Cuibul de viespi
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Cuibul de viespi torrent reviews
Mark B (gb) wrote: Enjoyable, although increasingly confusing as the film goes on. It also feels like it's trying to make a point about sexism without being sure what that point is.
Niceole L (es) wrote: A moving film experience. Kalindra's story isn't just a call to women to make hard choices when it comes to their relationships, both romantic and familial, it's a reminder to all of us that we have the power to change our circumstances if we find ourselves in situations that no longer nourish or protect us. Watching Kalindra struggle through that realization and move forward is the heart and soul of the movie, and I encourage people to go and see it. A great mix of characters and good chemistry between the leads anchors the film.
Pamela D (ca) wrote: Wir sind die Nacht AKA WE ARE THE NIGHT (2011)WRITTEN BY: Jan Berger, Dennis GanselDIRECTED BY: Dennis GanselFEATURING: Karoline Herfurth, Nina Hoss, Jennifer Ulrich, Anna Fischer, Max RiemeltGENRE: VAMPIREPLOT: A novice jet-setting vampire struggles with the challenges of immortality, the politics of her new bloodsucker pack, and pursuit by the authorities all while being caught in a bisexual love triangle. Derivative, but well done. COMMENTS: Oh no! Not another vampire movie! A certain franchise has popularized the entire vamp genre. Suck-cinema is cascading out of the studios faster than blood spray from a bitten jugular. Right up front let me warn you that there is a dreadfully dubbed version of this slick German movie. Raise your standards. Be sure you find the English subtitled relase instead. The chic optical signature of the production is made visually destitute by dialogue that doesn't synch up to speech. I groaned when I saw the Wir sind die Nacht poster, and sized it up for a Twilight-style chick-flick perpetuating the myth of women's domination over men. My prejudice was soon remedied. Wir sind die Nacht opens with a scene of carnage aboard a mid-sized private jet, where slumped, vacant-eyed passengers sit drained of blood. The three vampiresses responsible, all pretty, dainty and fashionably attired, have a moment of small talk before abruptly smashing out the emergency door mid-flight over the glittering Berlin night-scape.As lights go haywire, debris flies, and the invading slipstream creates an out of control, mayday bedlam of doom in the passenger cabin, the sanguine tempests throw themselves out into the moonlit sky as it rushes past the portal at 400 miles per hour. Wow! Wasn't expecting that! With this initial sequence, the filmmakers hooked and kept my attention for the remainder of the movie.The story itself is not unlike what you'd expect. It lies someplace between the lesbian themes of the old Hammer Karnstein trilogy movies and the vampire-loves-mortal romance angle from every night-walker flick since Dracula. Other familiar theses include love triangles and the immortal sadness of seeing beloved mortals age and wither while vampires remain forever youthful, (think Interview With The Vampier); the chic club scene all hip, modern day, bloodsuckers crave, a movie trope established by Blade; and a bit of femme melodrama right out of Sex And The City. Skillfully marrying these elements to stylish sets, costumes and camerawork however, the filmmakers manage to assemble it all in a way that is as fresh as the sum total of these highly derivative elements allows. The result is slick, visually impressive, and reasonably entertaining. The setup is this: A threesome of jet-setting, euro-trash vampiresses "recruit" some fresh blood, Lena (Herfuth,) because the vampy alpha girl of the terrible trio, Louise (Hoss), thinks Lena is the reincarnation of her long lost lover. Lena meanwhile, has a crush on a police officer who is hot on her trail for larceny. Lena must learn how to adapt to her new body, physical needs, and shadowy circumstances while deftly managing the politics of her sanguine guild. At odds with the authorities because they kill for blood, the rapacious quartet scrambles to stay several steps ahead of perpetually pursuing police. Feminist themes arise when we learn that all modern day vampires are women, the men having been killed off long ago for being too bossy. With their new-found liberation the fairer undead are free to pursue lofty intellectual goals, rising to the tops of their respective fields in the arts, literature and academia.Just kidding. They spend all night every night wearing Madison Avenue fashions, boogieing in dance clubs, sniffing coke, jaunting up walls and across ceilings, swilling chilled blood from fancy vodka glasses, and screwing men to death -literally. In fact, the nightlife sequences become a bit tiresome as Wir sind die Nacht spends its first thirty minutes establishing that today's swank children of the night really know how to get down. Yes, it's true: amps party in style and wallow in excess, free from consequence. We get it.Once the fast-lane tawdriness is established, Wir sind die Nacht 's plotline becomes more interesting as the existential ramifications of her involuntary induction into the undead begin to dawn on Lena. Wir sind die Nacht hedges here however, stopping short of becoming a darkly brooding drama. Introspection turns to melodrama when Lena finds herself torn between bloodsucking suitor Louise, and warm-blooded beau Tom (Riemelt), the detective pursing Lena for pickpocketing and grand theft auto. By contrast, along the way we also encounter the standard feminist theme of women rejecting male control and instead dominating men. Add to this the tried and tired standard vampire movie contemplation of physical and philosophical reckoning with the (in)human condition. Instead of pursuing more thoughtful angles, the filmmakers thrust in high speed action thrills reminiscent of a leather cat-suited Angelina Jollie karate kicking, and race-car careening her way across the screen in Salt. To its credit at least, the characters in Wir sind die Nacht are mildly interesting, the chases exciting and the bloodletting delightfully scary. Ultimately though, the effect is insufficiently-developed drama, and not enough action for the film to stand on its own in either genre. This leaves the viewer somehow insatiated and the ambiguous, open end (which raises the squeaky casket lid to, how convenient, a sequel) leaves us a little perplexed, We wind up wondering, "what was that all about?"Despite its lack of pensive insight, and groundbreaking paradigms, Wir sind die Nacht is certainly engaging. With a kinetic, stylish visual footprint, and plenty of morbid eeriness from start to finish, Wir sind die Nacht is a good pick for any blood thirsty fang-movie fanatic I give it seven out of ten pints of blood.
