In Bucharest, Allison is protecting the mysterious bible, "The Prophet Lexicon", where the last chapter about the apocalypse, called Revelations, discloses the name of the Antichrist in its last page. Meanwhile, the evil and jealous leader of the renegade angels Thrones, Stark, forces the hit-man Dylan to kill Allison to get the information about the Antichrist, but Dylan mysteriously feels attracted by the woman, protecting her against the Thrones. Allison seeks John Reigart for help, but Satan tell her that he is interested in the apocalypse to gather millions of souls to Hell. Alone and betrayed, Allison discloses the truth about her origins, while protecting the Lexicon.
Writer:Gregory Widen (characters), John Sullivan (story), Joel Soisson (teleplay)
Allison, the new guardian to the ancient manuscript, continues to try to protect it from another group of renegade angels bent on bringing on the end of the world. . You can read more in Google, Youtube, Wiki
Doctor S (ru) wrote: Some interesting, informative, and surprising revelations from porn stars smothered by a pretentious presentation. Director Deborah Anderson's monologues show an obnoxious arrogance and pompous self-importance over this project - hey lady, you take portraits of famous people, that's hardly on the same level of capturing the flag-raising at Iwo Jima. Her approach is even self-defeating: she wants to show how women in the adult industry are regular people and individuals, but by tightly focusing on a single body part (an eye, the lips, a hand) while cross-cutting interviews with sixteen subjects, it's impossible to sort out who exactly says what. Despite this, certain distinct personalities emerge, with Asphyxia Noir, Misty Stone, Allie Haze, Katsuni, and Alexis Texas distinguishing themselves. The mood is predominantly positive, many of the women obviously enjoy what they do, and there are surprisingly few sob stories. I rather suspect that's a function of the nature of the interview as the women are asked questions while sitting in the makeup chair getting ready for a sexy photoshoot - you aren't going to want to upset your subjects then, right? The more pointed interview with a talent agent paints a bleaker picture.
Vinicius B (fr) wrote: Impressionantes como quase sempre razoveis atores esto presentes em filmes com uma direo to ruim.E esse o maior defeito de "White Frog": uma direo cafona e super amadora, que traz ngulos pobres e detonados de clichs. Uma produo to fraca que se assemelha mais a de uma srie de TV do que a de um filme. Uma fotografia que parece ter sado das mos do M. Night Shayamalan. Um roteiro que no sabe que histria contar e que opta pelo exageiro e o drama barato.Um filme que poderia ser classificado como "razovel" se sua direo no fosse to ruim.
Nick R (ca) wrote: It's an unappreciated modern classic.
Hbk M (br) wrote: 10/10 Love to Watch This Movie again and again !! both my fvrt all time!!
Hayden R (ca) wrote: I can't concentrate cuz all I see is Ms Davidson assumed in my face
Alejandro E (it) wrote: Never before the greek drama was so amusing.Check for Sorvino 15 minutes of fame
Lenard K (ru) wrote: Montreal boy gradually loses his mind. Hard to know what to make of this movie, in a way it reminded me of Tale of Two Sisters or maybe even Science of Sleep, only with Leolo I get the feeling that there never is an underlying reality.
Tyra T (jp) wrote: Exquisite and delightful. Will soften the sharp edges of your life. Mark Knopfler's score is gorgeous.
John A (kr) wrote: Classic Disney, About The Psychic Power Of Two Young Orphans. Their Clairvoyance Prompts Evil Millionaire Aristotle Bolt (Ray Milland) To Lure Them To His Mansion To Exploit Their Powers. While Escaping, They Meet A Friendly Camper (Eddie Albert) & Begin To Unravel The Mystery Of Their Origin. Soon, All Three Are Fleeing From Bolt, The Police & Townspeople Who Believe The Children Are Witches
Robert B (ru) wrote: Rented Zardoz for some 70s campiness and trippiness. I was hoping it would be awful and fun. I found it to be surprisingly serious and curious. It is difficult to tell everything the filmmaker was trying to convey with all the mysticism but there certainly was a lot of effort put into this film. I can't exactly say it was a good film but it was interesting, memorable, and worth the view.
