Three college friends go to the biggest party of the year, each looking for something different: love, sex and a simple human connection. When a supernatural phenomenon disrupts the party, it lights a fuse on what will become the strangest night anyone has ever seen. As the three friends struggle to find what they’re looking for, the party quickly descends into a chaos that challenges if they can stay friends or if they can even stay alive.

Three college friends hit the biggest party of the year, where a mysterious phenomenon disrupts the night, quickly descending into a chaos that challenges their friendships -- and whether they can stay alive. . You can read more in Google, Youtube, Wiki


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Anjori H (us) wrote: Interestingly enough, two actors that I don't like did well in this movie. Good story.

Sebastian C (de) wrote: no no no a disgrace to road movies. like an english cooking book of plots.

Larry W (nl) wrote: Is to Russ Meyer movies what Alien Trespass was to sci-fi b-movies: a loving but lazy homage, with some scattered moments of inspiration. Death Proof it ain't.

Blake P (de) wrote: Maria's not so good at making decisions. Seventeen, impulsive, but dazzlingly street smart, she's better at living in the moment, improving the moment, than looking further into the far more important unknowns of the future. But who can say they're much different at an age where almost everything is at a crossroads? For most, a period of potentially severe, but mostly innocent, mistakes are made that alter a person's perception of themselves, maturing inevitably. But Maria makes two detrimental false moves in a row that change the course of her life forever. First, without thinking remotely about the consequences, she gets knocked up by her impetuous boyfriend. Then, after causing an inimical error at work, she promptly quits following her being humiliated by her boss (despite the fact that the income is vital in the supporting of her family). Maybe she'd recover decently, if slowly, if finding an honest job were the first thing on her mind. Alas, en route to a nearby town to try to look for something to help in the bringing home of the bacon, she's approached by a drug trafficker who sees high possibility in her having success as a mule. Her pregnancy entails that customs agents cannot X-Ray her no matter how hard they'd like, and her desperation, combined with her youth, provides her with an enthusiastic vitality that reassures that backing out isn't an option. Preferring to exclusively ponder the positives of the slimy occupation as opposed to the agonizingly long list of negatives, Maria throws caution to the wind and heads down a path traveled by many young women as despairing as she is. But because being in cahoots with ruthless real-life super villains is never much favorable in the grand scheme of living a long, healthy life, she might come to regret her decision almost immediately if she had much else on her mind besides making the most of dire circumstances. How harrowing it is to watch as a vivacious young thing risks throwing her life away for a cash cow that could help her (albeit obsequiously), but since "Maria Full of Grace" makes for a convincingly harrowing viewing experience, the ride up to its unexpectedly bittersweet conclusion is more nail-bitingly thrilling than outrightly depressing. As Maria, the then twenty-three-year-old Caterina Sandino Moreno is so self-assured that we never have a second in which we doubt her, in which we're persuaded that she might turn out to be a tragic heroine after all. So commanding of the screen is she that we're wont to believe that the movie is going to act like a coming-of-age film titan, not a morality tale about tainted youth. The movie's too energetic, too alive, anyway, for us to decide that writer/director Joshua Marston is moving in the direction of cynicism and not in the direction of a winning portrayal of personal growth. Not to suggest that "Maria Full of Grace" is an altogether glowingly inspiring feature. With one foot in realism's door and another cemented in a floor covered in flagrant hope, it makes for an authentic look into the goings-on that become the merciless drug trade. Like a documentary in its blatant disfavor for cinematic romanticism, it doesn't take any wrong turns in its characterization of the oftentimes savage business - that Maria survives her ordeal is a miracle. With its promotional poster citing "Maria Full of Grace" as being inspired by countless other true stories very much the same at their centers, we're reminded that, while Maria is a leading character worth rooting for, undoubtable is the truth that countless other likable non-fictional protagonists perhaps went down the exact same path but ultimately came out with tragic results themselves. That ushers in emotional depth that gives the film an additional flavoring of urgency, and in effect does "Maria Full of Grace" become a wide-ranging, almost universal tale. A small-scale triumph.

