Two young Mexican attorneys attempt to exonerate a wrongly convicted man by making a documentary. In the process, they expose the contradictions of a judicial system that presumes suspects guilty until proven innocent. . You can read more in Google, Youtube, Wiki
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Presumed Guilty torrent reviews
Yasen S (gb) wrote: Watched - February 2006.
Heather M (de) wrote: Watchable, but nothing spectacular.
Arslan K (jp) wrote: I was bored in the middle. I guess it's good.
Sam P (ag) wrote: I used to enjoy Marked for Death as a child, I admit, along with Van Damme films and such. Now looking back, I can see why I enjoyed it (action and mindless violence) but I also see why I hate it now. What it is, for me, is the lead star, Steven Seagal. In this film, like most of his, the problem is that the bad guys are built up a little, then at the end, Seagal destroys them with ease, the best heroes are those that are able to battle past overwhelming odds. However, Seagal is built up so big and the villains made so weak, that the film loses any possibility of narrative difficulty.The worst thing is, the storyline was interesting, the Jamaican posse trying to destroy John Hatcher, led by the supposed magical Screwface, who is revealed to have a twin. The bad guys are possibly the most interesting element, however, at the end, Hatcher defeats both twins with little-to-no-ease, which makes it a boring film to watch, very gutting :(
Abdallah T (jp) wrote: Whoreful or Hopeful: It Is All A Matter Of Perception Paulo Coelho wrote "I am two women: one wants to have all the joy, passion and adventure that life can give me. The other wants to be a slave to routine, to family life, to the things that can be planned and achieved. I'm a housewife and a prostitute, both of us living in the same body and doing battle with each other" (Eleven Minutes). The prostitute industry is booming as a result of a declining economy. Internationally an increasing number of women have turned to prostitution in order to survive, provide their children with a brighter future, and in some cases to pay tuition fees in a world of commercialized education or even for the sole purpose of enjoyment. In addition, daughters of brothels are expected to follow their paths into prostitution. Some films glorify prostitution turning it into a romantic comedy such as Pretty Woman whereas others such as Born Into Brothels: Calcutta's Red Light Kids and Whore shines light upon the harsh realities of life of the prostitutes and their bastards. All three films however delve into sexual politics entailing a misogynistic depiction of women from different points of view; however, Pretty Woman attempts to humanize prostitutes. At the end of the day it is all a matter of perceptions. The romantic comedy Pretty Woman revolves around your typical Hollywood love story that transcends all differences, but however the woman involved in the narrative is a prostitute. The film deludes the audience by romanticizing prostitution and humanizing prostitutes by convincing the audience that prostitutes are beams of beautiful sunshine and their customers are peripatetic filthy rich businessmen. The film's portrayal of prostitution is entirely fiction. It does not depict the prostitute's life narrative that lead to where she currently is. Many of the prostitutes are victims of sex trafficking, which is the case for instance in Paulo Coelho's Elven Minutes. On the other hand, Ken Russell's Whore depicts a day in the life of a prostitute, and how she was abused and manipulated into where she is today. The prostitute, Liz, breaks the fourth wall throughout the movie by directly addressing the audience. By doing so, she is better able to genuinely articulate her personal narrative and how she got to where she is today. Though fictional, the film provides the audience with a more realistic view towards the ugliness of prostitution through the eye of the prostitute herself. The non-fictional documentary Born Into Brothels: Calcutta's Red Light Kids revolves around prostitutes in Sonagachi, the largest Red Light District in Asia and one of many in Kolkata, and the lives and predetermined fate of their bastards. The filmmakers exploited the cinema and film to raise awareness of a grave issue that is often neglected and overlooked. The film is shot through the lens of eight children. By doing so, the audience's gaze is shifted to viewing the documentary through the eyes of the children. The children were treated as slaves in the whorehouses, and their eyes were filled with hopelessness. Hope for a brighter future was regained once the photojournalist, Zana Briski, introduced them to the world of photography, which they eventually excelled at. The three films presented a similar issue from different perspectives: society, prostitutes, and bastards' view of prostitution. The variety of gazes gave rise to three different perspectives. All three films however touch upon the male gaze, which tends to objectify and sexualize women. Sigmund Freud established the Madonna-Whore dichotomy, which can simply be summarized in "Where such men love they have no desire, and where they desire they cannot love" (Freud, On Sexuality: Three Essays on the Theory of Sexuality and Other Works). To some extent the theory categorizes representations of both men and women alike in society and governs the thought of many. As result, the variations of different sexual representations arise. The three films put together forms a triangle representation and perception. Born Into Brothels: Calcutta's Red Light Kids provided a just representation of the