The Return of Frank Cannon

The Return of Frank Cannon

Private detective Frank Cannon comes out of retirement to investigate the murder of an ex-girlfriend's husband.

Private detective Frank Cannon comes out of retirement to investigate the murder of an ex-girlfriend's husband. . You can read more in Google, Youtube, Wiki


The Return of Frank Cannon torrent reviews

Matt A (br) wrote: This could've been really good as a prequel to The Conjuring, but this feels like a weak imitation of a much superior horror film. In fact many of the horror films you've seen in previous years have been a lot more scarier then this. Where Annabelle fails is its reliance on cheap jump scares, which do not make a film scary. Disappointing.

angela c (it) wrote: very good comedy movie

Mark H (br) wrote: not a bad story but things did seem to get over the top quickly

BRUNO V (br) wrote: Good time watching this ...interesting

Isabelle W (ru) wrote: Filme de Takashi Miike com participao especial de Quentin Tarantino, yey! uma espcie de remake de um filme do Kurosawa. A segunda metade do filme melhor que a primeira, mas, no geral, apesar da fotografia interessante, meio alaranjada, achei fraco.

Kylie P (fr) wrote: Stage Beauty will invariably invite comparisons to "Shakespeare in Love" and with good reason. The doting woman, waiting in the wings for her chance to take the stage as a genuine actress, otherwise prevented from doing so by then-current laws and taboos, fixated upon the performance of one of the Bard's most famous tragedies. Instead of "Romeo and Juliet" here, it's "Othello," and instead of doting upon the Bard himself, Danes' Maria dotes upon Crudup's Ned, who seems to prefer brawnier company, but their symbiosis is complete when Maria finally does get her chance to assume the role of Desdemona.What Stage Beauty has going for it, which separates it from its Oscar-winning predecessor, is subtle charm and the appeal of its main actors. Billy Crudup and Claire Danes effect a strangely comfortable sort of chemistry, and when paired with the execution of the Oscar Wilde-like wit of the screenplay, this chemistry creates a safe, enjoyable partnership to watch unfold, one that neither challenges nor titillates the viewer even as it entertains. The comfort the actors have with each other may be more solid than the fleeting comfort they seem to have with their respective roles. Danes fails to achieve a consistent English accent, not unlike her portrayal of Juliet in Baz Luhrmann's Romeo and Juliet (when no one else in that movie dared to bother), and she walks a fine line between selfish harlot and sweet innocent with mere dreams and aspirations as her motivations. The result is that she plays Maria with a pleasantness but not necessarily a likability, which ultimately detaches her performance from connection with the viewer. By the same token, Crudup manages the gender-bending qualities of his Ned effortlessly, his features and frame morphing into the required sex of the moment at beck and call. Yet, his character is wildly narcissistic, which seems to fly in the face of the actor, and he is never quite believable as the scamp, even though he is more than genuine when Ned is down on his luck, put out of work by women playing traditionally female roles, his character's stock and trade.The art direction and costuming are beautifully rendered with an eye toward the detail of the period being depicted. There are some gorgeous settings, enhanced by a cinematographic eye toward warmer hues and color palates complimentary to candlelight. The score by George Fenton, like the film it textures, is pleasant if not necessarily memorable.Overall, however, the direction in this film is a bit scattered, struggling to find focus around two characters that struggle to find focus themselves. The story, at one end, unfolds like a run-of-the-mill romantic comedy, except for the fact that Ned's sexuality is strongly implied to favor his (real) gender over the fairer gender he typically portrays. So, it could be that the story is an examination of longing, whether that longing is for the connection with another or a connection to the character via the acting process. Or, it could be about the journey of finding strength in reinvention or in a strong friendship. Perhaps, it's meant to be a satire of current sexual attitudes through a period piece, exploring the ongoing battle between the sexes by considering gender identity via the perceptions of the opposite gender. Maybe, the film wants to be all of these things; ultimately, it is hard to pinpoint the film's identity because it seems the director, Richard Eyre, was not quite sure himself, which may explain why Danes and Crudup could not seem to settle into their characters in a convincing way throughout the duration of the film. Also, none of these possible ideas are ever fully developed or given full flush, and it's this lack of development that prevents Stage Beauty from becoming a genuine copycat of Shakespeare in Love, a better constructed film in story and direction.Still, though Stage Beauty played like a confused and superficial inspection of the human condition, it was ultimately pleasant and inoffensive to watch, not unlike the exercise of sipping afternoon tea and nibbling crumpets. The supporting cast was top-notch in terms of credibility and great fun to see playing their various roles, though it was passingly difficult to believe Rupert Everett as a king (at least, until he started dressing as a woman for a little role play with Nell Gwynn). Also, the visual presence of the film was as pretty as a period piece like this film can be thanks to the attention to detail in the art direction and costuming. Further, Danes and Crudup were interesting to watch as thespians playing thespians, even if their performances were hampered by the haphazard direction of Eyre.In the end, Stage Beauty may be more "art" than "matter" (when "more matter, less art" may have been required), but it was still moderately enjoyable, occasionally funny, sometimes charming, and not wanting for effort. Stage Beauty was a pretty distraction, but if all the world's a stage, and the play's the thing, the beauty of this film's overall construction may ultimately be in the eye of its beholder.

Ruth L (es) wrote: You might not look at bathrooms the same way again.

Steve W (au) wrote: 8 Women is unlike anything you've ever seen before. Its a murder mystery comedy, but also a musical, and also a zany comedy with soap opera level lighting and plotlines. The songs are character based and don't enhance the plot, but I enjoyed Suzon's rendition of Mon Ami, Mon Amour. The movie takes lots of dips and dives, for an outrageous if slow parody of dysfunctional family movies.

Ville H (kr) wrote: Klassinen kostotarina. Kati Outinen nyttelee yksin posaa. Dialogi on niukassa, kun lopulta kaltoinkohtelijat saavat rotanmyrkky. Jotenki tsskin ois toivonu, ett phenkil ois lopussa selvinny ilman rangaistusta. Mutta sehn ei Kaurismen elokuvissa ky. Hyvkin saa pahan palkkaa.

Marji P (de) wrote: For reasons unknown, this is my favorite movie of all times. It's schmaltzy, predictable and wonderful. After 40 years, I still cry like a baby.

Bill T (mx) wrote: The duke tries to be Dirty Harry, but just can't pull it off. Actually, it's more the story that's at fault here. Essentially a cop-fish out of water as Brannigan goes to London to retrieve a notorious crook. Problem is, is that he's been kidnapped. The plot trods slowly along, and it's not interesting at all. Wayne looks like he's having fun, too bad the material doesn't match up to it.

Yan B (nl) wrote: Characters evolution through this fast action thriller is bringing in a couple of interesting moments of reflection. I did not like how they keet trying to give a 'Christian Morality' background, but overall, it's an easy/enjoyable movie.

Paul D (jp) wrote: A film that runs in every direction that feels like it has alot of plot holes that are really not adding up and also the film has nothing really good to offer in the blood and gore department.

Anna Q (mx) wrote: See. I'm not a fan of horror, but I'm a HUGE fan of psychological thrillers.

jeroen v (nl) wrote: The worst Allen film so far. Naff story with boring characters, unimaginatively directed by a tired man working solely on routine. The acting is atrocious. The plot has black holes as opposed to mere holes and a collander would be more waterproof. Allen plays himself with disdain, his feigned gusto being a satire on previous roles. I paid $4.- for this from the ex-rental bin and lost on the transaction.