A Nightmare on Elm Street 3: Dream Warriors

A Nightmare on Elm Street 3: Dream Warriors

It's been many years since Freddy Krueger's first victim, Nancy, came face-to-face with Freddy and his sadistic, evil ways. Now, Nancy's all grown up; she's put her frightening nightmares behind her and is helping teens cope with their dreams. Too bad Freddy's decided to herald his return by invading the kids' dreams and scaring them into committing suicide.

Picking up where the original Nightmare left off, Nancy has grown up and become a psychiatrist specializing in dream therapy. She meets a group of children at a local hospital facing Freddy Krueger, the same demon she once encountered in her sleep. One of them is Kristen, who has the power to draw other people into her dreams. Working with a male doctor assigned to the case, Nancy helps the kids realize their special abilities within the nightmare world. When Freddy captures one of her charges, she leads a rescue attempt into Krueger's domain, in hopes of putting his spirit to rest once and for all. . You can read more in Google, Youtube, Wiki


A Nightmare on Elm Street 3: Dream Warriors torrent reviews

Steve S (us) wrote: **1/2 (out of four) Yeah! My first film from the 2011 Sundance Film Festival. It is the Australian drama written and directed by Brendan Fletcher. The film has a wonderful visual style and is well directed. It does a good job of capturing a specific place in the wilds of the Kimberly region of Australia. I wish the script was a bit tighter and the lead character of TJ was better fleshed out. He seems a bit like a thug that would be at home in a Steven Seagal movie. In fact that is the films biggest ostacle. It feels like a better than average film from a huge action star. The performance by Ngaire Pigram helps ground the film a lot. He plays the area cop and makes the biggest impression on this audience member. TJ (Dean Daley-Jones) lives a wild and rough life. But that will seem easy compared to the journey he takes to go back to Northwestern Australia to try and help save his son from taking a similiar path in life.

Steven L (de) wrote: You can't help but be enchanted by the story-telling techniques of this film based on the graphic novel by Marjane Satrapi (Persepolis). With allusions to Iran's changing culture in the 1950s, the story centers on a disillusioned and depressed violinist and his family. It delights with humor (via lines and scenes) and expands your perspective with animation and surprising revelations. Providing details only muddies the expectations, and they would not serve to prepare one for viewing this treat.

Bob M (us) wrote: This movie tells the story of a young woman looking for a father figure. What she gets instead is a creepy older man who only wants to have sex with her. It's a pretty common story. The sex scene in the end of the movie is really well done (but not enjoyable to watch).

