Inspector Gadget 2

Inspector Gadget 2

After capturing Claw, all the criminals have gone into hiding until, Claw escapes! Gadget thinks he will get the case, but everyone else has other planes. A new version of the Gadget project is unveiled in the form of G2. Strict orders are given for Gadget to stay away from G2 and every crime scene, but Gadget feels he is needed more than anyone.

City officials are moving to replace human-robot hybrid Inspector Gadget (French Stewart) with an updated model, the comely G2 (Elaine Hendrix). Now the duo must team with to again fight master criminal, Claw. . You can read more in Google, Youtube, Wiki

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Inspector Gadget 2 torrent reviews

Benito R (au) wrote: Not your typical horror film. It relies on the psychology rather than gore or frightening images. Random sonic sounds add to the psychology to give the audience a feeling of suspense and terror. However the story is too muddy and it relies too heavily on mystery for the film to actually be able to stand on it's own.

BastiJohn Norman A (kr) wrote: Nostalgia. Feel good.

Rebecca S (es) wrote: A sweet and funny comedy. A bit predictable, but quite enjoyable.

Joseph H (mx) wrote: This film is terrible and so predictible but it's still fun to see my two favorite slasher icons go at it. The film tries to make you care about characters that you just can't care for but it makes up for it with the epic conclusion with the two icons battling to the death!

Ari K (nl) wrote: Even full frontal nudity with Nicole Kidman this movie is not worth watching....

Ivonne K (de) wrote: Interesting movie, good historical recreation...I can say that it is just an ordinary good made movie, with the only intention of recreate this famous british case, of course a real one, during the 50's. The only that can bring you is a reflexion about the death penalty and the justice system...

Rita D (ca) wrote: Funny, nice twist at the ending.

Ken S (br) wrote: David Cronenberg's film "Dead Ringers" is about bizarrely close twin brothers who become gynecologists together and share everything, including women (though without the women's knowledge that they are ever sleeping with two different men). When they both sleep with a popular actress and she figures them out but prefers the more introvert one...things begin to unravel in their strange shared life. It is a weird and wonderful movie, that left me unsettled for a lot of it's runtime...in a good way. If you like dark weird stories, this is a film for you.

Meg T (ru) wrote: Like so many horror movies, a story that is really about grief and how we deal with it.

Niek S (au) wrote: A cute and touching film. The film has been criticized for being somewhat too talky and relationship-ish, and yes, the middle part lacks a certain moomentum, but the opening scene is perfect and the atmosphere of the film is simply awesome. Jonze's choice to use Henson Studio puppets instead of all-CGI works out perfectly: you can see and feel the haracters running, jumping and bumping into eachother.

James C (fr) wrote: What's that happened in the family past? Murder! Torture! Evil! And what have the bland numbskulls in the present unleashed again? You guessed it, more of the same. The propertied ruling class is seen as the murderous ravening beast it really is here, and the film looks forwards to the day when the tables will be turned and the biter bit.

Allan C (de) wrote: Terrific Douglas Sirk melodrama from the William Faulkner novel "Pylon." I have not read the Faulker book, but I'm guessing it was nowhere as soapy as the film, but as soapy melodrama's go, no one does them better than Douglas Sirk. Robert Stack plays a boozy disillusioned WWI flying ace who now spends his days as a barnstorming pilot at rural carnivals with his neglected parachutist wife, Dorothy Malone, who he only married as a result of a literal roll of the dice. Rock Hudson plays a reporter doing a story on this dysfunctional traveling family of flyers that also includes Jack Carson, Troy Donahue, and William Schallert. Sirk's perchance for over-the-top drama is probably not going to look great to modern viewers, but for fans of classic Hollywood and fans of Sirk in particular, this film is a must see!

