Monster High: Friday Night Frights

Monster High: Friday Night Frights

SKRM (Skultimate Roller Maze) is an annual tournament between Monster High and different monster high schools that consists of a roller derby of dangerous obstacles and mazes. Granite City High, a high school team of gargoyles and Monster High's oldest rivals, won the school crest after defeating them in SKRM, and with it taking the school spirit. This has resulted in the school literally beginning to fall apart, and due to the boys serious injuries after the tournament, they decide not to participate any longer. This prompts the ghouls to play SKRM in the boys place, and they suit up and begin training. However, the boys protest and claim SKRM is a boys sport only, and they won't help the ghouls train. This only pushes them to work harder, with the goal of making it to the championship game to defeat Granite City High.

When the boys can't compete in the Skulltimate Roller Maze Championships, Frankie Stein convinces her friends that some "ghoul power" is needed to save the day in this all-new movie! . You can read more in Google, Youtube, Wiki

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Monster High: Friday Night Frights torrent reviews

Mediapathic S (ag) wrote: Here's the tl;dr: Die Gstettensaga is what would happen if Beckett and Brecht collaborated on a post-apocalyptic cautionary tale against the dangers of cargo culture in the modern world. If you liked most of the words in that sentence, just skip the rest of this review and go watch the movie. The film has a quality of constant anachronism. It takes place in a sparsely populated and ambiguous Europe after a war between the last great superpowers has destroyed civilization. However, the last great superpowers here were China and Google, which gives an idea of the tone of the entire project. It's either constantly winking or possibly squinting against the glare of the postmodern spectacle, and it's impossible to tell which. This kind of ambiguity runs through the whole film, but it comes off not as ill-defined so much as a mirror to the ambiguity of the modern world. The chiptune-flavored soundtrack creates an atmosphere of retro-futuristic uncertainty in much the same way that Wendy Carlos' moog classical did for _A Clockwork Orange_, and it's never clear if the ridiculous outfits are due to post-collapse scarcity or the progress of fashion. Constant in-jokes to nerds of a certain age create a sense that society was rebuilt by a cargo cult who primarily had access to technical manuals of the 90s, which, if you think about the ways in which we archive things, may not be too far-fetched. Despite this, my movie watching partner, who is not nearly as steeped in that world as I, was in hysterics through most of the movie, so this quality isn't alienating to other viewers. There's a print magnate (who claims to have invented typesetting) trying to come to grips with New Media (the "Tele-O-vision"). There's a musical number that could be straight out of Jesus Christ Superstar involving what happens when you try to recreate NASDAQ with broken household items. And, without giving spoilers, there is a scene which somehow manages to deconstruct both zombies and cat memes. With one foot firmly planted on critical theory, the other in the mire of internet culture, and a third, recently evolved pseudopod grasping for meaning in a post-meaning world, Die Gsettensaga is a darkly hilarious commentary on our culture from a perspective only allowed by it having been destroyed and rebuilt by nerds.

Nigel B (it) wrote: I can understand why some will be disappointed by this film but I really enjoyed my time watching it. Yes, the ending wasn't a blast but that doesn't take away from the fact that the rest of the film engaged me entirely. in fact, the post-denouement (these French words get everywhere) final minute is rather poignant. Tonight was a slow night with about 50 in the audience, but none got up as soon as the credits rolled like they usually do, all sat there either really interested in who the supporting cast was or just absorbing what they'd seen.

Dennis L (es) wrote: Johnny To and Sammi Cheng's collaborated again in a romantic comedy tear jerker after their success with Needing You. Unfortunately, the movie needed more comedy to do justice to Cheng's unique talent. Still, the movie manages to engage the viewer. Director To is great at storytelling and having a movie within a movie is vintage Johnny To.

ZACHO D (ca) wrote: This movie was so original, halarious, and if you think the movie is disturbing at the beginning, its gets really crazy in the next half when things start to go down! Don't miss this!

Nikki A (mx) wrote: Angel should have been twenty years younger because soft focus DIDN'T help. She looked older than her mom.

Hameh S (us) wrote: at first i thought this wasnt as good as the first but it turns out i almost like this one better than the first the reason is, is because this was way more brutal maybe because i watched the unrated version but i could be wrong and this has more killing than the first its technically the same storyline a group of teens go driving through texas and all hell unleashes but this gives you all the detail why it happened where leathface go the face everything GRADE: C

Caleb L (nl) wrote: A very witty comedy/drama indie flick with wonderful performances from Rory and Kierin Culkin.

