Alone in the Dark
A quartet of murderous psychopaths break out of a mental hospital during a power blackout and lay siege to their doctor's house.
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Christian S (gb) wrote: un bon film sur la formation des soldats d'lite du S.A.S (Services spciaux britanniques)
Simon H (it) wrote: magnificent film. Very touching and powerful
Kurt C (de) wrote: A very sweet story with an even sweeter message. But that's not to say it didn't come with its flaws.
Will G (fr) wrote: White Noise was an utter disappointment, the cinematography was pretty good, nicely lit, good camera work, reasonable direction. But as a film it just seamed as predictable as all the other 'so called' horror movies that the market has recently been flooded with. This movie did not explain the reasoning's for certain occurrences but went ahead with them. The acting was far from mind blowing, the main character portrayed no emotion, like many recent thriller/horror movies.
David S (ca) wrote: Follows a group of young 20-somethings in the early 80s as China undergoes a cultural shift. This is one of the hardest kinds of films to make successfully--that of a generation and a town stuck and going nowhere--and the director can't pull it off entirely without some of that boredom seeping into the audience.
Lolita B (gb) wrote: Besides this movie skipping on me it was surprisly good and i really liked it!
armand e (nl) wrote: moon?.... mooooooooon!!!!
Seena R (br) wrote: my favorite movie of all time
Ola G (gb) wrote: Sexilia (Cecilia Roth) is a pop star and sex addict; Riza Niro (Imanol Arias) is the gay son of the Emperor of Tiran. Both are strolling around Madrid's flea market, aiming to pick up lovers. Sexilia takes two men for an orgy, where she is the only woman. In the hope of curing her nymphomania and her fear of the sun, she is undergoing psychotherapy. However, her psychoanalyst, Susana, is far more interested in sleeping with Sexila's father, Doctor de la Pea, a gynecologist specializing in artificial insemination. As the doctor is frigid, Susana does not have a chance with him. One of Doctor de la Pea's patients is Princess Toraya (Helga Lin), the ex-wife of the former Emperor of Tiran. Flicking through a magazine, Toraya discovers that her stepson Riza Nero is also in town. Thanks to treatment by Sexilia's father, Toraya is now fertile for the first time in her life. Since the emperor's sperm is currently unavailable to her, she will settle for that of his son, Riza, whom she attempts to track down. In Madrid, Riza is living incognito, constantly wearing a wig and dark glasses. He gets involved first with Fabio, a young junkie transvestite. Later he meets Sadec (Antonio Banderas) on the street and the two go to Sadec's place. Ironically, Sadec is a member of a group of terrorists looking for Riza, but fails to recognize him in disguise. When Riza realizes that Sadec is also from Tiran, he decides to change his hair and clothes in order to protect his anonymity. With Fabio's help, Riza transforms his appearance to a punk. Sexilia and Riza, who knew each other when they were children, meet again, when Riza, disguised as "Johnny", is performing as the lead singer with a punk band in the absence of one of their regulars. That night, they fall in love but do not sleep together. The two opt for a chaste relationship since each wants this relationship to be "different". Making time in her busy schedule for her laundry, Sexilia meets Queti (Marta Fernndez Muro), a young woman who works in a dry-cleaner owned by her father. Her mother skipped out on her father a few weeks earlier and the father, who takes Vitapens to stimulate his sex drive and potency, pretends to mistake Queti for her mother and binds her to the bed and rapes her on alternate days, despite the fact that Queti regularly laces his tea with a libido-suppressing chemical called Benzamuro. In search of consolation, Queti dresses up in the clothes of her role model Sexilia. One day Sexilia spots Queti in the street wearing one of her outfits and confronts her. They become friends. Queti tells Sexilia about the problem with her father and Sexilia tells her that she cannot stop thinking about Riza. Sexilia and Riza mutual adoration has "cured" Riza's compulsive homosexuality and Sexilia's nymphomania. Queti and Sexilia hatch a plan: they agree to swap identities so that Queti can escape her father's sexual abuse and take on the role of Sexilia