A group of people are plunged into a dark, claustrophobic maze, where they must fight to survive, as the outside world watches.

The film follows ten strangers with no memory of their identities are plunged into a dark, claustrophobic maze, where they must fight in a futuristic deathmatch overseen by an elite gamemaster, as the outside world watches. . You can read more in Google, Youtube, Wiki


Andron torrent reviews

Nick L (ag) wrote: Pretty decent B movie, the 1st transformation is hilarious.

dylan s (ag) wrote: its a b movie through and through....a fucking haunted playhouse in the back yard...come on....its silly but hey josh lernold isnt bad....

Helena B (jp) wrote: What can I say. Inaccurate. As if a person who has never set a foot in Poland nor spent any time around Polish community wanted to make a movie on Polish American minority. The actors do not even look like working class Poles in America.And what's with the Virgin Mary?

Sanford R (ca) wrote: Nothing special, but kind of funny

Dfh98 D (ag) wrote: Very good performances

Steffen B (es) wrote: Gefllt mir irre gut, der echte Bud Spencer, wie er leibt und lebt.

Daniel B (ca) wrote: Kurt Russell has been one of the luckiest bastards on earth over the last 25 or so years. You just can't go wrong with Private Benjamin

Shane S (gb) wrote: Zabriskie Point is an extremely beautiful mess of a film. Meant to encapsulate Michelangelo Antonioni's transition into subversive English-language critiques of youth culture as evidenced by "Blow-Up" (still a very, very odd film for odd people), this film didn't exactly do good. It's what some people would consider a total mess - the acting is student-actor-level, the dialogue is a little too pretentious even for a fan of pretension like me, and Antonioni suffers in the same way R. Crumb does in that they cannot see the beauty of overindustrialized suburbia - but at the same time, it did give people an excellent soundtrack by Pink Floyd, John Fahey, Jerry Garcia, and so on.A lot of what makes Zabriskie Point a mess is its lack of direction. It's very much evidenced at the beginning - Antonioni aims for a more mockumentary feel with the relaxed Godard-esque capture of the youth meeting - and at the middle when the two protagonists rendezvous. Which is it, man? Quasi-documentary or psychedelic romance? The answer is, "Neither." It's first and foremost a road movie. Even in the beginning, it has a very alienating sense of aimlessness that films like Easy Rider manage to communicate. The aim of the trip that the audience is on is that there is no aim - you are on for however long the ride needs to be. You are hooked by the beautiful chaos around you - the deaths, the counterculture straight out of a fictional interpretation of Medium Cool - and you ride along as Antonioni points at specific places in America and says, "Hey, guys! There's something a bit wrong with this!"I want films to be this bold. However, films cannot be this bold since you're gonna get people who screw up big time like Antonioni. But this isn't an "A for effort/A for ariginality" type of deal - this is the work of a master who knows what he's doing and deliberately does so in order to make a wider point. The stilted philosophy and acting? Guess what was the norm in 1960s America! The plastic culture and ridiculous standards of living? Guess what was the norm in regular culture in 1969! The youth movements that seem extremely splintered and focus entirely on violence as a means to solve every feasible problem? Sounds just like the mindset of a teenager after the Democratic National Convention in 1968. Antonioni isn't trying to glamorize America or the youth here - he's screaming at us in a way similar to Blow-Up, "Hey, guys! You need serious help! You can't go on being like this forever!"And how do I know this? How am I sure that I have finally interpreted Zabriskie Point in the right way? Because it is eerily similar to 2013-14. People using stand-your-ground to justify acts of violence and immunity from criminal charges. Youth being discriminated over assumptions and yet being so stubborn that they will get themselves killed. Suburbia becoming more and more structured. We are in need of a desert convergence where we all get together in Zabriskie Point and finally get to know one another's bare psyche. All to the music of Jerry Garcia, may I add. But yeah, Zabriskie Point is still a pretty contemporary film - dated in some ways, but very contemporary. Scarily contemporary.

