You may also like
Decency torrent reviews
Johnna V (it) wrote: Loved it! Taylor M Graham is fabulous!!
Maximus G (ag) wrote: Not a great marvel film, but still interesting!
Hobie P (br) wrote: More brutal than the first and its better to.
David A (nl) wrote: (from the Watermark 07/12/95) Fluke is about a dog who realizes he?s a reincarnated person who must correct his wrongs from his past life. The film?s marketing has made it look like a must-to-avoid Beethoven clone, but the work actually has merit. Too bad the audio sounds like it was mixed by Helen Keller, and the narrative is sloppy. For me, human voices for animals is an overdone, condescending, and just plain tacky plot device. The sad part is that they could have scrapped the voices altogether, and relied on the beautifully poetic visuals to convey the well-structured story. Basically, it?s a grown-up movie trying too hard to be cutesy and have a ?family? appeal.
Greg P (ru) wrote: Mediocre 70s disaster sci-fi. The Landmaster is cool though.
Stephen S (it) wrote: Starts off okay, but ends up becoming really stupid. The ending is especially awful, and the story is really confusing and very badly explained. Honestly, the acting is pretty bad, with the exception of Laurence Olivier, of course. But the rest of the cast just forgets how to act and times, and to be frank, Dustin Hoffman just doesn't do that good of a job here.
Gordon T (jp) wrote: very sexy Wolf Man movie. Spanish . . . creepy Dialog. The Werewolf Fights The Yeti in this one. The Evil Guy has a skin disease and has his henchmen cut-off women's skins and place them upon his back. Features PAUL NASCHY as VLADMIR!!!!!! FREAK YEAAAAAHHHH!!!!!!
Thomas B (es) wrote: With some good ideas and good characters had potential but sadly lacked humour and even entertainment leaving it just a bland boring movie .
Michael R (nl) wrote: Dark, disturbing and beautiful. Hellraiser is one of the strongest directorial debuts of all time. Clive Barker has pulled out all his macabre tricks and given the world a terrifying and original horror film. Never before had a cinematic hell seemed so real, visceral and frightening.
Tiberio S (us) wrote: I was confused about the genre of this film - did it really need so much musical for a western adventure flick? After enough of Marilyn Monroe's pouty face and lip singing, the dwindling rear-screen projection (which started out good, but couldn't handle speedier scenes), and the improbability of these characters surviving situations where their assailants seemed to act clumsy, allowing them to escape, my thumb got tired of sitting up and started tilting. But the gorgeous cinematography and staging was a serious draw. Mitchum arrives amidst the chaos of Gold Rush, tents swarming a firelit plot of land where hooligans behave badly; we feel his strength of character as he walks through tall, not necessarily judgmental but not indulging either. He has one objective: find the son he lost and get the hell out. They have a few near-misses, but before too long they're reunited. Not much is done to satisfy their relationship developing through the story - they're happy to be together and when they encounter obstacles about why his father was missing for so long, they resolve them quickly. Preminger is such a master painter, taking inspiration from the wide landscapes of John Ford, always pitting the smallness of man and his quarrels against the everlasting backdrop of our American west. But it's Joseph LaShelle who fills it in with such pristine quality, from the smaller yellow highlights on trees to the massive color and contrast of deep blue sky and rustic mountain. Any moonlit scene with running river in the background moves the film from it's thematic title and contextualizes it - that serene background noise. It's as effective with natural sound as it is with the exciting classic Cyril Mockridge score. The scenes are patient, they allow us to see actors form a scene without excessive cutting, forcing Monroe to do real acting beyond mere sexy poses (which are plentiful). But her performance is one note, she has one face she keeps going back to with her upper lip extending out and lower jaw moving back, trying to talk with a toughness that gets as redundant as Hermione Granger yelling in Harry Potter 3. Mitchum is arguably one note, but with such presence that I find acceptable. There's a controversial near-rape scene which seems very easily forgiven by today's standards, she loves him and doesn't really mind him forcing himself on her. But they aren't a thing yet when that happens, and today that would not pass. I felt like the kid was more of a Short Round sidekick than a dramatically integral plot device, it could've almost been done without him. But it gave the two future lovers a common link of concern and care which drove them to survive, literally as Monroe identifies Mitchum is doing this all and surviving out of love for his son. Their adversary, Rory Calhoun, is driven by pure capitalism, and as usual, it catches up to him when the son mirrors his father, giving them a little poetry and bringing the story full circle. The son understands why sometimes, out of desperation, a man gets killed.