Godzilla vs. Destoroyah
The aftermath of the Oxygen Destroyer brings forth Destoroyah, a beast intent on killing Godzilla, who is on the verge of a nuclear meltdown.
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Godzilla vs. Destoroyah torrent reviews
Tor M (fr) wrote: An incredible stylich animated film - I seldom see such beautiful craftmanship.Relatable films for me are "Brazil" by the atmosphere, "The Lives Of Others" by the paranoia and "Enter the Void" by the inner head voice-thing. Great stuff.Anyhow, the year is 2024 and things are quite dark and sad. The oil are gone and everyting is gray and grim, also the headquarters of the metro that got all of Europe connected. People seem unhappy, also Roger that is the main-character here as he goes on a hunt for answers in a nightmarish world.So far, so good - and it get's better. Vincent Gallo is the voice of the main-guy. Other voices are done by Juliette Lewis, Stellan and Alexander Skarsgrd, Fares Fares and other known names. The music is splendid and so are the atmosphere. Among the trivia it must be mentioned that the faces are taken from real people - real, unknown, regular people that have been getting their faces caught by a photocamera and then solidly photoshoped. The director is an earlier big shot in the Swedish graffiti scene back in the 90's - that's way cool and you can tell he's got an eye for perfection. Again, this looks absolutely incredible.Well, this got to be a big film for me, right? Sadly - no, it's not. The story is not engaging at all and it's really hard to stay focused. It got little suspense and no true climax. I don't really know the characters and the little drama we get is not interesting at all. A shame to give this film a mediocre score, really, but it's just great craftmanship, without the correct ingredients.5 out of 10 West Ham supporter scarfs.
David S (kr) wrote: A documentary work critical of the Bush administration that does not resort to maudlin, emotion, or purely speculative conspiracy theories. The coverage is sober and objective, and the focus is on facts and the words of interviewees. However, I can't rate it more than four stars, though the importance of the issues makes me wish I could. I was left hungry for more information and analysis. There were plenty of statements from those interviewed, and certainly plenty of facts, but only occasionally does the director see fit to summarize and organize this information. The entire premise of the film seemed to be that a few incompetent leaders in the beginning months of the Iraq war set the stage for disaster later on. The case for this premise was made, but little else about the incompetence and duplicity of those in charge was covered in depth. Furthermore, the message seems to be arriving a little late to those of us who knew something was very wrong in 2004. Too late, certainly, for the 2004 presidential elections. Still, an important journalistic expose, even in 2007, well-executed by a director concerned with the facts and transparency.
Lady D (br) wrote: Bought but not yet watched
Michael F (es) wrote: I was expecting to hate this movie...but it was kinda damn funny
george f (gb) wrote: This is the best film and has the best memes 100%
Chris P (nl) wrote: I thought it was good
Tuukka P (jp) wrote: Lots of expolosiobs and blood but very little story. Even the animation is somewhat second rate.
