The Green Hornet Strikes Again!

The Green Hornet Strikes Again!

Second serial featuring The Green Hornet and Kato.

A wealthy publisher uses a disguise and calls himself the Green Hornet to fight crime in his city. . You can read more in Google, Youtube, Wiki


The Green Hornet Strikes Again! torrent reviews

Andrew L (us) wrote: Boring piece of crap. and Casey Affleck didn't deserve the Oscars for shit.

Anthony K (it) wrote: Despite its brisk 84 minute run time, Cropsey actually feels fairly slow, due to a bit of a lack of material, suspects, and resolution. However, this is a disturbing and often frightening look at guilt, innocence, and the way American society discards its "undesirables".

Bandido G (jp) wrote: Narcissistic? Of course = the point.super decomposing of self.Is this a guilt trip to him or a smack in the face? Love the two headshots in a row. Great start to his deconstruction period.

Chip H (ag) wrote: Great synopsis and inside look from the surviving band members of the punk movement in Manchester in the late 70's. Joy Division was about to hit really big when frontman/shaman Ian Curtis took his life in a bipolar nadir, just as they were set to embark on their first US tour. Watch it free on Hulu.

Deborah P (ag) wrote: I loved this tale and its atmosphere, a bit like Cinderella in India but the ending is totally different

Brinn O (ru) wrote: a clever tale with refreshing humor and fast paced scenes.

Jacinta M (es) wrote: One of the saddest films i've ever seen

Anthony T (fr) wrote: Don't think this film aged well but it's still a funny little campy horror

Private U (gb) wrote: A very dark, edgy story from the Soviet era. Excellent, compelling story if you can stomach the 80's special effects.

Brad W (it) wrote: A SF murder mystery with enough nudity (including Laurie Partridge!) to make you do a double take at its PG rating. (God bless the 70s.)

Blake P (au) wrote: Blaxploitation is so synonymous with the persona of Pam Grier that the subgenere may as well be dubbed as worthless trash when without her. Let's face it: blaxploitation flicks are trash, nudie cuties stirred up with drug violence and gang warfare without enough acumen to make for anything besides low, low, art. For the most part, they consist of a few ticklish one-liners, a myriad of boob flashes, and a hell of a lot of gun shots, cocaine snorts, and shag carpets. Today, we're fond of their terribleness. They remind us of a time when films could be sleazy and unapologetic, bulletproof to critics because they catered to audiences looking for skin, slaughter, and post-Motown blackness. But Pam Grier doesn't, and never did, disappear into the background noise of better films. As of this moment, you probably can't remember what Tamara Dobson ("Cleopatra Jones") looked like, how Ron O'Neal ("Superfly") sounded when he was high on movie coke - but I guarantee that, in ten years, Grier will still be hanging around in your psyche, personifying the ever elusive film femme that was strong and scrappy but also feminine and sensitive. As Roger Ebert reminded us in his original review of 1973's "Coffy", Grier essentially reversed the stereotypes strung together by the majority of blaxploitation thrillers. Most gave the man the duty to save the day while the love interest waited around in bed until he finally fixed things up and had time to make some water bedded love. But Grier, or perhaps, writer/director Jack Hill, in an honorably feminist mood, asked a question most left untouched: what would happen if the woman saved the day, and didn't need a man to survive in a cold, hard world of drugs, cash, and hookers? As "Coffy" opens, its titular matron is pissed. Kills two drug pushers with a shotgun pissed. Is willing to slaughter more criminals pissed. Smacking the blood on her lips pissed. Why? Her sweet little sister, apparently not as precious as she thought, has destroyed her sacred life with laced heroin, laying sick and immobile in a hospital that would rather get rid of her than help her out. Coffy wanted her young sibling to have dreams, to dance, to let her hair down in a wholesome, Doris Day kind of way. So when those hopes are diminished, she decides to get revenge on the drug mavens who gave her the goods in the first place. After violent confrontations continue on in a vicious cycle, she finally sets her sights on crime lord King George (Robert Duqui), who seems to be behind all the street crud that has sabotaged her life. And when it turns out that her congressman boyfriend (Booker Bradshaw) also has a part in the corruption, she figures she may as well throw caution to the wind and go all out. Grier can do it all: she's a terrific actress, as much of a presence as the mainstream broads that, more than once, stole her thunder, and she's a worthy exhibitionist, proud of her extremely (extremely) curvaceous body and more than happy to flaunt it. But she isn't much like a Russ Meyer girl with busty proportions and not much else - she is so commanding in her sexual prowess that, like Nicki Minaj (I'm going out on a limb here), we find ourselves as much titillated by her presence as we are unsure how to react to it. For Grier (and Coffy), sex is a weapon, and she knows how to use it. But Grier isn't so dependent on her chest that she forgets to act; she really and truly knows what the hell she is doing and makes "Coffy"'s lame dialogue suddenly seem like urban Shakespeare. Other actors in the room don't even try to give Hill's lazy writing any sort of life; Grier, though, pretends she's reciting something the Academy would give notice to. She makes Coffy a superbly memorable character, not just for her physical presence but also for her craftiness, her sincere, empathetic hatred for the men that destroyed her sister's life. I won't go into details regarding the productional values of "Coffy"; everything other than Grier, and the funk obsessed soundtrack, instantly leaves the memory with its routine sex, drugs, and revenge plot. It's an average film with a too-good-for-her-material actress as its front-and-center. A shame - most never knew what to do with Grier after the blaxploitation era ended: should she be a villain? A detective? A wise older woman? Thank God Quentin Tarantino swooped down to save her from further career monstrosities through 1997's "Jackie Brown": then and there was she able to prove that she was so much more than an icon of an otherwise trashy 1970s subgenre. She was also a leading lady with class, with major talent. "Coffy" is a showcase for her unique abilities that puts its brazenness aside in favor of a goddess of an actress.

Tania G (ca) wrote: Much deeper than it appears. Two very different Colonels are at odds, and yet perhaps not...Alec Guinness is so very brilliant...John Mills is wonderful...this is a must-see.

Warren J (fr) wrote: This is my favorite medieval movie; I don't know understand why people wouldn't like this...maybe bunch of beliebers and rebbecca black fans. so stupid

Steve G (jp) wrote: You know exactly where it's going from the moment it begins. But the roommates look like sisters. Predictable post-modern moralism. Apparently, people who don't mutilate themselves are prone to lunacy. -_- And the bf was a db.Some of those scenes were so awkward. Meester is believable.