Thaddus E (es) wrote: This is the only documentary directed by Luis Bunuel. The film is short, only 27 minutes, but it is long enough to portray enough human suffering to disgust. Images include a girl who lies in a road for two days and then dies. No one helps. The local schoolteacher instructs rows upon rows of malnourished children to respect the property of others. The schoolteacher feeds them bread, and makes them eat it immediately to keep their starving parents from taking it from them. They dip it into the only nearby source of water, a trickle running through a ditch where the pigs wallow. Bunuel illustrates with these sorts of images how these people are unbelievably pathetic, yet he clearly goes beyond this when he shows images of the developmentally challenged somehow teetering on the edge of life in a world where even the fittest can rarely overcome. "Morons and dwarves are plentiful..." says the narrator, but in some degree or other, all the people of the community are tragically moronic at every turn. They drink water from the ditch, yet somewhere within a reasonable distance is a river. They try to plant a crop, but the crop is washed away because they plant too near that river. They cook over an open fire indoors, but they don't make windows for themselves to let smoke out of their homes. They have no food for two months of the year, and yet mothers carry babies around in almost every shot. The viewer is left with the distinct impression that these people can't survive much longer, and there is certainly no optimism in sight when the film ends. How in the world can these people not plan a little better? The answer, I think, must lie in the intellectually suffocating nature of their hopelessness, the horrendous condition they feel swept away again and again along with every one of even the slightest currents of misfortune. Perhaps they've simply quit trying, it would seem.

Kyle E (us) wrote: Another 80s horror classic ruined by many half-assed sequels. "Hellraiser" has an excellent concept and offers plenty of gore. Everything from the atmosphere, script, and characters are great. The story is disturbing and unpredictable. Some of the special-effects are cheesy but that is not surprising considering the time the film was made. If only Clive Barker could have directed some of the sequels.

Erika K (ru) wrote: Probably my favorite babymovie from the past few years...

Pierluigi P (gb) wrote: A melodrama of sorts, but one so vigorous and full of rage and despair, that it will inevitably linger in you.

