Mees has a problem. By accident he took his best friend's pocket knife home with him. Unfortunately he is too late to return it as the next day Tim moves house. All that Mees knows is that ... . You can read more in Google, Youtube, Wiki
Mees has a problem. By accident he took his best friend's pocket knife home with him. Unfortunately he is too late to return it as the next day Tim moves house. All that Mees knows is that ...
- Stars:Rafael Alcayde, Daniel Arroyo, Freddy Fernández, Mario Forastieri, Rosario Granados, Víctor Junco, Gloria Lozano, Miroslava, Carmen Montejo, Consuelo Múgica, José Ortiz de Zárate, Fanny Schiller, Eduardo Segoviano, Olivier Tuinier, Verno Romney, Adelheid Roosen, Genio de Groot, Beppie Melissen, Maxim Hartman, Samantha Angenent, Priscilla Blanken, Maria de Haas, Roel Dekker, Esther Gast, Sietze Greydanis, Karin van Holst Pellekaan, Jaap Hoogstra, Kees Hulst,
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Dsire S (au) wrote: Parody of The 70s - in Space. No real beginning or end. A lot of famous actors but no real story.
Bob R (nl) wrote: On the outset this looks like your usual Brit gangster flick, Ray Winstone, Glen Murphy, it's ticking the boxes, sadly it doesn't. Yeah Ray's at his angry brutal snarling best, but the plot moves at a painful pace, the twist is fairly obvious, but when it is revealed is leaves more questions than answers...the family in Italy, just what had they got to do with the entire story?? Almost as painful an experience as the guy who has his teeth pulled out by Winstone during the movie.
Abdulla Y (gb) wrote: it was not great... but a good street racing movie worth watching.... the story is based on the problems of individual characters in the film like katie trying save her garage, mike trying to prove he can also drive in the streets... plus the performance of the actors in the movie was good
Zeke P (us) wrote: One of the most straight-forward 'whodunit' movies I've ever seen, and that's not a good thing. You'd expect a twist or two, or the guesses to go in a wrong direction, or someone holding back information to save themselves. You'd also expect better acting, smaller plot holes, and a end credit song which isn't the worst song you have ever heard. In summary, don't expect any of this or anything that great, because you won't get it.
Michael A (ag) wrote: To the casual viewer one might think that is this an anti-american movie specially considering that it is written by Lars Von Tier they might be right,but I think it's more than that. I look at it not only as an anti-gun movie but also america's love affair with firearms in genral take in account the fact the dandies uses pistol's to go up again heavy armed police officers at the end..there is so much said in this movie it's no wonder it's lost on most people.
Alfredo G (mx) wrote: Prime example of a terrible movie with no redeeming value whatsoever.
Sui G (us) wrote: The Aladdin movies really weren't that bad. And they kept all the same voices (I think) and that's all that really matters. Good movie!!
Kajori A (de) wrote: I was really looking forward to watching this, but it turned out to be a bit of a disappointment in the end. The story of the dreaming green ants is not based on real aboriginal belief, but a fiction made up by Herzog, easily the most interesting thing about this film! In any case, the director's interest in the Australian aborigines is not chiefly anthropological. Rather, it is the clash between the modern, mechanized civilization (in the form of a mining company that wants to dig up the aborigines' sacred land) and an older primordial world with its subtle mysteries and age-old wisdom that interests him. A theme done to death (also by H himself!), so we wait in vain for that striking Herzogian insight or moment of revelation. It never comes. The film does have its moments, though: there are some breathtaking shots of the land, which, with its spare beauty, lends itself to a peculiar kind of poetry. But the stiff acting, clunky dialogue (modern civilization is "a train hurtling into nothingness", Western man "has lost his direction") hurt. Also, the overall preachiness detracts from the film: why tell if you can show?
