Ninja Assassin

Ninja Assassin

Ninja Assassin follows Raizo (Rain), one of the deadliest assassins in the world. Taken from the streets as a child, he was transformed into a trained killer by the Ozunu Clan, a secret society whose very existence is considered a myth. But haunted by the merciless execution of his friend by the Clan, Raizo breaks free from them and vanishes. Now he waits, preparing to exact his revenge.

A young boy Raizo is transformed into an unstoppable killing machine by the Ozunu Clan, a secret society whose very existence is considered a myth. The Ozunu Clan is so proficient at keeping their existence a secret that most people think they are only a myth, but the moment Ozuno assassins kill Raizo's friend, their days in the shadows are numbered. . You can read more in Google, Youtube, Wiki

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Ninja Assassin torrent reviews

Cade H (nl) wrote: This Netflix Documentary was very enjoyable as well as insightful and funny. It focused on 8 kids playing in a worldwide golf tournament and followed them from their hometown preparing for the tourney all the way to the winners presentation. Each of the kids are easy to like and full of personality and it is amazing how good they are at the sport at such a young age. There are a few moments on the golf course where it seems a little drawn out and some unneeded scenes but it doesn't take away from the film to much. You will see the kids tough times, the good times and all the while seeing how each parent handles their kids. I don't see how anyone would not enjoy this very well done documentary.

Gktu C (mx) wrote: basit konu basit islenis. yakismamis Fatih'e

George T (mx) wrote: Food for thought, just watch it if you haven't!

Chloe A (nl) wrote: 4 stars! I love all the step ups including the dance moves and the music used!

Lee M (ru) wrote: While not great, Motives is certainly not bad, actually bordering on almost pretty good.

Scott J (es) wrote: A case of the soundtrack being far superior than the film! It was more enjoyable now than it was in the mid '90s & the music still puts most modern music utterly to shame. A very likeable film even though it has little-to-no plot. It's a sad reflection on modern consumerism that not many under people under the age of 21 will have ever been into a proper record store & its sadder still that iTunes & digital buying have even (mostly) killed off the big corporate record stores (the "villain" of this film)....

Paul D (it) wrote: Slightly disappointing given the cast and good style to this film. It's kind of like an Agatha Christie western without an adequate conclusion, however the mystery flows well.

Chris G (it) wrote: Filmed claustrophobically, the film truly feels more like a play than movie and is packed with six fine performances with the late Jack Lemmon outshining them all. However, the film suffers by telling more often than it does showing plot.

Private U (de) wrote: Indeed, the Italian language and spirit were matching the story and the characters more than the remake (Welcome to Collinwood), this is really a memorable comedy, that scene of screening before the BIG DEAL was hilarious, and would tell precisely how extremely funny this film is. Plus the beautiful "Claudia Cardinale".

Yannick D (gb) wrote: My biggest praise and worst criticism of Carnage is that every time I watch it, I really wish I was watching the stage play.

Jacob B (mx) wrote: B+I will never process why 'Clerks' was filmed in black-and-white, although I can kind of see why. But to talk about the movie itself; it is definitely very funny and totally feels like it should be adapted to stage as a non-musical. Maybe I'll Tweet Kevin Smith right now.

Rex A (mx) wrote: For a Todd Phillips movie about a fraternity, this entire thing is weirdly harmless. Still, it's sporadically funny and the cast is top-notch.

Jonny P (mx) wrote: "Rocky III" hits the ground running and never backs off. It offers a recap of the last fight between Rocky and Creed, followed by an exciting montage that contrasts Rocky's success with Clubber Lang's ascent of the boxing rankings. The opening montage is set to "Eye of the Tiger" which, in addition to being an awesome Oscar-nominated song, establishes a theme that will become one of the main lessons that Rocky learns throughout the film. It's fun to finally see The Italian Stallion as a successful boxer and enjoying his fame. The first films portray Rocky as a hard worker whose success is half skill and half luck; this time, he continually proves his skill and is rewarded for it. As a result, Rocky becomes more like Apollo and Lang becomes more like Rocky. The film takes an interesting turn with the whole Hulk Hogan charity match (which I always felt was out of place) but I now see how it fits in with the growth of Rocky's image beyond his control. The best thing about this movie is that there is a ton of boxing and it is frequent from start to finish. The editing of the boxing sequences continues to grow more impressive and intense as the series progresses. It seems like each film in the series gives another actor a chance to come alive and this one is Talia Shire's. Her character is very shy and reserved but this is where she transforms into a strong woman. "Rocky III" is underrated and often overlooked in favor of the fourth film, but the emotions that drive "Rocky IV" are completely dependent on the developing friendship between Rocky and Apollo in this film. The iconic ending seals our hatred for the Russian in IV. If you binge-watch the series, you will find that there are a lot of moments recycled from prior films (Rocky learning a new style of boxing, wanting to give up, needing a motivational speech then working the hardest that he ever has), but for whatever reason this equation works over and over again. "Rocky III" is a great film that marks important developments in Rocky's boxing success, his relationship with Apollo Creed, and his relationship with his wife. It may often be forgotten but I would argue that III is pivotal in the story arc of the entire series, especially now that "Creed" has been released and heavily relies on these developments.

