The Dark Wind

The Dark Wind

An Indian police officer is mixed up in murder and drug smuggling on the reservation.

A Navajo police officer is mixed up in drug smuggling and murder on the reservation. . You can read more in Google, Youtube, Wiki

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The Dark Wind torrent reviews

Jesse O (jp) wrote: Home invasion thrillers really are a dime a dozen. There's so many of these films that come out that it's really hard to distinguish them. The only way you can really tell them apart is when they're really fucking good or, the other extreme, really fucking bad. When you get to the middle of the road movies, it's kinda hard to differentiate between them and it gets annoying sometimes. Perhaps that's not the right word to describe it, but it's to the point that I just wish someone would just change up the formula. There was one that did, Intruders, so that was appreciated, even if I didn't think that particular film ended up being good. At least it made an effort. Which brings us to this movie and its reception, particularly among the audience. If I'm being completely honest, I thought this was a perfectly solid little home invasion thriller. Is this a reinvention of the genre? No, not even fucking close, but it at least something offers that's somewhat believable within its own context. It's not a movie that goes too over the top with its 'hostage' situation, where Bob, Jane and Jared try to take over the lives of this family that they perceive to be perfect. They want to assume their identities and carry on living their lives as if they were this wealthy family. One of the things I liked about the movie was the fact that it went both ways. In many ways Jade, Bob's 'wife', had been indoctrinated by Bob into believing that she needed him around. And he has also molded Jared into a mini version of himself, where he just takes what he pleases and does what he wants. So, in many ways, Jane was as much a victim, maybe even more so since she has been in this situation for years, than the family whose life they wanted to steal. So I liked that aspect of the film, it gives it some more dynamism in that it doesn't just focus on the situation that Mark, Mary and Brendon are going through, it's also about the abuse Bob has put Jane and Jared, to a lesser extent, through. It's not a movie that's really all that violent, though it doesn't really need to be since I think it's got a relatively strong story. Perhaps strong isn't the right word, but it had a story I could get into and the actors all do a really good job at portraying their characters. Particularly Selma Blair and Rachel Miner, who really are kind of the focus of the film. James D'Arcy also does a good job as Bob. So no complaints on that front. The film, obviously, isn't a technical masterpiece and some elements of the film could have been tightened up, pacing isn't great. But, by and large, I still felt that this was a solid film. Which is why it surprises me that audiences weren't more receptive. Not that I'd expected them to think it was great, but I think it's a better movie than what the audience score, or critics review, would imply. Not saying their opinion is wrong, of course, as everyone is entitled to think what they want. But, for my money, this was a solid little house thriller that focuses more on character as opposed to the family being put in a terrifying situation. Though there's some of that as well, particularly with their young son facing danger. It's not perfect or anything of the sort, but I enjoyed my time with this movie. Can't say I'd recommend it, but I know I liked it. And, really, that's all that matters to me.

Nyanna C (au) wrote: Sanjay Dutt has a new fan after my viewing of his portrayal of the small-time crook Munna, who changes his bullying ways after studying the life of Gandhi in order to impress a girl. I absolutely loved this movie! It has become one of my all-time favorite comedies. It is a very emotional movie, so very funny, and also very touchingly sweet and genuinely joyful. I laughed, I cried, and I laughed and cried at the same time. It is probably the most original and enjoyable Hindi movie I've ever seen.

