Fantomas vs. Scotland Yard

Fantomas vs. Scotland Yard

In the third and final episode of the trilogy, Fantômas imposes a head tax on the rich, threatening to kill those who do not comply.

Fantomas wants to collect money from scottish rich' for letting them live. The French inspector (Louis de Funes) comes to a scottish castle to protect the owner, and to catch Fantomas. ... . You can read more in Google, Youtube, Wiki


Fantomas vs. Scotland Yard torrent reviews

Chloe A (au) wrote: 4 stars! Not as good as the original American Pies but still funny and decent!

Mario A (fr) wrote: lol meh, the acting was shocking, and i burnt the popcorn so overall i was disappointed.

Kristy P (br) wrote: Well, the kid is a real brat, but other than that it does have some cute moments.

Steve J (au) wrote: Don't give up on this one! The "greatness" of this film and story kicked in for me after about 20 minutes or so. I identified with this so much, from my own teenage angst, and the blessings and difficulties in spending 19 years with my own son, soon to be applying to a 4-year college/university. My only complaint: too much whispering! Hollywood: please stop whispering in movies :D

Rhett P (es) wrote: Found the main character very annoying. Some interesting cinematography in this one but I found the romance quite implausible. I didn't feel like I knew the characters enough, and I didn't understand them. The only reason I could sit through the entire film was my lust for Christina Ricci she is just a bombshell in this.

Toni G (au) wrote: i'm not sure but i think i've seen it. or was that some other porn? lol

Simon D (nl) wrote: A couple of the worlds acting elite in a very early film for both of them. This is an excelent story of love and lust in the middle of nowhere, Spain. It's pretty funny and, of course, pretty raunchy, so much so I had to abandon my plans to watch this on a flight about two minutes in.

Steve M (br) wrote: Dead Dudes in the HouseStarring: Mark Zobian and Naomi KookerDirectors: J. Rifflel and Edgar Lewis The story revolves around a group of 20-something men and women (sort of like a dysfunctional version of 'Friends') who set out to restore a decaying mansion that one of them have bought for an amazingly low price. As they get ready for work, one of them maliciously breaks a tombstone in the backyard, and, in doing so, awakens a pair of malevolent spirits that inhabit the house. What follows is a night of terror as our protagonists are stalked and killed one by one. They don't stay dead for long, though... "Dead Dudes in the House" is a pretty decent low-budget horror flick that is a cross between a slasher flick and a haunted house movie. It's not perfect, but it provided some neat scary moments, the acting is better that what I've come to expect from this sort of movies, and the film's characters generally behaved as though they actually had brains in their heads, something all-too-rare in horror flicks where characters seem to be as bright as the plot calls for. As a "killer in the house" slasher movie, "Dead Dudes" works pretty well. The victims even try to keep in a group rather than splitting up! As a ghost film, it is somewhat lacking. The film never gives us any good reason for WHY the ghosts are bent on killing everyone who enters the house, including a couple of teen boys who get added late in the film. (Okay, so they oogle the ghost of the daughter, but that's hardly a reason since she invites them to do so.) The reason might be "because they're insane"--terrible things did happen to the women who haunt the house--but I'm not sure that reason holds up. In any case, there's no explanation for why their victims reanimate as homicidal killers themselves. Maybe I'm just thinking too hard, but I would probably have given this film another Tomato if it had given me a satisfactory answer to those questions.

