Abandoned Mine (2013) torrents full movies


Abandoned Mine

Five school friends seek adventure on Halloween night in an abandoned, haunted mine, only to find to their horror that the ghostly rumors may be true as they fight for survival.

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Five school friends seek adventure on Halloween night in an abandoned, haunted mine, only to find to their horror that the ghostly rumors may be true as they fight for survival

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Users reviews

Adam R (fr)

First viewing - Childhood). It's gotten a little worse over the years, but it is mostly still a fun family movie and one you won't forget. The Szalinski clan returns with a new addition in another Disney classic

Allie G (br)

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Cameron J (mx)

5 - Fair. 2. When the tango is done, the final product all but collapses into mediocrity under the weight of too much expository ambiguity, too much familiarity, and too much misguidance in a meandering artistic naturalism whose dullness is exacerbated by monotonous, if not aimless dragging and atmospheric cold spells, but on the backs of beautiful score work, breathtaking cinematography, moving directorial highlights, and worthy, character-driven subject matter that goes brought to life by smart moments in scripting, and by electric chemistry between and performances by Marlon Brando and Maria Schneider, "Last Tango in Paris" stands as an adequately engaging and sometimes engrossing, if often distancing drama about escapism and the mystery of people. When Brando and Schneider shine, the film itself is at its brightest, so it should go without saying that material is limited in this, in certain areas, flat affair of overblown artistry and limp pacing, for the final product, through all of its strengths, falls pretty decidedly into underwhelmingness under the overwhelming weight of its misguidance, met with enough inspiration in style and substance to render the final product decent, with some pretty compelling moments, limited in quantity, though, they may be. As the leads come to know each other on more than just a sexual level, you come to recognize the true human depths and nuances of the central focus of this film, which would have been so much better if it kept consistent with that kind of smart storytelling, backed by more dynamicity and liveliness, which isn't to say that there isn't some sense of humanity maintained throughout the course of the film, thanks the portrayals of the leads, for Marlon Brando and Maria Schneider, on top of sharing impossibly sparkling chemistry, deliver on individual charisma and dramatic effectiveness, with Schneider capturing the vulnerability and spirit of a young woman who comes to distinguish her independence, while Brando really stands out, in one of the better performances of his career, cutting through all of the potentially unlikable aspects of his often crude, deviant and slightly selfish character (Character? That sounds like Brando in the '70s) with devastating moment of emotional intensity that capture the frustrations, denial and instability of a widower seeking something rejuvenating in miserable, confusing life. As I said, there are times in which Bertolucci's direction really comes to life, but the film really shines with Bertolucci's and Franco Arcalli's scripting of the interactions between the lead Paul and Jeanne characters, for although the characters' interactions with their other peers have their highlights, and although a lot of the chatter between the leads is monotonous, with moments of lowbrow comic relief and utterly trashy references (Pretty much any scene involving butt stuff is ridiculous), the dialogue, sometimes translated into French by Agns Varda, is witty and memorable, typically anchoring characterization that is usually so lacking, but found in the leads' interactions with the utmost nuance. This story is minimalist enough in concept, without being interpreted with a questionable style, at the expense of extensive development and tight pacing, but this subject matter about two people escaping their personal struggles by beginning a new, initially anonymous and strictly sexual relationship that may reach emotional breakthroughs and enlighten the individuals on their respective situations and feelings for each other is rich with a potential that is ultimately betrayed by misguided direction and writing, but only to an extent. The storytelling style is problematic, but when it comes to musical and visual style, this film is incredibly beautiful, and that's fairly endearing, holding some degree of your investment, until Bernardo Bertolucci, as director, secures it, upon finding realization in his thoughtfulness by not getting too caught up in artistic meandering, and by finding material amidst his celebration of the tasteful style in order to draw you in, with resonance that brings life to the potential of worthy subject matter, at least at times. Such praise can also be applied to an aspect that is, of course, much more prominent in this under-scored affair: Vittorio Storaro's cinematography, which is utterly breathtaking with its very Italian, very striking palette, which stresses somewhat sunny coloration to illuminate every shot as portraitist, particularly in shots that actually emphasize light as stunning just about beyond belief. In this slow-burn, largely quietly naturalist drama, Gato Barbieri's score is unevenly used, and when it is brought to prominence, it sure is worth waiting for, as it, with light modern classicism and a couple of creative jazzy parts, compliments the subtle artistic integrity of this drama through a unique and often mesmerizing beauty. Either way, the drama is underwhelming as artistically and structurally misguided, and yet, what it does right proves to be engrossing, whether it be complimenting dramatic value to a certain extent, or establishing outstanding aesthetic value. The film freshens up your investment recurrently enough to endear with very compelling moments, but when effective material lapses, engagement value falls flat, and no matter how good the acting is or how beautiful the film is, the final product either engrosses or flirts with mediocrity. The film drags its feet something awful, no matter which version you see, and to make the pacing all the more glacial, Bertolucci's direction carries a certain intense thoughtfulness and slow-burn clip that, when backed by all of the aimless dragging, and by the pseudo-artistic meditations on nothing but naturalism, dull things down, often into all-out tedium. I would find the film's doing a whole lot of nothing, for the sake of some sort of artistic expression, so much more forgivable if there wasn't so much blasted dragging to Bernardo Bertolucci's and Franco Arcalli's script, because as much as I've jokingly expressed relief about the definitive version's shaving a whopping two hours off of the rough cut, said definitive version, at roughly 130 minutes, is way too blasted long to be driven by monotonous chatter and patterned plotting. If this drama isn't something of an art film, then it is just way too blasted European in how it's tells its story, not getting flashily overstylized, but relying much too much on naturalism and aimless meditation for a sense of cinematic substance to thrive. The missteps in characterization make it a little harder to get passed the unlikable traits within the flawed leads, just as they keep the film from being fleshed out enough to feel completely distinguished, without falling into near-aggravating conventions that range from plot tropes to a problematic abuse of an artistic license. uh, by which I mean that I understand the significance of the ambiguity in the characterization to the leads that has us getting to know the characters as they come to know each other, but by thinning the secondary characters as borderline inconsequential, the range of the character-driven narrative is limited more than it ought to be, while spots in the leads' exposition prove to be too ambiguous for the good of your investment. . . Now, don't get me wrong, I'm all for the casual sex. Jeez, and at a little over two hours, this film, while decent, is too long and dull, although that might provide time for a little more exposition. over four hours long. . . I'm surprised he didn't end up evolving to that point by the end of principal photography, because the rough cut, alone, was absurdly sprawling, although Burtolucci was wise enough to recognize that this story doesn't have the scope of something like "1900", so instead of making this drama about a middle-aged widower bumping uglies with a hot Frenchwoman over five hours long, he only made it. I just love the irony in the fact that Maria Schneider, discussing this film, emphasized that it was "Burtolucci" who "was fat and sweaty and very manipulative" (Jeez, and I thought that Brando was a jerk to his directors), although, in her defense, Brando was still a little ways away from being old and fat in this film. Speaking of which, looking at this film and "The Godfather", it appears that 1971 was the year Marlon Brando really got into pseudo-Italian cinema, which sounds a whole lot more exciting than calling 1972 the year Brando finally decided to get freaky for the ladies, when he was middle-aged and flabby. Jokes on you, obnoxious dude, because this film already is ris-kay, perhaps even taboo, not so much because it's about anonymous, periodic sex, but because it sees an Italian celebrating Paris. '" Forget you, Jimmy Buffett, for ruining this film's title, and thank you, Bernardo Bertolucci, for having that title completely ruin the humorous direction that one lowbrow guy might take by pointing out how ris-kay something sounds. "He said, 'I ate the last mango in Paris, took the last plane out of Saigon, took the first fast boat to China, and, Jimmy, there's still so much to be done

