Lady in White

Lady in White

Locked in a school closet during Halloween 1962, young Frank witnesses the ghost of a young girl and the man who murdered her years ago. Shortly afterward he finds himself stalked by the killer and is soon drawn to an old house where a mysterious Lady In White lives. As he discovers the secret of the woman he soon finds that the killer may be someone close to him.

  • Rating:
    4.00 out of 5
  • Length:112 minutes
  • Release:1988
  • Language:English,Italian,Spanish,German
  • Reference:Imdb
  • Keywords:surrealism,   murder,   ghost,  

Locked in the cloakroom after school as a Halloween prank, Frankie witnesses the ghost of a young girl and the man who murdered her years ago. Now he must attempt to discover the murderer before he becomes his latest victim. . You can read more in Google, Youtube, Wiki

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Lady in White torrent reviews

Jason G (us) wrote: Standard shoot-em-up.

Andy F (ag) wrote: The. Best. Halloween. Movie. Of. All. Time. Still.

Joanne D (it) wrote: wow. Annette Bening is hardcore. only she could make that kind of desperate dependence on an emotionally with-holding man (holy sh** I wish I wasn't identifying with her so much) look dignified. Ben Kingsley is a five star horrible 'Sexy Beast' of a stone-cold bastard too yeah. Top drawer. The dialogue and narrative was stellar too ... I kept re-winding bits just to hear that great line again; the same way I re-read paragraphs I love in books. Great writing ... and pretty music too.

Nancy H (ag) wrote: what a waste of time and only had a few laughs...

An Oskassocks F (nl) wrote: I consider this a bucket-list film (i.e. A must-see-before-you-leave-this-earth kinda film). It's both hilarious & beautiful.

Mattias E (it) wrote: A corporate media thriller set five minutes into the future, Demonlover proves to be a truly Ballardian experience, dealing with sex as commodity and the fictionalization of reality and vice versa. The enigmatic plot only serves to heighten the movie's theme based around the concept of control, gaining it and losing it. Excellent DP Denis Lenoir works with extreme close-ups, inducing some very claustrophobic vibes. Features a hauntingly beautiful soundtrack orchestrated by Assayas-faves Sonic Youth. There's also a Darkthrone track in there somewhere, believe it or not.

Steff A (ag) wrote: I guess it was fun with some imaginative kills but it didn't just cut it for me. Englund is great, the rest of the cast not so much. I suppose the original needed a remake, I don't know, I haven't seen it. So in the in the end watch it, you may like it more than I did and surely it has enough gore and chuckles to satisfy a splatter fan. Maybe I was just not in the mood.

John B (fr) wrote: Good movie and cast with an interesting story based on the horrific real life events of the slave trade in 1839.

Private U (kr) wrote: BEAST!!!!! I love the death, the insanity, the pure psychotic-ness.

Rich B (gb) wrote: Every bit as good a story, and as well shot, as the first. The rare sequel that matches it's predecessor.

Thomas P (br) wrote: Meh. Disturbing premise, some overall good ideas, creative camera angles, but terribly crappy acting, amateur direction, sloppy low budget feel, and ridiculous technicolor blood all add up to a completely unique Romero-styled movie. This is no Dawn of the Dead, tho it has the dated 70s markings that all his Dead movies hold, but lacks the magic of it's premise until the last third w Martins phone calls.My fav part is in the extras - interviews w the ever congenial Romero and here the fascinating Savini.These guys bring a quaintness, anda perspective of familiarity that draws you into their mess and somehow you root for them as you would a little brothers homemade-looking project at the science fair.

