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Colourful torrent reviews
Chris C (ca) wrote: Executing the perfect blend of scifi-horror and comedy, Big Ass Spider! delivers exactly what the title suggests and solid performances from its leading cast----while playing homage to the 50's creature feature.
Song L (it) wrote: 2 stars for Eva Green. one for each ..
Michael G (jp) wrote: A riveting movie filled with political intrigue and suspense.
Patrick G (de) wrote: evidence that Johnny Knoxville can actually act, this road movie was a good watch. it had elements of the 70s, music biopics, adventure, spirituality and romance. it reminded me of Scorsese's "Alice Doesn't Live Here Anymore" and Tommy Lee Jones' "The Three Burials of Melquiades Estrada."
jason u (kr) wrote: One of the worst movies I have ever seen. Horribly slow. The poorly rendered animated setting is the primary premise of this dull movie.
Shellane M (jp) wrote: OMG! i so want to see this movie for two reasons.. *fangirlsquee*
LaDonna (fr) wrote: I think Adam Beach's character is so cute.
Allison K (fr) wrote: I am at a loss for words. I am a huge Coen Brothers fan, and I've seen their work gets twisty and crazy. This one is certainly no exception. I fell in love with the first two acts, because I felt to in touch with Barton and his struggle. Tuturro played Barton in such a human way. John Goodman was the epitome of a big bear; you want to give him a big hug, but also feel that he could attack at any moment. Once that third act hit, holy moly I was stumped. This film is certainly an acquired taste. It's smart, satirical, twisted, and intelligent. An unsettling think-piece, if you will. And that's not always for everyone. I managed to hold on for dear life, but can you?
Ajay M (ru) wrote: Films have an unparalleled capacity to connect with us and sometimes even to change us. Being a form of art, films are political in their very essence. But sometimes films frame certain political, mental or philosophical issues very specifically in order to make its viewers see this issue from a certain perspective; films essentially act as a window to seeing the world through someone else's eyes. In the words of Slavoj Zizek, 'Cinema is the ultimate pervert art. It doesn't give you what you desire - it tells you how to desire.' Not every political film can be effective; it takes a very precise combination of aesthetics, story plotting, and philosophical thinking to make a film politically effective. With an extremely precise depiction of what actually occurred in a specific place, an intellectually stimulating reflection on violence and torture, as a hymn to independence, and a surreally unbiased view on an easily polarizing subject, Gillo Pontecorvo's La Battaglia di Algeri (The Battle of Algiers) certainly seems to be a politically effective movie.The film portrays the Algerian War of Independence that took place during the years 1956-1957. The National Liberation Front (FLN) decides to shake French colonialism and unite Algerians through a series of guerrilla wars in Algiers. The French responds to this 'terrorism' with the merciless hunting and execution of FLN members through torture or 'interrogation' of lesser ranked militants, a strict control of space, and dividing the city into European and Arab (Casbah) parts. The French finally end up 'winning' the war under colonel Mathieu, but 'lost' the war of ideals and essentially 'lost' Algeria as their actions ultimately contributed to a rise in nationalism amongst Algerians. Colonel Mathieu is a fictional character that represents the French leaders General Massu and Colonel Bigeard. Colonel Mathieu largely succeeds in demoralizing sympathizers of the Algerian Independence. However, only two years later a powerful independence movement suddenly started not long after which the French were forced to grant Algeria Independence. The film ends with the vision of large crowds of Algerians marching through the streets demanding independence.Although Gillo Pontecorvo shot this movie after talks with the resistance leader Saadi Yacef, and by receiving help from the government, he manages to make the film largely unbiased by making the viewers equally sympathetic and critical towards both the French and Algerian sides. There is sympathy for the greatly outnumbered French police; they are not demonized but portrayed as men given a job to do. We see the French repression towards the terrorists by the Police and Colonel Mathieu, but we also see the 'terrorists' planning and executing their actions. Colonel Mathieu is presented with a macho appeal with moments of noble fair play. The rebels/terrorists leaders are also shown as intellectual people who are committed to their cause. The movie does not have clear-cut heroes; alternately, everyone could be considered a hero too. The decision of choosing a side, if at all, is made at an entirely unconscious level, as the film does not consciously cajole