You may also like
Terror on Tape torrent reviews
William H (ru) wrote: Zombeavers is the greatest self-aware bad movie of the last few years (and yes, I'm taking into consideration Sharknado). There's shockingly a lot of creativity and genre-diversion in this flick, and the meta comedy is more hit than miss. It's not the next Troll 2/ The Room/ Birdemic, but I can see this becoming a cult classic in a few years time.
Mloy X (de) wrote: James Granger (Matt Damon): Stop, stop. Stop. I seem to have stepped on a land mine... of some sort.Frank Stokes (George Clooney): Why d'you do something like that?James Granger (Matt Damon): It was a slow day.Frank Stokes (George Clooney): Well, I wouldn't move.James Granger (Matt Damon): I'd like to at some point.This was a really cool film. It was awesome that some people valued art enough to join the U.S. Military in order to save some priceless works of art. The ensemble was great; normally, I'm not a fan of Clooney, but he was really good in this one. Damon, Murray and Goodman were great too but my favorite was Bob Balaban- he was just the awesomest!!! Overall, interesting story and a really nice art lesson to boot.
RajanSatish P (ag) wrote: Good Movie to watch ,,, Man they made use of the producer's wallet and travelled the most beautiful locations in the world : )
Li K (es) wrote: I think I'm going to need to do some reflecting on this one to fully absorb it, and will certainly need to watch it again more awake, but I enjoyed the premise, and contrary to the critics enjoyed the execution. There were a multitude of brilliant lines. I think, the part I need to reflect on, is that I didn't find a great deal of humor in the comedic spin on things, and I haven't decided if that's proving its entire point about subconscious perspective making all the difference between comedy and tragedy, or if there was something lacking in the definition of comedy.
Dennis F (fr) wrote: What the hell did I just see type of movie.
Hugo G (ca) wrote: 5.0/10 I was really hoping this movie would be either very gruesome or disturbing or both. And it got halfway my expectations, while also being a tad boring and senseless. It was actually a very odd movie, and not in a very good way, and although it was bloody, it wasn't in any way in the level of disturbing compared to many other films. Aside from one scene near the end, that was really bizarre and hard to watch, there wasn't anything memorable or good. Also, Vincent Gallo looked like a real creeper. ~March 18, 2015~
Chris (it) wrote: Goofy, stupid possession flick, some nice gore though and it's always awesome seeing Marjoe Gortner on screen
Blake P (kr) wrote: Sparta, Mississippi is a homely little town. It's small, desolate, and drenched with unbearable heat. The citizens are self-serving. The picturesque advertisements that paint the faces of the middling businesses are deceiving. At times, the town resembles something out of a '60s teen romance film, a quaint but calm setting that lets love grown on trees. But like in "Twin Peaks," there is a labyrinth of an underground that takes the wholesome Coca-Cola posters and white swing-sets and knots them into a dirty, unsightly torrent of dust and hatred. When a prominent entrepreneur is murdered, his body discarded in an alleyway, the town's police force doesn't know what to do with the case. Most people have mutually decided to mind their own business, only to join forces when an unwanted visitor makes their way into the isolated bubble that is Sparta. Murder was hush hush before. Bodies being dumped in the middle of the street is something completely new to the citizens. Chief Bill Gillespie (Rod Steiger) orders his staff to search the area, looking for anyone who may have seen or heard something, or, simply looks guilty. One officer finds an African-American man (Sidney Poitier) sitting alone in a train station; Sparta, being the brewery of racial tension that it is, doesn't ask any questions when he is arrested purely on the basis of his skin color. But once he arrives at the police station, he makes a fool out of everyone; he introduces himself as Virgil Tibbs, a Philadelphian homicide detective that is merely passing through the town to catch an upcoming train to Memphis. He wants nothing more than to leave, but his chief orders him to stay and aid the investigation. Gillespie has never known anything other than bigotry, but he is suddenly forced to push his personal views aside and follow the duties of a policeman. Tibbs, meanwhile, has to continuously defend himself from the prejudiced people of Sparta, some of whom are viciously violent when it comes to keeping the status quo in check. In 1967, the social climate of America was drastically changing. After years of fighting for equality, blacks were finally getting the respect they deserved, even