A college freshman who trains in martial arts is beaten up at work by a racist gang. His co-worker, a Chinese cook, beats the gang up and trains the young man in Kung Fu. When a tournament is to be held, the teacher tells the student that he will not teach him for money. However, when the gang beats up the student's best friend, the student now must make the choice of entering the tournament or keeping the promise to his teacher.
- Stars:Ken McLeod, Tang Tak Wing, Matthew Ray Cohen, Mark Williams, Kendra Tucker, Roland Francisco, Katie Mohler, Michael O'Connell, Rob Lastiri, Chris Jordan, Harry Mok,
- Director:Eric Sherman,
- Writer:Roxanne Reaver, Teresa Woo
A college freshman who trains in martial arts is beaten up at work by a racist gang. His co-worker, a Chinese cook, beats the gang up and trains the young man in kung fu. When a tournament ... . You can read more in Google, Youtube, Wiki
College Kickboxers torrent reviews
(it) wrote: Fix the smallest piece.
(kr) wrote: Weird but interesting story, to fall in love with someone who looks exactly like your past love. So who would you love more? Hmmmm
(kr) wrote: Hey! My brother-in-law wrote the script. I read it and it's very powerful. Someone please bring this film stateside so I can see it, already!
(de) wrote: Stirring...lest we forget
(mx) wrote: Famous for its notorious sexual nature as well as featuring the presence of Chloe Sevigny, I was eager to see The Brown Bunny to get insight into Vincent Gallo's filmmaking style and see if it lived up to the controversy.The Brown Bunny goes for a melancholic angle. At first it seems interesting from an experimental perspective, but it really quickly becomes mind-numbing which causes the film to become a huge bore. The Brown Bunny is a film which goes from random dramatic scenes intended to explore the emptiness in the life of Bud Clay through simple silence and random shots of Vincent Gallo participating in minor activities to shots of him driving along the road while music plays. This is essentially the entire film. The Brown Bunny is that for a straight 93 minutes while viewers must attempt to decipher the overly subtle messages in the story. The only way I understood that Bud Clay was actually haunted by the memories of his former lover was by reading about it online. The fim itself was way too subtle for me to figure that out and too slow for me to actually care. Despite having potential, The Brown Bunny starts out as somewhat interesting and gradually dissolves into the pretentious bore that it cannot escape being. The Brown Bunny is clearly a film with the best intentions and experimental passion, but Vincent Gallo's vision does not actually transition to the screen all that well. The idea behind The Brown Bunny is a touching one which with the best meaning behind it and there are certainly elements that stayed with me for a while after seeing the film, but the way a film makes think is different to the overall experience. The fact that I thought about the final scene in the film shows that the film had promise and potential, but I enjoyed The Brown Bunny more after the slow ordeal of actually watching it was finished, and it doesn't take a genius to realise that this means it is a bad film.As a whole, the film feels like an experimental student film stretched into 93 minutes. It is clearly an experimental arthouse feature, but it just feels so amateur. What really irks me is the fact that somehow this film ended up costing $10 million. This amateur production with many unknown actors somehow ended up costing a full $10 million when it barely looks like it cost more than $500,000. The question of where all that money went is one that I cannot help but ask. I kept my eye out in an attempt to answer that for myself, but there was never material which actually explained that to me. Nothing is explained in the film, most of it is strictly implied through the most subtle fashion available. How this film actually cost $10 million actually puzzles me because if there was a reality show dedicated to remaking The Brown Bunny with a smaller budget, I'm sure that people would be able to do it with less than $10,000 if they used the right connections. I don't know where all the money went, but the murky visual style of the film is not one of the places it went into.The visual style of The Brown Bunny is truly unconventional. In a really arthouse fashion, The Brown Bunny is composed of shots which have a slightly blurry yet still clear visual aesthetic which remain in a single position for extensive periods of time with use of minimal editing. Like the overall film itslef , it had some quality potential at the beginning but eventually it just became overly simplistic. It gets dull and captures nothing but excessively simplistic really fast, like it was directed by a 1970's porno director. By massive coincidence, there is actually pornographic material featured in The Brown Bunny which makes this notion all the more noticable.The Brown Bunny serves as notable for the one scene where Chloe Sevigny performs a fellatio on Vincent Gallo. Many people have called this exploitive, and it's not hard to see why. The scene is barely relevant to the film. Some people claim