Go to Hell!!

Go to Hell!!

Based on the premise that "God" is actually an alien called G.D., who wiped out the dinosaurs and populated the Earth with apes from his own planet (who eventually evolve into us). "The ...

Based on the premise that "God" is actually an alien called G.D., who wiped out the dinosaurs and populated the Earth with apes from his own planet (who eventually evolve into us). "The ... . You can read more in Google, Youtube, Wiki


Go to Hell!! torrent reviews

Eliabeth M (jp) wrote: James Murphy: I was 38 years old and I said 'I'm gonna make a record'. Un documental increblemente filmado y grficamente atractivo, lstima que el contenido sea tan pretencioso y plano.

Simeon M (kr) wrote: Viggo and swordfighting? Count me in!

Jocelyn F (ag) wrote: It's pretty much what you'd expect.

Jerico T (ag) wrote: BEST JAPANESE MOVIE EVER!!!

Ashley C (kr) wrote: An edifying look at the life and legacy of this pioneer, I will nonetheless always remember this documentary as the film that first demonstrated to me the effects of Brian Wilson's convalescence.

Janette H (ag) wrote: Total melodrama and very dated but worth a watch for something that doesn't need brainpower

Harry W (de) wrote: Despite Love Story sounding predictable, contrived and generic, considering it's many Academy Award nominations I decided to check it out.I can summarise the film simply by putting it this way. The most iconic line of the film is when Ali McGraw says the line "Love means never having to say you're sorry." This means either two things: love means never having to be sorry which means you can strike your partner physically or cheat on them all you want and not feel bad about it so long as you are in love with them, or love means you can be sorry but you simply aren't allowed to say it. Either way, the line is nothing if not dumb enough to make Eric Cartman laugh even more than when he could not stop laughing uncontrollably at the sight of a man with dwarfism. This is deemed as the 13th best movie quotes of all time by the American Film Institute. This is ridiculous. Towards the end of the pilot episode of The Cosby Show, Bill Cosby's character Cliff Huxtable listens to his son Theo deliver a monologue about giving up on college to become a bus driver to which Cliff responds "That's the dumbest thing I've heard in my life." Clearly Cliff Huxtable has not seen Love Story. This proves that Love Story has no idea what love means, as love entails acknowledging making a bad decision in a relationship and sometimes simply apologising because you love somebody. But Love Story has a belief that is like saying "Being a vegetarian means eating twice as much meat as usual" or "Being lost means you know exactly where you are and where you are going." Love is about be willing to do what is right and apologising for doing something that upsets another. Since Love Story doesn't understand love, it can more appropriately only be called Story. But it's story is no better. The script in Love Story is fairly decent because it has a lot of realistic language that the actors deliver naturally, but it contains a few bumps and two uses of the line "Love means never having to say you're sorry" which is one of the worst lines I have heard in the history of cinema. And I'm not the only one who would think that.Love Story wants to be like Romeo and Juliet if only Juliet died and Romeo was left to wallow in pity. Instead it's like a bad version of Burn After Reading, because there are some jokes, the characters have a few laughs tragedy strikes out of nowhere and then the film ends on a somewhat sad note while nobody learns anything at all. The love theme is too weak for its own good and it's overpacked with pathetic melodrama which prevents any potential from ever coming to life, instead living it to rot in a sewer full of all of William Shakespeare's abortions.Love Story is overloaded with scattered dynamics. For one thing it reveals the ending at the start so there is no point waiting around for it to finish. Secondly, the pacing at the start is ridiculously fast and skips a lot of important details from in between each scene which makes it unrealistic and jumpy. Third, everything is more pathetically melodramatic than a soap opera and is all crammed into a 99 minute time period. It doesn't feel at all like the characters have been through school, marriage and tragedy altogether because it goes by too damned quick to be the slightest bit real. Love Story does not have good storytelling, it's just wrong.And the motives behind protagonist Oliver Barrett IV's father Oliver Barrett III are senseless because they are barely touched upon at all and the performance of Ray Milland enforces the idea that his character's son marrying a poor Baker's daughter doesn't actually bother him. Its written that way but not acted that way, and so the story detracts further from being convincing at all.And the final scene in the movie completely ignores the ending of the novel. In the end of the novel Love Story, Oliver falls and cries in his father's arms after his beloved Jenny has died whereas in the film he learns nothing from her death, isn't in grief and essentially acts annoyed. He walks right past his father and doesn't even realise that he should appreciate the people still in his life. He learns nothing from the events Love Story, and so there is no reason that we should either since it sucks as a film and removes minor yet key elements from its adaptation which leave it to result in a downfall.Love Story is one of the most well received films of director Arthur Hiller's career, but it is streets behind the quality of his later critically derided comedy See No Evil, Hear No Evil even though that was a hilarious and underrated comedy. I don't get what Arthur Hiller's deal is, but I can knowingly say that Love Story was an abysmal film. And if direction that terrible can get you an Academy Award nomination for Best Director, then he should have won that exact award for See No Evil, Hear No Evil. He gives nothing to Love Story which had barely anything to begin with, so if anything he just detracts from the already poor story and does nothing for it.If you look closely, you can see that the film is cheap. It required the actors to remember all their lines so that they could get the filming done quickly, and a lot of time is taken up by random scenery shots and musically dubbed sequences that required no effort. The locations were all repetitive and weren't all that convincing, because it seems like the budget of the film rented some exterior shots and then the rest was filmed just at somebody's apartment in a much different place. It's easy to tell that the film is cheap, and it makes the quality feel weaker.The quality of the musical score was fairly poor as well since it all sounded rough and repetitive. Unfortunately the music is one of the better qualities of the film because it ties into the emotional mood of the atmosphere well and almost makes it come to life. Of all the Academy Award nominated qualities in the film, the musical score is the best, so I guess if a terrible film like Love Story had to be nominated for so many Academy Awards and win one then it's the musical score that deserves it. The cinematography is the next best in line, and then the performance of Ryan O'Neal.Ryan O'Neal's performance, like the rest of the film isn't really up to Academy Award calibre standards as it falls short of his entertaining performance in Paper Moon and his excellent lead performance in Barry Lyndon, but as far as the standards set by the film go Ryan O'Neal has standout talent to him. Love Story's terrible direction and lacklustre script leave him with little to work with and so a lot of the time his performance feels our of place with the mood of the story, but since Love Story did give him a great career for the 1970's it does enough justice for him. His performance as Oliver Barrett III feels mostly genuine and has a touch of charm and heart without having much, and so he makes a good lead for a poor quality film. Ryan O'Neal's performance has bumps but I would characterise it as a good if not decent one.John Marley receives little screen time and dialogue, but his friendly appeal and chemistry with Ryan O'Neal and Ali McGraw are fairly effective. His best moment is at the end of the film where he mourns for his daughter with Oliver Barrett III mourns for the same woman, his wife.And Love Story even features the debut of Tommy Lee Jones, so that's a nice touch.Ali McGraw has her moments, but I can't really say that I enjoyed her performance. Love Story is supposed to be a melodramatic film which is almost like a soap opera, but her ability to engage with other actors feels so wooden that you'd think she had no idea there was any other actors in the film. Her soppy delivery of the line "Love means never having to say you're sorry" makes the line even more senseless, and while she is attractive without being clearly the product of Hollywood touch-ups and excessive makeup, she still just isn't that good. She has her moments, but overall she lacks charisma.So although it's a lot easier to see the poor quality of the film now than it was back in the day, Love Story is a pathetic story bereft of love which is overrated and features a memorably ridiculous iconic line. Love Story means Arthur Hiller having to say he's sorry for bringing such sh*t to the cinematic screen.

