The Zero Hour

The Zero Hour

The Zero Hour tells the story of the La Parca (Zapata 666), a fearsome assassin who is forced to kidnap a private clinic to save the love of his life, Ladydi (Amanda Key). They soonreached the police and a media circus with them, who make our character into a national hero.La Parca finds that saving the life of Ladydi be difficult, but escaped with his followers will be an almost impossible task. Time starts to run out, and what seemed like a perfect plan will end in a frantic ending where La Parca is forced to confront past mistakes, and discover that their worst enemies are closer than he imagined.

The film begins at night, at the Venezuelan slums. A young hitman explains that he is called La Parca (Zapata 666) because he always brings death... . You can read more in Google, Youtube, Wiki


The Zero Hour torrent reviews

Owen D (de) wrote: People fighting a video game hydra in the real world? Well no, but that bad CGI sure made it look like it. People are brought to a island to be hunted by rich people ( i have seen too many movies about the rich hunting people already) but hey there is a hydra on the island also! If you like cheesy Syfy channel movies go for it!

Damarys R (jp) wrote: La movie y protagonista tan super bien!!!

you k (us) wrote: but you're too late.

Rika O (ag) wrote: lighting was awesome. and fun to see all those familier faces incl lou leed. was it a trend to play with the 'time' or 'other dimention' stuff in late 90s wasn't it.

Marty H (it) wrote: These two are supposed to be too depressed to love one another like in the Deer Hunter. I don't want to see a romance with them working as a couple.

Scott W (gb) wrote: My friends this is the greatest date movie ever filmed. It is a wonderful and touching love story about two very happy people who are with the wrong person in life. Unfortunately for both the right person is married to one of their family members, they are i.e. taboo. Not blood related but socially not acceptable. But do they care? Hell No! Love triumphs over all, and it is just wonderfull watching Cupid loose all of his Devine arrows at once. When you get this get it as a double bill along with Alan Bates in "The King of Hearts." Show them King first and Cousin, Cousine second. I suggest a couple of cracked crabs with Hollendaise sauce to dip it in. Add some French bread and a couple of bottles of champaigne along with a fire in the fire place and I absolutley guarantee you'll get laid! Enjoy! Scott

Tim S (mx) wrote: Richard Fleischer's noir-ish, character-driven crime drama Violent Saturday was released in 1955 by 20th Century Fox in the fairly new CinemaScope film format. The film's assorted cast featured Victor Mature, Lee Marvin, Ernest Borgnine, Margaret Hayes, Sylvia Sidney, and Virginia Leith, among others. The film tells the stories of several different people living in a small town prior to a bank robbery in which they are all involved somehow and how it affects them afterwards. The film, as a concept, is certainly more modern in style than many of its contemporaries at the time. It sounds more like the plot of a mid-90-'s post Pulp Fiction movie. The idea of following separate character threads for most of the film and eventually intertwining them was something that Hollywood films didn't do too often, especially when the eventual destination was a violent showdown of sorts. And these characters are not all good, clean, honest Americans who happen to be in the wrong place at the wrong time. They're painted as real people with real flaws. One is a bit of a kleptomaniac, another is a drunkard with a promiscuous wife, and another is a peeping tom. These aspects helped to make them slightly less two dimensional, but not to an enormous degree. The only characters with any kind of redeeming value are those of Victor Mature's and Ernest Borgnine's. Mature is painted as a family man back from the military service where he jockeyed a desk instead of fighting in the war, something which causes his son some grief on the playground. It comes down to him eventually having to wage his own war, in a way. Counter to him is Borgnine's character, an Amish man whose beliefs prevent him from committing violence, but at a cost. This dynamic between these two characters is perhaps the most interesting in the film, contained in what is certainly the most exciting portion of the film. I say that because, despite myself being a bit of a film lover who craves deeper characters in the movies that he watches with less on the surface characteristics, I found the entire first hour of the movie a bit of a drag. The characters are set up to have some sort of depth, but that depth feels hollow, or rather very "Hollywood" in execution. They doesn't feel as gritty or as realistic as they should, especially considering that these characters don't have any tremendous effect on one another. They feel more like sketches of characters with one particular trait, rather than something truly deep. So the film doesn't really get interesting until the robbery takes place, which is over an hour into the proceedings, and that's a shame. That entire section is suspenseful and entertaining. It almost feels like another movie in a way. It's also not as violent one might think. Considering the film's pulp origins (it was based on a novel by William L. Heath), Violent Saturday is probably an incorrect title. Still, there's plenty of strong visual elements to the film and an exciting third act, but underdeveloped characters hampers the film's running time.

Sawyer W (mx) wrote: This was my childhood movie