A decorated Army veteran goes undercover as a prison inmate to investigate the death of a Senator's grandson, who was killed while behind bars. Once under lock and key, he finds himself at the mercy of an all-powerful guard whose deadly influence reaches far beyond the prison walls. His only chance for freedom now is to escape ... or die.
- Stars:Eric Roberts, Tommy Lee Thomas, Sheila Campbell, Matthew Ansara, Alex Ariza, Patricia Bosse, Tiffany Brouwer, Jim Carretta, Dave Casper, Marc Chenail, Chris Conlee, Michael Durack, Lisa Enochs, Amy Fadhli, Bill Fishback,
- Director:Jefferson Edward Donald,
- Writer:Jefferson Edward Donald, Tommy Lee Thomas
An ex-soldier is hired to infiltrate a corrupt jail. . You can read more in Google, Youtube, Wiki
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(it) wrote: Well played, psychologically sensible characters. The young woman makes a deadly driving that kills two and changes her life. She feels a nagging guilt throughout and wants to help the surviving victim. This would remove guilt to some degree. The other earth is nonsense that is used to illustrate a progression of feelings. It also put us in a out of this world mood, a strange feeling. Our curiosity is aroused. The story is rather elementary and some of it predictable. The woman is pleasant to look at and follows her feelings. It is not really science fiction.
(ru) wrote: A Spanish journalist, Roberto Torres (Dougray Scott), is trying to mend his relation with his dying father, Manolo Torres (Wes Bentley), who took part in the Spanish Civil War. Roberto discovers through his investigations that his father was a close childhood friend of Josemara Escriv (Charlie Cox), a candidate for sainthood, with whom he had a complicated relationship. Manolo became a soldier during the Spanish Civil War and became obsessed with a beautiful Hungarian revolutionary, Ildiko (Olga Kurylenko). She rejected him and gave herself to a brave militia leader named Oriol. Manolo became jealous and took a path of betrayal which he has suffered from his whole life. This event ultimately reveals the importance and timeless power of forgiveness for Manolo...Roland Joffs "There Be Dragons" explores themes such as betrayal, forgiveness, friendship, and finding the meaning of life in everyday life during the Spanish Civil War of the 1930s. "Reconciliation matters" is the main take away message that Joffe expects from the viewers. Life, he said, is an opportunity to love: "It's a choice, and in making that decision you become free. You do not become free when you hate. The weird thing is when you really love, you feel it like a breath of freedom, you think 'Oh my God, I've chosen this, and it's beautiful'." He emphasized that Christianity is about love and the teaching of St. Josemaria "encourages a spiritual relationship with God in 'very simple things', in cooking a meal, being with one's family, or even having a fight." Joff states that this is "a film about what it means to be a saint in this day and age." The title refers to its theme exploring the unknown territories of hatred, guilt, and forgiveness, said the producer Ignacio G. Sancha. "There be dragons" is a shorter version of the phrase "here there be dragons" from the Latin hic sunt dracones, an ancient way of denoting in maps a place where there is danger, or an unknown place, a place to be explored. Roland Joff has given us the fantastic "The Mission" and the equally great "The Killing Fields", and therefore it pains me to see this overdramatised and theatrically overacted piece of film from the same man. With a great backdrop of the horrific Spanish Civil War, Joff manages to transform "There Be Dragons" to an almost comiclike mish mash with sloppy direction and sloppy acting despite the fact that he obviously had a great budget. Sometimes you almost believe the movie has been dubbed as well... With an estimated budget of $36,000,000, during its opening weekend the film collected $705,537 at the US box office, compared to $1,251,124 in Spain, the film is considered a box office flop. Critics generally praised the film's production values but panned Joff's screenplay and direction. I disliked this movie from scene one and nothing came to its rescue during the running time. I would love to see a proper historical movie in spanish focused on the Spanish Civil War.
(au) wrote: Why do these sports related types of movies always get me all choked up and teary-eyed? I don't even care for sports!