carl p (mx) wrote: Kontroll follows the lives of the ticket inspectors, or kontrollers, working on the Budapest underground. They are seen by the public as Nazi's, an image they seemingly uphold in their choice to wear red arm bands to make themselves recognisable. Their job is to check peoples tickets, deal with an increase in the number of jumpers and pretty much be hated by the commuters.Set entirely in the underground it shows how a job like this can affect the mind. It is a very claustrophobic atmosphere, a metaphor for their lives. The job they do gains no respect and they are seemingly losing their minds and their control. This lack of control is shown in the psychiatrist scene where each of the kontrollers discuss their psychological problems, of which there are many, most of which are caused by the environment they are working in. This actually got me thinking about the monotony of life and how each day seemingly merges into the next, well down here it literally does. It is very difficult to distinguish the passing of time down here.The film is almost like a surreal dream, and the fact we can't differentiate between night and day suggests a feeling of insomnia. Is it actually just one day? Certain characters are encountered twice in the film, perhaps on their commute to and from work. But the lead character sleeps in the underground on a few occasions at what we assume is night, surely that is the passing of time? Well, not necessarily. As an insomnia sufferer I know that everything merges into one, we are no longer aware of things like the passing of time and we barely control our own actions.In my opinion Kontroll is an exploration of the problems of monotony and the inevitable insomnia that follows. A lot of the film, namely the more extreme sections, could possibly be described as hallucinatory dreams, the mind playing tricks on the characters. Just take the closing chase scene as evidence of that fact. This makes the film very interesting though, there is no simple answer to the question and it is a film that deserves talking about. It is certainly the most ambiguous film I've watched in a while. Or is it? Perhaps I'm just tired and over analysing?I would certainly recommend this film to anyone, it is beautifully shot, well acted and the story is incredible. Oh, and before I forget, the soundtrack is simply awesome. A strongly recommended film

Mark W (br) wrote: very good doc on a great photg. inspiring.

Bill B (nl) wrote: Gave this a re-watch recently and it still has a special place in my heart, corny plot twists and all. I also like that this was sort of the gateway into Jason Statham becoming more of an action star instead of more of a dramatic actor, which has been both a blessing and a curse as far as his later cinematic output has gone.Well worth a rental.

Justin M (kr) wrote: I was torn in rating this movie, and at first gave it 3 stars for the very poor script and bash-you-over-the-head-with-a-message style. BUT, William H. Macy is incredible in this movie, and, I found myself thinking about it for many days. It's based off of an early Arthur Miller novel, which lends to the plot and character development, but the writer who adapted it for film did a horrible job. If you can get past this, you should definitely check this movie out.

Dudy M (nl) wrote: Ultra-crap, low budget amateurish flick, worse then power rangers, childish, poor CGI and effects, Imagine 2 guys in rubber suits smacking each other for 90 minutes, and you'll get the point

