Yasuo is a gangster just released from jail. Believing his boss double-crossed him, enraged Yasuo is on his way to find the boss. But before setting out for the dangerous trip, Yasuo asks ... . You can read more in Google, Youtube, Wiki
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Lee M (it) wrote: This movie struggles to get a story across through the first half by rushing a large amount of the story to fit it in too little of time. but makes up for it by the last half all in all a good movie and worth the watch.
Adam F (ca) wrote: Loved when he fought 10 people and beat the crap out of them
Daniel B (us) wrote: Absolute Rubbish. Not even comical rubbish. Just rubbish.
Craig D (mx) wrote: brilliant, especially when the asian lad shows his true colours, and confirms the stereotype! i expected diego to be an absolute cunt...but it turns out he's actually a nice bloke.
Ty S (br) wrote: Good movie different but good.
John J (ag) wrote: a not bad killer avenging spirit movie. Oddly enough it's the lighting the really makes this one stand out.
Nicholas W (mx) wrote: one of My favorite movies
Roque F (kr) wrote: A Noirish atmosphere and aestethic with a devious story and amazing characters. Geat Acting with the usage of aside lines and beautifully filmed. Perverse, devious, gross, yet cute and darkly funny.
James H (au) wrote: There's no doubt this movie is iconic, from the soundtrack to Tom Cruises sun glasses but the actual substance is weak and at times cringe-worthy. The main character 'Maverick' is not likeable at all and actually acts like a cocky little boy for most of the film and the banter between the characters is weak. The airplane scenes are handled well, considering when this was filmed, but there really isn't much to cheer about here.
The N (ca) wrote: No me gust, no la termin de ver, es matar una rata por el solo hecho de ser rata, en realidad no era nada ms y ese tipo de pelculas no me gustan.
Cameron J (kr) wrote: Wow, this film has one seriously sexy title, or at least it seems like it is after it's been sung by Ray Charles. It's like this film's leading Virgil Tibbs character's name, which pretty cornball up until Sidney Poitier somehow manages to pull off, "They call me Mr. Tibbs". Poitier may have made that line cool, but the American Film Institute had the audacity to deem it the 16th best quote in film history, although, - let's face it - that's just because it was set in the context of a black man demanding respect from a white man in the '60s. This is a crime drama that's really just an allegory for black civil rights, so who was going to direct this if it wasn't going to be Norman Jewison? Well, at least he made the film good, although it is totally unconvincing, because as much as I defend the American South's becoming much more progressive since, even nowadays, if I was a black detective, I wouldn't even joke about taking a case in Mississippi. Naturally, they didn't actually shoot this in Mississippi, because they would have lynched the Canadian cracker who directed this film just for having the surname [u]Jew[/u]ison. Well, anyways, the point is that this film was pretty groundbreaking, as opposed to its TV series spin-off (Man, TV detective dramas were a little too common when this film came out, back in the '60s, never mind the late '80s), and yet, it has shortcomings, even in the originality. Thematically, this film was very refreshing in its exploring matters regarding race relations which are still rarely touched upon in something as over-explored as the typical detective drama formula, but in most every other way, well, this film isn't especially new, hitting trope after trope as a police drama, but still not being as familiar as it probably should be. By that, I mean that this film stands to be a little more fleshed out, doing a decent job of distinguishing the roles, at least after a development segment which is short on immediate background, but doing only so much to really humanize the characters, whose thin aspects sometimes make the roles feel like types, devices in the thematic value of the film. Long since race relations have settled to an adequate point, it is common for American dramas driven by civil rights themes to be brutally unsubtle, and considering that I saw the cheesy, almost propagandist and barely relevant "The Hurricane", and know how liberal Norman Jewison still is, long after the Civil Rights Movement, I was fearing that this film would beat me over the head, so I'm very relieved to find that a lot of subtlety is applied to the thematic storytelling which is respectable and effective, and yet, there are still occasions in which Jewison gets too excited about all of the good he's doing, resulting in some missteps in subtlety which overemphasize themes, and sometimes even shake consistency. This film's central