Redención

Redención

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Adelwyn H (kr) wrote: It was alright and helped pass the time, but there really wasn't anything there worth watching.

Susan P (ru) wrote: I totally forgot Angelina Jolie was in this movie; I saw it because I was hot for Mulder. It is not a good movie, however. I hate to say it, but I think Mulder was Duchovny's finest hour. Prove me wrong, baby!

Jason A (kr) wrote: Well-done, Oscar-winning documentary focusing on the back-up singers/actors in the San Francisco Opera. I'm not really into opera, but their stories and struggles are universal.

Samuel B (ca) wrote: Definitely an 80's era sci-fi film, and personally I found this film more interesting than its fancy effects grand-child film Inception. Dennis Quaid's character, who has some telepathic and psychic abilities, is reluctantly recruited by a covert government experiment on dreaming, and trained to enter other people's dreams via use of special lab equipment. After a few benign dream tests Quaid discovers that there is more to the experiment than any of them had bargained for. Check this one out, it is a classic.

Sterlin R (kr) wrote: A very solid buddy cop action movie, and a great debut for Eddie Murphy.

Cameron J (es) wrote: Ah, yes, the family plot thickens, and with it, Alfred Hitchcock's kidneys. People, the man went out in 1980, and it's not like we weren't seeing it coming for many, many years by that time, so we may as well have a morbid laugh, something that Hitchcock apparently believed in during his final days. Yup, people, for his last realized stroke... of creativity, that is (Seriously, speaking of "morbid"), Hitchcock decided to go a more comedic route with this film, although he was sure to keep in plenty of dark elements, and I mean plenty. Yeah, folks, don't go thinking that this film's title is short for "Family-Friendly Plot", unless your part of, well, the Bates family, because this story is a "grave" one. Don't worry, this film is a little bit funnier than that pun, and you can gather that from looking at the title, which does, in fact, feature a much better pun. You know, like, a family plot is where they bury relatives, and this film is about a scheme involving a family... right? I don't know if that's more reflective of my being inaccurate about calling this film funny, or a reflection of just how unfunny my "grave story" pun was, but in all seriousness, this is a fair note for Hitchcock to go out on, despite its flaws.Whether it be because it's even self-aware about its dramatic thinness, or simply because of whatever, this film doesn't put much thought into developing its characters, whose unlikable traits are hard to deny without being veiled by some extensive characterization, and loosen your investment about as much as the many moments in which the film jars in its focal shifts. Something of an ensemble piece, this film juggles several plots, and messily so, giving you time to detach yourself from certain characters the longer the film focuses on others, something that it didn't have to do, and probably wouldn't have done if Ernest Lehman's script didn't go dragged out my meandering bits in material which break up a fair deal of tightness. Yeah, there are plenty of places in which the film feels tight, but in plenty of other areas in this ultimately unnecessarily two-hour-long affair, things outstay their welcome, and such pacing inconsistencies challenge engagement value, not unlike the tonal unevenness. The film opens with a sance sequence that is so cloyingly scored, overacted and lamely written that it, quite frankly, is rather embarrassing, and after that, the level of cheese takes a serious drop, yet it admittedly rarely, if ever truly dissipates, as certain missteps in dialogue or overblown aspects to humor distance, particularly when they break a certain relative seriousness through tonal inconsistencies that limit a sense of weight to this narrative. I don't suppose the inconsistencies in pacing and tone are as severe as I make them sound, being not much more glaring than the developmental shortcomings that you kind of get used to after a while, thanks to storytelling's and acting's shining a light on the color of this ensemble piece, yet those issues stand, and the more they stick around, the harder it gets to be to ignore how kind of overblown the telling of this story is, for although there's plenty of intrigue to the idea behind this pseudo-thriller, it's natural shortcomings that really hold this thing back. There's only so much momentum and sense of consequence to this not-so lighthearted fluff piece, and while the entertainment value is there, it can't quite make the final product all that memorable, through all the inconsistencies. Consequential shortcomings are almost as recurring as natural shortcomings, but just as recurring as anything are the strengths, of which there are enough to sustain a decent amount of entertainment value, with the help of lively score work.At least notable as the meeting between two legends of the offscreen aspects of filmmaking, this film sees Alfred Hitchcock employing the great John Williams to compose a score that isn't all that special, is formulaic, and isn't even all that prominently used on the whole in this mostly unmusical film, but it's most certainly rich with much of that classic John Williams color, which, while subtle, helps sustain liveliness, when actually played upon, that is. Needless to say, more recurring than the score work in this ensemble piece is, of course, the ensemble of performers, for although Barbara Harris, maybe even a few other people, gets carried away with some of the film's more cheesy material (Like I said, that opening sance scene is a bit of a challenge), most everyone in this perhaps overblown cast charms, with the leads nailing their morally questionable characters' sleaze with enough realization to help win you over, despite expository shortcomings. As with many of your trademark dark comedies, this film is driven by thoroughly flawed and often unredeemed characters, and in order to sell them as driving forces in this ensemble piece, it needs the charismatic performances that are found just about across the board in this heathily sizable collection of talents, and might also require some inspiration to writing. Ernest Lehman's script is perhaps the relative weakest aspect of the film, as it bloats its interpretation of a somewhat thin story concept with uneven pacing, while limiting development and control on tonal dynamicity, however limited, yet Lehman still delivers on plenty of wit to dialogue, as well as humor that is never broad enough to be riotous, but still amuses, to some extent, time and again. Cleverness is pretty prominent through the script's dialogue and subtle humor, but also applies to the handling of this narrative, which is dramatically thin, yet tells an interesting tale about several people's varying investigative takes on a case involving a dark family secret, sold in no small part by the colorful acting, scripting and direction. Not counting the ultimately unfinished "The Short Night", this film marked the final project by the legendary Alfred Hitchcock, and no, it's not a terribly worth testament to the late, great filmmakers groundbreaking abilities, yet Hitchcock's direction still carries the final product's engagement value, however limited, as much as anything, framing the film evenly enough to immerse you into the setting of the film, if not immerse you into a degree of intensity, while utilizing a certain steady pacing that, while a little too limp on occasion, thoughtfully soaks up the subtleties that make the film so interesting in so many places. Alas, were the film a little more comfortable in its storytelling, it would have bordered on rewarding, and if the story was a little meatier on top of that, then the final product would have gripped as a grand finale in Hitchcock's career, yet Hitchcock, joined by a team of other talented filmmakers, holds enough of your attention with entertainment value, if not tension, to keep you going, at least up to a point.When it's all done and buried, limitations in development and an excess in material beget focal inconsistencies in this ensemble piece, while cheesy occasions and a hint of tonal inconsistency reflect the plot's being kind of thin secure the final product as rather underwhelming, but a colorful score, charismatic performances, clever writing and a reasonably well-structured final directorial performance by the late, great Alfred Hitchcock dig up enough intrigue to endear you to "Family Plot" as a serviceably entertaining affair, improvable as Hitchcock's grand finale though it may be.2.5/5 - Fair

Crystal S (ag) wrote: my kids LOVE this movie!!! So beautiful and tragic.

Jordan K (es) wrote: Amazing cop drama that has more to with character than plot - well done....

Isaac S (de) wrote: A film with werewolves and vampires at war with one another? Yes... but this isn't Twilight. Oh, no. 'Underworld' packs silly, yet great bloody action, a surprising amount of character depth and Kate Beckinsale. I can't really call the film a "guilty pleasure" because it's actually a good film.