Dawson Isla 10
After the 1973 coup that deposed Allende and brought Pinochet to power in Chile, the former members of his cabinet are imprisoned on Dawson Island, the world's southernmost concentration camp. Here these men are determined to survive and provide history with their testimony.
- Stars:Benjamín Vicuña, Bertrand Duarte, Pablo Krögh, Cristián de la Fuente, Sergio Hernández, Luis Dubó, Horacio Videla, Caco Monteiro, Alejandro Goic, Matías Vega, Andrés Skoknic, Elvis Fuentes, Pedro Villagra, Luis Quevedo, José Martin,
- Director:Miguel Littin,
- Writer:Sergio Bitar (story), Miguel Littin (story)
After the 1973 coup that deposed Allende and brought Pinochet to power in Chile, the former members of his cabinet are imprisoned on Dawson Island, the world's southernmost concentration ... . You can read more in Google, Youtube, Wiki
Dawson Isla 10 torrent reviews
(jp) wrote: We all thought this was maybe some sort of parody, it was so bad. Terrible acting, terrible music score, terrible storyline - all laughable in places. Useless terrorists being chased by useless secret agents. In all honesty, the highlight was a few seconds of one of the terrorists watching Mr. Bean and I HATE Mr. Bean. If I could sue someone, I would.
(ru) wrote: The movie touches on the subject of how the Tibetans were exiled. Which isnt new info but I guess its good to cover it. The 10 questions weren't the best questions to ask in my opinion. The only thing I took from this movie was how the Dalai Lama doesn't like the traditional rituals, his ability to laugh at most things, how he is a rebel in his own little way when it comes to rituals, and little things like that. Also... he sounds like Yoda.
(au) wrote: one of those movies you hated watching it, but really enjoyed it nevertheless...loved the ending...love how french films capture emotions & nuances...great writing
(jp) wrote: An eternal love-story so beautifully directed. Now i am a fan of Majidi.
(us) wrote: i forgot how much i loved the book, this didn't quite measure up but i guess when do they ever?
(mx) wrote: Summer Lovers (Randal Kleiser, 1982)Back in the dark ages, when we had just moved (I can't remember where we had moved from or moved to; we did a lot of that sort of thing in the early eighties), my parents got this amazing new technology called cable television, and as a side perk they got a pay service called Home Box Office, which at the time was still a relatively young upstart. To say my preteen world was instantly changed would be an understatement. Those first few months with HBO changed the way I looked at the world of film (and the way I consumed film; I lost count within a week or two of the number of times I watched Hangar 18 and The Return). I, a suburban pre-teen who was absurdly grateful to have been able to catch such seemingly-obscure movies as Phantasm and Deathsport at the local multiplex just a few years before, was suddenly introduced to a whole world of foreign films, obscure classics, B movies... and sex films. Not in the sense of porn, or in the sense of softcore (a subgenre which I am convinced sprung up solely to serve the pay movie channel market), but movies that had sex as a main theme. Talk about horizon-broadening for someone who grew up in a sexually repressed household. When the parents were asleep, I'd sneak down to the living room and catch late-night screenings of movies like Personal Best and Making Love. Eventually, of course, the parents caught on and stopped me from doing such things, but I could still read the movie descriptions in the guide and fantasize. Summer Lovers hit HBO right around that time, and when you're thirteen years old and popping with hormonal activity, reading a movie description about a Greek vacation that involves a guy and two lovely ladies getting up to all kinds of wicked fun was fodder for years of fantasies. When I finally got a chance to watch the movie, thirty years had passed. To say my fantasies had done it better was an understatement on a level of magnitude I'm not sure I can put into words.Plot: Michael Pappas (sex, lies, and videotape's Peter Gallagher in his second feature) and his nave-but-horny girlfriend Cathy Featherstone (Daryl Hannah, who also appeared in Bladerunner the same year) head to Greece, Michael's homeland, for a summer vacation filled with nude beaches, liquor, and badly-played acoustic guitar. All is going well until Michael becomes obsessed with Lina (Bolero's Valrie Quennessen in her final feature), a French archaeologist on the island for the summer to assist in a local dig. Needless to say in the pre-AIDS world of casual encounters, Michael and Lina wind up in bed, there is some hair-tearing by both Michael and Cathy when he confesses, and she decides to play the open relationship game as well. But none of the island guys, all of whom come off as brash (though beautifully tanned, natch), do it for her. And she winds up confronting Lina...The first, and biggest, complaint I have: all of this is set to one of the worst soundtracks I have come across in recent memory, all awful treacly American pop I can't imagine the native folk on a small island in a country famous for its music would allow anywhere near its borders (we're talking about the worst excesses of Chicago, the Pointer Sisters, etc.). I have read a review or two that calls the soundtrack "intrusive". I commend the reviewers on their restraint. When you get to the final scene and see what Kleiser does with the music there, you will find yourself with the conflicting urges to vomit and laugh hysterically. Don't do both simultaneously, that could be fatal.Second: for a movie that put itself out there as transgressive, not that anyone had heard that term in 1982 but it fits, it's almost unbearably restrained. Most notably, while it is implied during the first couple of meetings between Cathy and Lina that the two of them have jumped into bed at least once, every time there is some sort of contact that would seem to naturally involve all three of them, Kleiser (who also wrote the script) shies away, instead having two of our participants kick things off while the third watches (with Michael always being one of the two)-and while I could understand and forgive this based on the mores of Hollywood at the time were Kleiser to even feint in the direction of "we gave you a polyamorous relationship, we'll at least give you leads towards imagining these folks in a threesome", nope, we never get it. None of the relationship movies any of our three principals makes in the movie makes a damn bit of sense, not only as realistic life choices, but more confusingly, even as the fevered imaginations of a teenaged boy (or a middle-aged scriptwriter)! All that said, there are a few scenes here that, while not making the movie worth watching, are arresting in some way, either visually (Michael's first visit to a nude beach with Lena, where he not-so-idly pours a trail of sand and gravel from her navel to her breasts in delicious close-up) or conceptually (Cathy's mother and her best friend pay a surprise visit to the island and try to process everything they witness with highly amusing results). If you stumble onto the movie and decide to watch it, these are what you will take away with you... which is a far cry from what you probably think you will take away with you. * 1/2
(kr) wrote: Watched this oldie. with Bobby Darrin and Sandra Dee. Nothing like the old ones to make you want to fall in love again!
