Las noches del Hombre Lobo

Las noches del Hombre Lobo

Werewolf Waldemar Daninsky becomes a tool for a mad scientist.

Werewolf Waldemar Daninsky becomes a tool for a mad scientist. . You can read more in Google, Youtube, Wiki


Las noches del Hombre Lobo torrent reviews

Sami K (es) wrote: if you loved the inconvenient truth you'll love this. its just like it but animated and has a story line!

Carlos M (gb) wrote: Pistereanu carries this drama with a surprising talent and intensity, but after two careful first acts with long scenes that show the character's life inside the prison using a realistic, almost documentary-like approach, the film reaches a disappointing conflict that is hard to buy.

Archer F (it) wrote: I don't know.........

Kevin C (ca) wrote: Strange little movie. The dinner party scene is probably the most interesting and the movie would be stronger if it dealt with those issues more thoroughly.

Elijah P (it) wrote: I used to like it a lot, but looking back at it now, it's just okay.

Private U (us) wrote: predictable film, but seeing gaspard in a sex scene is always a+

Adam R (ag) wrote: A good horror thriller that will keep you on edge. It does get gruesome, but that enhances the terror you will feel while watching. (First and only viewing - October 2006)

Aaron C (jp) wrote: I enjoyed the chemistry between Reno & Binoche immensely. The humour and banter were delightful... it was funny to watch her play a ditzy uncertain esth (C)ticienne with too much makeup :)

Eliabeth M (kr) wrote: This was a good movie

Adam L (br) wrote: The first in a string of noteworthy Lillian Lee adaptations filmmaker Stanley Kwan's "Rouge" is a surreal anxiety attack on celluloid that relies heavily on the captivating performance of lead Anita Mui and the arresting score by composers Michael Lai and Tang Siu-lam to inflate this critically lauded ghost picture. Leslie Cheung is the eldest living son of prosperous shop owners who falls in love with the most coveted courtesan (Mui) of an affluent brothel in Hong Kong, circa 1934. The young master's parents naturally disapprove; freeze his cash flow, later forcing the would-be lovers into a suicide pact so their spirits can fuse in the afterlife. Decades later, the courtesan's ghost returns searching for the young master who apparently didn't expire. Her human counterparts are dullards Alex Man and Emily Chu who navigate the weakening ghost through 1987 Hong Kong in search of her true love (presumably still residing in the area). To our relief, Kwan eschews the nominal trappings of the fish-out-of-water narrative in contemporary Hong Kong though he flattens any semblance of context in the lovers' doomed union and his overuse of pretentious slow motion photography is exhausting. Audiences may wonder if there was more to Lee's novel though the author is listed as one of two credited screen writers.

Stacey T (es) wrote: I'm not sure if I had to have grown up with a R&H musical to like it...because I didn't really care for this one much.

Devon B (fr) wrote: In a little danish farming community, the word of Jesus Christ is debated and preached between rival classes of townfolk. Although all are christian, the debate concerns who the "real" christians are and which are truly following the word of Jesus as it should be followed. On one side of the feud is the Borgen farm, with it's elderly father of three sons, all of varying degrees of faith. Eldest son Mikkel is an agnostic whose pragmatic view of the world borders on blasphemy. Johannes, is opposite his brother, believing himself to be the lord Jesus reborn on earth (the youngest son, Anders, really only serves as means of connecting the feuding factions, in a manner similar to "Romeo and Juliet"). Away from the farm, in the village community, a new christian order has arisen where once there was none. Led by the town tailor's family, they celebrate the Christ of damnation and death. The lord of all the dead, the lord of the pious members of the community. There is a rivalry between the elder farmer and the tailor that might extend beyond just religion, as the tailor engages in a bit of class envy as well. While the farmer condemns the townsfolk for their "doom and gloom" christianity, his own faith seems to be only of the lip-service kind and hardly light-hearted and cheerful. He paces about, ringing his hands and cursing his bad luck in life, as he bades his children (well, the ones who aren't Jesus) to pray with him for blessings that never come. The family consider Johannes a burden, and none of them ever actually listen to the things he has to say. Johannes was studying theology until exposure to the philosopher Kierkegaard caused him to have a mental breakdown. What does all this add up to? As Johannes exclaims, these christians have so much faith in a dead christ, and the ancient word, but none know living Jesus nor apply his word to their lives (the following lyrics are quoted from one of the christian hymns: "none knoweth the day before the sun goeth down, Good morning good morning sings the bird on the bough, it saw the evening sun behind the prison wall, at dawn the flowers curtsied sweet-scented, by evening they lay crushed under a storm of hail, small children played often in the red glow of morning, by evening they lay on the coffin still and dead"- it's death they worship, not life). "Ordet" began its existence as a play written by a pastor who was condemned to death by the nazis. In the hands of filmmaker Carl Dreyer, it becomes not just a celebration of the living christ, but a celebration of life in general. Life and spiritualism and the notion that the two go hand-in-hand. Closing our eyes and ears to the life that goes on around us, to our family and friends, forsaking these moments so that we might honor ancient words in some brittle text, is not the way to spiritual enlightenment, nor should it be. What one loves in Christ, one must also find in the eyes of a child, or in the warmth of family. We were not put on this earth to celebrate death and sadness.

