La guerra degli Antò

La guerra degli Antò


  • Rating:
    4.00 out of 5
  • Length:98 minutes
  • Release:1999
  • Language:Italian
  • Reference:Imdb
  • Keywords:based on novel,  

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La guerra degli Antò torrent reviews

NJay M (nl) wrote: Just when you thought the ending was predictable, well it wasn't. An authentic representation on how the powerful can manipulate everything. A Philippine crime-drama worth watching. At long last, a Filipino movie with original story full of substance and truth. Story. Actors. Script. Everything is at place.

Josh A (us) wrote: Although I'm obviously not part of the film's target demographic, it is funny, likeable, and down to earth despite the rather ridiculous premise

Adrian Z (ag) wrote: Literal adaptation of video game Phoenix Wright: Ace Attorney presents a convoluted story line that will be completely known to those who played the game. Those who haven't played the game are unlikely to actually be interested, and then might just be turned off by the film's silly tone, ugly design and cheap effects. Hiroki Narimiya as Phoenix Wright aka Naruhodo in native Japan, looks the part, though.

adina t (fr) wrote: when you put everything great into one movie, you get this :D

Dan B (au) wrote: LOVED this. A little loony in places, but in just the right way, and like, painfully suspenseful scenes had me throwing my legs in the air every five minutes.

Robert B (it) wrote: Senseless (Simon Hynd, 2008)While in the strictest sense (no pun intended), Senseless is a film that perfectly fits the definition of "torture porn", what TV director Simon Hynd in his only feature to date has crafted here is something much more interesting indeed. This is not surprising, given that it's based on a novel by Printer's Devil author Stona Fitch (which I have not yet read, but I've kicked it way up the priority queue after having seen this film). I'm not entirely sure it works as well as it should have, thanks to a few questionable decisions in, of all things, the sound design. It frustrates me terribly that I can't describe where all that goes wrong (I can't because explaining the sound design in the scenes where it becomes relevant would require revealing a great deal of the plot as background, and all this happens in the last half-hour of the film; if it helps any, without being spoily, Hynd, who also adapted the novel, almost certainly based the sound design in those parts of the film from the climax of the wonderful, underrated Sylvester Stallone film Cop Land-but unfortunately he pulled his punches at the last minute). That said, it doesn't make most of the film any less worth watching, and if you have friends who decry the whole torture-porn gig without having ever seen a film of that stripe (or having only seen one of the awful bandwagon-jumping flicks like Train that should never have been made in the first place), then sit them down and show them this.Plot: Elliott Gast (The Shipping News' Jason Behr, in his last big-screen appearance to date as I write this) is an Americanbanker who's been called away at the last minute to a meeting in Europe (I seem to recall someone mentioning Belgium in passing, but I could be wrong). While there, he is kidnapped by an extremist group (who don't consider themselves extremists--"extremists have bombs, Mr. Gast. We do not have a bomb. We have you."), held in what would seem to be a small, completely white apartment, and tortured live on the Internet as a way to raise funds for the group. As the days of his captivity stretch into weeks and he gets to know, in some ways, those who are holding him captive, he finds that the bonds between those in the extremist group are somewhat strained; in particular, his nurse, Nim (The Reeds' Emma Catherwood), approves of the ends, but is less enthusiastic about the means than the nameless torturer (Elizabeth: The Golden Age's Joe Ferrara) who is the "face" of the extremist group (though always behind a mask), both to Elliott and to the cameras that broadcast the live feed to the world.There is a lot of discussion on this movie at IMDB. Which in some ways goes to show that the movie is doing its job; if you're making a social-consciousness kind of movie and not inspiring debate, what's the use?-but on the other hand, a lot of it is of the "I don't get the final 15 minutes" and "why is character X pretending to do event Y?" (when character X is not pretending, and folks just didn't get it). I usually put a lot of that down to people not just paying enough attention, and I will do the same thing here; if you're focused enough on the movie, you'll understand the climax without needing to be guided through (and all the characters' motivations in same). As I said in the opening, I do think Hynd blew the climax in a couple of ways, and the movie would have definitely been more effective had he stuck to his guns as regards the sound design, but what we got is pretty darned good for what it is. It certainly could have been leagues worse, as shown by so many other films of this stripe. ** 1/2

