Set in the very near future, The Knackery is the latest hard hitting feature film from Belfast's leading independent production house, Yellow Fever Productions (makers of the award winning Battle Of The Bone). All is not as it seems on the country's most watched family game-show... Reality television has taken things to the extreme and given the public, The Knackery, a show where six contestants fight for the grand prize of 'one million pounds'. To liven things up, the producers of the show release a horde of genetically modified zombies which puts a little bit more pressure on the fighters, in this Big Brother style beat-em-up. As an undercover reporter tries to scoop the story he's been waiting for, he soon comes across a kid who has entered the arena unaware of the consequences.
Set in the very near future, The Knackery is the latest hard hitting feature film from Belfast's leading independent production house, Yellow Fever Productions (makers of the award winning ... . You can read more in Google, Youtube, Wiki
Matt G (kr) wrote: Terrible acting and a terrible plot line...
Miguel A (au) wrote: [spoilers mais que evidentes] Por mais que tente, no consigo resistir a filmes de casais de meia-idade que veem a sua unio ameaada por uma infiltrada em misso de espalhar sensualidade e arruinar a famlia. Trata-se de um subgnero absolutamente gasto e previsvel, mas por qualquer razo papo quase tudo o que h para ver (desde telefilmes a erticos exibidos a altas horas na CMTV). Eis ento que me aparece na vida este "Breathe In", que com ele traz a pretenso de transformar uma banal histria de traio no suporte para uma longa-metragem carregada de apontamentos artsy-fartsy (todos eles muito melanclicos e srios). "Breathe In" ficaria ainda assim perto de cumprir os seus objectivos se perdesse pelo menos trs minutos na caracterizao dos seus principais personagens, porque at podia dar-se ao luxo de ignorar por completo o tpico jock americano e a sua namorada com uma constante neura. Contudo a preocupao mais sonante de "Breathe In" passa por servir-nos umas quantas cenas de intimidade enlatada acompanhadas por umas pianadas muito tristes. Quando tudo corre mal, h sempre um piano a tocar e acreditem que isso acontece durante mais de metade da sua durao.
Claire O (ca) wrote: This is a foreign film (English) and the actors have pretty strong English accents. You will have to really pay close attention to understand the conversations.
Brian F (au) wrote: Great Role by Raani...... the movie grips you till almost the the end, a loose ending though
Kristen G (kr) wrote: Stupid but funny! I was very entertained and laughed a lot!
Jess T (au) wrote: Not Easily Broken was a drama much better than I would have guessed. Good story, with great drama. Very good acting.
Cody C (au) wrote: Fucking incredible. Holy shit. How is this not a hugely well known and beloved horror movie?
bill s (it) wrote: This would have been a bad half hour show let alone an hour and a half stretched out movie.
James W (us) wrote: Dark Water was the first horror I watched and also my first DVD I bought, and to this day, I still find it just as scary, it's got one of the darkest and creepiest atmospheres in a horror I've experienced for a long time. The apartment building is so dank and dull you know there's something genuinely creepy and wrong with it, and poor Jennifer Conelly's character gets caught up in the supernatural activity. She is excellent, she alone makes this horror more enjoyable. I did expect a couple more frightening scenes or ghostly imagery, but what's in store is shocking enough. With a tense and tightly packed ending and consistent atmospherics throughout this is a bloody solid movie.
Ahmed H (gb) wrote: The film really stands for something. From the early stage Gyllenhaal proves he will become Hollywood next legend.
Kevin B (es) wrote: "Rear Window on the highway". Near perfect Aussie thriller and Hitchcock homage (from the director of Patrick and Psycho II), that's also surprisingly funny. Loved the tone. Beware the ad art and trailer that attempted to sell it as a slasher flick. Stacy Keach is terrific and quite hilarious. Jamie Lee is great, too. Even though the killer is identified right away, this still had me guessing where it would go until the very end. Recommended!
