Coldwater

Coldwater

A teenage boy is sent to a juvenile reform facility in the wilderness. As we learn about the tragic events that sent him there, his struggle becomes one for survival with the inmates, counselors, and the retired war colonel in charge.

A teenage boy is sent to a juvenile reform facility in the wilderness. As we learn about the tragic events that sent him there, his struggle becomes one for survival with the inmates, counselors, and the retired war colonel in charge. . You can read more in Google, Youtube, Wiki

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Coldwater torrent reviews

Melvin W (au) wrote: Like Water is a documentary on UFC fighter, Anderson Silva, and the lead up to his extremely publicized 7th title defense fight against Chael Sonnen. It's a short little movie, but it was very entertaining to watch. If you like UFC and the whole circus atmosphere is exudes, then this movie will give you even more of an appreciation for it. The movie doesn't really dive too deep into the legend of Anderson Silva, but it gets the surface level stuff done well enough.Basically liking this movie comes down to one thing and one thing only. Do you like watching two people beat the shit out of each other? If yes, then this is definitely worth a look. It's even more worth it if you've been a follower or fan of Anderson Silva for a long time. The guy is obviously a remarkable fighter, entertainer, and athlete. It's weird seeing this movie now, after he just lost the belt, but nonetheless, Silva's image of one of the best fighters ever can never be taken away.

Michael S (mx) wrote: I was really into the way this film was shot and edited. The acting is also amazing but thats to be expected when the cast is headed up by Isabelle Huppert. Her performance coupled with Denis's direction is pretty enticing, but the story itself just doesn't give you much to care about. I liked it more than I didn't but it wasn't nearly as compelling as I would have hoped.

Michael V (nl) wrote: I see a lot of people comparing this to such movies as Saving Private Ryan and Apocalypse Now. These people must suffer from open head wounds. For most of the running time R-Point works, as a good but not great thriller. There is a slowly building sense of dread as it goes on that thankfully never becomes overwhelming. It's not perfect as most of the men blend together and you really have no idea who is who. The real problem is that around an hour or so in the film starts to not make sense. Events become disjointed and there are some turns that seems out of left field. Granted this is a film that asks you to pay attention as little things early on show up later or give clues to what(TM)s going on, so if you look away you may feel lost. Which I did and I was lost but was pretty much able to piece it all together in the end. The pace was really slow moving and the scares just didn't happen. There were some really good scenes and moments though. I'd like to go back to it one day and hopefully it'll be better with multiple views but for now it's staying a good attempt that just didn't make it.

MEC r (it) wrote: I did not really like this movie.

Christopher K (jp) wrote: This movie has been compared to a modern day version of the Catcher in the Rye, but since I found that reading that book pointless and boring, I don't consider the comparison a compliment at all.I lasted half an hour.

