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Bloodmoney torrent reviews
Gaspar O (nl) wrote: This is sickeningly short, so minus a big half star right off the top for that. It's kinda lame, kinda silly, but somewhat suspenseful for sure. It's Bobcat though, so I was trying hard to like it. I'll give it two big thumbs meh.
Thomas S (ag) wrote: It's just hard not to like Costner and I like football! Predictable or not. Win win.
Alan B (nl) wrote: Quality film the books better though.
Walter M (ru) wrote: In "Holy Rollers," Sam(Jesse Eisenberg) is a 20-year old Hasidic rabbinical student in Brooklyn. He is dissatisfied with the amount of money his father's(Mark Ivanir) store brings in, especially as related to his marriage prospects. So he accepts an offer from his friend Yosef(Justin Bartha), along with Yosef's brother Leon(Jason Fuchs) to ferry medicine back from Amsterdam. When they find out it is really ecstasy, Leon quits on the spot while Sam continues on, meeting Yosef's boss Jackie(Danny A. Abeckaser). "Holy Rollers" proves without a doubt that just because a true story sounds fascinating does not mean it will play out the same way on the screen, as the movie relies on cliches of both drug and growing up in conservative religions genres while dragging towards the inevitable. That's not to mention the movie looking kind of cheap or Jesse Eisenberg sticking out like a sore thumb with his usual tics in such an emotionally subdued community. I think maybe the filmmakers were trying to make a case for the character's individuality but apparently did not notice that Sam's most memorable trait is his greed. If only the character had more complex motivation, it would have made it easier to care about him.
Cat B (de) wrote: Another nice creepy horror. This one stars Yu-mi Kim, who I recognized from 'The Doll Master'.
Samuel C (jp) wrote: Clean, swashbukeling fun, but due to thin characters, it's easily swiped from our collective memories.
Nobuko H (ru) wrote: Really interesting instrument. Weird sound. Oh, I forgot to order "Theremin DIY kit" 6 years ago...
Mark W (de) wrote: The debacle of adapting Frank Herbert's Dune in 1984, is now pretty much common knowledge among film enthusiasts. To put it plainly, it didn't do well at the box office and was even tagged with the moniker of being the Heaven's Gate of science fiction films. So upset was David Lynch with studio interference and losing final cut of the film that he vowed never to work with a big budget again. He regrouped, however, and two years later he delivered one of his own original scripts in the form of Blue Velvet. Not only did it put him back on the map but it's still widely regarded as one the best films from the 1980's.Jeffrey Beaumont (Kyle MacLachlan) is an impressionable young man who return's back to his home town to care for his ill father. After a visit at the hospital he takes a short cut through an abandoned field and finds a severed human ear. He takes it to the police before embarking on his own investigation. This leads him to nightclub singer Dorothy Vallens (Isabella Rossellini) and a criminal underworld that he had no idea existed. The opening of the film has such a striking beauty to it with crisp and colourful cinematography by Frederick Elmes while Lynch doesn't mince his words on his message. White picket fences with vibrant red roses, a fire truck strolls by with a waving fireman while a man hoses down his manicured garden. It's quaint and calming imagery. Suddenly, the hose gets stuck on a branch, the water splutters and the infuriated gardener suffers a stroke. He falls to the ground while a toddler looks on and a dog's only interest is in catching the water from the hose which is still in the grasp of the fallen gardener. It's here that Lynch turns his camera to the grass and the dark underbelly of this picture-perfect, suburban lifestyle is exposed in a colony of insects. We then cut to a billboard saying "Welcome to Lumberton" - where it is later described as "a town where the people really know how much wood a woodchuck chucks". There's a playfulness on show and Lynch imbues the whole affair with satire and a deep cynicism.From here, Lynch takes his time with his narrative - which, when you look at it now, is deceptively simple. He uses a very linear approach throughout the beginning of the film. Lumberton is a middle class suburbia where seemingly everyone is pleasant and there's a feeling of safety. It has an air of mystery to it, though, after the discovery of the severed ear.It's from the investigations and uncovering the truth that the film gets more bizarre by the minute and the Lynchian weirdness begins to creep in. This is predominantly with the arrival of Dennis Hopper's Frank Booth. From the plethora of Lynch's obscure and unhinged characters, Frank is the one that seems to get the most attention. It's not hard to see why, though, as this deranged, amyl-nitrate huffing psychopath is a character that lingers long in the memory. It's an Oscar worthy performance from Hopper but, strangely, the academy choose to nominate him in the supporting category for Hoosiers. As good as he was in that film, Frank Booth has become one of, if not, the most iconic performance of his career. For all it's strangeness, though, effectively Blue Velvet is a film-noir. It has all the hallmarks of the sub-genre but, as is usually the case, Lynch puts his own spin on the proceedings. It's dark, gloomy and hugely atmospheric. It's also not without its disturbing elements as it delves into the darkest recesses of the psyche and explores the psychosexual motivations of its characters - which is hinted at with a quote from Laura Dern's angelic Sandy - "I can't figure out if you're a detective or a pervert".This line perfectly sums up the juxtaposition that courses throughout the film. Lynch is interested in capturing the different extremes; in society, human relationships and Freudian and Oedipal subconscious desires. All the while, he keeps us reminded that dreams can so easily lead to nightmares.If there's one moment that showcases Lynch's ability to project mood and capture the extremes it's with a cameo from Dean Stockwell as the suave, glad-handling dandy, Ben. His miming rendition of Roy Orbison's In Dreams using a worklight is simply one of the best scenes Lynch has ever put onscreen. It's at once hilariously comical yet also surreal and deeply fuckin' creepy. A startlingly beautiful yet genuinely horrific tale and proof that Lynch is probably the most subversive of filmmakers working today. This erotic and perversely self indulgent piece of work remains one his best films. To think that this came out in the mid 80's is proof of Lynch's untamed brilliance and majesty.Mark Walker
Victor M (es) wrote: Three convicts together in a very unlikely scape. A special sense of humor.
Tammie D (nl) wrote: I would like to own this movie....can't find it anywhere
Chuck M (br) wrote: Brilliant, American Opera - I-think the best American musical
Pankaj P (fr) wrote: Cary Grant stars as a suave burglar. But that's about it. Grace Kelly is merely a distraction with no real purpose. Her little scheme/purpose in the climax is beyond my comprehension. A nice suspense film but end is way too cheesy.
Donovan Zohan D (it) wrote: I don't see all the hate... at least the jumpscares are actually good, the plot is steady, characters are likeable, what more could you ask for? The atmosphere actually made me paranoid as shit, I had to keep checking the house for ghosts and demons at night haha.
Jeff L (it) wrote: McConaughey gets to display his treasure chest (his beefy pecs) a few times in this meandering flick. This film is similar to '21' in so many ways, in that one person or a group of people stumble on a way of making a lot of cash in a short time, but fate (or American movie convention) intervenes and makes them lose all of it, and the characters go back to being where they were before the 'durian runtuh' hit them. McConaughey loses his touch at picking sports winners for gamblers when he lets the success get to him. His character pressurises a laundry shop owner to bet more than he can afford, who loses US$380,000 and his business and fiancee. But can our hero be bothered about it? Nah, he just caves in and runs back to his small town to coach kids, just for the "pure" enjoyment of it. Pacino rants and raves, as usual, and his desire to bet on his wife is the film's most honest moment.
Tsukasa A (br) wrote: It's boring. I don't want to watch it again.