Death Curse of Tartu

Death Curse of Tartu

A group of students on an archaeology assignment in the Everglades decide to throw a dance party one night.

A group of students on an archaeology assignment in the Everglades decide to throw a dance party one night. The spot they choose happens to be the burial site of an ancient Indian medicine ... . You can read more in Google, Youtube, Wiki


Death Curse of Tartu torrent reviews

Joseph H (ca) wrote: Insidious 2 is not as scary as the first one but is still a great horror film and is a Must See.

Alex G (jp) wrote: An incredibly endearing lead duo paired with a terrific opening make this a fun little bit of spider-goodness.

Plain C (jp) wrote: I thought this film was great. Different way to do a "Zombie film" Focused on the personal struggles of the two protagonists than the actual surviving, that is the usual number one priority in a zombie apocalypse. When ever zombies popped up the focus wasn't them, it focused on the characters. The realist and the romantic struggling together in a walking dead people apocalypse.

Taufiq K (au) wrote: For a low-budget, its a great film. But, its suck for layman. Im a layman. No thrill at all. Its so slow.

Fredrik N (nl) wrote: Hade nog alldeles fr hga frvntningar. Vackert gjord men jag tycker inte att den hller ihop helt och hllet.

Esperana N (kr) wrote: a weird story with a great touch of reality, more like drama kind of one!! good

Cameron J (fr) wrote: From the director of "RoboCop", "Total Recall", "Basic Instinct", "Starship Troopers" and "Hollow Man" comes a new hardcore thrill ride of juicy intrigue... I think. I don't know about you, but it seems like Paul Verhoeven is getting a little bit carried away with his artistic license with this film, because, come on, Paul, as much as we're glad about your returning home to the Netherlands, two-and-a-half hours of you calling all of the names in your little black book seems to be a bit too experimental. Actually, jokes about this film's artistic integrity aside, this is yet another Paul Verhoeven thriller about a woman exploiting her sex appeal to get men killed, it's just that there's a bit more tastefulness to this film than your usual film by Verhoeven. Well, I guess it's safe to say that with "Basic Instinct 3: I Did Nazi This Coming", this delightful saga about the killing of some guys who were just hoping for a nice night with a hot lady has returned to form, because this is the supposed to be the most commercially successful and renowned Dutch film of all time... which isn't really saying much. I love how this was supposed the most expensive Dutch film ever upon its release, and it's also the most inexpensive film that Verhoeven has done since "RoboCop", meaning that not even "Showgirls" cost this little, as the box-office returns will tells you. Well, apparently Dutch films really are cheap, because even with a budget that, in USD, is about $21 million, this film has been about as prettied up as leading lady Carice van Houten herself. Of course, unlike Van Houten, this film didn't really "blow my mind" (Like I said, I bet these German slaves to seduction did "Nazi" that coming), as it is not exactly without quite a few faults. I was going into this film expecting some thrills, but I was mostly fearing that Paul Verhoeven would get to be a bit too carried away with this thoughtfulness as the teller of this, for him, more weighty story, thus I am relieved to say that entertainment value is generally firm, though I can't say that my fears were entirely dashed, as there are still limp spells in atmosphere that establish blandness, or at least intensify it, as bland limpness is reinforced enough on paper. At just under two-and-a-half hours, this film outstay its welcome a bit, and does so with repetitious material whose blandness could never be entirely washed away, and whose being accompanied by the aforementioned atmospheric dryness leaves steam to gradually dilute at the film progresses. There are more cold spells to this dramatic thriller than there should be, and that challenges your investment enough, yet doesn't do so alone, as there are also questionable moments in atmosphere that are more overbearing than cold, because whether the film is getting a bit carried away with its violent imagery or getting to be a bit melodramatic, there are more than a few lapses in subtlety, a few of which prove to be glaring. Verhoeven handles this project ambitiously, but hasn't conditioned himself through the years to handle subject matter of this much importance, even though may of this drama's aspects are driven by actiony thrills and intrigue, and perhaps his success as a dramatic storyteller would have been helped if the film was more well-rounded. You certainly get a reasonable understanding of the characters and their situation, but there's only so much expository punch-up to sell you on the full weight of this worthy story, at least enough for you to ignore the conventionalism, because even though this film about an ordinary, but struggling woman exacting revenge on the Nazis with both her companions and her attractiveness could have been turned into a rather refreshing thriller by its own right, Verhoeven hits too many tropes for the film to not simply feel like a cross between a formulaic and somewhat watered down femme fatale thriller and a formulaic and somewhat watered down wartime drama and espionage thriller. There's not a whole lot of punch to this film, and while there is enough force to the inspiration behind this project to almost drive the final product into decency, resistance from pacing and subtlety issues, underdevelopment and conventionalism overpower this ambitious effort and secure its underwhelmingness. Still, the point is that while the film falls short of rewarding, it comes close, carried on the back on many an inspired aspect, one of which being the very thing that our lead Rachel "Ellis de Vries" Stein character uses to get the job done: good looks. Cinematographer Karl Walter Lindenlaub has had a history of lensing pricy thrillers that choose to direct most of their attention in the forming of eye candy to technical spectacle, rather than visual style, so there's not a whole lot that's especially appealing to this film on a visual level, but Lindenlaub's eye is still sharp, gracing the film with a crisp definition that emphasizes color strikingly and occasionally plays with lighting beautifully. The film is pretty prettied up, maybe not to a stunning degree, but certainly to an attractive degree that gives you a lot of room to admire this film's art direction, supervised by Cornelia Ott, - with help from Roland de Groot, Maarten Piersma and Wilbert Van Dorp - and featuring production designs, by Wilbert Van Dorp, and costume designs, by Yan Tax, that intricately and handsomely restore the Nazi-occupied Netherlands with distinct immersion value. The film uses its money well when it comes to putting together a distinguished and engaging look, even though there could be a bit more uniqueness to the photography and art direction, so on a technical level, the film excels about as much as you would expect from a Paul Verhoeven film, only with a few less explosions and whatnot, but what drives the final product is its substance. As I've said, storytelling betrays the value of this film's subject matter, which is limited to begin with, because this isn't your garden variety "Oh, how the Jews suffered, and oh, how depressing it was" type of Holocaust drama, but rather a war-era thriller with some dramatic touches and relevance to Nazi misdeeds, thus making for a story concept that was never to hit too much, but still has a potential that Paul Verhoeven, when particularly inspired as director, does justice to with an effective capturing of the intensity within what action there is, while keeping heart pumping enough to make the dramatic touches fairly compelling. If nothing else, Verhoeven keeps entertainment value going more often than not, sustaining your engagement value through and through, and therefore drawing your attention towards the other commendable areas in storytelling that don't exactly drive the decency of this dramatic thriller alone. There's not a whole lot for the performers to work with, yet with what they've been given, the cast delivers on charisma and heart, with beautiful leading lady Carice van Houten being particularly convincing in her portrayal of an ordinary woman putting herself in extraordinary situations that will test her morality while she goes on a dangerous adventure to give those who have wronged her what she feels is harshly just. Van Houten has only so much to work with, being perhaps at her most engrossing when she's, well, naked (It's a bit disrespectful, I know, but hey, she is indeed good-looking), but her commitment as leading lady is potent enough to help in gracing this film with the heart that, while not enough to carry the final product beyond a degree of underwhelmingness, comes close to rewarding. When the book is closed, you're left with an overdrawn thriller with too many lapses in pacing, subtlety and uniqueness to sustain steam enough to keep underwhelmingness at bay, which isn't to say that there's not enough good looks to cinematography and production value, intrigue to subject matter, and heart to direction and acting to make Paul Verhoeven's "Black Book" an enjoyable, almost rewarding thriller that could have hit harder, but nonetheless gets you by just fine. 2.75/5 - Decent

