The Red Elvis

The Red Elvis

A documentary on the late American entertainer Dean Reed, who became a huge star in East Germany after settling there in 1973. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

The Red Elvis torrent reviews

Fca Gauransh M (ag) wrote: wanna 1st day 1st show

Paula W (kr) wrote: Challenging, disturbing film, which made me question my emotions from the outset. Beautifully scripted, intensely well acted and unique.

Federico J (ca) wrote: EXCELENT FILM, THE ACTRESS SUPER!

Fiona M S (ru) wrote: I was unsure of the description as it didn't give me much to go on. However, a great movie with fast cars and a chick-friendly story line. Has subtitles, but worth a look.

Marianelly (de) wrote: Wicked with an unexpected ending.

Chris S (au) wrote: Compared to his Previous film, 2001 maniacs, the movie moved heavily towards a more darker tone. A dark, brutally honest horror thriller featuring another genre driven perfromance by Diamond Dalls Page.

Victoria J (ag) wrote: I disagree with the consensus of the critics, I think it shows that Heroine addiction can happen to anyone, and then they do look shitty, and all addicts are self pitying, that didn't stop me from loving or identifying with the characters.

Christian C (br) wrote: Very funny comedy fans a must see especially brit comedy fans all the best antony sher harry enfield vic and bob jon culshaw amazing film and hilarious

Troy C (us) wrote: What do you get when you cross an underground comic series with Casablanca? Mostly, you get a campy mess. It's called Barb Wire, and stars Pamela Anderson Lee of Baywatch fame.If you think this slumming life guard was picked for her acting ability, then you'll probably love this movie. As it is, the cinematic priorities are clearly established early on. Editing continuity is thrown right out the window in the opening scene, with Ms. Lee's skimpy costume alternately revealing and then restraining her ample figure.The original "Don't call me babe" babe, Barb Wire (Lee) is a tough-as-nails nightclub owner in the last free city of America, Steel Harbor. She also happens to be a free-lance mercenary- a leftover talent from her freedom fighter days.The rest of the U.S. is in the middle of the second civil war, with a neo-Nazi like military called the "Congressionals" controlling the government.Into Barb's bar walks Axel and his wife of convenience, Dr. Corrina Devonshire (aka Cora Dee of the resistance movement.) Axel and Barb are old "friends". He has come to her in the hopes of getting the doctor out of town and safely into Canada. In order to get pass the checkpoint onto the plane, Cora needs a pair of special identity-masking contact lens that Axel thinks Barb can help them obtain.But Barb is only out for herself. Everybody knows that; especially detective Willis, the local police authority who sweeps by Barb's place every so often for his share of the graft.Local corruption isn't so simply once Colonel Victor Prizer of the Congressional forces shows up. He is seriously determined to find Dr. Devonshire and recover the lens; even if it means killing every uncooperative citizen in Steel Harbor.If you've seen Casablanca, then you can guess where the loyalties finally fall; right down to putting the old beau on the plane at the end.It's hard to say whether the motivation behind ripping off the Michael Curtiz classic was to add a touch of tongue-in-cheek elegance to this post-anarchy pot-boiler or to save the writers having to come up with an original story.Either way, Barb Wire remains simply a comic book on film; lacking the extra style or visual sense that a talent like Tim Burton brings. The production does manage a sustainable sense of chaos within its run-down, every-man-for-himself sets. It is an atmosphere greatly enhanced by the excellent sound work, which implies layers of activity going on in the audible background. But without a more intriguing premise or a more engaging sense of humor, the story settles for campy titillation within a futuristic framework.Given Ms. Wire's personality, Ms. Lee isn't asked to do much emoting within the story. She sneers, she growls, she does a bad girl tease. Certainly Lee fills the physical qualifications of the title character: tough, statuesque, vamp-ish, with a practiced "what's in it for me" attitude.It's okay as far as it goes, but that isn't far enough. She never looks as though she is having any fun; and without an intelligent script, "fun" is the only excuse for a film like this.Rated R for violence, peek-a-boo nudity and a very loud soundtrack, Barb Wire may end up being a diversion for the late-night Saturday crowd, but it's not likely to attract the mainstream. Like its namesake, once you find yourself caught in it, your principle thoughts turn to getting out as painlessly as possible.

Andrew L (it) wrote: Would have been interesting to see how Tarantino would have directed this. Stone likes to view himself as a social commentator who's got the media monster 'pegged'. He likes to tackle large subjects and large people in his films (Alexander the Great, Fidel Castro, the JFK assassination, 9/11, Vietnam, Wallstreet), but it's all a metaphor of how he views himself - larger than life. His ego is just as big as any of his film subjects, and this film supports that claim. It's out and out brutality and passivity towards it's shock and horror only serves to display Stone's (and Tarantino's) audacity to be so 'in your face', not caring of the consequences. If only this film didn't try to glamorize violence. They should have had the alternative ending where Mickey & Mallory are killed by 'Owen' (the timid psycho who aids their escape). There is no way they can just disappear, no matter how big America is - there are too many trigger happy people there who'd recognise them and try to make a name for themselves! Other than all that, I enjoy this film for some odd reason, particularly the second half in the prison.

Nick M (gb) wrote: Here a mediocre 1986 comedy that starts out strong with a lot of potential, then hits a dead end where it abandons subplots, wastes characters and waters down its cynical overview. The honorable Judge Reinhold is always cool to watch though, so if you're a fan of his work, then this should be on your see list.

Juha T (de) wrote: Hats of to all German perverts.

Alex S (br) wrote: If you're into cars, sweeping panoramic shots, and/or limited dialogue, you'll enjoy this movie. And if you're not you probably shouldn't see it. What I love this most about this movie is the way it was filmed. The story just unfolds without being burdened by dialogue, thus giving it a very realistic atmosphere. Every shot is so beautiful, though of course being that it's in France helps a lot. All in all a good film.

Yash B (es) wrote: I expected more, even though the first three had no reason to make me feel that way. It has some genuinely exciting scenes and is perfectly acceptable for anyone who is willing to leave their brain at the door. Still easily my least favorite of the series because I feel like nothing particularly relevant happens, it's mostly a setup for the next one.

Ryan M (nl) wrote: I think the reviewers so far have largely sold this film short. Yes the idea of hypnotic inducement to crime is pretty dubious, but in 'Whirlpool' it's really just a plot point embedded in a broader study of trust, pathology, and love. Conte's characterization is maybe clouded or undermined by his history as an actor cast primarily in proletarian-type roughneck roles, but the complicated chemistry of Bickford, Ferrer, and Tierney is compelling enough to imbue the movie with its necessary suspense -- its dread even (there's a moment maybe 4/5 of the way through where the case on Tierney seems closed and one really gets to thinking that the whole affair is going to collapse into devastation unthinkable for a typical Hollywood film). Preminger maybe fails in scripting Bickford's character as alternatively resigned and resourceful, creating an aftereffect not of psychological complexity but of semi-routine B-picture mental machinations -- more narratively functional than inherently interesting. Still, 'Whirlpool' has an appealing darkness and pays at least small dividends of thematic satisfaction.