Blake P (de) wrote: "Midnight Cowboy" achieves a profound sense of loneliness only vaguely found in film, and so it's disconcerting that it covers so much of its ground in art-house excursions to distract from its potent realism. But it's the kind of movie able to emotionally shine through the experimental exterior crafted by its maker; we want to be turned off by its avant garde ways, but it bruises us psychologically, and is effective in its methods of portraying lives gut-wrenching in their hopelessness. I'm not so sure it's one of the best films ever made, as history has made it out to be - we always are left desiring more, its stylish fluctuations too distracting to cause impenetrable coherency - but it is certainly one of the most important, and is thoroughly unforgettable in its images and textures. Its successes are propelled by leading actors Jon Voight and Dustin Hoffman, among the best of their generation and who give performances shattering in their empathetic girth. Voight, "Midnight Cowboy's" anti-hero, is Joe Buck, a nave Texas native on his way to New York to make it as a hustler. A misguided career goal it is, but Joe's determination is something to admire; he likes the way he looks, and figures he can make it in the Big Apple utilizing his perceived prettiness. But this is a ruthless film, and it doesn't take long for him, and us, to realize that the life of a male prostitute is more a series of setbacks and violent meetings than fruitful undertakings. He ends up striking up a friendship with con man Ratso Rizzo (Hoffman), a whiny cripple who initially promises to find him a pimp of sorts, but ends up being a confidant of desperate quality after things go awry. And so the film follows them as they try to *make it* in a city that doesn't care about them, and there comes a point where we can tell they they can sense it, too. "Midnight Cowboy" screams to be strictly kitchen-sink, but is so bombarded with a smorgasbord of eye-catching imagery and stylistic asides (flashbacks, pop music, unfitting character musings on the part of its director, John Schlesinger) that we sometimes have the gut feeling that we'd know these fictional individuals a bit better if the movie weren't such a highbrow blend of counterculture artifice and documentary, street cruel realness. A later Schlesinger feature, 1971's extraordinary "Sunday Bloody Sunday," was more lucid because it watched its characters with the obsession of a voyeur, paying immaculate attention to their expressions, their motivations, and their habits, in all possible situations. But the characters of "Midnight Cowboy" are stuck in a haze of rambling sideshow of editing tricks and twitchy artistic detours, some brilliant and some tonally degrading. We almost fall in love with "Midnight Cowboy," but when we take the leap, we fall into a cave of desire. We wish it were more than what it is. And yet, it is still an incredible film, though I'm sure I've made it sound otherwise. I have reservations about its classic status, but that doesn't stop me from recognizing its emotional immortality, and the way it impacted me. Voight is sublime as Joe Buck, presenting the hopeful decline of his character in a fashion so subtle, so fluid, you'd swear tragedy were inevitable. Hoffman is a riot as Rizzo until he isn't anymore; we're blindsided when we begin to understand that his downfall will be even bleaker than Joe's. Sylvia Miles steals the show as one of Joe's older clients, and Brenda Vaccaro is a convincingly glamorous socialite he beds at the height of his depressive state. "Midnight Cowboy" is sad, a little offbeat, and more than unrelenting - it paints a life of failure so well you'll want to have a Nick-at-Nite sitcom marathon following its conclusion. Its stirrings of melancholy are unshakable; I'm hesitant in rejoicing in how it presents itself, but I also know that its effects will never cease to swirl around in my cinematic heart.

Kevin R (ru) wrote: We ask you to enjoy Burn, Witch, Burn.I college professor discovers his wife is practicing witchcraft and he forces her to quit the trade and destroy her witch artifacts. What the professor doesn't know is her colleagues see this as a chance to destroy her and him. When the witches attack the professor and his wife, he starts taking the situation a little more seriously. "Do you believe?"Sidney Hayers, director of Circus of Horrors, The Trap, Finders Keepers, Deadly Strangers, In the Devil's Garden, and The Seekers, delivers Burn, Witch, Burn. The storyline for this picture is awesome and reminded me of a Vincent Price film from this era. The action scenes were very interesting and unique to the genre and the acting was very good. The cast includes Peter Wyngarde, Janet Blair, Kathleen Byron, and Colin Gordon. "Just a silly woman setting fire to some cards."I DVR'd this picture off Turner Classic Movies (TCM) last Halloween and actually liked this more than I have any other witchcraft pictures (not my favorite plot within the horror genre). The premise was actually very good and the execution was even better (loved the eagle). Overall, I'd give this film a shot and definitely recommend this to fans of classic horrors."I shall die in your place."Grade: B

Tiago P (nl) wrote: A little long, but it ultimately works. The Magic effects are pretty cool and the pacing is very good. Not an amazing movie, but it is fun to watch.

Vidar T (us) wrote: Pleasantly surprised - decent thriller!