Police Academy 3: Back in Training torrent full movie
Police Academy 3: Back in Training
The alumni of Commandant Lassard's Police Academy (1984) return to the school to train new recruits and prevent its closure.
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Police Academy 3: Back in Training torrent reviews
Jennie M (de) wrote: It seemed to skip over periods of important icon grindhouse discussion and lack of focus of movies.. also would of been great to see what makes up todays American grindhouse as it has allot of influence from Asian grindhouse. so a tiny dable into that side would of been great. was enjoyable but I felt some parts were squeezed too short and others drawn out too long..
Jackie C (fr) wrote: Nothing was greater to me.
Christine D (mx) wrote: Great storyline. Both characters got under my skin... in a good way.
Erin B (ag) wrote: I like this film even though I can see it did not get great ratings. It was an enjoyable movie with likable, human characters played against an authentic small town New England feel. When you're rating films, they're not all supposed to be rated as though they were classics or Oscar-worthy. You rate them based on likability, balance of plot and characters, as well as the artistic value of the cinematography, acting, and overall direction of the film. In that way, this film gets my good side. By no means is this an amazing film, but it is a great film to watch and relax and forget about things for awhile. Good films do that, they get you out of your current state of being while still remaining real and human.
Bill M (ag) wrote: No this is not a good film, but very often even bad films from the 80's have an execution and sense of enthusiasm and an overall good nature to them that makes them endearing in a way modern bad movies tend not to be (Transformers 4 anyone, anyone, Bueller, Bueller ?) and Masters Of The Universe has enthusiasm to spare, from it's Stars Wars lite yet rousing opening credits music (that even dodgy, lower tier 80's movies have better music and more memorable theme tunes than any Marvel film you care to mention throws embarrassing shade on today's blockbusters shows how far we are now from any of that real sense of showmanship in popular filmmaking) and then there's Frank Langella's memorable and spirited portrayal of Skeletor, even under unfortunately rubbery halloween mask looking make up he totally owns the joint, and is tons of fun to watch eat up all the mid-budget scenery around him. Lundgren is big muscles little acting chops, but he looks the part (do they, like, oil him up before every shot?) and i have loads of nostalgic affection for the big lug. If your gonna do a fantasy movie in the 80's involving little people in roles then your gonna want Billy Barty and nine times out of ten you will find him in these sorts of movies, and he's a great boon to the film with his likable, eccentric presence as Gwildor the....whatever the fuck he is, i think he's sort of meant to be Orko from the cartoon or something, but regardless, Bart is always great value in these films. It also has some terrifically cool side villains, the trio of space assassins are pretty useless but look badass and always used to scare the shit out of me when they attacked the high school (speaking of scary, the hook-handed Karg used to fuck my shit up somewhat too, the fright wig only made things worse) and Meg Foster is pretty mesmerizing as Evil-Lyn with her shockingly vivid milky blue eyes. By the way, pre-Friends Courtney Cox is in this film! she looks about 18 as well, in fact the actress could be seen all over the place in the late 80's, from the Cocoon sequel to another Canon produced flop Down Twisted (only on VHS, pretty good) and shes actually ok here, she keeps her head above all the silliness well. Stealing scenes left and right you've got Principle Strickland himself James Tolkan as a brilliantly, grumpy, shotgun wielding police detective. In others word's i've got a soft spot for this film, and it's nostalgia, yes i'll admit, but it's also that they dont seem to know how to make silly saturday morning escapism with this kind of energy and sense of engaging ludicrousness anymore. It has action, abs, monsters, giant swords, lazer gun battles,Interdimensional travel (always a plus for me in films) gadgets and surprisingly harsh violence. Good fun.
Evie L (au) wrote: I watched this, thinking it'd be nice to see a movie with characters who weren't in the first flush of youth. While I mostly liked it, I thought it was quite superficial. Understandably most of the movie was concentrated around the Robert De Niro and Meryl Streep characters falling in love. What left me dissatisfied was the way the film dealt with both of their marriages. It felt rushed and unrealistic.
Daryl K (kr) wrote: The basic concept's not bad, but this western is stocked full of B-grade cheese. Audie Murphy makes for a pretty bland leading man. Still mildly entertaining, if your standards aren't too high.
Al M (it) wrote: Shame is not one of my favorite Bergman films, but I still cannot give it less than 5 stars because it is an immaculately crafted cinema masterpiece. As with so many of his other films, Shame demonstrates the creative force that Bergman wielded throughout the 60s--even if he had not directed anything else, his 60s films would mark him as artist to be remembered eternally. Shame features Liv Ullmann and Max von Sydow who also starred in The Hour of the Wolf, a film that I rank much higher in the Bergman canon (but then I am a horror fan). As per usual, Ullmann and Sydow unite with Bergman in a way that is truly magical. Bergman makes their faces and their most minute expressions shine with the depth of a thousand emotions. In Shame, Bergman probes the effects of war and invasion while simultaneously depicting the steady collapse of a relationship, a collapse that is based on similarly inexplicable causes. Ullmann and Sydow's characters generate a genuine feeling of warmth and love at times before they plunge into utter hatred in subsequent moments. As their country is invaded, their petty quarrels are put on hold in favor of helping one another to survive. Eventually, Bergman pushes the film into genuine ethic and psychological conundrums by having Ullmann's character submit to sleeping with an army officer in order to receive clemency for her and her husband. Over the course of the film, Bergman uses his hyper-personal style to investigate the effects of war upon this couple as they discover that their petty squabbles signify nothing in the larger scheme of things. A powerful and haunting exploration of war's effects on the individual and of the hard yet tender kernel that lies at the heart of any true relationship.