architecture of confinement, the whorehouse, that entraps the prostitutes and bastards alike, most of which are hopeless of a brighter future. This is represented throughout the film with the use of cinematic metaphor and symbolism. Multiple times throughout the film the camera shifts focus from the children onto a caged bird, which symbolizes the children trapped in the brothel. The differences in the societal representation of prostitutions could have been a result of the different cultures. For instance, Born Into Brothels: Calcutta's Red Light Kids represents the Indian societal gaze, Whore represents a British American societal gaze, and Pretty Woman represents an American societal expectations of Hollywood movies. The films depict sex, class and power. Michel Foucault wrote, "If sex is repressed, that is, condemned to prohibition, nonexistence, and silence, then the mere fact that one is speaking about it has the appearance of a deliberate transgression. A person who holds forth in such language places himself to a certain extent outside the reach of power; he upsets established law; he somehow anticipates the coming freedom" (The History of Sexuality, p9). Power and sex intertwined to a certain extent; it is a form of biopower. Often times men seek prostitutes in order to feel powerful, and in some cases they may turn into sexual predators as seen in both Whore and Born Into Brothels: Calcutta's Red Light Kid. Often times those prostitutes presented to be submissive. How we perceive and interpret art relies upon the artists' representation and our own life experiences. The three films provide the viewer with an insight into prostitutions; however some are more realistic than others. Due to the patriarchal society that we live that tends to value a man's sexual desire more than a woman's, most films that touch upon prostitution tend to objectify and sexualize women. How often do we see male prostitutes as compared to female prostitutes in the art? When prostitutes do appear in the art how often do artists provide the audience with their personal narratives that lead them to where they are today? Many prostitutes have very complex narratives that involve oppression, violence, sex trafficking, drug addiction, and controlling pimps. Films need to portray the harsh realities of the prostitution industry in order to shine light on the prostitutes' personal narratives such as in Whore rather that glorifying prostitution as seen in Pretty Woman. Cinema should not always provide gratification for the viewers. If that is all what it did, we would have created a mental image of an ideal world that'll keep us longing for it but never being able to attain it. Work Cited Born into Brothels: Calcutta's Red Light Kids. By Zana Briski and Ross Kauffman. Dir. Zana Briski and Ross Kauffman. THINKFilm, 2004.Coelho, Paulo. Eleven Minutes. Trans. Margaret Jull. Costa. New York: HarperCollins, 2004. Print.Foucault, Michel. The History of Sexuality. New York: Vintage, 1988. p9. ditions Gallimard. Web.Freud, Sigmund, James Strachey, and Angela Richards. On Sexuality: Three Essays on the Theory of Sexuality and Other Works. Harmondsworth: Penguin, 1977. Web.Pretty Woman. Dir. Garry Marshall. Perf. Richard Gere, Julia Roberts, and Ralph Bellamy. Buena Vista Distribution Co., 1990.Whore. Dir. Ken Russell. Screenplay by Deborah Dalton. Perf. Theresa Russell. Cheap Date, 1991.
Nate T (gb) wrote: Remake of The Philadelphia Story (1940) with Bing Crosby, Frank Sinatra, Grace Kelly (in her last starring role before she left Hollywood to marry the Prince), Celeste Holm and "Satchmo" - Louis Armstrong is a blast (loads of fun). Two scenes stand out most: "Well, Did You Eva?" duet by Bing and Frank and a scene where Bing knocks out drunk Frank with a punch.
(nl) wrote: i love the action in this movie
Allan C (es) wrote: Trashy and utterly preposterous serial killer story about a group of FBI trainees dropped off at an island with a dummy city for a practice investigation. But guess what? There really is a serial killer on the island who is offing the team members one by one with increasingly over complicated, Rube Goldberg-like traps. However, hit-or-miss director Renny Harlan manages to make the ridiculous story pretty entertaining. It also helps that you've got a decent cast, featuring Christian Slater, Val Kilmer, and LL Cool J. The original story and screenplay was written by the very smart Wayne Kramer ("The Cooler" "Running Scared") but this film is nowhere as smart as the films he's made as a writer/director. Still, if you're in the mood for a popcorn serial killer film, you could do a lot worse than this.
Dr F P (br) wrote: the worst haircut in town destroys ghoulish invaders
Irvin C (it) wrote: This is often credited as the first ever Oscar winner for Best Picture even though technically it shares that distinction with the much superior film "Sunrise". This one won for Best Production while that latter film won for Best Artistic Achievement. You can definitely see why it won. It's a real epic film. The shots are stunning and exciting. It's extremely well-crafted. The special effects and the stunts still hold up to today. Unfortunately, the story they crafted around it is kind of a shallow romance that's now kind of dated and somewhat melodramatic. It's also borderline propaganda. Clara Bow lends some credibility and there are a few really good moments but overall, it's a good but not great film.
Alan Z (de) wrote: It might not be a good film. But it is a fine musical movie, made with a tremendous scale and class, life and color. Quite slow, but safe by the wonderful talent of Kelly and Sinatra.