Matthew P (ag) wrote: The very first lines that are spoken in .45 more or less sum up the experience you're about to go through as you watch it. So does the MPAA rating of "Rated R for pervasive strong language including graphic sexual references, violence, sexuality and some drug use." The first one of these is definitely the most frequently abused by the film, with almost every line of dialogue containing one or more profanities. Now, I'm not one to want a movie to be censored in any way shape or form. But in cases like these, the writers should know better. Using the same word over and over again makes the work lose its meaning. It also gets annoying. The writing comes off as if it was written by teenagers who just learned what curse words were. By the closest estimation I could find, the "F-bomb" is dropped somewhere between 400 and 500 times throughout the picture. And that's only that one word. This estimate doesn't include other profanities. There's no estimate for these, because they fly by too quickly to count, and you'd have to watch .45 at least 3 times in order to count them all. And nobody should be forced to do that. Here is how the plot of .45 works: Kat (Milla Jovovich) has a love-hate relationship with her partner, a man named "Big Al" (Angus Macfayden). Some of the times, they'll be friendly towards one another; they'll enjoy a couple of drinks and smokes together, for instance. However, there are times when they get into fights, and during these fights, Big Al, the much larger, will become abusive towards Kat. Oh yes, and he's also a gun dealer, meaning there are plenty of weapons for him to use if he feels the need. For approximately 3/4 of the film, that is all that the plot consists of. We'll see their relationship go well, or turn sour, but regardless of which occurs, we know that the other one will happen in a couple of scenes. There's very little tension, and we don't see the plot actually advancing any time soon, except for the Kat continually looks depressed, despite claiming that she still loves Big Al. I'd be cautious of spoiling the final quarter, but since the poster and trailer already have done so, I'll touch on it as well. Kat finally has enough and decides to find a way to get out of the relationship, despite claiming that Big Al will find her and kill her if she does. That's all I'll say about that, because the resolution to the film is one of the few things worth praising. The other thing worth praising is the acting. At least, for the most part, it was pretty solid. Milla Jovovich can act in a drama, while Angus Macfayden showed his slovenly side with Big Al (at least, when he doesn't break character and dip into a fairly heavy Scottish accent that isn't used in 90% of his scenes, but when he does, it's really noticeable). The dialogue still made it a little bit difficult to take them seriously, and I'm sure that made it even harder to act, having to spout some of the lines in the film. Or maybe director Gary Lennon just told them to make it up as they go along, but be as profane as possible. That's possible right? There's one other thing that I liked about .45, and that was how funny it was. It's not a comedy by any stretch of the imagination, but there are scenes where I couldn't help but find myself laughing. Some of these were probably unintentional, but I laughed anyway. And if I'm getting something out of a scene, and in this case, it's enjoyment, then I consider that scene a success. The funniest parts come from when side characters, like Kat's mother or one of Big Al's friends, talks directly into the camera, telling us about one of our two lead characters. Except they're commenting after the film's plot concludes, which means they know things that we don't. It creates an interesting puzzle game of the audience trying to fit the pieces we're given into place. It's just too bad that it doesn't go anywhere, and that none of the clues given have any direct correlation to how the film concludes. So consider that a lot of wasted effort after you finish watching it. This fits right along with how the rest of the film works out: Nothing really matters. You can have the point made in 5-10 minutes that Kat and Big Al's relationship needs work, but instead we get more than an hour dedicated to it. And then a lawyer gets involved later on, who factors in heavily. (Definitely not in the way you might be thinking either). Things happen, but they rarely lead to anything important later on. And when they do, it's blatantly obvious that the writers thought they were being clever by connecting them. Oh, that one gun you mentioned in an earlier scene got used, and we're now remembering that you mentioned it? Good job guys. Really good job. (It's a .45 gun, if you were wondering where the title came from). The one thing I have to say about .45 is that it is interesting. It isn't good, just because there is so much wasted by the time it concludes that you'll think that you wasted your time watching it. But it is a unique film. The ending is one of the best parts it has, and the acting is overall fairly solid. It's hard to get past the very loose plot though, and it's very difficult to get past the terrible dialogue. It's unlikely to be a film that you'll gain much enjoyment or insight from, so I suggest skipping it.

Lee M (gb) wrote: If you feel you might already have seen City of Ghosts, but can't quite place it, you'd be forgiven. Hollywood, never afraid of working a clich to death, has turned out dozens of "City of . . ." films over the years.

Marcus W (us) wrote: This film made me admire Herzog even more. All directors have regular collaboraters, and here Herzog discusses his work and relationship with the tempestuous Kinski. And he isn't afraid to to tell us exactly what sort of man Kinski was, how he was often arrogant, selfish and volatile. How Herzog once plotted to fire-bomb his house, and also threatened to Kinski's face that he was going to shoot him. And yet at the end of the day they made five films together - including the classic Fitzcarraldo, and the (far better than the original) remake of Nosferatu. It's when Herzog admits that he "sometimes" misses him and then shows footage of Kinski's softer side that you start to understand their friendship. Unmissable for fans of the two.

Plain C (ag) wrote: Yeah watched this after seeing the fast food scene on youtbe from a watch mojo "10 films that make you want to leave your job". I thought it was great. good shit It aint no fight club but still very enjoyable nicely paced. The guy in this film is me one day.

Jude P (nl) wrote: No doubt this is one of the best ever pragmatic film noir ever made.

RJohn X (br) wrote: Yes, Barbara Bach is a butterfly or something. Great giallo - almost Bava-esque in lighting and camera work. The newsies are a great collection of genre drunks. The communist corpses that end the movie are a fantastic collection of evil. Sorel plays it straight, and never does blink, which is pretty impressive. Lado is an impressive director.

Miriam G (br) wrote: The idea of Don Juan as a romantic comedy-action movie is so offensively absurd, so contrary to literary sense, that it's a wonder this movie could ever have been thought a good idea even by its writer! Despite my outrage, I found this movie impossible not to like just a little bit. The movie looks good in every visual aspect and is well performed, but it has to rank among the all-time top two or three worst ideas for a major Hollywood motion picture.

Steven P (es) wrote: Screwball comedy. Irene Dunne is great