After knowing that Jeff preys on teenage girls, Hayley, a precocious teenager, raids the man's home in order to expose him under suspicion that he is a sex offender with pedophilia. . You can read more in Google, Youtube, Wiki
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Farah R (us) wrote: After favs like Shaun of The Dead and Hot Fuzz, it's sad to see Simon Pegg star in meaningless stupidity such as this.
Griffin G (fr) wrote: OK, first let me say that I love terrible movies. Attack of the Griffin was a recent favorite. It was so chock full of terrible acting, hilarious special effects and just all around poor quality that I loved it. My friends and I were laughing and cracking jokes the whole way through.I rented Dragon hoping for a similar experience. I was actually pretty excited. "How can they go wrong?", I thought. "It's a low-budget fantasy film and it's made by Asylum, it's got to be hilarious." Boy was I wrong. There was absolutely nothing funny about this train wreck of a film. We were actually reverting to making jokes about Attack of the Griffin while watching it, because this one gave us no material whatsoever. The acting wasn't funny, it was just bad. The actors made me want to cry rather than laugh. I felt embarrassed for them. Oh, and the direction... Leigh Scott needs to understand that things happen in movies. One of my friends jokingly suggested that a fifth grader could direct a better film. It's a funny suggestion, but unfortunately it's true. I would rather watch a screen adaptation of a ten year old's diary than sit through this rubbish.I can safely say I have never seen a more poorly conceived film. There is literally no plot. They never do anything in this movie. They stand around and talk. About what, I couldn't tell you, but they do it for hours on end, in between sparse and uneventful "action" scenes. I am seriously disgusted. No B movie has ever left me feeling like this. Leigh Scott should drop the camera and walk away. Right now.
Irvin C (au) wrote: A Danish man running an orphanage in India gets a call from a wealthy philanthropist to go back to his home country then invites him to a wedding. That's all one has to know going to really fully get the dramatic impact of the film and the twists and turns the film takes. To be honest, I wasn't really expecting all that much from this but the dramatic road it took hit me quite hard. Though after the twists, it follows the expected dramatic beats, the performances are more than enough to carry it through.
Harsh C (de) wrote: uninspiring first half and ridiculous second half
Manolo P (mx) wrote: The history of cinema is a party. The experience of attending a movie theater has usually become an everyday fact that often involves only entertainment, live with loved ones, and spend a while that will leave on you an emotional imprint. At the end, it is going back to reality. With the course of this exercise that has become so repetitive, we forget that, like theater, dance and even literature, cinema has evolved so much. Not only from the process of realization, but also how we perceive and transmit it. Even more than forgetting, we may simply not know how the historical sequence of witnessing a movie has been. Here in America the ritual of doing it could be summed up in that we go to the movies, we sit down to watch the product and then we retire at the end of the reproduction. On the other hand, in India, watching a tape involves dancing and not stopping laughing and singing.These differences between yesterday and today and the here and there are marked in "Cinema Paradiso", which honors the not so remote past of attending the cinema and testify it as today is no longer done. Giuseppe Tornatore, with a free exercise of adapting theatrical techniques to his project, manages to recreate a successful environment of an Italian village that after the second world war suffers from a slow recovery, where problems due to lack of money accentuate the life of the majority of its inhabitants. The title, as can easily be identified, refers to the cinema not only as a paradise as it is the marvelous place where night by night various great films of the time are relayed, but rather works as an outline to the social phenomenon of watching the movie, to react and play with it and to be able to interact with the rest of the spectators through these actions, turning every moment into a collection of events with all sorts of meanings. The experience of the cinema does not go back in the individual experience, but in the collective one.This text analyzes only the original version of "Cinema Paradiso", since in 2002 Tornatore releases an extended and edited version of the same film that many acclaim as one of the best in the cinema. Better or not than the first version, it is important to analyze the first one in isolation, to rescue the most relevant points of the film before getting involved with the second one. The story places Salvatore (Salvatore Cascio) as a kid who lives solely with his mother, and who studies at the local elementary school, but is also an altar boy in the local church, where he spends his afternoons supporting a hilarious and highly conservative priest at the masses of this church - from this first scene we are filled with tender and beautiful images that make us realize the flow of the film as one that keeps a theatrical style to move - the father goes to Cinema Paradiso during the nights. It is the only cinema in town, and he sits to watch with momentum and admiration the tapes prepared by Alfredo. (Philippe Noiret) Only the priest is