Young couple Carla (Maestro) and Martin (Leroux) are abducted by three men and spend a terrifying night in Caracas as they wait for Carla's father (Blades) to hand over the ransom. . You can read more in Google, Youtube, Wiki
Young couple Carla (Maestro) and Martin (Leroux) are abducted by three men and spend a terrifying night in Caracas as they wait for Carla's father (Blades) to hand over the ransom
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Jeffrey N (gb) wrote: Very impressive version of "The Spectre," right down to the 70's theme, the fake grittiness of "film" and the content straight out of the old comic. Nice.
Frances H (br) wrote: Hilariously funny political/spy thriller satire, well acted by stellar cast.
Carl W (br) wrote: Edie Sedgwick she is not...
Kristen K (au) wrote: Those shorts are terrifying! This movie was unappreciated methinks.
Brandon M (es) wrote: While I must say I enjoyed this movie as a kid, time has not been kind to Lou Ferrigno's acting job in this one. This one is still alot of fun in a 'so bad it's good' kind of way, as you'll find yourself busting at the seams everytime Big Lou looks directly into the camera and grunts some corny, almost unintelligible line. A typical Canon production, but that's not necessarily a bad thing.
Joseph C (es) wrote: A first for British film company Working Title and an early work from the great Daniel Day-Lewis. This film as it is the first of many to be produced by the film company Working Title makes it important within British cinema. However this film not only is it important to british cinema but also to Britain as it faces some key elements within society such as race, sexuality, and politics.
Glenn C (br) wrote: Island At The Top Of The World is a seemingly forgotten Disney live-action classic. It was directed by one of Disney's most profitable filmmakers, Robert Stevenson. The film is one of the last he made for the company and tells the adventure of a millionaire's search for his lost son. He enlists the help of an American researcher/adventurer and together they set off in a zeppelin towards the arctic following the son's trail. The search turns into high adventure when a lost civilisation is found on an undiscovered island. It's a wonderful adventure with a very Jules Verne-esque flavour. What I love most about this movie is it's special fx. Made in 1972, it makes use of matted back drops, chroma key and miniature models which give the story a fantastical aesthetic. Given that this discovered world is new to the characters, it adds to the viewers sense of discovery when it all looks so foreign. A well made film that deserves a few runs on a Saturday afternoon to introduce it to a new generation.
Joshua P (us) wrote: Remember the eating sequence, and the anti-hunting horse cruelty
Austin W (us) wrote: gata love thoes black in white monster movies
Carlos R (jp) wrote: One of the greatest superhero movies of all time. This movie really shows just how important it is to make the first film of an entire franchise phenomenal.
Guilherme N (us) wrote: Brilliant movie with lots of different subjects and thoughts, intelligent and deep, still worth seeing.
Maia T (fr) wrote: Great cast. Amazing ending!! Hilarious to watch
Paul Z (ag) wrote: Busting is a cop show encapsulated, purely episodic in structure as the two vice cop heroes team on various assorted cases, with unstable degrees of success. It's in keeping with the refreshing realism of this period in the film's genre, as it's exceedingly cynical, robustly indicating that crime does pay, and that the biggest criminals in society are dishonest politicians and businessmen who will never be penalized. Were the production not as befuddled and awkward, this rather poorly titled actioner could easily rank among the two French Connections, Bullitt and the Dirty Harry series. Against an abrasive cityscape of backstreets and littered alleyways, Elliott Gould and Robert Blake star as vagabond vice squad detectives, the type who in actuality set the judicial system back decades. Elliott Gould, the tall one, incessantly chews bubble gum, ambles somewhat hunched and talks in the manner of someone fashioning himself on the star of an Elliott Gould movie, which is awesome. Robert Blake, an unlit cigarette inexplicably hanging from his lips, behaves like a guy who wishes he were tall and realizes he never will be. It doesn't trouble him, though it makes him a bit less compromising than most guys. Gould and Blake inhabit their work lock, stock and barrel. They consume most of their time apprehending people who are more of a perceived threat to society than a real one: call girls, massage parlor staff and gay bar regulars. It's simply what they do to keep the wheels turning, like road cleaners. It's one of the existential quirks of Busting that when the vice boys do get mixed up in their work, when they find themselves pursuing the Mr. Big accountable for the considerable multi-million-dollar L.A. rackets in addition to the trivial ones, they get thumped, both by the crooks and by their Police Department superiors who may, it would seem, stand for the posture of the society whose protectors they are: The action sooner or later gets around to charging Allen Garfield, cast as a local peer of the realm, with practically all illegal goings-on in town. Garfield, as ever an exceptional actor, brings poise and a sense of being wholly together to the role. As bemused as the Philip Marlowe Gould interpreted a year before in Altman's brilling Long Goodbye, this 1974 film was the first film by Hyams. His aptitude as a director is more apparent in this film than in any other he's done perhaps, especially in the visual highlights and in the performances. I have an idea that that the qualities of Gould and Blake, instead of the screenplay, are answerable for the distinctness provided the roles. They try a bit too hard for idiosyncrasy and funny habit, nonetheless they're effective at establishing particular characters. Hyams engineered something of an achievement by crafting a rough cop film sans taking advantage of the right-wing scorn that warns us all to arm ourselves. I.e., it recognizes that when cops and robbers are firing guns at each other in open places, the lookers-on aren't impervious to the bullets. When Gould and Blake chase some heroin pushers through a supermarket in a continuous gunfight, the movie shares the panic of the bystanders to the extent that it does the tension of the pursuit. It's this plane of alertness that secedes this possibly pioneering buddy cop picture from the subsequent second-hand goods in marketeering mockery of the genre that was given that healthy dose of gritty reality in the 1970s, not only by transcendent pictures like The French Connection and classics like Dirty Harry, but even bargains like Busting.