Edith N (de) wrote: Ownership Does Not Confer Love In many traditions, the health of the land is inextricably tied to the health of the king. It's where the idea of the Year King, the king who is sacrificed for the benefit of the land, comes from. (We will not get into whether there ever was such a thing in the real world.) If the king is weak and decadent, it does not bode well for the land. Especially if, as with this king, he has gotten no heirs. I'm not sure we ever see this king do anything which does not suit his own pleasures; certainly, he does not interact with the common people. He does not make wise decisions. He even meets emissaries from his neighbouring country, which threatens to overtake his at any moment, in his harem, surrounded by many perfumed women. He even goes so far as to offer the emissary three of his women--or a boy. A master of diplomacy, this king. Maya (Surabhi Bhansali, then Indira Varma) is a servant girl who grows up alongside Tara (Garima Dhup, then Sarita Choudhury), a princess. Maya envies Tara her opportunities and her future, which eventually means marriage to Raj Singh (Naveen Andrews) and entry into his court. In a moment of defiance, Maya sleeps with the king before Tara, and she is banished from Tara's presence. She ends up meeting a stone carver, Jai Kumar (an inexplicably uncredited Ramon Tikaram), who falls in love with her and uses her as his model. He also introduces her to his mother, Rasa Devi (Rekha), a teacher of courtesans and former courtesan. When Kumar declares he cannot love Maya, she ends up sent to court to be the head courtesan of the king. (It is never confirmed, but Kumar is Singh's half-brother.) She still loves Kumar, and it is in part this which allows her to renew her friendship with Tara. Only she cannot love Kumar and obey Singh. Certainly this is an opulent movie. At one point, Maya is wearing a red silk top embroidered in gold, and I found myself hypnotized as much by the colour as by anything happening onscreen. The pearls bedecking everything looked remarkably fake, but the drapings and costumes and so forth were lovely. The bathtubs in which women lounge are desirable to someone who takes as many baths as I do--they are large and deep. The women's movements are graceful, the chiming of their jewelry alluring. We see very little of the world outside the harem, except during the time Maya is in exile, and even the old courtesan's training house has some of that same grace and beauty to it. It seems to be both her preparing her girls for it and wishing for it herself. On the other hand, there isn't much more to the movie than that. It seems almost as much allegory as anything else. There is, per title, supposed to be a love story there, but it almost seems to be between Maya and Tara as much as anything else. There are scenes where Maya is cradling Kumar in her arms, and she hides him from Singh when necessary, but she's still perfectly willing to go off to court. Quite obviously, Tara does not love Singh. When Maya first sleeps with him, before the wedding, it is at least in part to get her own from Tara. She tells her that she has taken Tara's leavings all her life, and now it is Tara's turn. And Singh seems as much obsessed with Maya as in love with her. If there is love, it is a dry love, not one which excites the senses. It seems enough, at least on Maya's part, for her to believe that the king will not kill her for turning him away, but it seems as though she's turning him away in a show of power, not for love of Kumar. Doubtless many people pick this movie up on the assumption that it's full of graphic sex. There's a certain amount of sex, but it's not very graphic. There's a lot more talking about it. Rasa Devi talks a great deal about how the Kama Sutra is the ultimate text of love, and that may be the problem with this movie. It focuses a great deal on love as the sensual, and of course sexual, but none of these people seem to have the least idea of how to live with each other on a day-to-day basis. Most of them don't seem to have anything to talk about. Again, that's entirely understandable when it comes to the king and queen; it's an arranged marriage. Tara is conscious of her position and its importance, and holding onto that is worth more than actually bothering to talk to her husband. And of course, she doesn't exactly have much in the way of opportunity to talk to any other man. Singh commands. It's all he needs to do. Maya and Kumar are just kind of confused, I think. This is not a true love story, no matter what the title says.