it shows Bud Clay in the one scene where he feels anything beyond melancholia, I'd say it was the only scene in the film that stuck out from the other 90 minutes of Vincent Gallo's other body parts and the long driving sequences. The entire film is a slow bore which makes this single moment the most memorable aspect of the film. It is hardly worth judging the entirety of The Brown Bunny based on this cene when it is actually the most entertaining scene in the film simply because it stimulates the viewers blood to run to their genitals after the rest of the boring qualities in the film have drained it from their brains so brutally. Still, it is irellevant to the rest of the film. Vincent Gallo can market The Brown Bunny as a film where Chloe Sevigny performs an actual fellatio on screen in a "legitimate" piece of cinema, but he still can not do enough marketing to make it an entertaining film. What Chloe Sevigny contributed to The Brown Bunny will give it more notoriety than Vincent Gallo ever could, and it is a shame because this scene damaged her career. I don't pin Vincent Gallo or Chloe Sevigny for their decision as it is unfair to judge either of them all on the basis of this one scene. The problem is with the rest of the film, and that is the simple fact.The performances of the cast at least manage to add some level of benefit to the feature.Vincent Gallo's performance is half-decent. For such a self-indulgent film, he actually pulls off a decent performance under his own stiff direction for the first half of the film. He projects a real sense of frailty, a sad sense of humane weakness into the role. The first half of The Brown Bunny shows some spirit in his acting abilities, but the material gradually challenges him less and less until it reaches a point of affecting her performance. When he has to act like he is crying he comes off as artificial because his face isn't seen and his voice sounds really corny and feels more like a whine than a cry. The focus on his character gets lost in the second half of the film which is a shame considering that he was good in the first half and he showed promise with how through subtle acting he can convey so much emotion and weakness. When things get heavier he proves not to be up to the challenge. His performance is of mixed quality, but what is clearly present is much potential and I applaud him for his efforts in some of the moments.Chloe Sevigny is reduced to a very minimal period of screen time in The Brown Bunny which is a shame because I really like her as an actress. Still, in her scenes she acts like a guardian angel to Vincent Gallo and the emotional scenes that they share have her speaking in a monotonous but weak manner of voice which suggests there is something hiding behind her character. Chloe Sevigny has dull material to work with, but she is a welcome presence nevertheless.So The Brown Bunny has the best intentions and some decent acting moments, but they are smothered beneath an overly slow pace and dull visual style which makes the film a pretentious tale of boredom.
(mx) wrote: All three short stories could've made interesting feature-length films but not an anthology film.
(fr) wrote: A very flawed yet enjoyable film. What makes it enjoyable is the inclusion of the legendary Robert De Niro who as always gives a top notch performance in everything he is in. Edward Burns also proved to be good in his supporting role. Despite the impressive cast, Kelsey Grammer, Vera Farmiga etc. it still can't reduce the film's absurdity level. The plot was a little far fetched also. But on a positive note I am always up for a good cop thriller and also De Niro who is my favorite actor is in it so no doubt I'd watch it. The film was thrilling and the pacing was well. It had some good chase scenes and intense situations. The ending and climax was satisfying as well. Not a bad film perhaps a tad underrated, its not a 'great film' but it is good. Very entertaining.
(kr) wrote: one of the few movies that i can actually enjoy throughout
(ru) wrote: As stylistic as it was, It was not that engaging for me. I knew the subject matter was out of my league.
(de) wrote: Who would say that such a giant piece of turd would actually have a sequel?! What about two??? More action-oriented and with an incredible count of how many times the word "shit" was spoken (by the same actor!), Carnosaur 2 comes back for more, this time with a director that shows his HUGE passion towards James Cameron films: -The teenage retard is clearly a copy of Edward Furlong's character, including his technological "geekness". -A reference to Aliens is made when the aforementioned character drives a forklift and uses it to fight the T-Rex. -The whole movie is an Aliens rip-off. Oh, wait wait wait!!! Hear this: The T-Rex, when fighting the kid, literally grabs a pole with its mouth and throws it at the forklift! LOOOOOL!!! 10/100
(ag) wrote: This movie is amazing!!!!!
(kr) wrote: A good Neo Noir movie in the tradition of Alfred Hitchcock
(ru) wrote: John Carpenter toma el amor por los autos clsicos y lo vuelve un viaje sin reterno hacia la locura y la muerte en "Christine" , aunque un auto no asuste tanto como un asesino serial clsico de esa poca.