Oscar T (kr) wrote: Una historia y animacin madura en una de las mejores pelculas de Batman, donde los caminos de dos justicieros diferentes se unen por una causa en comn.

Danielle K (ag) wrote: this looks soo funny!

Abby G (au) wrote: Nauseatingly and incessantly fast-paced. Poorly scripted, one-dimensional characters drive around in circles at one hundred miles an hour for ninety minutes with weak and poorly explained motivation (at best). The storytelling plays out like it was written by a little kid telling a story from his imagination ("and then the plant blows up...and then they run from the cops...and then they rob a bank but not really cause they're the good guys...and then there's more police everywhere but he drives too good for them and then they save the world and his wife. Boom. More explosions.") Selena Gomez is a poor attempt at having a feminist character (she knows computers! she likes cars! she only has two emotions, she's the cool girl but still scared like girls "should" be!) but she's uninteresting. I found myself not caring one bit if any of these characters lived or died or got arrested. It's not even humorously bad; it's just plain bad.

Renae A (es) wrote: Purely a waste of time, glad I didn't have to pay to see it!! Charles Kaufman should definitely stick to his day job: baking bread!! One star is actually too nice for this movie. It's the first movie to put me at a lost for words...but what comes to mind is that the actors need to take acting lessons and the director needs to...well yeah stick to his day job. The movie will hold your attention because you're like a deer stuck in the headlights you can't move or look away. You might find yourself chuckling at the horribly bad acting. I just really don't even have words for this.

Benjamin W (jp) wrote: Back when I first saw this film as a child, it scared me quite a bit. Later, when I watched it again for the first time in a while, it didn't scare me as much, but it certainly was thrilling. Now, having read the book it was based on, I have a fuller and more in-depth understanding and appreciation of all sides of this classic story. With the knowledge of what was missing in the movie from the book, I thought it would detract from the viewing experience. Instead, I found that the book and the film covered two very different aspects of the story, each expertly done for the utilized medium.In the book (which was released a year before the film), we find that the shark hunt is not only a matter of public safety but also infused with the politics of the island of Amity and the personal drama of a cuckolded police chief. These human elements made the characters seem more like the monsters than the actual shark did. Those who have seen the film will know that there is no affair with the police chief's wife, mainly because there's no time to cover it. Instead, the film focuses on the tense chase and destruction of the shark that terrorized an island in the midst of the height of its tourist season.What I found interesting about watching Jaws this time around was actually how Hitchcock-esque the film seemed. As Spielberg's breakout film, Jaws did have a few moments of his signature, albeit still undeveloped style, but much of it almost felt like Alfred Hitchcock was behind the camera (especially with the "Vertigo shot" at the beach). So much of the cinematography was expertly framed and shot that you almost don't realize that practically a third (or more) of the film is just three men on a boat. Even though I had seen this film many times before, it still is a thrilling ride up until the explosive conclusion.An excellent film adaptation to accompany a fantastic book's plot, I give Jaws 4.0 stars out of 5.