Christian Q (nl) wrote: I enjoy s l jackson but honestly he's too intense

Ola G (gb) wrote: In 2056 AD, Earth is in ecologic crisis as a consequence of pollution and overpopulation. Automated interplanetary missions have been seeding Mars with atmosphere-producing algae as the first stage of terraforming the planet. When the oxygen quantity produced by the algae is inexplicably reduced, the crew of Mars-1 investigate; a crew consisting of Dr. Quinn Burchenal (Tom Sizemore), an agnostic geneticist, Dr. Bud Chantilas (Terence Stamp), an aging philosophical scientist and surgeon, systems engineer Robby Gallagher (Val Kilmer), commander Kate Bowman (Carrie-Anne Moss), pilot Lt. Ted Santen (Benjamin Bratt), and terraforming scientist Chip Pettengill (Simon Baker). When Mars 1 is damaged in arrival, Bowman remains aboard for repair while the others land to locate an automated habitat established earlier to manufacture food and oxygen. During insertion, the team's landing craft is damaged and crash-lands off-course. In the aftermath, "AMEE" (Autonomous Mapping Exploration and Evasion), a military robot programmed to guide them, is lost, and Chantillas suffers a ruptured spleen and internal bleeding, and tells the others to leave him behind. Santen refuses, but Chantillas tells them that they only have eight hours of oxygen left to make it to HAB 1, the automated habitat placed on Mars. Chantillas tells Gallagher that it's all right, as he got to see Mars for the first time, and the others leave to allow Chantillas to die in peace. In orbit around Mars, Bowman contacts Earth, which informs her that Mars-1 is in decaying orbit, but offers hope of restoring engine function in departing Mars.The crew must depend on one another for survival on the hostile surface of Mars, their doubts, fears and questions about God, man's destiny and the nature of the universe become defining elements in their fates. In this alien environment they must come face to face with their most human selves..."Red Planet" has a great cast with Sizemore, Kilmer, Stamp, Kilmer, Moss, Bratt and Baker and all give solid performances in this apocalyptic science fiction thriller adventure. The set up with Earth on the verge of dying is as current as ever as it was back in 2000 when the film was produced and this creates a sense of "now" when re-seeing it. However, the idea in the film how to terraform Mars by growing a special type of algae on the surface of the planet might be a bit farfetched and believable as a storyline. Then again its a film, not reality. Parts of the problem with "Red Planet" is the script that doesnt manage to explain certain plot twists, certain scenes and certain actions as well. This keeps making the film feel a bit messy plus the CGI is not up to scratch all the time. Which also builds on the unbalance in the film. Having Stamp die that early on in the film is a mistake in my book, as he adds so much weight. And why is Carrie-Anne Moss put in a nude shower situation that really doesnt add anything to her character and the fact that she keeps on walking around in see through tank tops a bigger part of the movie. Great actress and a beautiful woman for sure, but those scenes are simply not necessary. "Red Planet" is not too bad, but theres too much that doesnt connect in the story and it never really becomes that exciting as you would hope it would.

Yury D (ru) wrote: Tanya Roberts. Mmmmm....

