Slip, Sach and the gang (Bowery Boys) think an air-raid test is for real and join the Army.
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Payton S (de) wrote: A family friendly film for the whole family 2 enjoy ??
Andrew F (br) wrote: Exactly as I expected. Stupid but fun.
Sathi S (fr) wrote: A woman with amazing strength to serve her country knowing that death would ultimately come before democracy. She was wise beyond her years. How Pakistan and the World would have benefited from her leadership.
Matthew B (jp) wrote: This movie tries to be a good romance with some laughs at parts. but the movie came off awkward and unfunny and they did that cliche at the end that she wins the day, everyone loves her, yeah yeah heard it all before.
Ian C (au) wrote: Assez mauvais, mais Batista est le highlight du film !
Ilya S (au) wrote: Fantastic! Great piece of modern art
Pamela D (nl) wrote: MINDFLESH (Independent, 2008)WRITTEN BY: Robert Pratten based upon the novelby William ScheinmanDIRECTED BY: Robert PrattenFEATURING: Peter Bramhill, Carole Derrien, Christopher Fairbank, Roy Borrett, Steven Burrell, Isabella Jade Fane, Lucy Liemann, Clare Routh GENRE: HORROR/SCI-FITAGS: fantasy; aliens; nudity; rape; 100 Weird!RATING: 8 PINTS OF BLOODPLOT: A troubled man with a dark secret unwittingly summons from another dimension, an alien nymphomaniac. She just may represent a race of gods, and they're none too happy about her latest tryst.COMMENTS: Wow! Mindflesh threw me for a loop and really knocked me back in my seat! Discovering a prize like this in a media slurry of mainstream mediocrity is like running across the fabled Star of India in a trash heap.Slick, fresh, Mindflesh is a bizarre horror yarn about sexual obsession, body disassociation, and morbid metamorphoses. Independent writer/director Robert Patten outdoes himself, making an extreme departure from his first feature length effort, London Voodoo (reviewed below.) Mindflesh is a surreal shocker. It's sexy, grotesque, and provocative. It's a crazy, jarring ride through alternative consciousness, through the chilling, the macabre, the uncanny, and the wantonly perverse. Patten has accomplished the nearly impossible task of visually translating to the screen in a sensible manner, William Scheinman's quirky, metaphysical novel, White Light, replete with all of its dreamlike nuances, grim foreboding atmosphere, and otherworldly Ick! factor.What transpires in Mindflesh isn't presented via corny, over-simplified exposition, yet we manage to achieve an intuitive grasp of the phenomena that unfolds. The result is a movie that challenges us with its imaginative concepts, yet is not hard to understand.Chris (Peter Bramhill) lives after dark, quiet, solitary, driving a mini-cab through the swirling night fog along the damp asphalt traverses of darkened London. Dimmed neon signs, empty boulevards, abandoned parking lots, the lonely, sleeping city is his domain. Issuing from the receivers in his cab is the distracted soundtrack to his nocturnal patrolling, a mottled, perpetual backdrop of scratchy radio traffic -dispatch messages, police reports, weather bulletins, and static. It's a world alien to that which most of us are accustomed.Chris finds out just how alien it can be.He may have some special sensitivity. Chris is haunted by murky half-memories of something awful from years ago. Increasingly, he suffers from terrifying dreams and hallucinations. From a book, he encounters the hypothesis that trauma warps our plane of existence, creating holes in the fabric of space time through which various phenomena cross between parallel worlds.Chris's suppressed angst, unmet inner need, wistfulness, and loneliness radiate from him like an aura. By chance, it catches the notice of an enigmatic stranger with a similar perceptive gift.During his travels through the urban twilight, in shadows, out of the corner of his eye, in his rear-view mirrors -is it a trick of the light? - Chris gets mysterious glimpses of an apparition, a woman (Carole Derrien ), solitary, resolute, watching him.Her appearance is accompanied by electromagnetic disturbances. His automobile compass spins wildly. Radio transmissions warp and undulate, becoming unintelligible. When Chris approaches the mystery woman, she vanishes into a smoke trail, shimmering out of sight in a spiral of mist.Chris desires her absolutely. An inter-planar transcendence takes place. The woman achieves a physical manifestation, acquiring form out of thin air. Has Chris willed her into this world, or has she willed herself here, entwining with our plane of existence in order to entwine with Chris?She flickers in and out of earthly reality, until In an example of utter Pygmalionism gone awry she materializes from the skeleton up. Organs fill in the gaps, skin follows. Slick with lymph and blood, basking in the presence of Chris's humanity, she finalizes like a caterpillar transforming in the chrysalis.She is a quantum Goddess; sex incarnate, saturated, oozing, seething with desire. She and Chris engage in a ghastly, slimy, ethereal coupling, an obscene union of heaving, illicit, inter-species sex. In her amorous frenzy, the Goddess trashes Chris's apartment, seducing him tirelessly, repeatedly, transforming him into a quivering lump of catatonia. She pulls him into her alien universe and he undergoes a bodily transformation into her peculiar native anatomy.Problematically, some very frightful aliens make the scene. They have heavy grievances about Goddess leaving her plane for the earthly realm. They're willing to do some very nasty things to get her back.!Chris is burdened with the job of returning her, and sheer hell awaits him if he falters. To achieve his salvation, Chris must discover how the Goddess is linked to a sinister episode in his deliberately obfuscated past.But how?Mindflesh is colorful and wonderfully twisted. Arban Ornelas's score effectively reinforces its vivid imagery and seamlessly blends the film's segue-ways. Patten's striking cinematic technique is captivating and compelling. His transitions between scenes, the way he melds flashbacks, dreams, and hallucinatory experiences artfully conveys their meaning in a manner that's concise and logically accessible to the audience.Mindflesh is almost a 10 Pints Of Blood horror film. It just misses the bullseye. Chris's Achilles heel is right out of a famous Greek tragedy. The effect is melodramatic. More surprisingly, in the otherwise sound screenplay, there are a couple of easily avoidable logical flaws which occur later in the story, We try to overlook these incongruities because they pale in comparison to the movie's sensationally striking visual and imaginative elements. For a horror movie, Mindflesh is in the top tier, sporting visual effects and horror styling reminiscent of Altered States, Videodrome, Hellraiser, Possession (1981), Species, and Splice.
