Chernobyl: The Final Warning
True story about the tragic nuclear power plant accident in Chernobyl.
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Chernobyl: The Final Warning torrent reviews
Tommy D (au) wrote: As Jason Segel, Alyson Hannigan and Neil Patrick Harris never gave me weird feelings about portraying other roles than Marshall, Lili and Barney, I have always had struggles seeing Josh Radnor and Cobie Smulders being anything different than Ted and Robin.But this time Radnor's performances really had its own personality and the whole movie was a genuine and fresh experience, thanks also to the good performances from the rest of the cast.
Curtis C (jp) wrote: The characters in this movie are pathetic and unlikeable. The exact opposite of what makes a light hearted comedy work. This movie does nothing to demand your attention.
Rob R (ru) wrote: Solid movie with great actors. There is just one plot whole that I really can't get past.
Nicket S (jp) wrote: started well but faltered badly,terrible.
Jay B (de) wrote: Absolutely one of the single worst films I've every tortured my senses with. This sequel captures NONE of the fun of its predecessor, but manages to amplify ALL of its cheep, gory, immature scraps. There is seriously NOTHING worth sitting through in Cabin Fever 2.... even if you believe a disease could cause this kind of mayhem... they don't bother to follow ANY of their own rules. True garbage.
Mel V (kr) wrote: SCREENED AT THE 2006 SAN FRANCISCO INTERNATIONAL FILM FESTIVAL: At 82, most filmmakers, major and minor, have either retired or shuffled off this mortal coil. Not so (or rather not yet) for Japanese cult director Seijun Suzuki ([i]Tokyo Drifter[/i], [i]Fighting Elegy[/i], [i]Branded to Kill[/i]). Suzuki leaves no anachronism unturned or unused in what might be the last film of a career spanning six decades. Suzuki has directed more than 40 films, but he?s primarily known in the West for a string of yakuza thrillers made in the mid- to late-60s. With [i]Princess Raccoon[/i] ("Operetta tanuki goten"), a remake/reimagining of a Japanese operetta that dates back to Japan?s Golden Era of filmmaking, Suzuki has put aside the typical concerns of a man near the end of his life (e.g., impending mortality, changing moral codes and values), and indulged, or rather self-indulged in a bizarrely original, if no less, flawed, romantic musical/fairy tale. [i]Princess Raccoon[/i] is set in an almost recognizable past, the late 16th century, when Westerners made their first, short-lived contact with Japan. As [i]Princess Raccoon[/i] opens, the Old Maid Virgin (Saori Yuki) informs the Lord of Castle Grace, Azuchi Momoyama (Mikijiro Hira), of a change in his personal fortunes. As vain as he is powerful, Momoyama learns that his son, Prince Amechiyo (J Odagiri), will soon take his place as the most handsome man (or woman) in the realm. Understandably unhappy with the prophecy, Momoyama has his son drugged and abandoned on Kairasu Mountain, a holy mountain that also happens to be home to the ?tanuki,? shapeshifting raccoon-like forest spirits. Abandoned on the sacred mountain, Prince Amechiyo awakens to the sight of Tanukihime (Ziyi Zhang), a/k/a Princess Raccoon, in human form. Prince Amechiyo and Princess Raccoon fall instantly in love. Unfortunately, the laws of gods and men prohibit their union. Lord Momoyama learns that Prince Amechiyo has survived. Momoyama sends the Old Maid Virgin to find the prince. Princess Raccoon?s court lady, Hagi (Hiroko Yakushimaru), also objects to the union between them, helping to capture the prince and imprisoning him in the palace. With the lines of conflict loosely drawn, [i]Princess Raccoon[/i] turns on whether Princess Raccoon and Prince Amechiyo?s impossible love will overcome all obstacles, from the mundane and murderous to the magical and the metaphysical. Whether they do or not, however, is the thinnest of storylines to hang a two-hour, camp musical on to, but Suzuki certainly does his best to keep viewers entertained or distracted through colorful sets, lavish costumes, and dance numbers inspired by Noh, Kabuki, rap, and rock music styles. Performances, however, are usually limited to static singing sans dance moves during the musical numbers, which adds an overall unenergetic, repetitive feel. Amechiyo wears a large, silver cross around his neck, European diplomats whisper conspiratorially in their native languages at Momoyama's court, Momoyama's sorceress employs the Virgin Mary for assistance, and Momoyama lingers over an oversized Renaissance painting (presumably a gift from a far away, European prince or king). Consciously or not, [i]Princess Raccoon[/i] seems to draw its (Western) references [i]Snow White[/i], [i]Sleeping Beauty[/i], [i]Wizard of Oz[/i], and [i]Alice in Wonderland[/i]. Either that or Joseph Campbell was right about universal cultural myths and stories (he probably was). Technicolor dreamscape, musical, comedy, pop-art fantasy. [i]Princess Raccoon[/i] is all that and more (or less, depending on your perspective and your tolerance for campy excess). Suzuki employs a variety of music styles, from rap to pop to modern rock, all without a change in his performers clothing (they stay firmly rooted in an imagined, feudal past of bright colors and textured robes). It's all richly stylized and designed, but to what end and purpose? Suzuki was obviously less interested in looking back with nostalgia, criticizing contemporary society for falling short of the values and expectations of his generation, or even in crafting an elegiac meditation on mortality. The closest [i]Princess Raccoon[/i] comes to social commentary is the contrast drawn between the tanuki and the humans, with the tanuki relatively content to live in peace and prosperity (they refer to the lives at the palace as paradise). In one musical interlude, Hagi sings about destructive, greedy humans that pose a threat to the tanukis. To see more in [i]Princess Raccoon?s[/i] simple storyline of ill-fated love, would be a stretch. Then again, Suzuki probably didn?t want to go deeper. [i]Princess Raccoon[/i] is almost certainly a celebration of Suzuki?s youthful memories of Japanese film, music, and theater (mixed incongruously, superficially with modern art forms). It's also overlong and self-indulgent.
