stop roller-coaster ride of adventures, some of them a great deal of fun, including a run-in with a trio of dopey trolls who want the Hobbits for breakfast.
Other pitfalls along the way are thwarted by goblins, giants, trolls and orcs in a journey that is one damn thing after another. One of the best moments takes place as the group is stuck in the middle of a brutal fight involving rock creatures the size a skyscrapers.
The troup comes slowly to realize that the ledge on which they stand is actually the creatures thigh, And yet, the best is saved for last, a reminder of one of the reasons that Peter Jackson's Lord of the Rings films were so special to begin with.
That, of course, is the creature Gollum. As with the book, he doesn't enter the story until nearly the film's third act, but his entry lifts the end of the picture into something more special than just a fight. We know his story and his plight. Here his sickness for the ring is in blissful harmony, and along the whims of destiny comes Bilbo to upset that balance.
Gollum has always been representative of the power of corruption and greed. Like a drug addict he is tortured with two minds fighting over what is right and what is devoted to the addiction. Here he is, a few generations back from when we first met him. His mind slightly more focused, at least focused enough to get involved in a game of riddles.
The answer will provide an exit for Bilbo from Gollum's cave. This scene, in a way, brings the two trilogies together and helps us understand the beginnings of Gollum's possession. In the months leading up to the release, there has been a question of how Jackson was going to split Tolkien's page book into three distinct films.
The advantage is that in having such a large amount of screen time and such a minimal story, he is able to focus on the characters and their eccentricities.
That was something that "The Lord of the Rings", as good though it was, seemed to lack. This film has more personality and more depth and we feel for the characters a bit more.
This is a more intimate and much tighter story. In that way it outclasses the other films. This is the best film in the series and one of the best films of the year. Wreck-it Ralph Disney's new animated feature Wreck-It Ralph is written and conceived by people who have thought a lot about video games.
They have obviously put a lot of thought into what life must be like on the other side of that screen and what they create is a dizzying display of creativity and imagination. They imagine what a fun and colorful world video games must be on the inside, but also what a confining space it must be for your garden-variety villain. How sad can it be if you're station in life is one of violence and destruction. What must life be like if your function is to be hated and reviled over and over and over and over.
The conceit of the film, similar to Toy Story, is that once the arcade shuts down, the characters in the game have some down time. We get a glimpse of the sad, lonely life of Ralph, voiced by John C.
Reilly a bulky guy with massive hands that function well in a classic video game called "Fix-It Felix, Jr. Among the tenants of the building, called Nicelanders, Felix is a hero while Ralph spends his nights sleeping outside on a pile of discarded bricks that have accumulated over the years. On the game's 30th anniversary, Ralph is dismayed by the fact that the Nicelanders have invited Felix to a party.
When Ralph tries to crash the party, he smashes the ceiling and the doorway just trying to get in. Ralph shocks the others in the group with the pronouncement that he doesn't want to be a villain anymore.
So Ralph leaves his game behind and decides to get himself some recognition. First trip involves a visit to a "Halo" type world where a medal is the top prize and he meets up with a tough-as-nails Space Marine named Calhoun wonderfully voiced by Jane Lynch who, we learn, has "The saddest backstory ever written. In this world, the worst thing that could happen is for the game to be deemed faulty, unplugged and retired.
One of the great observances is that once video games are retired, some characters like Q-Bert and Coily become homeless. Most of the movie takes place in the "Sugar Rush" world, a candy-coated landscape that keeps getting more and more inventive as the movie goes along. The rolling hills are made of fudge and ice cream, while the trees are suckers and peppermint sticks. Then there are smaller areas as Ralph and Vanellope visit an area of the game that was part of a bonus level that was never finished.
Later King Candy gets inside the strange world of the game's programming and does a little creative maintenance. Yes, the movie ends with the inevitable fight to the finish, but the movie is so much fun that it doesn't really matter.
What is interesting is the way that the video game world sets up rules for itself that create the drama. Much like Disney's other video game world "Tron", there is a danger to spending too much time wandering around. The best thing about Wreck-It Ralph is that the film's burst of imagination come from the writing, not the marketing department. It is sharp and funny and the credits of the writers are probably the reason why.
Rich Moore and Jim Reardon got their start on "The Simpsons" These writers have played a lot of video games and know what fans might expect. This is probably the best animated feature this year to get a major release this year.
It is right up there with Brave in its creativity. It isn't as funny as Hotel Transylvania, but it is much better for your kids than the dreary ParaNorman or the ho-hum Rise of the Guardians. Here is a world so full and so detail and so much fun that you'll want to go back again to catch all the stuff you missed the first time around. Here we have four of the most fascinating people of the 20th century in the same place at a time when storm clouds of Nazi aggression were about to burst and the screenplay focuses on FDR's infidelity and the Queen's concern over a picnic where she will be forced to eat hot dogs.
