San Francisco police officer Frank Connor is in a frantic search for a compatible bone marrow donor for his gravely ill son. There's only one catch the potential donor is convicted multiple murderer Peter McCabe who sees a trip to the hospital as the perfect opportunity to get what he wants most freedom. With McCabe's escape, the entire hospital becomes a battleground and Connor must pursue and, ironically, protect the deadly fugitive who is his son's only hope for survival.
- Stars:Michael Keaton, Andy Garcia, Brian Cox, Marcia Gay Harden, Erik King, Efrain Figueroa, Joseph Cross, Janel Moloney, Richard Riehle, Tracey Walter, Peter Weireter, Keith Diamond, Steve Park, Steven Schub, Neal Matarazzo,
- Director:Barbet Schroeder,
- Writer:David Klass
San Francisco police officer Frank Connor is in a frantic search for a compatible bone marrow donor for his gravely ill son. There's only one catch: the potential donor is convicted ... . You can read more in Google, Youtube, Wiki
Desperate Measures torrent reviews
(jp) wrote: I was pretty impressed with the believability of the chemistry for the "instalove" situation. The movie also does a great job of showing off Hong Kong. I thought several times "Looks cool. I would go there."*** Spoiler ***I thought this was going to be one of the best movies (of its kind) that I've seen, but they opted for a No Decision at the end instead of going with making the difficult choice (which would be that they don't actually get together). Of course, I would have hated it if they did get together, so in that sense I guess the cop out is a better option since I still at least liked the movie with the ending it had.
(ca) wrote: It felt more like a TV show than a movie, but I laughed a lot. Not as hilarious as Always Sunny or Eastbound & Down but still very funny.
(es) wrote: Much of it proceeds on a level of purest pantomime, with gurning performers, slapdash plotting (I know, I know: no-one watches these things for the plot, but the demands of a - cough - trimmed international cut only renders it even easier to zone out or fast-forward between the bonking), and a bit where a dog runs off with our hero's penis, as the Dish once did with the Spoon. So genially silly is the first hour that I couldn't quite work out whether the attitude towards women (who exist here chiefly to be bought, sold and raped) was knowingly, parodically tacky; only in the second half, which slides into gore as sexual pleasure gives way to sexual jealousy, did events come to seem more dubious than they perhaps needed to be. Given that the male characters sport such appellations as Horse D**k and Donkey C**k, it scarcely seems fair that the most memorable female role should be that of a man inhabiting a woman's body - hardly an original sight, given the fevered penetration elsewhere. Still, I can appreciate that the usual critical standards really don't apply in this instance, and will grant that its USP extends (just) beyond 3D. I can report that the film boasts an exceptionally high nipple count, and more pubic hair than would be permitted in Western softcore, and that no-one seems to be suffering unduly for that burden; you may prefer to sample it at home on DVD, where the 3D glasses would presumably shield the viewer from their own shame and filth, even as they might accentuate any squint one might develop from watching.
(es) wrote: God I loathe Antonio Sabato Jr.
(ag) wrote: Diandra Jensen is a struggling photographer who decides to dabble as a call girl for $1,000 a night paydays to help with past due bills. The new part-time job proves immediately lucrative as a wealthy art collector pays all her back rent and gives her an advance for 6 months of services supposedly just for her company. I guess he has a lot of money to throw away or has a lot of trouble making friends. Dull.
(au) wrote: Ds le gnrique, et grce la musique, le film nous emporte et les premires squences nous prennent aux tripes. La marque d'un grand. Dj.
(br) wrote: a sexist, racist, mostly unfunny mess that not even the combined efforts of tom hanks and john candy could save.still better than temple of doom, though.
(fr) wrote: A post World War II movie that teams up a hardened Marine with an innocent nun. At first one might assume that this is the typical and formulaic teaming up of mismatched pairs and their resulting misunderstandings; however the chemistry and rapport between Kerr and Mitchum made this film different. It had heart and humor...it also raised an interesting question of what purpose their "careers" would have if they had to spend years alone on the island. Despite the bittersweet ending I still found this movie to be quite touching and enjoyable.
