Dans la nuit
This is the first of the two movies directed by highly talented actor Charles Vanel. The first part depicts in parallel a wedding and the miners' work.;it's nice to watch but needless to say,it's the second part which sustains the movie. Vanel creates a disturbing frightening atmosphere with two masked men ,one of whom was disfigured after an accident;And the final unexpected twist ,at a time when they were not that common,packs a real wallop.
This is the first of the two movies directed by highly talented actor Charles Vanel. The first part depicts in parallel a wedding and the miners' work.;it's nice to watch but needless to say,it's the second part which sustains the movie. Vanel creates a disturbing frightening atmosphere with two masked men ,one of whom was disfigured after an accident;And the final unexpected twist ,at a time when they were not that common,packs a real wallop. . You can read more in Google, Youtube, Wiki
Dans la nuit torrent reviews
(mx) wrote: I liked the movie. It kept me interested and awake which some"silence.....hem hem" put you to sleep. Might not be a classic but it not bad either.
(mx) wrote: The acting may be a tad wooden, and the story incoherent at times, but who watches these movies for that, it all about the act set pieces, and on that merit completely wipes the floor with Hollywood, Showcasing why Scott Adkins should have had the Batman gig given to Ben Affleck, our best british export, big things are coming for Scott Adkins, not bad for someone who started in Eastenders.
(ag) wrote: Perhaps I'm one of the few (if not the only one) who isn't the slightest bit marveled by this new wave of Romanian indie films to circulate the festival circuits and IFC Channel within the past couple years. My review for Cristian Mungiu's '4 Months, 3 Weeks, and 2 Days' may have been the only review I've seen which did not mouth-fuck its step-by-agonizing-step realism - climbing a large mountain, just to discover you have already climbed this mountain... and now you're fucking angry because you cannot ride a helicopter back down and you apparently have a shitty memory. It was realism about the Communist effect on abortion treatment and the blackmarket, and the decisions faced in fear - this was very interesting, very compelling. Its execution, though more than perfect in execution, dark atmosphere, harrowing performances, and unpredictability, left me feeling empty. I enjoyed what I saw as an exercise in realism, but had little emotional magnetism to the situation and outcome. If I want realism, I want to feel pathetic. I don't want just over an hour of a day in the life. Altogether, I remind you, I did like '4 Months, 3 Weeks, and 2 Days' (a 6/10 worth, which is above average!), but I did not praise this as something new and refreshing. Besides, I think the Dardenne Brothers achieve the walk in realism with finer moments. Now, back to the REAL film we're discussing - Corneliu Porumboiu's Romanian continuing study in realism 'Police, Adjective'. I cannot say I even liked, nor enjoyed this, despite its tightly-tethered realism, impressive long takes, and astonishing moments in scripted dialogue towards the film's finale. The story closely follows an undercover cop assigned to bust a teen for marijuana possession and dealing, but faces the inner guilt of potentially putting away this kid just for a petty crime, and further ruining his life, especially in this day and age when marijuana possession and distribution is becoming increasingly legal, and less a greater deal. The film's theme of how offensive is the face value of a particular law may stand with the progress of time, and how much is it worth in pursuit is undeniably clever. Its approach lies in a series of 5+ minute still-shots following our protagonist undercover at work, then longer shots of dialogue exchange with his captain, who assigns him the work he almost refuses to do. The film curiously follows each incident report word-for-word, to fill the audience in on what you just witnessed - I'm still deciding if this was a nice touch. We our invited into this cop's world without the invitation into his mind, which for me is only well-devised through the harrowing direction of Michael Haneke, who keeps characters at arms' length for the curiousness of intrigue. There's nothing intriguing about 'Police, Adjective', and the feeling I received after watching '4 Months, 3 Weeks, 2 Days' was somehow multiplied by ten. There's also minimal pay-off with such exhausting build-up. The film's highlights were maybe only half-lights - as impressive as the long takes were, the novelty wears quickly; as impressive as some of the scripted moments served, the clever "dictionary" moments at the end were not comparable to a climax; as well-rounded the characters performed, the acting was simply effortless. 'Police, Adjective' may be an interesting study with intelligent ideas demolished by monotony and simple insignificance - the kind of insignificance which distracted attention rather than provide a platform for realism.
(br) wrote: At first the movie seemed weird but then as he went to ballywood the turned really touching and esp wid anna friel involved... the end scam was quite good for a comedy... pretty entertaining
(de) wrote: hilarious search for the identity.
(jp) wrote: Godard's avant-guarde musing on the nature of war is one of those films, much like everything he's ever put to celluoid that will divide just about everyone who's sees it. Some will complain about it naturally, and it really isn't for everyone. But for me, its a really good movie. The film is split into three, Hell-Purgetory-Heaven and different aspects of the war-machine are handled via different era and differnt wars - in this sense Godard transends the usual war-flick. He uses all sorts of tools, which will confuse some, and he never really finds his focus (when did he ever?) but its worth staying the course for.
(es) wrote: WANT TO SEE IT AGAIN
(es) wrote: This movie was eye opening to say the least. I honestly didn't know the amount of technical innovation was available in animated titles in the 70's. I also didn't know America was still that outwardly racist. This movie plays like a back-alley, sketchy video store VHS tape, and it was really disturbing. That being said, it definitely seemed well made on the technical side. It was a lot harder for me to stomach than I thought it would have been, but I think if you can get through the trailer, it's worth seeing.
