Life with Murder

Life with Murder

Chatham, Ontario, 1998. Eighteen-year-old Jennifer Jenkins is brutally shot to death by multiple rifle rounds in her family home. The main suspect: her brother, Mason Jenkins, who fled the scene of the crime.

Chatham, Ontario, 1998. Eighteen-year-old Jennifer Jenkins is brutally shot to death by multiple rifle rounds in her family home. The main suspect: her brother, Mason Jenkins, who fled the ... . You can read more in Google, Youtube, Wiki


Life with Murder torrent reviews

Alex W (au) wrote: I could really relate to the characters in this movie which is more than what I can say for most movies. Refreshing to see teenagers that aren't hormone-driven superficial idiots for once. Very real and down-to-earth without any sugarcoating.

Ty P (us) wrote: Released in Australia as 'This Is War', this is the real life Jarhead. Interesting, confronting and real.

Jonathan A (nl) wrote: There's very mild entertainment in this campy B-movie romp about sexy nurses who become infected with an alien parasite and infest a hospital by seducing their hosts. However, the rest of it is expectedly sub-par: Laughable acting, effects that looked like they were made off of Apple Photoshop, and a terrible script that refuses to admit its crap for the sake of insulting our intelligence unlike films such as "Cabin Fever". A star and a half for two scenes of boobage from the hot nurses and a few moments of unintentionally hilarious dialogue is all I will give this one.

Kay L (fr) wrote: From creepy to kind of sad, this movie was better than expected.

Josh G (br) wrote: I was confused the majority of the film, and Kirsten Dunst's voice was kind of annoying.

GERTIE B (us) wrote: if you love racing you love this

Zack S (br) wrote: Alright movie but the cast can do a whole lot better.

Teanna J (br) wrote: this movie is pretty good but scare.

Blake P (kr) wrote: As far as crime movies go, finding the perfect balance between comedy, suspense, and consequence is a massively difficult task - I can think of few other genres that mostly choose to play it straight, as injecting comic life into a martini of violence can lead to caper territory (too light), or can shove you into concluding that the director has a sick mind for joking around during times of brutality. Only a rare number of filmmakers can find humor in thuggish buffoonery without seeming like a half-depraved artist. One such filmmaker is George Armitage, the writer/director of 1990's minor but cinematically interesting "Miami Blues," which is a black comedy or a quirky crime thriller depending on where you're sitting. Finding a cogent middle-ground between barbarity and breeziness, it conjures up a world where criminals are dupes, their girls unsuspecting, the cops chasing them smiling harlequins unafraid of drinking a beer with a suspect. It's an unprecedented, often charismatic (and often unstable) movie with a heart that thumps like a bass at a jazz show. Its stamina is bewildering. In a role that suits his snaky attractiveness well, Alec Baldwin portrays Frederick Frenger Jr., a savage killer just released from prison. Only minutes after landing in Miami, FL does he, still in the airpot, go back to the old drawing board, stealing an inattentive woman's briefcase and even killing an overzealous Hare Krishna just by twisting his finger back. He isn't the sort to learn from past mistakes; he is a born madman, and doesn't want to shape himself into something he isn't. In other words, he's a dangerous sociopath with a thirst to destruct. To regroup, he checks into a ritzy hotel and is introduced to Susie Waggoner (Jennifer Jason Leigh), a young prostitute sent up to his room by a compliant staff member. Susie is impressionable and easily swayed, and Junior, being a manipulative, sly dog, is a strong presence in comparison to her weak will. Before long, they are romantically involved, soon getting hitched and buying a quaint little house in a sunny, Floridian suburb. But a domestic life doesn't change the fact that Junior is an S.O.B. from hell, and the murder of the Hare Krishna is not something that the law has not been made aware of. Assigned to investigate is Sgt. Hoke Moseley (a lovable Fred Ward), whose relaxed method of solving a case somehow gets him acquainted with Junior and Susie rather quickly. But, being optimistic and foolish, Moseley loses control, his badge unfortunately stolen by the man he's investigating. So begins a crime spree whose spontaneity suggests no problems to Junior, a determined Moseley hot on his tail, the air-headed Susie unaware that her husband is actually a terrible guy. "Miami Blues" is an illusionist's act of a movie, balancing three thoroughly contrasting characters on a two-inch platform and using their distinct personalities as a way to make the story feel consilient and believable. Fortunately, Armitage is a screenwriter who possesses the inherent skill of telling us plenty about his characters by including little, almost invisible quirks about them that, more or less, inform us of their life story. Junior probably grew up as a scoundrel confined to prison, letting sinful thoughts brew incessantly in his head; Susie was a bimbo cheerleader who felt college was the right place to go, turning to prostitution over any other job to support herself simply because her small mind is drawn by money, not respect; Moseley was most likely a friendly jock, a fraternity leader, who stood out to his peers as being a genuinely nice guy. Put these people altogether and you've got a compelling movie, as we're watching individuals, not stereotypes. I can think of no major issues in "Miami Blues" besides its ending, which is bittersweet and not much fitting for a film that takes pride in combining crime and human comedy like a cinematic Olympic gold medalist. Nevertheless, this is a crafty, smart thriller that knows its tone as well as the people involved know the backs of their hands. It's a tightrope walk that doesn't end in a plunge to the death - too bad about its unlucky peers who could never figure out how to be drolly suspenseful without taking things too far.

