Louis Koo plays 009, or translated literally from its aural pronunciation, double-O Dog. He's one of 12 special Royal Bodyguards of a simpleton Emperor (Liu Yiwei) who named these 12 guards after the Chinese Zodiac, hence 9 translated to Dog. Unlike his peers, Dog is a scientist, and relies pretty much on his brains and fantastical gadgets to protect his Majesty from evil ninja assassins. . You can read more in Google, Youtube, Wiki
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Dai noi muk taam 009 torrent reviews
Carol R (ag) wrote: Boring not scary at all
nicolas m (ag) wrote: Whether or not the position of the good Brett Gaylor is right, the documentary that he has made sure is. His arguments are a bit complex as many say, but I find them kinda reasonable, as sharing culture should be a law of everyone. I think Gaylor make some good points, but Lars Ulrich (Metallica's drummer) also makes some good points against what Brett says. Also, Girl Talk isn't that good, so I don't think why they do such a problem with him. But anyway, that is the debate thing; but cinemaLY talking, the documentary is very entertaining and well made. So 80% for the film, not necessarily for the debate position, but for the film, yey.
Andy G (ca) wrote: I miss this Shia LaBeouf. I don't think he deserves the hate he gets. This is an exciting movie. Not as good as other similar movies like Enemy of the State, but still good and fun to watch. It also adds a bit more sci-fi into the mix while remaining grounded in the reality of things like government surveillance and artificial intelligence. Shia said in an interview for this movie that in research for the film he had a contact in the government who played a recording they had made from his phone a few years before they actually even started working on this movie. An early sign of things to come!73%
David T (es) wrote: Although miles better than the hellish atrocity that was Home Alone 3, Home Alone 4 still suffers from a multitude of problems, including awful writing (locked in a wine cellar during a royal kidnapping scheme with a cell phone, and who do you try to call? Mom. Never once the police), bad camera work (I especially loved the guest appearances of the cameraman in virtually every reflective surface), and horrible protagonists (Kevin's whole family are horrible, awful people and he should just chance it on the streets), and the undeniable fact that this reeks of ABC Family movie of the week. There are only a few moments of "Home Alone hijinks", but thankfully most of the cast pulls it off and manages to somewhat keep your interest for 83 minutes.
Bernice L (au) wrote: Although the story concept, and the combat scenes were great, it was overshadowed by the fact that the acting was lacking.An amazon warrior versus a Roman General, and eye candy.
Josiah C (ru) wrote: Awesome sequel to Caravan of Courage. Maybe even better and more mysterious than its predecessor.
Shawn W (mx) wrote: A mute black alien on the run from 2 white intergalactic bounty hunters lands in Harlem and hangs out at a bar. Best scenes are the white spacemen trying to inconspicuously find the black alien by talking to locals. Amusing and thought provoking.
Private U (ru) wrote: This movie is sweat. I miss the show.
Bobby R (es) wrote: YOU GOTTA SEE THIS MOVIE
Michael D (us) wrote: This was an ok western. The stars of the film carried it and did well.
