Cool as Hell
From the makers of Hack Job and I Spill Your Guts! Rich and Benny have always had trouble with the ladies, until they befriend a demon named Az. It's a non-stop party until a killer, soul eating beast leaps through an open portal from the underworld and starts terrorizing their city. Now it's up to Az and the boys to send the creature back to the depths of Hades where it came from, all the while looking good and doing it Cool As Hell in this horror comedy. Featuring a killer punk, hardcore and metal soundtrack and appearances from genre favorites Tom Savini and Frank Mullen as well as Andrew WK, the Meatmen and more!
- Stars:James Balsamo, Tom Savini, Andrew W.K., Dan E. Danger, Frank Mullen, David Naughton, Billy Walsh, Tim Ritter, Scott Levy, Donald Farmer, Caleb Emerson, Alaine Huntington, Lauren Adamkiewicz, Samantha Rose, Sam Awry,
- Director:James Balsamo,
- Writer:James Balsamo
Rich and Benny are having trouble with the ladies, until they befriend a demon named Az. It's a non-stop party until a soul hungry beast leaps through an open portal from the underworld and... . You can read more in Google, Youtube, Wiki
Cool as Hell torrent reviews
(it) wrote: This is actually a superhero story, especially superheroes gone bad. Pretty interesting plot!
(fr) wrote: not bad of a movie that is from canada and deals with pot
(gb) wrote: 2/10So unfunny it hurts
(it) wrote: Very good little indie film. It has a message and it's heard. Good acting and good directing make this a good film to spend some time with.
(au) wrote: I give it 5 stars because they made this movie really not caring what any one thought it is insanity. It is one of the darkest comidies out there that doesn't flinch when it says or does something terrible. It just rolls on to the next punchline. I love it.
(br) wrote: Pretty standard tourist horror flick. Doesn't add anything new to the genre, but it's effective enough to waste some time with it.
(ca) wrote: Mindless but funny Kenan and Kel movie.
(mx) wrote: Woody Allen is perhaps one of the most versatile directors that ever graced Hollywood. He is very funny and very tender. So neurotic and yet so romantic. He can write an action movie, a mystery movie, a fantasy movie, and here in Everybody Says I Love You, he gives us a wonderful ode to the Hollywood movie musical. It was as if the 30s through the 50s were re-imagined. I could see Gene Kelly or a Judy Garland in this picture. There is also that touch of Woody to ensure you that it is truly an original. The film has, as usual, an all star cast and the funny thing about it is that apart from a few people (like Goldie Hawn) the film does not feature that many professional singers. Instead of singers they give us actors like Edward Norton and Natalie Portman; really! Them in a musical! Well yeah why not? The film takes place in New York City, Paris, and for a good portion of the film Venice. This might have been the beginning of Woody's transition to Europe love instead of everything being in New York. But what would Allen do without New York? So there has to be some element of that in this film, and he uses it perfectly, as always. The film is narrated by D.J (Natashia Lyronne), the daughter of Joe (Allen) and Steffi (Hawn). Now here is where I will give you the family tree here because at first it can be a bit confusing: Joe and Steffi were once married but divorced. They are still very good friends, and she is married now to Bob (Alda). She has four kids with him: Skylar (Barrymore) who is getting married to Holden (Norton), Scott and only son (Lukas Haas), Lane the second youngest (Gaby Hoffman), and Laura (Portman). Well as with a lot of Allen films, Allen's character just cannot seem to luck out with women. He gets dumped and he has no idea why. When he goes to find comfort in his friends Steffi and Bob I was instantly reminded of one of his earliest films Play it Again Sam (1972). Only this time there is music. It seems so natural. The fact that a lot of the characters are not the greatest singers make this film better for the sole reason that it seems realistic; more authentic. I mean why can't the average man just sing when he feels like it or when words are not enough. There are some subtle conflicts in this film, and the plot is more complicated and in depth than that of a normal musical. Holden and Skylar are in love, but Skylar falls in love with this ex convict, Joe has fallen in love with a woman that needs psychiatric help, and with the help of DJ, who secretly listens in on the woman's therapy sessions, Joe knows what to say at the right time. The woman by the way is Von (Roberts) who is an art obsessed woman. Alda has problems with his suddenly Republican son, and to top it all