An assassin goes against his boss and refuses to carry out a hit placed on a public official. He recruits and trains an accomplice to assist him in this new mission. . You can read more in Google, Youtube, Wiki
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Dangerous Men: First Chapter torrent reviews
Kevin C (it) wrote: This is no Amy, but boy is it good fun. Because they're middle-aged twats now, you forgot how energetic and fresh they were on the 90's scene. You kinda know the story, but what stood out for me is how funny Liam is, and not just the walk I'd always associated Noel with the intelligent, barbed comments, but Liam more than holds his own.
Theo M (au) wrote: A smart and beautiful young woman turns out to be an experimental creation of half human, half alien DNA. She develops a tongue that can pierce through peoples heads, which starts to become kind of a nasty habit. The girl and her creator flee to Mexico where things only get worse. Now the girl wants to mate and get pregnant, and she has to fight another hybrid (no idea why - if the alien females are really that destructive, the species should be extinct by now. Why there is some emphasis on religion, I don't know either. It looks like they may have thought: if the alien is a monster, the monster must be the devil. Or something like that). It all ends with a big boom - now who would have guessed that? The only reason to watch this silly movie is that it has a few nice special effects (the shot of hail has a touch of Matrix) as well as a few nice boobs.
Derrick B (nl) wrote: Talk about tables being turned. I actually liked it. They pretty much covered the spectrum relating to all of the controversial topics concerning homosexuals. It would get some people to think differently before discriminating against people because they're different.
Jonathan R (ag) wrote: Daft as a brush and very funny with it too.
Ifiok O (ag) wrote: What this movie taught me more than anything is that Ryan Reynolds is more versatile than he leads on. He can do comedy and slapstick, but he can also do drama and action films as well. This movie is worth checking out with him, on that note.
Augustine H (nl) wrote: Excellent and memorable songs performed by Madonna. Her best film role ever perhaps
David C (ca) wrote: A good movie but it could have been done much better.
Delano T (it) wrote: Worst movie ever. Saw it free 'though.
Ryan W (ca) wrote: I've seen worse movies from this era.
Phenyeia O (br) wrote: Outstanding movie John Wayne is my family favorite actor
Cameron J (it) wrote: Trippy how a Chinese woman is playing Japanese, but hey, Zhang Ziyi, that kind of profiling is what you get when you have Americans make a film like this. Between the American jazz dancers of "Chicago" and the Italian crooners of "Nine", Rob Marshall paid a visit to Japan, and even there, all he did was see about their dancing industry, so he really is a "gaysha". Seriously though, this film is a fairly different project for Marshall, although, more than that, it is way different from its predecessor. I was surprised enough to find that it took them just shy of a year to get this sequel enough, but this is hardly anything like "Diary of a Mad Black Woman", partly because geishas try to make themselves as white as possible, and largely because this film is actually good melodrama. Well, if Rotten Tomatoes could say nothing else about this film, it was that it's still better than its predecessor, yet "Diary of a Mad Black Woman" and this film remain startlingly popular, despite critical reception (Who would have thunk that we film critics wouldn't have had that big of an impact on general public opinion?). Sure, it got as many Oscars as any film of 2005, but just about every film that won something tied for most Oscar wins that year, which is bogus, because "Brokeback Mountain" was robbed of that tie-breaking Best Picture win. Yeah, I prefer "Memoirs of the Gaysha" (Making that just once was more than enough, but forget y'all, I just had to), although this film is better than many are saying, which isn't to say that I don't subscribe to many of the complaints. To be a conceptual pseudo-epic whose interpretation is ultimately rather lacking in nuance, this film's runtime of just shy of two-and-a-half hours tends to outstay its welcome with various forms of excess in storytelling, at least enough to cause certain shifts in focus to jar, due to overdrawn focus on individual segments. Really, I don't know if dragging is a tremendous issue, so, at the very least, the film is limp enough with its structuring to feel rather repetitious in its wandering along a path which is surprisingly lacking in scope, and a little less surprisingly a touch too familiar. Well, actually, there is a potential for freshness that is sometimes well-explored, but when originality lapses, conventions fall in, and heavily, coming with generic dialogue and characterization, and a formulaic narrative that feels all the more predictable when storytelling takes melodramatic tropes. The film portrays a very romantic time and subculture, and the story itself actually thrives on melodramatics, so histrionics are typically, perhaps even primarily forgivable, but not exactly consistently so, for there are some glaring superficialities to dramatics, as surely as there are certain superficialities to the fleshing out of depths to this melodrama. With all of my complaints about dragging, the big issue with this potentially piercing drama is undercooking, for storytelling often grazes over exposition and subdues a sense of scale and nuance would should keep consistent in this pseudo-epic and heavily layered plot, resulting in natural dramatic shortcomings that shouldn't stand in the story concept, and make other missteps harder to ignore. Sure, the issues beyond a lack of nuance are not quite as severe as I and other critics might lead one to believe, but they do still stand prominent enough to play their part in holding the final product back. Shy of rewarding, like many are saying, however, it is not, because no matter how problematic, the film engages the dramatically and, of course, aesthetically willing. This film's sort of western interpretation of East Asia musical sensibilities makes for a score that isn't exactly original by its own right, but very unique for the great John Williams, whose already distinguished tastes mix with the beauty of classical styles befitting the culture embraced here in order to craft a richly diverse and captivating soundtrack that consistently livens things up, and often resonates. Dion Beebe's Oscar-winning cinematography, with its seamless alternations between the rugged grit and subtle richness which both characterize classic Japanese film visual styles, is also lovely by its own right, as well as supplementary to the selling of this film's world, although that might simply be because it draws your eyes to outstanding art direction by Patrick M. Sullivan which celebrates the immersively diverse and utterly stunning tastes of production designer John Myhre and costume designer Colleen Atwood as artistically remarkable. Musically, visually, technically and all around stylistically, the film is about as outstanding as you've been told by the critics who at least give the film credit for its aesthetic quality, in spite of their deconstruction of storytelling which doesn't exactly do its subject matter all that much justice. A portrait on the struggles of a Japanese woman of great style and equally great misfortune during Japan's important transition into the mid-20th century, this story concept finds itself thoroughly underexplored by a script that is minimalist in scale, yet still thin in nuance, and yet, potential still stands. This potential's betrayal has left many to be underwhelmed, but for me, although there is something lacking here, storytelling has its fair share of strengths, with Rob Marshall, as director, delivering the most by challenging many of the slow spells with frequent color, and challenging many histrionics with a genuine tastefulness to dramatics which never allows heart to abate, and often truly touches. The combination of entertainment value and resonance to Marshall's direction carries the final product far enough beyond the shortcomings in Robin Swicord's script to compel, but if that isn't enough, Marshall also gets some pretty solid performances out of a talented cast, with the lovely Zhang Ziyi being most effective in a subtle and graceful leading performance whose emotional immersion and delicate layerings result in nuances greater than those featured in writing. This film could have been so much more than it ultimately is, and yet, with that said, I still find the final product rewarding, with enough realization to style and substance to entertain and compel time and again, maybe as much as it can. Bottom line, the film gets to be a little uneven and repetitious with its dragging, as well as a little too formulaic and melodramatic at times, though not as much as it gets to be lacking in nuance, enough to hold the final product back, and yet, entertainment value goes anchored by strong scoring and cinematography, and outstanding art direction, while a solid story concept is fulfilled enough by genuine direction and acting to fully secure "Memoirs of a Geisha" as an aesthetically satisfying and generally compelling tribute to the glamor and struggles of womanhood in 20th century Japan. 3/5 - Good
Rastaman J (de) wrote: It was ok. So if this was real life stuff.