conflict is a murder case, and when conflicts regarding race relations really kick in, what ought to be the real focus of this narrative starts to lose its urgency through focal inconsistencies, although that urgency was always to be limited by inconsistencies in pacing. With all of my complaints, my biggest issue with this film is its deliberate pace, which may not be entirely deliberate, as the plot progression is sometimes retarded by excess, expendable material, although what hinders a sense of momentum more than anything is the slow-born steadiness to the structure of a lot of scenes, backed by a quiet intensity that is often effective, and just as often more cold than intense. The film gets a little boing more often than it should, and although it rarely loses your attention, and compels through and through, excessive steadiness, layering and thematic focus drags the final product down a formulaic path. With that said, the film is almost as rewarding a police drama as it is historically important, being pretty engrossing, particularly when it polishes things with style, even on a musical nature. Through the '60s, legend in the black music industry Quincy Jones was beginning to establish himself as the film score composer he is now a respected figure in, and this was his worthy breakout, for although Jones' score is blandly underused, its diverse fusion of big-band, jazz, R&B, and, to a certain extent, rock and roll makes for a unique, influential score which helps liven things up, with an aesthetic value that Haskell Wexler challenges through subdued, but handsomely near-crisp cinematography. The score and cinematography add to a subtle, but sharp style within Norman Jewison's direction which helps reinforce the engagement value of this film which is better secured by Jewison's storytelling, which also shakes the engagement value, through slow-burn pacing and a thoughtful atmosphere, occasionally broken up by subtlety issues which don't really have much value to them, as opposed to the deliberate pacing, which is often biting in its drawing anything from biting tension to engrossing dramatic resonance. Jewison has gotten carried away with his thoughtfulness, just as he has gotten carried away with his liberalism, but more often than not, the subtlety to the dramatic aspects of this film are near-penetrating in their tension, and intriguing in their thematic significance. Even with the thematic value taken out of account, this detective thriller story, while formulaic, is very intriguing, with an unpredictable mystery that comes down to a solid twist, and gets there accompanied by intricate, if excessive plotting, and worthy themes, anchored by mostly convincing characters who at least feel convincing thanks to the performances. Material is limited, but most everyone in this sometimes thin character drama utilizes dramatic range and distinguished charisma - the most distinguished of which being within Sidney Poitier and Rod Steiger - to sell his or her role better than Stirling Silliphant does, as writer. If there are subtlety issues, or inconsistencies in focus, or a little too much excess to steady plotting, then it is all the fault of Silliphant, but these issues are rather moderate, at least compared to Silliphant's strengths, which include simple, but memorable dialogue, and a generally thoughtful attention to and the juggling of themes regarding police proceedings, and the, if you will "heat" and ignorance within southern race relations of the '60s. The thematic significance of this film is there, and handled well enough to be very respectable and effective, but as an almost noirish drama, it is almost enthralling, with enough intelligence and bite to compel and reward. When the heat dies down, occasions of formula, expository thinness, subtlety issues, and focal inconsistency steady momentum almost as much as blandly deliberate pacing and cold atmospherics, but groovy score work, decent cinematography, and an intriguing story which goes driven by charismatic performances, biting direction and sharp writing secure Norman Jewison's "In the Heat of the Night" as a rewardingly engrossing portrait on southern race relations of the '60s, and on a tense police case. 3/5 - Good
Phani T (jp) wrote: A one time watch like most other comic book adaptations. The effects are good, the characters introduced and killed in a nice fashion. But don't trust the critics consensus - it isn't witty r comic enough like the spiderman.Ok to watch.
Cameron M (mx) wrote: John Tucker Must Die wants to be Mean Girls but lacks the wit, sharpness, and knowledge.
Gary R (es) wrote: I know absolutely nothing about baseball. However I do like maths. This film was amazing! Really good characters and a great performance from all. I found myself caring about baseball statistics by the end.