Wanting to start a fresh, Katrine moves from the province into a dormitory in Copenhagen and enrolls at the University. But when she crosses conniving Sanne by getting together with Sanne's ex, all hell breaks loose. Sanne and her friends frighten Katrine with an old myth surrounding the ghost of a former resident. Yet the myth very soon becomes reality.
- Stars:Neel Rønholt, Mikkel Arendt, Julie R. Ølgaard, Mira Wanting, Jon Lange, Rikke Lylloff, Steen Stig Lommer, Tania Maria Odgaard, Rasmus Kjær Flensborg, Morten Brovn Jørgensen, Michael Grønnemose, Jos Gylling, Thomas Clausen, Peter Hald, Ask Hasselbalch,
- Director:Martin Barnewitz,
- Writer:Jannik Tai Mosholt
Wanting to start a fresh, Katrine moves from the province into a dormitory in Copenhagen and enrolls at the University. But when she crosses conniving Sanne by getting together with Sanne's... . You can read more in Google, Youtube, Wiki
Room 205 torrent reviews
(nl) wrote: A grim story that I could not turn away from. Javier Bardem is wonderful.
(fr) wrote: This would be a five-star rated movie if not for a few things in the movie that do not make much logical sense. However, Sunshine is still an awe-inspiring sci-fi film that has extremely beautiful visuals, great character development, and great performances from Cillian Murphy and Chris Evans. It has one of the wildest endings I've ever seen, and it wraps up the movie very well.
(kr) wrote: OK, so it isn't as good as Jurassic Park, but I liked its entertainment values. The Raptors and the Rex were obviously rubber like. I can't remember seeing any of the other Carnosaur movies, though this film is below average at best.
(au) wrote: Mortal Kombat is a guilty pleasure for sure. The story is OK, the acting is hammy and very over-the-top, and so packed full of silly jokes, and in-references that it is a joy to watch.Don't expect Citizen Kane with this.
(nl) wrote: Equus is a strange and challenging psychodrama that employs strange visual occurrences such as the pentimento effect and a boy who subjects himself to the relative experience of a domesticated horse. There is an extended full-frontal nude scene with two seventeen-year-olds. The crime at the heart of the story is blinding of six horses with a metal spike by one of the seventeen-year-olds, yes, the one who harnesses and whips himself to undergo what a human does to a horse. It is acted with sublime gravity by Richard Burton, Joan Plowright and Peter Firth. And Sidney Lumet tells this highly unusual and intensely deep story with his unerring directorial philosophy of concision, necessity and character fidelity. I said Equus is challenging and strange, but it's not challenging because it's strange, but because it revolves around the act of savagely brutalizing creatures so innately innocent, loyal and beautiful, in a way so tragic in its consequences for them, and yet it is done by the most unassuming youngster, actually one with an obsessive affinity for the creatures he comes to maim. It is a crime so disturbing and yet makes absolutely no apparent sense, even to Richard Burton's veteran psychiatrist, who has dedicated his life to helping and understanding children and teenagers. We begin to think it has something to do with the boy's upbringing. In a sheltered and smothering environment, as an only child on a farm, what enormity of doubt could be instilled in that growing mind when one loving parent reads to him daily from the Bible and the other loving parent disdains it? And yet his atheist father is so sheepish by nature, his deeply orthodox Christian mother so kind and civilized. She at one point urges that they've always shown love and caring for their only son and given him all they could, and desperately demands to be believed. What the hell happened in that stable? Or rather, what could've possibly led to it? It is such a deeply layered, bleakly filmed and painstakingly performed probing of a missing cause and devastating effect that the theme that seems most consistent at its core is purely juxtaposition. I mentioned the term "pentimento," and if you've seen Fred Zinnemann's great film Julia, you've heard the definition of it, how it describes the occurrence of one painting that in its alterations reveals another original painting underneath it. We find that every night for a long time, the boy had a drawing above his bed?of a horse. This drawing has been reworked from the initial drawing, one of Christ on the cross. And the eye of this juxtaposed horse is what sets off the boy's deep-seated reaction to crucified Jesus. Or is that what the eye sets off? What is it about this eye that the boy feels is staring at him all night, like it's alive, like it's judging him? The motif of juxtaposition continues its odd, omniscient thread to the psychiatrist himself. As Burton brings to light the realities beneath the boy's demons, he finds himself inexorably confronting his own. The questions he directly poses to us through soliloquy converge with those buried in his disturbed patient. Why do people do such extreme things at all? What is the purpose of preventing them from doing them? Well, because they can be horrible, cruel. I personally may not be able to revisit the tasteful