An unconventional undercover Chicago cop and his partner are recruited to commit the murder of a New Orleans criminal kingpin.
You may also like
No Mercy torrent reviews
Thiago B (jp) wrote: Melhor que mta comedia americana.
Spencer L (kr) wrote: This is the 1986 version, not the 2003.
shishir a (us) wrote: awesum, creative, fresh, must watch
Jed D (br) wrote: What a terrible film. Warning: Trailer, is extremely misleading.
David G (es) wrote: [font=Arial Black][size=5][size=6]"[/size][size=6]THE INVASION[/size][size=3] of the Pod People[/size][size=3]"[/size][/size][/font][right][size=7] *[/size][/right]Invasion of the Pod People, is yet another version of the hit classic film, "Invasion of the Body Snatchers." It's made by a film company called "The Asylum." The Asylum makes a number of movies that resemble titles of other hit blockbusters. Films like "I am Omega" is a version of "I am Legend" and they have also made a version of War of the Worlds. I am sure they have done plenty of others as well. This version of "The Invasion" is a lot different than the Nicole Kidman version. Like in "The Invasion," Whatever it is that snatched the bodies came from outer space. Though, unlike Kidman??s version, this movie had to deal with strange looking plants that somehow grow into a weirder version of the people. Sometimes the acting was so bad in this film, that I thought the real people were the pod people. Then the end was horrible, basically, there was no end, which meant there was no point in trying to stop them. The Invasion had a better ending, which made people think about what it meant. Was it better to be the pod people, or was it better to be human. They had a valid point. When you were the crazy alien-type beings, crime rate went down to basically zero. Though it??s like you did not exist. In "Invasion of the Pod People" It basically said the pod people were the new human species, and they wiped out the old species. Similar to the original story for "I am Legend." Overall, the movie was dumb, and I believe they tried too hard to get an audience. I wouldn??t recommend this to anyone. Peace out.
hopper k (de) wrote: funny as hell. alot of scenes filmed in real time, i love it.
Arlo L (nl) wrote: This was decent, but I didn't think it had any direction. They try to talk about legitimate criticism versus heckling in print, but end up just talking about bloggers in their parents' basements. Points are made that need to be made, but it all gets drowned out by a bunch of comics doing the exact same thing they are complaining about.
Gerardo S (ag) wrote: I don't remember this movie how it was nothing but I did watch it.
Film C (au) wrote: its weird really weird but an alright movie
Casey M (nl) wrote: Predictable and not really suspenseful at all.
Tom M (de) wrote: Nicolas Cage is always good. Come on. Everyone loves Nick.
miruna (ag) wrote: not that good.not too bad.
Art S (ca) wrote: Always thought-provoking series, this time with just a touch more added relevance (except we're looking at 11 years ago). Physical differences seem more obvious this time around -- hmmm.
Matthew R (kr) wrote: A great entertaining film that is funny and touching.
Jeffrey D (kr) wrote: Had to watch this for a class on civic communication. I really did not enjoy this movie. Sally Field was not bad in it, but I found it hard to identity with her character at all. Yes, Norma Rae Webster in the film fought for unions and rights, but at the same time she was obsessive, slept around, neglected her kids, and whined about every little thing. Though I agree with the films message, overall, this did little to nothing for me.