for real. This would allow Sexilia to escape with her lover Riza. However, Toraya finally catches up with Riza and seduces him. When Sexilia goes to Riza's hotel, she finds Toraya and Riza together. Riza tries to convince her that sex with Toraya was only practice for the real thing with her, but Sexilia is distraught. The knowledge of Riza's infidelity drives Sexilia to her psychoanalyst. Under therapy, Sexilia discovers that Toraya was responsible for both her childhood traumas and her nymphomania in the same incident that made Riza gay. Rejected by her father, she had had sex with a group of boys on the beach, while Riza looked on. Sexilia meets up with Queti, who after plastic surgery has taken her place. Queti persuades Sexilia to give Riza another chance. Sadec, who has a highly developed sense of smell and has fallen head over heels in love with Riza, is looking for him everywhere. Sadec's roommates, Islamic extremists, plan to kidnap Riza. Queti warns Sexilia and Riza of the danger and, when Toraya and the Islamic extremists arrive at the airport, Riza and Sexilia are already on the plane bound for Contadora, a tropical island. Back in Madrid, Queti, now Sexilia's look-alike, sleeps with the latter's father, whom she has always fancied; he, believing her to be Sexilia, achieves his aim of truly loving his daughter. At the airport Sadec and his companions, having lost Riza, kidnap Toraya. On the airplane Riza and Sexilia make love for the first time..."Labyrinth of Passion" was made during the golden age of the Madrid movida, between 1977 and 1983, and almost all the key figures of the movement - painters, musicians - are part of the large cast. Depicting the hedonism of underground music venues and gay cruising grounds, the daring script shows Almodvar's enthusiastic embrace of Spain's new-found freedom of expression. For this reason, the film retains an emblematic power in Spain. It ran for ten years on a midnight run at Madrid's Alphaville cinema, but was released in the United States, England, France and Italy only after the success of Women on the Verge of a Nervous Breakdown. This was Almodvar's second film and independently produced with a shoestring budget which allowed for better production values than his previous film "Pepi, Luci, Bom", and to employ a more complex narrative. Although badly received by Spanish film critics, "Labyrinth of Passion" was a modest success and quickly reached cult film status. The film is an outrageous look at love and sex, framed in Madrid of the early 1980s, during the so-called Movida madrilea, a period of sexual adventurousness between the dissolution of Franco's authoritarian regime and the onset of AIDS consciousness. "Positively bristles with vibrant colors and a wildly comic sexual energy," wrote Marsha Kinder in Film Comment. Nevertheless, critical reaction was generally negative. Writing in El Periodico, JL. Guarner suggested that: "The story is nothing more than a series of episodes, summarily linked, and what we have come to call cinema plays little part in it. The bizarre plot does not live up to its promise, for its weakened by parallel subplots which weave in and out of it more or less haphazardly." Almodvar said about "Labyrinth of Passion": "I like the film even if it could have been better made. The main problem is that the story of the two leads is much less interesting than the stories of all the secondary characters. But precisely because there are so many secondary characters, there's a lot in the film I like." This is I reckon clear evidence of a young Almodvar that hadnt yet found his way of making film with a flow and with a main plot that can handle all the subplots. Its very messy in the storyline and its hard to keep track of all the crazy characters that move in and out of the film and the film becomes very scattered. And his attempt of adding as much "chock value" as possible shines through and it becomes over ambitious and a bit too much in my eyes. But, at the same time I do like the fact that he goes all in with so many things concerning sexuality, love and the psyche he wants to shed a light on in "Labyrinth of Passion".
Marcela M (es) wrote: I was able to appreciate it a lot more after the q & a with the filmmakers and the extras with the dances. Initially came off as offensive and tragic rather than the comedy it got billed as, but if someone has more of a perspective of that era and Bollywood they might get more out of it.