Jack G (ca) wrote: Before I get started... man, whatever happened to Rufus Sewell? And what ever happened to David S Goyer? (The latter question is rhetorical of course).Dark City is one of those films that I remember only seeing bits and pieces of over the years; I'd be changing a channel and come upon Dark City and watch maybe a scene, a minute or two, and feel like I was being let in on some secret, or some disturbing dream that I had long ago that stayed in my subconscious. So over the years when I would think back to the film I'd remember these little snatches I'd caught on cable, like Keifer Sutherland explaining something about how memories and time works while going on a rowboat, or some ugly white dudes in big black costumes all in formation. Seeing the film in full finally, I think this was oddly enough an ideal approach: like many of the characters in the film, I have these, well, 'funny' feelings like something is adrift and out of place, that this snatch of a dream of Dark City is something that seems too good to be true as a film. As it turns out, this is one of the richest cinematic experiences from the 1990's.Like Who Framed Roger Rabbit, at least on the surface, it combines genres and does something unique, and in both cases the film language or grammar, the mood and feeling of film-noir (and film-noir may be more of a mood than a 'genre' of course, they stretch from being straight thrillers to psychological horror and even comedies and so on). But with Dark City instead of cartoon comedy we get science fiction. And I don't mean any run of the mill sci-fi, I'm talking sci-fi that's so hard that you can barely break it with a steel brick. The set up seems almost iniquitous as far as film noir tropes go: a man wakes up in a strange place (a hotel, always the best for seedy milieu) and can't remember anything, sees a dead body by the bed, and has to run from the cops and find his identity and what the hell has happened; his wife is a lounge-club singer (cut to lounge and sultry 40's style song); and there's a straight-shooting, curious but hard-liner detective on the case (Rufus Sewell, Jennifer Connolly and William Hurt are these roles respectively, and ideally cast).When we start to sort of cross the line with sci-fi, though it could still be in film-noir, is with a peculiar doctor played by Kiefer Sutherland (maybe his greatest role, I dare say, certainly the one he gets to have... fun in an odd way) who goes around with a needs and pricks people's heads for... what? And what's with these white bald guys in the black cloaks and trenchcoats? What about that little kid? All of course, we can assume, will be revealed in good time, and from the opening minutes I knew I was in the hands of a confident storyteller, though there was also a part of me that though "hmm, could Proyas and his writers be laying on the noir tropes a bit thick? Could this be like a Sin City where it's all style with only a modicum of substance?" Not that the style is off at all, don't get me wrong, it's almost TOO good. And lo and behold, about 35/40 minutes into the movie, we learn why.That moment of discovering what's going on - without saying too much, not to spoil per-say just so you can get the excitement of discovery for yourself - somehow time stops all at once... all except for our hero, John Murdoch, who can't seem to understand why time has stopped. But it's at this moment that I fell in love with Dark City, and felt in sync with what it was going for and trying to do. It's a unique vision but it certainly is inspired by films of the past - Metropolis being one (remember the whole head/heart separation, which is part of the villains' master-plan, Blade Runner to an extent), and maybe even going into comic books there's a pulpy (but smart) sensibility that perhaps is why I also thought of Sin City. Why I fell in love with it is that the whole "Style" portion, and I keep using that word but it's for good reason, is due to the substance, it's inter-connected with it, can't have one without the other.And as we follow John on this trip of self-discovery it's really a wholly philosophical film, about finding what it means to be us and how it connects back into why we would want to watch ANY movie in the first place, to be connected to others and have that empathic connection. So while Proyas and his stellar production team have this world for us to see (one seemingly always at night but not without good reason!) and with this cast that knocks it out of the park, we get to see a little more and more behind the thematic curtains that come with tales drenched on dark city streets and in nightclubs and backrooms and with dames and cops and criminals... and also in the realm of beings from another dimension or something with their chamber of horrors.Some of the over-stylization may work better for some than others, and by the time it gets to the conclusion things become so wild that it verges into almost being comical (the cgi nears being dated but I'll take it). It's certainly not a movie to watch if you're not ready to engage with it, but it's really among only a handful of movies I can think of (Eraserhead being one) where I felt like I was seeing a motion picture experience that approximated a nightmare.
Phil S (us) wrote: Joyous. A pure injection of fun via great filmmaking. As bellendy as that sounds...
Grant H (it) wrote: Pretty good movie. The film's premise is somewhat original, the crazy small group of people worshipping an idol not original (but it's important to the story), it's creepy, it's strange, its script is well-written, its performances are strong, and it's pretty well put together. The problem is that it's not creepy enough, it's a little slow, and the ending (without spoiling it) seems a bit redundant.
Grant S (kr) wrote: Rating based on the previous Step Up movies.
Fernando C (ag) wrote: it has clever stories in it! and it is often so much scary!