Eric B (br) wrote: "Japanese Summer: Double Suicide" is almost as strange as its name. A black and white film which would have been better in color (puddles of blood just aren't as shocking when they're not red), this ambiguous drama explores the willingness of men to kill and die for a cause. While adding a squirt of nymphomania for extra flavor.The setting is a metropolitan area which, mysteriously, seems almost deserted. The story opens with Nejiko, an 18-year-old girl with an arty haircut, a low neckline, a short skirt and a dislike for underwear. Actress Keiko Sakurai had only two credits in her career (both Nagisa Oshima films), and presumably won this role based on breast size rather than thespian skills. She's a bit of a liability. Her grating character ("a woman with a loose screw") recently broke up with her boyfriend and is feeling the void. She wants sex. From anyone.She soon meets Otoko (Kei Sato), a quietly intense youth with an odd fixation on caveman-like representations of the human form. A variation on making angels in the snow? Keiko wants his body, but he wants to be rid of it. Permanently. Hence the film's title.The two witness some revolutionaries digging up a box of weapons and are taken prisoner. They find themselves in a secluded barracks with 10 or so men of varying age and histories. The most important of them are a naive student who's overeager to prove himself, an ex-Marine with real killing experience, a man with a portable TV set and an older, philosophical type.Much of the film occurs within a few rooms of this compound. Nejiko, the lone woman, is consumed with two vaginal needs: finding someone to have sex with her and urinating. In almost Bunuel-like fashion, her willing partners are repeatedly interrupted before intercourse can begin. Meanwhile, plenty of grim debate passes between the men about who has the fortitude to kill. Otoko repeats his wish to die. And the television introduces a crucial issue: news of a nearby sniper -- a white American -- who has shot multiple people. The renegades return, and announce that the captives will be given weapons to join the struggle. A newscaster says the scene outside is like "a Japanese Dallas," referencing John Kennedy's assassination.Violence breaks out within the barracks gang. Some of them track down the sniper, but the result is unexpected. Oshima films do tend to end in surreal, allegorical ways. "Double Suicide" is not as structurally daring as some other Oshima works of the period, and the barracks scenes are almost play-like at times. But this more polished style may be a relief to those who found radical films such as "Diary of a Shinjuku Thief" and "Three Resurrected Drunkards" too tiring.
Jon A (ag) wrote: Inspirational, if somewhat rose-tinted and flag-waving, story of a true example of Britishness.
Eva T (es) wrote: I love this movie and all the beautiful dances in it!
Omar K (nl) wrote: He was a man who helped create the movies and their ever-lasting impact as entertainment and art. He was at once the world??s most popular star, and still is as recognisable as he was in his prime. He came from nothing and left a legend. A true giant of cinema. This was of course Charlie Chaplin, an actor so important to cinema Richard Attenborough 1992 film Chaplin should be watched for simply a taste of who this man was. The first hour of Chaplin is purely mesmerising as we witness the inherent talent of our protagonist and the creation of the Tramp character. The reason it is such a delight to watch is because knowing the history of joy he has brought to the world leaves us in awe of his beginnings. And also the state of filmmaking as a new medium for everyone is interestingly explored, showing the magic of film, editing and the conditions silent films were made in. He provided a platform for the advent of talkies by popularising film to every corner of Earth, and the gravitas of his accomplishments are felt even in our present, something the original King of Hollywood Douglas Fairbanks and America??s sweetheart Mary Pickford cannot even hope to realise. But what elevates Chaplin??s opening is the stark impact of his poor upbringing on his personality and desire. Chaplin??s own daughter Geraldine plays her grandmother here with such disturbance, she elevates the entirety of Chaplin??s childhood to the point where it bears great influence on his existence. And that existence somewhat loses its way towards the end as it gets quite convoluted considering Chaplin??s varied, more controversial later life. To spend merely an hour on perhaps 50 years of Chaplin??s later life is barely feasible and so as the film tries to cram as much as they can into it, the spark of the opening becomes lost even if we still remain fascinated, possibly because the point of focus ceases to be his film career anymore, it is overcome by his stout political views that dictate his films and mood. Unlike Gandhi, Attenborough??s other biopic of a larger than life figure, Chaplin isn??t given a 3 hour running time, something that would have made this film as good. If it were slightly longer, Attenborough wouldn??t have needed to dramatize Chaplin??s life more than it already is because he was born out of creativity, and so should have utilised his vast career better because he is worthy of a three-hour investigation. To want someone who isn??t Chaplin playing Chaplin for even longer is testament to how much Robert Downey Jr. is an utter marvel. He may look terrifying once he gets older thanks to his lack of visible eyebrows, but Downey exquisitely recreates the special ingredients of the Tramp??s performance. Downey??s performance is so good the final scene of Chaplin receiving his honorary Academy Award whilst viewing the actual Chaplin in action is proof to his brilliance. It may get too sentimental, but his return to Hollywood with a 12-minute standing ovation by his peers results in a heartfelt tearing up, moulding Chaplin into a story of escapism for someone who abandoned his insane mother at a young age and went onto immerse himself in Hollywood, and that success hit him all at once, making his realisation our realisation of greatness. The Verdict: Robert Downey Jr. masterfully immerses himself into a cinematic icon, and the results are astonishing for Chaplin as a film gets to the heart of his undeniable brilliance and influence. ???????????????????? 9/10
Shubhra R (mx) wrote: A powerful, provocative and poignant critique of our romance with the idea of the innocence of childhood and children.I would dearly like to see the Peter Brook version.