J M (kr) wrote: Well, it's French. It is very French.
Another V (ag) wrote: What I liked best about this spy action thriller is the suspense. This is a fun mix of cerebral and action. One of my all time favorite spy movies.What do you know? It was directed by Tony Scott!
Andrew T (gb) wrote: Slow start, good ending. Average movie though.
Craig R (gb) wrote: essential. Julia's performance is tour de force. close the school of the americas.
Edith N (kr) wrote: Not Typical Capra, Anyway There are some fictional places known more for their name than their origin. I doubt one person in ten knows the origin of "Utopia," and I doubt one in a thousand has read the book. Goodness knows I haven't, haven't ever really wanted to. It's something about Saint Thomas Moore, really; his last words amuse me, but I don't think I actually want to read his writing. Similarly, I have never actually read the novel [i]Lost Horizon[/i], wherein Shangri-La appears. James Hilton, the author, was influenced by the actual Buddhist tradition of Shambhala, but in the decades since the book came out, it is Hilton's spelling which has come to dominate Western thinking. I think most people know kind of vaguely that Shangri-La is supposedly in Tibet, but I doubt most of them know why--or care. There is an uprising in China. A planeful of Westerners, mostly British, are making their escape. Only they are flying east, into the heart of Asia, not west, to Shanghai. (I think.) The plane stops only once to refuel, and then they take off again, only to crash high in the Himalayas. There, they are rescued by natives and taken to the sheltered valley of Shangri-La. Among the travelers is Robert Conway (Ronald Colman), intended to be the next British Foreign Secretary. It turns out that Shangri-La is a place of magic powers, a place where there is no illness and where youth lasts centuries. However, the High Lama (Sam Jaffe) is at long last dying, and he has brought Conway and the others to Shangri-La so that Conway will replace him. Unfortunately, Conway's younger brother, George (John Howard), is not so satisfied with Shangri-La as the others. He, along with the lovely Maria (Margo), wants to return to civilization--and he wants the older Conway to come. Honestly, the best part of the movie is Edward Everett Horton as the stuffy paleontologist. He has made a discovery in the Chinese highlands of a megatherium fossil, which will overturn quite a lot of paleontology. (Actually, he's quite right about that, though I don't know it he should have been knighted over it. Currently, the megatherium is exclusively known to have inhabited the Americas, and finding one in Asia would be astonishing.) He seems stuffy. He probably always has been.. But the air of Shangri-La loosens him up. This means that we get both delightful types of Edward Everett Horton behaviour. We get him as the intellectual who has a hard time remembering that not everyone knows as much as he does, and we have the slightly goofy man attempting to entertain children with stories. He is, to me, on that long list of "actors I love and have to identify to practically everyone." The movie, of course, has the casual kind of racism you get from this era. Despite the fact that Shangri-La is a repository for all the world's knowledge, it takes the arrival of Henry Barnard (Thomas Mitchell) to bring in plumbing. So okay; that might be a place where the skill is important. But the High Lama isn't Tibetan. We're not even talking things like how Chang is played by H. B. Warner--not one of [i]those[/i] Warners, one of a distinguished family of British actors. We're talking the character, who is from Luxembourg, of all places. And when the High Lama is dying, he sends for an Englishman. There is also a disregard of the life of the pilot--actually, both pilots. They were supposed to have been flown in by an English-speaking pilot, who disappears from the movie without a trace, and the Tibetan pilot dies bringing them to Shangri-La, we never know quite how or why. Because, I suppose, he might tell Our Heroes what was going on before they were supposed to know. In a way, it could be said that most Capra, or at any rate most of the best-known Capra, is about a longing for Shangri-La. George Bailey wants to travel to find it only to discover that Bedford Falls will do just as well. John Doe is seeking Shangri-La for all of us, and Jeff Smith is creating camps of it for boys. Similarly, the fondness a lot of people have for Capra's films comes from imagining a fanciful world where nothing goes too very wrong. In the end, Good always triumphs over Evil. Gloria (Isabel Jewell) may be a tough woman of dubious reputation, but she's good at heart and can't be allowed to die of what's probably tuberculosis. (She has a cough and six months to live.) Henry didn't mean to scam his investors, and he can do better helping the villagers of Shangri-La than he would in an American jail. It'll all turn out right in the end, in the Land of Capra.
Tor M (fr) wrote: Weirder than the first film and it has gotten a huge face lift - effect-wise. It's a very similiar story. Some crooked villains doing bad stuff to Gotham, and Batman is on the case.This time the most crooked guy is a Penguin-man. He is not as strong as The Joker when it comes to punchlines. He is not as good acted out eiter, but he is nastier and more repulsive. More serious in a way. The girl is important this time too, but Michelle Pfeiffer never nails it as Kim Basinger did. The Catwoman stuff is not a success for me.So, a little weaker story, wackier but not better other than when it comes to effects.OK entertainment, but it's going down hill with the elder Batman-series I'm afraid.6 out of 10 CD-scratches.
Fabian Q (jp) wrote: Mierda de pelicula, hasta los mismos personajes lo dicen en la pelicula, que ms quieren?. Le doy 1 estrella por las morras NOMAS
Johnny B (es) wrote: Unique and great action scenes. But poor script and nauseating. Couldn't completely pay attention because the shaky camera was all over the place