Die Sieger

Die Sieger


  • Rating:
    4.00 out of 5
  • Length:0 minutes
  • Release:1918
  • Language:
  • Reference:Imdb
  • Keywords:based on novel,  

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Die Sieger torrent reviews

DragonsFoe (us) wrote: Fruitvale Station is fantastic debut for both Michael B Jordan and Ryan Coogler who are sure to both become rising stars in the near future.Rating: 7.9 (B+)

Entertain Me O (us) wrote: whoa fuck, that is the lowest audience score i have ever seen.

Anthony T (br) wrote: Person 1: I don't know, I like it but "Pretty, Pretty Princesses, Gargoyles and Demons" needs a hook. Otherwise we'll never get an audience.Person 2: I got it! How about instead of Sarah, we replace her with...Frankenstein's Monster!?!Person 1: Love it! OMG! And we can just call it "I, Frankenstein" instead!Person 2: :-oPerson 1: :-OPerson 2: :-OPerson 1: :-DPerson 2: :-))I'm pretty sure that's how this movie came about...roughly. Kinda neat though.

Lasse H (kr) wrote: Sad but essential viewing !

Scott R (fr) wrote: 39. Biggie and Tupac

Janice P (it) wrote: Embarrassingly bad. Poor Jamie Lee Curtis' cameo at the start can't even save this mess. The moment she's out of the picture, the film takes a turn for the worse as we're introduced to a forgettable group of college kids who are making a reality show at the old Myers house. To make matters worse, they're joined by esteemed thespians Tyra Banks and Busta Rhymes. The whole thing is inept and scare-free. Skip it!

F B (jp) wrote: Another great film in the series but not as good as the first.

Sarfara A (it) wrote: Drifting Clouds (Finnish: Kauas pilvet karkaavat) is quirky comedy Finnish film directed by Aki Kaurismki. Starring Kati Outinen, Kari Vnnen and Markku Peltola. It won the prize of the Ecumenical Jury - Special Mention for Aki Kaurismki at Cannes Film Festival - Grand Prix at Belgian Syndicate of Cinema Critics - Audience Award 'Best Feature' at Sao Paulo International Film Festival - Import Award at Troms International Film Festival. Film was premiered at American Film Institute, Washington D.C. (U.S.A.). Ilona (Kati Outinen) is 38-years old waitress at bankrupt restaurant - a frequent hangout for elderly customers enjoying Finnish tango musical songs - which is shut down - she cares about workers at restaurant, an alcoholic chef (Markku Peltola) who holding back hulky guard Melartin (Sakari Kuosmanen)at distant by pointing knife until he finishes up; in which case Ilona wrestles through - but next day he voluntarily hands over money to guard for stitches, taxi, and doctor's fees. Ilona is married to a loving husband who is recently laid off by transport as truck-driver, he could not get job due to going deaf from his one ear, and his license revoked; saying 'now I can only drive toy car'. Aki's notion through this film defines the stress he keeps on unemployment and hurdles faced by people in search of jobs - and an ultimate struggle. Anyone who has seen Aki's movies should understand the kind of sweet story in Drifting Clouds. Aki uses great uses of vivid colors 'red' - 'blue' - 'green' - 'purple' etc. Aki emphasizes on use of vodka, beer, cigarettes in most of his movies - he, being himself fond of wine and cigarettes. Film does not exit much to the dismay of audience; for it provides gala-happy-ending.

Randy C (us) wrote: old school funny shit!

