Spy Hard

Spy Hard

The evil Gen. Rancor has his sights set on world domination, and only one man can stop him: Dick Steele, also known as Agent WD-40. Rancor needs to obtain a computer circuit for the missile that he is planning to fire, so Steele teams up with Veronique Ukrinsky, a KGB agent whose father designed the chip. Together they try to locate the evil mastermind's headquarters, where Veronique's father and several other hostages are being held.

  • Rating:
    4.00 out of 5
  • Length:81 minutes
  • Release:1996
  • Language:English,French,Spanish
  • Reference:Imdb
  • Keywords:rocket,   spy,   slapstick,  

The evil Gen. Rancor has his sights set on world domination, and only one man can stop him: Dick Steele, also known as Agent WD-40. Dick then teams up with scientist Prof. Ukrinsky's daughter Veronique, who happens to be a KGB agent. . You can read more in Google, Youtube, Wiki

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Spy Hard torrent reviews

Gregg D (ag) wrote: Other than a credible effort from Studio Climb Malaysia who designed the mechs and key backgrounds and storyboard artists dealing with a poorly directed film it's a waste of time. If you like big guns and explosions in lieu of a paper thin plot with one dimensional characters you'll love this latest feeding off of Well's classic that has nothing to do with the original novel (as in parallel universe crap). Steroid pumped character design, crudely animated and cliche dialog. Cheers!

Abhishek M (au) wrote: Good buzz .. cant understand why it dint work !!

Cleopatra K (nl) wrote: tutored by a tough talking, cigarette smoking kid with a pretty but damaged in some mysterious way, probably because she's trying to raise her kid in a jail that looks like 'the worst mall in the world'. Yawn.

Charles S (es) wrote: Decent, as good as any chinese swordsman flick I have watched lately, and at least THIS movie has a chance for love,...

Cameron J (fr) wrote: I'd imagine plenty of nerds would say that this isn't the only time the story behind Kurt Cobain's death has been fabricated, and quite frankly, I don't really care enough to add to that, and I don't think that this film helped, and it's supposed to make you think or something. The title to "Elephant" was too abstract for folks to get its relevance... which pertained to a drawing of an elephant on one of the shooter's room (Ah, so you did ignore the elephant in the room), and we never found out if the guys in "Gerry" were really named Gerry, but don't worry, because Gus Van Sant has finally decided to give up on subtlety and just call this film about a guy living out his last days "Last Days". It's a fitting end for the ironically also lazily titled "Death Trilogy"... unless, of course, you feel that the "Death Trilogy" is defined by its style, in which case, wouldn't "Paranoid Park" be part of a "Death Tetralogy"? This series is about as convoluted as it is oversimplified, because if it's not defined by its stupid abstractionist style, then it's still a tetralogy, because the remake of "Psycho" was also a story about death that was loosely inspired by notorious true events. No, I wouldn't even shame Gus Van Sant's "Psycho" by bunching it in with these films, and I would hope that the majority would agree with me, even if they didn't like Van Sant's "Psycho", but alas, people can get way too celebratory of "art" that actually doesn't do anything outside something different, as Kurt Cobain taught me. I guess that an abstract art film, even one that actively changes its focus' name and certain events surrounding its focus, is the proper way to interpret the story of Cobain's death, except where Cobain just made a bunch of noise, this film is too quiet for its own good. Yeah, forget Nirvana, and forget this film, although I must admit that Nirvana had their occasions, not unlike this film. A typically ethereally quiet drama, this film underplays its soundtrack, which, upon being played upon, delivers on some dynamic, yet consistently decent (Well, Michael Pitt's "The Day" is some nonsense) tunes and compositions that, on top of being aesthetically engaging, help in defining to tone of this very independent and abstractionist drama. Visual style is also a commendable, more recurrent aristic touch, for although Harris Savides' cinematography, while not quite as distinguished as it was in something like "Elephant", often gets to be flat with coloration and lighting, when it really shines on through, it all but immerses by celebrating distinguished environments and imagery. Just as it has throughout the "Death Trilogy", when style works in the context of substance, it's because of Gus Van Sant's directorial thoughtfulness, which is generally seriously detrimental to the cold final product, but with genuinely effective occasions that are near-hypnotic in their drawing on the heart of this minimalist drama. A loose interpretation of Kurt Cobain's falling into mental instability and eventually to death supposedly by his own hand, this film's subject matter is executed in a manner so thinned down that the final product borders on plotless, but there is a narrative, at least on paper, it's intriguing, with thematic and dramatic value as an intimate human portrait. What most endears you to the human depths of this film more than the storytelling is, of course, the acting, at least that of leading man Michael Pitt, whose performance isn't written too much less thinly than those of Pitt's peers, but is more challenging, crafting a role of a mentally unstable celebrity brought to a breaking point by pressure and addiction that Pitt sells every step of the way by nailing an awkward intensity, punctuated by some powerful, subtle dramatic notes that define the dramatic highlights of this generally flat opus. If the film aims to be subtle, I would at least hope that it would be as inspired as Pitt's performance, and yet, that's not to say that the final product is as unnerving as its predecessors, being a sloppy affair whose highlights shine brightly enough for the final product to all but achieve decency. Still, in the end, this is yet more misguided artistic ambition from Van Sant, and it viciously betrays worthy subject matter whose well is still admittedly limited by its own right. As I said, this film's story concept is pretty interesting, but it's not as though it's substantially less minimalist than its naturalist interpretation, being set within a relatively brief time frame and a relatively light scale as a character study whose conceptually minimalism doesn't even leave all that much room for exposition. Well, perhaps the film shouldn't be quite as underdeveloped as it ultimately is, for Gus Van Sant, as screenwriter, follows the tradition for the supposedly humanly intimate "Death Trilogy" of abandoning immediate character development and making the drama's expository value all the more frustrating by paying very, very little attention to gradual characterization within all of the aimless meditations. Really, this film's storytelling doesn't pay much attention to anything of substance, because as if the subject matter itself isn't thin enough, there's hardly any narrative focus to storytelling that ultimately places style over substance. I guess I'd be a little more willing to accept this overstylization if the style wasn't questionable enough to begin with, thriving on ethereal meditations on thematic meanderings, if not pure nothingness, until the film falls flat thematically and dramatically. Of course, if Van Sant does settle down the bloated overplay of his artistic license as a storyteller, he still never quite gets past all of the dragging, because even though the film only runs about 96 minutes, considering that substance is so thin, filler goes padded out to the point of an aimlessness which makes it about as difficult for viewers to focus on the direction of this drama as the narrative itself, while stiffening pacing that is ultimately all but brought to a halt by a cripplingly cold atmosphere. As if Van Sant doesn't shake momentum enough as screenwriter, as director, he really slows things down with a thoughtfulness that so very rarely has anything to draw upon with all of its subtlety, which is therefore predominantly nothing more than tediously dry and empty, and when Van Sant does pick up something to his directorial atmosphere, it's typically a sense of pretense. I don't know if the film feels as pretentious as "Gerry" or "Elephant", and that might be what makes the final product relatively superior, but this overblown artistic expression is still pretty demanding of your respect, while doing only so much to earn it, betraying potential, no matter how limited, with a questionably overwrought and tedious style that bores much more than it aesthetically impresses. Once the days run out, the final product finds itself driven by a fair soundtrack, handsome visual style, and highlights to direction and acting - especially by worthy leading man Michael Pitt - to the brink of decency, ultimately lost in the midst of natural shortcomings to reasonably worthy subject matter which is further thinned out by the developmental emptiness, unfocused storytelling, exhausting overstylization, aimless dragging and tediously cold, if not pretentious atmosphere which render Gus Van Sant's "Last Days" a fittingly misguided and mediocre conclusion to the "Death Trilogy". 2.25/5 - Mediocre