Blake P (gb) wrote: "You can beat us, chain us, lock us up. But we're gonna be back, understand? And when we do, cop, you better keep your ass off our turf, or we'll BLOW IT OFF! Ya dig? We're Jezebels, cop - remember that name. We'll be back!" Switchblade Sister Maggie (Joanne Nail) screams at a policeman. She is covered in blood, the survivor of a knife fight in which the other participant wasn't so lucky. She is perhaps too hysterical to realize that she's most likely going to die in prison - but it makes for a hell of a closing statement, and this film is all about statements, for crying out loud. This rabid speech falls at the end of "Switchblade Sisters", coming in the wake of gang wars, rapes, roller rink shoot-outs, and gory revenge. For a sleazy Throwback Thursday, it's a deliciously laughable nightmare of low-budget tackiness; for an exploitation flick, it's a slow day. Certainly, it's an awful movie - all exploitation movies are awful, in fluctuating colors and shades, to be fair - but I can't say that "Switchblade Sisters" is in the same category of delectable trash like "Danger: Diabolik" or "Coffy". It's just plain bad (though not in the ways most movies are). It follows Maggie, the new bad girl in town who joins the Dagger Debs after a violent meeting. The bond between Maggie and her cohorts grows tight in a snap, post-arrests and all, but things get messy rather quickly. The leader of the pack's (Robbie Lee) boyfriend (Asher Brauner) rapes Maggie, causing tension, and a rival group viciously attacks the Debs and their male duplicants seemingly out of nowhere. But who cares about plot here? "Switchblade Sisters" is a gut-busting assortment of atrocious writing, poor acting, and dreadful directing; but all those things are charms rather than obstacles. There's something stinkingly entertaining found in the one-liners ("Freeze, greaseball!"), the way the majority of the actresses like to speak through their gritted, yellowed teeth, how Jack Hill injects tacky life into even the most putrid of scenes. These aren't the reasons why "Switchblade Sisters" is a bad movie; it's bad because of its all too commonplace unseemliness. It touches on issues like gang rape and murder and sexism and miscarriage, but the tendency to only prick each item as a sort of prelude to the eventual bloody retribution is disconcerting. I'm not saying that bringing up these controversies is an unheard of thing; I'm saying that in a film as campy as "Switchblade Sisters", topics so heavy can destroy a lovably shabby aesthetic. Most of the film is spent wounding itself - there is a simply godawful scene in which a traitor is tortured with a daringly placed cigarette - but it has its moments, even if the bad ones aren't so forgivable. The attractiveness of "Switchblade Sisters" is, ironically enough, purely accidental. It means to be badass, but the film is better when it's attempting to be serious and ends up going down the shitter. It's hard not to laugh at the actors, all of whom are so horrible it's as though they're trying to memorize their lines as they're reciting them, and it's difficult not to make fun of the "inadvertent" instances of nudity (the irresistible prison fight with the butch warden contains some ridiculous boob flashes that are more hilarious than titillating). "Switchblade Sisters" is pretty bad, but at least it's fun bad. The exploitation boom in the 1970s remains to be one of the best (and worst) eras in cinema; this film isn't a good example of one, but there's no denying how iconic it is in its vortex. (Funny, though, how the title of the film is never actually said in the film.)
Mike M (jp) wrote: Hammer Films' 'Bad Blonde' is a below-average noir offering by the studio that later 'Dripped Blood.' Uninspired directing with bland performances all around, including an ending that doesn't so much shock as blandly surface. Of note, this boxing-centric pic features some of the least believable filmed action this side of 'The Three Stooges' - which at least had the courtesy to add sound effects.
Christopher S (nl) wrote: Director Otto Preminger's film noir drama is not one of the best, but still entertaining for fans of the genre. Robert Mitchum brings his unique brand of cool, and Jean Simmons is beautiful and deadly as the devious femme fatale - but the story looses steam in the second half and just never really takes off. Excellent old-fashioned score by Dimitri Tiomkin.
Spiros P (ca) wrote: One of the worst movies of All Time. So bad that it is not even funny good ... Complete waste of 2 hours. DeNiro and Pacino should give back my money or hand in their SAG cards for this one.