The movie takes place in the summer ofwhen Franklin Roosevelt Bill Murray was spending some time at his country estate at Hyde Park. The movie deals with two events that took place that summer. The details of their relationship take place in long shots and quiet passages of dialogue that seem muted as if they simply don't have anything to say to one another. The heat in their attraction comes from their mutual admiration over - get this - his stamp collection.
How he used this as an aphrodisiac to attract women is a question the movie doesn't really know how to answer, all you can deduce is that intimacy that grows out of admiration over stamps is about as exciting as it sounds. No British monarch had ever visited America before.
They are the pillars of England at a moment when Hitler is about to steamroll over much of Europe, and his Majesty has come west to speak with The President about an alliance that would overthrow the Fuehrer. Yet the movie leaves that important issue around the edges of the movie. Except for one effective scene between The President and The King, in which they both understand that they have physical ailments that they are trying to hide one is disabled by polio, and the other has a stuttering problemthe movie has no real interest in their relationship.
It is understood that America came to Britain's aid and the story of the king and queen is mostly concentrated on their puzzlement with brutish American customs, not just the aforementioned hot dogs, but the picnic and the Native American dancers that will be performing therein. The story of the king and queen doesn't work because it doesn't move beyond their initial shock over American customs.
The story of FDR's infidelity doesn't work because we simply don't care. Part of the problem is Daisy herself. She is our point of view in the film but she's such a blank slate that we have no foothold in her story.
Laura Linney is a fine actress but she stands at a distance from FDR, admiring him but hardly saying a word except in narration. That narration, by the way, is so lazy, quiet and tired that it comes off like a particularly dull audio book. Roosevelt's relationship with Eleanor is nearly non-existence. It is known that after The President's relationship with is secretary two decades earlier, she had chosen to be his wife in name only, but where is the tension between them. Olivia Williams occupies the role of Eleanor not as a supporting character but almost as a fixture of the set.
To be fair, the performance by Bill Murray isn't bad. He is an unusual choice for this role and it is good to see him take such a risk, but you never feel that you're in the presence of the 32nd President.
Murray is a good actor and he captures some of FDR's wit but he doesn't have the towering presence that made him such an American icon. This is a tiny movie, a meager effort that looks great but doesn't really go anywhere. You don't learn anything and there is no sense that you are getting a behind-the-curtain look at anything but really pretty pictures. He succeeds where others fail.
His comedies like "The 40 Year-Old Virgin", "Knocked Up" and "Forgetting Sara Marshall" are remedies to all the recent limp, unfunny romantic comedies that are responsible for killing the genre.
His films are a breath of fresh air, they are raunchy and loaded with sex jokes, but they are also warm, human and very funny. He has no contempt for his characters or the audience. His latest film, "This is 40", is a hysterically funny film that literally advertises itself as "A sort-of sequel to 'Knocked-Up'.
Indeed it features the adventures of a married couple Peter Paul Rudd and Debbie Leslie Mannwho occupied a small corner of that comedy and provided some of its best moments.
We could detect, in that film, that there was much more to Peter and Debbie then their small subplot had time to explore. Plus, to make a point, your enjoyment of this film will not be hindered if you haven't seen "Knocked Up.
Their problems in the bedroom - or in this case the bathroom - seem to underline a host of other problems, not least of which is the fact that Debbie is pushing 40 and doesn't want to admit it. At her birthday party she defiantly insists that she is still only That later culminates in a wonderful back and forth with a nurse who is staring at her information on a clipboard while Debbie is in the middle of her pelvic exam. Much of Peter and Debbie's problems involve money.
This may be the first comedy that deals with a couple in the midst of the post-economic crisis. They are perfect models of the 21st century, they have every kind of electronic device and live in a house that they really can't afford. Peter owns a record label but doesn't tell Debbie that it is hemorrhaging money. His latest project involves an aging rock star who is past 60 who still has the chops, but who wants to buy him?
Meanwhile, Debbie's dress shop is losing money because a large amount of cash has gone missing by either the passive Asian girl joy or raucous sexpot Desi Megan Fox who amazingly has suddenly acquired a high-priced apartment and a new car - the answer to that mystery isn't what we expect. Aggravating the situation are the presence of two budding daughters, Sadie, who is obsessed with "Lost" and Charlotte whose personality hasn't quite slipped into cynicism but we sense her moving in that direction.
Debbie makes the suggestion that some life changes are in order, starting with a limitation on electronic devices. Sadie's outrage is comparable to a chimpanzee bereft of its tire swing. Apatow is smart enough to keep the plot light. He doesn't overload us with plot developments but allows the everyday problems of the couple to provide the drama and the comedy.
