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The Bad Intentions torrent reviews
Cole R (kr) wrote: What a perfect title.
Jonathan T (gb) wrote: Cool! I really enjoyed the moody weather and the beauty of plain girls.
Angela H (au) wrote: good movie no were near as good as original but not bad
Johnathon W (de) wrote: Superb political thriller that takes an honest & hard look at the use of military drones. The cast is superb across the board, with Helen Mirren giving a commanding performance as Col. Powell, who will get her target no matter the cost, while the late, great Alan Rickman brings gravitas as a seasoned general well aware of the costs of war. Aaron Paul also brings a nice bit of humanity & professionalism as the drone pilot with the dreaded job of having his finger on the trigger. Behind the camera, director Gavin Hood & writer Guy Hibbert craft a taunt thriller that will keep you on the edge of your seat throughout while delivering a timely political message. The debate is quite balanced on both sides, pointing out the the political & human fallout of acting or not acting against a terrorist cell (as one character states, "If we kill one girl, the terrorists win but if they kill 80, we win"). They also show off some a the cool technology (much of which is quite real), showing how these decisions are made by people thousands mile apart all across the globe and doesn't cop out with the ending, which has real consequences. Overall, one of the best political thrillers in years, along with being one honest debate on current military drone policy.
Cal (de) wrote: William: "What's your plan?"Nikolai: "Kill them all."Throughout the noughties and beyond, washed-up action stars have earned their paycheques by starring in low-budget direct-to-DVD action films, the majority of which are of a low standard. Steven Seagal and Jean-Claude Van Damme are a couple of DTD stars that immediately spring to mind, and in addition to these names is Dolph Lundgren (Universal Soldier, Showdown in Little Tokyo). Despite his period in DTD prison, Dolph appears to have the potential to rise to star status once again. After demonstrating his directorial abilities with 2004's The Defender, Dolph capitalised on his strengths behind the camera for 2005's The Mechanik (also known by the generic and lousy title The Russian Specialist). Just by glancing at the DVD cover, it's easy to discern the sort of movie that The Mechanik is: an intense, fun, old-fashioned shoot-'em-up revenge flick, wherein a thin story gives way to a copious amount of action. With The Mechanik, Dolph has dived into his second directorial gig with guns fully loaded to deliver a thrilling, hardcore ride into conventional territory.In the film, Dolph Lundgren stars as retired Russian Special Forces hitman Nikolai Cherenko who witnesses his family being slaughtered by Russian gangsters after a drug deal goes wrong. Subsequently, he illegally immigrates to the United States in order to commence a new life as a car mechanic that's free of violence and war. However, Nick is soon approached by a woman knowledgeable about his past who offers him a large sum of money to rescue her kidnapped daughter. Nick is initially reluctant to accept the job until he learns of the identity of the kidnapper: the same Russian crime boss who murdered his family years earlier. Nick wakes up the cold-blooded soldier inside him in order to settle the score.From this point onwards, The Mechanik is merely a simple revenge saga. Dolph's Nikolai Cherenko - a stoic, wordless threat - is pitted against a cabal of unsavoury Russian gangsters, and several action sequences flow from this. The fact that Nick's objective is to rescue some hapless girl is beside the point - in actual fact, beyond a handful of brief dialogue exchanges, this relationship is fairly subdued. Like most similar action films, the girl's kidnapping is a means to an end - and in this case, that end is a surplus of dead Russian gangsters. Nothing deep is at play here; basically, it's just Dolph with a shotgun declaring "It's on". Needless to say, Cherenko is cut from the same cloth as the cold-blooded action heroes of the '80s such as Dutch Schaeffer, John Matrix, John Rambo, and Marion "Cobra" Cobretti. If you want a deep character study of a tortured hero reluctant to use firearms, watch Batman Begins. For a nourishing dose of ber-macho shot-gunning, watch The Mechanik.While action is the order of the day here, there are scenes within The Mechanik which focus on developing the characters, and this is a quality rarely seen in the genre. Meanwhile, Dolph's skill as an action director is palpable throughout; his direction is refreshingly blunt and hardcore during the exciting set-pieces. There are awesome, gory shootouts galore here, culminating with a satisfying, blood-soaked Western-style climax. Elia Cmiral's accompanying score is suitably intense and riveting, too; occasionally reminiscent of the composer's work on 1998's Ronin. However, Dolph's over-reliance on flashy cinematic techniques (most notably during the first half) is at times detrimental, with a bit too much slow motion and wacky colour saturation. It ultimately comes off as gimmicky (think Tony Scott meets John Woo). The Mechanik is flawed in other areas too. The characters are predominantly just shallow bullet fodder, the minuscule $5 million budget is relatively obvious from time to time, and the gaps between the action scenes occasionally suffer from sluggish pacing. The climax is too long, as well - it isn't chaotic enough and it outstays its welcome.In spite of its flaws, The Mechanik is far better than one would expect. As far as I'm concerned, Dolph can continue churning out these types of action films if he wishes. With its decent script, stylish directing, above-average performances and unrestrained violence, The Mechanik supplies the best macho "you killed my family, now I kill you" experience in years. The movie may not entirely circumvent the action movie clichs, but Dolph is savvy enough to realise that nothing satisfies like a blood-soaked dosage of served-cold revenge yarn. It's baffling that Sony Pictures dumped this serviceable film into the direct-to-DVD realm while allowing horrific dirge like Are We Done Yet? and Crossover to pollute theatres across the globe. The Mechanik isn't a perfect movie or even a masterpiece of its genre, but this could have been Dolph's much-awaited theatrical comeback if it was given a bigger budget and a bit more attention.
