20 years after the death of his parents, a martial artist sets out to avenge their deaths by pretending he doesn't know kung fu. But when it is revealed that he does know kung fu, the ... . You can read more in Google, Youtube, Wiki
Kung fu Ace
20 years after the death of his parents, a martial artist sets out to avenge their deaths by pretending he doesn't know kung fu. But when it is revealed that he does know kung fu, the ...
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Kung fu Ace torrent reviews
Blair K (us) wrote: lets see where do i begin it is just as gory as saw movies and the hostel movies. i have seen better horror movie's than all hallow's eve and i have seen much much worse ones haha. this movie is creepy and has some good scares but some of it was just uncalled for like the naked woman near the end that is hacked to pieces and demeaned at the same time with horrible words cut into her skin. could of easily done without that. also the middle story is just kind of there. to me a good movie has shock but substance something along the lines of stephen king and this one well i am glad i watched to see how it was but NEVER again. just doesnt measure up :/
Robert B (kr) wrote: Map of the Sounds of Tokyo (Isabel Coixet, 2009)About twenty minutes before the end of the interminable Map of the Sounds of Tokyo, a couple of things clicked into place. Suddenly I thought I had the movie figured out, and I was about to cut it a whole hell of a lot of slack because that plot twist was absolutely brilliant, nothing you haven't seen before but the setup was subtle and well-grounded and kind of astonishing. I figured out why ten minutes later; I was entirely wrong. Coixet (Elegy), who also wrote, either had no idea what she'd slipped in at that point, or had meant that as a red herring. In the former case, the movie just goes back to being interminable. In the latter case, it fills me with the kind of rage I reserve for movies whose directors are so inept they should never be allowed behind a camera again (I won't name names, but a quick trip through my hundred-worst list noting directors who appear more than once should produce a concise list). I'm trying to be generous and stick with the former interpretation, but if you have the misfortune of watching this movie, stick around until after the credits and check out the final shot of the film. It reinforces some of what I'm going to say below, and it drove me up the wall.Plot: Narrador (The Twilight Samurai's Min Tanaka)'s daughter recently committed suicide. He's not happy about it, and he blames her boyfriend David (Pan's Labyrinth's Sergi Lpez). Narrador wants revenge. David, meanwhile, meets a new woman, Ryu (Norwegian Wood's Rinko Kikuchi), and the two of them begin the ghost of an affair, one in which David has no qualms in telling Ryu that when he's with her, she's just a stand-in for his dead girlfriend. Oddly, she seems okay with this. On the other hand, that is far from the weirdest thing that is going on in this movie.Now, everyone who has delved into modern Japanese cinema-even on the surface these days, with Machine Girl having become a cult smash on this side of the pond-is probably well that weird stuff happens. The Japanese have taken the concept of "magical realism" and thrown it completely off the rails. (Two words: Haruki Murakami.) But the second half of that magical concept is realism; in movies like Hellevator, or even Executive Koala, there's an internal consistency to what's going on. The events in these movies make sense within the universe that the scriptwriter and director have created. And then we have Map of the Sounds of Tokyo. There's the guy who walks around wearing a suit made of bushes. He appears twice in the movie. (Note: I assume this is a male character, but am unsure.) He does nothing in the movie except appear, and as far as I can tell, the only reason for his existence is for Coixet to say "hey, look, I can do that whole weird stuff happens thing, too!". Except that it's not connected to anything, unless I missed something, and thus it's not internally consistent, it's gratuitous... and I'm so annoyed by this I just lopped off an entire star. This is what happens when you don't finish writing your reviews on the day you finish watching the movie. *
Canem C (kr) wrote: a good relationship story...everybody has a second chance of love in life...no matter what age...
Kiana F (it) wrote: i loooooooooooooooooooooove this movie
Ryan D (au) wrote: Wicked, twisted and fucking great
maye (ru) wrote: Lots of Broadway music and dancing and colourful costumes - can be fun if you're in the right mood for it.
Connery C (br) wrote: This can't be by dream works! It has to be made by people to rip off finding memo with a cool edge!
Tyler Q (es) wrote: Fun comedy. Great if you love snowboarding.
Sage D (au) wrote: a so so film i had a few laughs and i wanted to finish it that says something
Jens R (jp) wrote: This has been one of my favourite flicks since I was 15 (when I bagged myself a copy on tape). Pervirella is a goofy, psychedelic homage to 70s genre movies; it is a melee of self conscious genre pastiches, groovy music, sleaze, very British (almost Pyton-esque) humour and all around insanity.The film features one of the funniest villains of all time; Sexton Ming ("I am Sexton Ming, I do as I please" lol) and also a very young Emily Booth. Great stuff!