Inga H (ru) wrote: Fun french girl empowerment movie
Joshua G (ag) wrote: A disturbing, intense, and emotional documentary that fairly explores both sides of the abortion debate. I, personally, love objectivity in documentary films (although I do enjoy some biased films), so this was the film for me! It shows both the horrors of abortion, and those who are highly against it, bombing and killing abortion clinics. Those who are easily disturbed should be warned, because "Lake of Fire" is a film with a lot of graphic imagery.
Shira C (ca) wrote: This documentary manages to get unparalleled access to the Chimeres of Haiti at the last legs of Aristrade's violent, dictatorial regime. Two brothers known as 2Pac (??Haiti 2Pac?? as Wyclef calls him to distinguish him from the deceased hip-hop star) and Bily run the Chimeres which are a violent, impudent gang of young men reminiscent of the gangs in the film ??City of Gold??. They control their part, the desperately poor area, of Port-au-Prince, and, as such, have links to a medical NGO and the outside world. They come to wider infamy because of the alleged use of the Chimeres by Jean-Bertrand Aristrade's to quash dissidents and opponents. We learn about these two boys/men who are clearly clever and charismatic, despite being woefully uneducated and who have dreams of doing better for themselves and their people, despite really only knowing life by the gun and the dynamics and bravado of gansta rap. This film, scored by Wyclef Jean, is a deep and compelling insight into poor, jobless, male, gang society and its charm for both men and women. The film goes to another level because of the closeness we get to the criminal, violent brothers and the edginess of the mood (you are always expecting someone to be shot) and that it is set in the real time of the radical changes of Haiti??s political terrain.
Pete D (gb) wrote: walk and live,talk and bumboclaat dead.
maddy m (us) wrote: g god if i would have money to buy this film i would not let a moment to pass :) I LOVE DEVON SAWA
Firas E (mx) wrote: another masterpiece of Antnioni about love (or various love stories). It is most of these love stories have rather an unhappy end in the classical sense but they are highly humane, very well played and full of beautiful faces and bodies (Ins Sastre, Sophie Marceau, Vincent Perez) and also strong charismatic characters (John Malkovitch, Jean Reno). Excellent photography too. You would see also wonderful place sin Italy and France in it.
Eric S (au) wrote: Yet again, here I go reviewing a film from a while back('90). However, I just saw this again and had t give it a mention.Jason Patric is truly one of the better actors around but we rarely see him. In this one, he plays an ex-boxer who suffers from closed-head injury symptoms from blows to the head which can be seen by how he mumbles around due to his balance being affected. He gets mixed up with an alcoholic widow played by Rachel Ward and a burned out former lawman portrayed by another great actor by the name of Bruce Dern. These two lowlifes pull a reluctant Collie(Patric) into a kidnapping scheme in which the kid turns out to be diabetic making things all the more chaotic.
Matthew M (nl) wrote: David Carradine fans will love this movie, methinks.
Ryan K (mx) wrote: An overwhelmingly powerful experience... filled with perhaps one of the greatest performances of all time from Meryl Streep.
Erik D (jp) wrote: This movie brought the feels. James Cromwell plays an elderly man who battles the government to build a home for his wife with Alzheimer's and make her as happy as possible. Great acting and an excellent (true) story. Well worth a watch on Netflix.
Akintunde I (au) wrote: Interesting, ending a bit of a let down