The Dogs of War

The Dogs of War

Mercenary James Shannon, on a reconnaissance job to the African nation of Zangaro, is tortured and deported. He returns to lead a coup.

Mercenary James Shannon, on a reconnaissance job to the African nation of Zangaro, is tortured and deported. He returns to lead a coup. . You can read more in Google, Youtube, Wiki

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The Dogs of War torrent reviews

Praveen N (mx) wrote: 3 - Much more than just 'Kolaveri Di'. In essence, 3 is a love story, however, there is a much darker side to the story. It has been the norm of recent Tamil films to tread the path not taken by their peers. Aishwarya Dhanush tries extremely hard to walk that line and succeeds, albeit by on a very small scale. They are weaknesses in the film, but this can put down to first-timer mistakes, she can only get better from here on. Her screenplay could have been more taut, a pacier narration in the second half would have helped. Minor details such as the absence of Prabu when things start getting tough should have been explained or at least hinted at. Where she does excel though, is the art of nuanced storytelling and dialogues between the primary and the secondary characters offer more than just mere conversations. Her knack of angles and shot-taking are great, DOP Velraj proving his mettle here as well. Anirudh definitely has a future based on this film, the songs are all great but the BGM was par-excellence. Dhanush is a tour-de-force in the film, emoting well throughout the 3 stages of his life. Shruthi continues to show that having 2 National award winners as her parents runs in the genes. A good showing by Aishwarya on her first attempt. People who are disappointed that the 2 biggest legends in Tamil cinema did not have heirs to their thrones will walk away knowing that Rajni & Kamal's legacy will live on in their daughters. As evidenced in the cinema I was in, 3 will divide people into two camps, those who loved it and those who hated it. I for one was firmly in the former. Standing ovation for Aishwarya and team!!

Sophia G (br) wrote: amazing.that will be all.

Brian P (jp) wrote: It's a good laugh.. seeing ben stiller dropping the f bombs over and over again!! long live the weisel!! lol!!

Sunny D (ru) wrote: Candy colored cowboys! Fun movie with gorgeous visuals and over the top violence.

Rachel K (fr) wrote: This movie was slow and horrible. The scattered Catholic references gave no authenticity to the movie

Evan W (ca) wrote: A forgettable little picture in which not a lot really happens, though Blythe Danner is good.

Brendan H (us) wrote: you want the best fight scene ever,sting ray and officer Di Marco keep an eye out see ya

Alexander C (gb) wrote: Would like to see at some stage.

chris M (us) wrote: Hilarious! Eddie Murphy, Richard Pryor, and Red Fox are the real Kings of comedy.

Chris S (mx) wrote: The brilliant teaming of this classic trio is at full swing in this ridiculously enjoyable romp of crazy stunts & silly fights!

Rikki W (gb) wrote: The plot is boring, unoriginal, and seemingly pointless. None of the characters are likeable, and one of the songs is distractingly racially insensitive. It's a shame, too, because the music is pretty decent.

Linda G (ca) wrote: One of the best mini series ever made

Forrest K (gb) wrote: This second film in Hammer's Karnstein trilogy develops the vampire metaphor in yet more ambiguous ways, showing how the tyrannical hatred of an older generation can cause hurt and terror throughout the ages, even as the new generation strives to change. Fun as high camp, but surprisingly thoughtful as well.

Eric R (mx) wrote: A beautiful portrait of female prostitutes struggling with life in Tokyo's red light district. Its a really strong story; every character has considerable depth and we follow them through there various struggles, whether it be economic or spiritual. I love how Mizoguchi shows all the horrible things they go through but at the same times really questions if they are better off being a prostitute. It is definetly a thorough examination.

