Assassin's Bullet

Assassin's Bullet

In Assassin's Bullet, Slater plays Robert Diggs, a black ops agent who comes to work for Ambassador Ashdown (Hunger Games star Donald Sutherland), tracking down a vigilante assassin in Eastern Europe. The maverick hit(wo)man has been taking out high-profile targets on the U.S. hit list, and Diggs must uncover the killer's identity before there's an international incident. The usual game of cat and mouse ensues.

Robert Diggs leaves his career in the FBI and accepted the other position in Sofia because he takes to flight the memories of his wife's death. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechersSize
Download   Sofia.2012.BRRip.XviD.MP3-RARBGXVID1131181.15 GB
Download   Sofia.2012.1080p.BluRay.x264-GECKOS1080p1091296.55 GB
Download   Assassin's Bullet720p5038650.55 MB

Assassin's Bullet torrent reviews

Kevin R (ca) wrote: You know you get a discount here if you do mother and daughter...This movie contains a short horror story with a theme based on letters of the alphabet. Each story has a different direction, feel, and cast. Most of the short stories are gory with clever horror elements and some are even animated or created to claymation. "I like dicks!"The producers of the film identified a director for each letter of the alphabet and each director was given independent creativity to deliver a unique horror film. Some plots are obviously better than others, as you'd expect, but I enjoyed watching the films and trying to interpret the director's vision. The acting, like the plots, were inconsistent, but about as you'd expect for the horror genre."If that's how you jump out of an airplane, maybe you should stay in the kitchen!"I came across this on Netflix and decided to add it to the queue even though I only relatively enjoyed the original. I can say I may have liked this picture a little more. This wasn't perfect by any means, but I did enjoy watching each story unfold. The plots are not predictable and this is a worthwhile picture for fans of the genre. I recommend giving this a viewing."Send Beer!"Grade: C+

Spencer H (jp) wrote: Grown Ups 2 should not have been made because the first movie wasn't good, but this movie is just so darn funny. The script isn't smart and uses jokes that we've heard before, but I say who cares, this is a guilty pleasure and can be enjoyed if you're immature, like me.

Nathan H (jp) wrote: I went to a fireside then I watch the movie it was great its not better than the joseph smith movie but it was cool A- Also I shook the directors hand twice and I think that was the very first time I met a morman director

Holly F (gb) wrote: A protential film that fails with a slow pace and ambiguous story!10/6/2012

Nick A (br) wrote: Without myself having any connection to the novel, this film is exhaustingly somber and tense in ways that distract and enhance, the best and most trying among them Jonny Greenwood's curdling score, which, narrative forgotten, carries something in cinematographer Ping Bin Lee's wide images that's at the very least haunting.

Matt W (ca) wrote: As much as it is interesting to see the perspective of entertainers when it comes to hecklers and negative reviews, as it does have value in that to remind us these people are human, the comments by some come off a bit pathetic and narcissistic. This mainly came from the comedians like Jamie Kennedy who heckle the world, but seem a little sensitive when people heckle them.

Finn M (gb) wrote: a good exciting movie.. pretty good acting and thick story

Bence K (jp) wrote: I actually didn't like that movie. Val Kilmer's acting is miserable, the story is confusing, even in the end. Much things which were happened through the movie simply not explained.

Tiberio S (jp) wrote: When I first saw this I thought it would be a classic. I was wrong, but I'll never forget the wonderful story that it was and the great comedy supporting it. Edward Norton is a sincere actor and seemingly good director... I look forward to his screenplay and performance in "The Incredible Hulk."

