Dai hao mei zhou bao

Dai hao mei zhou bao

Aircraft hijacking with Chinese special forces rescue. Gong Li as a heroic stewardess.

  • Rating:
    4.00 out of 5
  • Length:76 minutes
  • Release:1989
  • Language:Mandarin
  • Reference:Imdb
  • Keywords:hijack,  

Aircraft hijacking with Chinese special forces rescue. Gong Li as a heroic stewardess. . You can read more in Google, Youtube, Wiki


Dai hao mei zhou bao torrent reviews

Catherine N (au) wrote: Sebastian Junger, what a brave, brave journalistic filmmaker! His 2007 documentary covers the mission of a band of army soldiers on a mission to rid the Korangal Valley in Afghanistan of the Tabilan. The troops endure constant fire from a barely visible enemy while attempting to aid complicit and innocent villages and capture/free more occupied territory. Comrades die, get wounded, build an outpost in hostile territory surrounded on all sides while trying to maintain their sanity. Their mission, to the extent that it is successful, seems overwhelming and terrifying.. Junger travels with the soldiers directly into combat captured get their time on tour and then cuts to personal interviews once the men have been sent back to Italy. The toll of their perhaps excruciatingly difficult mission ways heavy on the men yet Junger's sympathetic interviews humanize them and attests to their skill, discipline and frailty.

Jarett B (us) wrote: This is a tough one to review. For one, it's only a series of conversations with Cobain set to (roughly) corresponding images. So, I doubt it will attract many people who are not die hard Cobain fans (his image is not even seen until the final 5 minutes or so...). If you are a die hard fan, however, you've heard everything said on the tapes before. I'm not a die hard and even I already knew everything. I admit, though, that the information given does have more emphasis coming from Cobain himself. So, I'm not sure who this Doc is aimed at? I watched the majority of it as an audio track only, as I found the images to get extremely boring after the initial shock of the opening 10-15 minutes. Thus, this is one for the die hards, I'm afraid. It's an extremely personal telling of information that, by now, is all but too familiar to almost anyone (even those who only read the People Magazine covers).

Matthew O (ru) wrote: A visually stunning, brutal, and historically on point thriller that keeps you hooked start to finish.

Mandy P (kr) wrote: Nicely done. Much too short.

Gaspar O (it) wrote: Good performances, a bit strange, ultimately forgettable.

Wendy M (fr) wrote: Gabriel and LL's chemistry was amazing.Though it was Gabriel that was the star of this film without a doubt!She totally impressed me, and the comedy with the brothers-in-law was outstanding.This movie will make your stomach jiggle in glee!!

Tony B (us) wrote: A very good performance by Gosling, some good writing, but some very cheesy directing here and there and an unsatisfying story in the end. Still interesting and compelling moments though.

Kurt C (es) wrote: Wow, that was too funny. So redneck!!! Classic show that's really entertaining.

Drew M (mx) wrote: Oh my. This movie is so over the top wonderful. This is the first time I've sought out a forum just so I could get this off my chest. I can't believe it has taken me this long to see this movie. Anyone who is enchanted by a great movie will understand. This is a movie about movies, a movie about life. There is no fairy tale, no moral point to be made, just a fine story, a life lived, engaging characters, and a genuine, heartfelt love of movies. I only wish I could have seen it in a cinema.

Aaron W (us) wrote: Hilarious. A failed attempt to control crop-destroying grubs by introducing non-native Cane Toads to the Australian ecosystem leads to an all out infestation of the seemingly invincible creatures, and we get to hear some of the craziest interviewees in documentary history opine about it. Good stuff.