Megan J (it) wrote: Ah-may-zing! Great movie with great insight into an interesting world

Harry W (mx) wrote: Boasting leading performances from both Alec Baldwin and Jennifer Jason Leigh, Miami Blues sounded like a well cast crime drama.Miami Blues has a very original story. The only problem is that it is not always good at telling it. While there are some good moments of tension in Miami Blues, a lot of the film resorts to following conventional ground such as the way it treats every character except its main one, Frederick J. Frenger Jr. There was a lot that could have been done with the character Susie Waggoner, but while Miami Blues is out putting Frederick J. Frenger Jr. through all the complicated material, she is limited to sitting at home and having a few scenes where she interacts with him. As a former prostitute settling down into a steady life, there was a lot more that could have been made of her as a character. Yet the film pushes her through conventional material and sticks her with the archetype of being the unsuspecting wife of a madman. Considering that the role contains Jennifer Jason Leigh in the part, I really felt that she desevered more because she could have done a lot more with it. Since that didn't happen, I was left unsatisfied by the potential in the film. While the main plot unfolded, two other subplots were occuring but both of them were little more than the same one you would have seen many times before in crime films and all they do is get in the way of the originality stemming from the central plot which already is faltering.Miami Blues follows the story of Frederick J. Frenger Jr, a psychopathic criminal hiding his life of crime from his wife. His pattern of crime changes paths when he adopts the facade of being a police officer and abuses that power. The film follows this story in a simple fashion, but it also does so in a rather simplistic one at times. It adheres to conventions all too often while occasionally getting some life out of its high concept premise. The overall success in Miami Blues is middling, mainly because there is not much of a limit on how many similar crime films there are. There just isn't enough creativity in the long term to capitalise on the potential brought in by the main character of the film, meaning that Miami Blues is a rather formulaic and dated crime film. I enjoyed some moments as well as the characters, but the story was lacking in genuine strength. There was a decent script at hand which maintained some fair dialogue, but the ultimate fault falls into the fact that director George Armitage fails to bring any spirit out of the film. As writer and director, George Armitage only succeeds at capturing a limited amount of creativity with his story while the rest moves along through stale material with a slow pace. When I think back at Miami Blues, there is not much from the film that I cannot visualize as having been in many other films I have had the experience of seeing. Miami Blues does not stand out enough to make an impression even though it clearly has the potential to do so which is a shame because it feels like there is a lot of wasted talent in the production but just not enough life to really let Miami Blues transcend its inexperienced limitations.The one thing that really manages to keep Miami Blues alive and entertaining is the efforts of the cast.Alec Baldwin's strong leading performance is the finest part of Miami Blues. With a seamless ability to hold his own on the screen, Alec Baldwin does a great job capturing the psychopathic nature of Frederick J. Frenger Jr.. From the moment he enters the screen, he immediately establishes a sense of tension in the physical status of his character and adds to it with tense line delivery. While he doesn't break free of his single tone of voice for the majority of the film, the stare in his eyes and general aggressive energy render him a capable lead. In a contrast to his other performance of 1990 as Jack Ryan in The Hunt for Red October, Alec Baldwin's leading performance as Frederick J. Frenger Jr. establishes that he has the ability to portray a villain just as easily as a hero. Though he is not fully evil and there are even times where some of the black humour in the film may have viewers cheering for him, AleC Baldwin is able to grasp the dark nature of his character in every necasarry regard for his performance to honestly be rendered a good one. He really keeps the energy going in Miami Blues.Like I said before, Jennifer Jason Leigh is stuck with a rather formulaic character. Still, she makes a perfect fit for the role. While she is an actress known for portraying prostitutes, in Miami Blues she starts off in that regard with her uncomfortable demeanour and sex appeal but later steps into a more conventional role which she puts her natural charm into. Playing the woman who just wants a steady life after living a rocky one, she is still one step above the archetype and does a good job conveying her reluctance to step out of it by putting in a restrained emotional effort which always has a hint of uncertainty to it. Jennifer Jason Leigh gets the part right despite a limitation on the situations she faces and her screen time. She adapts to the role easily and shares a genuinely good chemistry with Alec Baldwin. She is just generally charming whenever she is on screen, so Jennifer Jason Leigh is certainly an asset to Miami Blues.So Miami Blues has a high concept premise and some strong performances from Alec Baldwin and Jennifer Jason Leigh, but because it gives in to conventions far too often, the creativity in the story is minimal and the overall effect is blunted.