and shocking scene where it is finally shown on screen what this kid did to these horses. I haven't even mentioned the elements of his sexual attraction to horses, the fact that his attraction to Jenny Agutter's character is directly linked to her contact with horses. Or that he and she run into his father outside a porn theater. But can there ever be a certain explanation for this boy? The fact that Burton must hypnotize him or give him a placebo he claims to be a truth pill in order to unearth most of the boy's story is an indication that even its first-hand source isn't reliable; he is shackled by such wildly contradictory impulses that he cannot help but do these things then later has such trouble facing them that he submerges the memories. And yet, the motif of juxtaposition yet again comes full circle, because all in all, this film belongs to Burton, it is his character's story, his to augment or diminish. As the psychiatrist, hampered with a hollow, discontented life of his own submissive doing, Burton has a mere six or seven scenes, from the play's staging, breaking the fourth wall. He bookends the film, and by Lumet's haunting closing shot (a sort of inverted version of his disquieting final long shot in Long Day's Journey Into Night), the camera punctuates the film by tightening not on the eyes of a horse, nor the eyes of Peter Firth, but on Richard Burton's. Encumbered by Lumet's somber, austere London atmosphere, Schaffer's story is an unprecedented and harrowing revelation of how many meaningful layers there are to a meaningless existence. Next time we hear about one person's shocking, unforgivable crime, we may not only say they deserve to go to prison for life or they deserve to die, but that maybe they endowed themselves with significance in the only way they knew how.
(ca) wrote: quality was like PRISONER CELL BLOCK H with good looking chicks and a bigger budget :)
(kr) wrote: Dreadful romantic comedy with an unpleasant premise, zero likable characters and shockingly few laughs. The Farrelly's humor flew in the early 90's but it doesn't work anymore.
(de) wrote: Although I was told Testament is the best of Fritz Lang's three Dr. Mabuse films, in my opinion, it's the worst in the series. Even Lang's late project 1000 Augen which combines early agent/spy film elements with his distinctive style had more appeal than the surprisingly unambitious Testament.Compared to the first entry of the series - the magnificent Dr. Mabuse, der Spieler - Testament lacks the scope and finesse of the first film - although it had all the possibilities of sound.Speaking of sound, compared to Lang's first sound film M, Testament is a step backwards with some really bad sound decisions that result annoying or misplaced sound effects.I also found the perfectly crazy Rudolf Klein-Rogge who reprises his role as Dr. Mabuse underused. Instead the main characters are Professor Baum, the director of the asylum where Mabuse is incarcerated, Kent, a totally useless character in my eyes who seems to only exist to include a love story (the other part of the couple is Wera Liessem as Lilli, who is just really really bad) and Kommissar Lohmann (Otto Wernicke in a role he already played in M) who is arguably the most interesting character in the movie.Dr. Mabuse films are mostly about the schemes of the main villains and although Testament is above-average compared to similar movies, we have all seen far better and more twisted movies.
(es) wrote: One of the most famous Buster Keaton feature films and one of the best. This is the tale of the mild mannered son of a steamboat captain caught between the rivalry between his father and a Mississippi steamboat captain. funny and even daring, with some memorable stunts that showcased Keaton's unique and daredevil style of slapstick, the film has an amazing dream like final sequence that is an astonishing piece of experimental and surrealist cinema.
(ca) wrote: Beautiful landscapes shot beautifully, tantalizing thoughts, and, of course, erotic, it's hard to see what more Mr Cronenberg could've done with the source material of "A Dangerous Method".
(mx) wrote: Superb film. Very dark and creepy.
(es) wrote: Elokuva kaksisuuntaista mielialahirit sairastavasta potilaasta (Richard Gere) ja hnen lkristn. Odotukset olivat korkealla, mutta leffa olikin tyypillist jenkkihapatusta...
(kr) wrote: One of my all-time favorites, never get tired of kicking back and watching it. Pure fun, and the epitome of a popcorn flick. Perfectly captures the essence of its time. The opening scene with "Wanted Dead or Alive" by Bon Jovi playing gets you so pumped, and I can't tell you how many times I've JUST watched the opening. Chelsea Field, whom plays Marlboro Man's (Johnson) love interest has always struck me as an underrated actress. Just flat out fun.
(ca) wrote: A A woman stuck in a time warp is a good thing in this movie starring +SallyField #actress #SallyField in #HELLOmyNAMEisDORIS .... delightful surprise with belly laughter. Doris reflects the innocence or naivety for someone who had a protected life and steps out to discover so many awesome things .... the older woman, younger man kinda detracts from the message, but makes it endearing also