Adam W (fr) wrote: Either Uk or US title is rubbish, the film is ok.

Stephen C (de) wrote: A case of too many screenwriter spoil the broth . 5 are credited wth the screen play and parts of it belongs to the hand of Paul Schrader which does shine through. The film is not bad as such but lack of narrative slews all over the place and it tries too hard to engage, Pacino is on full shouty mode here and that helps and John Cusack is very very good ,and the supporting cast is game. But the films cries out for a Scorsese or a Lumet to give the film the injection of pace it needs to come across as a real gutwrencher ,Beckers direction is flat and kills all tension in the story. Not a total washout but so much potential wasted

David B (fr) wrote: Beautiful with wonderful photography and a love story about a tribe of native americans happened on by 2 americans. Very much a feel good movie.

Tasos L (jp) wrote: A rare gem that followers of ''alien'' gonna love it..

Cyndi G (fr) wrote: Some of my favorite cartoon characters.

Landen C (au) wrote: Replace a gun for a camera, and you've got Picture Snatcher. Wonderfully balanced, Cagney plays both the comedic and serious sides of this character. While I don't necessarily agree with the trailer for the film saying that it's "The Greatest, and we mean GREATEST role he's ever had!" But regardless he never ceases to entertain and impress.

Irvin C (mx) wrote: "Un Chien Andalou" isn't the only weird, surreal, somewhat fucked up film of its era. It was shortly followed by this strange masterpiece by Jean Cocteau. Divided into 4 sections, the film has a somewhat clearer narrative than the Bunuel/Dali piece but it is no less avant-garde with tons of alternately beautiful, grotesque, occasionally shocking but almost always strange imagery. Cocteau utilizes pretty much every visual effect and cinematic trick available to him to produce something kind of masterful. What exactly does it all mean? All sorts of things. Maybe even nothing. But it's still a joy to watch and that's what counts.

TrueFilmFan N (nl) wrote: Well shot and highly entertaining.