Steve I (ru) wrote: A really fun and sweet gay romantic comedy with lovely characters, supportive family (kinda) and some enjoyable Italian culture!
Martin T (ca) wrote: I feel guilty criticizing an unfinished film, but it's all I have to work with. Eisenstein's photography is top-notch, of course. Plenty of iconic images to behold here. The prologue and the epilogue are both very fine as well; the former kind of an ethnographic pastiche of all things Mexican, and the latter an exciting look at the "Day of the Dead" celebration (always a fascinating subject). But the main parts of the film aren't that hot. It's split into two stories. The first is about a matador and includes a bullfighting sequence. It's not bad, but it eventually wears out its welcome. Not nearly as much as the other story, however, about a loving couple and their cruel landlord. It's a revenge tale that captures the rebellious spirit that Eisenstein would have expanded upon had he been able to finish the project, but it goes on waaaaaaaaay too long and rarely succeeded in holding my interest. The storytelling technique is like that of a silent film, with just a bare minimum of voiceover serving as the intertitles. I'm not sure whether or not Eisenstein would have wanted it that way. Still, like Welles' Don Quixote, it's better to have a flawed look at what might have been rather than nothing at all.
Blake P (es) wrote: The thing I like best about the films of John Waters is how free they are. They're unafraid to push boundaries, unafraid to fail, unafraid to gun down convention and get away with it. You can picture Waters, penciled-on mustache and all, smiling wickedly as he goes from scene to scene devising just what he can to next to make the audience squirm, laugh, or gasp - if he's lucky, maybe he'll get a reaction combining the three, the audience making an ungodly noise perhaps more invigorating than anyone would like to admit. "Female Trouble" acts as one of the many defining moments of his career, acting as the follow-up to the infamous "Pink Flamingos," which, if you haven't heard already, features his forever wonderful muse Divine picking up dog poop and ingesting it as if it were a piece of candy for the cameras. Most would expect him to attempt to go rougher with "Female Trouble," to make a film not matching the depravity of the former by, instead, outdoing it. But Waters, unlike many exploitation filmmakers of the 1970s, is not the kind to dwell on the past - the film acts as a mature step forward in his then-young filmography, less concerned with shocking us (though still pretty damn concerned) and more with drawing a cohesive storyline and penetrating our funny bones with inexplicably unorthodox laughs. America's favorite drag queen, the glorious Divine, stars as Dawn Davenport, a perpetual bad girl whose life is, more or less, a soap opera on acid. Sticking alongside her from her sticky teenage years to her violent demise, the film follows Dawn's crime-ridden existence like a journalist in desperate need of a profile, unflinching of all the sordid details of her everyday life. She is a tragic heroine Bette Davis could have never played, hitting her emotionally stunted daughter (Mink Stole) when not committing the rest of her time to robbery, wreaking havoc upon the public when not rigorously sinning. "Female Trouble" makes for an early example of John Waters' satirical eye toward media explosion following violent crime, a topic later to be perfected in his underrated "Serial Mom." But "Female Trouble" is better to be looked at as an uproarious black comedy, not as a social statement, and it leaves its biggest impressions when looking at its own absurdity straight in the eye, like when Divine partakes in a sex scene with ... himself (trick photography can do wonders with dual roles) or how the raucous Edith Massey berates Dawn's first husband, her nephew, for being a boring heterosexual - she'd rather have a gay; they're much more fun to spend time with. Yet I like "Female Trouble" best when it's lost in its own flurry of madness, hardly worried about narrative and more intent on its visual gags (my favorite being Massey's wearing of a slinky gown someone with the body of Cassandra Peterson could only pull off). Waters has made finer films, but with Divine by his side, you know you're getting something special.
WS W (nl) wrote: A gangster movie made by Chinese studio. Average overall although sounds a bit stereotypical; so westernized, or so Hong Kong-ish, to be more specific. Only, not delicate enough in directing/writing/(partial) acting to be a really good one.
Patrick L (de) wrote: White Zombie is a film with Bela Lugosi in it and I started to watch it at least twice(?) before but I may have turned it off; I remember the beginning only. I watched most of it then again stopped, picking up at my last spot more recently and finishing the film. It's a zombie thriller but isn't very interesting though it shows a very menacing Bela Lugosi who has piercing eyes.A couple is to be married at the home of a relative stranger, on the way there they encounter zombies, the stranger is a rich man who wants the bride to be for himself and will use almost any means to ensnare her. She falls under the spell of a warlock, her fiance tries to rescue her and ultimately succeeds with help. 2/10
Tague F (ag) wrote: awesome film. very action packed