Ayam El-Sadat

Ayam El-Sadat

The melodramic history of an Egyptian president, whose life witnessed the 1973 war, the Jerusalem visit and camp David's peace treaty. Even his death was a legendary scene when fundamentalists shot him dead during the October Military parade.

The private and public life of Egyptian president Mohamed Anwar El-Sadat. . You can read more in Google, Youtube, Wiki


Ayam El-Sadat torrent reviews

Tuomas R (fr) wrote: Vincent Paronnaud & Marjane Satrapi parivaljakon uutuus on yht visuaalisesti raikas ja vaivattomasti etenen aikuisten draamakomedia kuin Marc Caron ja Jean-Pierre Jeunet'n parhaat teokset. ***SUOSITTELEN***

Josef H (au) wrote: mehr "not-interested" is berhaupt gar nicht mglich...

Chelsea F (ru) wrote: I love yoga! And this movie actually wasn;t even that bad but it's a lot of movie, There were a few parts of the movie that were amazing but mostly it was a yawner.

Eylem E (es) wrote: A shy and fastidious Gallic croupier dreams of going places while remaining firmly ensconced in his apartment in "Elsewhere," a quirky French indie based on co-scripter Laurent Graff's novel. Greatly aided by Nicolas Abraham's solid, stone-faced perf as the wannabe-traveler protag, frosh helmer Frederic Pelle elicits a fair number of chuckles from the material, though the end result, even at just 80-odd minutes, remains rather slight. "Elsewhere" could be at home in fest sidebars.

jason h (us) wrote: Starship Troopers: Marauder is relatively bland. The story never becomes magnificent or unique. There are a few catchy battles but as a whole this film is quite dull.

