Devil Doll

Devil Doll

An evil hyponotist/ventriloquist plots to gain an heiress' millions.

An evil hyponotist/ventriloquist plots to gain an heiress' millions. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

Devil Doll torrent reviews

Ming Siu G (mx) wrote: This is pretty decently-made, if rather episodic and repetitive. However, it's also the first time I walked out of a movie because I found the main character annoying and obnoxious. When I realised I was surfing the internet on my phone instead of looking at the screen, it was time to leave. I've read that things change in the third act, but I pretty much got to the end of Act 2 and still didn't give a damn, so I don't think I missed much.

Rem R (ru) wrote: Super intrigue, casting et r (C)alisation bof

Ben H (it) wrote: good movie, helped by the various crossovers to 'reality', using the actual people in the film, the stageplay-within-the-movie, etc. A timeless story done in a fresh way. The parents are brilliant.

Todd S (us) wrote: The Truth comes out Josh Hartnett is a pretty boy who can't act

Scott S (es) wrote: Quintet (1979) -- [2.5] -- Glaciers move faster than Robert Altman's bleak post-apocalyptic drama. The ice-age backdrop is the only interesting thing about "Quintet," but it's completely irrelevent to the storyline. Paul Newman plays one of the last survivors of the human race, all of whom hole up and play board games, waiting to die. One group of players ups the ante by wagering people's lives. Something of a mystery and a watered-down thriller ensues, but I was way too bored to give an icy shit.

Ilsa L (it) wrote: Clever storyline for this mildly amusing comedy but the dialogue for Cybil Shepherd's character is at times cringeworthy. Well worth a look though.

Zack B (jp) wrote: The tone shifted constantly from comedy/buddy film to an intense societal study which made it feel uneven at times, but Richard Pryor's performance is electric and some of the scenes are really powerful.

Jay B (br) wrote: Better than manson family, but still sucky for how diabolical this story is

Zach S (us) wrote: My favorite Woody Allen movie simply because of it's clever premise and smart Casablanca references. Plus, it has that early Woody Allan humor that is as funny as it is refreshing.

Nicky N (gb) wrote: Love Me Tender Was Great.Elvis Did A Very Good Job Acting And Singing In His First Movie.B+

Sherry M (it) wrote: Martin Lawrence is very likable. The problem is that the movie just wasn't all that funny. Also a little distrusting that we're supposed to root for a thief. Everyone, including the cops, is happy that he gets away with the diamond in the end. Because...why? He's cool? C'mon...

