The Badge

The Badge

A sheriff (Thornton) begins an investigation into the death of a local transsexual after hearing that high ranking politicians may have been involved. Although he is homophobic, his investigation causes him to be rejected by others, forcing him to seek help from the people he once despised.

A sheriff (Thornton) begins an investigation into the death of a local transsexual after hearing that high ranking politicians may have been involved. Although he is homophobic, his ... . You can read more in Google, Youtube, Wiki

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The Badge torrent reviews

Pete L (br) wrote: "Ria, let's get away to Muyoga."A visually stunning film that was clearly inspired by Ridley Scott's Blade Runner, that would have been better if the plot hadn't been so choppy.Plot: The year is 2080. The planet is connected by a massive high tech computer network. Robots and cyborgs have been integrated into the population. The cyborgs have many uses ranging from companion "dolls" to soldiers. They have a three year lifespan, after which they malfunction, but some with the help of black market technology, can download their artificial intelligence into a human host. Two cops named R and Noma hunt down these renegade cyborgs. R has a doll named Ria who's lifespan is nearly up. The problem is that he's fallen in love with her and doesn't want to see her expire. Now with the expiration date only days away, he must make the decision of finding her a human body and running away with her to the paradise planet called Muyoga, or help Noma stop a renegade cyborg from starting a robot uprising.If you can keep up with the story, this is actually pretty good. As well as being inspired by Blade Runner, I noticed some references to Ridley Scott's other Sci-fi film, Alien. There are a few scenes that seem to be directly copied from those movies. The effects are top notch. The fast paced action sequences sprinkled throughout the movie are very well done. I loved them and this is coming from a guy who's not that big on action movies. It was interesting to see the slow malfunction of Ria over the course of the film, but I feel that they could elaborated on that a little more. My only real complaint about this was the story and that really brought the film down for me. It was neither complicated nor stupid. It just wasn't that coherent and it never really made clear what it was trying to convey. But other than that, I really enjoyed it and would watch it again. Total score: 6.5/10

Desi C (mx) wrote: i think i saw the last half and fell asleep lol

Muffin M (de) wrote: I own this on DVD and Blu-Ray

John M (kr) wrote: The film isn't particularly easy to follow; as there's so much going on that it's easy to miss one or two key plot elements. The murder scenes are giallo-standard and nasty, if not necessarily gory. Not a bad movie, but not exceptional either.

HungYa L (kr) wrote: All very new and creative in the first one.

