Botany Bay

Botany Bay

Based on the story of Australia's colonization, this atmospheric drama stars Alan Ladd as Hugh Tallant, an American medical student falsely convicted of robbery and sent on a torturous voyage with other prisoners to the penal colony at Botany Bay. Because of his attempt to escape, evil Captain Gilbert decides to return him to England on charges of mutiny.

In 1787 prisoners from London's Newgate Gaol are to be shipped to New South Wales. Hugh Tallant is an American medical student whom, we learn at sea, was falsely imprisoned. Because of his ... . You can read more in Google, Youtube, Wiki

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Botany Bay torrent reviews

Tom B (au) wrote: LET THE RIGHT ONE IN... your dvd player - DON'T LET THE WRONG ONE IN (= "in me let"), This review is from: Let the Right One in [Blu-ray] (Blu-ray)+++ no information about plot. Thus NO spoilers :-)This is really a fantastic film and one of the best, which I ever saw - and I have seen many many films. I watched "Ltt den rtta komma in/Let the right one in (LTROI)" in the Swedish original with subtitles. In Germany usually ALL films are dubbed, which I loathe.I generally love to see films in the original version, because that feels simply "more genuine" than any dubbed voices.1. the Swedish here contributes a great deal to the singularly melancholy tendency of the film. Another wow-aspect: the unbelievably great music-score, which NEVER forces itself upon, as like much too often in other films. And thus this Score supports/fosters the atmosphere in a simply magnificent way (the US-remake "let me in" - LMI - lacks this quality completely - too bad!)2. the two young actors do act completely more unspectacular and natural - particularly Lina Leandersson as Vampirella Eli is fanatstic. She manages to enact her characters Eli in a way, that arouses compassion and affection for her and she also creates one of the most memeorable vampires of the entire history of film. Eli became truely 3-dimensional and alive for me. Very awesome!3. the integrated coming off age part with first love/affection is told in such a marvelous visual language and patience that it was really a true benefit for me. Nothing here feels fake or specially designed-in. Oskar and Eli let me sympathize emotionally so much with them.4. furthermore there are several takes and scenes, which I am never about to forget. Not to mention the virtuoso camera, which pleased me extremely well.The original scenes were filmed in the winter with up to -30 degrees in north Sweden - and thus they feel so much more genuine and right, than the obviously way cheaper fake cgi-FX from New-Mexico USA in the remake LMI. (e.g. see the swaths when breathing out in the cold winter air).5. the direction also provides some shock moments, required for a real vampire story, yet only to surprise me with a scene of such delicate tenderness and silent poetry shortly thereafter. Unbelievably beautiful. And kind of fairy-tale-ish. I loved that aspect.-------------Ltt den rtta komma in/Let the right one in (LTROI) is superior to the US-remake LMI in literally ANY REGARD.Not, because the original is always better by mere definition, but:a) because of see above 1st and 4th aspect.b) the 2 main characters in the original are "more alive and real", have more intelligent dialogues (the dialogues between the two US-kids in the remake LMI are so shallow and stupid, it is really hard to believe!) and hence their fate also affects me so much more.c) because some of the best scenes from the original were dropped, for what strange reason ever.All in all LTROI creates an almost impossible blend/split between cruelty and tenderness, and this is truely great art !!!Let me in - on the other hand only is exciting entertainment cinema with some shock elements supplied. (approx. 3 - 4 stars)However it is probably just perfectly sufficient for undemanding US mainstream audiences.Rating = 95% (MASTERPIECE)######################################################################95%

Daniel M (us) wrote: a bit drawn out and uneventful. a decent z film nonetheless though.

Kevin D (ru) wrote: A personal effort from Norrington, but surprisingly not terrible. Well, you might think its terrible and can't be blamed for thinking so. It's better than "Death Machine" so give it that.Nothing too original, but a memorable pastiche. The plot concerns some artist du jour chewed up and spat out by the media culture, whose composite spittle lands in a Dickensian dystopian slum. Jason Isaacs tries to kill him, but isn't in so much of a hurry that he can't break out into song now and then. Isaacs rendition of "When a Man Loves a Woman" is worth the rental alone.

