Dolemite is a pimp who was set up by Willie Greene and the cops, who have planted drugs, stolen furs, and guns in his trunk and got him sentenced to 20 years in jail. One day, Queen B and a warden planned to get him out of Jail and get Willie Green and Mitchell busted for what they did to him.
Dolemite is a pimp who was set up by Willie Greene and the cops, who have planted drugs, stolen furs, and guns in his trunk and got him sentenced to 20 years in jail. With the help of his female kung-fu friends, Dolemite seeks vengeance. . You can read more in Google, Youtube, Wiki
Dolemite torrent reviews
(es) wrote: Fantastic French film! The French are soooo good at making movies!! Beautiful, great story, stunning photography, pure chemistry between the actors - highly recommended!
(br) wrote: The acting was hopeless & the movie was long.
(gb) wrote: A mosty lovely, tiny portrait of what it's like to be young, trying on grown-up clothes (and taking them off). Sweetly acted and unlike many "mumblecore" films, beautifully shot, this has moments of pure delight.
(de) wrote: A powerful story! Absolutely powerful! Watch it and deduct your own conclusions.... it's absolutely one of the most powerful films I've seen! :-)
(br) wrote: I liked it a lot, very good performance of everyone, specially Jill Hennessy that is so beautiful, geat plot!
(us) wrote: Thursday, September 29, 2011 (1995) New Jersey Drive DRAMA During the 80's, car theft was a major problem in New Jersey with the film focusing on radical decisions made by a spontaneous 16 or 17 year old youth, Jason, who steals cars for the purpose of joy riding and perhaps to make money, like his friend Midget. When at the same time his mother's trying to set him off straight! After the recognition of John Singleton's 1991 "Boyz In The Hood", a film that was even nominated for an Oscar, more African American coming-of-age themes started to come out, that have similar plots but slightly different, these newer versions often contain more swearing, cursing, and slang, older viewers are incapable to understand, but an imitation of what used to happened in real life. In this film, we get alot of "n" this and "n" that, and the expression "you know what I'm sayin'" after a typical discussion among young African American youths. But despite being quite raw, and a mirror reflection about what used to happen and how they dealt with it, the characters can become unrelatable, mocking the expression, ' If you break the crime, you do the time'. To get my point, the central people are arrested several times for alot of petty crimes, the criminal activities are long and extensive, and the film doesn't elaborate too much on it, for they are underage, showing their spontaneous, rather radical responses, mostly towards the police, meaning that alot of the stuff that this community used to do back then, would not unlikely to get away with it as of right now, such as smart alleck responses to the police and police taunting, just because the teenagers are somewhat underage can still be punished, making the overall experience of the film very outdated! The social commentary is absent, but quite obvious which says that if parents don't like the way kids talk and act like they're portrayed in this film, then why isn't the government doing anything about it, put more money to the schools that need it than the schools that can earn it! Anyways, from my standpoint, the first half of the film is like a 'Grand Theft Auto' game, whereas if the car theives are going to get caught, they would run and hide away from the police and the police would eventually give up chase! The second half is like another "Boyz in the Hood", whereas, it would have to cost a friend's life to open his eyes, and the acting is exceptional, which is not that hard to do if you're a young tough African American street thug who can speak natural slang! This kind of lifestyle, this movie portray African Americans in New Jersey, USA may be labelled as stereotypical- you be the judge! 2.5 out of 4
(nl) wrote: Dumb 80s action flick is only of note because it stars Tommy Lee Jones in a role that seemed more befitting of Chuck Norris or Lorenzo Lamas. However, the script is based on a story from John Carpenter (I'm curious what his original version was like) and the film features a stronger cast than t his lame brain production deserved, which includes Linda Hamilton, Robert Vaughn, Richard Jaeckel, Lee Ving, Bubba Smith, William Sanderson, Keenan Wynn and Nick Cassavetes. There's also a Lalo Schifrin score. Unfortunately, the lame story about a car thief Jones working with the FBI to recover some random McGuffin is no better than your average Andy Sidaris script.
(fr) wrote: Not as great as Suspiria, Phenomena is more in the ranks of Inferno and other slightly above average Dario Argento movies. Dario presents another strange premise that works to his advantage.
