Art of War

Art of War

Documentary on the main principles of Sun Tsu "Art of War" illustrated with examples from the second world war, the Vietnam war and the American civil war.

Documentary on the main principles of Sun Tsu "Art of War" illustrated with examples from the second world war, the Vietnam war and the American civil war. . You can read more in Google, Youtube, Wiki

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Art of War torrent reviews

Cade H (kr) wrote: Guilt Trip was an average comedy with a lot of heart. Seth Rogen seemed like he was just being himself, hanging out with his real mom because the on screen chemistry with Barbra Streisand was excellent. It was rather plain at times with them just going on a road trip across the US with a few stops along the way. As the film went on it got better and the jokes were never crazy funny but there were enough subtle laughs to make it worthwhile. The ending was great and really touching and this is a great one for mothers and their son to watch together. Don't go into this expecting the typical Rogen dirty laugh out loud comedy, but what it does bring to the table is a fun flick with a good message.

Louis M (ru) wrote: Interesting to say the least. Chloe Sevigny's career has never been the same since giving onscreen fellatio.

aleksis s (ca) wrote: Entertaining movie. Hard to understand scottish accent in some scenes.

Matt R (ag) wrote: this story involving an alternate post-WWII Japanese history was a bit dry and political to the extent that the impact of clever twists was kinda lost. it was however also somewhat character-focused, metaphoric & poetically psycho-surreal and was very handsomely made. but overall it was probably a bit too heavy... at least for what i was in the mood for on this occasion.

Blake P (kr) wrote: Life is one giant human comedy, and Woody Allen understands, and portrays, this fact better than any living American director. I prefer him when he's trying to make a comedy comedy ("Manhattan Murder Mystery", "Sleeper"), but there's no denying just how proficient of a writer, of a director he is when it comes to studying the complex relationships between lovers, friends, family. "Annie Hall" remains immortally wise, "Manhattan" blindsidingly poignant. He hit his stride during his professional (and personal) relationship with Mia Farrow (lasting in the movies from 1982-1992), "Hannah and Her Sisters" acting as the era defining tour-de-force that broadened his horizons as a writer as mischievously observant as his idol, Ingmar Bergman. Told in three stretches over a two-year period, "Hannah and Her Sisters" begins during Thanksgiving and ends during Thanksgiving, both dinners held at Hannah (Farrow) and her husband, Elliot's (Michael Caine), impressive New York apartment. Acting as a plot device in similar spirit to the Cookie of "Cookie's Fortune" or the Alex of "The Big Chill", the interweaving stories, in some shape or form, connect to the perpetually frazzled blonde. As the film opens, Hannah, along with her sisters, are facing particularly difficult periods in their lives. Normally happily married, Hannah and Elliot's union begins to hit turbulence when Elliot suddenly finds himself obsessed with his wife's earthy sibling, Lee (Barbara), with whom he begins having an affair. The neurotic Lee, in turn, is currently living with a much older, antisocial artist (Max Von Sydow) she no longer finds physically or mentally arousing. While Lee's guilt thickens, Hannah, in the meantime, is forced to act as the emotional net for her basket case sister Holly (Dianne Wiest), an ex-cocaine addict who jumps from career to career while attempting to also make it as a Broadway actress. Her failed jabs at a normal life eventually settle, however, when she begins dating Mickey (Woody Allen), Hannah's hypochondriac ex-husband. "Hannah and Her Sisters" kicks off as warm as any one of Allen's other comedies, but as its observational progression toward character study oblivion becomes more apparent, the film turns voyeuristic - it's as though we're a fly on the wall, catching glimpses of these imperfect people at their most imperfect times. Notice how the vulnerabilities of the characters never lose their prominence even when they're putting on friendly faades for strangers, how Allen draws such subtly profound characterizations that it becomes increasingly effortless to understand these people so well it's as though we've known them since they were children. Long after "Hannah and Her Sisters" closes does one begin to realize just how masterful of a writer Allen is; he can cover up his genius with his neuroses all he wants, but to make a cast of characters feel so multidimensional in the scope of a single film is an astonishingly difficult task - for Allen, it's duck soup. He's the perceptive one in the room. It's as if he's known people like these before. Hannah is the kindhearted success story whose need to nurture sometimes hinders her own personal growth; Lee is the intellectual who doesn't quite know where to focus her potential. Holly is the type that fantasizes about what her life could be like rather than trying to make much needed changes; Mickey closes himself off in a bubble of fear because he doesn't want to admit that a mundane life is something okay to live. Perfectly cast, the ensemble feels like one large extension of Allen's consciousness. "Hannah and Her Sisters" is a saga of failed attempts at moviedom happiness, combining comedy and heartfelt drama with startling pathos. The characters here aren't merely characters but people, people with ticks, little confidence, doubts. How Allen so successfully pens them all I can hardly understand - just let the film do the talking instead of me.

John M (it) wrote: Proof that the Brits do gangster flicks the best.

Benjamin W (au) wrote: Even though this was by far, the most gay film I have ever seen, it does make a good point about people with no money not knowing how to handle it when they find themselves in possession of large lottery winnings.

Charlie M (mx) wrote: English woman drives cattle away from Japanese militia in this slow drama that never finds its narrative.

Carlos M (kr) wrote: A lazy and terribly-directed movie that depicts Uday Hussein as a ridiculous caricature in what is a redundant story devoid of any subtlety. Besides, Dominic Cooper is such a mediocre actor, unable to lend any sort of complexity to the two identical main characters.

Katy F (gb) wrote: typical Woody Allen film, the overly anxious persona is getting a bit old though Woody