off Laura and Lane are in love with the same boy. This is a musical so I think that I am safe in saying that all problems are resolved and we can all live happily ever after, even if it is an Allen film. What gets me about this film, apart from the wonderful stories that seem to blend in so well, is the performers. Woody Allen knows what makes a good character and he knows how to find the right people to portray those characters on the screen. This time his choices are interesting. The person you would think that would be most out of place would be Edward Norton. Norton is one of the most talented and serious actors working today. His resume speaks for itself; American History X (1998), Fight Club (1999), The Illusionist (2006), the Painted Veil (2006), and so many other great films, but this seems to b reaching. I mean really, Edward Norton singing and dancing in a musical comedy. Oh, well Mr. Norton you impress me all the more with this film. One can argue that this is his more versatile role of his career and it is one of his best because he is at complete ease speaking in Woody tongue and he seems to take a delight in being simply goofy. I admit that I am not usually fond of Barrymore, but I must say that she manages to take control of her screen time with a certain authority. Her character is not the most important, but Barrymore seems more adept at being a supporting player, and she takes her screen time and makes out like a bandit each time. Apart from Norton, there are other great performances by Alda, Roberts, Hawn, and Allen. Oh what the heck, every single character was fantastic and there is not a dry spot to be found in this cast that has remarkable chemistry. The song selection are all oldies, as you can imagine. Allen wanted to make a classical musical, and he manages to pull it off; a feat that has been attempted by other directors, and each have not managed to find success in doing so. I know that some movie goers will be put off by the singing at times. Yes the singing is not always the best, but there is a tender sweetness to their voices that you cannot help but shrug that fact off. The scenery is magnificent and the script is gold. The performances are great, so is there a problem. Well this film is Woody. Almost too Woody. He does not really break the mold here in his story. In fact it is like Play it Again Sam just with music and no Diane Keaton (who would have been superb as Steffi [no disrespect to Hawn]). I love Allen's plots. They are practically a genre of their own, but there are times where you I feel that he needed to branch out a little more. Perhaps have his character get the girl rather than having the girl leave him all the time. Maybe his male stars can be a little more aggressive rather than neurotic and clumsy. Oh well, it is a winning formula and it makes us laugh so to the change is not really that necessary, but sooner or later he is going to have to jazz it up a bit. With so many sub par musicals coming out (if they are made at all) it is great to finally see a modern musical that can keep up with the old and leave us a little nostalgic and whistling a tone to yourself. Hey maybe we can sing a musical number ourselves....just make sure that your not in public.
(it) wrote: This is not the usual kind of DeVito movie where he is brimming over with sarcasm. This is more than that! A really genuine personal experience with seemingly real people.
(jp) wrote: my head kinda hurt after i watched this. as in, my brain was kicking me from the inside for actually allowing myself to finish watching it.
(es) wrote: Excellent menacing psychological "Hitchcockian" suspense thriller, packed with atmosphere. But then with the creative clout of Brian Clemens, Robert Fuest, Laurie Johnson and Albert Fennell behind it, that's hardly surprising! Fine acting too from two stunning leading women, and the rest of the cast deliver the goods as well! A perfect example of Brian Clemens' own philosophy of "taking violence off the screen and putting it back where it belongs --- in the mind of the viewer"...
(mx) wrote: This is almost as confusing as "The Big Sleep", Hollywood's other Marlowe film of 1946, but with Robert Montgomery as a cynical disembodied voice behind a distracting cameras-eye-view visual technique, the character isn't nearly as effective as Bogart's take.
(es) wrote: Very surprising film. Was expecting just a bunch of guys underwater but instead we got a realistic, tense thriller set in around underground caves. God knows why James Cameron has his name all over it considering he didn't direct or produce it! Very enjoyable, although Ioan Gruffudd's American accent is too over the top for me... as bad as Ewan McGregors! That aside, good film!