(au) wrote: Often considered by serious kaiju fans to be the worst decade for the Godzilla franchise, the 1970s nonetheless managed to turn out some very memorable and fun films. This, the final chapter in the Showa era that began in 1954 with the original Gojira/Godzilla, King of the Monsters, ended the first generation on a high note. Besides bringing back Mechagodzilla, Terror of Mechagodzilla throws in a new monster to team with Godzilla's cyborg doppelganger and some intriguing human drama.A group of simian aliens disguised as humans (the same at those from the previous year's Godzilla vs. Mechagodzilla) has rebuilt Mechagodzilla to use as a tool for world domination and destruction. At the same time, an ancient ocean-dwelling creature known as Titanosaurus has arisen from his aquatic home to wreak havoc in Japan. The eccentric Dr. Mafune (Akihiko Hirata), who was laughed out of the scientific community for his theory about the existence of Titanosaurus, aligns himself with the Simians and allows them to control Titanosaurus. Once again the big G must save Japan before the aliens' goal of conquest becomes a reality.Unlike previous installments in the franchise, Terror of Mechagodzilla does away with the tradition of giving Godzilla a partner to fight the evil monsters. Instead, the big B must do battle alone with Titanosaurus and Mechagodzilla. I actually liked this change of pace because it forces Godzilla to be more self-reliant in his battles. At one point, it almost seems as if everyone's favorite reptile is down for the count.An interesting subplot concerns the daughter of Dr. Mafune, Katsura (Tomoko Ai). After being shot, the aliens agree to bring Katsura back to life by implanting a control device in her heart. The once doting daughter of Dr Mafune has now become an impassionate cyborg. It is through the efforts of lead hero Akira Ichinose (the dashing Katsuhiko Sasaki) that Katsura begins to rediscover her humanity. However, this love affair has tragic consequences for Akira and Katsura alike. I shall not proceed in spoiling the beans here, but you will be touched by the climax where Akira is faced with an impossible choice.Titanosaurus makes for an imposing monster here. Our first look at the prehistoric beast is a majestic low angle shot of him rising from the ocean to destroy a submarine. This shot establishes Titanosaurus as a truly frightening creature, but not a completely evil one. After all, he is under the control of the aliens. Titanosaurus is a worthy opponent for Godzilla, using his tail to create windstorms and relying on his powerful kicks and throwing abilities. For his final bow in the Showa series, a new Godzilla suit was constructed. Although not the best Godzilla suit, he looks far more aggressive than in some of his other '70s appearances. Godzilla's first appearance doesn't occur until much later in the film, but it is a treat worth savoring. He rises from behind a patch of skyscrapers with a flurry of lights illuminating his arrival. This shot is the definition of the word "epic."Keep in mind that Eiji Tsuburaya, the architect of the inventive SFX for Toho's kaiju films, was deceased by this time. Teruyoshi Nakano, who took over as director of special effects for Toho in 1971, did an admirable job in redesigning the big G and also in creating Titanosaurus and Mechagodzilla. Details that particularly stand out are the orange fins running up and down Titanosaurus's back, Titanosaurus's reptilian eyes, and Godzilla's scornful eyes.Series veterans Ishiro Honda (without question the greatest film director to come from the Land of the Rising Sun) and Akira Ifukube (likewise for film composing) came back to work their magic on Terror of Mechagodzilla. Needless to say, they both turned in remarkable efforts. Ifukube's score shows a wide range, moving from the somber to the rousing. Honda keeps both the monster fights and the tension between the aliens and the humans moving at a fast clip. Terror of Mechagodzilla would be the last Godzilla film until 1984's The Return of Godzilla got the series back on track. There were a few ideas for potential reboots tossed around in the late 1970s, but sadly none of them ever came to pass. Still, titles like Godzilla vs. Gargantua and Godzilla vs. the Devil would have made for good movies. Considering how inferior movie series like American Pie and Saw continue to be sequelized, it's a crying shame the world never got to see Godzilla battle Old Scratch himself.Anyway, that's enough of my bellyachin'. At least we have a satisfying conclusion to the Showa era of Godzilla films. Although I personally don't believe there is such a thing as a truly bad Godzilla movie (the abominable American remake doesn't count), Terror of Mechagodzilla definitely improved on some of its precedecessors in the story and SFX departments. Best of all, Messrs. Honda and Ifukube returned to make this a slam-bang finale. For Godzilla novices and veterans alike, this is highly required viewing.
(kr) wrote: One of my top favorites. This is my go-to example for how comedy/horror genre mixing should be done. The horror doesn't damage (and in fact, enhances) the comedy, while the comedy doesn't diminish the scary bits. This is managed through excellent use of pacing. The film maintains a great sense of atmosphere and tension throughout. I was a little let down by the ending, maybe just because I feel like I have a snobby idea of how it could have been done better, but I can find very little to fault in this. Highly recommended to horror fans who like a good laugh and can appreciate a period piece.
(ag) wrote: From the writing, acting, score, soundtrack, and direction, Straight Outta Compton is a flawless piece of art.