Cameron J (it) wrote: This is not to be mistaken for that one film by the Weitz brothers, as it is "About a[u]n Angry[/u] Boy", even though I think it would be decent casting to get Nicholas Hoult as Kurt Cobain (He was a young Hank "Beast" McCoy, so I think he'll have no trouble with a prosthetic chin dimple). Hey, it's not like I was going to say Hugh Grant should play Cobain, because, well, first off, Grant is too old to play some guy who made it to the 27 Club, and plus, Cobain's music is tediously obnoxious enough without him breaking to stutter, "My Generation" style. Yeah, Kurt, your generation pretty much ruined rock, so I'd rather not talk about it, yet you, by all means, can discuss it, as it sure makes for a decent documentary, even if it does make for awful music. No, seriously, people, by saying that Kurt Cobain himself is free to discuss his generation, I mean it, as this film features a narration... "from beyond the grave"! Man, first it's Tupac and now it's Kurt Cobain; why can't we get posthumous material from people who actually recorded listenable music? Thank goodness Cobain is just talking in this film, even if he does sound like the dull depressed, drug-pumped bum that he exclusively was. No, I'm kidding, he was a decent, if deeply disturbed visual artist, but outside of that, I'm not saying that I'm glad he's dead, I'm just saying that I'm glad that I don't have to deal with his music anymore, even if his story is pretty interesting, as this documentary will tell, though not without hitting some bumps along the way. The documentary is surprisingly very experimental, so much so that it is primarily driven by newly shot, symbolic imagery and offers very, very little, if any archived footage, thus, outside of the final couple of pay-off-esque images, you do not catch a single glimpse of Kurt Cobain, and sure, the imagery is effective enough, and Cobain's narration is heartfelt enough, for you to feel a great deal of intimacy with the focus of this artistic documentary, but you can feel only so much for a faceless voice. The film works better as a documentary told through a footageless interview than others would have, and that's especially impressive when you consider that this film doesn't even give you the common courtesy of archived footage, yet resonance goes limited by a lack of a visual presentation of Cobain, as surely as material goes limited by the specificity of the documentary's focus. I should perhaps emphasize that this film, in spite of its being driven by an interview that was conducted for "Come as You Are: The Story of Nirvana", - a book, not so much about Cobain, but about Cobain's and his peers' efforts - is almost entirely focused upon Cobain's personal life, rather than his professional career, and that, alone, cuts huge chunks out of Cobain's story, whose presentation in this film still stands to take more time to flesh out what information is given. It's hard not to feel as though there's a touch too much of Cobain's story missing, and if you have plenty of time to think about it, because there are ironically moments in which the film upon material for too long, extensively mediating upon excess information, if not filler, for extended periods of time that, after a while, get to be repetitious and, by extension, detrimental to the momentum of the film, resulting in slow-downs that bland things up a bit and disengage, or at least exacerbate the aimlessness that this film never fully washes away. The interview that drives this film was, of course, simply Cobain showcasing points of interest in his life, unaware that the recording would go on to be the foundation upon which a bona fide narrative was built, and sure enough, the film's sense of direction isn't as clear as it probably should be, meandering along with limited narrative structure, and leaving your investment to gradually slip, until true reward value is finally lost. Sure, the film borders on more than just decent, as it is so effective in many ways, but natural shortcomings and certain other questionable aspects dilute a sense of momentum in this documentary that also stands to be more insightful as the reflection on a figure who did things I am anything but terribly appreciative of, but still had an interesting story that deserves better than this slightly underwhelming delivery. In spite of this, the film is well-done enough to earn your investment through and through, maybe not always to where you feel truly rewarding, but certainly to where you'd be hard pressed to not be entertained, even by, of all things, the musical touches, particularly the original ones. Music is constant throughout the film, and when they're not classic tunes, they're original compositions by Steve Fisk and Ben Gibbard, whose score occasionally adopts a somewhat more controlled, but still rather questionable overstylization that plagued the documentary's focus' "music", yet is generally excellent, with a dynamic, refreshing and all around mostly tasteful marriage of rock style and neo-classical artistry that both entertains and helps in defining the documentary's versatile tone in a colorful fashion that goes matched by the color within most of the unoriginal musical touches. On a personal level, my primary concern with this film was that I would be subjected to music by Kurt Cobain himself, whose overblown, monotonously noisy and all around repulsively, soullessly misguided efforts were unique in the worst kind of way, and ended up being some of the most negatively influential challenges to tolerance of modern music, but, due to its commitment to meditating upon the personal life of Cobain over the professional one, this film is thankfully cleansed of products by Nirvana and, of course, the much less known and appropriately named Fecal Matter, and showcases Cobain's musical influences, such as, of course, some questionable ditties, but mostly classic tunes that entertain by their own right, while supplementing immersion value by giving you a better understanding of the diverse, if hit-or-miss tastes of Cobain, whose depths are further reflected by the film's more visual stylistic choices. Again, the film, as an experimental documentary, is more driven by visual style than footage, and such a unique storytelling method doesn't always work, but in a lot of ways, it breathes plenty of life into this study on Cobain's life, whether when its delivering on such lively stylistic moves as clever editing and the occasional nifty animated sequences, or providing symbolic imagery that cinematographer Wyatt Troll shoots remarkably well, with theatrical definition, as well as cinematic framing that is still kept tight enough for you to get an intimate feel for the subtle thematic depth of the visuals. As a uniquely stylish art piece of an experimental documentary, when the film isn't delivering on good tunes, it's, well, delivering on not so good tunes, but mostly on fine visuals that breathe some life into this study on the life and times of an icon, yet cannot compliment the effectiveness of this documentary's storytelling without first being accompanied by a narrative that is reasonably engaging on its own. As I said earlier, the film's focusing strictly on the personal life of Cobain limits material, and what material there is often stands to be more extensively meditated upon, but on the whole, there's still plenty of engaging information delivered in this fascinating study on Cobain's life, and such intrigue is typically augmented by AJ Schnack's direction, which stands to grace this narrative with a more focused structure, yet establishes a theatrically layered atmosphere that is consistently entertaining, and has those moments of true poignancy that leave you feeling the human depths of a man as flawed and tragic as Cobain. Schnack's inspiration behind directorial storytelling is palpable, sometimes to the point of establishing overambition that only emphasizes shortcomings, but generally to the point of giving you a fair sense of intimacy with Cobain that is, of course, most reinforced by Cobain himself, because even though Cobain's slow speaking voice blands things up a touch at times, and should be backed by more images of a face to go with the voice, it's impossible to fully ignore the down-to-earth humanity within Cobain, whose heartfelt telling of his own story immerses you in a highly unique way. Yeah, I still hate Cobain's music with every fiber of my being, and would still consider him one of the worst things to happen to modern music, but when it comes to the humanity through all of the misguided "artistry", sure, I have plenty more appreciation for Cobain after watching this poignant study on his rich and troubled life, which stands to say more, and do so in a more tight and focused fashion, but has enough style, depth and immersion value to keep you going. When the scent of teen spirit finally dies down, this potentially rewarding documentary takes too many blows from anything as relatively light as a lack of a face to go with the narrating voice that would have more power as more than just audio, to such bigger issues as limited areas in information delivery, repetitiously overdrawn moments and aimlessness for the final product to fully escape underwhelmingness, but through a generally fine score and soundtrack, an effectively stylish and well-shot visual style, an adequate degree of interesting informativeness, lively, when not poignant directorial storytelling, and heartfelt narration by the late subject of the documentary himself, "Kurt Cobain: About a Son" stands as an entertaining, if flawed experimental meditation upon the life and times of an icon, tragic figure and, most of all, man. 2.75/5 - Decent

Mitchell B (it) wrote: Uma, just because it's a superhero themed comedy does not mean you need to reprise your hammy overacting from Batman & Robin

Steve S (jp) wrote: This movie reminds me of full metal jacket meets band of brothers. An excellent movie with a story line that really resonates with people because it shows how emotions in the heat of a moment can sometimes cause us to hurt "innocent" people.

