Monster on the Campus
A college professor acquires a newly discovered specimen of a prehistoric fish. While examining the find he is accidentally exposed to it's blood, turning him into a murderous Neanderthal.
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Monster on the Campus torrent reviews
Dhruv G (kr) wrote: A disappointingly dull film.
Al M (au) wrote: I'm not quite sure what the point of Stripperland is....It is an exact clone of Zombieland except with undead strippers instead. The plot, characters, etc. are all exactly the same except the zombies are nothing but sluttily clad women. This might appeal to Troma or Brain Damage Film audiences, but it was just to crappy and pointless for me to get into.
Fallon B (nl) wrote: War Photographer is by no means an easy film to watch, but it certainly is a hauntingly powerful and yet slightly hopeful documentary.
Anthony L (au) wrote: "What is the problem with Michael Jackson?"'Three Kings' isn't David O. Russell's best film (albeit it's close) but it certainly is his most underrated film in my opinion and that irks me for a few reasons. For one, the film features one of the funniest and perfectly satirical scripts of all time. Probably the only film I've seen about the Gulf War where shit actually goes down quite a few times, which is hilarious in its own right, considering that not a whole lot of action happened. For two, the acting is fucking brilliant and Spike Jonze plays one of the wildest and most zany characters in any film. Goddamn, Clooney is the fucking man. And holy shit, Jamie Kennedy is one dumb motherfucker in this movie but it's a hilarious process to see unfold as the film goes on. For three, Newton Thomas Sigel is one of my favorite cinematographers working today. Every single shot in this movie is something of pure wonder. I particularly love Newton's hyper speed shots and electric camera motion, it perfectly captures the energy of this film. The editing also compliments the flick. For four, Carter Burwell has crafted one of the best 90's movie soundtracks for sure. It's such an alluring and marvelously diverse music selection which adds to the mood and spirit of TK. Also, S/O to Carter for including 'If You Leave Me Now' by Chicago in it. Absolutely brilliant.The only real problem I have with the movie is that I feel around the halfway point, the film drags a bit when the action dies down. The pacing isn't perfect and thankfully, it's saved when the last quarter of the film picks it all back up again.Overall, I highly recommend Three Kings to anyone who loves a biting satire and some good action to go along with it.
Garrett (ag) wrote: Insipid and predictable, Shall We Dance has its moments, but quite frankly the dude the movie's about creeps me out: going dancing (which isn't bad), to regain some kind of sense of self-confidence (or something like that), all while discreetly hitting on the dance teacher for no reason. Weird...
Avery M (nl) wrote: Give them credit for trying to do an original take on the franchise... but even as a relatively undiscerning 8 year old and huge Mario fan seeing this on television, I was left wondering, "What the hell was that?!"
Cameron J (us) wrote: Finally, Clyde Barrow is moving up in the crime business, and someone takes a gangster named Bugsy seriously, instead of just making some fluffy musical number like that silly little sweetheart Alan Parker did. I was attempting to be sarcastic, but it's hard to be that effective when a few months before this film out, Parker's latest heavy drama was "The Commitments", which was still something of a musical comedy. Well, it was still weightier than 1976's "Bugsy Malone", although, honestly, one has to give the guy who proceeded to make "Midnight Express" credit for realization that it would be hard to make a gangster drama that can be taken seriously when the focus is named Bugsy. Hey, shortly after 1990, they had to work really hard to take this film seriously in order to make up for that blasted "The Godfather: Part III". ...Okay, fine, I admit that I really, really dug "The Godfather: Part III", and the guys who made this film must have dug it, too, because if they were trying to make a more serious gangster drama to compensate, then they must not have been trying too hard if they got Warren Beatty to lead, like, right after he did "Dick Tracy". I'm sure Beatty was really glad to get the gig, because it lead to him meeting the love of his life... in this film, not "Dick Tracy", because even though Madonna has held up way better than Annette Bening (So pretty, and now, not so much), Beatty must have looked at Sean Penn and realized how dangerous marrying Madonna can be to a film career, unlike poor old Guy Ritchie. I guess this film made everyone happy, because even though it isn't quite "The Godfather: Part III", it's still pretty rewarding stuff, for all its shortcomings, including developmental ones. Deeply focused on Benjamin "Bugsy" Siegel's rise and eventual downfall in organized crime, this film offers no real background development on Siegel or his peers outside of the criminal underworld of the 1940s, and where it could have made up for that with gradual exposition, it tends to continue focusing on crime over genuine nuance, either underdoing or even abandoning certain potentially important dramatic elements to supplement characterization that is already way too thin for its own good, especially within the lead. Siegel is an interesting and extremely well-portrayed role, but outside of showcasing his moments of overt eccentricity, all you can get out of him is that he is a self-centered man of sleaze and crime who could have easily been humanized without being glorified, but ends up being too unlikable to be all that compelling of a lead without Warren Beatty's charisma, as surely as he is focused upon too deeply to begin with. By that, I mean that the supporting roles are underexplored, with the Virginia Hill love interest not even being as evenly used and thoroughly fleshed out as she really should be, thus, a lot of Siegel's peers feel like prominent devices to be picked up and dropped while the storytellers juggle a number of segments and narrative layers which jar about to a convoluted point. There's simply too much going on, and not enough at the same time, because as reasonable as a runtime of