Nothing here feels like it was set up to be a gag. Even a hysterically funny moment in which Debbie catches Peter trying to examine something that might be a hemorrhoid with the use of a cell phone and a bathroom mirror somehow feels organic, not set-up. Apatow is wise not to turn the characters into caricatures.
There are at least a dozen supporting players here and each - per Apatow's usual - is given an extra dimension. There's a wonderful, nomination-worthy, performance by Albert Brooks - a comic treasure - as Peter father, a man in his 60s who has recently fathered three triplet boys and observes that "The doctor said I'd never get my wife pregnant.
I was very unlucky. The screenplay nears comic perfection but there is no reason that this movie has to run on for over two hours. It doesn't have that much to say. That limitation aside, this is an often hysterically funny movie that allows us to laugh at the characters and doesn't give in to easy pratfalls. The characters have an intelligence level that approximates the intelligence of the people in the audience, with moments that are perfectly observed. It was refreshing, for example, to find that Debbie's father, smart as he is, was as baffled by the final episode of "Lost" as the rest of us.
Life of Pi Oh! And what a life it is! What a visual masterwork that Ang Lee has brought to the screen.
- What is the Tomatometer®?
- Content Filters
Here is a story brimming with excitement, adventure, poetry, and the strange whims of drifting destiny. Here is the story of one life, one extraordinary man and his adventure to find himself and his way back home. It is based on a best-seller by Yann Martel, but it reminds you of the kinds of stories by Rudyard Kipling.
We meet him in a series of opening passages that have a tone all of their own. He was born with the name Piscine, a word which, when translated from French to English means "swimming pool", but his parents overlook how the word looks on paper and so everyone calls him by an unflattering euphemism for urination.
He silences their mockery one day in the classroom by demonstrating his wizardry at mathematics by showing them the constant of 3. From this, he shortens his name to Pi. We follow his upbringing as he comes to questions the nature of religion, settling on theories of Muslims, Hindus and Christians, trying to get a grasp on his purpose in life. His mother wants him to explore, but his father wants him to be more practical and real. These are lessons he will take with him all through life.
The zoo starts losing money, so Pi's father informs the family that they have to sell the zoo and move to Canada. They pack up their belongings and a few of the animals and board a Japanese freighter bound for their new home. Then one night a storm hits that is so ferocious that it could have come from the Bible. Pi falls into a foot lifeboat and the freighter sinks. All on board are apparently killed but Pi finds himself adrift on the Pacific briefly sharing the lifeboat with a zebra with a broken leg; a seasick orangutan; a hyena; and an ill-tempered Bengal tiger that turns the other animals into lunch not to worry, it happens off-screen.
Pi builds himself a raft out of oars and life-preservers and sits tethered to the boat until he can figure out how to deal with the tiger who has taken up residence in his boat. Much like Robert Zemekis' "Cast Away" much of this movie deals with one man's fight for survival. The two are similar in their observations of trying to deal with survival under limited conditions, but this one takes place almost completely at sea. Pi tries to keep himself hydrated with rainwater and freshwater that was stored aboard the lifeboat, and with the few rations that he has.
He also tries to keep the tiger - named Richard Parker - nourished with fish that he catches with his bare hands. He knows that the beast will eventually get hungry enough to turn on him if he doesn't keep its belly full.
The relationship with the tiger is not what we expect. Pi has several chances to let the beast drown or starve to death but he refuses. He admits, in his journal which makes the excuse for voice-over narrationthat the tiger is giving him instincts that he never felt before, like a new sense of alertness.
What is so brilliant about the relationship is that Ang Lee never makes the mistake of making the tiger sentimental. This isn't one of those bond-with-animal movies from Disney. Lee never takes away the tiger's savage nature and that brings the story tension and a sense of grounded reality. A bond does form but it is more out of respect for the situation.
Their final moments together are as real as they are touching. That reality is necessary because the film occasionally breaks away from the real world and allows us some moments that are surreal, like a visit to a living, breathing island that seems prepared to have Pi and Richard Parker for lunch. Visually the movie is breathtaking. There are shots here that are not just computer effects but are shown just to allow us some moments of pure beauty.
One shot in particular takes place underwater as we are looking up at the boat with the sky behind it. There doesn't seem to be any water there and Pi seems to just be floating on air. The CG effects here are miraculous, especially in giving life to the tiger. He is a savage beast, yes, but eventually we see him as Pi sees him, and we come to like him without finding him cuddly.
This is a movie that respects animals by not making the mistake of trying to humanize them. What happens in the film's final act is a question left to the viewer over the validity of what we have just seen. There are many questions to be raised about those moments and many that are difficult to discuss without giving away spoilers. The conclusion will illicit many deep discussions afterwards. To watch "Life of Pi" is to observe how few films really consider their characters, how few consider the spiritual journey of the adventure they are undertaking.