Pedro O (ru) wrote: Um bom roteiro faz um bom filme.
Patrik T (us) wrote: Nice story and good acting in a small budget chamber play. Way too lame and boring though.
Susan M (kr) wrote: This is a fantastic movie. It made me laugh, made me cry, and increased my respect for our history. I felt such sympathy for Thomas Jefferson and Sally Hemings. It's so sad when society will not recognize love between two people. It's just as true today, as gay people fight for the right to marry.
Alex V (ru) wrote: For this incredible child song... and Aldo Lado's talent to get Venice into a very macabre place !!!
Greg W (br) wrote: i can see how this pic influenced george lucas"thx1138" and ridley scott in "blade runner"
Private U (us) wrote: I like Bela, but this is too corny and boring to be special.
Bleak M (kr) wrote: Just look at that cast. You can't lose unless you require a credible plot, and don't like the songs.
Indu R (au) wrote: This movie was a funny movie. It was good, but not as good as the other two sequels.
Nathan C (it) wrote: A well-done historical epic that is dramatically effective. It shines, mostly due to the masterful performances by Peter O' Toole and Richard Burton. O'Toole is humorously maniacal and gripping, while Richard Burton is g and subtly compelling. This makes for quite a contrast... and some riveting chemistry.
GARY L (de) wrote: Grew up watchin this movie. Nobody can steal Eastwood's thunder but Mario Van Peebles Stitch Jones character almost steals the show...almost.
Justin T (ag) wrote: Film Noir that is done moderately well. There aren't really any huge twists. When it gets to the end you're not really shocked and you're not really let down, you're just... there.
Brian C (kr) wrote: Chloe Moretz and Jeffry Deam Morgan are great in the boring mystery. There are just too many illogical red herrings, bad acting and horrible editing to make this movie anything but a jumbled mess.
Zachary E (ru) wrote: Sixteen Candles is a movie that deserves a rewatch from everybody whom has hailed this as a great seminal piece of film, because frankly it is and still is in a constantly changing and declining world of terrible comedies. Sixteen Candles is a movie of it's time and not just that it's drenched in the 1980's it also seems to be a movie rated PG, and in todays day and age it would no doubt earn itself an R rating due to it's constant use of swear words(which is very accurate towards teenage vocabulary), and one scene featuring nudity. John Hughes was a legend in the world of film for one reason he was always able to take a simplistic concept and build upon it, the simple concept taken for Sixteen Candles like most of Hughes's great films is placed right in the title, it's a girl's sixteenth birthday. The girl in question is Sam played by a Hughes regular Molly Ringwald, while Sam at times can be annoying with her constant over dramatization of events happening, I as someone whom has a sister can tell you that this is completely accurate to how a teenage girl acts. Ringwald turns in a stellar performance being just likeable enough so that you'll root for her despite the annoying dramatic aura she comes packaged with, what are we rooting for you may ask, well for her and Jake Ryan to get together at the end despite the fact that it seems like she's invisible to him, Jake is a character who's likeable throughout the entire film, as somehow the single most mature character in the entire feature, someone whom is looking for something real, not just wanting someone because of their looks or because they're "popular" but actually wanting someone for which he can actually be a boyfriend to, the second part of that word should be emphasized. Then of course we round out the main cast with Anthony Michael Hall's character whose name is never said rather he is just known as The Geek, it should be mentioned that despite the fact this movie is supposed to be Ringwald's it quickly becomes Hall's the moment he struts onto the screen, perfectly dorky, charming, and funny Hall is a character whose purpose in this movie seems to be to just free up the thoughts of our other 2 mains so that they aren't just talking to themselves about the problems they have. They are also many fun supporting characters adding some nice comedic moments along the way, notably Long Duk Dong(whom some would claim is a rascist character, but the film never directly mocks him rather they mock his actions and the situations he's in, and the other notables are The Geek's friends whom always have stuff on their heads, and Sam's family members all of which have their moment in the sun. While cheesy at times the film manages to make you smile all throughout it's runtime. In terms of films that perfectly encapsulate the teenage years, only one movie has ever done it better and that film is oddly enough also directed by John Hughes