Edgar C (de) wrote: The master's meta-film technique has just been perfected, culminating in arguably the best installment of the "Koker Trilogy", and despite that the levels of reality and meta-reality can be officially defined, their interconnected coexistence has become now even more mind-puzzling and allow for several interpretations. Still, the message remains the same: the degree of interchangeableness between cinematic reality and this thing we called "life" goes beyond our scope of things:+ Level 1: Where is the Friend's Home?.- "Follow your characters", dictates Kiarostami's celluloid philosophy.+ Level 2: And Life Goes On....- Reality and fiction have a passionate affair in a metafilm context; Kiarostami's trademark visual style is born.+ Level 3: Through the Olive Trees.- A masterfully directed humanist drama; the finished film that we see. This movie nudes the actual fiction of the meta-reality of the meta-reality that created a fiction in 1987.+ Level 4: Mohamad Ali Keshavarz.-The introduction leaves clear that Mohamad Ali Keshavarz is playing the director of this film. For the very first time, we are introduced with some factual piece of information about what really is: "What you're about to see is ALSO a film!" What a way to open!+ Level 5: And yet, everything is a film.- We do know who is behind the camera, orchestrating a trilogy of metafilmic interconnections trying to reflect on the beauty of life and how both coexist in a realm that we can and simultaneously cannot perceive with the senses. Kiarostami is the true master, performing an "inception" in our perceptions. According to Level 2, Level 1 had been directed by Farhadi. Level 3 fictionalizes the n- longer-meta-reality of Level 2. So, according to Level 3, who really directed Level 1? Farhadi, who is seen as a hired actor in Level 3, or Kiarostami?Kill some neurons while you're at it.Cinema is an art form that imitates life, but art has reflected our conditions, affairs, traits, tendencies, romances (this film's main case), families and tragedies so well, that we tend to imitate cinema as well. We imitate the imitator by excellence: cinema. What a paradox!! Our imitator is the best imitator of the authentic thing (life); we will never match its imitation! Or will we? Perhaps embarking into several layers of imitation and depiction of fictional and factual realities will, somehow, bring us back to the authentic thing, therefore coming back to life.For the record, this has one of the best endings in Iranian cinema.97/100

Justin D (es) wrote: This was a good movie but at times got boring

The Bad G (jp) wrote: This is the best documentary I've seen on the production of food. The lack of any narrative enhances the film's visual impact and demands the viewer come up with his or her own conclusions. While it may not be for everyone, 'Our Daily Bread' is an objective look at modern day agriculture that is an important historical record and an eye-opener for anyone adventurous enough to watch.

Kurt C (es) wrote: So well done! Completely enticing and comedic. I thought the story and pace slowed down toward the end, but I still thoroughly enjoyed it.

Eric B (fr) wrote: It's a strange coincidence that I saw "The Diving Bell and the Butterfly" just three days ago, because I didn't realize it and "Johnny Got His Gun" share the same experimental scenario: the subjective perceptions of a radically disabled man, daydreaming of happier times while struggling to communicate with his caretakers. The main difference is that "Johnny"'s Joe Bonham (Timothy Bottoms, dominating the screen in his debut film role) is presumed to be in a non-thinking, vegetative state, while "Diving Bell"'s Jean-Do was always known to be cognizant.Maimed soldier Joe lies in a hospital bed, tucked away in a linen closet to save space. His face is half blown away and tactfully covered, and his arms and legs have been amputated. Blind and unable to speak, he has a limited interface with the world, and whatever trivial movements he makes are viewed as involuntary spasms. His identity is unknown to his doctors, and he is kept alive only as a medical curiosity.He tries to make sense of the situation while recalling past events from his life, mostly focused on his gentle father (Jason Robards) and the girl he left behind. The hospital scenes are in black and white, while the flashbacks are in color. The color material also includes a few tepid fantasies involving Donald Sutherland as an unlikely, low-key Jesus Christ."Johnny Got His Gun" was the only film directed by Oscar-winning screenwriter Dalton Trumbo, best known today for being infamously blacklisted during the McCarthy era. "Johnny" was adapted from his own 1939 novel (other Trumbo credits include "Thirty Seconds over Tokyo," "Papillon," "Roman Holiday," "Spartacus" and "Exodus"). And yet surprisingly, his screenplay is more problematic than his direction: Joe's interior monologue is far too wordy and overelaborated to be realistic. There's always a sense of him adding extra detail for the audience's benefit. And Bottoms' performance is not so sharp, and this just doubles the text's clumsiness.Watch for David Soul ("Starsky and Hutch") and Tony Geary ("General Hospital") in small roles, early in their careers.

Tuukka P (it) wrote: Fast paced French action thriller about a male nurse forced on the run when his pregnant fiancee is kidnapped. Short running time means all the unnecessary fat has been trimmed from this quite realistic chase movie which is a nice change. A good way to spent 80 minutes.

Reece C (us) wrote: Good but a lot of relation to transformers