Brett C (ca) wrote: Though I have been interested in cinema for a couple of years, I haven't had the opportunity, until recently, to watch a Kurosawa film. I wanted to start his filmography with The Seven Samurai but that isn't available yet here in the format that I normally watch in and my local library doesn't have the film available on their shelves. I borrowed two Kurosawa films from the library, this and Red Beard, and I was contemplating which of the two I should watch first. I eventually just decided to watch the one that was released first chronologically in order to see some sort of progression in his work. Rashomon was a film that I thought would only entertain me in a shallow kind of way; figuring out who did it and watch thrilling fights between characters. Instead Rashomon gave so much more, exploring deep themes and ideas.The film's screenplay was written by Akira Kurosawa and Shinobu Hashimoto. This would be Hashimoto's first screenplay and the first of many collaborations with Kurosawa. On the surface they have written a thrilling story of a murder, and the writers have decided to have it be told in multiple perspectives. I think the film would have worked if it just plainly focused on the entertainment aspect of it, but this would lose it's replay value as I feel this film requires multiple viewings in order to completely understand each perspective being explored. The film's heart is in it's exploration on the human soul. It shows us the sin that has taken over us and that it has spread to the souls of others, becoming a common trait in society. This concept is much more impactful on the citizens of Japan as virtues and sins are ideas that are very important to them, and my understanding of that allowed me to relate to the feelings that the film's characters are suffered with. Rashomon shows us that society's integrity have been lowered to a standard that makes people selfish, dishonest, violent, and manipulative. The stories that are being told seem to feed the egos of the characters, in order to make themselves be the virtuous person that they think they are or wish to be. The writers never gives a clear answer of the truth, and in the end it doesn't really matter because what might be said by anyone by the end of it, would just come off as mendacious. This concept of damaged humanity has been touched on by many films that succeed this, but none I can recall have wrapped it in a story as simplistic as this. The film's dialogue was entertaining to listen to as it defines it's characters so well that each one becomes memorable. The film's story is great but I think I would enjoy it a lot more during my subsequent viewings, as I would have spent more time thinking about it's ideas and themes rather than it's plot and how it would unfold.The film was directed by Akira Kurosawa, and Rashomon would be the first film I have seen from him. What a great way to start his filmography; a great film that is both thought provoking and entertaining. I am not familiar with Japanese cinema and I have wanted to give it a try for quite some time, who better to start with than Kurosawa. He has showed me just how great Japanese cinema could be with a tale that is very grounded to it's roots but also containing themes that are universally relatable. Kurosawa was able to make something as complicated as telling 4 different stories and make each one equally entertaining and digestible. He doesn't try to confuse you, instead he tries to make you see more than what is just plainly shown. By the end of the film, Kurosawa doesn't leave us with anything that suggest that one person's perspective is right over the other because it's all the same, regardless of what happens. I was surprised to see that this film only runs for about an hour and a half, when a story like this would usually have directors be indulgent and highly informative in it's storytelling, but Kurosawa opted for a more stripped down style, removing all unnecessary content, allowing the film to become more focused on what it wants to say. I also really enjoyed the way Kurosawa managed the action sequence between Tajomaru and Takehiro during both confrontations, as he was able to demonstrate a contrast between reality and exaggeration, and also through these sequences, he showed layers of these characters that were really interesting to watch. I think Kurosawa wanted us to believe at the end that there is still a chance to fix ourselves and that we aren't stuck with the values that are given to us.The film's cinematographer was Kazuo Miyagawa and what he has done for this film was excellent. I truly admired the way he used natural light and manipulating it to illuminate the scene. He wanted the film to feel natural, like as if we were present witnessing the event as it happened. Miyagawa used shadows as a way of creating this deep and mysterious atmosphere. Even the subtle uses of it, like the breeze that Tajomaru feels as Kanazawas pass by him, creates that natural presence that makes the scenes look and feel convincing. Miyagawa, a lot of the time, has the camera moving which then controlled the film's pace, with only static shots present to highlight expression from the actors. The dolly shots at the start of the film were mesmerizing to look at and he really made use of the environment, following actors wherever they go and not have them be boxed in a frame. I enjoyed watching the close-ups that he created as it really seems to capture the essence of the film's characters, letting the audience see deeper than what is just presented. I was also amazed on the way Miyagawa used rain in the film, reminding me of how Fincher used it in Seven; it created this melancholy atmosphere and it was like a barrier of sorts that prevents these three people from leaving this broken temple.The film's score was composed by Fumio Hayasaka. I wasn't so wild about his work here, with some moments feeling a bit forced in trying to get a reaction from it's audience. The score isn't a disaster by any means but it just didn't do much for me. There isn't more I can say about his work because there is very little I remember about it. I was more invested in the film's cinematography and story.Rashomon doesn't have a large cast, and the film mostly focuses on a certain event that included three people. The film's main actors were Toshiro Mifune, Machiko Kyo and Masayuki Mori. I thought for the most part, they were great to watch. Mifune and Mori were really great in their roles, embodying almost three different sides of their characters. Kyo on the other hand was tolerable but for the bulk of the film, she just seems to show two sides of her, crying and not crying. It would have been better if she wasn't so melodramatic in displaying emotion and try not so hard to be the centre of attention during a scene. Takashi Shimura, Minoru Chiaki, and Kichijiro Ueda were great together, particularly the last few minutes of the film. These characters seemed more natural than the three actors involved in the main plot, maybe to create a close representation of the audience or maybe to contrast between perception and reality? All in all, the acting in this film was a delight.Rashomon is a great film, and over time may prove more positively with me. This was a great entry into the work Kurosawa and I am excited to see what else he has created.