A lot of films are about journeys of violence or revenge but can hardly be bothered to deal with what the characters have learned. This movie is so much more than that. How does it figure in the genocide of the Native American?
Can it be used to prove that the moon Landing was a hoax? It may sound ridiculous to say that a fade-in to Jack Nicholson's hairline suggests Hitler's mustache, but try telling that to a handful of hardcore devotees who have dedicated the last 32 years to studying all minutes of the beloved horror film frame by frame by frame.
You may see a simple-minded horror movie, they see so much more. The Shining is one of those rare horror films that is loved even by those who don't like the genre. Here was the story of an alcoholic writer Jack Nicholson who takes a job as the winter caretaker at a Colorado resort where they will be snowed in all winter while he tends the boiler.
The haunted nature of the century-old hotel causes the dad to go insane while the son uses his psychic abilities to call for help. Some say, not so fast. Rodney Asher's documentary Room named for the haunted hotel suite in the film where three ax murders were committed explores in exhaustive - and sometimes laughable - depth about the lengths that five people have gone through to break the film down looking for clues, signs, symbols and subtexts of every size and shape.
Some of their theories reside within the film, some have relevance to history, and others are just plain wacko. The five subjects are never seen on screen. We hear their voices and they all share a commonality, they have seen something in The Shining that the rest of us seem to miss. One of the interviewees points to a wrecked truck, seen on screen for a few seconds, and suggests that it was Kubrick thumbing his nose at writer Stephen King, who famously hated the film. Another interviewee traces the patterns of Danny's Big Wheel rides through the hotel hallways - the path of one of his treks is in the shape of a key.
There is also the symbolism of the large Calumet cans seen in the pantry at the film's opening. One of the interviewees says that they are meant to suggest Native American ghosts in the hotel. The real Calumet, Colorado, you see, is a legendary ghost town. Some of the information is interesting.
Sushi Ren's signature sushi is masterfully prepared everyday. Coogans Here, even the decor and menu reflect the diversity in the neighborhood. Posters of President John F. Kennedy and Senator Robert F. Kennedy are hung side by side with pictures of Leonel Fernandez Reyna, President of the Dominican Republic and oil paintings by Sam Garcia, a local artist with a penchant for using likenesses of local politicians and police officials in his paintings of medieval and modern street settings.
In addition to meatloaf and burgers, a customer can get rice and beans, as well as pastelitos, flaky turnovers filled with chicken. The steak sizzles and the salmon is always fresh! The chicken piccata will make you a regular customer! The Carlyle Manhattan landmark for decades. The Carlyle features rooms and suites with stunning views of Central Park and New York, serving an impressive list of guests and visitors. Today, The Carlyle continues to be the pinnacle of luxury for sophisticated travelers.
Sette Mezzo Indulge in European delicacies refined to perfection over centuries of modern influences infusing with tradition. Dine in our newly renovated dining room or have it delivered to your doorstep. Give us a try, you won't be disappointed. Start off with some of our appetizers such as Vietnamese fried spring rolls or grilled shrimp sate in skewers.Big Daddy
Our signature dish is pho or rice noodle soup. Rice noodles served in a rich, savory broth accompanied with a large selection of meats, seafood, and vegetables. Crepes on Columbus "Indulge in European delicacies refined to perfection over centuries of modern influences infusing with tradition.
Crepes on Columbus offers a casual atmosphere where you can escape the day. Casa Mono Bar Jamon offers a casual atmosphere where you can escape the day. Eat right with their organic offerings. Ippudo Ippudo NY is the first international Ippudo to introduce the world to authentic hakata tonkotsu pork soup. From its modest origins on the Japanese island of Kyushu to the non-stop buzz of our American flagship eatery in the east village, our ramen is adored and beloved by new Yorkers, Japanese and hungry travelers the world-over.
While Ippudo NY adheres strongly to its roots, embracing traditional Japanese ramen culture as its essential foundation, we aim to offer a modern and truly unique interpretation that is at the same time both an inspiration from Japan and influence of new York. Since its opening in and all the following years of taking the ramen scene by storm, Ippudo NY has stayed true to its primary focus of spreading happiness, smiles and thanks to each customer through one piping hot bowl at a time.
Ofrenda At their cozy west village space, owner Jorge Guzman and chef Mario Hernandez offer their unique interpretation of classic Mexican cuisine with an innovative cocktail menu of tequila-based drinks.
Named by nyluxury as "one of the top ten restaurants in New York serving Latin food" and as "top tequila bar in the us" by the editors of USA today, this intimate and stylish cocina offers its guests refined food made with love and pride.