Cory T (ag) wrote: After the well had seemingly run dry after 'Child's Play 3', 'Bride of Chucky' is a meta-horror reinvention of the killer doll franchise. Injecting the series with the contemporary elements of copious Fangoria gore (the Pinhead moment is stupendous), a headbanger Rob Zombie-contributed soundtrack, an exuberant Hong Kong director (Ronny Yu) and a spangly sense of humor (Chucky summarizes that "If this were a movie, it would take two or three sequels to do it justice."), 'Bride of Chucky' is exactly the cocktail that the Lilliputian murderer necessitated. The nasally vocal work from Jennifer Tilly compliments the acid-tongued grouchiness of Brad Dourif. Squabbling over Martha Stewart recipes and monogamy, the domestication-via-relationship satire is an absolutely hilarious contrast and it is overt that improvisation was used for the scenes between the Tiffany and Chuck puppets. It should be noted that the expressive animatronics have dramatically ameliorated since the 1988 original and the movements look effortlessly fluid. The rules around the soul transference with the voodoo amulet are now jettisoned mostly but, within the genre-bending confines of Don Mancini's lampooning script, it is appropriate to violate canon. The film concludes on a tawdry jab at sequel-bait with the birth of Chucky's spawn. Even the presence of Katherine Heigl can't derail this spirited successor.

raul a (nl) wrote: i hear that one is good

Genevieve R (fr) wrote: Other than the slapstick and sarcastic humour, I can't say I really cared for this movie. To me, it was much too formulaic and cheesy, loyally following other romantic comedies. The intersection of the four weddings and the funeral (the last wedding could also arguably be considered a funeral) was interesting and creative, but otherwise, the plot was bland. I generally hated both protagonists because the majority of their relationship happens because they are cheating on their current partners. They never seem to question their actions or think "hey, maybe what I'm doing isn't right and I should wait until I'm unattached." Also, they both settle for people that they don't like, as if it's better to be in a relationship than single for even a second. There was no chemistry or even a reason for Carrie to be with her older husband (except maybe money) and I felt the same way with Charles and Duckface. Also, Carrie, unlike Charles, who is at least a somewhat interesting person, is as dull as dry toast and the scenes with her mostly consisted of her saying hi and smiling and talking in her "exotic" American accent. There were also a few painful scenes (like the generic trying on wedding dresses montage) where she desperately attempted to be interesting. I did however enjoy Charles' talent for getting into extremely awkward situations. Sure, it's isn't Valentine's Day, but I would not call it a classic or even a good quality romantic comedy.