Arfur F (gb) wrote: A hard-hitting fact based drama that really doesn't hold back on the horror and cruelty of this conflict. It really shows th impotency of the UN at the time. As in any conflict it is the children that suffer the most and the part where the children are just snatched from the bus taking them to Italy is really distressing to watch. A truly moving movie n all aspects of it's subject with excellent performances all across the cast.
Blake P (br) wrote: It's important to view "Beat the Devil" as less of a movie and more of an experiment, an experiment that allows a group of screen legends and character actors alike to roam around in a torrent of likably bizarre material. A hell of a way to open a review, I know - but the unfiltered strangeness of "Beat the Devil" is part of its charm. It doesn't know where it's going, doesn't have a plan in mind, and doesn't really know what to do with its locales. But it acts like it does, through silky and astute Truman Capote dialogue and performances that liven the atmosphere with a scent of self-deprecation. Legend has it that director John Huston originally had planned to make "Beat the Devil" the way one would normally make a serious thriller - but once he flew into Italy with the cast, he decided to tear up the script and make up the film as he went along, with the aid of a young Capote (who wrote new scenes on a daily basis). It, more or less, became a black comedy. As one watches the film, this factoid doesn't come as a fun little surprise - the movie really does feel spontaneous, with the plot rambling along while the characters busy themselves with decadently bourgeois lines and sideline romantic affairs that feel like more of a distraction than a necessity. I can't say that I enjoyed it, but I'm not sure I can forget it. The way the dialogue slithers along with slinky comic energy, how the actors are simultaneously campy and masterful - it's all very unusual to find in a movie made in 1953. Strangeness like this didn't come around until Robert Altman parked his car in Hollywood and told off everyone's prior notions of what makes a masterpiece. "Beat the Devil" begins by introducing itself to a pack of characters that seem straight out of an absurd melodrama. There are Billy (Humphrey Bogart) and Maria Dannreuther (Gina Lollobrigida), a former rich couple reduced to retreating in a cheap hotel, paid for by the constantly cackling Peterson (Robert Morley). But then there's Peterson, a crook with a bulging stomach that cohorts with the sinister Julius O'Hara (Peter Lorre), the sneaky Major Jack Ross (Ivan Barnard), and the imposing Ravello (Marco Tulli). And there are Harry (Edward Underdown) and Gwendolyn Chelm (Jennifer Jones), who fancy themselves to be a part of upper class British society. This rat pack, eventually becoming acquainted with each other in the ways only movies can acquaint characters, decides to band together to cook up a scheme to gain control of a uranium-packed zone in Africa. It doesn't go successfully (these characters are fools, not clever grifters), but "Beat the Devil" isn't concerned with suspense or anything even pertaining to the thriller genre. Instead, it plays around with the characters. By 1953, the majority of the players were familiar to audiences; they put Bogart under the tough-guy category, decided Lollobrigida was the more vulgar Sophia Loren, likened Jones to be a girl-next-door goody-two-shoes, and placed Morley and Lorre in the section of their mind kept for cinematic weirdos. "Beat the Devil" feels like one big satire - yet, none of the actors seem to know it. It doesn't seem like Huston knows it either. But the film is all the better for it. It's an accidental success. The film is not really a comedy or an adventure; it's a roguish display of parodical behavior. Even Bogart, who hated the film, manages to serve a masterfully smooth characterization. Lollobrigida, stereotyped to perfection, plays a caricatured version of her sexy self, while Jones connives her way through a great performance that requires her to go against type and pretend to be a minx who happens to mostly say the wrong things at the wrong times. But it's the constant union of the four main (and eccentric) villains that sticks in the mind, with their physically cartoonish and opposing figures. With its grainy camerawork (which I'm not sure is a not-enough-budgeted touch or a historical mess-up) and shoestring feel, "Beat the Devil" doesn't feel like a movie movie; it's like rehearsal for a bigger project. But age has been kind to it. Considering its shake-ups and uninhibited oddballisms, it exists in a bizarro version of the Hollywood Golden Age.
Nick F (nl) wrote: One of the best "based on true events" movie I've ever seen!
Tom L (au) wrote: Want to see this, looks good and reminds me of the old ones.