In June of 2004, a group of film students and actors from Toronto camp out on the property of one of this town's only residents. With uncooperative actors, technical problems, and of course swarms of mosquitos, the project they went there to film quickly goes downhill. Brandon, the camera man, starts noticing strange things on the tapes, and people start acting weird. Could the people of Bonville have something to hide?

In June of 2004, a group of film students and actors from Toronto camp out on the property of one of this town's only residents. With uncooperative actors, technical problems, and of course swarms of mosquitos, the project they went there to film quickly goes downhill. Brandon, the camera man, starts noticing strange things on the tapes, and people start acting weird. Could the people of Bonville have something to hide? . You can read more in Google, Youtube, Wiki


Windigo torrent reviews

David L (ag) wrote: It's attempting to build upon the same formula as Mamma Mia and it's done a pretty good job. The music is arguably better due to its 80's variety but the performance and choreography are just a little bit more low key. It's all very British and amateur, which is noticeable from the first few sentences spoken, but if you give it chance it does possess a good storyline and a number of catchy singalongs. At the risk of having an entire cast that aren't professional singers, they've sensibly enrolled Leona Lewis into the equation just to ensure some quality is guaranteed in the musical productions. To be fair though, they don't use her nearly enough. The script is taking off Mamma Mia too in the sense that a young girl is to be married, and she's invited her sister over to tell her the news. Only problem is is that little sis is in love with her fianc as its the guy she had a holiday romance with three years ago. Cheesy but fun! If you're a fan of power ballads then this is right up your street as you've got 'if I could turn back time', 'eternal flame', 'power of love', and 'it must have been love' but to name a few. I imagine it's gone relatively unnoticed due to its copycat concept and the fact that if you want a catchy movie then why have water when you can have wine in Mamma Mia. Having said that, this more than holds its own and despite being pretty girly in a big way, it does have the entertainment factor if you're ever experiencing a moment of weakness!

Maria R (gb) wrote: Though barbie is not clasic anymore but i really do like this movie and the ideas. Also the song is wonderfully made. I love Isla and Delancy. Yes another antagonist turn to good at the end. The last time I remember is Raquelle.

Kevin M W (br) wrote: Good animation and decent vocal chops aid in the competent telling of several short stories all revolving around members of the intergalactic police force known in the DC pantheon as the Green Lantern Corp. It's less of an introduction and more of a catch up/put you up to speed. The flaw in this superhero's development remains though, and that is: just what are the limits of his powers? How is it that after all these years no one has blueprinted this character? It would certainly improve his accessibility.

Mike B (kr) wrote: Amazing job by JCVD. Who knew he could act like this? An odd and interesting piece.

Scott A (gb) wrote: Okay the film actually had me through the first half. It has a very good cast, and the story wasn't too awful for a SyFy flick.I will note the title read RAGING WATERS on the copy I saw it, despite the cover saying this title. Not sure if that matters.The Squid looks fake when it's in full form, but when you just see flashes or it's tentacles, it actually works really well.Victoria Pratt is super fine and add in an also fine Kristi Angus, Adrienne from Jason X, and you got some real good eye candy. And they are in bikinis nearly the whole film.So fun seeing Monteith in an early role, he being Finn from GLEE of course. He's good here, but makes a douche move that will make you not care much about him after.In fact, after said move, I think that's where the film gets really stupid. Add in Scalia and his band of thugs, and it quickly becomes more an INTO THE BLUE rip off and the Squid gets side tracked to only make brief appearances to kill people here and there.Wish they would have nixed the 'pirate' second half and kept with what worked best. Could've been a fine flick.

Kendall I (ag) wrote: This is somewhat of a guilty pleasure of mine, but then again, it's not. PLOT:Larry (Larry the Cable Guy) is a health inspector. He always ends up screwing up or breaking a rule, making his hot-headed boss Tatlock (Tom Wilson) furious. This time he's partnered with the formal, socially-awkward Amy Butlin (Iris Bahr) on a case where all the big name restaurants are being poisoned majorly before the big cooking contest. Will they get to the bottom of this without getting kicked off the health biz? Will Larry juggle it all with trying to woo his new girlfriend, Jane (Megyn Price)? I'll leave you there. The plot is an interesting idea, but executed to absolute silliness and absurdity. ACTING:The acting was pretty bad. Larry did his traditional redneck comedy style so I can't really say anything to that. Every performance was horrible, especially Tom Wilson as Tatlock, Iris Bahr as Butlin, and Lisa Lampinelli as Jane's Mom. SCORE:Nothing to see here. The only thing it has is a funny theme song by Montgomery Gentry and then filler score. OTHER CONTENT:Now, most have given this movie a lower score than I have. Did I decide to be generous? No. The movie has some little high points to it. There are some jokes that Larry delivers that are pretty funny and not as juvenile as his usual stuff. Plus, I'm a pretty big fan of Larry the Cable Guy. Though his jokes are idiotic, juvenile, and redneck-oriented, I find them quite funny at times. I appreciate some of the following he has. On the darker side, the lesser jokes and ideas were juvenile, stupid, and just plain disturbing at times. This is definitely for the mindless Comedy Central viewer who only watches bad stand-up. OVERALL,a sucky comedy with an absurdly executed plot, bad acting all over, unimportant score, and juvenile jokes, but some of the jokes weren't half bad and I am a fan of Larry the Cable Guy.

