Based on the much-anticipated EA videogame Dead Space 2, Dead Space: Aftermath is a fast-pased, horrifying thrill ride that follows the surviving ship crew members of the USG O'Bannon. The ... . You can read more in Google, Youtube, Wiki
Dead Space: Aftermath
When contact with the spaceship USG Ishimura is lost after a Necromorph outbreak, Earth sends the ship USG O'Bannon to investigate, but contact is lost with them as well.
You may also like
Dead Space: Aftermath torrent reviews
Mira Mohd S (es) wrote: Usually while watching a coming of age or a feel good kind of film, a few minutes into the run time, its obvious what the outcome is going to be, but surprisingly this Chad Hartigan film doesn't play on similar tropes. Without using any form of tacky over played scenarios, the film albeit some missing plot holes is delightful fish-out-of-water comedy that's interesting and bold and brings something new to the genre.Being a well executed growing-up comedy and a little foul-mouthed with a transnational spin, the film examines the ways that ideas about differing cultures move in different directions. The story follows 13-year-old Morris (Markees Christmas) who along with his father, Curtis (Craig Robinson) have relocated to Heidelberg in Germany, where Curtis, a former semi-pro soccer player, has been hired on to coach the local team. Possessed with the strange freedom that marks a summer vacation spent in a foreign country, Morris spends his mornings learning German with the help of an obliging graduate student, Inka (Carla Juri), and his afternoons barely using the language at the local youth centre. Surrounded by strangers, the boy transforms from a charming, amiable jokester into a taciturn outcast, the general weirdness of his circumstances exacerbated by his cruel German counterparts, who tease him for his perceived lack of basketball skills, accuse him of dealing marijuana, or taunt him about his weight.However, Morris receives a different reaction from the blonde beauty Katrin (Lina Keller), an impish, generally aloof popular girl whose physical maturity is countermanded by a childish impulsiveness. Sick of the town's close-minded staidness and bored by her juvenile classmates, Katrin takes an interest in Morris, one that vacillates between mocking flirtation, genuine concern, and surreptitious bullying. The question of whether Katrin is toying with Morris, legitimately invested in his outsider appeal, or some mixture of both, however, is inevitably moot. Firstly, this is not exactly a film about race or racism and could have easily have been done with two white leads instead of black leads. It's just a simple film about a 13-year-old boy discovering sexuality and entering an adult world by experiencing love for the 1st time, as well as how his father deals with a growing up teenager without his deceased wife. There are so many ways that this filmcould have ended up like so many other teen-falls-in-with-a-bad-crowd films, but that's not what happens here. Instead,this filmshows us a real kid, with real issues, and a real -- as in living but flawed -- relationship with his father. The issues aren't huge on the grand scale of life, but they certainly loom large for Morris, a deeply empathetic character who makes this charming film so winning. He likes Katrin, but she vacillates between flirting with him and making fun of him with her friends. He wants to fit in, but he isn't sure about drinking or taking drugs with his new friends. Director Chad Hartigan and Christmas makes us care about this boy, who's not so sweet or so kind but is instead struggling with problems that anyone who's ever been 13 can understand. The film's moral center is Morris' relationship with his dad, who wants to be his son's pal but also has to rein him in sometimes. Curtis, pushes his son to get out in the world but then worries about him. He's tough but sweet and loving, and it's a pleasure to see the father and son characters connect, even whenthey fight. The film avoids clichs and stereotypes about African-American fathers and sons, replacing them with an authentic portrait of youth, grief, the need to belong, and a search for deepfamilial connection.Thinking about it, race to some extend does play a small part in a sub plot here (well depending on the way you look at it), when Morris develops a lopsided friendship with his object of his teenage affection, Katrin. Two years older than her admirer, Katrin is way out of Morris' league. But she entertains his infatuation anyway-partially because Morris presents an exotic alternative to the horny German speaking idiots that circle her like flies, but mostly because she's flattered by the attention and wants to freak out her conservative mother. Anyone who's ever willfully allowed themselves to be led on by a crush who plainly does not reciprocate their feelings will nod with wistful recognition. Teenage boys past and current may be less eager to admit that they see themselves in the scene of Morris, ready to burst with frustration, finding a creative new use for his pillow. Alone in his bedroom, young Morris (a remarkably understated Markees Christmas) hastily constructs a replica of a woman from his pillow, a pair of sweatpants, and the blue cardigan left behind by the object of his affection. Makeshift woman in arms, he first engages in a prelude of slow dancing, gently squeezes and paws at his creation, then undresses it as a segue into some tender, hesitant humping.What's notable about this scene is how Hartigan's tight close-ups emphasize the ragged gaps in the structure of his would-be romantic scenario; the filmmaker spotlights Morris's messily made bed, the boxers blooming out from his low-slung athletic shorts, and the overall awkwardness of his unsure movements. Beyond this textured portrayal, this filmis especially perceptive about the effect of external influence on personal development, particularly how a combination of bittersweet moments, experiences, and lessons mix together to nudge a boy from blissful childhood ignorance to empirically established manhood. Somehow, Hartigan manages to subvert some of the moldy clichs of underdog cinema, blowing past an expected triumph and then undercutting the replacement one with the stark reality of Morris' (mostly hypothetical) love life. Ultimately, familiarity can't entirely diminish the pleasures of a film this genuinely sweet, from the humor and heart Christmas and Robinson conjure in their scenes together to the insight into alienated youth that Hartigan wrings from some very common tropes. Yes, its the old fish-out-of-water scenario, but Hartigan does so much with it that it actually seems fresh. And what makes it so is his deft understanding of how people different than us are quick to make assumptions. Plus if you're going to tell a coming-of-age story about a kid with a tough-love father, a dead mother, and a hopeless crush on the coolest girl in town, you're going to need all the unique perspective you can muster. Craig Robinson, best known as a comic sidekick in films likeHot Tub Time MachineandPineapple Express, and for TV roles onThe OfficeandMr. Robot, hasn't been given many big-screen chances to showcase his dramatic gifts, which come as this slight but easy-to-love film's richest and most rewarding surprise. Markees Christmas is surprisingly good and seems to come alive most opposite Robinson. Lina Keller and Carla Juri are flawless. On the whole, 'Morris from America' is a funny as well as an emotional film with a small story but a huge heart.
