World Trade Center
On September, 11th 2001, after the terrorist attack to the World Trade Center, the building collapses over the rescue team from the Port Authority Police Department. Will Jimeno and his sergeant John McLoughlin are found alive trapped under the wreckage while the rescue teams fight to save them.
- Category:Action, Drama, History, Thriller
- Stars:Nicolas Cage, Michael Shannon, Jon Bernthal, Viola Davis, Michael Peña, Maria Bello,
- Director:Oliver Stone, Oliver Stone,
- Writer:Andrea Berloff, John McLoughlin (true story), Donna McLoughlin (true story), William Jimeno (true story), Allison Jimeno (true story)
Two Port Authority police officers become trapped under the rubble of the World Trade Center on September 11, 2001. . You can read more in Google, Youtube, Wiki
World Trade Center torrent reviews
(au) wrote: Was very boring, cheesy, and the jokes just weren't funny. Waisted my time watching this
(jp) wrote: This is a David Cronenberg film, so you know it's way out there. I loved it. It's very bizarre, funny at times, sick, and in some very strange way makes sense. Julianne Moore, John Cusack, Robert Pattinson and Mia Wasikowska head a terrific cast. Definitely not for everyone, but I found it fascinating. It's about fame, mental illness, paranoia, ghosts and fire. Hard R rating!
(au) wrote: A taste of modern may teen stories - Don't miss this one!
(fr) wrote: The only reason I'm giving this film 3 stars is for the performance scenes, which I loved. Unfortunately, the rest of the film seemed like a missed opportunity.
(mx) wrote: Loach's take on the use of foreign security in Iraq, set up as a thriller, but still in his trademark style.
(gb) wrote: Fairly well done with some satisfying payoffs.
(ca) wrote: Too funny! I couldn't stop laughing!
(gb) wrote: I guess mature/intelligent people can still die in movies, and while that should be appreciated, along with the lack of a Backstreet Boy co-star, the end result is always the same. I just never seem to believe these films are made for any other purpose than to manufacture as many tears as possible from the audience.
(jp) wrote: looks very interesting, a much neglected topic.
(au) wrote: linda peli...muy buena fotografia y los actores andan bien...recomendable
(de) wrote: North is one of the most sinfully abysmal films I have ever been given the chore to sit through. The humor was nonexistent, the cultural stereotypes were extraordinarily derogatory and cheap, and is just overall a very fugly film. I give this filth 0/5 stars.
(ag) wrote: This is the perfect thriller! You can guess what's to come next in most thrillers, this movie really has you at the edge of your seat not knowing what's to come next! This is simply a classic! From the acting to the directing to everything else that's put into a movie!
(mx) wrote: It is a guileless tribute not only to plain values of plain people in Depression America, but also to the sweet spirit of country-and-western music before it got all duded up for the urban cowboys.
(mx) wrote: 'space adventure cobra' (1982) certainly delivers up some awesome retro sci-fi anime designs! reminded me of a racier version of 'star blazers' complete with james-bond styled intro and some 'cowboy bebop' & 'the fifth element' flavourings thrown in for good measure.
(es) wrote: This film was referenced in a documentary that suggested that the moon landings were faked, and staged in a movie studio. I'm not sure if Capricorn One stands up well today. Perhaps watch it to see O.J. Simpson playing an astronaut?
