Horses of God

Horses of God

A fictional account of the lives of the men responsible for the suicide bombings in Casablanca in 2003.

A fictional account of the lives of the men responsible for the suicide bombings in Casablanca in 2003. . You can read more in Google, Youtube, Wiki

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Horses of God torrent reviews

Lita C (jp) wrote: Women thou are loose

Dan L (jp) wrote: A sad, realistic, but a bit hilarious movie from Japan. Akira Nakao is a great actor and this time, he is a not-so-talented artistic painter in the movie. For his whole life, he is nothing but just a loser. The most funny scene was that he was tryin' to copy his dead daugther's face image from the hospital for art. Sad but realistic about how artists try so hard to survive and get famous in this world nowadays. Nice filming and editing, typical Japanese movie techniques.

Lain G (kr) wrote: No es malo cuando una pelicula es confusa, el problema es cuando los personajes no te importan lo suficiente como para tratar de entenderla.

MEC r (kr) wrote: I didn't like this film.

Alex K (it) wrote: My Favorite Film Is 1941's Citizen Kane.

GhostShadow X (gb) wrote: Enjoyable action/martial arts movie.

Daniel P (nl) wrote: Billy Bob Thornton provides the humour. A good comedy action with excellent performances from all the cast.

Ginger C (au) wrote: My favorite play. I've seen every version committed to film that I can find and this one surpasses them all. Additionally it's one even my young grand daughter enjoyed and understood. Tennant shines in this production which has been called "the Hamlet of a generation". I loved how he brought out Hamlet's smart-mouth side, yet still delivers even in the darkest scenes.

Loreno D (au) wrote: Amazing Film- Closet Classic! Tremendous operformances by all!

Elin C (ru) wrote: i wanna see it so bad T.T

Schati C (es) wrote: It's a forgotten Eighties gem, but Gotcha! was big news in its day--I remember. Really brought Assassin-type games into the public eye. Fucking ridiculous, with golden moments of the genre. Which is the cocky Eighties quasi-Soviet thriller romance, of course.

Joseph S (de) wrote: La Bete Humaine?, by Jean Renoir is a grim and macabre noirish film about people doomed by childhood, genetics, or just plain star-crossed fate to destroy and defile the things they love and care for the most.Roubaud is an ostensibly normal trains-station master, married to S (C)verine a beautiful woman of questionable virtue. Lantier is an engineer on a Locomotive who is occasionally seized by fits of manic rage which he believes come from his fathers and grandfathers history of alcoholism.Only the roar of the trains calm Lantier(TM)s inexplicable rages. Roubaud seems to love his wife, and due to a complaint from a wealthy patron asks her to see if she can have her wealthy land-baron godfather named Grandmorin, smooth things over.S (C)verine agrees, but after a stray joke about how it(TM)s possible that he could be her father, is forced to confess to having long ago been the old man(TM)s mistress.This drives Roubaud to decide to kill Grandmorin, and forcing S (C)verine to help, so that they may be bonded? together anew and forever. They commit the murder on an all but empty train, all but empty save for Lantier.When the cops question Lantier however, he says he saw no one. To win him over?, S (C)verine begins an affair with him. Here(TM)s where things got complicated.There are many ways to view La Bete Humaine? from this point on in the film. S (C)verine may be incapable of love as she says due to being a teenage mistress to her godfather (or possibly real father), and intends only to use Lantier to get rid of Roubaud whose become a melancholy gambling louse since the murder. The picture perfect femme fatale.It(TM)s also possible that though she has never loved anyone prior to Lantier, that her feelings for him genuine, and that she sincerely sees no way for them to be together while she remains married.Roubaud(TM)s absence from the later half of the film, his diminishing importance and only referential presence, would seem to argue in favor of S (C)verine as manipulator. After the murder he seems unconcerned with S (C)verine affairs, as if avenging his/her honor removed any desire he had to preserve it thereafter.Lantier(TM)s violent actions are equally mysterious; either he is destroying what he cannot have, because he cannot have it, or destroying what he wants most deeply for reasons beyond his control. Is it the drunkards in his blood? that eventually triumph over him, or do his own resentments and fears over this specific situation get the better of him?The trains connect all the characters together, but the trains also have no resting place, they are in constant motion save for the occasional breakdown. They could symbolize the alienation of the characters from the natural world around them, or from normal healthy relationships which travel makes tenous.The trains mostly serve director Jean Renoir, in setting the tone for the brisk pace of the film and providing opportunities for excellent cinematography.Their use as symbols is less fruitful than the questions of the motivations of the characters who inhabit and surround them.Though it(TM)s arguable that no one truly loves anyone else in this film, I believe I will remember "La Bete Humaine" (the Human Beast) as a love story more than a noir or crime thriller. That is to say I side with team-S (C)verine was being genuine with Lantier.It(TM)s only after we(TM)ve been made to feel for the characters and to truly and fully hope with them that they may escape their predicaments, that the full force of the tragedy can take effect.I was much more impressed with La Bete Humaine? than I had expected to be, it has none of the pacing or acting problems I normally associate with films of this era (though at least one review from the films release complained of Renoir jumping too fast from scene to scene? and the characters being difficult to comprehend.). Its story was timeless in the best possible ways, and its execution close to flawless, at least as far as I think I understand Renoir(TM)s aims.A quick peruse of a summary of Emile Zola(TM)s novel of the same name, tells a much darker and broader tale, with more characters, more deaths, and goings on long after the film(TM)s version ends. Focusing on Lantier and S (C)verine, their relationship and the murder, Renoir forces us to ask these questions about why we destroy the things we love.Roubaud destroys his relationship with his wife, which we discover only later was not ideal when the film began, but certainly not in smolders as it is later. S (C)verine has many opportunities to leave and start again herself. The trains are always coming and going. Why does she remain where she is most miserable?As for Lantier why does he do what he does with regard to S (C)verine, and why does he hold back earlier in the film?Was he afraid she would leave him after he became useless?Early traumas come back to haunt our two desperate lovers, who though connected to the constantly coming and going trains and their illusion of freedom, are permanently attached to their rails of their own destinies and mangled desires. For better in the short term, and worse in the long.

