The Midnight Game

The Midnight Game

After playing a pagan ritual on a dare, a group of high school students find themselves trapped in an endless cycle of their worst fears.

Several high-school students get trapped in an endless cycle of their worst fears after performing a pagan ritual as a lark. The only way they can save themselves is to retry the game and hopefully they get it right the second time. . You can read more in Google, Youtube, Wiki


The Midnight Game torrent reviews

Dax S (us) wrote: I liked this one, again, good job turning it from a book into a movie.

Jen A (mx) wrote: Not bad actually. Under the usual exaggerated stunts lies a strong plead.

oniverse m (de) wrote: i usually don't watch romantic comedies but this is a fine watch

Ejan Y (fr) wrote: I really like this movie the action techniques are so cool and the storyline is pretty good after the hit Drunken monkey Wu-Jing proves that he's one great action hero.

Hady M (nl) wrote: It Was My First Film I Watch For Edward Yang, He's a Real Master .... One Of The Most Difficult and Simplest Scripts Ever Watched .... a Must Watch Film,R.I.P. Edward Yang

Bryant D (jp) wrote: Horrific and powerful. A documentation of true evil and the lies told to support it.

Russ B (jp) wrote: 12/26/2013: A fun and enjoyable movie with an excellent cast.

Johnny R (ru) wrote: I absolutely love this 3 stories really loved it. and a lot of good cameos

Russell G (gb) wrote: Chuck is after a retarded hooker killer in this one, and it isn't as bad as it sounds. they mostly play it straight, and Chucks full beard on this one so you know he's serious.

Keith E (gb) wrote: danny obrien vs Simon moon...... a classic chuck noris film

Emmanuel S (fr) wrote: For those you that are still complaining that they don't make sweet, nostalgic and heartfelt young romance films any more, obviously haven't seen 'Flipped' yet.

Calum B (ru) wrote: Why the poor box office performance? Why the bad reviews? Why the bad word of mouth? I really didn't see anything horrible about this movie! First of all, it's a character-driven story. There's little subplots involving jealousy and philandering, but it's not handled in a soapy fashion. I didn't feel any of the characters were one-dimensional.Of course, Mike Myers steals the show as the homosexual club owner Steve Rubell. I don't know the real Steve Rubell, so you be the judge whether or not his performance was accurate, but I have to say that Myers did an incredible job! And I'm not overstating the least bit! You watch him in this movie and you totally forget that this is the same guy who played Austin Powers. Not to say I didn't realize Myers had talent prior to watching this film. He has definitely proven that he has talent as a comic actor, but I didn't know he had the chops to pull off a straight, dramatic role. Even his accent sounds real, not the least bit phony. I'm surprised Myers didn't even get an Oscar nod. He should've at least gotten the nomination for Best Supporting Actor. Trust me--you will be blown away by his performance in this movie!The music is great. It's always great to reminisce to the great songs from the seventies. Mark Christopher nicely captured the whole rebellious atmosphere of 54. We're given a taste of the drug addiction and even the sexual promiscuity that made the place famous--there's a scene where a couple shamelessly pounds away on the balcony. I read one person's review, saying that this movie should've been an hour longer. I find it ironic that people watch movies that are two and a half to three hours long and complain, "Oh, this movie dragged! Oh, this movie needed more editing!" Yet they watch a succintly timed film like this and complain it's too short. This may not have been the most thorough examination of the famous nightclub, but I think it got to the point. No reason why we have to go into every tiny detail.This is a serious, dramatic film but it's also very entertaining. I actually had a smile on my face when the movie ended. It ended on a happy note without having that forced, schmaltzy Hollywood feel. Plus, I really like that song "Knock on Wood" that they played over the credits.

Robert H (ag) wrote: The pursuit of happiness, enshrined as a right in the US Constitution, is one of the greatest motivating factors in all of human history. It can also be one of the biggest distractions. CABARET, from the musical by Kander and Ebb and directed by Bob Fosse, is sort of an examination of this through the historical lens of late Weimar Germany as it succumbed to Nazism. Liza Minnelli is Sally Bowles, a dancer/singer at the Kit Kat Club who has dreams of becoming a famous actress; and Michael York is Brian Jordan, an English philosophy student who is in Germany for cultural enrichment and to make some money. Both of these tragic figures are the conduit for the audience, with Sally being the fantasy side of things and Brian being the reality. As with CHICAGO, although a little less so here, the musical numbers don't just move the story along (all while being organic) but also comment upon it as well. This, for me, is what sets Kander/Ebb musicals apart from the rest. Nazism begins as a mere nuisance but, as the film progresses, becomes more of a presence (and present threat). This is mirrored in the pacing of musical sequences which are initially spaced out a little sparsely but become more frequent as the film goes on. From an interpretive standpoint (and this is just my opinion), this implies (through the nature of what a cabaret is and entails) that our willingness to be entertained and distracted, even if only temporarily, is what allows political extremism/tragedy/etc. to insidiously take hold. No scene in CABARET is more chilling than when the young Nazi starts singing (what I think is) a folk song, and his audience gradually joins in with him. In fact, this entire musical is filled with pathos of varying types, which is why I think it's so effective. The cabaret is a metaphor for the ways we try to mask our pain, to find happiness, but it often comes at the expense of our dignity. From a technical perspective, all of the performances were solid with special marks being given to the leads. However, Joel Grey as the Master of Ceremonies was just as entertaining, perhaps the most so as his role provided dramatic and musical unity to the film. He was also simply hilarious to watch. There was also dynamite editing, choreography, lighting, etc., making it a sort-of ancestor to the music video. If there's one complaint I can levy, it's that the film takes a little too much time to get going, although once it gets into gear it doesn't let up. All things considered, CABARET is a stunning accomplishment that still holds relevance in this day and age of disillusionment with the political establishment. I'm a little hesitant to draw parallels between the America of today and the Germany of then, but it's a little disconcerting to feel like the only thing keeping us from making the same mistakes is that we've never suffered the abject humiliation that Germany suffered at the end of WWI. On a more positive note, CABARET exists as a testament to the power of entertainment, and definitely deserves its status as one of the best musicals ever put to film.