Mike P (ag) wrote: More of a kid's movie, but worth a watch if you want a movie that just helps pass the time. A few funny moments, but overall, it's not a Murphy classic.

Luciano G (it) wrote: A family movie, not giving out sanctimonious moral lessons, but sharing a simple message of solidarity and redemption....

Allan C (us) wrote: Patrick Swayze stars in this post apocalyptic retelling of "Shane." The Bodhisattva plays Nomad, a nomad who wanders into a small community of farmers struggling to survive against the evil land baron, Anthony Zerbe. The film follows the story from "Shane" fairly close except for a general swap between the husband and wife figures, with Lisa Niemi as the leader of the farming community and Brion James as her partner. Most of these warrior-of-the-wasteland films are pretty awful, but this one is actually pretty good. Sure, it's low budget and corny, but it's fast paced, unpretentios and quite entertaining. This film is also unique among it Mad Max ripoff peers in that it embraced more of a "Conan" aesthetic, having the people of the wasteland fighting primarily with swords and not with guns or technology from the old world. In general, there really is very little evidence of the pre apocalyptic world and this wasteland seems more like something from an alien planet, which also makes it somewhat unique. This film also boats a score by "Mad Max" and "The Road Warrior" composer Brian May, which helps quite a bit. You also get perennial villain Christopher Neame, who seems to play Nazis a lot, and also John Fujioka and Arnold Vosloo in an early role. Overall, it's a silly bit of sci-fi, but quite enjoyable if you're in the right mood.

Kevin R (jp) wrote: They have to take the bait.The Manchu have lead an uprising in China that led to an epic battle with the Shaolin that they ultimately won. They crushed all of the Shaolin temples and ultimately almost all of their people. They quickly take grip of the Chinese culture. Five Shaolin masters band together and start recruiting talent to face the Manchu and take back the country from the ruthless Manchu masters."This pole has been scorched.""That's good. When I hold it, it will remind me of how much I hate them."Cheh Chang, director of Five Deadly Venoms, Invincible Shaolin, Crippled Avengers, The Magnificent Ruffians, The Flag of Iron, The Masked Avengers, and House of Traps, delivers 5 Shaolin Masters. The storyline for this picture is very well executed and delivered, especially for the genre. The action is awesome as is each choreographed scenes. The acting is awesome and the cast includes David Chiang, Lung Ti, Sheng Fu, Fei Meng, and Lung Wei Wang."A man is complex."This was recently added to the Netflix online queue so I had to add it to the wish list. This was a marvelous martial arts gem that is definitely a must see for fans of the genre. This was better than the Brave Archer pictures and in-line with the Venom films. I strongly recommend seeing this underrated gem if you are a fan of the genre."He joined forces with another survivor..."Grade: B+/A-

Matt G (ca) wrote: There is a still grace that permeates every frame of this drama about aging. This stillness of camera reflects the film's view: that just because our lives are often full of repetitions and monotony, that doesn't mean they can't be filled with beauty. In this stillness, there is a recognizable family, full of emotionally honest performances and melancholy humor that is birthed right of the reality of the story. Stunning, bleak, yet utterly true.

Nikolai E (es) wrote: For a film with no greater dramatic ambition than peering voyeuristically into the most private moments of ten different couples, it's almost unworthy of its precisely devised structure and masterful cinematic flourishes including the most daring framing device I've ever seen, particularly since this framing character, who essentially IS the film, was absent from the original play. You know you're watching an unusual movie when a character picks up a pair of scissors in one hand and a film strip in the other and proceeds to literally cut out a sex scene before your eyes while humming something to do with censorship to the film's main theme. There's also the magnificent long takes, presented like a natural result of the film's ceaselessly spinning energy, with the result that, like the Meneur De Jeu, you really do feel like the perfect voyeur, invisible and intangible, with the ability to go anywhere and see anything. The only problem is I've rarely seen a more finely crafted and masterful movie about barely anything at all. Ophuls basically used the tools of a true master filmmaker to make light, silly fun of human seduction. It's still a great film, but almost paradoxically, in spite of itself.

Ken S (gb) wrote: Anthony man delivers a great noir starring Farley Granger.Great Early Car Chase

Karina C (de) wrote: Imaginarse Paris es esta pelicula. Como una postal freak. Tan linda y ridicula.

Brad G (br) wrote: Like many forced epics of the era, Shout At The Devil is overlong and wildly uneven in tone...however, one cannot help but be swept away in the brilliantly bizarre pairing of Lee Marvin and Roger Moore. The first half of the film is mostly goofy poacher hijinks mixed with a little annoying Hun violence, but as The Great War looms and eventually explodes Marvin and Moore find themselves embroiled in a devastating conflict. Not too many laughs...Not VF.