A group of reporters are covering the unveiling of a new facility that is completely maintained by robot prototypes. When one of the robots goes haywire, the reporters find themselves not just reporting on the malfunction, but fighting for their lives.
- Stars:Zoe Naylor, Graham Sibley, Edward Foy, Lani John Tupu, Jourdan Lee, Karina Sindicich, Peer Metze, Tonya Cornelisse, Bjorn Turmann, Remesh Panicker, Nelson Chia, Reese Chia, Renee Chia, Madduma Patabendige Chrishan, Tim Cooper,
- Country:Singapore, USA
- Director:Christopher Hatton,
- Writer:Christopher Hatton
A group of reporters are covering the unveiling of a new facility that is completely maintained by robot prototypes. When one of the robots goes haywire, the reporters find themselves not ... . You can read more in Google, Youtube, Wiki
Robotropolis torrent reviews
(ca) wrote: I watched this at the 2011 Thessaloniki Film Festival, and it was definitely among the best films I watched. The gentleman sitting next to me made it clear he wanted to sleep with me after the movie was over, but I'm just too nice and pure to do that. *cough*Anyway, I digress big time. I really enjoyed this film - even though the topic has been done before, it managed to be gripping and surprising, with twists and turns. The performances and characters were wonderful and it's unfortunate this hasn't received the popularity it deserves. A great-quality psychological thriller in an era when we don't get to see that often.
(gb) wrote: No, "Pray the Devil Back to Hell" is not the title of Wes Craven's latest film. Rather, it is a documentary where the horrors are all too real in the brutal Liberian Civil War, started in 1989 to oust tyrannical President Charles Taylor by force. Both sides commit atrocities which include the raping of women and conscripting of child soldiers. Tired of suffering and watching their children die of malnutrition, in 2003 the women of Liberia organize the Christian Women's Peace Initiative, joining with Muslim women in a momentous display of unity. They practice peaceful protests to get the attention of Taylor. After that, the women deploy their own nuclear option, a sex strike to further get the attention of the men who they feel are guilty by either commission or omission. These actions eventually lead to Taylor going into exile and the election of Ellen Johnson Sirleaf, the first woman elected as president in Africa. In the end, while the documentary may occasionally lose its focus, it never loses its power in showing a bad peace can be better than a war.
(ag) wrote: 8/8/15 Cinema NowThis is a warm, beautiful and telling story of the horror and absurdity of war. The soldiers who fight it and die and suffer in it and the out of touch leaders who prosecute it but remain safe and far removed from the reality of it. This is a touching story made all the better because it is based on actual events on Christmas Eve, 1914.
(gb) wrote: This social comedy is written by a couple. I would highly recommend it to couples or those who are no strangers to a serious relationship. The other side of the fence is greener...not really until you are on the both sides. It's an independent film only released in 4 states. However, it's as intelligent, funny, witty and well casted as those mainstream Hollywood films.I am satisfied to see Ed and Alice are not out-of-sync by too much throughout the film.
(au) wrote: "Women dressed as men dressed as women", let the laughs begin!
(es) wrote: I can't help it. This one had close goodness to the first one and may not have had the more focused storyline, but this younger version of a prequel worked well for me and hurt when I laughed at it's stupidity. It's a good companion to Dumb and Dumber. If you liked the first one, you'd probably enjoy this one.
(it) wrote: Interesting. Not a fantastic movie but not bad either. Would probably benefit from bit of an edit to tighten things up.
(es) wrote: Those that have enjoyed Lukas Moodysson's most recent film We Are the Best, may find a lot to relish in this earlier effort. Show Me Love is a more modest and unpolished effort, but like We Are the Best it rings strongest in it's sense of authenticity, and for it's understanding of the teenage zeitgeist. Really interesting sound track too, as name another film that utilizes both Euro-punk bands and American dancehall one-hit wonders in the way this film does.
(kr) wrote: It's obvious what it's trying to be (Stepford Wives, Village of the Damned, etc.) but it falls far short with follies such as over-acting, under-acting and various over-used clichs.