(kr) wrote: NOTE: This film was recommended to me by Alex Olsen for the "Steve Pulaski Sees It."Screenwriter/director Nancy Meyers continues to defy all romantic comedy conventions by doing a few things that are often missed by screenwriters of the genre. Instead of focusing on incredulous romances and meet-cutes, Meyers is quick to focus on the characters involved in these on-screen relationships, developing them by closely following their mannerisms before they become involved in the film's core romances. Secondly, she places emphasis on the dialog of the characters while they are in these relationships, rather than their actions, and even if circumstantial incredulity comes into play, you almost miss it because Meyers crafts such likable on-screen presences that it isn't so blatantly obvious that they are saying and doing things that are a bit too playful with narrative conveniences. Finally, the emphasis on conversation and character relationships helps Meyers naturally include humor and wittiness to a screenplay that would otherwise try too hard to be funny or relevant.The end result is The Holiday, a very natural romantic comedy, with a quartet of strong performers and a story that takes its time to build over the course of two hours. Interestingly enough, most romantic comedies exhaust themselves past the one-hundred minute mark, but The Holiday defies convention by taking a liberal amount of time to illustrate two brewing romances on opposite sides of the world that all began because of adventurous feelings by two introverts.The film opens by introducing two characters, Iris Simpkins (Kate Winslet), a column editor for a newspaper in London and Amanda Woods (Cameron Diaz), a movie trailer producer in Los Angeles. Iris has been in love with her coworker Jasper Bloom (Rufus Sewell) for over three years, despite him cheating on her when they were dating and that her love has gone unrequited. Iris winds up becoming more upset when she learns Jasper is engaged and she, well into her thirties, is still single. Amanda, however, has been a workaholic since the startup of her company, and the result has taken a toll on her live-in boyfriend (Edward Burns), who packs up and moves out after he reveals she has been cheating on her.Both women are in need of a vacation, and upon discovering one another on a chat-room, they agree to a "house swap," where Iris will go live in Amanda's spacious, Los Angeles mansion and Amanda will live in Iris' small London cottage over the course of the holiday season. During her stay in Los Angeles, Iris meets an elderly man named Arthur Abbott (Eli Wallach), who was once a screenwriter during the Golden Age of Hollywood, in addition to Miles (Jack Black), a charming employee of Amanda's who has an obsession with films scores. Meanwhile in London, after initially slugging away at wine and holiday snacks, a drunk Amanda winds up meeting Iris' brother Graham (Jude Law) when he, also drunk, knocks on her door one night expecting Iris. The two commit to having a one-night stand, but when they realize their dynamic and chemistry is something neither of them can deny, the morning after becomes that much more complicated, especially when Graham allows Amanda to meet his kids.The Holiday ostensibly sets itself up for immediate failure by focusing on two separate romances. That narrative structure is a constant problem with romance films because they struggle in trying to humanize and develop both relationships under a reasonable amount of time. For Meyers, time never seems to be a factor; she starts liberally, by revealing more about the characters through their mannerisms and their choices rather than by with whom they interact before inviting the love-interest into the picture. By including characters like Amanda's ex-boyfriend and Wallach's ex-screenwriter character, Meyers also shows that she has more on her mind than simply cranking out a dime-a-dozen love story. She wants to populate a film with characters that simultaneously mean something and fill a film with a great deal of entertainment value.The result is a film that's breezily paced, but never fluffed, remarkably charming, but never saccharine, and humbly emotional, and never manipulative. This is largely thanks to Meyers' screenwriting, but also thanks to the talented cast of performers, specifically Winslet and Black who are trying to break out of their own character archetypes throughout the entire film. Consider Winslet's character, who could easily be a faceless, mopey spinster. Instead, Winslet is a deeply sympathetic character because she's not dysfunctional nor is she a comical trainwreck. Consider the scene where Iris is beside herself, talking with Miles about the perils and the unrelenting sadness of unrequited love and it how strips not just a piece, but several pieces, from your ability to love, trust, and sympathize with people. It's a truly sad monologue that Meyers wisely doesn't choose to milk for tears, but rather, pure, unadulterated honesty.Meanwhile, Black gives a performance that is perhaps his most delightful mixed of controlled chaos yet. While he is more restrained and casual here, his zealous, roly-poly tendencies sneak in on various occasions, particularly the video store scene where he brilliant recites harmonies and melodies of film scores. Cameron Diaz and Jude Law serve as the more predictable couple, though that's not a bad thing, for they are the narrative anchor that keeps the film from taking off into another world. You're bound to have a preferred couple watching The Holiday, and for me, the insights and the consistent charm of both Winslet and Black's characters was an instant winner for me.With all that in mind, The Holiday works as a very lovable piece of entertainment, and furthers Nancy Meyers' status as one of the smartest female directors working in the business today. Her careful craft when it comes to assembling a romantic comedy is shown with every character in the film, and rather than cluttering Holiday with useless caricatures or sticking to a basic love quartet, she surprises on multiple levels, effectively giving most audience members more than they expected.Starring: Cameron Diaz, Jude Law, Kate Winslet, Jack Black, Eli Wallach, Edward Burns, and Rufus Sewell. Directed by: Nancy Meyers.
(au) wrote: The originality of this movie goes without saying. With a great plot matched with Pixar's superb storytellers, this film was executed to perfection and will always be legendary in the movie industry.
(ag) wrote: Wow. I'm sort of sad that I paid to watch this. The film spent 95% of the time building a silly back story that wasn't remotely interesting and then got to the gore. But by the time it got there my husband had passed out and I had decided lesson planning was more interesting. Boo on this film.