if that process was more gradual than it should have been. Varying cultures were beginning to have more opportunity than ever. But then, there were towns like Sparta, buried in the deep South. In the middle-of-nowhere and completely separated from the open-mindedness of the big cities, the Spartas of America didn't want and perhaps weren't aware of the changes that were being made in society. "In the Heat of the Night" remains so important because it's both a steadfast look into the ugliness of prejudice and a snapshot of a transitioning world. Beneath all the sweat, snarling animosity, and tumbleweeds, there is a triumphant truth to every single scene. All his life, Bill Gillespie was taught that African-Americans were underneath him, him being a superior, mighty being. But when Tibbs comes onto the scene, we can see a newfound flicker in his eyes. He wants to scream and shout the most appalling things imaginable and put down his newfound colleague in the same way he has treated the black citizens of Sparta. Yet, he can't. Tibbs is a better man and a better detective. He's a hell of a lot smarter than he is, too. In just a matter of days, a realization hits Gillespie unexpectedly. Maybe, just maybe, no race is more sophisticated than the other. Maybe. The fact that, less than 50 years ago, cities were still as racist as Sparta is stunningly maddening. But Tibbs and Gillespie's relationship represents something more than just two guys attempting to get along. The film represents something more too. Take away the mystery, the formal vocations, and the suits, and you get a full view of a predominantly white society finally understanding the wrongs of their past. As hesitant as they may be in terms of correcting them automatically, there's a knowledge that going on with such discrimination will be venomous, a severe death wish on every person in the room. Poitier and Steiger are absolutely excellent. They are capable foils that bounce off each other with ceaseless energy. Poitier is electric, stoic and utterly powerful; the scene in which he slaps a small-minded plantation owner is totally sensational. Steiger is extremely fascinating to watch - he isn't your average movie bigot, as there is a lurking variable that fuels his hate more than mere racism. "In the Heat of the Night" is Southern-fried and completely without boundaries. It's an above average detective film, but beneath its whodunit tropes lays a scathing commentary that still remains relevant.
Simon D (ru) wrote: I was expecting a much better film, I'm not sure why this is considered so highly because it bored me. New York is being terrorised by two gangs of scruffy ballet dancers with jazz hands while a Romeo and Juliet story is being played out around them.
Ben S (au) wrote: Somewhat predictable, "Heaven Knows, Mr. Allison" is nonetheless a well made film with a pair of strong lead performances.
David F (fr) wrote: Max Ophuls' cinematic adaptation of Arthur Schnitzler's play 'Reigen' dramatizes that play about interlocking couples coupling in turn of the century Vienna with blase wit, bringing to bear a careful eye for costumes and set design and a dash of sophisticated technical experimentation consistent with the tenor of the source material. The structure is somewhat gimmicky in that it begins with two characters, a soldier and a prostitute, meeting and sleeping together and then proceeds on to the soldier's next tryst, after which is shown his lover's next tryst and so on until ending up back with the prostitute having gone up and down the social strata of society via sexual contacts but to his credit Ophuls' film doesn't feel gimmicky. Instead each encounter is carefully staged to explore some aspect of this theme such as love, desire, impotence, or jealousy. The settings are elaborately theatrical and Ophuls' richly embroiders Schnitzler's characters by carefully staging the scenes in elaborately furnished private dining rooms, carnivals, brothels, and bedrooms, bringing out the Freudian symbolism of, for example, the saber of an officer. This film's account of the libido leaves a sophisticated, world-weary impression with the viewer as its elaborate stagecraft can only partly conceal the endless repetition of what makes the world go round.
Mats B (ru) wrote: rligt talat inget vidare. Och om amerikaner tror att det gr till s hr i politiken frstr jag att 50% stannar hemma nr det r dags att g till val. Som bekant ger jag inte mycket fr den parlamentariska demokratin, men jag vet ocks att gra en sansad bedmning. Och som thriller? Nope, det hr har vi sett frr, och dessutom mycket skickligare utfrt.
Gary S (es) wrote: Standard war movie. Quite a good storyline. Although he did not go out of his way to be liked, I liked the British colonel in charge. He got things done. Captain Bergman appreciated that too.