able to authorize their reproduction. He makes a bell ring every time there is a kiss because for him, every scene of that kind must be cut out.Sneakily, Salvatore attends this cinema. He does so because the priest denies him entrance, but with audacity and innocence, the child manages to squeeze where Alfredo is to witness how the magic of cinema is projected night after night. Although his relationship at first does not seem to work, as Alfredo insists that the child cannot enter the place, time allows them to get along well to the point that Alfredo allows him not only to get in, but he also teaches how the mechanisms work to play a movie from the cinema booth. Soon, they reach a captivating friendship.What enriches and makes this project so special is the perspective in which cinema is seen within the cinema. While it might sound very boring to watch a movie of people watching more movies, what Tornatore generates is a voracious achievement of creating spaces capable of tracing a person regardless of their time, location, or social stratum towards a bubble of audiovisual mosaics, which abound in references to classic European and North American films of the time. There are dozens of films that are mentioned and from which are shown brief fragments, and what is more fascinating is the fact of spending so much time capturing and evidencing the impressions of the people with everything they contemplate. From their looks of astonishment to their reactions of spontaneous and energetic response.The film is essentially divided into two. The first part talks about Salvatore and his foray into the cinema thanks to Alfredo. All this characterized by the gift of Tornatore to put his magic as a base for the quality of the plot. The second part, which is marked by a disastrous event for the characters, offers a twist in which everything seems to become a melodrama in which much of what is achieved decreases in intensity but does not succumb and ruin the film after all.What gives value to this film is to speak about our ability to create links with people and with the things that we want. Although this is tried to be destroyed and forgotten, the past in one way or another will return to adjust the slopes that have gone blank. "Cinema Paradiso" acts to conquer the public and insist that thanks to the spectators, the seventh art achieves its final mission. Those who come to this cinema really marvel at what they see. They feel scared, they laugh, they spit, they cry, they complain, they cause and they boo - and this is the everyday situation.Salvatore as a young man (Marco Leonardi) falls in love for the first time, and Alfredo will be a guide for him. Circumstances will make the young man to leave, and after a while without returning to his hometown, the new Salvatore (Jacques Perrin) will be forced to reconnect with what he left and now different things must be faced. Thanks to an Italian soundtrack that with effervescence raises and vibrates this adorable and delicate piece of film, every movie lover shall reproduce it and judge it at least once with the simple aim of letting go. Its end is spectacular and full of memories. This is a tribute to the cinema and thanks to its intimate and unforgettable appeal, what one must do is to be captivated by the smiles and tears that this will provoke on you, arising the encounter of a warm but changing game between romanticism, innocence and occasional oddity that is polished to reward not only what some do for this art, but also those who appreciate it, that is, all of us. 87/100
Amy H (it) wrote: Interesting plot. Not much of acting. But plenty of gore and suspense.
Steve W (br) wrote: I think this movie is a bit overrated. It received a standing ovation at the Sundance Festival, but I found it a bit overlong with choppy action scenes.The cast is definitely the best part, with Maggie Cheung showing her acting chops. She plays Jade, an enthusiastic and scheming businesswoman who runs an inn always filled with brigands and spicy meat buns. Her world gets turned upside down when evil officials, rebels, and the local law enforcement get entangled.The action was disappointing, it was very blurry and it was difficult at times to tell who was fighting who. The final 3 vs 1 sword fight against Donnie Yen was a mess, especially on how he was defeated.Despite the solid cast and decent plot, it was a bit unfocused even though it had its moments.
Joshua D (nl) wrote: I've love Vietnam war films. I love the effort of every director trying to show how brutal and unfair this fight really was. Some are wonderful such as Platoon, Apocalypse Now, and Full Metal Jacket. And some are not so good. Hamburger Hill tried. But without the mass of a real story-line, almost no character development, and no major actors, Hamburger Hill flattens out as a tasteless burger. And like that play on words this film just isn't good.
bloody w (es) wrote: john woo in his american debut directs a very badass action film. this movie is about a militia of hunters who hunt humans. after they kill a homeless man. the mans daughter is desperate to find her dads killers being unsuccessful she hires van damne or chance boudraex to help. and wow seeing this movie brought back a lot of "why don't modern action movies do this". "wow van damne is a badass". although at times its a little slow. a little lengthy the movie was a little long and at other times. its kind of unrealistic but if you can look past this its mindless action fun. that sadly you will never see again in Hollywood. entertaining actioner that van damne fans need to see