The Suspicious Death of a Minor

The Suspicious Death of a Minor

Police detective Paolo Germi and the mysterious Marisa meet each other at a dance hall. Germi is unsuspecting of the secret Marisa is carrying with her: adverse conditions forced her into prostitution. As Germi finds the young girl brutally murdered, he decides to go after her killers. During his investigation, he enters a world of intrigue and obfuscation that leave an endless trail of blood.

Police detective Paolo Germi (Claudio Cassinelli) and the mysterious Marisa meet each other at a dance hall... . You can read more in Google, Youtube, Wiki

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The Suspicious Death of a Minor torrent reviews

Patrick L (de) wrote: "Bleed for This may have the usual boxing movie tropes but it packs a real knockout performance from Miles Teller."DVD Movie Review: Bleed for ThisDate Viewed: March 28 2017Directed By Ben Younger (Boiler Room and Prime)Screenplay By Ben Younger, Story By Pippa Bianco, Ben Younger and Angelo PizzoStarring: Miles Teller, Aaron Eckhart, Katey Sagal, Amanda Clayton, Ciaran Hinds, Sully Erna, Daniel Sauli, Tina Casciani, Joe Jafo Carriere, Edwin Rodrguez and Ted Levine."Bleed for This" may have the usual boxing movie tropes but it packs a real knockout performance from Miles Teller. He has really grown up since his charismatic and funny supporting turn in the 2011 "Footloose" remake. Teller has had his share of great leading performances in "The Spectacular Now" and "Whiplash" and he's also had his share of bad performances ("Fantastic Four" and "War Dogs") but nevertheless, he's still one of our finest young actors working today.Directed by Ben Younger (Boiler Room and Prime), "Bleed for This" does what a normal, based-on-a-true-story boxing drama should do, have some real emotional moments, have our character deal with personal health struggles, have our boxing hero make his big comeback and have a nice feel-good ending.The acting is pretty much what this movie is going for and the fine performances from Teller, Aaron Eckhart, Katey Sagal and Ciaran Hinds are enough to make "Bleed for This" a solid boxing drama.Teller plays Vinny "The Pazmanian Devil" Pazienza, a local boxer from Providence who punched his way into boxing history by winning 2 world title fights. After winning the junior middleweight world title, Vinny got involved in a near-fatal car crash which left him critical condition. Not only does Vinny end up with a broken neck and severed spine, his doctors inform that he may never walk again which would force him to quit the sport he loves dearly.Vinny is indeed crushed by the news but he's not willing to give up. Now forced to wear a circular metal brace, Vinny really believes that he can get back in the ring so he starts his training in his own basement by doing workouts. Vinny miraculously starts to walk again and he wants his coach Kevin Rooney (Eckhart) to keep his boxing training a secret from his family especially his father (Hinds) and mother (Sagal) who doesn't like seeing his son get hurt in the ring.Six months after the accident, Vinny finally gets his comeback fighting match. He will be going up against Roberto "Hands of Stone" Durn (Edwin Rodrguez). Vinny Pazienza's return to the ring was marked as one of the most unlikely and out-of-nowhere comebacks in sports history and sure his story was touching and inspiring but don't you think he deserves a better movie with more emotional heft?The screenplay by director Younger, Pippa Bianco and Angelo Pizzo (Hoosiers and Rudy) could've added more substance and insight but nevertheless, "Bleed for This" is another well-acted boxing drama with a sheer and distinguishing performance from Miles Teller. Teller studied this character really well, he gets the thick Providence accent right, he gets Vinny's fighting skills right and he even has Vinny's goofball charm. Aaron Eckhart is also really good here as Vinny's coach and friend who sticks by him in his comeback return to the ring.Despite it being predictable and corny at times, "Bleed for This" works as a modestly entertaining sports film.

Greg W (jp) wrote: a flop at the time it has its own voice that of the sixties

Ashley H (it) wrote: Trouble with the Curve is a decent film. It is about an ailing baseball scout in his twilight years takes his daughter along for one last recruiting trip. Clint Eastwood and Amy Adams give good performances. The script is a little slow in places. Robert Lorenz did an alright job directing this movie. I liked this motion picture because of the drama.

