The Assailant

The Assailant

Based on the life of a legendary capoeira fighter from Bahia, "Besouro" spins a fantastic tale of a young Brazilian man of African descent in search of his mission.

Based on the life of a legendary capoeira fighter from Bahia, "Besouro" spins a fantastic tale of a young Brazilian man of African descent in search of his mission. . You can read more in Google, Youtube, Wiki


The Assailant torrent reviews

Timm S (es) wrote: Interesting Enough Doco With Information & Trivia. Clear Hidden Cameras Give Us A Closer Look Than What You'd Usually Get..Funny How The Bears were Mart Enough To Work Out The Cameras Were NOT Chunks Of Ice.

Michael S (au) wrote: Very clever and psychologically interesting movie.

JJ M (de) wrote: Surprisingly engaging and un-self-involved (for a Winterbottom film). Quite unpredictable too.

Kevin M (ru) wrote: Less focused on battle and more on the psychological trauma that war has on the average person. This is a war movie that makes you question what a hero really is. Filmed incredibly well, Clint Eastwood's portrayal of Iwo Jima is saturated and depressing, much like the mindset's of the people who partook in the battle. The stand-out character is Ira Hayes, one of the men hailed as a hero simply for raising an American flag on the top of the island's mountain. It's a tragic story, but it's done so well. Clint Eastwood never disappoints.

Andrew B (it) wrote: Crispin Glover is only in this for three to four seconds. What the hell. I'll finish watching it later.

Jeffrey C (ru) wrote: One of the best foreign films ever made.

Lisa G (fr) wrote: Two of the stars are Nisha Ganatra (director) & Jill Hennessy

Chris Z (br) wrote: Found noir. Sting? Melanie Griffith? Tommy lee jones? say what? Mixed, but has a lot of fantastic scenes going for it. Occassionally bad acting, other times absolutely fantastic. Uneven, but an interesting viewing, and gotta love the noir mood that is right on the money. The ending was stupid.

Wayne K (au) wrote: War movies are in no short supply, but rarely has one ever been so dark, bleak and unbelievably powerful. Das Boot combines shockingly real performances, authentic sets, dynamic camera work, spare but hard-hitting dialogue and scenes of such extreme tension and ferocity that it's impossible not to be on the edge of your seat throughout. The film contains the best use of slow, quiet moments for building suspense that I've ever seen. Between the barrage of bombs and aerial assaults, our characters crowd together in their hot, sweaty metal box, looking fearful and apprehensive, and I found myself genuinely fearing for their lives. The movie is primarily about 2 things: Monotony and madness. We witness the insanity and frantic sting of battle, and in between conflicts we have our heroes at the mercy of ennui, sitting around and praying for action. They find themselves actually longing for situations where their lives are on the line, and with the atmosphere of claustrophobia the movie captures with its tight sets and close proximity of the actors, we can actually understand why. The characters can only do nothing or do everything, and the heavy toll this takes on them is beautifully captured through their deteriorating appearances and weary expressions. Das Boot is deservedly referred to as a masterpiece, and stands as one of the most brutal and hard-hitting films ever created. If you can manage to find the director's cut, which runs close to 3.5 hours, it may try your patience at times, but it will be a frankly unforgettable experience.

Leo L (br) wrote: An interesting movie. Akshaye Khanna and Kareena Kapoor are great in this movie. Hilarious story plot.

Byron B (it) wrote: nominated for best foreign film at the golden globes

Henry P (jp) wrote: Great, Pixar is great. Pixar makes the best animated movies. This one is not one of the greatest, but it is still entertaining. While Cars doesn't crash and burn Pixar's reputation, it does make you hope this is a one-off error. We start with Lightning McQueen (Owen Wilson) getting himself psyched up for the biggest race of his life: the Piston Cup. We are thrown right into the fast-paced world of car racing, which serves as our introduction to this world where cars have a civilization much like ours (allegedly the end result of the events of the "Pixar theory," which I recommend researching when you finish reading this review). After a thrilling race montage that continues establishing this world, we get to the last lap where Lightning McQueen's tires burst, and he ties with Dinoco's King (Richard Petty) and Hostile Takeover Corporation's Hick Chicks (Michael Keaton in a less heroic role), resulting in a special race that makes Lighting get into his transport truck Mack (John Ratzenberger), and force him to drive non-stop, and after accidentally falling out of Mack, Lightning rushes through the unfamiliar highway, where he stumbles across Route 66 and Radiator Springs. In a sequence that shows how obviously out-of-place he is, Lighting accidentally (and it clearly is unintentional to we the viewers, but they the characters don't see it that way) tears apart the road, and after Doc Hudson (Paul Newman) lets him go, Sally (Bonnie Hunt) the town lawyer prosecutes him into community service: repaving the road, which is where the movie (and the soundtrack compared to the song and Randy Newman's score) begins to slow down. Don't get me wrong, everything Lightning experiences in "Hillbilly Hell" happens (coincidence or otherwise) to teach him humility, carmanity, and other life lessons, as well as showing his bonding with Mater the Tow Truck (Larry the Cable Guy), and getting him to appreciate some of the simpler things in life, which still echoes a whole decade later on account of technology-related obsoletion of life's simpler joys. Cars may not come off as relatable, but Pixar makes transportation relatable, from showing the lines for the men's room and lady's room next to each other, to having cars with headlights use them to do the wave at the opening-act race. Each Radiator Springs resident has their moment, and the contrast between Sarge (Paul Dooley) and Fillmore (George Carlin), a military man and a hippie, proves to be my personal favorite contrast. As always, the animation is gorgeous, from light reflecting off the cars through lens flares that don't detract (you reading this JJ Abrams?), to the scenery that feels believable without seeming like a creepy attempt to simulate live-action. Randy Newman's score mixed with other songs, work like the movie itself: starts fast, slows down when the special race is announced, and gets even slower when Lightning ends up in "HIllbilly Hell," then revs up for the last act. A+ for showcasing that contrast, but F for execution, because it results in Pixar (and animation in general to my knowledge) making their longest movie to date (one hour and 56 minutes). That aside, Cars is one of Pixar's middle/lower-tier movies in my opinion; not an endearing classic like Finding Nemo or Toy Story, but a fun (albeit long) classic like Monsters University or A Bug's Life. But don't choose your Pixar movie to make good time, but choose your Pixar movie to have a good time.