Cameron J (es) wrote: Before the Iceman... cameth (I guess), John Frankenheimer saw the coming of the birdman! Lame jokes aside, this is pretty much the definitive representation of all those bird symbols arguably too many prison dramas have to work in, which is only fair, seeing as how Robert Stroud actually kind of looked like a bird. I can see why birds, if you will, "flocked" to him, because he wished he looked like Burt Lancaster, although I suppose we'll have to run with it, seeing as how this is supposed to be a largely fictionalized biopic of Stroud. You have to at least give this film credit for its taking realistic liberties, because I don't know how ill-mannered Stroud could be in real life if he looked like Burt Lancaster. Actually, I don't know how much realism you can put into the biopic of Harvey Birdman, but this still ought to be an interesting way to kick off this cartoon franchise. I can't believe that this film is actually older than "Birdman and the Galaxy Trio", but that barely counts, because this film was probably still running by the time the Hanna-Barbera cartoon in question launched, five years after the projectors started up. I can't even joke about that after starting this article with a reminder of "The Iceman Cometh", and at any rate, the film keeps you interested, no matter how long it very much is. As long as this film is, some focal unevenness derives from storytelling's paying little mind to the extensive development of plot layers and supporting roles which jar in and out as major narrative aspects, no matter how much exposition meanders for two-and-a-half hours. This film may be a study on most of a man's adult life, but its scale in minimalist, yet its structure is excessive, thus, it's only a matter of time before storytelling becomes repetitious, almost monotonous, due to the final product's taking so much time to say only so much, and hardly anything new as a biopic. This is ultimately a rather formulaic biopic which hits a number of tropes, including those of the time, such as some surprisingly cheesy dialogue pieces and happenings whose fluffiness proves to be almost as detrimental to a sense of weight as fluffiness to the drama itself. The film is a loose biopic, and therefore with a lot of opportunities to take liberties which really do feel manufactured, in their dramatics, whose histrionic conflicts, thin characterization and sentimental approach make a melodramatic film that ambitiously struggles to compensate for some lack of depth. Being fictionalized, this biopic has an opportunity to draw rich, challenging character as a study on a somewhat evil man showcasing redeemable qualities, but subtlety issues both demonize antagonistic men of justice, and glorify protagonistic men of crime, to where the film really does feel manufactured as an allegory against capital punishment, and superficial as a potentially gripping prison drama which falls victim to sensibilities of the time. Now, this story is so strong that the limited inspiration that goes into this film proves to be enough to make a rewarding final product, yet whether it be because of '60s superficialities or simply because structure and dramatics aren't quite as realized as they ought to be, the reward value goes challenged. Of course, in the end, if you're able to embrace this sometimes misguided melodrama, you'd be hard-pressed to not be engrossed, largely because of the subject matter. Robert Stroud, arguably one of the most notorious criminals in American history, underwent more than his fair share of struggles during a prison life that defied capital punishment and saw Stroud doing the improbable by mastering of and making important contributions in the field of ornithology without ever leaving a cell, - until an eventual transfer took away everything he held dear in his life - and it's mighty challenging to make subject matter of that type uninteresting. As irony would have it, novelist Thomas E. Gaddis and screenwriter Guy Trosper dilute the value of this narrative by trying too hard to humanize the lead and juice up the dramatics surrounding him through fictionalizations, and yet, there are still more than a few areas of manufacturing which feel believable enough to actually supplement the value of this story, which still can't quite reward without being, at the very least, well-built. Set predominantly in a prison cell of some sort, this sprawling character study is intimate alright, to be the point of a minimalism that threatens intrigue by making the draggy storytelling feel repetitious, and yet, at the same time, the claustrophobic setting of this drama augments engagement value in a lot of ways, partly because of Burnett Guffey's black-and-white, yet captivatingly shadow-heavy cinematography, and largely because of John Frankenheimer. Frankenheimer had a knack for doing a good bit with very little, at least after a while, but here, his intimate direction falls slave to '60s dramatic sensibilities, thus, you shouldn't go in expecting a film as surprisingly engrossing as, say, 1973's "The Iceman Cometh", and yet, Frankenheimer's thoughtfulness - which never gets too slow - is allowed to thrive enough to play quite the important role in securing the final product as decidedly rewarding. Like I said, Frankenheimer's talents rest largely in his doing plenty of little, and sure enough, there's not much to praise in this very flawed film, but I also noted that there is a high value to this story concept to be done justice by generally inspired direction, and consistently inspired acting. Although acting material is pretty limited, just about every member of this small cast delivers as more convincing than the characterization of their roles, yet it does ultimately come down to the great Burt Lancaster, who, with little emotive flare, continues to showcase then-innovative acting sensibilities by utilizing impeccable charisma and nuance to sell the gradual aging and development of good intentions of a criminal with much that benefited the world to offer. The film very rarely takes focus away from Lancaster, and Lancaster never fails to prove himself worthy of all of the attention by carrying the final product, though not alone, because event though this drama could have been more, what it ultimately is is a melodrama which immerses and compels enough to reward the patient. When the sentence is completed, uneven, repetitiously overdrawn and formulaic storytelling mixes with either manufactured-feeling or superficial dramatics in order to threaten the final product's reward value, which is ultimately firmly secured by the subtle, but solid strengths of gripping subject matter, immersive visual style, tasteful direction and strong acting - especially by the captivatingly nuanced Burt Lancaster - which make John Frankenheimer's "Birdman of Alcatraz" an ultimately rewarding, loose portrait on the life and times of one of America's most notorious criminals and ornithologists. 3/5 - Good