Magazine reporter, Jonathan Fisher, in danger of losing his job, promises to write a hard-hitting story on prostitution. When no one on the street will talk to him, he fabricates a story of a pimp that's so well-received it puts his career back on track. . You can read more in Google, Youtube, Wiki
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Ian R (us) wrote: Considering how unheard of this movie is (out side of Kenpo classes, apparently), I thought this film was pretty good. The story is a pretty standard Martial Arts movie story (I noticed a few shades of Bloodsport and Way of the Dragon in there, and could probably find more comparisons if I really tried) and pretty standard acting calibre for a Martial Arts movie (which is a not particular high calibre, if you're wondering). However, this film does deliver what a Martial Arts film needs: Incredible martial arts violence. It also had James Hong (you know him, even if you don't think you do, he's been in a lot of television and movies) and Professor Toru Tanaka (of 3 Ninjas fame). In the end, I found it to be an enjoyable martial arts film.
Sabir K (au) wrote: la vie se resume a 64 cases!
log G (us) wrote: i hear its really creepy
Harry W (ru) wrote: Considered a cult classic among fans of slasher films, Sleepaway Camp sounded like a good look back to the 80's. The entire intro scene to Sleepaway Camp is rather senseless. As two teenagers drive their motorboat aimlessly towards the shoreline as a boat capsizes in shallow water, none of the characters are capable of moving a few inches to get out of the way. This entire scene feels cheap and sets up a rather amateur film. Considering it is the only film director Robert Hiltzik would make for more than 20 years it's clear that he has limitations. The dialogue in the following scene immediately signifies that his writing skills are no greater. The eccentric Aunt Martha immediately discusses her children going away to camp, signifying their relationship and revealing to audiences that something is rather suspect. It's made worse due to the campy performance of Desiree Gould which is ridiculously over-the-top. The dialogue in the film is almost tongue-in-cheek with its cheap nature as if the director intentionally wants audiences to laugh at the slasher conventions. I'm not sure how intentional this was, but either way it gave a strange touch of camp to the film at many times without leaving me laughing. I certainly like the fact that the film doesn't take itself too seriously, but it can be a little too much of a B-movie for its own good.Of course, the value of Sleepaway Camp lies on how it uses the distinctive features of a slasher movie. The first victim of the murders is a bit player by the name of Owen Hughes, an actor whose only role has ever been Sleepaway Camp. After collapsing and scalding himself in water which leaves him with half-assed burns captured with rather cheap makeup, he spends the rest of his role screaming endlessly. This scene supports the possibly intentional comedic touch of the film, but there is little in the way of thrills there. Being a low-budget production, Sleepaway Camp is able to make effective use of its location with a genuine feeling of isolation in its setting and production values solid enough to depict the many kills well enough. There is not too much blood and gore in the film and there are certain sequences which feel rather cheap in this regard, but the majority of it is quality enough to pass. However, there is really no tensity in the experience due to its tonal imbalance. The film doesn't take itself seriously so viewers are even less likely to, but a slasher film is clearly meant to have atmosphere of some kind. With Sleepaway Camp, there is really minimal largely due to the fact that the tonal inconsistency sets the mood as being too light and the acting, sound editing and musical score fails to achieve any real tension. The musical score is an odd mix of tunes. One moment the music is too subtle and repetitive, the next it's screeching at a painfully high pitch and loud volume which just makes it a tedious experience. This means the score is composed of predominantly awkward sounds which are never really consistent in any way, shape or form.Succumbing to the character limitations of slasher films, the characters in Sleepaway Camp are all careless teenage archetypes, few of whom are all that likable. In a sense this means the viewer is more likely to take joy in seeing the characters get killed, but the more annoying ones can be a challenge to tolerate while they're alive. Some of the characters have pretentious freakouts for random reasons. The most notable of all is Meg, played by Katherine Kahmi. Her monotonous but gradually loud cries are laughable in banality, and when she pretends to be murdered it seems like she is feigning an orgasm. And then there's Mike Kellin who has the natural persona of someone from an old cowboy movie and uses his gruffy voice to retain dramatic pretention, most notably in scenes where he delivers monologues in mimicry of some kind of half-assed Christopher Walken impression. And Karen Fields is incredibly repetitive and campy like someone out of a John Waters film with the face of the Grinch's young Caucasian daughter. The standard for acting in Sleepaway Camp is minimal with the characters not being old enough to hide their limitations behind nudity. However, Felissa Rose delivers a decent performance. It's heavily implied the entire time that the killer is Angela Baker and many viewers are likely to come to this conclusion, yet despite going into Sleepaway Camp well aware of the killer's identity I still managed to appreciate Felissa Rose for managing to consistently maintain an introverted nature where she consistently seemed innocent and harmless before turning it all around with a terrifying facial expression which terrified me in my childhood and still to this day remains unforgettable. Felissa Rose's silence prevents her from succumbing to the cheap nature of the script and instead focuses predominantly on the physical side of things, conveying fear and some kind of underlying emotional trauma without overdoing it.For fans of slasher films, I'll admit that there is certainly creativity in the way the characters are killed. It isn't the same repetitive series of slice and dice this time around, there are a variety of ways they fall victim to the killer ranging from conventional stabbing and drowning to bee nests and curling irons. But what's more creative is the unpredictable nature of the film's ending. No matter who is responsible for the killings in Sleepaway Camp, there is no guessing the true identity of the killer until the ending rears its head. It's the kind of ending you never forget, one of the few things separating Sleepaway Camp from countless other slasher films.Sleepaway Camp offers some minor distinctions from within the slasher genre for the modicum of creativity within how kills are executed and the shocking twist ending, but it ultimately falls into generic slasher territory most of the time with little to offer outside of a tonal inconsistency.
Bill B (br) wrote: Okay, this was amusing at certain points, but it's more often than not just a bit disturbing how this crazy bitch played by Betsy Drake meets Cary Grant and decides that he's just perfect for her, regardless of his lack of interest in her.She contrives every opportunity to drag him into her clutches and enlists everyone he knows as well, it's kind of frustrating at most turnsWorth a rental.
Greg W (mx) wrote: good silent lloyd comedy
Leonard D (mx) wrote: It's Bio-Dome 2, that's what it is, only this time, Pauly Shore is Ashton Kutcher, and Stephen Baldwin is Sean William Scott! Comedic gold right!? Heh heh.....&^% YOU!!
Al H (mx) wrote: Maybe it's not the great movie but has a few good moments.
Matt D (it) wrote: Awesome, why didn't I see this movie when it came out on theaters?