Laurie H (it) wrote: excellant movie a tear jerker and a classic

Cameron J (jp) wrote: Man, as if "Tarzan's Savage Fury" wasn't enough for you, Cy Endfield returns to Africa to face the fury of many a Tarzan, and if you usually think that a statement like that is mildly offensive, then you probably aren't thinking that right now, because all of your attention is most likely focused on trying to remember "Tarzan's Savage Fury". Seriously though, Stanley Baker and Michael Caine join forces in the British Army in an epic-scale battle against the Zulu Empire that will define the destiny of South Africa! So, yeah, this isn't exactly what I was expecting from a film about the making of Ladysmith Black Mambazo's "Shaka Zulu" album, though I can't say that I'm too terribly surprised, as the empire that stands at the center of all of this warfare did inspire the "Shaka Zulu" album. Well, that historical fact let me know that this film could very easily have the barest minimum of relevance to the album "Shaka Zulu", and the fact that this film was released 23 years before Ladysmith Black Mambazo's "Shaka Zulu". Man, I'm not saying that Michael Caine is old, but he was already a bona fide movie star in his 30s over 20s years before "Shaka Zulu" was released, but hey, he's just so awesome that I'd imagine we're going to try and get him to stick around a long while. Honestly, if Gonville Bromhead was half as charming as Caine is, then all of this senseless killing could have been stopped if Bromhead simply hung out with the Zulu leader and charmed him into submitting South Africa. Oh well, all of this senseless killing does make for a pretty decent film, though that's not to say that a statement like that is the only questionable thing pertaining to this film. I was surprised and a bit disappointed to find that, as bloated as this film's expository areas are, the full consequential weight of this film's subject matter feels a bit thinned out, yet that's not to say that writers John Prebble and Cy Endfield don't still try to pump up dramatic weight, sometimes too much so, because whether it be because of dating in dramatic storytelling or whatever, there is the occasional histrionic beat that challenges resonance, but not as much as moments in atmosphere that are more-or-less the opposite of overbearing. I wouldn't say that the film is ever boring, and would definitely say that entertainment value stands as adequate more often than it falls flat, but something that I really did not see coming is this film's delivering on many, many atmospheric dry spells, which loom over most points which aren't highlights in dramatic punch or action, distancing your investment with blandness, while leaving momentum to slow down to the point of succumbing to the pacing in story structure, which is perhaps just as limp. The film is considered epic, and one that runs only about 139 minutes, so I entered expecting there to be plenty of tightness to the telling of sweeping subject matter, only to, within moments, find my expectations betrayed by drawn out moments in exposition that bloat the narrative with excess, occasionally convoluted material, and do so while barely picking up all that much momentum. The film is action-packed enough for there to be plenty of places where you forget the excessiveness, but when things slow back down, they slow way down, eventually to a meandering, or at least repetitious state that leaves you to sit around, wondering when things are going to pick back up, especially when the bloated storytelling is accompanied by the aforementioned atmospheric dryness that fails to deliver on all that much intrigue. This is not good, because while this film's story concept is strong enough for a rewarding final product to be a very real possibility, as reflected by this film's coming close to a rewarding state, whether it be because of the limited fleshing out of subject matter weight, or because of irremovable dramatic shortcomings within an epic this action-driven, there's only so much meat to this story concept, as surely as there's only so much uniqueness to storytelling to keep blandness from intensifying. The film is a bit formulaic, and it follows its familiar formula in an all too often limp fashion that distances engagement value that was always to be limited by natural shortcomings, thus leaving this effort to, in spite of the strengths that leave it to come close to rewarding, collapse as just another filler piece from the war epic division of film's classic era. Still, the film does enough right to keep you reasonably compelled, or at least impressed, partially by some musical punch-up. Somewhat surprisingly, the film slows down quite often, and when it does, it has a tendency to exacerbate bland dryness by quieting things down, so on top of being, like plenty of other scores for 1960s epics, formulaic, John Barry's score is underused, but when it does, finally arrive, while you won't be faced with all that much that's unique, you can expect Barry to conform lively sensibilities that marry classical tastefulness with thrilling grandness in order to capture the film's sweep on an audible level, while sweep on a visual level goes captured by Stephen Dade's cinematography, which is strikingly rich in its plays with color, as well as broad enough in scope for you to feel the scale of this subject matter, especially when the grand action finally comes into play. The action is a bit unevenly used in this war epic, as well as a bit dated in its sensibilities, so it's not like the battles are tremendously thrilling, but they do mark engrossing highlights in the compellingness of this epic, with a thoughtful range that features anything from intensely sparse preludes to close combat to heavy intimate combat, but keeps consistent with a certain immersion value to staging that draws you in on the heat of the battles, feeling the dramatic weight they represent. The action is among the most effective aspects of this film, especially when flavored up by tasteful score work and cinematography, but honestly, the effectiveness does not end with the battles, because no matter how many shortcomings this film faces in substance, when it delivers, it wins you over. John Prebble's and Cy Endfield's script is pretty uneven, with expository and other structural shortcomings that water down the weight of storytelling, yet it has its highlights, such a sharp moments in dialogue to meet cheesy moments, as well as a certain colorful characterization, often brought to life by some charismatic performances. On paper, there's not a whole lot to praise, but there are strengths, and enough of them to bring much light to the potential of this epic, which owes most of the factors to its coming close to fulfilling such potential to highlights within another often flawed storytelling aspect. As director, Cy Endfield stands to play up the weight of this subject matter more, rather than get a bit too meditative on meandering and excessive areas in exposition, but there's a heart to Endfield's storytelling, and when it's particularly pronounced, there's no missing it, as Endfield will do such little things as subtly play up atmospheric kick in order to keep entertainment value alive to a fair degree through all of the limpness, at least until we come to a dramatic beat that Endfield is able to back with enough flavor to compel, regardless of the histrionic spots. I wish I could say that Endfield was more consistent in his putting his ambition to good use, but alas, the shortcomings in the final product are too considerable too ignore, which isn't to say that the strengths aren't just as hard to miss, as there is enough inspiration to this film for you to catch glimpses of what could have been amidst a consistent degree of engagement value, limited though it may be. In conclusion, some subtlety issues challenge the genuine effectiveness of intrigue, though not as much as the repetitiously overblown spells that, when backed by atmospheric blandness, leave you meditate upon the natural limitations within this conventionally told story, thus resulting in an underwhelmingness that is still formidably challenged enough by sweeping score work and cinematography, immersive action, and colorfully worthwhile moments in writing, acting and direction for Cy Endfield's "Zulu" to stand as a decent and sometimes quite compelling, if generally pretty flawed account of the Anglo-Zulu War. 2.75/5 - Decent

Nate J (kr) wrote: Quite an adorable movie. Has a lot of laughs and was fun for kids and adults alike. The ending is kind of what you'd expect but they doesn't detract from the enjoyment of the film at all.

Christopher S (br) wrote: This kind of thing worked for Spielberg and Jaws. But in this case, not so much. The director tries to make it like Jaws only with a crocodile and a large one at that. Now crocs are in real life aggressive, so not a bad animal to chose as a "monster" for this type of movie. But what doesn't work is the tension. For me, it just wasn't there, nowhere in this was I on the edge of my seat hoping for survival. Seeing Betty White was cool, her character was weird, and she played weird well. In the end Lake Placid isn't horrible but it isn't the next Jaws. 3/5

Chris S (ru) wrote: Not bad. Held my interest.

Guido S (de) wrote: In Woo's first Hollywood film, Van Damme helps Yancy Butler find her father from a bunch of thugs. They hunt people for fun. I really wanted to like this, but really couldn't. A lot of Woo's signature style is either overdone or not necessary: doves, random slow-mo. It really takes away from what is going on. When there is slow-mo for lighting a match, you can see why this stuff is parodied in recent years. The story is pretty generic, but it could have worked. For me, Woo's hand gets in the way more often than not and ruins my enjoyment of the film. I liked Woo's HK films, but his stateside efforts have been comical at best.