(fr) wrote: so bad. so very bad.
(ca) wrote: Gapoochi Gam Gam Nitin Mukesh.one of the first songs sung by him. Nitin has really so great voice. It warms my heart up. The Movie was great! No enough words to decribe how great this Movie was. With all my fav Actors, except Amitabh.
(gb) wrote: Another turkey from the worlds worst director Ed Wood. It doesnt has bad acting like Plan 9 does, but its still bad. Nevertheless, a good movie for any so-bad-its-good fan.
(ag) wrote: tHiS mOviE iS juST sO eNDURiNG i stIlL waNt tO liVE thERe aFTEr aLl tHEse yEARs . a fILm oF InnOCenCE huMOur aN chARm!!
(es) wrote: A 1989 essay on the Criterion site describes Rashomon as "the best known, most widely shown Japanese film of all time", which makes me wonder if I've been living in a bubble: I was aware that it was a Kurosawa film, but I'd never seen it and knew almost nothing about it, to the point where I was surprised it was another samurai-era picture. Certainly I wouldn't have hesitated a millisecond to name Seven Samurai as his best known and signature work.I'm very happy if I was mistaken, though, as I think this could well be my favourite of the bumper crop of Kurosawas our Criterion Watch has lavished on us so far (Seven Samurai, High and Low, Yojimbo, Sanjuro, The Hidden Fortress, and a sneaky preview of #316 Ran). My basic impression of Kurosawa from these was that he was the master of an extremely artful Japanification of western noirs, Shakespeare tragedies and, er, Westerns; immensely watchable but perhaps on the mainstream end of the spectrum of cinema's great auteurs. But Rashomon is like nothing I'd seen before, and as arthouse as my little heart could desire, so if I underestimated the great director, I can only now apologise.The film starts in a rather leisurely fashion, with three travellers caught in a torrential downpour near the Rashomon gate in ancient Kyoto. One of them is visibly and audibly baffled by a mystery he has recently encountered, one that has apparently shaken his faith in human nature. Obviously this piques the interest of the newest arrival who demands the story be recounted. The man agrees and we are treated to several minutes of our woodcutter narrator travelling through the forest wherein he will stumble upon the scene of the crime. On first watch this long sequence seemed faintly indulgent, but once considered as the liminal journey into the dark, tangled realm of memory it acquired a retroactive majesty.The crime in question is the rape of a samurai's wife and the samurai's murder by a bandit (played by a promising newcomer named Toshiro Mifune). Rape and murder were, it seems, fairly commonplace in 11th century Japan, but the curious feature of this case is that, over three separate retellings of the incident by its key players, each of them, the bandit, the lady, and the dead samurai (conveying his viewpoint via a rather spooky psychic medium, naturally) not only has a completely different recollection of what exactly occurred... each of them actually claims to have struck the killing blow!Already we have the makings of a rather good Agatha Christie novel but Rashomon is not just a samurai whodunnit, it's a real journey into the darknesses of the human soul. Our woodcutter, the peerless Takashi Shimura, seems appalled to be discovering that the truth is built on sand and helpless against the tides of human vanity and pride. And if you thought that this all sounds complicated enough by now, think again, as in a further twist it turns out that the narrator of all these unreliable narrations is himself perhaps the most unreliable of all. But just in case spoilers might be an issue I'll stop there.This is one of those movies that I quite enjoyed while I was watching but which grew in my estimation the more I read and thought about it afterwards. For one thing, on the first watch you're primed to take everything you see at face value - it's only much later in the film that you realise that everything you took to be "reality" is just a subjective version of the same. It may not click that Mifune and his co-stars are each playing four very different characters until quite close to the end. As such, here is a film that I wanted to watch again almost immediately the credits rolled, and I'm sure I'll be getting hold of a copy to do this very thing before too long.Four stars for much of the film (sometimes the rhythms of Japanese art can be a little daunting to someone half a world and more than half a century distant) transmuted to four-and-a-half once the pieces of the puzzle began to click into place. As I've already said, a strong contender for Kurosawa's greatest film; one of the closest things I've seen to a poem on celluloid; and just a truly unique piece of cinema. Hugely recommended.
(us) wrote: Not really my kind of movie