Blake P (au) wrote: Because 1987's "Wings of Desire" is more elegiac and more spectacular than the majority of films that come out of the cinematic zeitgeist on a regular basis, I'm pressed to even call it a movie - its astounding bedazzlement announces it as having more in common with the oeuvres of classical painters than it does with modern filmmakers. It's art, in its most breathtaking form. It's not magnificent on the Franklin Center-sized scale of a DeMille picture, no, but magnificent in small, subtle ways. How beautifully it captures the happenstances and miseries that come with the territory of being human; how delicately it asks big questions - and makes bold assertions - without undermining the cerebral capacity of its viewers. It's fine art, all right. But because he's more Salvador Dali than he is Jackson Pollock, Wim Wenders's writing and direction is universal and arresting rather than untouchable and ostentatious, thus establishing "Wings of Desire" as a piece as appealing to the senses as it is to the emotions. Funny, considering how extraordinarily aspirational it is. As it takes on the daunting task of trying to maneuver through the complexities of human nature without losing its intimate poignancy, there's a sense, initially that is, that it might be asking too much, that it might be pondering too much, for a movie meant to stir our souls and hit close to home. But "Wings of Desire," through its screenplay written by Wenders, Peter Handke, and Richard Reitinger, is able to be both philosophical and tremendously personal - for all its fantasy and for all its external mystique, it is deftly romantic and piquantly affecting. It's an unthinkable, and yet eccentrically fitting, move to integrate reverie into a film that's almost frighteningly truthful in what it has to say about one's own existence. "Wings of Desire's" protagonists are not rainy day men of heroes but instead angels, perpetual onlookers able to read the thoughts of any of Earth's inhabitants at any given moment without being able to do much more than stare, empathize. They are Damiel and Cassiel (Bruno Ganz and Otto Sander), whom live in separate worlds of black and white and whom are little more than invisible boulevardiers. Immortal and incapable of doing anything besides affectionately watching their worldly peers unrequitedly, they've accepted their destinies as watchers, never able to touch, taste, or really exist. But the damnation of eternal observation starts to become a problem for Damiel when he comes across Marion (Solveig Dommartin), an acutely lonely trapeze artist. In love with her mind as well as her heart, Damiel wants nothing more than to save her from her despair, which is currently at an all time high due to her latest gig's shutting down. Cassiel, in the meantime, wanders around the West Berlin the film is set in, going through the motions of his perpetuity until tragedy unexpectedly crosses his path. "Wings of Desire," dreamy and resplendent, maintains a roaming quality that perhaps excuses the fact that nothing much happens - like a day in the life of a ne'er-do-well, there's a certain sort of fascination to be found within the confines of an ordinary life. Damiel and Cassiel are as old as time itself, but the notion that they can still find beauty in a world that oftentimes treads into ugliness is the buffer that exclaims that "Wings of Desire" is a film of hope, not of dejection. Though it is the type of movie that's thoroughly aware of the sometimes unbearable anonymity that comes with being alive. As it wonders why you're you and why you're not me, and why you're there but not here, it also douses itself in a dreary black and white that addresses the blandness that plagues the existence of its angels; only moments taken directly from the point of view of humans is it dressed in gritty color. Damiel and Cassiel are able to get inside the minds of citizens as easily as changing channels on a television set; to them, the plights and all-too-rare instances of happiness of average individuals is somewhat homogenous. But always around the corner is a breakthrough, and "Wings of Desire" takes place in a time of transition, in which Damiel is ready to give up his unchosen vocation as a voyeur for love, in which Cassiel is forced to question whether he can emotionally handle being a detached observer for the rest of time, and in which Peter Falk, playing himself (and revealed to have been an angel in the past, too), frets over his decision to become one with the world and not with the otherworldly. Most moving, however, is the eventually reciprocated love between Damiel and Marion, which works as the film's point of salvation. For so much of "Wings of Desire" is Marion on the cusp of losing her cool, of falling victim to her loneliness induced depression. Damiel arrives in time to show her that gratifying her doubts wastes her vitality. When he ultimately makes the choice to give up his immortality in favor of his desire, the film almost seems to ache in its romanticism, though it's tender without being cloying about it. As Damiel, Ganz is sensitive and altruistic, his face remarkably expressive; Sander, likewise, is pensive and curious. Most unforgettable about "Wings of Desire," though, is Dommartin, who made her debut in the film. In preparation for her role as a trapeze artist, Dommartin committed herself to embodying her character so much so that, after just eight weeks of training, she was able to perform the required death-defying stunts so perfectly that no stunt double was necessary for supplementation. But in addition to her glorious physicality, Dommartin's characterization is also luminous, understated and mysterious enough to draw comparisons to such art house wunderkinds as Jeanne Moreau and Anna Karina. Music acts Crime & the City Solution and Nick Cave and the Bad Seeds also make appearances at seminal points in "Wings of Desire," which are as beneficial to the film's allure as its actors. But "Wings of Desire" is more a showcase for Wenders, highlighting his auteurist skill set with accessibility only sometimes seen in a vast, sometimes self-pleasing, filmography. The sights and the sounds of the movie are haunting, its emotional palette and vulnerability even more so. This isn't a film that leaves you days after departing the theater, serving as nothing more than a source of momentary diversion. It's a masterpiece that rattles you and maybe even alters your being: you feel more alive after having seeing it.

Stan D (nl) wrote: This is the movie that made Bogart a star. A gripping drama set in Arizona near the Petrified Forest national park, this great movie stars a young Bogart at his best as the evil gangster, and an even younger looking (and quite attractive) Bette Davis, who falls for the starry-eyed philosopher/drifter, Leslie Howard. This is a must-see classic from the early days of movies.

Logan M (de) wrote: It's setting, acting, direction, and just about everything else is a near perfect masterpiece.

Vasco M (ag) wrote: Has a few moments but it's ultimately a "meh" movie.

David G (es) wrote: A film that has little to no understanding of story, structure or direction.