(nl) wrote: a good cavalry western filmed in New Mexico and Monoment Valley nice breeds of horses especialy the Indians.
(fr) wrote: Saw it before and really love her movies
(jp) wrote: Borderline comme film! a aurait pu tre mieux...
(es) wrote: nnnjjbbbhjjmmnmnnnn bnbnnbnnnnnnnnnnnnnn.
(ag) wrote: Period dramas seldom arouse the attentions of an audience in the way blockbusters do, by appealing to the masses with themes we??ve become accustomed to. And as the period drama may appear daunting to some with its lavish set dcor and formally intimate dialogue, Robert Altman??s Gosford Park advertised itself as a murder mystery interwoven within a period setting, a big change to what anybody would have expected. Born out of the influence of Agatha Christie, as well as the long-running Charlie Chan series of the 30??s, Gosford Park is influenced heavily by murder mystery benchmarks, but that does not mean its period aura won??t be felt, because I can safely say that nothing can overcome the period look, not even essentially this cinematic version of cluedo. Gosford Park focuses on the lives of both its masters and servants, where an amalgam of different people with diverse personalities, careers and ambitions intertwine under the same roof in a bid to solve the murder, but end up discovering something about themselves instead. One would have expected the murder to occur at the onset, or 20 minutes in, but after an hour, it finally does revealing itself to merely act as a tool to forward the characters?? personas. It is a prolonged opening that allows for some back-story to the characters, and by characters, I mean everyone that resides in Gosford Park! And that gives the film such density and atmosphere because every hierarchal section of Gosford Park is investigated, making for an unsurprisingly hefty experience. The trailer and the film??s build-up create this cryptically suspenseful feel about the place, but as the murder is committed, the murder kind of relinquishes its suspenseful grip on us and dwindles in importance until the revelation right at the very end ceases to be of concern for us or even the characters for that matter. We are meant to see Gosford Park as a character focused film where the story functions as an expansion to the characters?? personalities, people we are meant to see a narrative within. It may be misleading but Robert Altman loves his characters, and wants them to consistently drive the story where their needs requires it to, constructing an extremely slow and old-fashioned narrative. But, that is the appeal of Gosford Park for it harks back in story, character and set design to a time where this was blockbusting stuff. Gosford Park is the epitome of the period genre, beautifully crafting the Gosford Park estate so that every inch of the interior is a vast and luxurious historical wasteland of imbalance where two different ranks of society coexist. And in those ranks, an ensemble cast of Maggie Smith, Kristin Scott Thomas, Charles Dance, Tom Hollander, Bob Balaban, Clive Owen, Emily Watson, Derek Jacobi, Richard E. Grant and Stephen Fry fill the mansion. They are all fantastic in their performances, but three cast members have to be singled out for individual acclaim. Michael Gambon gives such a dominating performance of pure acrimony and pomposity that his demise lets us rejoice that the murder finally arrives. Helen Mirren is the complete opposite of Gambon, quietly and perhaps slightly eerily creeps her way through the corridors and house keeps more than just the estate, but a secret embedded within the fabrics of her worn out appearance. But it is American Ryan Phillippe who travels the Atlantic and dominates the British in their own playground. You may recognise him from American teen films such as Cruel Intentions and I Know What You Did Last Summer, but upon hearing his remarkable Scottish accent, you may believe his portrayal enough to mistake him for Phillippe??s Scottish doppelganger, until he masterfully deceives us all. Gosford Park is a strictly mature film, with lush dialogue and complex relationships, so it comes as no surprise that it is restricted to senior viewers, but the now completed Downton Abbey was born out of Gosford Park??s critical success, and look at the popularity of that, so audiences should try, at least once, the period plushness Gosford Park proposes. The Verdict: Gosford Park fails to make the most of its delicious murder mystery setup, but in its place offers a character-fixated story that breeds some staggering performances from Helen Mirren and Ryan Phillippe in particular. ???????????????????? 6/10
(us) wrote: Finally Linda Blair and Hasselhoff together in a crappy horror movie!