(ca) wrote: Perhaps the most affecting film I have seen yet.
(jp) wrote: Cadillac Records [US, 2008] Something blues and rock n roll fans will find hard to hate. 6/10
(gb) wrote: Very informative, but it keeps showing how he meant business as opposed to all optimism and happiness. It also explains his true genius, he could tell a story unlike anyone else. A visionary in every sense of the word.
(nl) wrote: This started off well with some humor. Then when you see Godzilla, the film is ruined. It continues to be entertaining but it should have been called something else. This is not Godzilla. This is a movie about a giant asexual lizard that hatches velociraptors.
(br) wrote: Main character (Mike) reminded me of a Woody Allen-like persona, lost as the world whirls around him. Vincent Vaughn as his charismatic pal at times runs away with the movie, but overall it's a great ensemble-type piece. Perhaps would have liked to have seen Mike trying to do things without his mates more. But his friends had his back and to watch them making sure Mike is OK is really touching. A couple of great scenes with Favreau and his answering machine/telephone.A real indie feel to this movie. Perhaps they could have edited the extended music scenes, but a minor quibble.
(gb) wrote: Still liked it but not as good as the first two but still has the good elements.
(jp) wrote: A film that at its core is about the struggle to please one's parents, "Catch Me If You Can" brings this incredible true story to cinematic life, owing much of its success to Leonardo DiCaprio's enthralling, charming performance.
(gb) wrote: If I recall correctly, Dee Wallace's kid had an ET toy...strange violation of time/space continuum.
(us) wrote: Universally cheesy at best, it's still a classic, and one movie that brings back alot of Teenage bliss!
(it) wrote: Silly, absurd, witty, literate. Full of itself. Great fun.
(jp) wrote: We??ve got a slick inversion of King Kong, a somewhat more skillful reprise of the city-smashing scenes from Rodan, and a whole lot of stuff that no one in Hollywood would ever have thought of. Not only that, Mothra features the largest-scale miniatures in the entire Toho canon, making for the most beautifully detailed destruction of Tokyo yet filmed. But somehow the parts don??t quite fit together right. The Twin Fairies?? probably the most attention-getting feature of the whole film?? never have much to do. In contrast to their later appearances in Godzilla vs. the Thing and Ghidrah, the Three-Headed Monster, their role here is entirely passive, and they end up being rather uninteresting. The idea of a basically good monster raining destruction on the innocent because of the actions of a few corrupt men is another brilliant twist on the formula that is never given enough room to operate. Mothra itself just isn??t a big enough presence in the movie to allow for a serious exploration of what it represents, but at the same time, the knowledge that we??re supposed to be rooting for the monster deprives the rampage scenes of most of their impact. The latter effect is only intensified by the obvious absence of people from the city sets Mothra destroys, an unfortunate side effect of the larger scale on which they were constructed. Another major problem has to do with the way the movie??s human characters were handled. Screenwriter Shinichi Sekizawa seems to have been unable to settle on any one person to be the main protagonist, but he also failed to create anything that might meaningfully be called an ensemble. Instead, the dramatic emphasis shifts with little apparent regard for the flow of the story between Fukuda, Nakazo, and even Shiro. With this wandering emphasis on the one hand, and the equally indecisive vacillating between 50??s formula elements and radical departures from them on the other, it??s hardly surprising that Ishiro Honda??s direction seems profoundly confused and, frankly, directionless. Nevertheless, Mothra was a hit, both in Japan and in the United States, and after King Kong vs. Godzilla showed just how big a moneymaker a kaiju sequel could be (the earlier Gigantis the Fire Monster/Godzilla Raids Again hadn??t done nearly as well), it was inevitable that the giant lepidopterid would be coming back for more. Most of Mothra??s subsequent appearances would be more than a little on the lame side, but the monster??s first return engagement?? Godzilla vs. the Thing?? was everything the original Mothra should have been, but wasn??t.
(ag) wrote: Good movie. Vibrant colors throughout and a good message of being true to yourself and not letting others' opinions affect you too much.