18 Fatal Strikes
Kung fu classic about a Shaolin monk on the run from a Manchu warlord, and his mighty Shaking Eagle Style. After narrowly escaping the warlord, the monk is nursed back to health by two brothers. However, the warlord is close behind, and the brothers must learn Lo Han style from the monk to protect themselves. However, when one of the brothers is killed, the other, with help from the monk, seeks revenge.
- Stars:Wei Tung, Dean Shek, Chiang-lung Wen, Hai-Yung Shen, Hung Chi Chang, Shu Lin Chang, Shang Chen, Wen-yui Hui, Chang Sheng Ko, Hung Kwan, Li-pao Ou, Chung Tien Shih, Ting-Ken Shih, Lung Szema, Kai Wang,
- Country:Hong Kong
- Director:Ching-Chen Yang,
- Writer:Chih-Hsiung Hsieh (screenplay), Sung Pe Liu (screenplay)
The 18 Buddha palm styles are used to take on the evil Won Wu Ti and his men. . You can read more in Google, Youtube, Wiki
18 Fatal Strikes torrent reviews
(ca) wrote: Decent coming-of-age fantasy fable, with the fairly interesting gimmick of using this imaginary monster to deal with grief. Ultimately I didn't care though and I think a lot of it has to do with the little sh!t, unlikable lead....
(ca) wrote: Not genuine but also not bad.
(mx) wrote: maybe i'm biased... in fact, i am biased... i like this a lot!
(gb) wrote: This wasn't that bad and I would consider this as a guilty pleasure.
(es) wrote: It is 1999, and Captain Doug Jones(Armand Assante) is leading a joint NATO taskforce through Romania to bring telecommunications equipment to aid in the bombing in Kosovo. As luck would have it, they only make it as far as a small village where they are held up by Doiaru(Razvan Vasilescu), the station master, for lack of customs papers. The mayor(Ion Sapdaru) can do nothing to aid their progress. It's a shame because Doiaru's teenaged daughter Monica(Maria Dinulescu) was hoping to ride the train to escape to Bucharest but is brought back by her father's men, with a platoon of marines looking on helplessly. She's not the only person in town who hates her father as Nae(Gabriel Spahiu) has to take a number with his work stoppage. "California Dreamin'" is a decent enough tragicomedy and satirical allegory of both Romania's relationship to the world and America's effects on everybody else. It might seem a little odd that very few people in the village can speak English(yet, they can find an Elvis impersonator) in a post-Communist world but not so much that the Americans can only speak English.(Although, Romanian might make for a obscure choice in any case.) At the same time, despite their military might, a single stationmaster can bring everything to a halt. That's okay. Sometimes, a day off can do the world of good.(I really do sympathize with being stuck on a stopped train for a prolonged amount of time.) However, a lot of this feels forced with a slight "Romeo and Juliet" story line thrown in for good measure. For the record, absurd situations in Eastern Europe have been the stuff of fiction for a long time, but usually with no explanations given which is kind of the point.
(jp) wrote: Cuaron has a good sense of fun and energy to his direction, and the performances are entertaining, but it's so predictable and contrived (I guessed exactly what would happen in the final penalty shot, despite at the same time hoping that it wouldn't happen, because ugh) in the second half that it just started to grate on me after a while.
(ca) wrote: Paul Gross is one of the best Canadian actors of our era, and combined with Leslie Nielsen they make a perfect and hilarious duo. Apart from a few corny scenes, this movie is a joy to watch and will give you a bunch of laughs
(kr) wrote: One heck of a histrionic historical melodrama. What you'd want in this sort of film. It's Italian, Over-the-Top at parts, and tragic as all hell.
