A 12 year-old girl finds friendship on an internet chat room with a 14 year-old boy without realizing that the boy is actually an older man who is part of a child prostitution ring. . You can read more in Google, Youtube, Wiki
Password: Una mirada en la oscuridad
- Stars:Willem Dafoe, Bob Hoskins, Matthew Modine, Asia Argento, María Elena Oreamuno, María Chaves, Christian Clausen, Arnoldo Ramos, Anabelle Ulloa, Andres de la Ossa, Alejandra Portillo, Guisella Solís, Gerardo Arce, Marco Martin, Ana Saravia, Juan José Flores, Andrea Del Valle, Anna Iztaru, Eduardo Mosheim,
|Download||Password Una mirada en la oscuridad [2002 SAVA DVDRIP XVID]tt038||DVDRip||49||50||744.4 MB|
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Password: Una mirada en la oscuridad torrent reviews
Jesse O (br) wrote: You know it's a sad day when, as is normal in Jackie Chan films, the gag reel rolls over the credits of various mistimed stunts, the first of these is Jackie falling to the floor while hanging inside a picture frame that is 4 feet above the floor. I'm not gonna claim to be a Jackie Chan historian, but I've seen enough of his films to notice that this guy did some absolutely insane shit that has put his body and life at risk. This is a guy that fell of a 2-3 story building onto his freaking neck. I'm not suggesting that Jackie, at his age, ever do any of this shit ever again, I'm sure we'd like to have him around for years to come. It's just noticeable that the years of crazy stunts have taken their toll on him. It's even more noticeable when, during the credits as well, they start to show a compilation of his craziest stunts. It was a fucking awesome compilation though and I'm grateful for the entertainment this guy has provided us with. With that said, I thought the compilation of Jackie's stunts was better than anything in this movie. That would be a bad sign, but it's really not. This movie isn't anything special or mind blowing, I can't even say that it's good, but it's got a silly charm to it that made it fun to watch this in spite of its faults. The story is convoluted and nonsensical. The part of of returning repatriated relics to their respective homelands is something we've already seen, in the form of people coming to China to steal relics, in Project A 2, if I'm not mistaken. So the whole theme of national pride is a repeated one from one of Jackie's other films. But the film has something about it that's a little charming. Maybe it's the old-school adventure feel and the interplay between the cast, even if the film's acting isn't great, it looked like they had fun making this and that, will always, work to its benefit. As mentioned the story is pretty lame, there's some sentimentality and heavy-handed jingoism. The film has few fight scenes, but the ones that are there show Jackie's knack for incorporating props into his fight sequences. Jackie will always have one thing over every martial arts star, even the guys from The Raid, and that is how to creatively incorporate props into fights in away that's really entertaining. While Jackie Chan had speed like a motherfucker in his younger days, obviously, he's a little slower and not as smooth as he once was, but goddamnit, he's still good at what he does. I wish the films would've incorporated more of these fight scenes, but I get that it wasn't trying to be just a martial arts film. This is definitely a little rough going at the start. It just looked and felt like it wasn't gonna achieve much. Considering the rating I gave it, it still didn't really do much, but it's a better film than it seemed at first. If you're a hardcore Jackie Chan fan, then you'll enjoy this, even if you're disappointed at its lack of fight scenes and preposterous story. I think this tries to hit some broad strokes in order to get as much people to watch it, it doesn't always work, but it's a perfectly average film. A good Netflix watch.
Miteal C (de) wrote: The worn out Final Destination concept finds its way into Phillipines. The outcome: A scare-free, sleep-inducing, and dreadfully boring Phillipino horror film. Nothing really to discuss on this one.End of the chapter!
Dalton D (au) wrote: I love Elmore Leonard novels, from Out of Sight, Get Shorty, Jackie Brown and The Big Bounce, this one will be just as good, I hope
Marsian S (us) wrote: Pretty goodThe only complaints i have are the really confusing combat scenes, can barely see what happens, and the story seemed really cliche at the beginningAnd it seems too long
Jason M (kr) wrote: This is actually my 2nd favorite Pixar movie. People don't love it enough.
Devin W (us) wrote: Best movie I will ever see
Jamison R (au) wrote: great campy horror movie that still holds up. Much funnier than anticipated.
Shane D (kr) wrote: This movie creeped me the fuck out as a kid. I haven't seen it in twenty years, but I'll never forget it. Unfortunately it seems I'm never gonna see it again. A fact that makes me sad. I mean it was just too fuckin' weird. I wasn't sure if it was just me, until it came up in conversation. As soon as the title was spoken those who had seen it had pretty much the same reaction, that it was fucked up. If anyone out there knows a way for me to relive this traumatic event from my childhood again, I beg you, please help me.