Darren H (ca) wrote: Canadian filmmaking in its hey. If Casablanca has its gin joints, Toronto has its strip clubs.
CarrieAnn F (it) wrote: Good story. I don't like horror movie AT ALL, but I was intrigued. Watched it through the gaps of my fingers.
Ron C (it) wrote: Started strong but then too much without context or continuity
Martin S (mx) wrote: It's lightweight and at times nave, but the charm is impossible to resist.
Alex B (gb) wrote: Don't waste your time on this.
Joe T (fr) wrote: Quite slow and hard to get through. But if you think you have seen everything in a war film, you've got another thing coming!And the worst part - the photos at the end which shows that its, for all intents and purposes, accurate.
Kathy D (ru) wrote: What a strange ghost story. Not too bad, but the ending could've been alot better.
Luc L (nl) wrote: Great scenic shots. The torments of mountain climbers based on a true story.
Sonny H (nl) wrote: The sequel which I my personal opinion is better than its predecessor, it might be gorier but that's not why I like it. I love this film because it is well written and has the best performance by Tobin Bell as Jigsaw who in this film is just captivating. The music by Charlie Clouser is just outstanding, the intense electronic score is so distinctive that when you hear in another film you know something bad will happen. The twist at the end will leave if you off guard and will make you faint. I give this film 10/10.
Christine M (kr) wrote: only the comercials played so how did any of my friends watch this flixters has changed alot
Dan H (kr) wrote: The myth of the Wendigo should be scary and intense, not goofy, silly and dumb. Yes, this film is fun, but don't go in expecting horror and if you are at all interested in the myth of the Wendigo (If you don't know what that is, look it up on Wikipedia. Seriously interesting stuff) then stay away from this film. A decent distraction, but I wouldn't say it's all that memorable.
Isaac K (jp) wrote: Easily one of the best boxing movies ever.
Garrett C (kr) wrote: A smart piece of popcorn entertainment that has the Spielberg influence all over it, fans of classic sci-fi films (and other cinematic staples) will enjoy all the references and cameos present here. It's an enjoyable little piece of 80's blockbuster fare.
Tony M (it) wrote: I love Steptoe & Son and this movie really shows Harold and his dirty old man at their rag & bone best. 5 stars for this old gem.
Robert B (ag) wrote: Ok very dated by today's standards, the spfx always reminds me of Toho sci-fi flicks of the same era. My kids always wonder when Godzilla is going to pop out of an iceberg. Storytelling's pace is unusual butgets up to speed as the film progresses. Walter Pidgeon is always solid as the scientist/ commander in these type of Cold War 50/60's scifi romps. An interesting note about the Van Allen radiation belts catching fire from a meteor plot. The film was inspired by a news article were the USA military was conducting high altitude nuclear explosions / tests (aka rainbow bombs) testing the effects of electromagnetic pulses and there was a proposal before then President Kennedy to explode a nuclear bomb inside the Van Allen radiation belts. The scientists theorized that the bomb could a) cause an EMP that would travel along the belt and wipe out electrical equipment world wide, b) do nothing or c) fry every living thing on Earth. President Kennedy cancelled the project.
Aaron B (es) wrote: This movie isn't that hot...but I've seen it maybe a dozen times in my life. I can't help but rate it highly.
James S (kr) wrote: A bit hard to follow, but after reading, fantastic plot, great political thriller and scary relavent for today
Juan B (kr) wrote: James Franco's performance is so bad, it made it hard to enjoy the movie, his delivery in every scene is lazy and has zero emotions. It's sad for me to say that I think he has peaked as an actor, I really enjoyed 127 hours but I cannot name another movie with him as the lead that I could say is even good. As far as the story goes? OZ is not the kind of man you root for , he's a jerk and I wanted him to fail. A good movie should always let me in, make me feel as if I'm there with the characters , but I was on the outside looking in throughout the entire film.