A crusty, eccentric priest recruits three reluctant convicts to help him rescue a children's leper colony from a Pacific island menaced by a smoldering volcano. . You can read more in Google, Youtube, Wiki
The Devil at 4 O'Clock
A crusty, eccentric priest recruits three reluctant convicts to help him rescue a children's leper colony from a Pacific island menaced by a smoldering volcano.
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The Devil at 4 O'Clock torrent reviews
Ariel V (ca) wrote: Despues de haber visto el documental de Chavez qued impresionado con el talento que tiene como documentalista Diego Luna. Al saber de su siguiente proyecto no sabia que esperar, pues es muy diferente realizar documentales y realizar ficcion.La pelicula cumple excelentemente con su cometido, retratando la cotidianidad de muchos, en una situacion aparentemente ajena a la "realidad" de nuestras vidas.THUMBS UP para Diego Luna... que vengan ms.
Andrew L (de) wrote: Well done. This movie is definitely not for everyone. The story can be a bit slow but it is still good. The movie tells an odd love story between Mickey Rourke's and Megan Fox's characters. The acting is quite good and doesn't disappoint. Definitely worth the rent.
Tarri H (au) wrote: Off the wall weird and strangely funny, I really enjoyed this movie. The dialog between Henry and his mother is delightful. The relationship between Audrey and her Prof father is like watching a Postcards from the Edge ... but edgier and somehow embarrassingly funny. I don't think I was supposed to like this film but I thought it very funny and the actors were rather amazing.
Walter C (ru) wrote: Bad. And not so bad it's good.
Myra V (us) wrote: an eye opener, heart breaking docu film. help free tibet. peace to all.
Jacob S (de) wrote: Muppets from Space is the only Muppet movie that is anything short of greatness. It's ok. And the Muppets should never settle for ok.
Ken T (es) wrote: I actually own this one and have never watched it...
Jonny 9 (kr) wrote: The most interesting element of the film is what happened subsequent to its release - nothing. All the elements of a good origin story for a movie franchise or a television adaptation (like "MASH") are there: a compelling main character ("Easy Rawlings") a setup for further adventures and the books of Walter Mosley for plot ideas. Also race, which is an essential element to the story of 1948 Los Angeles, continues to be a compelling social topic. Certainly some inherent challenges may have dogged efforts to bring the stories to the big or small screen. Period dramas, particularly those that necessitate car chases through long gone parts of Los Angeles, are expensive and difficult to stage and film. Also, the deus ex machina character of "Mouse" played by Don Cheadle presents some serious moral problems with his twitchiest of hair triggers. Also some of the attempts of dark humor focused mainly around Mouse in a serious noir are jarring and out of context with such dark material. As a standalone film, "Devil in a Blue Dress"-presumably not originally based on the Mitch Ryder song-garners a lot of unproven claims of being underrated from internet and mainstream commentators. Certainly, the movie entertains as Rawlings unravels a mystery involving murder, politics and Jennifer Beals in an early role against a backdrop of racial inequity in America's golden west. However, all of these elements are employed to far more compelling effect in a movie two years later called "L.A. Confidential." In short, fans of noir or Washington / Cheadle should find this as required reading while others should just go with "L.A. Confidential".
Greg D (us) wrote: A stylish film that is suitable for the content but otherwise just... blah
Barry L (it) wrote: One of the oddest films ive seen for a while.....I was slightly drunk but still.......