Craig T (mx) wrote: Hctor Babenco somehow managed to take a cold and dark story and give it some sparse amount of warmth and light. A story about two struggling bums, trying to make it one day at a time, must be a difficult project to sell. Babenco chose his lead actors wisely and emerged himself into an underworld we never want to imagine. To be homeless, to be nobody, and yet have all the memories of a normal life to carry. What it must be like to have no food, no family, and no shelter. Then, one must consider how do such people obtain the basic human necessities. That is a sucker-punch reality to live in and one captured and revealed here with superb accuracy and raw emotion. The writing is very in depth and very relevant. All the things we take for granted like warmth and clean socks are explored here, and on what better faces than Jack Nicholson and Meryl Streep? Babenco uses these talents to reach deep into our hearts and has us on the verge of tears so often but for some reason, we can't turn away. Poverty and hopelessness have never been studied so delicately. Jack Nicholson and Meryl Streep play Francis and Helen, two homeless people who have found love and companionship in each other. They are a team and take care of one another as best they can. Nicholson is an alcoholic and we quickly see evidence that he is carrying heavy demons. Over 20 years ago, he had been drinking and accidentally killed his infant son. He is now haunted by his past and has disturbing hallucinations of many other people he has wronged. Helen, who does not see that she is a drunk, has lost hope and lives in desperation, often not eating. She rants and shouts about being wronged and how what happened to her is not fair. She used to be a singer and was once successful, just like Nicholson (who used to a baseball player). Doomed to live and die on the streets, a whole community of homeless people are introduced to us with unflinching direction by Babenco. When the characters celebrate we are so glad for them, and when they fight and argue, we quickly sadden just like they do. These lost souls have nothing but each other and we are invited to spend a few days with them during The Great Depression. Nicholson and Streep were deservingly nominated for Best Actor and Best Actress at the 1987 Academy Awards for their flawless portrayals as Francis and Helen. I'm not sure that anyone that year topped either of them. The attention to detail by the director and cast is confounding. What touching performances by Nicholson and Streep! Rarely do we see such strong male and female leads play off of each other and share the screen like this. Both play drunk, hopeless, and lost so incredibly well. Near the very beginning, we see Nicholson crumble at his son's grave and confess his pains. It is deep, my friends. I have seen Nicholson play everything from a petty thief in Cuckoo's Nest to the comic villain in Batman, but never anything quite like this. Here stands another monumental role for one of the best actors of all time. His teeth are rotten and his soul is searching for something it will not let itself find. Mirroring his portrait of a lost man is Streep, who embodies a low-bottom drunk so elegantly flawed. She has a scene where she sings to Nicholson in a bar. She reaches back into her old days of glory and vocalizes "He's Me Pal" in front of all the patrons. It is captivating and sensational! Streep may very well be the best actress of all time and she shows another fine example of it here. These fragile creatures are pushed away by everyone and forced to sleep in broken down cars (or worse). The entire film I couldn't help but feel cold and lonely. That is powerful storytelling and storytelling that connects on so many human levels. Ironweed is gloriously crushing and bashfully tender. Yet the human spirit is beautifully present in this tale, and despite the nature and condition of it, I can say that this film hit me on a profound personal level. After sitting through this, I can appreciate the direction, performances, and writing but more importantly, I can appreciate my quality of life a lot more. (A)

Benjamin W (us) wrote: While the ending is somewhat different from similar films, this movie covers the same material that I feel "Guess Who's Coming to Dinner?" and "Harold and Maude" have done better. In fact, I felt there should have been more complexity involved with the fact that he was 20 years younger than her, or at least there should have been a bigger dramatic moment to convince everyone to be tolerant instead of the gradual "meh" that everyone seemed to get to at the same time.

Daniel C (au) wrote: The title sequence of Le Doulos, like so much about his films, is just so brilliant your jaw drops open. And as with shots and the overall story and direction of his Le Samourai, he creates a style of direction, shooting and editing that creates a standard for what we see every day today. You might say that the Doulos title sequence clearly influenced Scorsese and DePalma, and you would be right. One long shot powered with emotion and location, seemingly so little that tells you so much about one man. But you might also say John Badham stole the Saturday Night Fever opening idea, or paid homage, and there you would be right as well. In high contrast black and white, the camera is on dolly tracks moving backward quickly through a car tunnel. No cars. Light is dim, in spots there is no light at all. On a catwalk a man walks forcefully dressed in the Melville uniform: trench coat and hat. He is on screen left. The score is what was then called modern jazz, and the beats are timed perfectly to match the man's footsteps, which we hear (foleyed). As the camera pulls back, at one point, stunningly for the early 1960s, the camera pans off to the right showing only the tunnel roof, then pans back. The screen goes black as the man walks through an area of darkness. The title cards are running through this, including the explanation that a Doulos, literally a hat, in underworld slang means an informer, a snitch, but this isn't him. Finally he stops, the music resolves, and the man looks around, wary of what comes next, as well he should be. He's going to make plans, but another man is going to inform on him, or maybe not really, because this is a very tangled web of intrigue, and the informer is Jean Paul Belmondo, the brilliant and drop dead handsome superstar of the French Next Wave. The hoods all wear suits and the dames get smacked around. The cops are on the take. This is Paris. Melville was one of the greatest directors ever to work, and any great director will agree. Don't miss this, watch it over and over, see Le Samourai, and be amazed that so long ago when pretty much every movie made seems so dated today, that Melville saw a new way to tell a thriller, and it's going to make you want to hop a jet just to walk the streets where it was filmed.

Zoran S (au) wrote: This is better than it should be given how cheesy and corny much of it is. In particular, there are some fabulous stylistic moments such as the child birth scene which almost seems like something out of Eraserhead in the anxiety in projects.

Landen C (jp) wrote: I went into it expecting a third-rate B film noir, and was very pleasantly surprised. It's one of the most intriguing film noirs I've seen. It makes me excited to explore post-war noirs even more.

Mara B (de) wrote: Lots of Ziegfeld razzmataz - original acts and a calvalcade of stars - James Stewart, Judy Garland and Hedy Lamar lead the way in this story of the lives of just a few of Ziegfield's girls. Charming old songs and dance numbers.

Juan Diego L (br) wrote: De cierta forma es chevere, ver a este personaje aprender y querer ser una nia normal, y las escenas de fina estn bien hechas, el problema es que no me llam la atencin la relacin con su madre y que cambiara de un momento a otro, fue un cambio muy brusco.