(de) wrote: The "Island of Greed" (Taiwan) is flooded with "Black Gold" (dirty money). Leung plays the mob boss trying to get into politics, Lau plays his police adversary. As one would expect, an army of dogs is released on Lau and his teammates when they assault a tea plantation. And of course, gangs of taxi drivers riot with flames a plenty. Some good action, but too long. Nominated for Best Action Choreography, lost to "Downtown Torpedoes".
(gb) wrote: exelent little british comady you may have missed as its a few years old now, did well for catherine zeta jones and should have helped sean pertwee get better roles as he acted very well as the lead. go buy the dvd or blu-ray , you will not be sorry.
(es) wrote: Clownhouse is an awful movie but it's so creepy and unintentionally funny I can't help enjoying it.
(ca) wrote: Originally intended to be one of three episodes in a full-length feature, Simon of the Desert is a fantastic stand-alone about a man's extraordinary asceticism and the equally extraordinary pull of life on the devil's playground. After watching the documentary on the Criterion Collection DVD of this film, it seems that many critics saw only the taunting, spiteful version of director Bunuel's vision, where it was stated by people around him at the time that he found St. Simon Stylites, a man who stood on a pillar for a great swath of time doing devotionals as well as dispensing religious advice and blessings on those below, to be somewhat remarkable for living as he did. Never the less, the idea that he could end up in a dicotheque with the devil by film's end was too funny for Bunuel to pass-up. It is, indeed, one of the most toothsome endings to a film I have seen. As with the full-length Viridiana, where a famous tableau satirizes the last supper (portrait and event, in my estimation), as well as the idea of religion as a tool to renew the poor and depraved, Simon of the Desert has Bunuel teasing the religious background he grew up with as silly and overserious. There isn't great warmth in Bunuel's work--the statement is central, emotional appeal peripheral, something that one of his Spanish film successors, Pedro Almodovar, pops in and out of as he discusses not religion, but gender, especially in his most recent "The Skin I Live In"--but Simon of the Desert is a rather playful artistic statement that perhaps our material world is good enough without having to toil over matters of the spiritual.
(fr) wrote: Ingrid Pitt with your lovely blue nightgown you save the day. Even if we are teased with that lovely, deep bathtub, you sponge yourself in the blood of the innocent. A stand up shower. A whore's bath. Hardly the stuff of horror. Or maybe all the more chilling given the transformative power of that spilled blood. The old age prosthetic you are forced to endure, add warts and moles and sagging angles to your perfect nose and bright eyes. Still you captivate with your sheer stubbornness. Other than you, only Nigel Green chews more scenery and gives a hilariously nuanced performance as the long suffering Dobi (a prototype for the sock freed house elf?). A very immediate and abrupt end to the picture does not offer any satisfaction or resolution, other than hint of JUSTICE! Still considering the Inquisition movies that Hammer was making at the same time as this, I would have thought a better ending might have been possible. Oh well.
(us) wrote: Part action thriller and part coming-of-age drama, Hanna sounds like a film that shouldn't work, which makes it all the more refreshing and surprising that it actually does. Those two storytelling types couldn't be more different, but the way Joe Wright manages to blend them together in this film is quite fascinating, and makes for a rather compelling story. In a way, it's also very dreamlike: between the plot with hints of fairy tale elements and the European settings that often fell secluded, the film has a very unique flair that not many other films have captured. Wright captures the action smoothly, with a standout sequence being a single take tracking shot and eventual fight scene with Eric Bana's character. The strongest point of Hanna is, well, Hanna herself, played by Saoirse Ronan. Seventeen-year-old Ronan completely holds the film on her shoulders, and balances the "hardened assassin" side and the "girl learning of the world for the first time" side of her character perfectly. Cate Blanchett is also fantastic as the antagonist, a kind of role she doesn't seem to play often enough. She's ruthless, and completely fun as a result. There's not anything else quite like this one: Hanna is truly unique.
