Fear Me Not

Fear Me Not

Michael needs a change in his life, so when he hears about clinical trials for a new anti-depressant, he signs up to be a guinea pig - without telling his family. Because of dangerous side effects, the trial is subsequently abandoned but Michael continues to take the pills. Having lost all control, Michael's repressed instincts resurface with a force and violence that no-one could have predicted.

  • Rating:
    4.00 out of 5
  • Length:95 minutes
  • Release:2008
  • Language:Danish
  • Reference:Imdb
  • Keywords:Fear Me Not 2008 full movies, Fear Me Not torrents movie

A man signs up for a test trial of a new anti-depressant as a way to change his life. When the trial is called off, he continues taking the medication with violent results. . You can read more in Google, Youtube, Wiki


Fear Me Not torrent reviews

Jerico T (ca) wrote: well casted, worst plotted

wynne a (nl) wrote: Not funny a real disappointment and I love Kerry Washington and the other actors in the film also but expected funny and it fell short

Tony L (es) wrote: PROS:The very first kill scene in the movie is super incredible looking. Blood looks real and the make up was good. Best part of it all was the twist at the end! CONS:This movie has already been made over ten times and the series is named "Halloween", meaning its not original at all. Acting could have been better.

Y D (ca) wrote: Awesome and underrated ! Trs bon film inspir du roman de Frederic Beigbeder.

Crystal M (au) wrote: I love just about any dance movies like this..

Matthew S (it) wrote: a fairly good horror/drama. a notable performance by beatrice dalle.

Luke W (ru) wrote: A real stinker, boring and has the worst acting from Sean Bean ever!

Mike W (fr) wrote: Blues Brothers forever!

Scott C (gb) wrote: So cheesy. I think it wanted to be E.T. for adults.

Matt C (au) wrote: really funny kinda didn't think at first I was going to like the movie but it had a good story to tell and the actors they got were great .... in all a good oldie

Sarah F (de) wrote: I wonder what this is about, i think ill see it!