Blake P (jp) wrote: Misleading as I find its advertisements ("Loving her once is once too often!" its poster warns), 1947's "Nora Prentiss" is a "women's noir" to be favorably compared to "The Letter" (1940) or "Mildred Pierce" (1945), vehicles after which it was clearly molded. The film stars Ann Sheridan as the titular "deadly" female, who is, of course, a torch singer and who is, of course, beautiful in ways that can only spell trouble for the most exasperated of a man. But in a twist that cements why I find that aforementioned tagline so deceitful, Prentiss isn't actually the poor man's Gilda. She's not a man-eater nor a black widow on the prowl but a deeply vulnerable thirtysomething increasingly bothered by how long domesticity has slipped from her grasp. She wants nothing more than to be happy and to be loved, but because of her face and her occupation, she's more often attracted douchebags than she has winners who want to do more than just get in her pants. Unfortunately, the film finds her making a romantic mistake that she's likely made before: she falls in love with family man and physician Richard Talbot (Kent Smith). He's been married for years, has two stereotypically square kids, has undoubtedly stuck to the same boring routine for decades, and thinks he's content. But when Talbot meets Prentiss (after she gets hit by a car, marking for a memorably operatic entrance), all goes downhill. What starts as a friendship hindered by Talbot's obvious attraction turns into a passionate romance so ardent that Talbot, against his better judgment, contemplates leaving his comfortable life behind for the alluring woman who broke him free from the chains of suburban life. Prentiss, against her better judgment, allows for it to happen. And Talbot, stupidly, takes drastic measures to ensure their being together.In an unprecedented slant from the norm usually worn by a women's noir, though - typically a leading lady is more Jean Gillie than "Sudden Fear" (1952) era Joan Crawford - "Nora Prentiss" is clothed in terrific writing that decides early on that we're watching a character study fit with multifaceted characters and not noir archetypes. Talbot is hardly a typically cynical, morally corrupted loon with a weakness for attractive women who give him attention (I'm looking at you, Walter Neff) but a classic good guy who finds himself just as surprised as us that he's transformed from a dependable, kind breadwinner to a philandering husband within a matter of months. His love for Prentiss simply stems from his self-hatred: as soon as he meets her, he comes to realize just how monotonous his life has become and how little he can do to spice up his life. His adoration of the singer is almost accidental. But Prentiss is the film's most compelling character, though not in the ways we'd expect in the pre-stages of viewing. She's not a femme fatale but rather a susceptible woman hyperaware of the scrutiny that comes when you're over 30 who's never married. When we first meet her, we get a glimpse of the lady she readily presents herself as - tough-talking, sardonic, flirtatious ("Did I leave anything on the street? An arm or a leg?" she purrs just moments after getting hit by a car). But the more she lets Talbot into her heart the more we begin to notice how much she's hurting. This romance is one she'd like to keep, but, per usual in the landscape of her romantic excursions, it's doomed and she knows it. Since Sheridan was 32, having a harder time finding work at the time the film was released, and nearing the end of her tenure as a major box-office draw for Warner Bros. (though "Nora Prentiss," along with "The Unfaithful," which was also released that year, gave her a huge hit), autobiographical shades unavoidably seep into her portrayal. Bent with sad eyes and a thinly-veiled sensitive disposition, we want nothing more than for her life to finally be illuminated by even the smallest of a glimmer of hope. The warning that "loving her once is once too often" stings by the time we're done with the film - that's what a jilted lover would want us to think. All Prentiss desires is to be loved, to have a life cloaked in something other than disappointment. Sheridan is effective, but much of her performative brilliance is incidental. In no doubt would Prentiss not be as much a moving creation if Sheridan's real-life weren't also underlined in fear of lost relevance.The feature is definitively too long - too much time is spent in the aftermath of Talbot's misguided decision to leave everything behind for the lounge singer who stole his heart - but "Nora Prentiss" is otherwise a shimmering exemplification of the wonders that come with competently made studio fodder. N. Richard Nash's screenplay tugs as many heartstrings as it does provide its characters with three-dimensionality, and Vincent Sherman's direction is profoundly nightmarish. James Wong Howe's innovative cinematography is as rich as it is distinctly claustrophobic. And Sheridan and Smith make for an uneven coupling that oddly complements the story "Nora Prentiss" is trying to tell. It's something of a forgotten classic. Let's call it a find for now.
i C (ag) wrote: 7/10surprised me, it was nice
Mohammed N (kr) wrote: Don't bother watching, you'll be very very disappointed. Mediocre acting and worst editing. Like Lake Placid 3 and all. I mean it's horrible.