Sex and Fury

Sex and Fury

Sex & Fury chronicles Ocho's exploits as she searches for her father's killers, each identified by unique tattoos on their backs (a deer, a boar, and a butterfly). Along the way, she also crosses paths with Shonusuke, a radical set on murdering prominent politician Kurokawa and Christina, an American spy posing as a gambler.

Reiko Ike stars as Ocho, a gambler and pickpocket in Meiji Era Tokyo. After sheltering a fleeing anarchist, Ocho runs into the three gangsters responsible for her father's murder, and runs ... . You can read more in Google, Youtube, Wiki

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Download   Sex and FuryOther4127700.27 MB
Download   Sex & Fury 1973 [Christina Lindberg] SWESUB [h264 ac3 mkv]Other3136669.46 MB
Download   Sex And Fury 1973 DVDRip XviD AC3 SUBBED-RARBGDVDRip45441.37 GB
Download   Sex and Fury - Furyô anego denOther4751700.19 MB
Download   Furyô anego den: Inoshika Ochô aka Sex And FuryOther32274 GB
Download   Snow Men 2010 DVD RIP JDDVDRip32451.1 GB

Sex and Fury torrent reviews

Brian C (gb) wrote: By no means a great movie, but it was entertaining and interesting. Not sure the science behind it all holds together very well or not, but it was fun anyway. All hail Dark Matter Man.

d h (de) wrote: If you've never read Shakespeare because you think it's difficult, this movie is for you. If you are well acquainted with the Bard and are looking for useful ruminations on his art, this movie is NOT for you.

Ross L (au) wrote: Cheesy scifi... sweet. The actual ideas in this film are interesting and should be fleshed out morel and Mick Jagger should have been in more movies. It's weird to see a futuristic movies set in our past 2009.2011 movies: 16

Shaikha A (au) wrote: Like all artists, filmmakers have a unique set of tools at their disposal; cameras, lenses, lights, microphones and music. They use these tools to tell their story or set a scene. The director David Lynch has the same tools as everybody else but Lynch manipulates more than just these physical instruments; he uses the expectations of the viewer as a tool. He wields expectation, the expectation that comes from what we know about film, and our humanity with the same nuanced and power as someone else might use light to create a variety of moods in a space. Betty has come to Hollywood, bright eyed and bushy tailed, to be a movie star. She is staying at her aunt's house where she discovers Rita, a woman who has been in a car accident and has lost all her memory. Betty does not seem to be a character with much internal depth or darkness. Her flatness of effect is even parodied in her very first scene in the airport where the dialogue is clearly overdubbed and fake. Her blind kindness makes her vulnerable to exploitation. For instance, she does not seem to care that a stranger is living in her aunt's house. In the audition scene, Betty tries out for a part in a small movie called the Sylvia North Story. The scene occurs about halfway through the film. Our expectations for the audition have already been set up by much of what we have witnessed leading up to the scene. Coming up to the audition scene the audience members are somewhat invested in betty's success, a basic expectation for any protagonist, but they are wary of some danger that may be in store because of her innocence and we have little or no expectation that she will impress with her actin skills. At this point the audience has already seen the scene played out earlier in the house as a practice round with Betty and Rita. In the first reading, the scene is revealed to be trite and the dialogue clichd and melodramatic. Betty's character rebukes her father's friend who is trying to seduce her for the second time it seems. She moves closer and closer as her threats become sterner. The Betty and Rita cannot finish the scene without laughing at the dramatic quality of the script. A universe of expectation has been laid out for the viewer and these expectations will work as a trap. Everything in the audition rooms seems to reinforce what we already think. The people are really stiff, Betty's reading partner is orange and looks like he has been getting too much sun, and the director is absent minded and laughable. When the scene begins, and Betty's reading partner pulls her in closer, what triggers first is our awareness of how vulnerable she is. When she pushes him away, the audience members do not know if she is reacting as herself or as the character. Then Woody moves to put his hands below Betty's waist and a transformation that is so sudden takes place. The transformation is so sudden that the viewer experiences whiplash. The audience members are lured into engaging emotionally with the scene when Lynch triggers our expectation that Betty might be exploited the viewers have dropped their guard and then they are left in awe because it is not like what they have expected based on the earlier seen where Betty and Rita were practicing. Another instance, where Lynch utilized our expectations is in the beginning of the movie. Near the beginning of the film in Diane's apartment, it almost looks and sounds as if someone smoking cocaine. The film then pans across to Diane's red pillow, this is one of the many hints and references to dreams that the audience will receive during the film indicating that some of what the audience will be watching would be an illusion. Diane is experiencing a drug-induced stupor, where she dreams that for once, things go her way. She both gets the girl and the career she always wanted. When Diane wakes up, towards the end of the film, she is clearly depressed and then kills herself after her neighbor tells her that there are detectives looking for her. By showing these scene, lynch has provided the audience with knowledge of the main character prior to the movie so that the audiences expectations could be formulated. After he allows the audience to formulate expectations, he catches them off guard and surprises them with a plot twist. All throughout the film from the overdubbed dialogue, David Lynch has made us privy to the veneer of things. It is all curiously two-dimensional and that puts the viewers on guard since surfaces are all they get. Lynch encourages the audience to examine those surfaces but always remaining detached enough for a disinterested critical view of what they are seeing. However, this two-dimensionality and flatness is also a deception. While the viewers think they are on their guard, superior to the cloying emotions of Hollywood wish fulfillment, Lynch relishes dropping the bottom out, showing the viewers just how unprepared and susceptible they are to emotions. Not content with the dreams that Hollywood has been feeding us, Lynch utilizes clichd expectation to move us into the spaces films have yet to go, showing us the dangers and the hopes of believing.

Angela G (it) wrote: Would have been a good movie if not for the lack of acting, bad editing, and confusing storyline.