Blake P (kr) wrote: Luke doesn't think of himself as a legend. Sure, he's a decorated Korean War vet, and sure, he has good enough looks to inspire widespread questions of stardom. But he ain't perfect. So imperfect is Luke, in fact, that something as stupid as cutting heads off parking meters during a drunken stupor lands him in a chain gang, despite a solid reputation and round-the-clock likability. When arrested, he doesn't put up a fuss. To hell with societal expectations. When he unceremoniously arrives on the grounds of the prison, he is instantaneously targeted by his personality searching counterparts. He's a picturesque panther in a crowd of wild hogs. They torment him, mocking his every word, attempting to find a demeaning nickname that suits his sardonic face - but he won't have it. Luke is a man of integrity, of bravery; his ability to withstand dire conditions makes it easy for his peers to eventually idolize him. All it takes is a losing fight where he just won't back down, and a willingness to devour fifty eggs for the sake of proving a point that doesn't really matter in the first place. He does all this with a smiling face, somehow ignoring the brutality of the guards and the fact that he is, you know, spending the next two years in prison. If you were to only watch the first half or so of "Cool Hand Luke", you might look at the titular protagonist in the same way you did Harry Callahan and Frank Bullitt, an anti-hero worth bragging about to your friends because you knew him, because he was cooler than you ever were, because he was a crazy S.O.B. that didn't have much of a problem with questioning the MAN. But the film is a multifaceted account of an idol, a layered portrait of someone who seems flawless in the context of one's soul searching thoughts, but, in truth, is just as much a mess as the fellow messes of the 1960s and beyond. Perhaps the men of "Cool Hand Luke" will always see Luke as that guy who knew what justice was, the guy who didn't let the beating sun damage his seemingly uncrushable spirits - but the movie is just gutting enough to remind us that, beneath their slick dexterity, maybe John McClane was hot shit because he had to survive, not because he was trying to be hot shit. Maybe Philip Marlowe looked danger straight in the eyes while also fearing for his life. "Cool Hand Luke" doesn't see its anti-hero through lazy rose-colored glasses; it doesn't want us to see him that way. It is a prison movie too optimistic for its circumstances, one that just so happens to have a movie star leading the array of buffoons. And once the film suddenly and quickly takes a turn down kitchen-sink-realism lane, we realize that "Cool Hand Luke" was never optimistic to begin with; it only seemed that way because its world was seen through the eyes of the prisoners that placed Luke on a pedestal for so long. When Luke unexpectedly jumps off his pedestal and becomes a man who can't take the beatings of the guards any longer, our smiles are, without warning, slapped right off our faces. Paul Newman could have become the next Clark Gable/Cary Grant/John Wayne, a pretty boy with enough of a rugged exterior to pass himself as a movie hero, but the '60s changed any preconceived notions one might have had. (Not that there were many, considering his star-making turns in 1950s fireballs "Somebody Up There Likes Me" and "Cat on a Hot Tin Roof".) He sprinted from one anti-hero role to the next, evidenced by "The Hustler", "Hud", and "Harper", all unseen by be (besides "Harper", which I enjoyed many moons ago and can hardly remember). "Cool Hand Luke" is said to be his peak, his most famous moment of the '60s. It's hard to disagree: Newman doesn't just provide us with one of the most investing cinematic characters of all time; he also gives a tremendously heartfelt performance, tricking us into thinking that he's an assured societal diamond accidentally in the roughest place in the state when, in actuality, he's a lost soul in search of existential meaning after finishing his prime years. We become convinced that his drunken mind must have told him to steal the coins of parking meters because he simply had nothing better to do besides become someone else's God. Stuart Rosenberg's direction is arguably too cinematically voluptuous for its own good, making the life of a chain gang member seem sweeping and summery, like something out of a Loretta Lynn scented country song. But maybe we only see the beauty, the characters finding themselves in an atmosphere emotionally similar to that of "Papillon". But the screenplay, penned by Donn Pearce and Frank Pierson, is stunningly moving, upstaging Rosenberg's many intriguing directorial choices. They find a commonplace between pity and empathy for the prisoners who spend their days doing nothing except idolize Luke. They don't make them pathetic; we somehow understand that they probably never had a father to look up to and never had anything to discuss at home besides a female that glanced at them once or a cathartic bar fight they participated in a few days back. Most notably is Dragline, portrayed by George Kennedy, who goes from active chain gang bully to Luke worshipper. His fascination does not come from a homoerotic place; it, instead, is an unexpected twist in a life that has been cruel to him. Finally, he has a friendship with someone that doesn't fear his toughness and doesn't write him off as a not so gentle giant. Luke doesn't quite feel the same way, but we have an affection for Dragline. He is so blinded by his new emotions of adoration that, even when Luke shows signs of human struggle, he can hardly ignore the charade that plays out over and over again in his mind. Long after Luke leaves his life, he will still be telling new meat, and, later on, family members and bar patrons, the stories of Luke and what he meant to him, while they nod along politely, never quite understanding why the protagonist of his story was such a supposedly incredible guy. Kennedy, who won the Oscar for Best Supporting Actor, is unquestionably terrific. But "Cool Hand Luke" is Paul Newman's movie, and is, on a broader scope, the movie that flipped the anti-hero clich onto its back and reminded us that, hey, anti-heroes have feelings too. The film is as level-headed as it is romanticized. We see life from the eyes of Dragline and Luke himself, as it just comes to show that a cinematic world isn't as much of an escape as we normally expect it to be.

Tom K (us) wrote: Oof! MSTK3K introduced me to the classic Gamera films back in the day and that is the only way to watch this!

Chihoe H (ru) wrote: The second half was much better than the first that laid most of the groundwork. Some parts were dreary and drawn out too long, but the movie was very moving and informative.

stephanie g (it) wrote: I love it have it back on Netflix us streaming please, :)