Daryl N (ru) wrote: 'After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence.' I'm ashamed to admit that this is the only Bergman film I've seen to date, and I only saw it on Saturday the 21st of September! I have many more on my 'Lovefilm' rental list though. I decided to watch this one first after hearing it was my favourite Director's (Stanley Kubrick) second favourite film, and I can understand why he was so fond of it, it's spectacular and beautiful to watch.I believe that this film is not only about reliving the past and growing old but also about the fear of aging and death, as the film wears on you sympathize with the characters, you realise that they're unhappy with the choices they've made in their lives.It is a beautifully shot and thought-provoking film, it's very funny (Especially the conversation between Isak Borg and Agda) but simultaneously it's also very touching throughout. I was most impressed with the visual imagery in this film, it is very disturbing and uncomfortable to watch at times. But this adds to the wonder of the film, it really grabs your attention while also making you fear what could possibly happen.4.5/5
David L (ag) wrote: Bullet is one of those underrated films in my eyes. While it isn't perfect it has alot going for it. It realistically throws down on the mean streets of Brooklyn with ugly street gang violence and yet offers a sensitive portrait of a dysfunctional middle-class Jewish family. The vivid character study is built around an urban crime drama that pits Jews against blacks over drug turf. It's based on writer Bruce Rubenstein's own street experiences and he cowrites it with Mickey Rourke. Former music video director Julien Temple ("Earth Girls Are Easy"/"The Great Rock 'n' Roll Swindle"/"Mick Jagger: Running Out of Luck") at times loses his focus on what it's about but he helms it with surprising sensitivity (especially the family scenes between the disappointed hardworking successful dad and the loving homebody mother) and keeps the narrative down a dark path that gives it a ferocity that most Hollywood punk gangster films wouldn't touch with a ten foot pole. It was released as a direct-to-video because it fails the litmus test for both arthouse and mainstream theater released films, as in all probability the studio didn't know how to market such a graphically violent film even though one of its stars, the late rapper Tupac Shakur, had a wide audience among certain youths. One of the film's biggest problems is a miscast Tupac a great actor and rapper who is still missed today plays the most undeveloped character in the film. His character never gets past the cartoonish stereotyped stage, as we never understand what he's all about under all the bling, macho bluster and antsy homeboy posturing. After spending eight years in jail for a crime he didn't commit, the hardened "Bullet" Stein (Mickey Rourke) is released from prison on parole. He's picked up outside the prison by his vain womanizing best friend, the Jewish gangster Lester (John Enos III) and his aspiring artist brother Ruby (Adrien Brody). The boys get high on heroin while driving into the city and stop off at a project, where Bullet robs two square white boys looking to cop drugs and throws their clothes off the roof and when leaving the projects puts a knife into an Hispanic drug dealer's eye (Manny Perez) who called the Jewish gangster out for scaring away his customers and lunged at him with a knife. The thirty-five-year-old self-destructive Bullet is a house burglar (willing to rob neighbors) and a depressed junkie with Star of David tattoos over his body and lives in his parents' (Suzanne Shepherd & Jerry Grayson) comfortable private house in Brooklyn with his loony brother Louis (Ted Levine), an ex-marine who served in Vietnam and came home with severe psychological problems that can't be treated, and also lives with his more vulnerable fun loving graffiti mural wall painting younger brother Ruby (Adian Brody), whom Bullet is very protective of and tries to reason with him to make something of his talent in art rather than selling it cheaply to make signs for an outfit that runs Playland at Coney Island. Bullet, the Irish thug Paddy (Matthew Powers) and the black drug dealer Tank (Tupac Shakur) grew up together as friends but now Tank and Bullet are bitter rivals, with Paddy caught in the middle but owing Bullet big time for taking the prison rap for him as the getaway driver in the robbery that sent him away to do hard time. The main rivals each has a death urge and a hatred blazing inside their system that compels them to go to war with each other (unfortunately we are left guessing why they hate each other, as the story never lucidly tells why). The end result, as expected, is bloody and tragic. The film scores big not only in its gritty street scenes, but at odd moments when the troubled characters take time off their self-absorbed trip to talk to each other. Mama Stein tries her best to deal with an unhinged Louis who childishly demands she buy him an expensive stun gun, Papa Stein tells his wife in anguish that he can't understand why all three of his sons are misfits even though he was always a good provider and tried to be a good father, and there's the troubling conversation at the batting cage in Coney Island between an unaware Lester and a too aware Bullet who realizes after his failure to perform sexually with a hot Spanish chick that it's all over for him (he's dead inside) and that he would rather die than go on living as a loser. To sum up here this is a flawed but good gangster film with what I feel is a very poignant conclusion.
Jason O (mx) wrote: I haven't ever skydived before, but I do like watching movies about skydiving. I also liked "Terminal Velocity," but "Drop Zone" is a lot better. Wesley Snipes stars as a U.S. Marshal who tries to catch some terrorists that hijacked a plane that he was on and their actions resulted in the death of his brother. Snipes believes that it was a set up, but he's the only one that thinks that, so it's up to him to figure it out by himself. To do this, Wesley Snipes learns a new hobby and starts skydiving himself while trying to figure out and catch the terrorists in action. "Drop Zone" is a good movie. Its plot might be choppy in parts, but that's about the only thing wrong with the movie. The skydiving sequences are the best and most exciting I've ever seen in any movie, and Wesley Snipes is hilarious in some parts such as when he skydives for the first time and screams the whole way down. The movie's soundtrack is another good thing about the movie. Whether you like skydiving or not, if you like good action movies I recommend getting "Drop Zone." NOTE: That was my Amazon review from the year 2001.
Nicky N (ru) wrote: Horrible.Too Much Sexual Content Confusing, And The Worst Movie Of The Year.F
Grant F (br) wrote: It's like a heartwarming musical... without the music.