In Enemy Country
Wartime secret agents are on a mission to destroy a deadly new type of torpedo, hidden in a Nazi stronghold in France.
|Download||En territorio enemigo||Other||28||39||483.41 MB|
You may also like
In Enemy Country torrent reviews
Areeque T (br) wrote: "Epic proportions of Shakespearean tragedy" indeed!
Bass H (es) wrote: Jack Irish is amazing! Can't wait for more to be made!
Peter W (au) wrote: Fascinating a must watch documentary.
original B (us) wrote: funny again love angela
Caitlin M (br) wrote: Very cool, it was funny that Drake the dragon was kind of a scardy cat at first. I like the first one a lot more, though.
Tommy H (de) wrote: It's crazy that a genre that sounds as boring as submarine war movie are some of the best war movies out there. Crimson Tide has a lot of dramatic action but not much physical. Lots of running around and screaming at each other. The strength of the film comes from the power struggle and all the well-timed tough decisions people have to make. I didn't care about the plot or what decision people made, it was more the passion of the moment and the suspense that made the action compelling. The exchanging of power gets a little redundant but not tiresome. They bring the fighting to an end before it reaches overkill. My only problem is with some of the acting. I see this a lot in modern day war movies. When men team up and they say things and look at each other in a way to show respect and that they'll be loyal, it sometimes comes off as too forced and unnatural. I've never been in a situation where I had to team up with someone and I got all emotional and noble in a self-contained way; maybe showing that much affection is realistic. I don't know. I do like it in black & white movies because it's hard to appreciate black & white movies if you don't like dramatic sentimentality. All the actors were good, though. And it was interesting to know Tony Soprano worked on a submarine before joining the mob.
Andrew B (fr) wrote: A clunky 80s movie that I can't recommend to anyone who doesn't have a taste for camp.
Jay B (ag) wrote: Far better than the original, but that isn't saying much. Not great by any means, but pretty well done given the material. Idris Elba IS the shit though and does some to escalate this outing.
Timothy M (es) wrote: A more somber film than Gunfight at the O.K. Corral. A very different film altogether actually, but I find it interesting to compare a given filmmaker's coverage of a historical event, if they did it twice (a la Mankiewicz). I like Garner and Robards, but I don't know that they work all that well together. While I think the film is interesting, it's not altogether enjoyable. Some segments, however, are very good, and I think the writing is really top-notch. Perhaps Sturges was just a little too laid-back at this stage in his career. It supposedly hews closer to history - I guess I prefer the version that "printed the legend."
Ills G (es) wrote: "I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me." Humphrey Bogart darkest and probably best performance that violent and alcoholic screenwriter. Hollywood melodrama at finest.
Blake P (gb) wrote: I've never thought of the Western as an art form - so set are conventions and expectations that many of the genre seem to work (especially in the cases of Golden Age superstars like Roy Rogers and Randolph Scott) as exercises in simplistic recreation with more charisma than craft. Widespread homogenization leaves many covered in dust and spiderwebs, profits to be temporarily enjoyed only to lose their luster later on. So it's fair to say that Westerns aren't my most favorite category of pastime, but enough chutzpah and enough character can turn me into a casual fan. Howard Hawks's "Red River," a pice-de-rsistance of the form, doesn't have much in common with the lowest common denominator that I rest most of my disbelief on - existential drama and brewing tragedy are more prolific than genre norms. It's a saga of self-doubt and familial tension coincidentally set in the sweaty south during post Civil War-era America; it's an accumulation of the genre's most awe-inspiring features. "Red River" basks in the glory of an expansive, sweeping landscape, bowing down to the rolling seas of grass and the surrounding, shimmering sky. An indelible, heroic soundtrack distinguishes its most triumphant of moments; its men, classic cowboys of the sort one looks up to during their imaginative youth, are stoic and brave, their dirtiness and their thirst for catharsis only adding to their enviably rugged demeanors. "Red River" is such a greatest hits collection of what makes the Western unparalleled that it's sometimes easy to undermine the fact that it was a film that both set trends upon release and also idealized certain genre characteristics. Ruggedly directed by Howard Hawks and smartly written by Borden Chase and Charles Schnee (who manage to find shades of feeling within their characters' durability), it's appeasing aesthetically and emotionally, a rarity for thrill-seeking and sometimes style-oriented ilk. But the incredible craftsmanship is hardly the most impressive thing about "Red River" - finest of all is the odd yet fruitful teaming of John Wayne and Montgomery Clift. Complete opposites in their every attribute - Wayne is tall, brawny, emotionless, tough, and grey; Clift is short, slight, passionate, cautious, and lusty - the juxtaposition of their respective personas is spellbinding, on edge. In the film, they are Tom Dunson and Matthew Garth, brought together by violent circumstance. As a young boy, Matt was the sole survivor of a Native American attack that also resulted in the death of Tom's true love, Fen (Coleen Gray). As a way to numb his emotional collapse, Tom, ever since, has acted as Matt's adopted father, stringing him along through the years as he's slowly amassed a prosperous cattle ranching business. The majority of "Red River's" action, though, takes place fourteen years after Tom and Matt's initial meeting, a time where Tom is scroungy and nearly broke following the economic roller coaster of the Civil War, where Matt is ambitious and becoming increasingly interested in starting a life of his own. Shortly into the film does Tom decide that the best way to deal with his dire financial situation is to drive his herd, comprised of thousands of cows, up north, hoping to stumble upon a buyer poised with a too-good-to-be-true offer. But while this plan is fantastical and none too realistic - to make things worse, Tom isn't willing to take an unfamiliar but much shorter route - the men, along with some extra hands, set off on the to-be grueling journey. Expectedly, morale deteriorates as time passes, preventable accidents and Tom's tough love approach the biggest contributing factors. Most are resilient enough to accept the drive as a shitty job to be remembered years into the future. But after Tom goes one step too far in his management, using threats of violence as a way to keep his men in check, Matt is forced to betray his father figure and take matters into his own hands, leaving the scorned Tom hurt, left behind, and ready for revenge. "Red River's" building to its climactic conflict is languid and perhaps even unexpected - as most are accustomed to Wayne's standing as America's roughest superhero, it's a strange phenomenon to watch him demoted to the status of a quasi-villain, an anti-hero acting solely out of self-interest rather than the greater good. Resulting is one of his most exceptional performances; instead of embodying the usual John Wayne character, which mostly asks for a portrayal, not a performance, he wears the skin of a tortured individual accidentally wearing his life on his face. His villainy is not due to methodical menace but because of an inability to look past his own misery. Clift's opposition to that - his Matt is level-headed and tender-hearted - drives "Red River's" terse tension, which builds so subtly that we don't much seem to notice it until it matters most. So it's disappointing that the film is a classic tragedy minus the tragedy; the writers inexplicably utilize a tacked-on happy ending that seems better suited for something disposable. Had it been pessimistic to its last breath, it'd be a picture incapable of being criticized. But what comes before its misgivings of optimistic finales and ineffective romantic detours is too staggering to put down. Aside from a few forgivable missteps, "Red River" is a perfect Western.
Karl M (de) wrote: A conventional love story told in the least conventional way possible. Even though it wasn't my favorite, it's very impressive.
Liam C (mx) wrote: I used to watch this all the time when I was a child but it was not until I watched it again years later that I realized how strange this film is, when it started I just looked at the scenario and its very off putting, strange and just plain weird! I am not going to hold it against my rating of the movie but it was just so weird, although I never really thought about it after a few minutes. Nevertheless, I found it quite enjoyable and charming for what it was, it was well animated, short and very funny, the cats were a laugh riot. The audience rating baffles me so.