Dimitar B (jp) wrote: Too much propaganda and cliches

Jesse O (jp) wrote: You know, some people are simply against the term torture porn. Part of me can really understand that, but there's also a huge part of me that couldn't disagree with that more. The fact of the matter is that some people watch horror movies simply to watch unlikable characters die horrific deaths. Why do you think Saw was so successful, for the most part, in spite of its declining quality with each successive installment? It's because people got off, perhaps not in the traditional sense, on seeing detestable people die in a gruesome fashion. So, really, as much as some people hate the term, in some cases it really does fit. And this is one of those cases. And people can use whatever term they want to describe a film, I'm not an elitist to say how a person can or can't express themselves in regards to a film. And, to be honest, in spite of the negative reviews, I think that this is one of the few horror remakes, and I honestly haven't seen the original, but I think this capture the spirit of 80s slashers. And 80s horror movie in general, there's a B-movie quality to the proceedings that makes watching, actually, quite a bit of fun even if the film isn't what I would call a traditionally good horror film. I think the film tries to make its point about sisterhood in a pretty fucked up way. Like the film spends almost its entire narrative pitting Cassidy and Jessica against each other. Jessica being the manipulator in trying to cover up Megan's murder to protect her own ass while doing so under the guise of sisterhood and protecting the other sisters. It's clear she's doing it out of selfish reasons and not because she actually cares about any of them. So as the film is ending, somehow, I think there's a certain amount of respect between Cass and Jess, despite the fact that Jess was the one that got them into that situation in the first place. Of course, not that it's justified that there's this random guy killing the sisters for what they've done, but they did make their own bed, so to speak, by refusing to do things responsibly. So the film trying to make Cass and Jess sort of 'respect' each other at the end doesn't feel earned, in the least. Particularly because Jessica, literally, spends the entire film being a bitch to everyone. You just want her to die right from the get go. And good on Leah Pipes for doing a good enough job at portraying this character, because Jessica immensely unlikable. Jessica's "redemption", if you can even call it that, is not earned. It just feels like lazy writing honestly. Some of the the deaths are actually pretty funny and entertaining. The laundry chute death was my favorite. So, essentially, Mickey, Claire's boyfriend, is trying to flee from the killer. So he finds a laundry chute nearby and he tries to escape through it. Mickey is then killed with the Swiss army tire iron and he's stuck in the chute, with his feet sticking out. This guy looked so stupid that it was obvious that this death was done for the LOLZ. And when Cass and Jess take Mickey's phone and he falls down the chute was even better. Lots of LOLZ to be had with Mickey and his death. The acting is fine, I think Carrie Fisher is great here and should've had a larger role to play. But, honestly, this might not be the best horror movie ever made, but I did have some fun watching it. Perhaps it was charming in its badness, but I didn't mind watching this at all. Wouldn't exactly give it a glowing recommendation, but it's fun for a laugh with pals.

Toma M (nl) wrote: The truth is like pure oxygen. It can kill you! It's gotta be mixed with other things.

Shannyn A (ca) wrote: Pure is a wonderfully yet disturbing depiction of the drug world seen through the ten year old son of a heroin addict.

David W (mx) wrote: oh man, this is so amazingly bad. best line in the movie when asking the "scientist" why he created a strain of killer bats he says "i'm a scientist, that's what we do".

Thrse F (de) wrote: Not interested in watching

Timothy A (fr) wrote: Partially successful attempt to revisit the grand exotic capers of old Hollywood, hasn't aged well and hampered by the worst performances either of the two leads has ever given.

Michael D (us) wrote: A stunning, somewhat under-rated masterpiece of proto-70's American cinema that pulls not a single punch in its depiction of a suicidal Auschwitz survivor who runs a pawnshop in Harlem. Brilliant camerawork and an unforgettable performance from Steiger.

Ben C (de) wrote: Esther Rantzen has had years that have been more violent. Good though.

Tyler J (it) wrote: No No No Please do not tell me they just gave Chucky a bride see they did get worse when they were carrying on they got worse after Child's Play 3 Like Seriously You Gotta Agree On Me Or Not This is just my opinion IT WAS BAD!

Carlo A (kr) wrote: Great story, great flow, action after action, bits of comic, great main casts, truly a big screen worthy movie.

Charles P (nl) wrote: The movie doesn't work completely; it suffers from its own over-ambition and the plot structure is too limp for its hallucinogenic editing to be really effective.