Connor M (gb) wrote: Although doubtless marketed in a traditionally Hollywood campaign with traditional Hollywood tag-lines, Mad City wasn??t the sort of movie you see every day. While it did contain action, bits of comedy, and eventual pyrotechnics, every element of the production was quite obviously driven by a collection of powerful themes that director Costa-Gavras wanted to drill home, all of them concerning the role of the media in reporting - or creating - real events. The film pits the sly and charming news reporter, Max Brackett (Dustin Hoffman), against the moody whims of would-be hostage-taker Sam Baily (John Travolta). The pair is united by a twist of fate - Brackett happens to be using a museum??s restroom when a disgruntled former employee, Baily, armed with a shotgun and dynamite, begins demanding his job back outside. Brackett sees an opportunity, as any newscaster would, and ignites a media circus around the events that eventually spins out of control. Thus is one of the fundamental messages of the film, superficially laid out for the 6-year-olds in the audience at about ten minutes in - ??the media are vultures.?? Not particularly original, but it??s done moderately well: as Brackett goads Baily down the path more palatable to television viewers, he movie does a nice job questioning the fine line between reporting the news as it happens and inventing it. As media and pop culture attention turns a focused eye on the crisis, the story takes some excellent turns - first, Baily is the poster-boy of the lower class and workers?? rights, then of the difficulties of parenthood, and then of the Neo-Nazi movement. The film expertly shows how a victim of circumstance can be manipulated and misinterpreted to support literally any platform. Both of the lead actors seemed to have ??called it in?? for this one, neither of them presenting much more than lazy and unenthusiastic boredom for the entire course of the film. In Max Brackett, the screenwriters offer a genuinely interesting character - who wouldn??t be intrigued by a news reporter becoming the mediator of a hostage situation? But in the final product, the Brackett character fails to have whatever potential the concept might have allowed him; whether this is due to poor screenwriting or Hoffman??s seemingly one-dimensional performance, I can??t be sure. From the outset, Mr. Baily is an entirely unbelievable character. He??s a total moron in just about every sense of the word, and his motivations for bringing both a shotgun and dozens of sticks of dynamite (you??ll need more than that to wake Hoffman and Travolta up from their apparent daze) into his former place of work are completely ridiculous. Baily??s reasoning behind the shotgun is almost understandable in the sense that he simply wanted irritating Mrs. Banks (Blythe Danner) to ??listen to him?? - a line that??s repeated about fifteen times before the film??s over - but dynamite? The film made extensive use of matt shots, especially when looking at Baily trapped inside the museum. Other than that, the rest of the cinematography was surprisingly rudimentary, filled with medium shots and the occasional extreme close-up for those especially tense moments. Whenever Baily put down his weapon for even a split second, the audience was bombarded with these frequent quick shots of Brackett eyeing the gun, suggesting that the prop might be leading up to some future conflict or resolution. But it leads nowhere, running out of ammunition just when Baily is contemplating suicide. And, honestly, he ??accidentally?? fires that thing about three hundred times, once killing his former friend and co-worker. How long is the audience expected to suspend our disbelief? I hate to be picky, but somebody did an awful sloppy job with the editing, because on at least five occasions the audio fails to match up with events on-screen, and dubbing was painfully out of sync. It wasn??t even like the actors?? mouths were just a little out of time, they were saying completely different sentences! The film in its entirety could be summarized with its most important character, the network intern named Laurie Callahan (Mia Krishner) who is utterly transformed by the media circus by the end of the film. At the beginning, she??s a mild-mannered camerawoman and assistant, willing to help the wounded security guard as the crisis first appears. But by the end, she??s a heartless news-machine, caring little for the death of Mr. Baily and irreverently referring to him as ??confetti.?? Although its themes were a tad trite, they were nonetheless effectively and entertainingly executed. The film tells an interesting and somewhat unique story but, I don??t know, I liked it better when it was called "Ace in the Hole." Overall, I??d give Mad City a generous 40%. M.

