Rupan sansei: Fûma ichizoku no inbô

Rupan sansei: Fûma ichizoku no inbô

Lupin and his gang are called to action when Goemon's fiancé is held hostage by a mysterious ninja clan.

Lupin and his gang are called to action when Goemon's fiancé is held hostage by a mysterious ninja clan. . You can read more in Google, Youtube, Wiki

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Rupan sansei: Fûma ichizoku no inbô torrent reviews

Luke A (ag) wrote: It was clever, but since it is aware of this trait, it led the movie downwards.

Heather M (it) wrote: Val Kilmer and 50 Cent - a combination that guarantees I don't watch it.

Ryan M (jp) wrote: I have seen quite a few complaints over the leisurely pace of the film, and I think one scene near the end of the film (don't worry, it's not really a spoiler, because there's no overarching plot to this one) can explain: There is a painting in a museum, a group of kids are studying it along with their teacher, who attempts to deconstruct the seemingly innocuous portrait of a young boy playing with a red balloon. Some may find a deep, hidden meaning behind it, other's may think it's just a simple picture, and the same applies with the film itself. There is a red balloon flying through Paris, a young kid called Simon pleads with the balloon to "go to him", but when it refuses, he simply moves on. This balloon will reappear throughout the film, but in the meantime, we focus on the simple everyday lives of Simon's family, which includes his mum Suzanne (a wonderfully energetic Juliette Binoche) and his new nanny Song, who is a budding filmmaker. I'll admit that Hou Hsiao Hsien's recent films are not easy to sit through, but for this one I was definitely up for it, and boy was I rewarded. There is a real lyricism with the images and hidden depths behind the actions of each character. For instance, a scene where Simon is preoccupied with filming Song while she's making Pancakes, when the red balloon appears outside the window, but he's too engrossed in the thought of pancakes to notice it. The balloon could mean anything: Faith, Innocence, Happiness e.t.c. But Simon is too busy coming to grips with technology to revel in simple bliss. Couple this with a scene where Simon visits his mum's workplace (A Puppet Theatre, where she provides the voices for the character's with a lot of passion). He arrives through the back door, and the camera first focuses on the show being performed, before venturing behind to focus on the puppeteers, then showing Simon with Song, deconstructing the magic of Theatre. For me, it shows how quickly children are becoming desensitised to the notion of "magic" in real life, preferring technological advancements to simple pleasures. Couple this with references to Song's ability to delete a person out of a frame with her sophisticated video, meanwhile Suzanne's ancient 8mm camera can't even record sound. The entire film could be an allegory for the development of filmmaker's too intent on technology to tell their stories as opposed to presenting real life as it is. I could be talking absolute bullshit, or I could have hit the nail on the head. The wonderful thing about this film is, there's no definite answer. It's all about perspective.

ALVARO G (gb) wrote: ENTRETENIDA PELICULA

Vig S (kr) wrote: A teen kills himself and his friends have to find out why (pretty much). One of the not-so-great teen flicks of the 80's, which isn't as memorable as some of the greats. It's jussed missed the mark, through a poorly written script.

Michael W (ru) wrote: Panic in the Streets is an ambitious film noir from acclaimed director Elia Kazan. At heart, this film is more than noir. It touches upon the distinct genres of the classic paranoia, disaster, and epidemic films. When a man that is carrying a form of the plague is killed, health worker Clint Reed (Richard Widmark) and police captain Tom Warren (Paul Douglas) have the dubious task of tracking down the man (or men) who killed him in 48 hours. Kazan captures this films tension almost perfectly. There's a sense of heated tension between the new partners Reed and Warren, for example. Thanks to Richard Widmark's great performance it comes off as convincing as can be. Tension is evident everywhere in the film. From Reed's own home to the low life thugs like Blackie (Jack Palance) who are dealing with their own problems thanks to the plague. This, in my opinion, helps the viewer become far more entangled in the sprawling story and process. There's a lot going on here making for a roller coaster detective thrill ride.Panic in the Streets is a one of a kind film noir. Set in New Orleans and using a fair share of amateur actors that were New Orleans natives, Panic in the Streets has a sense of unrivaled realism. Kazan masterfully lays out the story in front of your eyes. This is the first Kazan film I have seen and even on the first viewing I can tell he knows exactly what he wanted and what he was doing. I've always loved film noir and have always loved films that deal with a group of people (or a city) dealing with some sort of threat of an epidemic or disaster. I always think that it's interesting to see how different people react and deal with a situation. This is greatly touched upon within the film. The mayor worries about his reputation the immediate population while Reed worries about the country, and on a larger scale, the world. The combination of these two genres with Richard Widmark leading the way on screen was essentially heaven to me. It's a must see for all fans of film alike.

Sarah E (es) wrote: It was a lovely magical performance film :) very lovely story line between the characters it was interesting if you like performance, art and acting this film is for you

Tim R (fr) wrote: My only complaint is that it was slightly odd how they assigned British accents... A decent war flick though.

Mago B (fr) wrote: Un impresionante juego de ajedrez donde la doble moralidad siempre est presente, y donde la construccin coral de los personajes es soberbia.

Tiger L (kr) wrote: A funny romantic comedy

Anthony B (us) wrote: Terrible film can't put into words how bad this film is