(au) wrote: Sincerest thanks, Kaufman, sincerest thanks. At first it seems like it's going to be a less solipsistic "Punch-Drunk Love" as Carrey greets us with his taciturn, passive, inept self, but no, it's a different tale. His role is explicated by his own line, "Constantly talking isn't necessarily communicating." He and the uniquely gregarious yet equally impulsive Winslet team up in this introspectively trippy story of technologically "cheating" life to better the remainder; but one thing's for certain: one cannot escape fate. It's jumping into an authentic human brain Kaufman-style as the memories of their relationship are perused reverse-chronologically. It inspires audience members with its statement that the imagination is an intangibly ethereal art that can accomplish anything the beholder wishes. It's scary, hilarious, lachrymose, and bewildering, all in good taste. The incredible irony towards the end where the procedure that originally meant they'd never meet again IS EXACTLY what reunites the pair, inciting the realization of what qualities fused them in the beginning. The Dunst/Ruffalo/Wilkinson/Frodo real-time business serves as a diverting yet fresh parallel to the main plot. Murders Malkovich, easier to follow than Synecdoche, and awfully comparable to Adaptation (still undecided which of the two is my favorite). It screams, "Cherish life for its strengths and weaknesses, for its happy and sad" but most importantly, there's someone for everyone, someone that uproots happiness in you. A brilliantly whimsical and off-the-charts seamless history storybook.---Revisiting something, anything, written by yourself years later is a mortifying experience. It is mortifying because not of the haphazard verbiage or the syntactical misfires, but rather the categorical admission that your gleanings are somewhat the same yet you've done nothing about it. You read the book but never took notes, the adage might go. What's the point of reading or watching or listening or talking if there's no subsequent progress? Empty carbs they seem, to me.This time around (and not last time) Kaufman did teach me that, like in love, his picture's centerpiece, your mind will find ways to "hate" what it loves. And it is our job to actualize that "hate" is merely just that -- in scare quotes.
(nl) wrote: Nino Brown (Wesley Snipes) and his gang, the Cash Money Brothers, become the dominant drug ring in New York City once crack cocaine is introduced to the streets during the late 1980s. His gang consists of his best friend, Gee Money; enforcer Duh Duh Duh Man; gun moll Keisha; Nino's girlfriend, Selina, and her tech-savvy cousin, Kareem. Nino converts the Carter, an apartment complex, into a crack house. Gee Money and Keisha kill rival Fat Smitty, the CMB throws out the tenants, and Nino forces the landlord out onto the streets naked. Undercover detective Scotty Appleton (Ice T) attempts to make a deal with stick-up kid Pookie (Chris Rock), but Pookie runs off with the money. Scotty chases Pookie and shoots him in the leg, but the police let him go. When Detective Stone (Mario Van Peebles) comes under pressure to solve the growing drug problem in the city, he contacts Scotty and partner him up with loose-cannon Nick Peretti (Judd Nelson). Both having knowledge of the street and its environments is the key. Will Scotty and Nick be able to stop Nino and his gang? Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, writing: Truffaut once said it was impossible to make an anti-war movie, because the war sequences would inevitably be exciting and get the audience involved on one side or the other. It is almost as difficult to make an anti-drug movie, since the lifestyle and money of the drug dealers looks like fun, at least until they're killed. This movie pulls off that tricky achievement. Nino, who looks at the dead body of Scarface and laughs, does not get the last laugh. Time Out London described the film as "a superior example of what used to be called blaxploitation. "New Jack City" was the highest grossing independent feature of 1991. I saw "New Jack City" at the movies in 1991, and judging from my memory I did like this anti-drug action flick. I remember vividly the bicycle chase between Scotty and Pookie and the general NYC vibe coming from the screen with Ice Ts great "New Jack Hustler" pumping in the background. I just bought the DVD to re-see it and I must say that it hasnt maybe aged that well in my mind. The filmmaking style of the 90s is truly vivid with tilted angles, strong colours and too many close ups plus the terrible clothing styles that was seen in many films from that era. The acting is unbalanced I would say. Ice T, Chris Rock (despite some strong scenes) and Mario Van Peebles are hardly top actors while Snipes does an ok portrayal of Nino Brown. The cinematography has its moments, while the script has maybe a bit too much going on with too many characters and subplots which Van Peebles doesnt manage to handle fully in the end. Van Peebles fails in the editing as well, its a bit everywhere which loses the red thread in the scene construction and plotline. It becomes incoherent and patchy. In many ways "New Jack City" is a standard affair when seeing it today and I didnt like it as much today as I did in 1991. But, theres also a strong anti-drug/anti-crime message thats clear, which is weaved into the story and thats a plus.
(mx) wrote: The 'Pirates' series has gotten pretty tired at this stage, and it shows in this fourth instalment. It trades the pirate crew we loved from the first three for Penelope Cruz and her evil father Black Beard, and instead of building on the relationship between Will and Elizabeth, this shameful movie gives us a random pirate we barely know and a one-dimensional mermaid. Also, this movie is pointless. It didn't need to be made, as the third one rapped up the series so well (I'm in the minority who actually enjoyed the third one). Basically, don't watch this movie. It almost ruined the franchise for me.
(de) wrote: I was 11 years old when I saw this nuff said?
(it) wrote: El primer acercamiento de Ridley Scott al cine historico no salio tan bien como cabria esperar; aun asi se ha ido de cruzadas, a roma, al bosque de Sherwood... parece que este tipo de relatos son lo que realmente le motiva, pero mas que por contar la historia, por montarla. Veo bastante preocupacion en los aspectos tecnicos, el aspecto de la epoca, caracterizacion, musica y demas cinematografia, la cual no podemos ponerle tachas, lo borda.El problema es el de siempre, deja el guion en manos ajenas y se limita a plasmarlo en el escenario, sin intentar crear nada en concreto, personajes poco memorables que quedan en manos del actor darles brillo, y no, DePardieu no lo consigue, no es Russel Crowe.