Eric R (br) wrote: This first sequel to the bloody successful (pun intended) rebel samurai film "Lone Wolf and Cub: Sword of Vengeance" is top notch, even bloodier and a cut above the original. Considering how good the original is, that's quite a feat, especially since this was pumped out the very same year!Lone Wolf is hired by opprobrious Yagyu clan in order to assassinate a spy who has stolen some secrets about their plantation that harvests a precious dye. Lone Wolf's job is simple... kill him before he gets back to the Shogun. It's not going to be easy though as there are assassins all around him with a hit on his head as well as his son. The result is one of the bloodiest, most action packed Samurai films ever made.What makes this sequel just a tad better than the first film (not enough to warrant a star rating difference) is that it is a hair more ambitious in its approach. The first film of course focused on establishing our anti-hero Samurai where this sequel hits the ground running, expanding on themes and concepts that the original was only able to hint at.Director Kenji Misumi also makes this sequel a tad more likeable as he injects a sly sense of underlying humor and even a few heartfelt moments (the scene where our young boy brings his injured father some water from the river in his mouth being a sequence that succeeds on both accounts). The film is also a little more over-the-top in its approach to the violence, my personal favorite being a shot where director Misumi shows Lone Wolf's face through a split, blood spurting head of a man. HARDCORE!These over-the-top action sequences are extremely graphic, even slightly poetic in their approach. There are villains to get cut apart around every turn! Lone Wolf is attacked by a woman ninja clan, a male ninja clan, some spies and finally three assassins that no doubt inspired the look of the 'three storms' in one of my all time favorite films "Big Trouble in Little China" with their large straw hats and various weapon usages.The baby cart Lone Wolf pushes his baby around in even plays a bigger part in this story as it is a mobil gadget, with swords and other stabbing weapons hidden through-out to ensure heads are going to role.To top it off there is even entrancing subplot which revolves around a female assassin (with a moving performance by Kayo Matsuo) that becomes emotionally compromised by Lone Wolf and his son when they decide to save her life.I liked this sequel even more than the original and I would even go as far to say it's my favorite of the six part series. It's just more ambitions, violent and over-the-top with a nice underlying sense of humor that doesn't compromise the dramatic story. "Lone Wolf and Cub: Baby Cart at the River Styx" would be edited together successfully with the first film and re-titled "Shogun Assassin" for the American film market. Followed by "Lone Wolf and Cub: Baby Cart to Hades".
Al S (mx) wrote: The classic tale of tragedy comes to the screen in the best adaptation of Hamlet ever. Three hours of pure and utterly brilliant film-making, that's packed with great sets, thrilling craft and astonishing performances that will grab you and not let go for a moment. A complex, exciting and dynamic thriller that's laced with suspense and stunning craftsmanship. This film breathes new life into Shakespeare's greatest play. A true masterpiece of the stage and now film. An extremely powerful and unforgettable movie that's a thrill to watch. Patrick Stewart and David Tennant give superb, passionate and brilliant performances. Tennant gives a spectacular performance as Hamlet, a defining performance of a role for a generation. Tennant is wondefully breathtaking. Stewart is extraordinary, he gives such life and dedication to his complex role of Claudius. I love it, this movie is spellbinding from start to finish.
Matt M (au) wrote: A much loved classic musical from the golden age of the genre. The music and aura of genres of the time overshadows how bizarre the story truly is. This is a film about woodsmen coming up with a plan to kidnap their ladies and make wives out of them. Obviously, the townspeople have something to say against it, but they find the rural ways of matchmaking employed by these rogues actually have an effect on these respectable broads. Much loved songs are scattered around, as well creative and lively music numbers that oppose the characteristic imagery of stereotypes. In fact, in spite of all these cinematic contraddictions that are presented in Seven Brides for Seven Brothers, it all seems so natural, credible, sensical and presented in a graceful manner. Some aspects of the film have not aged well, yet this is a fun and happy flick directed by Donen, a reliable director of celluloid musicals.
Scott C (jp) wrote: Basil Rathbone is fantastic as Holmes in this, the first modernised version of the famous detective's exploits. Great noirish cinematography and wartime ambiance.
Walker P (nl) wrote: it was a satisfying movie.
Nicholas L (ru) wrote: Gladiator is too generic, unoriginal, unhistorical, and familiar to call it an epic of our day, but I has its entertaining moments, one of the, not being being Russel Crowe's vapid performance.
Kurt F (kr) wrote: 12/16/14 What can I say? I liked it. It made me laugh at its very subtle humor. Really the whole film is just one long joke about hot dogs. But I didn't care, it still was endearing, even if it was pure fantasy and not a true biopic.