Cody C (nl) wrote: Watch the first couple scenes, cause the acting is pretty cheesy and funny. But you'll get bored of it after that. The score is fucking TERRIBLE. Totally ruins whats already a pretty shitty movie. And the intro is grating as hell. And the plot is shit. It's just a really fucking bad movie, but yeah it's on Netflix Instant so just watch the first few scenes. P.S. I'm a huge fan of the first Sleepaway Camp movie.

Paul Z (mx) wrote: As an estrogen-pumped satire of bourgeois life, it sometimes hums with wit and style, it's sometimes uneven and pedantic, and always full of talented stars. You know, like an Altman film. Also like an Altman film, it moves like a whirlwind for most of its running time, but Gere as always underplays his role, furnishing the serene center that the farce needs.

Cal (it) wrote: I wonder if The Blob's character actually speaks using his own voice in this one...

Hallie G (es) wrote: Here's a movie I've passed by guiltily at the video rental places for decades, thinking, one day I'll watch it, but not wanting to because Richard III is boring. And now only watching because it's about to expire at netflix streaming, I got in just under the wire and forced myself to watch it. This unique format of a movie that is at once a class about the process of interpreting Shakespeare (using Richard III), the intellectual process of rehearsal and discussion of acting choices and motivation, then illustrated by the performance, and I found myself enthralled. Imagine being such an outsider, so misguided, no satisfaction in any direction, you let yourself be ruled by hatred to end in success, but having along the road killed all you knew, so at the end, guilty and alone on a throne where you will not long sit before you are violently dismissed. I felt Richard too much.

DC F (nl) wrote: Complete garbage even for the 1980s with poor scripting and laughable acting. It's another one only good to make fun about.

Becky W (fr) wrote: Brilliant codmedy, great lines, Gene Wilder, a chicken suit, need I say more?

Blake P (jp) wrote: "Everyone Says I Love You" differs from most modern musicals in that it doesn't aim to be grand in scope. It aims to be a throwback to the Technicolored, frenetic days of Gene Kelly and Cyd Charisse, albeit with dialogue and characters that directly reflect the modern attitudes of its writer, director, and star, Woody Allen. There is no thunderous imagery a la "Moulin Rouge!" (2001), and there are no Broadway sized numbers akin to "Chicago" (2002). It is small and intimate, its song and dance numbers giggling in the way they depict the average Joe belting as best they can, boogying with sweet conviction. Certainly, it is among Allen's best, most universal films - but few are able to recall it, as it came at the end of an era that didn't rake in as much critical and commercial acclaim as the decades preceding it. It makes use of a superb ensemble cast, putting most of its attention onto the fictional Dandridge family, a wealthy New York based bunch liberal and free-wheeling in their beliefs. The unit is headed by Bob (Alan Alda) and Steffi (Goldie Hawn), parents in the prime of middle-age that have retained an admirable zest for life. Together, they have four kids, the angsty Scott (Lukas Haas), who has decided to become a conservative Republican, the flaky Skylar (Drew Barrymore), and a pair of preteen girls, Lane (Gaby Hoffman) and Laura (Natalie Portman). Steffi's daughter DJ (Natasha Lyonne), the result of her previous marriage to writer Joe Berlin (Allen), narrates and co-stars. As the film opens, the family is facing rambunctious family drama better described as whimsical than serious. Skylar is getting married to the earnest Holden Spence (Edward Norton), but it so easily romantically persuaded that a lasting relationship may not be a very realistic place to go. Steffi, a lifelong rich girl who has devoted her entire adult life to social work, is in the process of attempting to get convict Charles Ferry (Tim Roth) released from prison, whom she believes is serving a sentence far from the result of fairness. Wanting to find love again, Joe hooks up with the much younger Von (Julia Roberts), a woman in the grips of an unhappy marriage; Laura and Lane are interested in the same boy; and DJ won't stop falling in love with different young men. A tidy conclusion we don't get. But like life, "Everyone Says I Love You" is messy yet breathtaking. Without the musical angle, the film would still be among Allen's most agreeable works. It is a romantic comedy that sings, inhabiting every scene with characters we come to revere and with conversational interludes that rank as some of Allen's most sagacious. The film is screwball, but not chintzily so - it carries an energy reminiscent of times during which we might have been an observer to a different family's dynamic, totally in awe of their intricate relationships, the way in which they spoke to each other. The Dandridge clan isn't unlike most American families (maybe a little richer), and the sunny ideology that life can be a humorous thing is very much intact here. So the added touch of music and dance that "Everyone Says I Love You" provides is more than welcome, as the old clich of characters breaking out into song actually seems fitting. Allen gets the tone we'd expect in the best of material like this: not too campy and not too self-serious, instead drifting along with arbitrary, feel-good shades and textures. We want to give it a bear hug, being so velvety, charming, and endearing in the ways a couple hours of reminiscing with family can be. With a soundtrack that includes "Making Whoopee" and "My Baby Just Cares For Me," the delivery by the actors, who normally aren't associated with the musical genre, steals our hearts. We can't get enough, as it should be with the Hollywood musical. "Everyone Says I Love You" climaxes in a beautifully rendered scene in which Goldie Hawn and Woody Allen slow dance like Astaire and Rogers by the Seine, Hawn flying in the air as if she were a trapeze artist, singing as wonderfully as an average person can, Allen turning into a dance partner of surprising merit. It is an unforgettable way to conclude an unforgettable film, perhaps one of the most daring of Allen's career but, all great works aside, among his finest. An underrated, humble masterpiece.

Caitlin L (br) wrote: An interesting but ok story.