around two hours and quarter seems to be, it ends up being achieved through a combination of over-exploring Siegel's criminal business and sleaziness, and underexploring, if not awkwardly rushing through the human dramatics and what have you in order to realize momentum. The film gradually gets messier with its structure, yet it never loses its predictability, because even though this film makes certain errors that other gangster films of its inspiration are usually careful to avoid, it is hopelessly conformist to the structure and subject matter handling of so many other crime dramas of its type, and that reflects the limitations of inspiration in this project. I gripe and complain, but inspiration is pretty prominent through and through, and the final product's reward value is firmly secured by what this drama does right, but the areas in which storytelling fumbles are glaring, undercooking a problematic lead and his leads with only so much substance to all of the convolutedly uneven and overblown layering to otherwise formulaic plotting. The film runs a very serious risk of falling deeply into underwhelmingness, but when I say that inspiration matches misguidance, I really do mean that this film does enough right to engross and reward much more often than not, and immerse as a period piece. "Criminal", if you will, as it is to say, I don't know if there's anything especially remarkable about the great Ennio Morricone's original score, thus, when timely tunes come into play, that's when the soundtrack really comes to life, with poppy, swinging and, in some cases, noirish jazz pieces that are quality by their own right, and almost as effective in selling the era of this glamorous period drama as Leslie McDonald's art direction, which celebrates distinguished production designs by Dennis Gassner and costume designs by Albert Wolsky in order to bring 1940s Los Angeles and Las Vegas to life lavishly. The sheer design of the film itself is as gorgeous as it is convincing, but Allen Daviau ices the cake, with cinematography whose crisply dreamy lighting is controlled enough to never be overwrought, yet prominent enough to be consistently handsome, and sometimes breathtaking as the pinnacle of style which, quite frankly, is more realized than the substance. Benjamin "Bugsy" Siegel, as a vain, womanizing and dangerous, maybe even insane mobster, was a dirtbag, and it would take a lot of work to sell him and his story as compelling, though not as much as you might think, for a great deal of immediate intrigue is established through a story concept that offers extensive insight into the sophistication and brutality of organized crime in the 1940s, and into the juicy personal life of an interesting, if problematic figure, and is brought to life in a number of areas by the very man who betrays the potential in possibly an equal number of areas: James Toback. Toback's highly formulaic approach to worthy subject matter is among the most recurrent and least problematic issues of a script which gets more and more convoluted with its overblown and uneven narrative, and never gets very deep with its exposition, but there some solid highlights in the writing, which keeps consistent in a certain wit that goes a long way in livening things up, through snappy dialogue and memorably colorful set pieces, punctuated by some plot structuring and character drawing which is nuanced, but not really brought to life until the material of this intimate drama is sold by the performers. Few characters are explored at length, and hardly any of them, including Siegel, are truly fleshed out, but most every member of a respectable cast delivers on selling his or her role, with a lovely Annette Bening all but stealing the show in her weighty, if thinly layered portrayal of a woman who frequently feels betrayed by a man of crime she loves, while Warren Beatty carries the show, with sparkling charisma and nuance so much more realized than it is in the script that Beatty becomes Siegel, and makes him a worthy lead through powerful layers. Beatty is a borderline powerhouse, and no matter how unlikable his character is on people, it's hard to not be compelled by Beatty's portrayal of the Siegel, and yet, the performances, style and writing highlights cannot truly save this drama as rewarding, not without inspiration to Barry Levinson's direction, and sure enough, what offscreen inspiration there is stands firm within Levinson's tightly paced storytelling, which is always very entertaining, with more controlled moments whose tension and resonance define impressive heights in this film. There is so much misguidance, but about as much, if not more inspiration, and although this film is not nearly what it could have been, there is enough color and realization on and off of the screen to drive the final product as a rewarding watch for the patient. When the deal is done, a lack of background development is by no means justified by thin characterization, even for a lead who is too problematic to be especially compelling in a sloppily uneven, convolutedly busy and deeply formulaic narrative, which could have meant underwhelmingness that is almost miraculously kept far at bay, by the groovy soundtrack, lavish art direction, gorgeous cinematography, clever writing highlights, strong performances - the strongest of which being by Warren Beatty - and inspired direction which save Barry Levinson's "Bugsy" as a rewardingly entertaining and generally effective portrayal of the life and crime of Bugsy Siegel. 3/5 - Good
Josh T (fr) wrote: Funny film from start to finish.
Jo Y (ca) wrote: Wealthy woman hires Elvis as stable hand, gold,money and you know the rest. He sings very good.Keeps your toes tapping.
Rodney D (fr) wrote: Great movie from 1976! Pretty good historical accuracy but not exact in detail. Great big name actors of the time. Could not afford a movie these days with a big cast of "A" list stars! Good original color footage!
Tracy C (jp) wrote: Not as great as the original, but just funny and endearing enough to be worthwhile.
WS W (us) wrote: Sean Penn is phenomenal as always.But the film looks really weird in the hands of Paolo Sorrentino.
Rorshach S (de) wrote: With excellent performances from Poitier and Steiger, In the Heat of the Night goes through its racially-themed narrative with a fiery passion.