Day of the Dead

Day of the Dead

The final chapter of George A. Romero's "Dead Trilogy". In an underground government installation they are searching for a cure to overcome this strange transformation into zombies. Unfortunately, the zombies from above ground have made their way into the bunker.

Zombies rule the world, except for a small group of scientists and military personnel who reside in an underground bunker in Florida. The scientists are using the undead in gruesome experiments; much to the chagrin of the military. Finally the military finds that their men have been used in the scientists' experiments, and banish the scientists to the caves that house the Living Dead. Unfortunately, the zombies from above ground have made their way into the bunker. . You can read more in Google, Youtube, Wiki


Day of the Dead torrent reviews

Roman R (es) wrote: Takeshi Miike es un fascinante cineasta aun cuando ha dirigido peliculas que he detestado. Su genialidad radica en que siempre va mas alla de lo que una audiencia espera y no teme irse por lo surreal y grotesco. "Gozu" es surrealismo puro desde su inicio hasta su maquiavelico y repulsivo final. No vale la pena traer un analisis sobre su significado ya que la cinta, tal como las obras de David Lynch, funge mas como una pesadilla recurrente por lo que la logica no aplica en ningun sentido. "Gozu" es una fascinante propuesta pero no es para todos, tal como Miike no es director para todos. Para cinefilos arriesgados es una cinta con secuencias inolvidables y perturbantes.

Calib M (ru) wrote: This movie is an incredibly intricate puzzle, but strangely enough a very coherent puzzle without having the pieces yet put together.This is the second movie in Inarritu's disjoint, yet connected lives, trilogy, and this is by far his very best. This might be Inarritu's best movie, the artistic force/vision, intricate screenwriting, hartfelt performances by Watson, Penn, and Del Toro, brilliant editing and ambition that went into this project is absolutely fantastic.21 Grams is an incredibly, indescribably original modern-masterpiece created by up and coming master-director Alejandro G. Inarritu.

Nate G (ru) wrote: High Crimes is often times your typical crime drama, while trying not to be. Unfortunately it failed at it's attempt to be atypical. While the specifics of the story were fairly original and even intriguing it still holds the genetic make-up of your very ordinary genre film. One of the things that makes this film worth watching was a pretty good performance by Judd, who covers up some of the lesser performances of her supporting cast. The suspense also draws you in, especially thanks to the unpredictability of the plot. However, I think at the end of the day, this one carries 1 twist too many, which seemed forced as to wrap everything up in a neat little bow. I would say that if you like crime dramas you'll enjoy this movie, if not, then you'll probably find it pretty ordinary.

Pookie I (gb) wrote: Yo when I first owned this movei I watched it every single day. and notice how much they smoke on here, They made me go through a hell of alot of ciggaarettes LMAO

Will S (ag) wrote: not the best pink panther but its good

Miguel A (us) wrote: Sero ainda uns quantos os realizadores capazes de meter as mos numa crise familiar, mas preciso um Bergman para encarar um apocalipse familiar sem nunca temer levar o rancor e a frieza humana at limites extremos. "Saraband" pesa uma tonelada como drama e asfixia com carradas de angstia at a um ponto a que nenhum filme norte-americano chegaria (muito por causa de uma tradio de entretenimento algo oposta ao maior compromisso europeu com a arte). Bergman nem sequer tem de recorrer ao terror psicolgico para nos apertar a corda volta do pescoo. H muito pouco em "Saraband" para desviar os olhos do ecr (esse um efeito mais Lars Von Trier) e h tanto para que ningum pestaneje perante o desfalecimento doloroso das peas num xadrez familiar totalmente assombrado pelo passado. "Saraband" decorre trinta anos depois de "Scenes of a Marriage" e parece que o tempo secou os nimos e anulou todas as hipteses que a comdia tinha de aliviar os dilogos mais rspidos. "Saraband" no abre espaos para a comdia e o seu sarcasmo demasiado cido para enquadrar-se nessa categoria. uma sequela, mas funciona perfeitamente como filme isolado. Liv Ullmann mostra que muito mais uma fora da natureza do que uma simples actriz e a jovem Julia Dufvenius d indicativos de que pode ser uma boa herdeira. Passa por elas (e por uma determinante terceira mulher ausente) a ltima palavra de "Saraband" e uma das ltimas na obra de Bergman: s uma mulher capaz de um amor gigantesco e incondicional enquanto dois homens travam uma guerra sem trguas.

Scott C (nl) wrote: This Frank Capra classic caught me totally off guard with its sheer strangeness. It's shockingly dark, especially for its era. I'm surprised it has never been remade?! My one quibble is that Cary Grant seems to disappear for a fair chuck of time and the film does seem overly long for a comedy.

Courtney K (ca) wrote: ohmygoodness, haha; it's what you'd imagine it being. it actually wasn't terrible -- but then the bedroom scene with the girls happened & i thought "oh my, here we go". & then the bathroom scene happened. it's cliche & perfect for stupid movie lovers.