(mx) wrote: Musashi or just a Samurai? Few philosophers are renowned for their guidance in military tactics or their competence as men of the battlefield. Considering that such men excel in the art of brutal killing, they seem an odd category of people to recommend to the masses the right methods of life. A large part of the population have for long wisdom of such men, Niccol Machiavelli and Sun Tzu springing readily to mind, as they are seen as playing the devil's advocate for the cruel rulers they guide. However demented or wise these men may be, they without doubt shaped the political and social structure of their government and their influence has carried on even to our era. Among such men, the case of the protagonist of Samurai I: Musashi Miyamoto is an unusual one; a ronin-a samurai without a Lord or House to serve-as the political and military philosopher. His text on military strategy, The Book of Five Rings, is still being read and scrutinized in many areas, from philosophy to business. A famed swordsman, Musashi Miyamoto, was an unbeatable warrior whose legacy carries on as one of the most rebellious and intriguing men of his time. Samurai I: Musashi Miyamoto is the first segment of a trilogy of films depicting Musashi's life; as it is the first segment it focuses on his early exploits to become a samurai. Following the loss of his side at the Battle of Sekigahara, he takes refugee with his fellow friend, Honiden Matahachi, at the house of a widow and her daughter. The daughter and widow fall in love with Musashi due to his swordsmanship that kills, injures, and scares of a large portion of the ronin that demands favors such as money, food, jewelry-especially Gold-to leave them unharmed. He rejects both women while Matahachi attaches himself to the women, even though he has promised to return to his faithful fianc. Angered by this event, Musashi returns to his village to inform Matahachi's mother and fianc of his whereabouts. As in many other classic Samurai films, Samurai I: Musashi Miyamoto contains great acting, by the likes of no other than Toshiro Mifune, an able director, and carefully chosen settings. Even with all the good performances and genuinely fine screenplay, based on a contemporary Japanese novel of Musashi's life, the film is ultimately forgettable. Undeniably, the film simply aims at describing Musashi's earliest years, but in turn creates a work that could only interest fans of Musashi Myamoto rather than the average filmgoer. What really drains the film is the lack of comprehension of Musashi's true talent and vigor; on the surface he seems indistinguishable from countless samurai of other samurai flicks. Granted that he may be a shallow samurai, no insight or philosophy is assigned to character. It is quite unexplained why he hates the village and its inhabitants as much as he does. Without some insight about the true significance of Musashi, the audience of the film will be more confused at the significance of this character that seems to lack any significant characteristic worth caring for. Strangely, the film succeeds in making Musashi look like a complete loon and fool, and not a believable one. In the hunt that ensues, he succeeds in overpowering nearly everyone, but surrenders himself to the Priest with no opposition; it is not the surrender that is strange, but the method of surrender which is so spiritless and uncharacteristic of the samurai character that Musashi so eagerly demands to achieve. If that wasn't enough, Musashi is deceived a second time by the Priest who caused him so much suffering and humiliation. Unfortunately, the story line may be believable and acceptable in the novel that the film is based on, but many of the film's developments seem to embarrassingly display the filmmaker's inability of giving the work an acceptable ending. Samurai I: Musashi Miyamoto is insignificant not because Musashi's himself is not interesting for the contemporary viewer, far from it, but because he is utterly identical to every other samurai you have seen. As it is shown, he is a great swordsman, but, then again, are not all samurai? As much as Toshiro Mifune attempts to show us the rebellious, and eventual moral character, of Musashi we are at a loss, because the script is so thinly developed that even the noblest efforts of the entire cast combined can not make the film the great picture that it truly deserves to be. Surprisingly, Samurai I: Musashi Miyamoto was presented with Academy Award for Best Foreign Language Film at the 28th (1955) Oscars; however, odd a selection this may be, it is not nearly as strange why the following two segment of the trilogy were devoid of such honors.
(ag) wrote: It's beautiful and funny,but there is not enough story under Fantasias phantasmagoria.
(br) wrote: Although exceptionally hokey and fromulaic, scads of partially clothed gyrating women in the sky is not only salacious and novel, but pleasently enjoyable too.
(ca) wrote: Very enjoyable and moving. Great character development and growth throughout.
(ca) wrote: Death at a Funeral is one of the funniest films I have ever seen.Death at a Funeral is full of classic British humour, which Americans will never be able to understand, so they tried to remake it, and the remake would suck. That's a guarantee.Doing that is just tampering with a classic, cause that's what this film is. An absolute classic with an exceptional ensemble cast. Most notably, Alan Tudyk gives his funniest peformance ever, and remembering he also can pull off a serious role like in Firefly makes me think that he is gonna go to unknown extents with his capabilities.And uncle alfie, the dude with the weird smile and the dwarf are just altogether the greatest comedic ensemble cast I've eve seen. Seriously, this film should have won best picture at the oscars. But like I said, americans don't understand it, but british humor is the best type of humor ever
(ag) wrote: Bike messengers are the heroes that no one asked for and the ones in this film should never be seen or heard from again. Bad story, acting (especially the accents), story, soundtrack, story, dialogue, and story. Premium Rush made no sense from beginning to end and the characters were all meant to have heart but ended up being soulless, pedestrian assaulting idiots. Thank goodness the run time was an easy hour and a half. I don't think I could have lasted much longer.
(ru) wrote: So Colourful & Makes You Appreciate The Beauty Of What We Have On Offer To Us While We Are Alive. Raised Some Interesting Questions To Be Considered In Life & In Death.