Jessie Valiquette follows her scribe boyfriend of 3 years Dale Morrow on a search for his long lost Father last heard from on a deserted island in the Philippines. Along with a group of unwitting friends, the young couple encounters more than they bargained for when they discover not only was Dale's father part of a top-secret government project testing the depth of people's fears, but also that he had very good reason for not wanting to be found. Written by In-Motion Pictures
- Stars:Stephanie Lemelin, Matthew Alan, Patrick Bergin, A.J. Draven, Marie Lanoy, Aleera Montalla, Bryan Rasmussen, David Stanford, Caleb Thorne, Miguel Vasquez,
- Director:John Milton Branton,
- Writer:John Milton Branton, Stephanie Lemelin, Tom Shell (story)
Jessie Valiquette follows her scribe boyfriend of 3 years Dale Morrow on a search for his long lost Father last heard from on a deserted island in the Philippines. Along with a group of ... . You can read more in Google, Youtube, Wiki
Absolute Fear torrent reviews
(us) wrote: actually worth a watch
(jp) wrote: Dramatic tension and the will to survive are strongly highlighted in this remake with a solid performance by Dennis Quaid.
(nl) wrote: Tehzeeb touches my heart every single time...the end was wayyy too sad...I cry each time! Great performances.
(mx) wrote: A deeply moving film about a faith walk we may strive to emulate. When I saw it in my 20's, I noted the balance that Romero achieved between advocacy for social justice and non-communism. When I saw it in my 30's, I noted the balance that Romero achieved between a peace and justice witness and evangelism for the spiritual and doctrinal truths of the faith.
(nl) wrote: I remember loving this movie as a kid, and I still love it. I do think Biloxi Blues is better, though. Love Neil Simon,
(ag) wrote: Fascinating strange-but-true story starring the strange-but-true Gerard Depardieu.
(br) wrote: If you are forbidden to attend your own funeral
(nl) wrote: Amidst the autumnal foliage of New England, a child stumbles across a dead body. While he is off finding his mother, it is discovered by elderly Englishman Captain Wiles, who is convinced that he shot the dead man (whose name he discovers to be Harry Worp, of Boston, MA) whilst hunting rabbit. He resolves to hide the corpse and be done with the affair, but is interrupted numerous times, first by neighbour Miss Gravely. Her genteel invitation to her house for coffee and elderberry muffins that afternoon marks the first of the film's many changes of tone, and at first watching the two casually discussing the corpse in an exchange of pleasantries comes across as surreal. This jars at first, but as Captain Wiles hides behind a tree while numerous other characters respond to the discovery of the corpse with varying degrees of indifference, we soon become acquainted to the idea that a dead man in a forest is no big deal to the local population. The Trouble with Harry is a film which fluctuates in tone and focus. The MacGuffin in this instance is Harry himself, around which Hitchcock has his characters dithering between burying and then exhuming him, each time altering their decision based on a new piece of information as to who exactly killed Harry. Alongside this rather black comedy, Hitchcock develops a tongue in cheek romantic comedy in which Captain Wiles falls for Miss Gravely and the artist Marlowe falls for Harry's estranged widow. I found this blending of genre conventions reminiscent of Truffaut's later, and in my opinion less successful, Shoot the Piano Player. For where the changes between tone can seem abrupt and dissonant in Truffaut's film, Hitchcock proves his mastery by allowing changes to take place so seamless they almost appear natural if one suspends disbelief. For example, at one of the many intervals in which Wiles and Marlowe are burying Harry, their conversation ends up digressing - via a natural progression from a tense discussion of their fraught situation - into panegyrics to their respective beaus. Because such wildly different types of scene are linked together with such continual mastery, I almost failed to notice the transitions, and spent more time laughing at a very crude but very effective form of comedy based around four people moving a corpse about interspersed with whimsy, sometimes campy interlocution. The pace is meandering overall and there is no real sense of tension until right at the end (and even then it is slight), but as an exercise in genre transgression and self-parody, The Trouble with Harry is an impressively tight and constantly funny film which practices the sort of mildly black comedy no longer found in films.
(es) wrote: LOOKS AWESOME!!!!!!!!!!!