Colin B (ca) wrote: Beautiful family movie really shines threw your heart. The critics are wrong because of how much love is put into this family drama is amazing.

Harry W (jp) wrote: Being the one film ever directed by horror writer Stephen King, Maximum Overdrive sounded like an interesting change of path for the man.Based upon his short story entitled Trucks which was first published in 1973, Maximum Overdrive is a film with a rather ridiculous concept. But having read the short story, I'm capable of understanding how Stephen King was able to make the story work and just what themes he was able to fit into the short narrative. The film is clearly not one that would be able to capture the same insight due to the medium being visual rather than written, but given that the central antagonists of the stories are trucks it makes sense that a spectacle would do a lot to bolster the material. Even though Maximum Overdrive is based on a simple short story, it still alters the premise of its source material in poor ways. The intro text informs us that planet Earth has passed through the tail of a comet which is signified to be the source of the technology running independently haywire. We are also informed that Earth will only remain within the path of the comet for little more than eight days, suggesting that the timespan of the technological turmoil is ephemeral. This betrays the source material by removing the mystery of how the machinery has come to life, but worse it informs us that the characters only have to survive for little more than a week. In Trucks, there was no way of telling how long the titular Trucks would dominate society for and the narrator envisioned them taking over the world and even multiplying. This left the narrative to be very open-ended, suggesting apocalyptic possibilities. In the case of Maximum Overdrive, this feeling is rendered absent by our awareness of the situation. The ambiguity and nihilism of the original short story stood out as a source of its distinctive greatness, but this becomes forsaken for a more comedically oriented tone in the adaptation process. Maximum Overdrive is not a typical Stephen King narrative. Rather than having the sombre and nihilistic tone of his more gothic works, Maximum Overdrive functions as a distinctively 80's guilty pleasure with a campy tone and a lot of black comedy. Rather than taking the time to develop an intense atmosphere, Stephen King simply begins killing off random people fast. It's clear that he has gleeful fun with this, and the result is actually rather entertaining. Through creative use of his concept, Stephen King finds a versatile series of ways to kill his characters in a variety of original and even funny ways. There is a fair share of blood and gore to support this all as well as plenty of explosions and gunfire, so the exhilaration is kept alive throughout Maximum Overdrive. The shortage of character development and simplistic dialogue means that many of the scenes in between the action and slashing comes up short, but Maximum Overdrive is a film proud of its ridiculous premise and bent on having as much fun as it can in the process. Even though this neglects the thought provoking elements of the source material, it still manages to stand on its own two feet as an entertaining action horror film. Maximum Overdrive carries the concept and some of the story elements from Stephen King's original short story but exists heavily more in the style of a music video than a legitimate horror narrative, and it manages to stand as a fun experience of its own right in the process.Maximum Overdrive is a low budget film, but for a first timer it is clear that Stephen King is aware of proper funds management. Skating by with a story that happens essentially within a singular location, Maximum Overdrive diverts the majority of funds into hiring cool-looking trucks and blowing them up. The result leaves a lot of memorable imagery in the film and plenty of entertaining action, and it is captured with strong cinematography. And the fact that AC/DC was responsible for the soundtrack is just amazing since they perfectly capture the manic energy of the film and its hardcore 80's tone. They effectively keep the mood of the film set in that of a music video with intensity and glorious rock n' roll. Maximum Overdrive is a well-constructed mix of imagery and music, so for all its efforts to be a relentless guilty pleasure it definitely succeeds. It lacks the gothic nihilism distinctive in so many Stephen King films, but it's too damned fun to disregard.Since the dialogue in Maximum Overdrive detracts from its roots, characterization is clearly not a strong point for the film. As a result, there is not a high demand for performances and so the cast leave no distinctive impression. Nevertheless, there is a certain nostalgic value that comes from the presence of Emilio Estevez in the lead role. Given that the man was big in the 1980's, it is great to see him leading such a ridiculously oddball film like Maximum Overdrive where he gets to use his handsome charm in an action hero role. He never stretches beyond believability in doing this as he maintains a gritty nature, giving him an effective bad boy charm in the process. Emilio Estevez makes a convincing hero for the story and helps to epitomize the 80's nature of the film.Yeardley Smith is a frustrating presence though. Notorious for voicing Lisa Simpson on the longrunning animated sitcom The Simpsons (1989-present), Yeardley Smith's voice pushes the limits of toleration with Maximum Overdrive. As her character does little more than scream and complain the entire film, her high pitched voice gets really annoying in doing it and so viewers are left to just hope that one of the trucks kills her. When this prophecy goes unfulfilled, it's a true disappointment. Yeardley Smith doesn't moderate anything in Maximum Overdrive, and the result is a really dissenting performance. Maximum Overdrive has a ridiculous premise and detracts from its source material's tone and themes, but fueled on a rush of violent 80's energy it delivers as a proud guilty pleasure of action horror.