(au) wrote: my little boy has cerebral palsy and he not in to the normal films so this was fab finally having a film he would watch all the way through ..the only thing i would have liked is the postman pat theme tune at the start how it is normally done.
(mx) wrote: This is when Walter Hill really started sucking out loud as a director. Just this cast list alone could have made this an instant early 90's action classic. Turns out...not so much. Too much stupid over acting and arguing, nothing here feels serious. It all feels like a really stupid live action cartoon for the most part. The two blue collar, working man stereotypes are played by Paxton and Sadler. I feel like sadler was way too over the top and stupid for the most part. Paxton is a giant pussy through the whole film and if you loved him in Weird Science or Aliens or Near Dark...you will be let down greatly.The rest of the black actors suffer from that really awful early 90's over the top rap look ugh! Ice T doesn't help things with his ridiculous pimp outfit. Ice Cube seems like he wanted to just walk off the the set, and probably had ideas for his character that were ignored. He seemed very pissed off because his character for the most part was a joke. Ice Cube turned out to be a better actor than this shitfest gave him credit for. I'm sorry but if you honestly think this is a "good" Walter Hill film, I suggest you check out things like Southern Comfort,Hard Times and even his newest work Bullet To The Head. Then tell me if this turdfest really stands the test of time,after watching his better films. He must of agreed because he never tried to make another film like this again. Walter Hill's urban crime films have been extremely cartoonish. The warriors worked on a comic book,cheesy action kinda way and I love that film. Both 48 hours were tongue in cheek comedy that were clever and entertaining. Trespass on the other times seems like a very old out of touch man trying to let you know how white and black people are different. He makes all the black gang members extremely dumb and stereotypical and just flat out ridiculous. Other urban gang films were coming out at the time that were just above brilliant, and were made by actual black people! Hill is one of my all time favorite directors but if I were to pick on a big fat zit in his career...it would have to be Trespass.
(ca) wrote: I did my best to keep my expectations down because I literally knew nothing about this movie going in other than director and stars. It captivated me early because it has Hitchcock's amazing eye for shot selection and some superb music to keep things tense. Those things are what made Vertigo appealing throughout.I struggled with Jimmy Stewart's character in this film. I thought he was set up as a fairly noble guy and I liked him. However as the movie progresses he gradually becomes more and more creepy. It was bad enough when he's undressing and making out with another man's wife, but that final act with the clothes and hair obsession had me squirming in my seat.I also had difficulty with the romance in Vertigo. It's a problem I often have with movie love affairs, because I don't see enough build-up for these two people to claim they are in love. I was still trying to get over this guy kissing a friend's wife and the next thing I know he's confessing his love for her? It was tough for me to accept.The softening of the romantic blow came through the plot. That's where Vertigo really shines. I was delighted by the mystery because I so desperately wanted to discover what was going on. I longed for a real explanation and yet I kept wondering if it was actually something mystical that was driving the story. The first reveal of the truth was a true shocking moment for me and suddenly I was totally amazed how they fooled me. The fact that they had to insert a scene explaining it all in words right after the visual explanation felt a bit forced, but maybe they're just trying to cater to the people who can't put the pieces together on their own.The third act was probably the weakest part of Vertigo. It felt like the movie was rambling after the reveal and dragging things out so long when I was just waiting for it all to finally hit the fan. Then the final moments were intense and uncomfortable. I was back on board and anxiously awaiting the dramatic conclusion. When it came it was so sudden, and odd that I wasn't ready for it and almost said "Wait, that's it?"I didn't love Vertigo. There are other Hitchcock films that are much more effective for me. However, there were elements of genius that I connected with in this film. The mystery gripped me, the visuals were stunning, the score was intense, and the acting was great. I doubt I'll revisit Vertigo, unlike my preferred Hitchcock movies, but I can recognize it's a very well-made film.
(au) wrote: Jane Birkin looking proper and a great soundtrack by George Harrison. The film itself, well it looks and sounds alright