Joel R (au) wrote: "Michael, we all need friends."Arlington Road um daqueles thrillers boa moda antiga: o mistrio sempre a pairar no ar, avanando em investidas fugazes; surpresas constantes que deitam por terra algumas das nossas efmeras (e nem sempre correctas) suposies sobre os contornos da narrativa; e, acima de tudo, desempenhos exemplares, especialmente o de Jeff Bridges, que tornam toda a aco mais credvel e deixam uma sensao de parania crescente arrastar-se ao longo de todo o filme.O protagonista do filme, Bridges, salva uma criana beira da morte, precipitando-se um inevitvel encontro com os seus pais, que insistem em tornar Bridges como um membro da famlia, convidando-o para festas e conversas amenas, ao mesmo tempo que introduzem o filho abstrado dele na teia social da vizinhana. Mais tarde, Bridges apercebe-se envergonhadamente que vizinho daquele gente, nunca imaginando sequer que o mido que salvara morava logo do outro lado da rua. Embora haja alguma implausibilidade nesta criao de cenrio, foi bem inserida a noo de alheamento em que o protagonista se encontra mergulhado.Lidando com teorias da conspirao diariamente, ou no fosse a personagem de Bridges um professor de Histria que lecciona nas suas aulas captulos de terrorismo em solo nacional, as suspeitas sobre o novo vizinho comeam a avolumar-se, quando alguns traos mais antigos da sua vida assumem algumas descontinuidades no seu percurso. Inicia-se, ento, um plano cirrgico com o objectivo de melhor conhecer o novo vizinho. S que nem sempre tudo corre como o esperado.O argumento padece de algumas fraquezas, um sacrifcio em abono do conceito de thriller, mas ainda assim estamos perante um bom filme que no deixar certamente ningum indiferente, quer seja pelas suas temticas polmicas ou pelas questes que levanta. E, sem querer estar a arruinar a surpresa que o final nos reserva, caso para dizer que raramente se fazem filmes que rejeitam o arqutipo a que nos acostumaram os policiais de Hollywood! Bem, s mesmo vendo...

jarrad b (gb) wrote: Nice scary ghost movie, with good ideas but let down a little by the ending

max h (it) wrote: Saved from the usual Sandler muck by Genndy Tartakovsky's visual flair and some fun genre jokes (despite the presence of the usual fart joke)

WS W (br) wrote: Partially amusing but not that interesting on the whole.

Corey P (ca) wrote: This movie tries to hard it doesn't know what it wants.