Helen K (br) wrote: In her poetic film collage essay Laurie Anderson is more beautifully and thoughtfully herself than ever. Anderson has had a long career, but was most well-known in the 80's as an experimental performance artist, composer, and musician who especially explored the mix of spoken word and music. Those who know her albums such as "Big Science" and "Home of the Brave" will appreciate the return of the fragmented rhythm and quizzical tone of Anderson's speech, opening with voice-over sentences such as "This is my dream body - the one I use to walk around in my dreams," and "It's like one of those old movies..." It's like one of Anderson's old albums, only ... Much, Much, Better (to quote Anderson in "Language is a Virus"). Despite the film's seemingly stream-of-conscious, no-plot, hodge-podge approach, Anderson has meaningful ideas to express, and she's woven together an elegant and smartly structured tone-and-picture poem. The movie combines her personal stories and musings with quotations from renowned philosophers, ink drawings on paper, printed words, animation, scratchy old 8mm home-movie clips, new footage of landscapes, surveillance camera footage with time codes, graphic images such as computer icons, and her ingenious use of music. As always, Anderson excels at language, and here she combines various types of on-screen text to her own lyrical voice-over. I often leave a movie wanting to run home and download the soundtrack, but in this case I am yearning for a transcript. These are words worthy of reading and contemplating. "Try to learn how to feel sad without being sad," is just one of the many fertile sentences. But one of the surprises of this project may be Anderson's sophisticated and inventive cinematography. As the film explores a variety of deaths - the death of Anderson's dog, the death of her mother, the death of her husband (Lou Reed), and the mass deaths of 9/11 in New York, it seems the movie is often shedding its own tears. Many sequences are shot through a pane of glass that is dripping with water, like life itself is crying. And then she turns footage of an ocean upside down, with the foreground still raining, so the sea that has become the sky is weeping too. In front of everything, Anderson seems to be saying, is a gentle, pervasive sadness. And yet, the movie is not even remotely maudlin. It discusses 9/11 in way that actually adds fresh insight, which seems impossible after so many anniversaries full of remembrance ceremonies, and so many other films that have also integrated that tragic event. In fact, this movie would have made a much better selection for the opening of this year's New York Film Festival than "The Walk," which is ostensibly about the man who walked a tightrope between the world's tallest pair of buildings, but is really mostly a sentimental homage to the Twin Towers, complete with golden reflected sunset footage of the Towers and seemingly endless talk about their dramatic importance. For all the "The Walk's" telling us how we should feel, and trying so desperately to rouse emotion, it fails in that regard. Laurie Anderson is a long-time New York resident and artist, and this film speaks so sincerely to New Yorkers in particular, that it would have made an intensely appropriate opening for the New York Film Festival, which took place so close to 9/11. (Of course, the film is also relevant to all Americans, and all human beings, at any time of year.)Perhaps the strongest moment in Anderson's film is when she takes her dog outdoors in a big field and enjoys watching her run and play in tall grass and aromatic dirt, as dogs do. And the camera pans up to the bright blue sky; it is such a beautiful day. And then we see pretty white trails in the sky, moving in circles. Anderson tells us they are birds. And then she sees that they are hawks. And she describes the look in the eyes of her dog, Lolabelle, as the dog peers up and realizes that she... is prey. The dog understands that these birds have come for the purpose of killing her. And Anderson bemoans the new reality that now the dog must not only be aware of the ground and the grass and the other earthbound creatures, but also that huge, untouchable expanse of sky. The sky is now a danger. And the dog will never view the sky the same again. Cut to footage of 9/11 as Anderson compares her dog's feeling to hers, and ours, when we suddenly understood that "something was wrong with the air"; the sky brought danger and those flying planes were there for the purpose of killing us. And "it would be that way from now on."Anderson goes on to talk about the strangeness of living in a post-911 surveillance state, where we are always being recorded. But she does not take the obvious path of complaining about the social injustice. Instead, she points out that all our actions are now data. And that data is always being collected but will not be watched until after you commit a crime. Then your story is pieced together, in reverse - footage of where you went and what you did, being viewed backwards from the most recent moment. And then she throws in a quote from Kierkegaard: "Life can only be understood backward but must be lived forward." And intermixed with philosophy, Anderson keeps her wry sense of humor. At one point, she talks about a dream in which she gives birth to her dog. She illustrates the tale with bizarre comic drawings, and then she tells us that the dog looks at her and says, "Thank you so much for having me," as if it has just been invited to a tea party. Ha. Later she talks about her own childhood memory of a trauma and how our minds naturally clean up memories, leaving out certain details, and in that way you are holding onto a story and every time you tell it, you forget it more. Cut to the computer icon of Missing File. The associations keep piling up, and they do indeed add up. The irony is that "Heart of a Dog" will be classified as conceptual filmmaking, and dismissed by those who won't see it as too cerebral, while it actually uses a complex and intellectual style, very astutely, to access emotional and personal realities that are difficult to reach overtly. This film does tell a story, in its own subtly layered way. It is sometimes a meditation on how to go on living despite despair - "the purpose of death is the release of love," but it is also clearly Laurie Anderson's own personal tale. It's her love story, about her dog, her mother, her husband, and her city. In the most uncommon and evocative way, this film has heart.

Cade D (it) wrote: Spot on coming -of- age tale. Strikes a nerve for all of us men who had a "Dorothy" in our lives. A good, fun movie for a certain mood. Bittersweet.

Russell G (jp) wrote: Great mystery movie wrapped in a noir blanket! Lot's of nice touches in this one. It follows the cop trying to crack the case, as opposed to the guy getting screwed as is typical of noirs. The cop is of course KHAAAAAAAAN! and as a latin american, faces mild racism, and he uses solid forensic methods in trying to crack the case. "CSI:1950", watch it.