Kinch K (es) wrote: Can't recommend this highly enough - very well-scripted thriller,perfectly paced and well-acted; plus it has a very stylish poker game; which is always a plus. A few moments of poor acting, but only from very minor characters.

Sheila E (fr) wrote: Saw - "Don't Stop Believing, Everyman's Journey" at the Traverse City Film Festival. It was GREAT! Do you like music? Do you love an unbelievable story? You don't even have to be a Journey fan to fall in love with this movie - and Arnel, the newly introduced lead singer of Journey. This story follows the unbelievable timeline from Arnel playing in lounges in Manila - to his videos being posted on You Tube - and being discovered by Journey. The fairytale story will have you laughing, crying and cheering for both Arnel - and the band that believed in him!

Miss B (nl) wrote: In true Wes Anderson fashion, The Grand Budapest Hotel is a odd film with plenty of unexpected twists and turns that leave you laughing at the pure delight and absurdity of it all. I wasn't sure what to expect going into this film, but the visuals of this film give almost an other-wordly feel to the atmosphere, and the dialogue is quick-witted and incredibly entertaining. I could see myself returning to this film again a couple times, but it's not on my Top 100 List or anything.The Bottom Line:Entertaining, eccentric and unique, this film will give you exactly what you expect in a Wes Anderson film. If you're in the mood for some guffaws and a film that is artistic in it's atmospheric styles, that is what it provides in it's own modest, humble, insignificant...oh, fuck it.Big-Screen, Buy-It, Rent-It, Pass?Rent-It.

Marc L (it) wrote: Inspir des farces macabres qui figuraient l'affiche du Thtre du Grand-Guignol parisien au dbut du sicle dernier, "The Theatre bizarre" s'attelle au difficile exercice du film d'pouvante sketchs. De l'horreur gothique vintage de Richard Stanley aux mditations mortifres d'un Douglas Buck en passant par les dlires gores ou vomitifs de Tom Savini et David Gregory, il y a boire et manger au sein du Theatre Bizarre ! Ces courts-mtrages, forcment ingaux en qualit, possdent au moins le mrite de l'originalit, ainsi qu'une nette volont de dpasser les limites de ce que propose gnralement le cinma d'horreur mainstream, souvent bien prude en matire de dballage de boyaux et de nudit gratuite l'cran. Globalement plaisant et "rafrachissant" (si, si), "The Theatre Bizarre", l'instar de mini-sries comme "Nightmares & Dreamscapes" ou "Masters of Horrors", semble confirmer que l'pouvante se dploie dcidment avec plus d'efficacit en format court ou moyen.

Dillinger P (de) wrote: Where did it all go wrong? Up until this point the Bond franchise was doing so well at delivering solid, fun and thrilling spy action. You Only Live Twice doesnt try to sway from this formula, however it completely ignores everything that made the previous films special and hits us with this, below par effort. Its not difficult to understand, there was a new director Gilbert, new DOP and a new writer, Roald Dahl, you know the childrens fiction writer? So how do they fare? Not so well, in the most ludicrous story submitted thus far, an America space shuttle is captured by an unidentified space craft, the Americans presume it to be the work of the Russians and threaten nuclear war should it happen again. However the British believe it to be the work of the Japanese, thus sending Bond deep undercover, in order to get to the bottom of it, discovering a familiar faceless face to be behind it all. This film isnt so much as terrible as downright laughable. Dahl clearly has no grasp on the Bond concept, failing at every turn to make his dialogue whitty, charismatic or threatening. Okay Bond is not the most diverse character ever, but Dahl completely misses the point here tenfold. The story is already all over the place and having a tainted Bond, even with Connery trying his hardest to keep a sinking ship afloat, it is impossible to salvage. The visuals are also the dullest and flattest they have ever been, the effect work is a travesty, note flames throwers and lava that look horrendously fake, the quality of image is all over the joint and the magical style from previous outings is gone completely. The story is flat, the acting is beige, the film looks forgettable and to top it all off, halfway through, they drop a bomb, leaving us with Bond turning Japanese for god knows what reason. Its easy to see why Connery left after this and I dont blame him, if I were involved in this, with the amount of money backing it, id most likely become a hermit. None of the actors have anything to do here, christ even Donald Pleasance as Blofeld is completely over the top, i'll give him credit for putting in the effort but by the time he eventually shows face, you have laughed yourself so hard into submission, even he sticks out like a sore thumb, in a film which should be impossible to stick out. You Only Live Twice is however still watchable, it contains a few moments of interest, mainly the theme song, but its main draw is that its so stupid its brilliant. This is one of the worst Bond movies made, but it is so over the top, so crazy and stupid, you will sit and watch for the sheer reason to cringe. For Bond extremists only, for everyone else there's From Russia With Love.

Brandon G (jp) wrote: This movie is powerful and thought-provoking. I think everyone should watch it if for no other reason than to have a better understanding of what drone warfare is.