Blake P (ca) wrote: Less PC than "The Producers" (1968) and funnier than anything Jim Abrahams and the Zucker brothers have made since "The Naked Gun: From the Files of the Police Squad" (1988), consider The Lonely Island's loony mockumentary "Popstar: Never Stop Never Stopping" to be the "This is Spinal Tap" (1984) for the millennial crowd. It's appropriately crass, pointedly satirical, and just broad enough to deliver big, stomach-hurting laughs to be forever cemented through interminably told in-jokes between jokey friends.Being the "Fear of a Black Hat" (1993) descendant that it is, you can bet that "Popstar's" parodical jabs successful target the absurdities of musical superstardom, its caustic bullets specifically taking aim at Justin Bieber and, more prominently, his cheese-stuffed 2011 rockumentary "Never Say Never." "Popstar's" Biebs is man-child Conner "Conner4Real" Friel (a magnificent Andy Samberg), an egotistical maniac in the process of pursuing a solo career after finding success with hip-hop trio The Style Boyz (its other members portrayed by Lonely Island staples Akiva Schaffer and Jorma Taccone).Whereas the real world's JB is perhaps better able to back up his bad behavior with undeniable musical talent (he's a percussionist prodigy who also happens to have an elastic voice), Conner's got nothing except boorishness that somehow, according to his publicist (Sarah Silverman), "makes so many people money." He surrounds himself with gaudy playthings to keep him smug, swag wanting-but-not-having friends who find the time to agree with everything he says, rappers who have more mystique he could ever call for with the snap of a one hundred karated, gold ring decked finger. Conner is the type of narcissistic celebrity -- the kind with a snapchat fetish and a deplorable habit of oversharing -- who grips the public's interest for no reason easily explicable.In "Popstar," we see Conner in the pre and post stages of the release of his sophomore album, which, like George Michael's "Listen Without Prejudice, Vol. 1" (1990), is preceded by a mega-seller so mega that numbers have to be Mothra-sized to ensure staying power. With catchy tunes like "Finest Girl" (which details Conner's plans to please a woman with the same force of the government's fucking of Bin Laden) and "Equal Rights" (a "Same Love" lampoon more bent on making it clear that Conner's straight as an arrow than actually catering to national discourse), the singer/rapper's certain that he has another knockout on his hands. But when copies hit stands is it clear that things aren't "connecting" as well as last time. Pitchfork gives the album, aptly titled "Connquest," a never-before-seen -0.4/10 rating, Rolling Stone throws its star system away for the poop emoji, and first week sales are an abysmal 64,000. Heavy duty damage control is imminent, and Conner and his cohorts are desperate to elevate him to the beloved figure that he once was. But everyone, it seems, wants him to get back together with The Style Boyz, who, according to the truckload of cameoing A-list musicians, remain to be an influential, everlastingly relevant group. Swallowing his ego could benefit him hugely. But Conner, so in love with himself and himself only, isn't so sure he can again embark on a career in which he isn't the strict center of attention. And maybe, like Conner, we'd prefer if things stayed strictly oriented in his direction - "Popstar" is at its weakest when it's most sincere. Because the last act of the film is dedicated to the sort of jokingly dramatic but still off-puttingly dramatic scenes that derail a classic sitcom every so often, the shift between riotous broadness to (mostly) straight-faced candor is jarring, especially since all coming before it is so jammed with long, loud, and ludicrous laughs that come every twenty seconds or so. But any comedy (especially a comedy released in the frequently uninspired 2010s) jammed with long, loud, and ludicrous laughs that come every twenty seconds or so is a sign of a good one, and "Popstar," by any standard, is terrific. As it went in "Anchorman" (2004), a similarly unabashedly wacky lark, having trouble breathing as a result of our amusement is an expected given. The jokes, visual or otherwise, are written with such knowing dementia and told with such sharpened comic timing that we don't have much choice but to rear back in our guffaws. With so many cameos (featuring wonderful guest spots from Maya Rudolph, Will Arnett, Justin Timberlake, and Pink), hilariously vulgar (albeit memorable) songs, and cultural mockeries (the movie's TMZ tickling is one of its funniest recurring gags), "Popstar's" too uproarious to fail. It's one of the best comedies of 2016. That it failed at the box-office, making $9 million against a budget of $20, both makes sense and doesn't make any sense. It makes sense because advertising was so awful - I remain haunted by the relentless Spotify ads that highlighted all the movie's least funny, most Sandler-esque cracks - but it also doesn't make sense because word of mouth has ample power and the film's much too delightful not to warrant a passionate recommendation. In any case, "Popstar's" destined to reach the status of a cult classic; it's the runaway success that wasn't.
Jake H (ca) wrote: I like it. The camerawork and selective, atypical lighting create a very dense, overbearing atmosphere, with little clear sky or empty space until the final shot. The protagonist's psychological entrapment and moody attachment to past miseries are continuously evoked through the dazzling interplay of light and shadow, reflection and obscuration. His volatility is scored by rather forceful soundtrack and sharp cuts. The camera moves fluidly and the B&W shot composition of quite complex and layered. The ending doesn't entirely satisfy, but provides the requisite moral closure for films of the period.
Ruth P (it) wrote: A feel good movie that brings sappy teenage romance to it's best.
Kenneth L (ru) wrote: A very enjoyable Sherlock movie, probably better than The Adventures of Sherlock Holmes, which was the original Basil Rathbone Sherlock movie. It's a straightforward mystery story that draws your suspicion a couple of different ways before you actually figure out what's going on. It's well made, and Basil Rathbone is appropriately clever and arrogant as Holmes. Nigel Bruce's Watson is much dumber and goofier than the Watson in the books, but he does a good job of playing him that way, and it's amusing. It's a good bt of fun, and it's really short.