Reuben M (it) wrote: I'll admit it; I almost couldn't get through 3 WOMEN. When I reached a point where I was sure it was 90 minutes into the film, I put it on pause, and saw that I had only seen 45 minutes. It is monumentally slow-moving. It is also intensely creepy, and after that initial 45 minutes or so, it began to work on me. Not in an altogether pleasant way, but it was very effective nonetheless.3 WOMEN introduces us to mostly to 2 women. We meet Pinky Rose (Sissy Spacek, only a year after CARRIE), a new nurse coming to work at a strange, dusty, underpopulated Southern California town in an old-folks convalescence home of some sort. There she meets Millie (Shelly Duvall), an experienced nurse assigned to show her the ropes. Pinky is delighted to be attached to Millie, because she has clearly taken a deep and intense interest in Millie. Millie talks almost non-stop and we see early on that she has alienated almost everyone around her with her incessant chatter and her self-delusion. She fancies herself a bit of party animal, a gal-about-town. In fact, everyone avoids her and all of the "dates" she thinks she might have never materialize. She's one of these people (we've all met them) who we feel sorry for, yet are so irritating to be around, we just hope someone else will befriend them. Pinky, however, sees none of that. She's from a small Texas town and is so deeply nave that she clings to the "worldly" Millie and idolizes her. And slowly, she begins to obsess over her. And she pries into Millie's private life.This doesn't sound all that interesting, and in many ways, it isn't. But writer/director Robert Altman is taking these two ladies on a strange psychological journey. What I've described is just the beginning. I don't want to tell you more, because it's all a bit open to interpretation, and if you decide to take the sometimes grueling journey that is 3 WOMEN, you should interpret for yourself. But one easy, even glib, description that comes to mind is to call the film an "artsy SINGLE WHITE FEMALE."The film is full of Altman touches, particularly the improvised style of dialogue and the overlapping conversations. It is in these overlapping voices that we hear the mockery which most people shower directly on Millie. Millie is so eager for acceptance, to have even a hint that the life she imagines for herself is true, that she willingly endures derision in the hope of breaking through. I have to admit that I've never been a huge Shelley Duvall fan, but this is the best performance I've seen by her. She manages, at various times, to be touching, sad, laughable, irritating, competent, crazy. Altman often gives his female stars some really meaty roles to chew on, and he really did here. Spacek is also quite captivating. It's amazing she was ever able to break out of the crazy, nave girl role after this film and CARRIE. She fits it to a tee...but as the film progresses, Pinky's character undergoes some unexpected transformations, and Spacek handles it all with ease.I watched the Criterion Blu-Ray, and the picture quality was excellent. Filmed in the late `70s, the film has that unmistakable look of that era...a color palette that wants to be gritty and realistic and still retain some of the richness of Technicolor. The Blu-ray gets all that perfectly. The sound mix was excellent, but I have to say that the score for this film was literally the most annoying ever. I know that's not much of a useful comment, but I think my ears are still ringing from being stabbed by those awful sounds. The extras on the Blu-ray are a little skimpy, in my opinion, especially for a relatively modern film. There's a sparse commentary from Altman (which I only listened to pieces of), a brief essay that sheds little light on the film, and some trailers & stills. I would have LOVED to have heard a commentary from Duvall & Spacek.It's hard to recommend this film. It moves slowly and it's very internalized. But a viewer with some patience may find some creepy rewards in watching the relationship between these two women (in two really fine performances) grow in unexpected and disquieting ways.
M S (gb) wrote: Too bad they don't make westerns like this anymore. A charming and fun film to watch. Intelligent and creative. Story about a half-assed criminal who wants to go straight, but finds the going difficult because he "looks" like a bad person (a naughty person, or somebody up to "no good"). So not only is his luck bad at robbing trains, but living life presents obtacles he can only laugh at because the obstacles appear to be so unfair. The film is a realistic look at how life is for some folks. Hopper is great, as is the rest of the supporting cast. And got to like that woman's hair.
Private U (it) wrote: classic - cuts to the bone
Justin O (nl) wrote: A smart approach that fails due to the uninteresting portrayal of the times and not the incident itself.
Bayard L (it) wrote: Another fresh and unique take on modern relationships from Noah Baumbach. Ben Stiller and Naomi Watts are great. It's probably Adam Driver's best role to date.