Uncle Sam

Uncle Sam

Desert Storm vet who was killed in combat rises from the grave on July Fourth, to kill the unpatriotic citizens of his hometown, after some teens burn an American flag over his burial site.

Desert Storm vet who was killed in combat rises from the dead to wreak vengeance upon unpatriotic residents of his hometown after some teens burn an American flag over his burial site. . You can read more in Google, Youtube, Wiki

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Uncle Sam torrent reviews

Jason E (kr) wrote: Not a spectacular movie, nor one that I would ever be likely to re-watching, but it didn't make me want to turn it off halfway through. The app-integration was a nice idea but underutilized. The plot and story were decent at a glance, but the execution is stuttering and rather than building or revealing things it just suddenly tosses things at you and keeps on running.

Shon C (us) wrote: This is...not very good.

Nicholas N (au) wrote: Funny and good action

Private U (mx) wrote: I'm embarrassed to admit it, but this movie actually had me interested, with all its glitter and the funny little Skizzle flutter bunny throwing flutter corn at the fairies in search of the Helios antidote for their queen. My three little ones were glued to the tv and I thought I would do some computer work, but I was instead watching the movie as well! How stupid and I!!!

Adam D (ca) wrote: Standard Scooby fare :)

Edwin H (mx) wrote: There's only so many regrets in life, but there's nothing to fear!

Gabriel K (us) wrote: The plot was decent and it could have been made into a hilarious comedy by a more experienced director with professional cast. Unfortunately, amateur acting and directing pretty much ruins it. It was "so bad it's funny" at times but I'm not sure it was intentional.

Kevin M (ca) wrote: A beautiful movie on all that humans are capable of creating.

Amanda H (it) wrote: Phenomenal acting, but I just could not bring myself to sit through this entire movie. I don't mind a film being a downer, but this is one of the most bleak and most depressing movies I've ever tried to watch. No disrespect to anyone involved, it's just not something I could manage to put myself through for almost two hours.

Alexandre C (kr) wrote: "Do you want my help? Tell me what to say but don't tell me what to say." To that, the best line in the movie, I say, "it's not funny." I wish I could wipe this one clean with Windex.

Brendan N (de) wrote: full with a great cast but it never overcomes the one joke premise.

Tristan P (ru) wrote: Bland Ed Gein inspired comedy that might have worked with a bit more gore. Buscemi is always great, even in junk like this...

Andrejs P (jp) wrote: i like the story line in the movie and i like nick nolte but bette midler can be irritating and so can richard dreyfuss, although he wasnt half bad in this movie. the "madcap" pool scene at the end seems like they stole it from the movie "the party" with peter sellers. which again this whole movie reminded me of "being there" another sellers movie. I have to say that i actually enjoyed another mazursky film, bob&carol&ted&alice more. but liked this one better then other mazursky films like "last stop greenwich village" and "harry&tonto"

Karsh D (gb) wrote: More of a plot but prefer "Loose". Although it is a good fight at the end!!

John H (fr) wrote: The National Media Museum (Bradford) has taken to exhuming best-left-dead 'cult' films in something it calls 'From The Vault'. On a chilly January evening various men of a certain age assembled in the Cubby Broccoli cinema to be variously bemused and titillated by a film chiefly remembered for exposing more of Angie Dickinson's flesh than any other. To my lasting shame, I was also there. A Roger Corman hastily-assembled rip-off of 'Bonnie and Clyde', by way of the Keystone Kops and 'Faster Pussycat, Kill Kill'.Tom Skerritt shows up in an early role. William Shatner turns up essentially playing himself as William J. Baxter, in an acting masterclass that would see him slide effortlessly into his upcoming role as T. J. Hooker. The scene where he is in bed behind an unclothed Angie and sliding his hands lasciviously all over her body with a grotesque leer, but has obviously been told to keep his hands off her baps, is an unintentional comic gem. Many good directors started with Corman and his quota quickies : Scorsese, Demme. Steve Carver here shows an ineptitude that made me check out his later career. Nothing of note. I left the cinema feeling slightly grubby.

Nick C (ca) wrote: It'??s difficult not to watch the early postwar cinema of Akira Kurosawa without thinking about it in reference to his later masterpieces. However, in No Regrets for Our Youth, it'??s eerily facile to differentiate it from the mammoth accomplishments of Kurosawa's future. Firstly, and most obviously, it is the sole film of Kurosawa??s in which the camera takes on the perspective of a woman throughout its runtime. Secondly, Regrets cannot be said to deal with its issues with the emphasis on narrative movement and storytelling clarity which was a major aspect of films like Seven Samurai and Ikiru (even at their most emotionally inward moments). Indeed, this cannot be said to be simply Kurosawa testing out techniques and styles for later use; No Regrets for Our Youth is an accomplishment in its own right.What makes the film unique is its ability to visually externalize the conflicts, emotions, and ideas of its main protagonist, Yukie. At times, the acting of Setsuko Hara completes this task through the beautifully expressive facial gestures which are a major point of Kurosawa??s focus. One can track Yukie??s character arc from youthful ambivalence to hopeful outrage through close-ups alone. This style does speak to his later films though, as close-ups of his actors in general, but Takeshi Shimura especially, would become a hallmark of Kurosawa??s films. The cinematic techniques utilized in tandem with Hara's acting, though, only serve to increase the emotional conflict throughout the film. One of the scenes in which this is most noticeable is Yukie??s reaction to hearing that Nago was going to China. The shot of Yukie??s body pressed up against the door fades several times to illustrate her movement rather than concisely having her move. The effect of such a technique is that it frustrates attempts to quantify the issues faced by Yukie into temporal understanding. The fades remove our sense of time by getting rid of linear movement in a narrative which, in the hands of most filmmakers, would conform to our normal understandings about how emotion is illustrated to audiences. Several scenes like this one are sprinkled throughout the film (the movement of Yukie??s hands in the water corresponding to a piano, the words of others become the sonic center of the film, etc.) and ground the film in a first person style storytelling which seems much removed from the more objective style he would utilize in most of his films. Of course, the film's other aspects are also laudable; camera movement, story, and shot composition are just a few of the elements that come together to make the film great yet it is these certain scenes which make No Regrets for Our Youth special for me.

Chris W (ru) wrote: the first half hour i didnt care much for but after that DAMN i enjoyed it different to other movies :D

Hayden L (ca) wrote: Yet another one of those films that is underestimated in its power. Who cares if it doesn't try to capture the essence of the classic 1930's film, it is its own thing. It is great in its portrayal of both Frankenstein and the monster, the performances are good, even the general storyline is nicely played out so even though it may not capture the image of a Karloff-esque monster movie it is still a great movie.