Blake P (kr) wrote: Meet him for the first time and you wouldn't expect him to be who he is. Ben (Benot Poelvoorde) is charming. He's funny. A great storyteller. Watch him from the corner of your eye and he's a force of nature, an animated cult of personality you'd like to get to know. He's dedicated to his family, his friends. He's a caring, passionate partner. And he's brilliant, an observer curious about in the inner workings of the world and how they relate to one another. Ben is also a serial killer, a serial killer so deliberate in his every action and so holistically ordinary in his public personality that he serves as the classic example of a criminal who, to neighbors, appears to be perfectly normal until the news spreads that he is, in fact, not so normal. He exemplifies the very meaning of the term "man bites dog," an aphorism used in the journalism industry to describe the phenomenon that finds more unusual, unexpected news stories being more widely reported than the mundanities of the everyday. Because he doesn't meld with the archetypal idea of what a serial murderer is. He isn't chronically foaming at the mouth and doesn't wear an insatiably murderous lust in his eyes. He's put together, a psychopath we'd never suspect to be unless we somehow dive into deep conversation and come to the epiphany that something's unmistakably off. In any film would Ben make for a piquant creation, but in 1992's "Man Bites Dog," which is written, produced, and directed by Rmy Belvaux, Andr Bonzel, and Poelvoorde (who also star), is he even more provocative: the movie's photographed in the style of a mockumentary, with Ben acting as a subject uncomfortably touchable. He doesn't feel like the fictional creation that he is - he lives and he breathes, burrowing under our skin with discomfiting ease. "Man Bites Dog," irrevocably, doesn't blur out morality; it completely smudges it off every frame, casting aside basic goods and evils and portraying depravity with the same unceremoniousness of the taking of a shower. Here, death is fixed, blunt. Fatalism is resolute. Preliminarily does the movie emerge as a media satire that takes jabs at the public's unremitting obsession with violence. The documentary crew following Ben's every move is there, clearly, because there's an audience who'd undoubtedly be intrigued to take a peek inside the bloodsoaked life of a killer. But as "Man Bites Dog" materializes is it obvious that the film's makers aren't specifically interested in such broad commentary. They're looking to personally attack us, to force us to look at ourselves and inspire us to consider just how much better we are than the fictional filmmakers who chase their person of interest around like a gleeful litter of puppies. We can judge them for their willingness to excuse (and, eventually, partake in) cold-blooded murder all we want. But we're also inclined to watch such acts. Does our fundamental fixation make us any better? As genres within the entertainment industry wouldn't exist if not for our attraction to violence, the answer's a flimsy yes, as we, of course, are not active participants in a bystander's senseless death. But "Man Bites Dog" tantalizes fruitfully - it shocks, but it also shocks in such a way that ensures reflection. All in front of us is horrific carnage, stunning nihilism. We're unceasingly aghast, and yet that proves Belvaux, Bonzel, and Poelvoorde's ultimate point - we're willing to compromise the apparent rigidities of our moral compasses for the sake of entertainment. And such is an intriguing notion. We feel dirty as we view "Man Bites Dog," but we're too magnetized by its eagerness to provoke to turn away. What its makers have done here is enormously difficult. They've created a protagonist who's likable, though never sympathetic, until he descends into savagery. They both celebrate and damn the very nature of documentary filmmaking, proving that its generally intermittently educational guise can simultaneously make for enlightenment and subjectivity - consumers might leave the theater better informed, but directors are rarely able to live through a scenario and not come out unmoved by their experiences. They're unafraid to motivate their viewers to look at themselves rather than merely lazily escape into the diversions put in front of them.Whether watching "Man Bites Dog" is a must, though, is arguable. While its cultural derisions are whip-smart, it's not an experience to be pursued by the faint of heart - it's the sort of movie you want to take two steps away from rather than jump wholeheartedly into. It's nasty, monstrous, and perturbingly naturalistic. But it also strips away the romanticized sensationalism that oft marinates onscreen violence, and that's a particularly inspiriting quality. Sitting through "Man Bites Dog's" accomplishments guarantees rampant uneasiness, and uneasiness, as it goes, is never an easy thing to undergo. Watch at your own risk.

Matt H (it) wrote: Come Matthew McConaughey stop doing these type of movies.

Bengel W (jp) wrote: Personalities take the high road as this film explores the complexities of being conjoined. Well scripted and acted with laughs along the way. Cher puts in a performance that takes a laugh at her own character and it comes across well. Music is emotional adding to the camera and sound enhancing the feel of the show. Nibbles: Trifle.