Conquest Of The Planet Of The Apes

Conquest Of The Planet Of The Apes

In a futuristic world that has embraced ape slavery, Caesar, the son of the late simians Cornelius and Zira, surfaces after almost twenty years of hiding out from the authorities, and prepares for a slave revolt against humanity.

In a futuristic world where apes are household pets that are treated like slaves, Caesar, the son of the late simians Cornelius and Zira, surfaces after almost twenty years of hiding out from the authorities, and prepares for a slave revolt against humanity. . You can read more in Google, Youtube, Wiki

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Conquest Of The Planet Of The Apes torrent reviews

James A (mx) wrote: Tries too hard to be stylish and avant-garde to the extent of becoming pretentious. Thanks to Isabelle Huppert's performance as a repressed and conflicted housewife, otherwise, this movie is all style but no substance.

Kym c my community profile R (de) wrote: Not as cute as the original, but the puppies are just too cute to pass up watching the movie. Delgado returns & we (meet?) Pedro and what a 'smile' on him! Lol... with a smile like that... It'll keep even Fmily away!! There's a few chuckles & laughs.. (love the way the dogs catch a coupl eof the robbers) C

Eddie C (fr) wrote: crud - gold standard

Johnny L (jp) wrote: A bit cheap but still entertaining.

James H (ru) wrote: Cheaply produced, and the plot is so ridiculous it almost makes it interesting. Definitely hokey, the acting is below average. Silly, to say the least.

Irma A (ag) wrote: this movie pissed me off but i gave it and extra star because it does leave a mark on you and is very memorable.there were times when i wanted to hit craig, lotte and maxine.they are awful people.all of them.the story-telling was spectacular.and the ideas too.all these three deserve to rot in hell!

Dave S (br) wrote: Watchable film would have been better if The Miz was in it more!

Blake P (ca) wrote: Writer/director Tony Gilroy's merciless political thriller "Michael Clayton" (2007) is a thriller of the ears. It draws out suspense on the most basic of levels, sure - it's essentially a race against time movie wherein the villains are so cool and so intelligent that they're well able to elicit more fear than your typical malevolent forces - but more chilling is its dialogue and the way its characters, all of whom are dwellers of a power hungry world that doesn't much care if you live or you die, use it to maim the propensities of others. "Michael Clayton's" eponymous anti-hero, played by the brilliantly calculated George Clooney, is such a wordsmith. His tongue's forever playing with fire, and he's come to learn that serving niceties isn't the most effectively way of getting what you want in a land that thrives on intimidation. Makes sense: he's a "fixer" for an upper-crust New York law firm. He's the man you call when a scandal's about to potentially erupt; he's the man you call if you need to find someone to create some kind of distraction to divert attention away from the real problem at hand. His knowledge of loopholes and his affiliations with powerful figures has made him a hot commodity. "I'm not a miracle worker," he sighs to a frantic client (Dennis O'Hare) pleading for a way out of his current entanglement. "I'm a janitor." But in the film is he just steps away from leaving it all behind. Never has every aspect of his life been so morbid, so deeply unhappy. On one side is his personal life shrouded in total gloom. He's divorced, mostly seeing his kid during all too brief rides to school. He's $75,000 in debt as a result of a misguided restaurant co-investment with his drug addled brother. But his professional existence is even more riddled with despair. His firm's leading attorney (and Clayton's quasi father figure) Arthur Edens (Tom Wilkinson) has suffered a disturbing manic episode that took place during a life-or-death deposition regarding a class-action lawsuit, and, in the aftermath, is threatening to reveal damning evidence that paints agricultural product manufacturer U-North as highly (and knowingly) unethical. And the conglomerate's general counsel, Karen Crowder (Tilda Swinton), is more than willing to take lethal action to prevent that information from leaking to the press. Clayton, of course, is the man responsible for cleaning up the messes left behind by nearly everyone around him. The movie, though, never proves to be the message picture it seems poised to be. It's sure of its claims that the legal world is oftentimes a vile, cruel place - those claims being told, certainly, with the melodrama that comes with any sensational account - but "Michael Clayton" is more about a man's existential crisis and the repercussions that come with his sudden disillusionment with his dog-eat-dog groomed lifestyle. For so long has Clooney's Clayton been the definition of a world-weary, seen-it-all cynic. But in the film does he come to realize that he's far gone down the hole of ethics breaking for the sake of protecting others who mostly don't deserve his willingness to put his morality on the line. Within the movie's two hours does he attempt to make some sort of right, even if the making of that right includes more, ahem, ethics breaking. And that making even is made more investing by the tense chemistry conjured up between Clooney, Sydney Pollack (as Clayton's boss), Swinton, and Wilkinson, who all fascinatingly bring out disparate aspects of Clayton's crisis with himself. Pollack, superbly stern, is perhaps the only person Clayton's able to respect in his profession, if only because he embodies what the former might look like in the grips of looming retirement. Wilkinson, exquisitely unhinged, represents all the reasons why Clayton's put up with his job for so long. He's had to cut corners regularly, but his long-standing relationships and his dedication to the few people he looks up to are what keep him motivated. His losing grip of that security is heartbreaking, though Clayton'd never let us easily see that vulnerability. But the most compelling relationship in "Michael Clayton" rests between the latter and with Swinton's Crowder - it's a poisonous affinity in which takedown is the name of the game. Possibly such engrossment rings loudly because Crowder is the utmost intriguing character in the film: she's a creation, a master of the art of the facade. (When we first meet her, she's in the midst of rehearsing every word, every gesture, to be delivered in a meeting to take place later that day.) Always protecting the masquerade that epitomizes who she thinks she is (or, who she wants to be), her willingness to off others to save her own skin is more interesting than horrifying. How a person can completely lose their compassion is perplexing, and Swinton, who won the Oscar for Best Supporting Actress for her characterization, captures that loss of humanity perfectly. She and Clooney, incendiary when in any scene together, have a wonderfully noxious rapport. Their final exchange makes for one of the decade's best scenes. Everything about "Michael Clayton" is seamless, its performances thrilling, its dialogue stinging, its direction wonderfully chilly. And yet it lacks the sort of urgency necessary for a movie of its sort. Centrally are its characters working against the clock, and yet the most breathless subplot to comprise the film (being Crowder's frantic ventures to maintain her power) is oftentimes pushed aside as the least important. But the film's nonetheless a whip smart beaut. Find a screenplay as sizzling as Gilroy's and you might as well consider yourself to be in the presence of a masterstroke.

Sierra S (mx) wrote: I think this is the absolute most greatest movie I have ever seen. I have a love and passion for horses and this movie goes to prove that they are loyal, majestic and intelligent creatures that will truly inspire those around them. It couldn't be more true. It definitely gets a lump in your throat from how badly some people treat these beautiful animals. But also lifts your spirits with the bond between Albert and Joey. I hope one day I will find a horse that I could share such a strong bond with. His is the perfect movie for any horse lover.

Rex A (ca) wrote: I like tennis. Romantic comedies about tennis aren't as good. Lesson learned.

Aleksandar J (ag) wrote: Nazalost, najbolje u vezi sa ovim filmom je - naslov. Iako isti nagovjestava da bi u pitanju mogao da bude dobar stari gnusni kanibalski film u maniru italijanskih remek-djela s kraja sedamdesetih, ovo je zapravo komedijica o feminizmu. Jeste da je film povremeno duhovit i da nije dosadan, ali pravi zlocin je sto nema skidanja a u glavnoj ulozi ni manje ni vise nego SHANNON TWEED (?!)