Sanity Assassin (ru) wrote: i'm not sure about others but i found this b-movie really entertaining. the special effects were hardly worth bothering with as they were that bad... and there wasn't really much need for the martial arts in it... but it was so cheesy and fun, much like tremors but not as good by quite a margin. brad dourif and glenn plummer make the most memorable characters as their acting is great as usual. certainly not boring!!

James C (us) wrote: Ozon's first feature is an enjoyable and purposefully provocative sex farce in which the members of a French middle-class family are driven sexually wild by the presence of a laboratory rat brought home by the father as a pet. There's gay orgies (disappointingly off-screen), sado-masochism and incest on display, as well as a healthy dose of surrealism (the father eventually turns into a giant rat, and has to be destroyed). The blame is put squarely at the feet of a disinterested, cold and uninvolved patriarch. There's a sense in which Ozon is being a little adolescent in his desires to offend here, and the whole thing doesn't entirely work, but it's a lot of fun. Intriguingly, it appears at times to show the influence of the French pornographer Cadinot.

Miguel R (de) wrote: Der Untergang is an interesting look at the last ten days of the life of Adolf Hitler with a terrific performance from Bruno Granz

Robert B (br) wrote: Jeffrey (Christopher Ashley, 1995)[originally posted 1Feb2002]What a wonderful little film this is, easily one of the best releases of 1995. Unfortunately, it went almost unnoticed by everyone but a few stray critics and some hardcore Trekkies who were able to withstand the traumatization of witnessing Jean-Luc Picard running around behaving like a flaming queen. (One can easily imagine Patrick Stewart imitating Alan Rickman's immortal one-liner from Galaxy Quest: "I played Richard III...")Jeffrey is a love story gone horribly awry in the best of ways. A young gay man named Jeffrey (Steven Weber, probably best-known for taking on the role of Jack Torrance in the recent miniseries adaptation of Stephen King's The Shining), obsessed with the spread of HIV, swears off sex, much to the horror of his best friend Sterling (Stewart). Needless to say, as soon as he decides this, he meets Mr. Right, a chap named Steven (Michael T. Weiss before his Pretender days). As we go through boy-meets-boy, boy-loses-boy, boy-gets-boy-into-pickle, boy-gets-pickle-into-boy, we're treated to a number of sideshows in Jeffrey and Steve's fantasy lives (some of which are positively horrific; Jeffrey's imagining of how a phone conversation with his parents might go is the kind of thing recurring nightmares are made of), a twisted self-help guru (Sigourney Weaver) who tries to get Jeffrey over his fear of intimacy, some sidebars with Sterling and Sterling's AIDS-infected lover (the deliciously funny Bryan Batt), and various other pratfalls. The end result is hysterical in all the right places.What struck the few people who noticed the film back in 1995 was the transplanting of the typical Hollywood slapstick-romance-forties-comedy framework onto a gay relationship; these days that's common enough we can forget about that angle. Today we look at it and are astounded at the number of bit players in this film who have gone on to stardom; Stewart and Weaver were the only really big names in the cast at the time, but since then Weiss, Camryn Manheim, Kathy Najimy, Ethan Phillips, and a host of others have all become recognizable faces. Either the casting director was a genius or the movie was simply a secretarial pool from which every major Hollywood agent has since drawn. Either way, it's a great film to play spot-the-future-star with, in addition to its many other fine qualities.Very, very highly recommended in every way, shape, and form. **** 1/2

John N (ru) wrote: A heartwarming, touching film.

Christine D (nl) wrote: Doesn't compare or really fit in with the original movie. This was kind of lame and made no real sense at all.

Rob S (it) wrote: Starts great. Stylish and pretty funny. The end is a total cop out.

Albaab R (jp) wrote: Not a comedy. An exciting view into world of war journalists. Detached view on the cost of war in modern times. Tina fey plays herself and Martin Freeman plays out of character. Awesome work by Christopher Abbot as an Afghan. Watch it if you wanna see a lighter more palatable take on the Afghan war and role of media - prolly how Americans view the war from their own bubble.