King Kong

King Kong

An adventure film about a film crew in search of a monster on a remote island. The crew finds King Kong and decides to take him back to New York as a money making spectacle. The film is a masterpiece of Stop-Motion in filmmaking history and inspired a line of King Kong films.

A film crew goes to a tropical island for an exotic location shoot and discovers a colossal giant gorilla who takes a shine to their female blonde star. . You can read more in Google, Youtube, Wiki


King Kong torrent reviews

Matt B (br) wrote: Awesome movie regarding teenage angst and the desire to be free. Productive rebellion.

Troy K (de) wrote: I absolutely recommend this movie, but be prepared for something different besides just the culture clash of Korean society. It felt like there was something off about the movie as a whole that made it not great, but still very good.

Jairo A (es) wrote: Nothing special here: flat lines were delivered by the actors, VERY predictable in every way, even Hayek was flat in this one. It's not a terrible film, it's just a very forgettable one...

Davey M (kr) wrote: A fifteen-year-old boy kneels in the dusty street of Tel Aviv, working on his car. A static wide shot??two riders quietly appear in the foreground on a motorcycle, ride past, and, mistaking him for someone else, they shoot the boy to death. The unexpectedness and arbitrariness of violence is a theme that runs throughout Ajami, the 2009 Academy Award-nominated crime drama from Israel??it is also a stylistic motif. After this abrupt opening (several more bloody shootings follow in the brief pre-credit sequence), every shot of a vehicle riding into frame fills the viewer with a certain uneasy dread. But though there will be many more deaths to come, there??s never another driveby??and, without the release of expected gunfire, the dangerous tension is allowed to escalate. Ajami is a film about violence that cannot be entirely avoided because it cannot be sufficiently explained. The characters are Muslim, Jewish, and Christian, and yet most of the deaths result not from clashing ideologies, but from that great staple of classical tragedy??misunderstanding. Ajami follows a diverse group of characters through a series of interlocking stories (the film is divided into chapters and jumps about chronologically??the result feels something like an Inarritu film by way of Pulp Fiction). At the heart of the story is Omar, the nineteen-year-old the cyclists had intended to kill in their vendetta for a crime Omar himself did not commit??his uncle shot a man who came into his diner wielding a gun. In one of the film??s early chapters, the two families argue in front of the judge??was it murder? Self defense? The judge doesn??t want to get involved and, after settling a debt for Omar??s family, he passes judgment off to God??and, though a settlement has been reached, no peace has been made by the time the meeting ends. Though the filmmakers deftly avoid any heavy-handed political allegory, the implications are certainly there for those willing to look. Omar, a Muslim, is carrying on a forbidden love affair with Hadir, a young Christian, whose father is trying to smooth things over for Omar and his family. A friend of Omar??s, Binj, is rejected by his community for carrying on with a Jewish girl. Melek, an illegal Palestinian worker, is desperate to get money for his mother??s operation??even if it means becoming a drug dealer. Dando, an Israeli policeman, tries to find his missing brother. Each of these characters form the focus of one of the film??s chapters, and each of their stories bleeds into one another in a jumbled chronology that??s hard to articulate, but surprisingly coherent in the context of the film??we have a sense of where we are, even if we??d be hard-pressed to actually explain it. All the stories come spilling together into a climax that manages to arrive with cloud-gathering, punch-in-the-gut inevitability even as it subverts our expectations. As powerful as the film itself is the story behind the film. Ajami was co-written and co-directed by Scandar Copti (who also appears in front of the camera as Binj), an Israeli Palestinian, and Yaron Shani, an Israeli Jew??all of its stars are non-actors who went through a year??s worth of improvisation and workshopping to come up with the eventual script. The resulting authenticity lifts Ajami above many of the films it so closely resembles (Crash, Babel, etc.), and the story of the filmmakers?? cross-cultural bridge-building adds a quietly inspirational meta-narrative to the grim proceedings of the plot. The characters in Ajami are doomed by circumstances and subjectivity??victims of missed connections and miscommunication. They are doomed for not knowing the whole story. But, as Shani and Copi??s collaboration demonstrates, if tragedy is to be avoided it is through coming together in open dialogue. Such a simple solution to such a major world problem may not be entirely insufficient, and it is certainly not new, but there is power in it??and it may be the only hope.

Emil K (us) wrote: A Good example of how unwatcahbly artsy fartsy films can get when director is someone like Matthew Barney who is just more interested about costume design than the actual film. In my opinion this is just a series of over-designed images with annoyingly bad soundtrack by Bjork whose music in this film really gets on your nerves. Director Barney really should get over of his designer-dream-come-true-type of films and try a completely different approach.

ChillinDylan G (fr) wrote: Still funny, but not on the level of the first.Grade = 6/10

Valentin G (nl) wrote: This is pure art, the mix of comedy, drama, romance and poetry makes this one of the best films of the 90's.

Christopher A (it) wrote: The Dead Next Door has long been a hard to find zombie classic.

John S (ru) wrote: Caligula is a disturbing and shocking surreal period film with brilliant performances by its leads that ultimately doesn't go anywhere or really achieve anything. It's a bizarre circus of sex and violence that is still worth gaping at, in amazement of the lengths it reaches.

Allan N (mx) wrote: First of all, Liza Minnelli is butt ugly! And she sings awfully! De Niro is highly unsympathetically, you never get a reason to like him, or to understand his unpredictable psycho behavior. Minnelli tells him several times, that she loves him, but you never see a reason why she would, he's an absolute prick! The pace is unbearable and it drags out constantly, the scenes are too long! It's boring and has no interesting themes at all. This story (or the lack of one), has no reason to be told, because there's nothing to tell. It's extremely poorly directed, Mr. Scorsese should learn to work by; "kill your darlings". In fact when I come to it, Scorsese is like Coppola; a highly overrated, but after all a shitty director. He made two masterpieces, Goodfellas and Casino, everything else he ever did, is complete crap!

Viktor N (kr) wrote: Seriously a disturbed movie.. disturbing character.. Varla is not a girl that I would like to have around. Really think this is one of those "have to see" ones..

Stephanie F (es) wrote: No, I'm not convinced. Sorry.

Carlos F (es) wrote: This film treasure may well be the "missing link" or "bridge" between German Expressionist cinema and "film noir". The John McGuire character sports the pasty, clammy face of many an expressionist male lead. Elisha Cook's portrayal as the wrongly-convicted murder suspect is a quintessionally-noir plot device. The sleepy-eyed Peter Lorre, a veteran of both "noir" and "expressionist" styles haunts the film as an amblyn ambassador of both styles. But it is the psycholdelic dream sequences, similar in-part to the carnival montage in Orson Welles, "The Lady from Shanghai" that cement the two styles within this obscure film.

Lee P (ru) wrote: nice little early sound film that is still basicly a silent film with a few songs thrown in nice camerawork

Charles P (au) wrote: The Man with the Iron Fists displays a mindless reverence for the kung-fu genre. It's a bloody mess of knives, gore, and iron, and you can love it or hate it.