(us) wrote: Like the eccentric David Lynch, the man who mangled dreams of pictorial suburbia with "Blue Velvet" (1986) and "Twin Peaks" (1990-91), iconoclast Samuel Fuller (1912-97) was deeply suspicious of picture-perfect Americana and was obsessed with finding the darkness lurking beneath seemingly perfect white-picket fenced small towns. Fuller, an auteur who began his career (in 1949 with "I Shot Jesse James") as a connoisseur of the Western and the film noir, arguably reached the top of his artistic valor with the one-two punch of 1963's "Shock Corridor" and 1964's "The Naked Kiss." Two nightmarish, low-budget noirs that simplistically appear to be B-level shockers but complexly stand as malevolent satires, the unofficial double feature prominently addresses the hypocrisies of American life and the way its bleakest underbellies oftentimes bleed into the mainstream with eerie panache. "The Naked Kiss," a psychological thriller and firm believer that you can find any frightening message in a Norman Rockwell painting if you look hard enough, deconstructed the mythologies of charming suburbia and came to the conclusion that monsters are always slinking around in the shadows - doesn't matter what your social standing nor your reputation suggests. But that film was more inescapable night terror than outright cultural critique; you have to look for the meanings embedded in the celluloid. "Shock Corridor," by contrast, is a resolute lashing of the many insincerities of the American Dream, growing in its power the more you try to interpret its many symbolic layers. It stars Peter Breck, in a fearless performance, as Johnny Barrett, an earnest crime reporter who decides that the only way he's going to get himself a Pulitzer Prize is by investigating a murder that recently took place at his local mental hospital. Figuring it'd be easier to get to the heart of the truth by immersing himself in the situation rather than stand by as a mere observer, he goes undercover as a psychologically tortured proponent of incest, his stripper girlfriend (Constance Towers, the lead of "The Naked Kiss") hesitantly pretending to be the sister and victim who brings her "familial troubles" to the attention of the police. His professional dedication so ardent, Barrett puts on a performance that immediately convinces the asylum's authorities of his faux hysteria. It isn't long before he's living alongside unhinged men whose instability seem to have more to do with being victims of society than with being stereotypically mad. Initially does his decision seem conducive: he gets good intel and has plenty of time to refine the various profilings for the overreaching story. But as time passes does he start to feel the effects that inevitably come when you're surrounded by insanity that looms like air being breathed, causing both him and his always rational lady to ponder if getting ahead occupationally is really more important than the putting of one's mental capacity on the line. In a more traditional genre exercise would the murder that draws Barrett to the hospital in the first place be the pivotal plot point, the thing that absorbs us the most. But obvious is that Fuller isn't much concerned with the story Barrett intends to write nor the intrigue that lines the walls of the forever sanitized asylum. What sticks with us, and what makes "Shock Corridor" so interesting, are the interactions Barrett has with the three men who witnessed the murder, once brilliant men who have since been riddled with derangement after finding themselves not being able to psychologically handle the stresses put on them by a status quo dependent society. One is a former soldier (James Best) who was brainwashed by his Korean opponents into becoming a Communist (and now believes he's Confederate General J.E.B. Stewart). The next is a black man (Hari Rhodes) who thinks he's white and a member of the Ku Klux Klan. The last is an atomic scientist (Gene Evans) who's reverted to the mental state of a six-year-old. But the soldier is only so damaged because he was taught racism as a child, changed his ways in adulthood, suffered PTSD during the war, and was tormented by the eventual dishonorable discharge that became him. The black man was one of the first African-American students to attend a newly integrated Southern university but was destroyed by the acrimony that buzzed around him on a regular basis. And the scientist's psyche has been ravaged by the otherworldly stress that comes with the knowledge of nuclear codes. "Shock Corridor" reminds us that you can do everything right, be a game-changer, and live up to the expectations of the American Dream and still fall flat on your face when societal norms seem to contradict everything you've ever worked for. But while its commentaries are ingeniously placed, "Shock Corridor" still manages to feel weirdly inconsequential, like a hellacious hallucination with a couple of soap box baiting moments to enliven the sum of its parts. I prefer "The Naked Kiss," if only because its idiosyncrasies, similar to those of "Shock Corridor," better suit its pulpy, distinctly ethereal stylistic cues. But Fuller's artistic ticks, crushing criticisms, and glistening dialogue make it a fever dream to make the blood boil, the actors complementing his noirish sensibilities exquisitely.
(nl) wrote: Not as fantastic as his later works, but worth watching.
(mx) wrote: MGM gave the world another Hollywood "biography" of Broadway composers - this time Rodgers & Hart (played by Tom Drake at his blandest and Mickey Rooney at his hammiest); as in most of these productions, it was the songs that mattered, and Metro didn't disappoint: Ann Sothern sings "Where's That Rainbow," June Allyson dances to "Thou Swell," Judy Garland (appearing as herself) solos with "Johnny One Note" and performs "I Wish I Were in Love Again" with Rooney (in their last film appearance together); Lena Horne does beautiful renditions of "Where or When" and "The Lady Is a Tramp," and - last but not least, Gene Kelly and Vera-Ellen do justice the ballet "Slaughter on Tenth Avenue."
(au) wrote: pretty good action film that starts off all guns blazing but soon falls a bit flat towards the middle of the movie
(gb) wrote: This is a mediocre action movie starring John Cusack and Thomas Jane. It almost feels like an Australian film school movie that happens to star two decent actors.Thomas Jane isn't necessarily good but John Cusack is fine. The rest of the acting though, is pretty bad.