Byron B (br) wrote: I enjoyed Martin Landau's supporting role. I appreciate the social improvement project that he is trying to push forward. In this sequel to In the Heat of the Night, Police Lieutenant Virgil Tibbs returns home to San Francisco to solve a murder. I think the main reason these sequels weren't as critically acclaimed or as popular is because Tibbs was removed from the high tension setting of the south. Race drove most of the drama and success of In the Heat of the Night. Poitier still gives a solid performance, but now the focus is more on his family and the sparsely developed mystery. We get to see an upper middle class black family (wife/mother, son, daughter, and father who isn't around much because of his work). There are other black police officers and detectives, and hardly anyone expresses any resentment that Tibbs holds a prominent law enforcement position. It's all very comfortable. There are several red herrings in the mystery plot in order to slip in some foot and car chases. So the filmmakers try to replace the tense drama with action sequences. The dilemma Tibbs faces when he figures out who the murderer is helps deepen his character, but the ending is too convenient. Abrupt eye for an eye justice that is a slap in the face to Tibbs' ideal that justice is served in the courts wraps up this movie.

Vincent P (ag) wrote: The special effects shots are ingenious, the stock footage is plentiful and Jeff Morrow's preposterously manly voice booms out over all of it. What more could you want from 50s sci-fi? Answer: nothing.

Brian S (es) wrote: Ben Afflects directorial debut doesn't dissapoint B+

Noah D (it) wrote: Feels like a great 30 minute adult swim short stretched to its very limits!