Cameron J (mx) wrote: "As long as Seraphim falls, as long as Gibraltar stands, 'till Hell freezes over, I'll always be your man!" No, enough of this cheesy, '80s Chicago nonsense, because this is man's man western if there ever was one, pilgrims! Who will win in this intense battle between one the "007" fans' least favorite James Bonds and Bryan Mills/Aslan the Lion God/Darkman/Obi-Wan Kenobi's master/Batman's master/Hannibal from the "A-Team"/Zeus? ...Oh yeah, my money's definitely on James Bond, no question, and you don't think that he's cool enough to take on Liam Neeson, just look at what Pierce Brosnon a year later: "Mamma Mia!". Wow, these are two huge names, yet the film still did laughably at the box office, probably either because they did what I did and compared the two leads' level of toughness, and concluded that the fight was too be predictable to be worth watching, or simply because they heard that the fight is hardly ever as exciting as one might hope it would be. "Seraphim Falls Asleep"! No, the film is engaging just fine, but for only so long, before it gets to limping, typically into other issues, and untypically into exposition. The characterization ambiguity is intentional, as background development is all in a pretty solid twist, but that lack of immediate background, and only so much gradual exposition, distances you a bit from the narrative, almost as much as, of all things, the story's being recognizable, to be so undercooked. Genuinely refreshing elements to this story shine a light on the conventional elements, of which there are many, and this in turn shines a light on the story's having only so much meat to begin with. This is a biting story with plenty of potential, but it doesn't have much scope, or dramatic weight to all of its tension, due to the intentional expository limitations that limit a sense of urgency, though not nearly as much as pacing issue. These problems in pacing are decidedly the biggest, partly because the dragging leaves eventual shifts in plotting to jar, and largely because the hunting sequences are particularly overdrawn, with an extensiveness that comes to lose impact after a while, especially when backed by a quiet directorial intensity which gradually loses the intensity. Director David Von Ancken's somber atmospheric intensity is often effective, but when it's not, the film slips into some serious dry spells that are anything from blanding to all-out dull, retarding momentum fiercely, making it hard enough to deny drowsiness, much less the many other, more subtle shortcomings. There are problems all throughout the film, and while they are often subtle, as well as well-challenged by the strengths, their sheer consistency leaves them to stand firm in wearing the drama down, until is collapses short of its full potential, limited though it may be. Nevertheless, the final product engages the patient, not as rewarding, but still as plenty engaging, even aesthetically. The talented Harry Gregson-Williams' score is underused and formulaic, but biting with its often lovely, subtle intensity, just as John Toll's cinematography, despite its not being all that playful with coloration, is handsomely well-lit and intimately emphatic of the settings of this fairly environmental thriller. This subtly sharp visual style does, in fact, help in immersing you in a sense of adventure, which is still tightened up quite a bit, for the sake of a certain intimacy which the performers drive with about as much consistency as anything or anyone. There are plenty of decent supporting performances, but it's still the leads who are most effective, with Liam Neeson being chilling as a clearly burdened man seeking some kind of brutal closure, while Pierce Brosnan delivers on an engaging balance between the anxiety which sells his hunted character's fear, and the sternness which sells a competence that makes Brosnan's role harder to predict the more the Gideon character displays just how challenging of a chase he truly is. Neeson's and Brosnan's clashing charismas beget a certain fierce chemistry, even with the leads' rarely being onscreen together, anchoring much depth that does justice to a story that is indeed pretty intriguing, at least in concept. This story is formulaic in a lot of ways, and unique in others, as a realist portrait on a manhunt, and on the many subcultures found throughout the land of post-Civil War Nevada, which ultimately comes down to some thought-provoking themes on humanity and vengeance that solidify a promising story, messily handled though it may be. Of course, although misguided in a lot of ways, David Von Ancken's direction is generally effective with its unflinching, if a little gratuitous attention to disturbing imagery and violence, and to extensive actions during a manhunt, anchored by a certain thoughtfulness that is often dull, and just about just as often effective in establishing tension, maybe even a hint of resonance. The final product is plenty compelling, just not as compelling as it could have been, and while the final product falls shy of rewarding, it engages enough to intrigue, and occasionally really hit the patient, I'm sure. When the hunt is finished, underdevelopment and certain conventions make it difficult to disregard certain natural shortcomings to this minimalist adventure drama, while excessive dragging and some seriously blanding dry spells secure an underwhelmingness that is still challenged well enough by solid scoring and cinematography, strong performances by Liam Neeson and Pierce Brosnan, and an intriguing story concept, often done justice by highlights in David Von Ancken's direction, to make "Seraphim Falls" a decent and often biting, if flawed western chase thriller. 2.75/5 - Decent