(mx) wrote: My fave Waters film, and has an almost classic storyline (for Waters anyways). Crude and disgusting in the best way possible, and Divine's finest work. The skidmark scene will have you hurling.
(au) wrote: Titicut Follies is an eye opening look at an institute for the criminally insane that was filmed back in 1967 . This was originally banned in America and the film makers were taken to court because they said it breached the inmates privacy but I applaud the director for exposing some of the awful practices and dreadful conditions these poor men had to put up with.Throughout the film there is a sub plot that revolved around the guards and their singing and entertaining and although they clearly love being amateur stars of the stage but it only masks a place that is full of despair.One doctor in particular is as nasty as you can imagine. We see him dismiss the claims of a man who quite clearly shouldn't be there and we also see him force feed a patient through a tube in his nose . This is an extremely unpleasant watch but I wouldn't tell anyone not to watch it. This is history unfolding .It's a fly on the wall documentary that let's the camera do the talking and it's not a movie Imever likely to forget .
(kr) wrote: ok musical but not really my thing
(ru) wrote: Tries to follow the first, without bringing enough new ideas. Solid early on, but drags on and fizzles pretty much completely at the end. If you're a big fan of Eastwood, or 70s macho cool thrillers are your genre, you'll score it higher, otherwise it's something of a let down - I just expected something a bit more groundbreaking, to justify the sequel.
(mx) wrote: If somebody came up to you and started describing a sci-fi film where people plug themselves in to a virtual reality through inputs located on the back of their neck, but then followed that up by saying that it wasn't The Matrix then you'd probably think that it was some sort of bad riddle. In retrospect, it probably is in a way but a little film called Mindwarp used this concept seven years before The Matrix did. While Mindwarp isn't nearly as flashy or anywhere near the same category of success as The Matrix (or as good), it can probably pass for one of those sci-fi films you catch sporadically during a fit of insomnia while flipping through channels during the infancy of the day and enjoying more than you thought you would. The similarities to Total Recall will make themselves apparent right away, but Mindwarp doesn't take long to throw you into a post-apocalyptic world you'd expect to see The Road Warrior loitering around looking for an opportunity to relish what was thought to be a dried up natural resource. While Mindwarp can be considered a sci-fi film on the surface, it's most likely a horror film at its roots and that becomes apparent as soon as you realize who's a part of the cast. Bruce "don't call me Ash" Campbell plays the love interest for Marta Martin's Judy while The Tall Man himself, Angus Scrimm, portrays the villainous Seer. While the uniting of these two actors in one film is exciting to horror fans, aficionados may be disappointed when they realize that both Campbell and Scrimm basically have glorified cameos in the film. Neither of their parts seem very large once the film ends, but at least you get to see Campbell get infested by leeches and basically no-sell throwing up his intestines. Mindwarp is gloriously grotesque, as well. It doesn't even try to shy away from blood or gore, which is fantastic for bloodthirsty horror fans. A perfect example is the meat grinding device the Seer uses as punishment to individuals who disobey him. The device is made from parts you'd find in a garbage dump along with a plethora of human skulls. After the unfortunate victim goes through the machine, their blood is spewed into a bathtub where the Crawlers, a deformed cannibalistic civilization that lives underground, drink the victim's blood. But with all the comparisons to horror come many of the same downfalls many films of the genre have. Mindwarp was made in the early 90's and the leftover cheese from the 80's makes its way into the film practically effortlessly. That means the few attempts at humor in the film will probably make you verbally groan. The acting is also over the top, Campbell and Scrimm have their moments but the wild card is Marta Martin. Her acting is really terrible early on in the film, but slowly gets more tolerable as the film progresses. Although you'd probably expect more from a film starring legendary horror icons Bruce Campbell and Angus Scrimm, Mindwarp blends the horror, sci-fi, and thriller genres fairly well. The film still has enough cheese injected into it to make it feel like it was made in the eighties; when horror films were at their peak. So while the acting sometimes leaves something to be desired, the concept is surprisingly great and would even go on to influence sci-fi films you're probably more familiar with like The Matrix. Mindwarp is half Mad Max and half The Hills Have Eyes with a little bit of Total Recall thrown in for good measure. This quirky, blood-soaked post-apocalyptic gem is worth unearthing if you're a hardcore fan of horror or sci-fi cinema.
(de) wrote: Sorta fun, in a way.
(mx) wrote: A schoolteacher named Cat Ballou (Jane Fonda) recalls, in a jail cell, how she returned to her father's farm on after an exciting train ride. Two men, a priest (Dwayne Hickman) and a castle rustler (Michael Callan), escape a train and only to meet Ballou at her farm later on. Ballou's father Frankie (John Marley), along with his Indian helper (Tom Nardini), believes that his farm will be acquired by the town and so they go on the defensive. Tragically, he is gunned down by Tim Strawn (Lee Marvin) and the rest of the gang hires his brother, Kid Sheleen (also Lee Marvin) to hunt him down as well as rob a train. Pretty silly and corny, but also entertaining for its camp value. Marvin is good is his Oscar winning performance and Fonda is really attractive. The scenery in the film is splendid as well. Fun to see Nat King Cole in one of his few screen appearances during his spectacular music career. It is shame that he was dead of lung cancer shortly after production of "Cat Ballou."