Sean C (au) wrote: Tony Kaye's Detachment is like his feature film debut American History X in its bleak depiction of America's youth, trapped within the bureaucracy of public education, an institution that which they lack an understanding of, causing them to lash out in acts of cruelty and malice systemic of the failures of government sanctioned institutionalization, knowledge and empathy replaced by ignorance and competition. Indicative of Kaye's characteristic dissatisfaction for the culturally degenerative firmament of America in the twenty-first century, Detachment examines the failures of public education in America, depicting the role of the teacher as more warden and jailor than educator and counselor, Kaye's chosen subjects down trodden civil servants held back by the anger of their students and the economic strictures of the nation's poorest and most racially volatile residential districts. In Adrian Brody's Henry Barthes, the viewer is afforded a veritable reincarnation of Kaye's previous protagonist, Edward Norton's Neo-Nazi turned social activist Derek Vinyard, Barthes' internalized rage quelled by a poetic soul, erupting in fits of isolated panic when provoked by the very worst of society's machinations of arbitrary law and order. Like American History X, Detachment is nearly suffocating in its dark dramatic tone, the dour halls of Kaye's public high school lending an impenetrability to the characters within, the torch of enlightenment unattended, leaving a whole generation of children scrabbling in the dark, capitalistic antagonism affording only the meager light of a single lit match. Where Kaye's feature film debut found him investigating racial prejudice and violence in Southern California at the dawn of the twenty-first century, his fourth film finds him interrogating the survivors of his prior social apocalypse, his public educators tied down by the ego of discontentment engendered by the detachment of racism that has continued to course through the American subconscious in the proceeding ten years.As a successor to what is possibly the greatest social drama of our time, Detachment is comparatively engaged in a discussion largely pre-determined, Kaye's rhetorical flourishes on the importance of an ever diminishing liberal education heavy handed, but restrained by the subtleties afforded in Carl Lund's script and through the deft performances of its exceptional cast. If Kaye is a director's director, than his oeuvre is perhaps most marked by its unrelenting authorial style, Kaye's films less about interpretation than they are about elicited reaction, his films provocative in their engagement with topics already laden with a socially pre-conditioned response. And Detachment is no exception, decidedly brutal and effectively moving, Kaye's dissatisfaction echoing our own resentment towards an ingrained cultural disengagement, America in the twenty-first century remarkably insincere and prone to satire, but without the knowledge of where that insincerity and ridicule stems from, causing further division and turmoil within the culture. While some might find Kaye's stubborn cynicism exhausting, and American History X is nothing if not unmistakably critical, Detachment possesses an empathy for its characters that proves optimistic, even if the battles waged don't always culminate in success. While the film's conclusion leaves its characters in much the same quandary in which it finds them, Kaye's direction imbues a familiarity with his characters that proves empathetic and diagnostic of the lack of concern in public education in America at large, the solution dependent on our response to the film's comprehensively informed satire.In Henry Barthes, Kaye has seemingly distilled the spirit of Derek Vinyard to his bare essentials, the anger of an upbringing found lacking in proper emotional support and economic stability fostering an adult lacking in social stability, the torments of his past informing his impersonally detached nature in the present. While Henry undoubtedly cares deeply for his fellow teachers and students, his status as a substitute teacher enables him to leave before becoming too emotionally attached to any one school district, classroom, or location, constant motion and change negating the effects of what is a meager and hard earned existence. Like his students, Henry feels the undercurrents of oppression surging forth as anger, a socially propagated affliction of a culture in a state of arrested development engendered by the very lack of education that Henry is actively engaged in instilling into a stagnant national intellect. When Henry says that he understands that his students are angry, or when he takes in a young prostitute off the street out of sheer charity, his own intelligence is temporarily lent to an American youth emotionally and mentally abandoned, the public schools little more than police states, the children put under their care abused, neglected, and ignored. In Kaye's film, all of his characters are dissimilarly detached, their very inability to connect with one another ironically communal, if only they could reach out and see each other in order to transcend the culturally regressive traits that have kept them deaf, dumb, and blind.Perhaps the most pervasive aspect of Detachment comes in its ability to articulate the incoherence of teenage angst as a symptom of an ephemeral maturity, proffered as a possibility, but with no clear social avenues by which to reach it. If Henry Barthes serves as any indication, adulthood carries the baggage of adolescence around with it, our formative years spent in the American public education system alternatively deleterious or transformative to our own intellectual and emotional growth, our nation's teachers the first line of defense against the violence of racism and social prejudice, so long as we give them the freedom of authority to educate. Without the knowledge of good and evil, right and wrong, pure and corrupt, Kaye's film provides the evidence to make it unmistakably clear that the civil turmoil depicted in his American History X will continue, anger the physical manifestation of psychological neglect. It's impossible to come away from any film directed by Tony Kaye in an apathetic manner, his film's provocations immediately familiar in their sources of criticism and indictment, his dissatisfaction echoing our own subconsciously felt grievances, and informing our consciously held complaints. As a social activist, there is no director currently making films quiet as effective in eliciting a volatile response from the tacitly disengaged masses, and Detachment, the spiritual successor to his masterful American History X, is perhaps his greatest achievement yet, diagnostic of the social ills of a lack of a proper public education, else we remain in a culture divided by the color of our skin and the size of our respective bank accounts.

Sean D (au) wrote: Awesome flick! Owen and Freeman were fantastic! The setting was definitely intriguing. Had a great look to it that could be grandiose when needed, but also extremely subtle. Also it didn't have that same old, reused style of knight movie that is all flash and no substance. Definitely recommend! Happy watching!

Shehad D (it) wrote: slow, but great acting job by deniro. you can kinda see Leo's acting chops start to develop

Kurt F (it) wrote: 11/27/16 I really enjoyed this story. I can't believe how much I hate Sug Knight. Their lives were very "gangsta", the way they think about solving problems is so different than what I would think. Fascinating true story though. The actors even have a similar look to the real people. Overall, it makes you feel good that these guys managed to become so huge (with a tinge of tragedy as well). Highly recommended viewing.