DuckTales the Movie: Treasure of the Lost Lamp

DuckTales the Movie: Treasure of the Lost Lamp

Scrooge takes his nephews to Egypt to find a pyramid and magic lamp.

Scrooge McDuck searches for a magic lamp that holds a genie. But an evil wizard is after it too. . You can read more in Google, Youtube, Wiki

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DuckTales the Movie: Treasure of the Lost Lamp torrent reviews

Jeff T (kr) wrote: You don't have to think like a man to like this one. Kevin is hilarious.

Pieter M (ru) wrote: As dit nie was vir die persoon wat saam my dit gekyk het nie was dit maar pretty kak

Donald I (mx) wrote: This is the truth. It is to me one the most motivating videos about the history of street dance to watch. It Gives you the breakdown of hip hop and the 4 elements that make it up. Hip Hip isnt dead but it is dying. Why because its splitting from its roots. If you watch this you will understand. I learned why i like to pop and boog from this video. Great Video am must BUY!

Alex C (mx) wrote: Despite being disliked by it's creators, I found it highly enjoyable. A must-see for any Mr. Show fans.

Yasemin Y (ca) wrote: Not my favorite Sandra movie but still love it

aaron s (mx) wrote: Really fun comic-book sci fi adaptation, good casting and performances and effects.

Madison S (jp) wrote: Absolutely bewildering. If you can make sense of the ending then have a cookie.

Nate W (ag) wrote: this movie is called "no retreat, no surrender 3: blood brothers". that alone should tell you that this rules. if thats not enough, one guy in the movie is perpetually combing his hair.

Ross M (es) wrote: As most of my friends know, I am a really big fan of Werner Herzog and his films. Where the Green Ants Dream was Werner's last non- documentary until the release of Invincible almost 16 years after this film. Werner Herzog creates interesting films that may or may not always make sense in the conventional way, but at the same time, they draw you in and move you in their strange ways. Where the Green Ants Dream is a more conventional film, though still complete with its Herzog-ian strangeness fully intact. Telling its story in the outback of Australia, the film covers the story of a construction/ mining company wanting to take advantage of some Aboriginal land. The natives though, are trying to protect their land as best as they can, as it is their sacred land. What follows is a clash of cultures, values, and ideals as the two groups interact. The beauty lies in the open way the film is presented. It has intended messages, of that there is no doubt, like the way the civilized world is destroying the natural beauty of the world, and erasing any form of cultural individuality. But it is also about spiritualism, religion, blind faith, and the role of the mystical in our world. Our main character Lance Hacket, a geologist for the company, interacts with the Aborigines and learns that the land he is in charge of investigating is sacred ground (see the title) which is apparently home to green ants that are dreaming. The ants also apparently have the ability to destroy the world if disturbed. Lance sees the beauty in the beliefs of the people, and the respect they have for what little they have left. By the end he moves out into a metal house in the middle of the outback, disgusted by the materialistic world, and the path of destruction left in its wake. Beautifully shot, wonderfully quirky, and completely engrossing, Where the Green Ants Dream stands as one of Herzog's best films. It may not be the most accessible film (those looking for something a little easier to get into should try Grizzly Man or Rescue Dawn), but it is worth every minute!

Andrew N (us) wrote: The greatest film ever made. Period.

Brad S (ru) wrote: Beautiful, yet bleak film from Ingmar Bergman who considered this his most perfect film. The B&W cinematography from Sven Nykvist is gorgeous! It follows a priest who has lost his faith. This movie won't be for everyone, but fans of Bergman will enjoy it!

Michael K (de) wrote: Banana peel comedy that has its moments. Trisha Noble is such a beautiful woman. Nice location.

Paul Z (kr) wrote: Frankly, I am starting to imagine the Criterion Collection slipping from the exaltation of truly great and truly important movies and into an affectation of movies that just happen to be pleasures of theirs. Their new cover for Jules Dassin's unremarkable final American film is a gritty deep-focus sepia image of a country road with spilled apples in the foreground. In one essay "from the Current" on Criterion's website by a Dassin enthusiast claims that Thieves' Highway is her favorite Dassin film "because the human relationships are drawn so exactingly, so tellingly, and so tragically. Even Lee J. Cobb's villain is nuanced and complex, understandable as a product of the system every bit as much as Richard Conte." Well, this is true, but it is true to the extent that it is normally true with 1940s noir, whether it's good or great. It really isn't a significant step for its genre, its time or its director.Having first seen Rififi before seeing even Night and the City or The Naked City, it might be easy for me to be let down. Rififi is a masterpiece of the crime genre, a distilled heist picture made with a watchmaker's exactitude by an American director who never planned to make it, never thought he'd be in the position to feel the need to, and yet to discern the film from the signature tone and style of other French noir from the 1950s by the likes of Melville is not an issue. I look at Thieves' Highway, about a war-veteran-turned-truck driver who seeks revenge for the robbing and crippling of his father at the hands of an dissipated produce hustler, and I can't help but feel a deep lack of originality, or at least an interesting yarn which Dassin allows to sleepwalk to the tune of so many pat, tiring clichs of its era.I suppose one could interpret the film as a parable of a person who performs routine tasks in a society losing his purity and earning his place in the cutthroat privately and corporately owned existence, uninterrupted between capitalism and corruption. The high points are the arcs of the peripheral characters, like Jack Oakie and Joseph Pevney as shady but oddly conscionable lackeys for Lee J. Cobb's seemingly friendly, deeply ruthless villain, or simply the brazen Italian-American stereotypes that open the film, the hero's parents who make food, sing opera and can be heard all the way down the street.

Tim H (fr) wrote: Horrible film from the usually reliable Crichton. Perhaps he should have left the courtroom thrillers to Grisham with this one.

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