Chris K (ca)

Excellent for those interested in Tibetan Buddhism but I wonder how it would go down for those that aren't. Great doco on DKR

Elaine S (fr)

Loved it. Awesome film

Farah R (au)

The best part is that it's enjoyable and funny and a good pastime. I thought the story was very smart and interesting, especially for the 90s. A classic Schwarzenegger action flick but with a twist

jason k (de)

Horrible movie no plot just stupidity and predictable jokes

Matthew R (ag)

So definitely worth it if you like martial-art-guy-come-actor action films. You can see where the director's influences are, and you can sense the homage there and despite having some really insane scenes, it was definitely a cut above thousands of similar martial-art-guy-come-actor action films. It had its let downs - mostly acting stuff - but it did have this subtle classiness to it, too. This was surprisingly well made

Morgan W (au)

Fun story, though. I would recommend it to any fans, but I don't think you'd get it if you weren't familiar with the humor already. So very Seinfeld

Otrebor O (br)

also recommend watching a comedy or something light afterwards!. . . I do recommend this movie. whether it be religion, money, US control on other nations, how much can one endure, how much would one pay to see one suffer, and what truly makes an individual. . . The sad part about this movie is the topics of humanity that it touches upon. As the story progresses so does the understanding as to why whats being done to Elliot is happening. The storyline itself was unique in the sense of the 'bad guys' and how they got to Elliot (Jason Behr). I got all sorts of squeamish and such when viewing it. There are scenes of torture that really get ya to react. Overall this is a GOOD movie. but anyways. . granted he surprised me when we were gonna see it. . . Erik really wanted me to see this movie and I said alrighty. . . First of all