Brandon W (es) wrote: Mortal Kombat is directed by Paul W.S. Anderson, and it stars Christopher Lambert, Robin Shou, and Cary-Hiroyuki Tagawa in a martial arts film about a bunch of fighters that got a random invitation to go to a place for Mortal Kombat. With this being one of the first video game adaptations and is on Netflix, I was curious to see how it is, and I played some of the video games, so I know some experience from the series, so with the film itself, it's very cheesy to watch, but in an entertaining way. The acting is corny, except for Cary-Hiroyuki Tagawa who's having fun, Christopher Lambert being intimidating with his voice, and Linden Ashby actually being appropriately a show-off that's faithful to his character. The fight scenes are good and a bit fun to watch, and there are some character development to them that you can sort of root for them. Some of the effects look really good, but there are also some effects that look really cheesy. The writing by Kevin Droney is very laughable, but there are some funny lines from Johnny Cage. The theme song is the best part of the film as it's just epic to listen to, and it pumps a lot of people up. The locations look really cool, which really felt like it's in different worlds, which is nice. Mortal Kombat is a bit of a guilty pleasure that is very lame to watch, but there are a lot of enjoyment moments that I can say that I'm kind of glad I saw this.

Tibor B (us) wrote: An odd little 70s movie and Guercio's only directorial effort. It takes the outsider cinema of the 70s movie brats, but gives it an authoritarian spin, with the main character not being a hippy or a liberal rebel but a by the book motorbike cop. Blake's cop wants to be a detective and get out of the boredom of desert patrols, but a short opportunity to prove himself ends quickly after a woman comes between him and his mentor. Conrad Hall's cinematography is stunningly good, notably a seemingly endless final track out shot. Wintergreen may be the opposite sort of character than those in Easy Rider etc but still shows the same spirit and is an interesting addition to 70s American cinema.

Billie W (ag) wrote: The movie behind the Beastie Boy's "Body Movin'" video. Also referenced in the movie CQ. Fun photography, super score by Ennio Morricone, great 60s sets and costumes (for the hot Marisa Mell anyway). Not exactly campy, but bad acting and incredibly pulpy Italian comics story can't stop it from being fun. Diabolik is the kind of criminal who steals 10 million dollars, killing innocent people without batting an eye, just so he can pile it on his rotating bed and do his chick in it. Also, he is a tax-hating terrorist.

Scott S (au) wrote: Tarzan fights the Nazis in this 7th outing, and I loved it. I guess the studio decided they could justify the excessive violence as long as it was perpetrated against the Nazis. I mean, even Boy and Cheetah the Chimp are wielding guns and shooting Germans. I was surprised to see a Nazi strike Boy in the face, and I loved the way Tarzan taunted the Nazi leader at the end, poking out from behind trees all around him and simply saying, "Nazi" in a condescending manner. It's definitely a war-time propaganda film, and that makes it all the more entertaining for me. The ending, where Nazis are listening to the chimpanzee over the radio, says it all: the Nazis mistake Cheetah's monkey howling for someone else, stand up and salute their fuhrer. I didn't miss Maureen O'Sullivan as Jane in this movie. I think she'd run her course, and it's refreshing to have Tarzan and Boy on their own. It's also interesting to see Johnny Sheffield grow up on camera. Even without the wartime subject matter, this chapter in the Tarzan series is better-paced and better-executed than most others. It escalates nicely, and has a good balance of action and humor. I think it's my favorite so far.

Wes S (ca) wrote: It gives us more Max, but not a whole lot else. The Thunderdome fight is pretty exciting, and there's a lot of good suspense throughout the first half. It goes downhill once Max meets up with the group of kids though, and a lot of characters are underplayed. There isn't as many vehicle stunts in this one, but it's still a action-packed installment.