Cameron J (kr) wrote: Shoot, you can keep your potatoes and wolves, because if I was to privatize my own state, I don't know if I would go with Idaho, although it is better than Iowa. I can't believe that Gus Van Sant didn't make this "My Own Private Oregon" or something... which isn't to say that there isn't a point in which the leads end up in Portland somewhere along the way. Man, Van Sant sure loves him some Portland, about as much as men, and he was able to put gay themes in here, so I reckon this is a definitive film for him. Yeah, as if "Stand By Me" didn't feel a little fruity already, enjoy this spin-off in which Chris Chambers goes gay and hooks up with Keanu Reeves. No wonder Wil Wheaton is such a big gay activist, seeing as how he missed his opportunity to actually play with River Phoenix, a secret to success which is reflected in Reeves, because, of all people to be driven to notoriety with Phoenix, how did it end up being Reeves and not Wheaton? I joke, but this feels about as much like the sequel to "Stand By Me" as it does like William Shakespeare's "Henry IV" and "Henry v", and if you're wondering how, well, it's because it doesn't feel that much like either "Stand By Me" or Shakespeare equally. Really, I can't figure out what this film is going for a lot of the time, for although this film is mighty decent, even with its being about men's lack of decency, it's hard to get a grip on anything about it, including its characters' depths. Immediate development is seriously lacking in this often very sudden character piece, and quite frankly, gradual characterization isn't too much more extensive, relying on the occasional piece of forced exposition to punctuate long lapses in character focus that storytelling works to fill with mere excess. Style isn't the only thing placed over focus in this film, as filler all too often claims the focus of the narrative, thinning it, until storytelling slips into bland aimlessness that would be less frustrating if all of this bloating didn't eventually lead to unevenness. As big an issue as anything is a disjointed structure that, whether intentional or accidental, takes advantage of all of the simultaneous bloating and lack of flesh-out to jar between tonal extremes almost as badly as it jars between stages in the plot whose inconsistency gets to be so considerable it's all but unreal. The film is all over the place at times with its layering its disjointed narrative, yet no matter how much the film gets to be overblown to the point of convolution, Gus Van Sant can't quite overshadow natural shortcomings to this near-inconsequential story concept, and it doesn't help that when he doesn't bloat substance, he expends it for style. I've alluded to it time and again, but when you come down to it, the biggest problem with this film is overstylization, which plays a large part in the narrative disjointing, but doesn't end there, prominently playing with strange imagery, frantic structuring and other classic forms of artistic bloating that leave the final product to feel more ambitious with its style rather than its substance. Now, such inspiration to style endears in a lot of ways, and it helps that substance is still pretty well-handled, but considering how enjoyable this drama is even with its placement of style over substance, one can only imagine what is being lost in the wake of underdevelopment, dragging, unevenness and overstylization as the film tumbles just short of genuinely rewarding. Still, like I said, the effort comes closer to rewarding than it would have in the hands of a lesser filmmaker, and if it had less solid style to overplay. There's not much to the musical style of this film, but it's well worth waiting for when it does come into play, uniquely substituting original score work with many a decent, entertaining tune that livens up the flavor of this stylistically lively film, like cinematography by John Campbell and Eric Alan Edwards that, while often flat lighting and coloration, is well-toned and framed enough to help draw your eyes toward nifty visuals. It helps that Sara Burton knows how to manage locations, distinguishing each setting in this film in a way that doesn't simply immerse you into handsome environments, but gives you a sense of dynamicity that, of course, defines the sense of adventure that drives this drama's narrative. I guess that the story concept stands to have a little more depth to its dramatics, as surely as its interpretation stands to be more focused and less stylistically overblown, but on paper, this film's subject matter dealing with two men bonding, maybe as more than friends, on their adventure to uncover their pasts and find paths to the future does a lot of things uniquely, and has its own dramatic value to both be done justice and betrayed by Gus Van Sant. Van Sant's script is something of a mess with its overstylized structuring which thins down exposition and bloats filler to the point of serious focal unevenness, but its wit gets it by a long way on the back of sharp, sometimes pseudo-Shakespearean dialogue, and certain genuinely thoughtful moments in characterization and dramatic set piece crafting, sold by direction that is just as effectively thoughtful. Van Sant's style, while often overwrought, is just as often thoroughly lively, and when all of it settles for the sake of dramatic tenderness, Van Sant is tasteful enough to bite with subtlety and grace to thematic and human depths, anchored by strong performances. Plenty of supporting players, such as the charismatic William Richert or the affecting Chiara Caselli, have their time in the spotlight, but that's mostly reserved for leads Keanu Reeves and River Phoenix, who both share dynamite chemistry and flaunt just as electric individual charisma, with Phoenix particularly standing out with some powerful emotional highlights that drive a sense of anxiety in someone struggling with his identity as an unconventional lover, and as a young man seeking the truth about his past. Phoenix's powerful performance, the last one that he would deliver in his tragically brief lifetime, carries the film when really allowed to flesh out, and I wish that more of the film was nearly as inspired, but, with that said, there's enough inspiration to style and substance for the final product to at least border on rewarding, even though it could have gone so much further. Overall, the film is either seriously underdeveloped or seriously overblown, to the point of providing both unevenness in focus and pacing, as well as tone, and a feel for certain natural shortcomings that are brought more to life by much too much overstylization, which hold the final product shy of a rewarding state that is still all but achieved, thanks to the solid soundtrack, handsome cinematography, immersive taste in location, and worthy subject matter that is driven by highlights in Gus Van Sant's scripting and direction, and by many a strong performance, - the strongest of which being courtesy of the charming Keanu Reeves and the outstanding River Phoenix - that make "My Own Private Idaho" an entertaining, often biting and all around borderline, if only borderline rewarding human drama. 2.75/5 - Decent

Claude H (jp) wrote: I thought this documentary was exceptional!

Jeffrey A (us) wrote: Decent, not as good as the first one 9