Cameron J (gb) wrote: "And after all this time to find we're just like all the rest, stranded in the park and forced to confess to hiding on the backbeats, hiding on the backbeats!" Yeah, I know that this film is kind of about The Beatles, but I can't help but think about two other musical things when looking at this film's title, and I reckon I'm sticking with Bruce Springsteen (Yes, Springsteen's singing "Hiding on the backstreets" exactly eighteen times in that awesome, three-and-a-half-hour-long "Live in New York" video is still not as monotonous as the finale to "Hey Jude"), because I'd rather not think about the Backstreet Boys, even though, around the time featured in this film, The Beatles were kind of like a boy band with talent... and Ringo Starr. No, I guess Starr is alright, but what I'm getting at is that you rockers may be irritated about my calling The Beatles something of a boy band, but don't tell me that if you were back in the early '60s you wouldn't at least be a little annoyed by all of the girls' screaming and crying over these pretty English boys' latest pop song about young love and whatnot. Hey, apparently they were the punks of their day, as some record producer came out and said, which is unfortunate, because that jerk inspired the makers of this film to go out and put together the ultimate '90s punk/alternative rock supergroup to record The Beatles covers for this soundtrack. Shoot, maybe I shouldn't be complaining too much, because all the supergroup did was early '60s-esque rock covers that are actually pretty good, yet I just can't help but get nervous beyond belief when hearing about a band that features Dave Pirner of Soul Asylum and Greg Dulli of the Afghan Whigs on vocals, Thurston Moore of Sonic Youth and Don Fleming of Gumball on guitars, Mike Mills of R.E.M. on bass and Dave Grohl of Nirvana and Foo Fighters on drums. Jeez, speaking of screaming and crying in excitement over some band, I bet this supergroup, the Beat-You-Over-the-Headles, blew the minds of alternative rock fans of the '90s, or at least it would have if these guys weren't covering old, kind of cheesy and, well, actually listenable songs. Hey, whether you like this film's soundtrack or not, you'd be pressed to deny that this film is a decent one, and yet, just because the ultimate '90s punk rock supergroup is about as restrained as it's going to be, that doesn't mean that you shouldn't worry about certain things. Seeing as how we're dealing with a dramatic British biopic, I feared quite a bit of dryness, yet I am relieved to find that bland spells are limited, though not so thrilled to see that they nevertheless still stand, being by no means in great supply, or with all that much dullness, but with a disengaging atmospheric coldness that really slows down momentum, at least enough for you to pay attention to there actually not being that much momentum in the first place. Atmospheric pacing certainly has its limp spells, and when it comes to structural pacing, there are even more slow spells, backed by excess material and filler that leave the film to wander along until it finally collapses into repetition that drag out the final product, which still only comes out at about 100 minutes, partially because it tightens up plenty of the places that count. The film is well-rounded enough on paper, and well-told and acted enough, to earn quite a bit of your investment, so much so that the final product comes close to rewarding, yet general goodness ultimately slips through this effort's fingers, largely because exposition feels more undercooked than it should be, barely giving you an adequate degree of immediate background information right away, then proceeding to thin out gradual development for the sake of tone building that would actually be more firmly reinforced if characterization had more meat. Again, there is enough meat to the developmental depths of this drama for you to be reasonably compelled, but the underdevelopment, backed by slow spells and repetitiously dragged out moments in filler, places the promising project upon a foundation that is as shaky as it is familiar. This early story of The Beatles is a unique one that too many people forget about, so, of course, the film has the potential to be pretty refreshing, but in the end, the story finds itself structured in a fashion that is all too easy to recognize, being driven by tropes that grow clearer and clearer as the story unravels, until even those who aren't as aware as they probably should be of this forgotten tale end up facing too much predictability. The basic story concept is strong enough for the task of shaking the final product into underwhelmingness to seem like a challenging one, but the conventionalism and predictability really shake the defenses and leave the film at a very real risk of losing the full reward value that does, in fact, not make it, for although the final product comes close to going beyond mere decency, the pacing problems and limited depth to characterization are bound to prove too disengaging for this film's potential to be achieved. That being said, like I stated earlier, the film comes close to rewarding, not quite making it, but persevering enough to compel just fine, or at least deliver on tunes that, I must admit, aren't too shabby. As you can imagine, I had my reservations about the supergroup that was assembled to interpret The Beatles' almost punkish covers of rock classics in the early '60s, and sure enough, there are indeed occasions in which the star-studded '90s alternative rockers who compose the one-off band get a bit carried over the top, sometimes to the point where you can tell that we're simply dealing with contemporaneous "artists" merely pretending