Zac B (us) wrote: An outstanding film and fitting end to the service of Star Trek's first crew. The film weaves a plot made up of action, mystery, diplomacy, and hope. Like any great Trek venture, the film does good to include the USS Enterprise herself as an important "character" in the telling of this story. To me, it is the greatest of all Star Trek's films and one of my favorite movies of all time.

Howard E (mx) wrote: Oh, the horror! No, not the horror of war. Well, that too. I'm referring to the horror of taking a perfectly good book and turning it into a perfectly awful movie. THE BOOK THIEF is the film adaptation of the very popular 2005 novel of the same name by Australian author, Markus Zusak.It is 1938, Nazi Germany, and Liesel Meminger is a young German girl who is brought to the home of an older couple, Hans and Rosa Hubermann, as they have agreed to foster her. It is unclear to Liesel why her mother had to give her up but she seems to take it all in stride... at least she does in the movie. At the funeral for her younger brother who has died en route to the Hubermanns, Liesel snatches up the gravedigger's funeral guide as a souvenir. With that act, she embarks on a pastime of book thieving, or "book borrowing" as she calls it. As war falls upon the residents of Himmel Street in the fictional Munich working class suburb of Molching, favours are called in, secrets are kept and alliances are made... all while Death watches and waits. Needless to say, Death doesn't have to wait very long as the war turns against the Nazis, which everyday Germans pay for dearly.When I heard that the film was going to be made, I wondered how they were going to handle the language issue. Although the novel was originally written in English, the dialogue is generously infused with German words - most of them being expletives and most of those being delivered by the protagonist's foster mother. I had hoped that the film would be in German but no such luck. Instead, we're given a mixed bag of mostly German-accented English; some full-on German, which is subtitled; and a bit of German 101 words such as "nein".I also wondered how they were going to handle the time progression. The story runs from 1938 to 1945 - seven years, which for teenagers is half a lifetime. I had hoped they would use two sets of young actors but they went with just one and that just didn't work at the end, as the kids still looked like kids when the war ended. That being said, the two main young actors - Canadian actress Sophie Nlisse and German actor Nico Liersch did a great job and really held up their end against acting heavyweights Geoffrey Rush and Emily Watson.Lastly, I wondered how they were going to handle the character of Death, whose narration throughout the novel adds to the sense of foreboding doom that will ultimately turn Himmel Street ("Himmel" being German for "heaven") into hell. In the film, Death becomes a pretentious gimmick whose narration reduces the story to an albeit dark fable.If you haven't read the novel, you may just like the film. It is slickly made - although the sets look like something Disney might create if they ever do a Bavarialand - and the acting is very good. It's certainly suitable viewing for young people, as even the victims of the Allies' carpet bombing die without a scratch on their bodies. But the screenplay is a mess. Writer Michael Petroni, who also penned the third Narnia film, takes the best scenes from the novel and either distills them down to quick, meaningless vignettes or dispenses with them altogether. Liesel and Rudy become best friends but we don't understand why. Mama Rosa is gruff but she's not nearly as caustic as she is in the novel. And when Jews are being marched down Himmel Street (on their way to Dachau Concentration Camp, as the novel explains), we're left thinking that many, many more people in Molching were hiding Jews in their basements than just the Hubermanns.So, save your money and give this film a miss or, better yet, use your money wisely and buy the book.

Derek W (de) wrote: An infinitely quotable menagerie of off-beat humor and memorable characters.

stefano l (de) wrote: It doesn't do anything to be liked.