JFloyd3 W (es) wrote: 'Surf''s up' - & Up & UP in this intelligent & moving film (..want to get both your feet wet & your eyes) - it recounts surfing's earliest history, it's evolution in style & technique (both boards & boarders), ending with the guys who discovered (& invented) the most current BIG wave theory & practice - no girls.. yet !?!.. it makes one wish one rode - even the small waves.. after all only guys such as Laird Hamilton should ride the over 50 footers - or, for that matter, even over 10 to 20 footers (..well, a lot of experienced guys & gals can handle these - & bigger.. but the truly BIG ones ??).. I write more about surfing than film-making because this film is a very direct & 'clean' use of the medium.. probably the best 'Surf Film' out there * - I should know (at least film-wise)...* along w/ #2: 'Step into Liquid'

Tanja S (us) wrote: Milla + Nipples = 5 stars.

Grant S (ag) wrote: OK, but not great, Marx Brothers movie. Started off well enough. Set up was good, some good one-liners from Groucho and was quite coherent. Middle section had some great sight gags (anything involving the turkey, and Harpo being diagnosed by the doctor, especially). However, from a point it lost coherence and just got silly. Not ridiculously, unwatchably silly, but just mundane and not too funny.Overall, the jokes were weaker than their best, and even Groucho's famous wisecracks seemed weaker and fewer-and-further-between. Performances, given the material, are OK though. Lucille Ball is great in a supporting role, and not just for her acting... Good support too from Ann Miller and Frank Albertson. Certainly not in the same league as A Night At The Opera or Duck Soup, but reasonably entertaining nevertheless.

Bence L (mx) wrote: Oklahoma Ward takes what could have been a good, micro-budget shortfilm (allthough the camerawork looks at least 15 years outdated) and extends it to feature length by adding 80 minutes of people crawling trough tunnels while breathing heavily. There's nothing else there. Some of it is moody but you have to have ideas to do a movie. Ward doesn't have anything. Would love to have rated this higher, but this is pure nothing, I'm really sorry. (Well, okay, Nicole Alonso's ass looks fine).

Toni K (au) wrote: Eh. It was okay but wouldn't it just have been easier to watch the movie SPEED?

John B (ag) wrote: really enjoyed this movie and the message it brought along with great music

Carlos M (it) wrote: A mediocre CGI animation that was clearly conceived to please children and children only yet no one cared to make it remotely interesting for adults as well, offering a sub-par plot full of pedestrian jokes, annoying characters and silly pop references that get tired real fast.

Simon D (fr) wrote: Un unusually normal film for Werner Herzog; I guess he just wanted to show the world that German soldiers can be heroes too. The German who's story is told here is played by Welshman Christian Bale. The story is about a U.S. soldier who is captured by the north Vietnamese and put in a camp. From that point on the film is pretty minimal, but still ok, some good performances but in comparison to a lot of other true war stories, this is not spectacular.