as though they're in the early '60s, but on the whole, I was pleasantly surprised with the Bang-You-Over-the-Headles, whose efforts are by no means upstanding, but do a generally decent job of capturing that good old-fashioned rock 'n' roll flavor in a fairly entertaining fashion. There is obviously not much too these ostensibly faithful tributes to The Beatles' less musically focused early years, but the film hits more than I feared on a musical level, and when it comes to the heart of the telling of this intriguing forgotten chapter in the story of The Beatles, compliments must also be paid. Again, the predictability within the telling of this story shakes conceptual engagement value to the point of making the final product very vulnerable to the other storytelling mishaps that end up driving it into underwhelmingness, but through all of the familiarity within the more extensive areas in story building, you can find a very interesting story concept, with depths, layers and potential that go betrayed by an aspect that has just as great of a tendency to do its concept justice. Iain Softley's and Stephen Ward's script does about as much as anything in holding the film back as rewarding, but at the same time, when the script hits, it helps in reinforcing the final product as borderline strong with such little things as sharp dialogue (If you can here it through all of the annoyingly thick, if convincing accent), as well as such more significant touches as areas in characterization that are, in fact, well-rounded, or at least appear to be when complimented by the inspired acting. If nothing else is consistent about this film, it's pretty good, maybe even very good acting, with the portrayers of The Beatles - both forgotten and notorious as musical groundbreakers - being particularly impressive in their transforming into the icons, while Ian Hart all but steals the show with his committed portrayal of an unpredictably deep, yet angry young John Lennon (No wonder the man made for such an obnoxious hippie, he was working hard to compensate for his being such a huge jerk in his youth), and leading man Stephen Dorff carries the film with not just a sharp British accent, but a charismatic and sometimes dramatically heartfelt portrayal of Stuart Sutcliffe, the most tragic lost Beatle. The performances aren't outstanding, but they are more effective than expected, being not only convincing, but with a certain compelling heart that can sometimes also be found within Iain Softley's direction, whose heights in effectiveness give you compelling glimpses at what could have been. Sure, Softley's shortcomings, both as director and as co-writer, are too potent to deny, driving the final product into underwhelmingness, but not so deeply that the inspiration within Softley's efforts can be ignored, joining an intriguing story and strong performances in keeping you reasonably compelled, if longing for a more rewarding product. When the beat fades out, the film is left too beaten by bland spells, repetitiously dragged out spells, expository shortcomings and considerably formulaic storytelling in slowing down momentum too much for the final product to escape the underwhelmingness that is still admittedly comes close to overcoming, thanks to the decent soundtrack, intriguing story concept, strong acting and heights in inspired writing and direction that make "Backbeat" a consistently enjoyable, sometimes moving look at the early days of The Beatles, and story of one of the legendary band's most forgotten and tragic figures. 2.75/5 - Decent
Jeff B (br) wrote: It doesn't pretend to be more than it is - a true cult film.
Pascal V (nl) wrote: Int (C)ressant ce portrait dur et d (C)nonciateur de la Turquie du d (C)but des ann (C)es 80.
Katie H (au) wrote: This one is pretty good for a laugh. Totally random movie that we never would have found without a recommendation.
Cathryn D (gb) wrote: My least favorite of the Martin and Lewis movies, but it still had its moments.
Stephen C (gb) wrote: It became clear by 1974 Hammer films was dying a death unable to keep up with the new fangled horror films coming from the States and Europe.But before it died it produced some one off memorable cult classics such as this one .Director Brian Clemens has always had a knack when telling a great story ,he did afterall create the classic Tv series The Avengers,Thriller and The professionals and his film works include the classic Dr Jekyll Sister Hyde and the cracking thriller And Soon The Darkness.Here Clemens riifs on the old vampire theme by having the vamps suck the lifeforce from young rather than blood .The vampires are pursued by the corageous Captain Kronos and his able assistant in all things vampire Grost.When they arrive in a small village where girls have been winding up dead they set to track and kill the killer before he/she strikes again.Clemens chucks in references to Westerns,Samurai films and of course good old fashoined swashbuckling as well , was a dab hand at at this genre cross over and the Avengers was packed with episodes such as Fog and of course Epic which spoofed big time film productions, Clemens directs his script with plenty of panache and ample Caroline Munro who not only is a knockout beauty but also gets to show some acting chops as well.Thrown away by its distributor on realease its easy to see why this film has gained a cult following ,its marvellous and it proves again how Brain Clemens is up their with Nigel Kneale in the Horror and Sci Fi canon .
Patrick F (mx) wrote: A beautiful masterpiece that does not need blood or a innuendo to be entertaining, intense, creepy and kid friendly. I highly recommend watching it, and is one of my favorite movies of all time and maybe ever.