Feng yu tong lu

Feng yu tong lu

Ruthless gangster Guts pulls off a heist of diamonds, then enlists the aid of longtime triad member, Fei, to arrange a buyer for them. But when Guts double crosses the buyer, Fei ends up with the diamonds, wanted by both the cops and Guts.

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Feng yu tong lu torrent reviews

Petros K (au) wrote: Observe the Everyman's journey from ordinary to bodybuilder in 6 months. 7 7 2013

Jacky L (ag) wrote: puffingly funny and likable, woulda been much better without the cringe-worthy dubbing. i'd bet my last stick a llotta jokes were lost in translation. p.s. stay till end of the credits.

Ryan S (fr) wrote: I know, I'm a sucker for bad movies, and this is certainly bottom of the barrel. Nevertheless there's just something endearing about the wilds of Ireland and everybody loves Vinnie Jones. Besides, the film should get some points for originality: what other horror flick has used "bog bodies" as the monsters?

Matt S (it) wrote: best of the boogeyman series by far

Pete B (ca) wrote: well the plot of the movie was kind of crappy, but it was one of eddie griffin's best performance, i think and very funny.

Nina S (ca) wrote: Love this movie... a visual feast and Crudup and Danes couldn't be more delightful. Hats off to a brave film.

Kandy L (ag) wrote: A web of interweaved lives that show interesting love relationships between different couples. I loved how the movie was filmed. All-star cast.

David H (us) wrote: Le Cercle Rouge is a step up from Jean-Pierre Melville(TM)s previous crime film, Le Samourai (1967). Make no mistake, the latter film stands impressively on its own, but compared to Le Cercle Rouge, Le Samourai simply cannot compete. Specifically because the plot is more complex and the characters are better developed. Alain Delon, the French version of James Dean, stars in both films by Melville. In Le Samourai, Delon is a hired hitman who religiously adheres to the hitman philosophy: finish the assignment even if it means sacrificing your own life. The story follows a traditional linear convention from Delon(TM)s point of view. Everything unfolds in the present, without any additional narrative tools such as, a flashback. More or less, the story development is very simple. On the other hand, Le Cercle Rouge is a bit more complicated than the 1967 film. Though the film also unravels by following a linear narrative, the story mixes in three different points-of-views: Delon(TM)s character (Corey, a jewel thief), a blond and blue eyed detective (Mattei), and an ex-cop gone corrupt (Jansen).The film relies heavily on chance encounters and their fates intertwine by a mutual contact: Mattei(TM)s escaped prisoner, Vogel. What is so interesting about Vogel(TM)s character is that he fills the role as the catalyst. If it weren(TM)t for his escape, Corey, Mattei, and Jansen would have never met and in theory Corey and Jansen would still be alive.In addition to the film(TM)s rich storyline, the story develops each character(TM)s background meticulously. Outside of their given societal identities: cop or thief, Mattei for example has no other identity. The film makes an extra effort to show his solitary life at home. For instance, when he comes home, neither a wife or children greet him at the door, but instead three cats serve as his primary companions. As for Corey, on the day of his release from prison, the film quickly alludes to his past. As he checks out, the guards hand him his possessions: a watch, passport (expired), wallet, and three 3x5 photo(TM)s of a beautiful blonde woman. He shifts through the pictures pausing after each one as if to remind himself that his past identity is dead. It is presumed that the woman in the picture has not visited him once since his incarceration. This is supported by his reluctance to take the pictures with him. With no one to nurture him back to society, Corey quickly finds himself re-adopting to his thief identity. From the opening sequence, the film lets the action dictate the pace of the story. One of the most memorable sequences in the film is a twenty-six minute, no dialogue scene where Corey and Vogel break into a highly secured jewelry store. From the minute they enter the building they communicate solely through gestures. As a result, every move is given extra details. For example when Corey and Vogel(TM)s third accomplice, Jansen arrives a few minutes early to the scene, he kills time by doing an unnecessary and precautionary act by removing his black dress shoes (my guess is because he does not want to make extra noise). Purposely the film uses sparse dialogue to give the characters a certain impression. Since the story is about professional criminals, they let their actions do their talking.Steven Spielberg was once asked in an interview, What makes a good movie? He answered with, If you can follow a story without the sound and the movie still makes sense, that makes a good movie. I believe Le Cercle Rouge is one of those movies. It remains true to what a movie is by definition: a visual story.

David F (fr) wrote: As charmant as an early French talkie would be, with a semi-musical quality to the whole thing. Marchand and Cordy seem to resemble Buster Keaton paired with Oliver Hardy, and they have a great rapport together. The usual comparisons between work and prison, and the lower classes taking on the upper classes may seem tame now, but were probably very revealing at the time. Did not realize the producers sued Chaplin for plagarism after he made Modern Times - it seems the case had very little merit.

Nicole S (br) wrote: I found this a very fun and entertaining movie. I must watch it at least a couple of times a year. One of only a few sci-fi movies around that didn't cheap out on CGI.