the viewer to either side.A remarkably memorable scene in the movie is of three Algerian women who took off their Burqas, cut their hair, and clothed themselves in French fashion. After getting past the checkpoints, they go to a bar, a dance club, and an airport lounge, where they leave handbags full of explosives. As the bombs are about to explode, close-up shots of innocent and vulnerable people like jiving dancers and kids quietly eating their ice creams around these sites were shown; the bombers are shown as if they have accepted this truth and that it was not going to stop them. It is at this point that the audience completely sympathizes with the French. In another scene, Mathew appears in the press with the captured terrorist beside him. He then goes ahead and tells the medial that he respects the man's courage and his dedication to the cause. The leader defends the 'terrorist' organization's tactics of putting explosives in baskets and leaving them in public areas in a very eloquent manner by saying, 'Give us your bombs, and we'll give you our baskets'. Mathew then explains to the media the importance of 'interrogation' in order to stop the rebellion. Right after his explanation was finished, the film them cuts to a series of clips showing how the Algerians were being tortured. This gets an entire debate of the ethics behind torturing going on in our head. The film has made a significant contribution to our views of torture today. We first see the image of a small tortured Algerian man with a shattered face who finally reveals where the only remaining leader Ali `La Pointe' is hiding. We then see Ali and his supporters being trapped in their hideaway. The close-up shots revel their tender and soft faces revealing a sort of innocence in them and gravitating the users to show sympathy for them. The authenticity of the crowd in The Battle of Algiers is truly stunning. The footage used in the film was in fact so realistic that the producers had to put a disclaimer towards the beginning of the film saying that no real news footage or documentary has been used in the film. Despite a large number of actors in the film, it contains only one professional actor, Jean Martin, who played the part of Colonel Mathew wonderfully. All others in the film were non-actors who were picked off the streets of Algiers. Pontecorvo being able to work directly in the Casbah region among the real people with the help of Saadi Yacef certainly adds another layer of power to the film. Some of the best scenes had the faces of the protagonists, victims, and bystanders in close-up shots without any dialogues or voice-over all shot in a beautiful black-and-white that demonstrates their common humanity. It manages to capture the things that went through the minds of Algerians in a unique way. Although black-and-white communicates much lesser visual information in comparison to color film, this limitation seems to have the effect of involving us more deeply in the story, dialogue, and psychology of the film experience instead of the spectacle (Monaco 126).As the US invasion of Iraq went from mission accomplished to a rooted insurgency, the Pentagon invited officers and civilian experts to a special screening of The Battle of Algiers, telling them that the film demonstrates how terrorism must be dealt with. The US in fact played by the same books as the French did by employing mass arrests, tortures, home searches, checkpoints, and blowing up suspected hideouts despite the fact that civilians might be involved. Similar to what happens in the movie, these strategies used by the US largely backfires. One could win every battle but still lose the war. The tactics of intimidating and humiliating people to give up their own country seems to never work out well. The Battle of Algiers has shown the world independence, colonialism, and violence through a new lens and remains a prime example of a politically effective film to this very day.References:The Battle of Algiers. Dir. Gillo Pontecorvo. Prod. Antonio Musu and Yacef Saadi. By Franco Solinas and Gillo Pontecorvo. Perf. Brahim Haggiag and Yacef Saadi. Allied Artists Corporation, 1969.The Pervert's Guide to Cinema. Dir. Sophie Fiennes. Perf. Slavoj iek. P Guide Ltd. ICA Projects (UK), 2006.Monaco, James.How to Read a Film: Movies, Media, and Beyond: Art, Technology, Language, History, Theory. Oxford: Oxford UP, 2009. Print.
Gordon S (fr) wrote: A British Ocean's Eleven from 1960. Superb stuff.
Imani B (it) wrote: Amazing. Beautifully directed. It's a shame the play had to be chopped up just to be accepted as a film project.
Mark H (it) wrote: This is a good example of the Sci-Fi/Horror genre. It also introduces the audience to the ultimate anti hero Riddick. The characters are stranded on a strange planet with a mass murderer, ruthless bounty hunter, and monsters that want to feast on them. No one is safe as they race to get to a ship before the monsters kill them all.