The Gray Man
Early 20th century. Albert Fish, a seemingly benevolent father and grandfather who reared his family by himself after his wife deserted them, turns out to be a serial child molester and murderer. Based on a true story.
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The Gray Man torrent reviews
Tim M (kr) wrote: "Locke", starring Tom Hardy as Ivan Locke, is the story of how one decision in your life can send things in a drastically different direction. What sets this film apart from others is only the lead actor appears on camera, and he's inside his car for the duration of the movie. Hardy carries this interesting concept with his usual charm, but the movie is thin and repetitive. As Locke's world is changing dramatically, so are the lives of others, but Locke is the constant. The best thing about this is it doesn't overdue it. At only 85 minutes (which still felt about 15 minutes too long), it's still not all that tightly wound. You should watch this for Hardy, who once again takes a chance on a low budget flick and the viewers are rewarded. Hardy may just be the best actor of his generation.
David L (de) wrote: Penguins of Madagascar does have its hilarious scenes, the characters are fine and the animation is okay, but the action is uninspired and boring, the pacing is too frenetic and the story is bland and boring. It is an uninspired spin-off that has its moments, but is overall forgettable.
Isadore H (jp) wrote: A whimsical story about a young boy coming of age, and a stellar cast is a what drew me in. I was more than satisfied with the product, though predicable, manages to be charming and funny mainly through Sam Rockwell. I absolutely loved this film, and I would say it's good for almost anyone to go see
Monster (br) wrote: a good movie, amazingly close to reality that you can hardly believe it's played. every actor is doing a great job.
Craig Y (ru) wrote: Disturbing. Uneven. Alan Ball.
Joseph S (ru) wrote: My first Suzuki let down, it's got all the plotless, colorful, stylized moments that made Branded To Kill and Tokyo Drifter such great feasts for the eyes. It really is visually impressive. But the plot has gone beyound full, to fat and turgid. I not only didint know what was going on, for the first time I didn't really care. It's basically the same set up as Branded To Kill, a group of assasins playing king of the hill, only there's alot of extra scenes of dialogue that don't reall go anywhere, and it slows down any momentum the action sequences bring to it. The earlier films felt focused, where this for all it's bright colors mostly falls flat. If every scene is wierd is any scene really wierd? Without a more developed story to hold these images together it all becomes kinda repetitive. And the actors whose job it would be to bring some kind of emotional meaning or force to the film, are all as rigid and staged as the backgrounds. The early films were stylized noir thrillers, this is almost a kabuki show, with an ocassional gun being brandished. There are some good ideas here and there, but after watching it twice, I'm just not sold. Pistol Opera is a unique film that doesnt feel too indebted to it's predecessors, but it's also a movie I don't think I would watch again, which especially sucks cus I bought it in order to see it...
Prabhanjan D (fr) wrote: For the first time, the Indian audience saw a Hindi film which made them think about the issues which create an underworld don. Ram Gopal Varma established a world where gangsters were living a more miserable life than the people they ruled.
Sam C (gb) wrote: Behind the strong performances, beautiful food, and mystical score in Big Night, lies much more, a fully realized story of culture vs success, and the quest for the American dream.
Juan E (br) wrote: That was a political action. I'm a goddam revolutionary!
Cita W (gb) wrote: Thank God, it's only a motion picture.
Garrie B (es) wrote: More outrageous than I'd remembered, which means I'll have to watch it again. The closing courtroom speech is tremendous and makes the whole thing worthwhile. Could have been four stars if they'd carried the theme from the speech through the rest of the picture.
James M (ag) wrote: I'm something of an amateur devotee of low budget, grindhouse films. From flicks of the 60's to the present, I've seen my fair share. However, "Vice Squad" is one that will probably always standout to me, both in good ways and bad. The basic plot is that a prostitute named "Princess" (played by Season Hubley) helps a seasoned vice cop (played by Gary Swanson) to take down a violent and deranged pimp named "Ramrod" (played by Wings Hauser), after he kills another prostitute friend of her's (played by Nina Blackwood), but soon becomes the target of the pimp's homicidal rage, after he escapes custody. Now the race is on between the vice squad and Ramrod, as to who will get to Princess first! The film is certainly not for the faint of heart, or those who easily offend. No punches are pulled in the violence and degradation that is shown. It has a sort of gritty realism to it, but it doesn't quite make it over the hump to where you totally buy it. This is due to the stretching of credibility in some key moments. I mean, would an entire vice squad really go all out to find a single prostitute, even if her life were in danger? No, probably not. One cop, maybe two, but not the whole squad. And the violent pimp, who seems to constantly flip from calm to psychopathic at the drop of hat, would he really be able to intimidate all the hard players of this underbelly of civilized society? Again, probably not. So, when such instances happen, it takes you out of the moment and costs the film a lot of the dramatic tension it's trying to build. Director Gary Sherman certainly does a nice job of portraying the seedier side of the big city (in this case Hollywood), as the grunge and sleaze of society's "forgotten people" is well displayed almost constantly. Sadly, though, there is little shown to us beneath that grimy surface. You never get into the minds of any of the players. You get a brief scene with Princess sending her daughter away, to show she has a softer side, but you never get much context on it. Even worse is Gary Swanson's play at the vice cop who gives a damn. Besides a very wooden performance, you never really get any insight into his reasons for being a vice cop. As he is asked at the film's end, "Why do you do it, Walsh? The streets are never going to change." The question is never answered, either to the character in the film or the audience. The one solid bit here, is Wings Hauser's turn as the ultra-violent Ramrod. He plays it up for all he's worth here. He is certainly one of the perennial heavies of the 80's, both in film and television, but he steps things up a notch here, going from mean to downright brutal. His use of a coat hanger to whip up on prostitutes, shows a level of darkness that goes beyond ordinary misogyny. While most of the other actors just sort of plod along in their roles, Wings uses his to be a force of nature in the story, which is where most of the drama and action stems from. The film is certainly not what one would call "classic," either in the award-winning sense or otherwise, but despite it's many flaws, it still manages to hold your attention and stick with you long after you've watched it. Whether that is due to it having that special 80's vibe, that made many less-than-stellar films give you that sensation, or merely the fact you can't look away from the sometimes over-the-top slimy nature of it all, I can't say for sure. All I can say is that, for good or ill, this is one film you won't soon forget.
Orlok W (ag) wrote: An odd couple living on borrowed time--Paddy Considine has made a monster...!!
Charity S (br) wrote: My kids love it kept them interested and sing with it