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Act of Violence torrent reviews
Matthew R (gb) wrote: Great movie! Very heartwarming!
Rima M (ru) wrote: Zomg! Awsome movie! Kinda creepy.
Joel A (us) wrote: Quite simply one of the best documentary on Surfing in general let alone big waves. It begins by the origins of surfing & then begins to introduce the key figures of BIG Wave surfing.The guys that migrated from California really paved the way for Big Surfers to come. It is filled with not only the most amazing surfing footage but insightful interviews with the unique personalities of Big Surf.A standout in the film is the scene where on an off chance a surfer photographer catches a once in a lifetime photo where he captures what is believed to be the largest recorded wave. The doco goes on to show with the invent of Tow-In that photo becomes the standard wave ridden. True a great film on the impassioned sport!
Paul S (nl) wrote: One of the most genuine and real movies I have seen in a long, long time. Can't believe this little gem passed me by. Not a typical gay movie at all, which makes it one of the best. I will be adding this to my collection pronto!
Bethany F (us) wrote: Chuck Norris is awesome. I will take Chuck Norris over Jackie Chan or Jet Li any day! Anyhow, this movie was pretty simple and in some places also a bit complicated. I enjoyed Chuck's portrayal as Sergeant Shatter. In most cop/horror films I expect the black partner to die and in this film he didn't. So chalk one point up for the black guy I guess. The acting was pretty good, and the chemistry was also good. I thought the effects were top notch and it was also nice to see something different. Prosatanous had some weird contact lenses going on though, but at least it was different from the scribbly red eyes you see on most evil people in 80s and 90s movies. One of my complaints is that the film says "Present Day" near the beginning but then everyone is talking dates, Detective Jackson talks about an election in 1996 and also about something in 1993 (which is about the time the film was being filmed) So I think that was not supposed to be in there, because usually old movies try to make you believe when they say "Present Day" that the film is happening in your time period (whatever it may be) A very effective film in the filed of action, horror not so much but I'll let that slide. For a Chuck Norris versus Satan movie. I think it has a lot going for it.
Bill M (de) wrote: Pair with American Beauty.
Ivan D (kr) wrote: I have watched enough 'pacifist' war films in the past, but I can safely say that "Johnny Got His Gun" is the most emotionally penetrating of the bunch that also extracts tenacious hope out of despair. What makes this film, masterfully directed by Oscar winner Dalton Trumbo (who won for penning the great romantic film "Roman Holiday"), very effective in what it tries to impart to its audience's sensibilities about the inhumanities of war is its pure focus and sheer devotion to its main character. In other films dealing with the same underlying sentiments, the message and emotions are too widely distributed to a variety of characters that they sometimes appear to be too far-fetched, hence meager in overall effect. But in "Johnny Got His Gun", which beautifully reigns on the longings and memories of the titular character and wholly explores the landscapes of his entirety, Dalton Trumbo maximized the whole film and merged Johnny's personal struggles as an extreme amputee with his flinching anti-war sentiments. It ultimately came out as a spell-binding commentary not just pertaining to the sheer senselessness of conflicts, but also regarding the endurance of the soul. Timothy Bottoms portrays the quadruple amputee Johnny with his trademark sad eyes and deadpan energy. Through his flashbacks and overlaps of fantasies and retained memories, he leads us through an unforgettably cerebral journey inside the psyche of an ordinary man who, as told to him even by his father (great performance by Jason Robards), is nothing 'unusual'. This is not a soldier whose life is filled with overachieving decorations or countless belligerence in the battlefield. He is a simple man with the same existential woes like other people usually have. But what separates him among others is his sense of 'hope'. This film could have easily drifted into an unfathomable territory of pity and despair. But with Dalton Trumbo's attention to emotional balance, while enhanced by Jules Brenner's cinematography, "Johnny Got His Gun" surprisingly tiptoes between sets of spirited humor amidst its pessimistic undertones. But aside from all of these, the film is also quite articulate in its seemingly elegiac approach to religious 'faith'. Eccentrically surrealist as it may seem to be, Donald Sutherland's 'Christ' is not shown as an omniscient observer but as a man of wisdom capable to immerse. He gambles with the soldiers, he fancies carpentry and he also signs checks. This can simply be a visual injection by Luis Bunuel who did an uncredited screenplay contribution to the film, but it is still subtly affecting in its approach. "Johnny Got His Gun" fully suggests that in times of chaos, especially those created and prolonged by the follies of men, God does not merely watch from above but guides in close contact. But also as what the film's theme suggests, he is also imperfect in his own right.There's a significant exchange in the film where the military doctor asks the priest to convince Johnny to put his faith in God. The priest, after seeing the poor condition of Johnny's physical predicament, tells the astute military doctor that he will not risk testing Johnny's faith against his (the doctor) stupidity. Johnny is a product of the military doctor's profession, after all. It's a conversation rooted out from situational desperation but it's quite obvious that the failure of the military doctor to reply to the priest's indirect accusation alludes to his acceptance of the generalized mistakes created by his occupation.The film, although has raised some potent promises regarding the condition of men of duty like Johnny, is a bleak observation of casualties and the secretive tendencies of 'war' and its officials. And as if out of nowhere, it is evenly contrasted with the demonstrativeness of a 'freak show' on a traveling carnival. The latter may exploit, but it does not, in any way, take lives so relentlessly as the first.Many films have shown emotional desensitization in the middle of violence and carnage. But "Johnny Got His Gun" does not put itself along those lines that may just evoke mindless, machismo-filled indifference; the film is, after all has been said, a liberating study of the maddening physical limitations of a man nowhere to retreat but his collective dreams and his conscious mind. It tells of the imminence of hopelessness yet it struggles for life. Dalton Trumbo and Johnny. They prefer the 'carnival' more.
Brendan N (it) wrote: Just watched the 20th anniversary at the Calgary cineplex and my love for this film is still there. The violence has died a little compared to films that have come and gone over the years. Tarantino can really be felt in the first third and the drastic shift in the film is brilliant. I honestly wish he would write one shot films like this for other directors more often. Tarantino hasn't had that grip since Jackie Brown, sure I still love his films and hateful eight worked wonders for me. The film is half crime drama and horror, this film really goes from a well mounted crime film to a full blown horror film. if you haven't seen this movie you haven't experienced the real quentin tarantino gift to the horror genre. He balances the shift fluently and teaming with Rodriguez should be on the cards again.
bill s (de) wrote: Surprising chemistry between the two leads help this buddy action adventure that we've seen before throughout the 80s.
Davey M (de) wrote: A Cinderella story for 1980s corporate America, in which Melanie Griffith works her way from put-upon, objectified secretary up to less-put-upon and still, basically, objectified manager. Though there's a lot of really fascinating feminist stuff going on--the film begins with a helicopter shot of Lady Liberty, with Carly Simon wailing about the "New Jerusalem," then swoops in to discover its lead aboard the Staten Island ferry, explicitly framing the narrative as the immigrant story of women in the workforce, and it's kind of nice to see Harrison Ford at the height of his star power being used as the trophy man--there's still something perplexing about the way the film (notably penned and directed by men) pimps out its star, parading her about in pretty ridiculous lingerie whenever possible and even, for some inexplicable reason, having her vacuum the house topless. It's hard to shake the underlying message of the movie, which is that, if you look like Melanie Griffith and you can get Harrison Ford to bed you, you might just have a shot at a career (the fact that the antagonist is the already successful--and utterly villainous--Sigourney Weaver only makes things more interesting, complicated, and potentially troubling).