Mel V (nl) wrote: Ridiculously, ludicrously, abysmally bad, [i]Journey to the Seventh Planet[/i], is science fiction at its cheapest and cheesiest, bereft of ideas or logic (and whatever ideas it has were stolen from Ray Bradbury?s [i]The Martian Chronicles[/i] and Stanislaw Lem?s [i]Solaris[/i]) and made on a micro-budget with an international cast of no-name actors (who stayed that way), but with one exception, John Agar. For science fiction fans with a difficult-to-explain fondness for 1950s and early 1960s cheese, Agar is their man. Agar starred in science-fiction cheapies memorable for their titles and the occasionally interesting concept or two (e.g., [i]Curse of the Swamp Creature[/i], [i]Zontar, the Thing From Venus[/i], [i]Invisible Invaders[/i], [i]Destination Space[/i], [i]Attack of the Puppet People[/i], [i]The Brain from Planet Arous[/i], [i]Daughter of Dr. Jekyll[/i], [i]The Mole People[/i], [i]Tarantula[/i], [i]Revenge of the Creature[/i]). The impossibly distant future, 2001. Earth is at peace, everyone is well fed and taken care, thanks to a United Nations (UN) that rules benevolently over the world. Science is no longer in the business of disco The UN sends Spaceship Explorer 12 on a mission to the seventh planet, Uranus. Led by Commander Eric (Carl Ottosen), the international crew includes Capt. Don Graham (John Agar), the resident womanizer, Svend (Louis Miehe-Renard), a Swede, Karl (Peter Monch), a German on his first space mission, and Barry (Ove Sproge), an Irishman prone to rambling on about the ?Emerald Isle? and ?the little people.? Approaching Uranus, the men slip into a comatose state, only to awaken days later, no worse the wear. Spaceship Explorer 12 unexpectedly lands on a green, lush Uranus. Svend recognizes the forest from his youth. Searching on foot, the men discover a force field at the edge of the forest that seemingly surrounds them on all sides. Karl impulsively tries to push through the force field, only to reel back, his hand and forearm frozen. Eric and the others realize Uranus? inhabitants have made their thoughts real. After Eric reminisces about his adolescence, a village magically appears in the forest. Eric meets an ex-lover, Ingrid (Ann Smyrner), who hasn?t changed in twenty years. Don conjures up two ex-lovers, Greta (Greta Thyssen) and Lise (Ulla Moritz), only to be called back to duty. Eric decides to break through the force field and discover whatever?s on the other side. He brings Don and Carl with him, leaving Svend and Barry behind. Directed by Sidney W. Pink ([i]Reptilicus[/i]) with an obvious lack of talent or skill (he can point and shoot the camera and not much else) and an ignorance of basic storytelling rules, [i]Journey to the Seventh Planet[/i] is incoherent, illogical, and excruciatingly paced. Characters are either superfluous (Svend and Barry), a nuisance (Carl), or stereotypical (Don, a womanizer; Eric, a shoot-first, ask-questions-later commander). The UN might be running the mission to Uranus, but the crew of the Spaceship Explorer 12 reflects zero diversity. The female characters the men encounter on Uranus are well-coiffed, chaste (the blandly blonde Ingrid) or slutty (Don?s ex-lovers). Ingrid, though, is particularly helpful in telling Eric the alien?s evil intentions (a head scratcher if there ever was one). As for the alien, he?s (or it?s) a giant, one-eyed, pulsating brain that speaks in stentorian tones and gloats prematurely at the Earthmen and their transparent weaknesses (e.g., libido, fear). And the giant, one-eyed, pulsating brain wants to leave Uranus (that?s pronounced "You-rah-nus," by the way, so that elementary school joke you had in mind won't work). The less said about the acting, the better. It?s worth pointing out to Agar?s many admirers that he?s the second lead here, not the first. Yes, Agar's acting career had slipped to the point where he wasn't even asked to carry a non-effort like [i]Journey to the Seventh Planet[/i]. Ok, to be fair, [i]Journey to the Seventh Planet[/i] was a U.S.-Danish co-production, so it?s likely the producers decided on a Nordic lead before casting even began. The special effects aren?t (special, that is). They?re a combination of stock footage and shoddy model work. The visual effects were so badly done that the American distributor, American International Pictures, stepped in and commissioned new effects. They weren?t much of an improvement, though. A cyclopean-rodent monster (you read that correctly) created via stop-motion animation is laughably bad. Another, a giant spider that attacks the men in an underground cavern, is actually footage lifted from 1958?s [i]Earth vs. the Spider[/i]. There?s even a brief shot or two cribbed from 1960?s [i]The Angry Red Planet[/i], written and directed by [i]Journey to the Seventh Planet?s[/i] screenwriter and Pink?s hack-in-arms, Ib Melchior. Whatever its fault (and its faults are legion), [i]Journey to the Seventh Planet[/i] is the perfect (if by perfect we mean cheese of the highest order) film for an undemanding Saturday night. At only 77 minutes, [i]Journey to the Seventh Planet[/i] can be double-featured with another micro-budget sci-fi non-classic. While the distributor for the DVD edition of [i]Journey to the Seventh Planet[/i], MGM, includes [i]Invisible Invaders[/i] as the second (or first) feature on a single disc, [i]Journey to the Seventh Planet[/i] is better suited as part of a double feature with Melchior?s other semi-forgettable, non-classic, [i]The Angry Red Planet[/i] (featuring an effects process called ?CineMagic? no less). And if you squint hard enough, you might notice surface similarities between [i]Journey to the Seventh Planet[/i] and an episode of classic [i]Star Trek[/i], ?Shore Leave,? Roger Corman's underseen, underappreciated 1980 magnum opus, [i]Planet of Horrors[/i] (a/k/a [i]Galaxy of Terror[/i]), and almost two decades later, Paul Anderson's [i]Event Horizon[/i]. Then again, if we pretended [i]Journey to the Seventh Planet[/i] didn't exist, it?s easy enough to imagine that not much would have changed.