In New Zealand in the 1860s the native Maori people fought the British colonials to keep the land guaranteed to them by treaty. The warrior Te Wheke fights for the British until betrayal leads him to seek utu (revenge). The settler Williamson in turn seeks revenge after Te Wheke attacks his homestead. Meanwhile Wiremu, an officer for the British, seems to think that resistance is futile.

In New Zealand in the 1860s the native Maori people fought the British colonials to keep the land guaranteed to them by treaty. The warrior Te Wheke fights for the British until betrayal ... . You can read more in Google, Youtube, Wiki


Utu torrent reviews

Aaron B (gb) wrote: [b]Lake Tahoe[/b], 2009, dir: Fernando Eimbecke ? This was a touching film about a young teenager named Juan who crashes his car, and spends the rest of the day wandering around his town trying to get it fixed. As the film progresses, we meet an old man and his dog, a chain-smoking teenage girl with an infant son, and a kung fu-obsessed youth who quotes Bruce Lee. We also meet Juan?s brother Joaquin, and his mother (who sits in the bathtub smoking, we never see her face). We also find out that Juan is just getting over the loss of his father, which opens up the internal struggle that Juan is dealing with over the course of the film. This film really benefits from having only a few characters, one setting, and having the story take place in one day. I wish more filmmakers would take this simplistic approach. Eimbecke really does a great job of telling the story, using the conflict of the broken car to move Juan from place to place, and giving the audience a little more information in each scene. The cinematography of this film was also beautifully simplistic, with very little camera movement, which reminded me of Eimbecke?s other film, [i]Duck Season[/i]. Eimbecke uses lots of black in this film. During certain scenes, there would be a few seconds of black so the audience could hear what was going on, but not see. I liked this, because Eimbecke is playing with the ?rules? of filmmaking, so to speak. Overall, the film was very touching and I really loved the characters of Juan, David, and Lucia and the way they interacted. The film ended kind of abruptly, and left me wanting more. Actually, I just wanted to know if the old man ever got his dog back, but I guess I?ll have to wait for [i]Lake Tahoe 2[/i]. [font=Wingdings]J[/font] 8/10

Damien R (de) wrote: Okay the only reason I watched this. is Diora Baird!

Peter W (it) wrote: A harrowing story with impressive acting, but slow moving and overall, unremarkable.

Jason O (fr) wrote: I haven't ever skydived before, but I do like watching movies about skydiving. I also liked "Terminal Velocity," but "Drop Zone" is a lot better. Wesley Snipes stars as a U.S. Marshal who tries to catch some terrorists that hijacked a plane that he was on and their actions resulted in the death of his brother. Snipes believes that it was a set up, but he's the only one that thinks that, so it's up to him to figure it out by himself. To do this, Wesley Snipes learns a new hobby and starts skydiving himself while trying to figure out and catch the terrorists in action. "Drop Zone" is a good movie. Its plot might be choppy in parts, but that's about the only thing wrong with the movie. The skydiving sequences are the best and most exciting I've ever seen in any movie, and Wesley Snipes is hilarious in some parts such as when he skydives for the first time and screams the whole way down. The movie's soundtrack is another good thing about the movie. Whether you like skydiving or not, if you like good action movies I recommend getting "Drop Zone." NOTE: That was my Amazon review from the year 2001.

Orlok W (de) wrote: A trash classic! Great fun--Exploding hookers!!

Adam T (ag) wrote: Christopher Lee never said much as Dracula- just a few menacing words and his victims would fall under the spell of his sinister gaze. His Dracula was one who relied almost exclusively on his daunting frame and physical performance. On that level, I couldn't enjoy the character when comparing it to the charismatic, thickly-accented Bela Lugosi incarnation. However, this Hammer production has enough kudos to be enjoyable (if that is the right word!)

Blake P (es) wrote: Most appealing about the "Before ..." films is that their romance is consuming without being in your face about it. In them, we are witnesses to the relationship between the greatest cinematic couple of the 1990s, Jesse (Ethan Hawke) and Cline (Julie Delpy), but we aren't moved by their love because they can't keep their hands off each other, because physical passion is sexier than anything us average folks could muster. We're are, instead, moved by watching them speak to each other, divulging their laments on life, love, their fears, their pleasures. Affection hovers in their eyes, but their relation is as cerebral as it is physically magnetic. We could listen to them converse for days, their musings wise yet sweeping when in the presence of the other. "Before Sunset" is an improvement from its predecessor, the wonderful "Before Sunrise" (1995), the characters being older and less optimistic than they once were, the content establishing itself as more involving, and with a screenplay written by the leading actors themselves and thereby strengthening the likable realism of the film. More is at stake, a sense of yearning for fulfillment being much more urgent. The fleeting nature of "Before Sunrise" is nowhere to be found, a special, temporary night being replaced by a now-or-never afternoon in which self-reflection is integral. And we like Jesse and Cline more now, fond of how they've matured in the crossroads of being a thirty-something. Because much has changed in the nine years since they saw each other last: Jesse is unhappily married and has a young son, and Cline has dedicated her professional life to a sizable amount of activism. Them coming across each other by too-good-to-be-true chance perhaps isn't so strange: Jesse has become a hugely successful author in the last decade or so, his latest best-seller being a semi-autobiographical tale about his fateful night with Cline. He's on a press tour, his last stop Paris. Cline catches him just as he's leaving what she bills her "favorite bookstore." And so begins hours of chatter, both small and big, both witty and confessional. Those familiar with "Before Sunrise" might recall an ending that promised that the central twosome would meet again in Vienna after six months, exchanging no contact information solely because trust seemed like enough. But in "Before Sunset," it is revealed that, while Jesse came as promised, Cline did not, due to familial tragedy. This change of fate acts as the center of the film - what would have happened had the couple met again half-a-year later? they (and we) ask themselves (and ourselves) over and over again. And so the movie is a second chance, and a lyrical one at that. We are embroiled in this relationship, and, differing from most film characters, we love Jesse and Cline. We want them to be together in a way never felt in most romantic films, as we feel like we know them, have spent time with them, unlike most where a few cute incidents and dramatic make-out sessions are enough to enforce true love. Jesse and Cline are the rare exception because their affection seems genuine; it's like watching people watch in love, and we take for granted what an enthralling experience that can be in the movies. Most impressive is the repartee between Hawke, Delpy, and director Richard Linklater, who work together so fluidly that completing the sentence of the other wouldn't be out of the question. Hawke and Delpy have effervescent electricity running in-between them, and their dialogue, co-written with Linklater, suggests improvisation when the truth is totally otherwise. What they do here is enormously difficult - how can a sequel be a cohesive continuation, and how can a film whose success is solely based on conversation act as a feature? - but it looks effortless. So where "Before Sunrise" was a poignant indie exercise, "Before Sunset" draws on what made it great and transforms itself into a poignant indie masterpiece. I cannot think of a modern romance film that has affected me so immensely - it's one of the best ever made, without all that Hugh and Julia bullshit that I sometimes like. Imagine that.

Billy C (es) wrote: Untouchable. Amazing. fifteen years later, it still lives up and has to be one of the best films from my childhood and still love it.