Corey W (ru) wrote: I would have to say it's the best and funniest movie about pregnancy.

Michael S (jp) wrote: Loud, unfunny, brain dead comedy. Very, very dated.

Vincent C (kr) wrote: This movie works because it is smart..the characters, the storyline, the writing, the style. It is a quality sequel with an atmosphere that hits all the right keys.

Paul D (de) wrote: This movie has its moments of charm, but it also has its moments of implausibility. That being said, it is still a film that I enjoy watching every once in a while.

Eric R (ca) wrote: After the failed experiment of putting our blind dead characters on the high seas in The Ghost Galleon, director Amando de Ossorio wisely decided to get back to the blind dead basics in this fourth and final entry into his tetralogy. Like the previous sequels, Night of the Sea Gulls (released in America as Night of the Death Cult and Terror Beach) is just another take on the Templar Knight legend this time transposing our eyeless freaks into a coastal community setting giving me instant flashes of H.P. Lovecraft. The blind dead even seem to pray to some weird sea god as opposed to being Satanists, which was an interesting twist.Our plot has a young doctor and his wife moving to the small coastal village as the old doctor seems freaked out and his high tailing it for the city. Upon arriving it is very evident that the residents are hiding a secret. The secret is that every seven years the villagers must sacrifice seven young women for seven nights in a row to the "horsemen of the sea". The doctor and his wife get wind of this due to sea gulls cawing in the night (hence the title) and for the fact young women in the village begin to disappear. When a young women working for the doctor is slated to become the blind dead's next victim, he and his wife set out to save her.Like I mentioned earlier I approve of director Amando de Ossorio going back to basics with this entry and he seems to be trying hard to make a legitimate horror film and even is able to craft some moments of suspense. I also approve of him making this a darker, more serious entry into the series cutting out most of trashy elements (thanks Assorio for not putting in another pointless rape scene!). He even gives an audience a flashback sequence like the first two films which he unwisely decided against in The Ghost Galleon. Sadly this film still suffers from an extremely slow pace, clunky editing, some obtrusive music and a rather drab climax. Again there is stock footage from Tombs of the Blind Dead used with our knights rising from their graves and Ossorio seems to pad the film with extensive shots of crabs crawling towards the corpses of our young girls. Also the day-for-night shots of the blind dead riding on the beach were extremely unconvincing.Typical with low budget Spanish horror there are many flaws but this is overall a decent final entry into the Blind Dead legacy and I would rank it only a hair below the second film The Return of the Evil Dead. The pace is overly slow but fans should dig the darker tone and the more bloody violence. I would say the series ended on a strong note and this was a nice sendoff to our memorable blind dead characters who would be put to rest indefinably.

Tammy M (gb) wrote: This influenced my life dramatically!

Mark W (jp) wrote: It seems like a well made film; but unfortunately it bored me to tears! Do you remember the beginning 5 minutes of "The Exorcist" that everyone forgot about when the main film started... Well this entire film has that whole vibe to it! While prior Exorcists focussed on scares and horror, this seemed to focus way to heavily on the biblical side of things, and well, it's two hours of boring drivel.

Stuart E (gb) wrote: Goes a little OTT at times and breaks the plausibility of an otherwise very gritty and unpredictable insight to the 'real'(?) East End of the capital. The subject matter, language and direction won't appeal to wider audiences... which is a shame, as it's probably the wider audience that SHOULD be watching this, and taking notes.

Steve W (gb) wrote: A terrific thriller with a great cast. They milk all the suspense for what it's worth and create a very nice psychological thriller. Excellent from beginning to end.

Alannah C (br) wrote: My only criticism is the lack of characters, but I feel as if that is completely justified because it takes away one of my other criticisms of the action genre as a whole: The general predictableness. I can usually tell who will live and who will die, but in this movie, you never know. Everyone is expendable. The action is well-shot and the director is amazing. Very few directors and writers know how to build suspense and tension, but within the first five minutes of this movie, I was already consumed by the action and was fully emersed. This is a must-see for any action fan.