When his wife is kidnapped, a billionaire is forced to play a game that getting back his wife is the prize. Given no choice left, the man calls the Armchair Combat Professionals and asks for help. Remaining eight hours left, the billionaire and his group struggle to win the game and save the hostage wife. . You can read more in Google, Youtube, Wiki
You may also like
The Controller torrent reviews
Tracy F (au) wrote: Really good flick. Fiction mixed with non-fiction. I'm sure many families had similar stories in the 60's when they visited relatives in south. Good movie for pre-teens and teens I think especially. Not the little ones though.
Grant W (mx) wrote: It suffers from an odd confusing way of telling Brown's life story, as well as being overly pretentious, but the filmcrew's love of his accomplishments shines through, creating an admirable, but not great, biopic of this undisputed legend.
Graham M (it) wrote: Bad, but self-knowingly so and actually very funny. Some (emphasis on some) of the special effects, makeup and set designs are actually not bad for a cheap indie film.
Nadia P (it) wrote: Man on Wire: the film's title tells us everything and nothing. Yes, this is a documentary about a man who illegally tightrope walks across a wire. But to reduce such artistry, such magnificent talent and effort to simply "Man on Wire"? That is the real crime here. Granted, the title bears historical accuracy; we see Phillipe Petit's police report toward the end of the film with the words "man on wire" scrawled in the description. Suspenseful, energetic, dramatic: all words to describe not only this film, but the main man himself. Petit is a true character-he keeps us engaged with his mysterious yet magnificent obsession with being hundreds of feet in the air, dancing across a single wire suspended between the notorious Twin Towers. It also doesn't hurt that he's so bubbly and spirited, keeping the film quick-paced for the most part. And who better to direct such a film than James Marsh? Though Marsh's actual voice is never heard throughout Man on Wire, this does not stop him from getting it across. He places an immense focus on celebrating Petit's walk across the Twin Towers, in the most light-hearted and whimsical way possible (both of these attending to his voice, I might add). Marsh tells Petit's story beautifully, utilizing a combination of talking-head interviews, archived footage/photographs, and reenactments to take us (the viewers) through this exhilarating journey. We really get a sense of the type of filmmaker that Marsh is through Man on Wire. The way he takes extra steps just to make the film more "artsy" for viewers who may or may not pick up on such minute details, magnificent! In the very beginning moments of the film, we see archived photos of Petit as a child juxtaposed with archived film of the Towers being built. Marsh sequences the photos in such a way to draw parallels between them and what's going on in the film. Killer scene!-absolutely stunning. Yes, admittedly there is a lack of moving archived material in the film, but who is to blame for this? Certainly not Marsh, and probably not Petit or his crew either. It seems that Petit's intention was not to record the moment, but to rather live it. Though his crossing did make a beautiful performance (which we see through the stunning archived photos of his seemingly ant-sized body suspended on a wire), his decision to do the walk in the first place can be attributed to his sheer obsession with the project and Towers, not any desire to "put on a show."What's interesting to me is evidence of the binary we see toward the end of the film. We know that, through his careful composition of materials, Marsh intended for his film to be cheerful, airy, and humorous (among other things of the like). This calls into question the last few minutes of the film, which bring a more elegiac feel, an ambiance that catches us a little off guard considering the otherwise up-beat moments throughout. It's worth noting that Marsh never explicitly mentions the horrific events that took place on September 11th, 2001 (interesting, especially since Man on Wire was released 7 years later). This was no accident, of course. Marsh definitely did not intend to put a damper on the occasion. His main focus was celebrating the walk, but he does create a sort of elegy for the towers with his exquisite layering and sequencing of archived film, interviews, photos, and music (during the film's final moments, in particular). As Annie (Petit's ex-lover) speaks of the ending of her romantic relationship with Petit, she says "our relationship was meant to end here, and it was beautiful that way." Instead of the camera remaining fixed on Annie's face, it pans around the Towers while a soft, touching lullaby twinkles in the background. Marsh is trying to point out that like their relationship, the Towers have also ended. The soft music brings a touching (almost mourning) feel to the moment, which further implements the minimal elegiac aspects of the film. Another killer scene! If we're giving credit where it's due, all praise goes to James Marsh. He took this amazingly creative event and strung it together in a way that made it all the more exciting. Hats off, Marsh!
Melvin W (nl) wrote: Film Geek is too depressing to be enjoyed. It was ok for awhile, but then it seemed like they were just trying to fit as many references to movies, directors, and actors as they could in an hour and fill the rest of the movie with the lead jacking off. There's really no need for it and absolutely no point to it. The ending is absolutely disastrous and brought my rating down another half star. There are a few good things about it though. It is at times funny, but it's jokes do become tiresome after about half an hour. Melik Malkasian is pretty good at playing the annoying film geek. I just didn't enjoy the character enough for his performance to have that big of an influence on me. The third thing that is good about it is that it's short. If it was any longer, it would be impossible to get through.
Ryan S (it) wrote: I don't like rom-coms, so maybe I'm a bit biased, while this film had some funny moments, it was more frustrating than anything.
Jason E (nl) wrote: I have too much history with this movie to not be biased towards it. Overly cliched, but Drew Barrymore is still loveable and Molly Shannon and Leelee Sobieski's supporting roles compliment the movie well.
Sean E (jp) wrote: I haven't seen this in a long, long time but I still remember how utterly terrible it was.
Stefan G (fr) wrote: It would be rather convenient to think of this as like the film Ouija if you could actually stand to watch it, but you'd be getting hopes up way too much if you did. Witchboard is one of those films that sounds better at the start, but gets stupider as it progresses. The story itself can be taken a grain of salt (if mainly because it isn't too heavy-handed with its gimmicky concept), but what I don't like is that the writers introduce a character you might like, and a character you won't like, but kill off the better character while giving the stereotypical jerk a happy ending. That's not the only stupid decision the writers made, but it's certainly the most egregious one. The film's concept does get slightly more interesting after we're given a little more exposition into how communicating with the spirits is supposed to work, but it's quickly undone by a hackneyed fight scene, and an even stupider ending, complete with a blatant sequel hook that you may as well expect from a horror film. Of course, there are moments when the film creates something close to a legitimately spooky atmosphere, but the experience is ultimately soiled by a flimsily-written premise, questionable casting, and even worse acting.