A spate of unexpected events jolted Rahul as soon as he landed from U.S. Now, Rahul finds himself trapped in his own flat, completely cut off from the world. The only companion he has is a ghost, a ghost that will not let go of him. . You can read more in Google, Youtube, Wiki
A spate of unexpected events jolted Rahul as soon as he landed from U.S. Now, Rahul finds himself trapped in his own flat, completely cut off from the world. The only companion he has is a ghost, a ghost that will not let go of him.
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Thomas H (nl) wrote: In general, Sorority Row is an outside film for its greatness, but to analyse its excellence in-depth is to potentially just end up becoming confused. The 2009 remake has symbolism, and style, but it doesn't have these things to the same level of clarity as Joe Chappelle's H6 (the theatrical cut), or The Terminator. The latter two films in their own ways dealt with symbolism and ideas that were more apparent, whereas Sorority Row's intelligence - while not technically inferior - is akin to the story, in that it's more of a buried factor.The way a work of art gets assessed usually depends on a cultural context; who is the viewer that's assessing the product? And while Sorority Row could possibly be criticised for forcing a critic to have to recognise this truth, I would argue that Sorority Row isn't a failed work of art, or incorrect. I'm not familiar with the original film, but like the theatrical H6 doesn't need Carpenter's source material, or The Force Awakens doesn't need the 1977 Star Wars, the 2009 update seems to be an expression that is independent. Funnier, though maybe not more self-aware than Wes Craven's Scream, Sorority Row is wicked humour - the kind of humour that's especially effective if the film is experienced in certain contexts. The deaths of characters are funny, but because of the general nature of the project: to satirise society. Even politicians are part of the story's fabric, clearly meant to imbue the film with serious outlooks on life. The symbolism of Sorority Row, again, is present but not overtly so. The confinement of settings makes it harder to deduce actual meaning, but the specific details that are shown are indeed meaningful: the way the main characters dress, always wearing silk clothing and high heels, seen holding bottles of alcohol and at times professional clothing.In this respect, Leah Pipes' Jessica is particularly symbolic: prior to meeting her boyfriend's politician father, Jessica is seen looking at herself in the mirror, checking that her appearance is immaculate. The movie's intelligence is at a pea here, showing the viewer the truth of conflation - Jessica shouldn't be the person looking into the mirror, but should be the person who another looks into the mirror for. Sorority Row is exploring the truth of traded identity. As a pure slasher thriller, Sorority Row doesn't disappoint; to the contrary, the precise level of excellence of the remake is its thriller aspect working in conjunction with its humour, yet either are able to remain separate. The hooded figure stalking the occupants of the sorority is as cool and as entertaining as Ghostface, or Michel Myers (naturally, Myers is the more meaningful type of figure, but the screen presence of the two is generally equal in quality).At the beginning, I referenced cultural contexts: to elaborate, I think what I'm getting at is that relative to actual intelligence, Sorority Row stands the test of time. The movie isn't dependent on culture, but is deserving of respect outside the paradigm of culture. Just like H6, and even films like Guilty as Sin and Saw II, I can't say I'm surprised by the low RT scores; Sorority Row is an unassuming work of art, hindered by its genre and by its literal synopsis. The general atmosphere of the film is to represent the sourness of society - to expose the hidden depravity that a sorority inevitably means. There is the possibility that I'm giving the remake more credit than it deserves, and like I said Sorority Row is no H6, but I don't think I am: the horror element can be interpreted as philosophical depth, but I'm confident in my belief that the philosophy is another presence, not a mistaken identity of the story's horror elements.Leah Pipes, Briana Evigan, Jamie Chung and Julian Morris are part of an expression, not limited to terror and traditional entertainment; the movie they're part of is as intelligent and as artistic as films like Rocky, Alien, Spectre and Taxi Driver. Sorority Row is a great film.
Aaron N (es) wrote: horrible...another let's take a road trip and have crazy things happen to us...this time by organ harvesting doctors...oh, did i mention the bad acting to go along with this horrible plot? skip this one...wasn't even worth the dollar paid.
Cecily B (it) wrote: I guess this movie kind of shows the point of "If you are raised by Psychopaths you yourself may become one." Nature Vs. Nurture coupled with the fact that the kid has no idea what pain is makes it so he has no empathy for people being killed. An interesting idea and not badly executed, could work on a few of the acting bits but I rather enjoyed this horror flick.
Nico B (it) wrote: It's not as fresh the second time around but Transporter 2 has enough action and Statham to keep it afloat!
Patrick M (es) wrote: Mama said crack crack.
felipe m (it) wrote: Lento demais, embora a histria parea necessitar disso. O drama da mulher que necessita mais do que um 'affair', por (C)m seu amante no lhe d mais que migalhas.
Steve M (fr) wrote: James Eastman (Smith) is a dhampire, part human, part vampire. He has spent his adult life tracking the vampire (Pataki) who raped his mother... and the final confrontation is close at hand. "Grave of the Vampire" is noteworthy for horror fans, because it actually contains a greater amount of material based on actual vampire myths than 99 percent of the vampire fiction, comics, and movies out there. While the film does give its vampire a strangely magnetic personality, he is primarily just a brutal monster. Unfortunately, the movie is also very, very slow with redundant scenes that drag on and often establish the same plot point multiple times in different ways. It doesn't so much feel padded as just drawn out and in need of an editor. I suppose that given it was probably made with distribution to drive-in theaters in mind this might have been a good approach, because couples could make out and still have a chance of following the movie... but for the modern viewer waching it on TV, this lends itself to a boring rather than thrilling experience. (Although... maybe that's just the case for old fogeys like me. Current teens can now make out in the comfort of their parents' TV room and follow the movie at the same time!) Another strike against the movie is the acting. The acting ranges from blah to horrible. Michael Pataki is creepy as the monstrous vampire rapist, William Smith is decent as the dhampire out for revenge, and Eric Mason is passable as a police detective tracking the vampire early on, but most of the other actors display how little talent they have instead of the other way around. Director John Hayes does deserve some credit for enfusing the film with a steady, oppressive, downbeat mood. Despuite indifferent camerawork, he makes great use of lighting and fog machines to create an atmosphere that manages to convey chills to the viewer despite the film's flaws. With some heavy editing this could have been a scary little move, even with the substandard actors. The story has plenty of potential... the execution was just botched. Grave of the Vampire (aka "Seed of Evil") Starring: William Smith, Michael Pataki, Lyn Peters, Kitty Vallacher, and Eric Mason Director; John Hayes
Ryan M (it) wrote: This might deserve 5 stars on a second viewing. Monumentally fucked up, will stay with you long after you see it.
Derek G (nl) wrote: Another Griffith epic, kinda boring and lotta corny mostly, but I enjoyed it. I just wish the cornball country comic relief would have been a bit less. Stay with it for the insanely awesome last ten minuets, its one of those things you'd never see nowadays because its would be crazy dangerous for the actors and no studio would ever do it! Oh yeah, and Lillian Gish is stunning as usual.
Kyle R (gb) wrote: A nearly-great film that suffers from one out-of-place character and a few minor budgetary problems. One of the best of the year.
Kev S (jp) wrote: Shadwell Army !!!!!!
Alejandra P (fr) wrote: Jajajajajajaja las excusas todas pedorras de Amanda, si me acoste con el pero solo por nuestro bien para saber si todavia sentia algo!!! jajajajaja mori de risa!