Dangerous Men: First Chapter (2011) torrents full movies


Dangerous Men: First Chapter

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.

Dangerous Men: First Chapter is the best funny movie of GuGu E. Michaels. This movie was introduced in 2011. You can check list actors in this movie torrents, for example , Akeyno, Leo U. Che, George Davidson, GuGu E. Michaels, Stella Regis. The kind of movie are Short, Action. This movie was rated by 7.9 in www.imdb.com. We have a good movies torrent. The runtime of this movie are awesome, about 90 minutes. BushCuLan is good uploader, he is very proactive. You should spend more time to watch this movie. If we must use one word to describe about this movies torrent, I think it should be 'Awesome', so what is your thought. Do you know what are users? ChimTo is the best. I can't fight my Galaxy screen. Enjoy this movies torrent and share to your friends . You can read more in Google, Youtube, Wiki

He recruits and trains an accomplice to assist him in this new mission. An assassin goes against his boss and refuses to carry out a hit placed on a public official

Dangerous Men: First Chapter torrents

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Dangerous Men: First Chapter2011 torrent

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Users reviews

Augustine H (nl)

er best film role ever perhaps. Excellent and memorable songs performed by Madonna

Cameron J (it)

3/5 - Good. 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. 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. 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 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. 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. 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. Sullivan which celebrates the immersively diverse and utterly stunning tastes of production designer John Myhre and costume designer Colleen Atwood as artistically remarkable. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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?). 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. Seriously though, this film is a fairly different project for Marshall, although, more than that, it is way different from its predecessor. 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". 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

David C (ca)

A good movie but it could have been done much better

Delano T (it)

Saw it free 'though. Worst movie ever

Derrick B (nl)

It would get some people to think differently before discriminating against people because they're different. They pretty much covered the spectrum relating to all of the controversial topics concerning homosexuals. I actually liked it. Talk about tables being turned

Ifiok O (ag)

This movie is worth checking out with him, on that note. He can do comedy and slapstick, but he can also do drama and action films as well. What this movie taught me more than anything is that Ryan Reynolds is more versatile than he leads on

Jonathan R (ag)

Daft as a brush and very funny with it too

Kevin C (it)

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. Because they're middle-aged twats now, you forgot how energetic and fresh they were on the 90's scene. This is no Amy, but boy is it good fun

Phenyeia O (br)

Outstanding movie John Wayne is my family favorite actor

Rastaman J (de)

So if this was real life stuff. It was ok