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Kracker Jack'd torrent reviews
John P (us) wrote: I know horror movies need stupid people. I get there would not be a horror movie WITHOUT stupid people. It still drives me crazy, though, and what makes it worse is when you do not care if the stupid people live or die. There is no back story, at all, on any characters. They are obnoxious and totally hard to root for. There is no reason given for the killer doing what he is doing... What is the point? And the "twist" at the end? Does NOT help.
Leila V (de) wrote: They make a great pair.
Jared D (ru) wrote: Gorgeous animation and fairly faithful to the novels. Left Hand is back too!
Cecily B (ca) wrote: Not good..at all.. right from the beginning and the square baby stomach. I was confused and bored and didn't pay enough attention. Sounds like a recipie for a disaster movie to me.
Andrew W (br) wrote: Like Raising Arizona its ridiculousness can be expected and enjoyed if you are ready for it. Cage should have stuck to these kinds of roles his entire career and I would probably be praising this film more than I am.
Paul Z (nl) wrote: Christmas Story director Bob Clark's bloody crossover thriller takes what could've been merely a customary this-icon-meets-that-icon suspense thriller and furthers it toward something else. Whether that "else" is something duly Holmesian relies on the outlook of the viewer. Various fanatics grade this 1979 high-concepter among the premium Holmes movie takeoffs, welcoming its straight-faced, unpretentious take on the great consulting detective. Others recoil from Christopher Plummer's modest, emotional version, which conspicuously doesn't highlight the literary figure's unflustered deductive reach. That quality is my favorite of those which characterize the icon, but I am not disappointed in this film's depiction of Holmes and Watson, perhaps because of my partiality toward Plummer, as well as that James Mason gives us a refreshing no-nonsense Watson, though a stickler can plausibly contend whether or not the steadfast army surgeon would be so easily upset about his peas. Whether or not Murder By Decree is consistently mindful of the assets of the original characters and of the propriety observed throughout each pursuit, Plummer and Mason together, if nothing else, make one of cinema's most tenderly felt Holmes-Watson duos. On the whole, Murder by Decree is a doting deference to the halcyon days of Hammer Studio, and a crafty alteration of Victorian Britannia to the back end of the anti-establishment 1970s. Clark unravels Rebecca's gaslit London streets and inspects them through his sometimes too self-conscious wide-angle lens for the somewhat ham-handedly warped POV of one Jack the Ripper. Coach, black horse and unrevealed top-hatted steerer emerge from the fog as if out of Dr. Caligari's cabinet, before Clark cuts to a counterpart world of regal pageantry, where reports of the butchery of wanton women are virtually dismissed. The contrast with Holmes and Watson is what makes the merging of the two legends so interesting, rather than just a gimmick. Mason plays Watson in scenes with Sherlock as if they're an old married couple. "When will you be home?" But at work, he's effortless at self-defense despite his age and urbanity, with a smuggled pinch of Humbert as he discovers his finger snagged between a back alley hooker's teeth. Clark largely revolves his compositions around the cast, with Anthony Quayle and John Gielgud's colonial self-importance and David Hemmings' secret radicalism as the boundaries, flanked by the hushed anguish of telepathic Donald Sutherland and Genevive Bujold's quivering in the asylum, which splinters the great detective's honored and important faade of reason into tears. Sumptuous 1880s reconstructions barely hamper Clark's feelings of the primeval, a durable vision stamped when a razed victim is pushed out of the Ripper's stagecoach passing the camera, an almost concealed glint giving us the perpetrator's outline. And ultimately, in line with what I say above about Holmes, the climactic open letter, where he, no longer in the company of pipe, violin or crooked morphine syringe, switches his probing proficiency from distinctive crimes to public accountability, not only demonstrates a unique emotional turn, but also reminds us Murder by Decree was made in the decade of immortal conspiracy films. Indeed, somewhat like a Tarantino film, it's a pastiche of genres, ironies, styles and most of all characters to create a unique movie.
Holger H (fr) wrote: Wonderfully daft cult Eurohorror flick. At times a bit too talky for my liking, but in exchange you get some other scenes that'll have you howl with excitment... or derision. LOL
EWC o (fr) wrote: Odd acting and a somewhat misleading title but still relatively interesting
Craig K (ru) wrote: Renoir's early-late-period prism-/summary-work is another masterpiece colored outside the lines.
Kristina K (de) wrote: Not scary enough. Christopher Landon should work on his writing , because the story isn't very capturing. Although I really enjoyed his directing.
Matt C (us) wrote: Possible Peckinpah's most interesting film, every time you watch it you can get a little more out of what's going on between the main characters, what's being unspoken. It really is for what on the surface maybe appears a straightforward exploitation picture actually there's quite a lot bubbling underneath the surface. Hoffman is fantastic, perfectly cast.
Riccardo R (ag) wrote: Bel cast, bei personaggi, ottima trama.Decisamente un film action ben riuscito, anche se manca quella scintilla che l'avrebbe potuto portare pi in alto nella mia personalissima classifica del genere.