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Zero: An Investigation Into 9/11

ZERO has one central thesis: the official version of the events surrounding 9/11 can not be true. This documentary explores the latest evidence and witness testimonies.

. . This brand new feature documentary . ZERO: An Investigation into 9/11, has one central thesis - that the official version of the events surrounding the attacks on 9/11 can not be true

Zero: An Investigation Into 9/11 is a new movie of Paolo Jormi Bianchi (screenplay), Guilietto Chiesa (screenplay), Franco Fracassi (screenplay), Thomas Torelli, Francesco Trento. The released year of this movie is 2008. We can counted many actors in this movie torrents, for example Nafeez Mossadeq Ahmed, Philip Berg, Robert Bowman, Louie Cacchioli, Guilietto Chiesa, Brian Clark, Sibel Edmonds, Jurgen Elsasser, Dario Fo, Morris Ghiadoni, David Ray Griffin, Giuseppe Guardabasso, Barbara Honegger, Daniel Hopsicker, Robin Hordon. Movie' genres are Documentary. This movie was rated by 8 in www.imdb.com. This is really a good movie torrents. Share with your friends and watch this movie together . You can read more in Google, Youtube, Wiki

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Download   Zero-An Innvestigation Into 9-11 Other 31 34 976.23 MB

Users reviews


Daniel M (mx)

It's hardly the best place to start in exploring the series, but of all the sequels it is the most appealing. While the series remains insultingly predictable, and the characters are as broad as ever, it has enough to say and enough evidence of the actors' talent to ultimately make you go along with it. Step Up 4: Miami Heat is the best instalment in the franchise since the original, marking a partial return to form after the disappointment of Step Up 3. The choreography is irresistable, so that you find yourself going with it even against your better judgement. The art gallery sequence and the grand finale are particularly impressive, but each of the set-pieces progress to a well-paced, well-planned conclusion. The set-pieces are among the most inventive and spectacular in the series, with exciting uses of lighting and set design which genuinely surprise us. Ultimately, what redeems Miami Heat is a sheer acknowledgement of the talent of these people. But Karsten Gopinath does bring a more kinetic feel in his choice of angles, and the film is edited slickly without drawing too much attention to itself. At times its colour scheme is oversaturated, so that some of the set-pieces look like either music videos or adverts for skateboarding. From a visual point of view, the film is a little more rough around the edges than Step Up 3 - which is a good thing. Once it's made the point, it leaves it where it lies and moves on. Its point is simple - that building swanky, modern buildings in places of richly-rooted culture ultimately harms people without big disposable incomes. Miami Heat is completely no-nonsense: it's proud of what it is, but it doesn't feel the need to shout about it or claim that it's saying anything new or ground-breaking. The difference is that Rent is annoying and massively pretentious, claiming to say a lot more than it actually is (and exploiting the AIDS pandemic along the way). This is a theme that has been explored in musical cinema and theatre before, most notably in Rent. Once the mob turns its focus to Emily's father and his plans for the development, the film stops being just another story about young people being cool and misunderstood, and becomes a story about how gentrification threatens culture. The series returns to its roots, trying to use dancing to communicate an idea or contrast with another section of society, rather than just try to impress us with heavily-edited physical exertion. And then, around halfway through, the film shifts very slightly and starts to actually carry a little more weight around. So far, Miami Heat is on a par with Step Up 2, being far too loose and lazy with its characters but not as offensively aimless as Step Up 3. Adam Sevani returns as Moose for all of two minutes, lifting the final set-piece and then swiftly disappearing. What's arguably worse, however, are the blink-and-you'll-miss-them appearances by returning cast members who can act. And Peter Gallagher mainly lets his greasy hair and suit do the acting for him; there's no evidence of the charisma that he had in, say, sex, lies and videotape. Misha Gabriel gets very little to work with as Eddie, having to play the 'attitude' or suspicious role in almost every scene with little variety. Kathryn McCormick as a dancer is every bit as good as Jenna Dewan in the first film, but she's a little one-dimensional in delivering her lines. Like Rick Malambri in the third film, Ryan Guzman is essentially a pretty boy: he doesn't have a great deal of presence, and smiles like he's modelling Levi's jeans. In terms of the performers, we are again confronted by a number of fine dancers whose acting talents are far outstripped by their ability to bust a move. If you were immensely generous, you could point to the tradition of silent cinema and deriving character from gesture, but such traditions seem far from the creators' minds. The characters are so clearly defined in their narrative roles that some of them don't need to open their mouth before we know exactly what they will do by the end. But it is still an immensely episodic venture whose moments of dialogue are often just book-ends to the set-pieces. Miami Heat doesn't continue this decline, as if things could get any more inane after Step Up 3. But since that point the series has become less and less about character and plot, to the point where if you took out all the talking, it would just be a series of music videos. In Step Up itself this was acceptable, because director Anne Fletcher used their melodramatic nature as a springboard into something that was appealing and interesting. Each of the Step Up films have been populated by characters who are painted in very broad strokes. If you've seen any of the first three films, you could watch this with your eyes closed and know exactly where it's going. From there the plot incorporates incredibly familiar elements such as forbidden love, corporations not having a heart and the underdogs coming together to take a stand. It begins with a pretty decent set-piece and the setting-up of our main characters, who like seemingly every dancer in the history of cinema are waiting for their first big break. The first half of Step Up 4: Miami Heat (Miami Heat hereafter) is as boringly predictable as ever. But however mainstream and often sanitised his work may be, Speer knows how to shoot good dancing and how to keep his performers focussed on the task at hand. This will produce a groan among many who despise anyone who comes out of either Disney or reality TV shows like American Idol - and I would often count myself in the latter camp at least. Like many modern film directors, Speer comes out of music videos, having cut his teeth shooting promos for Ashley Tisdale, Jordin Sparks and Jason Derulo among others. Chu has not been behind the camera, vacating on this occasion for Scott Speer. But it is worth noting that the series has been at its best when Jon M. The later instalments in particular are so homogenously mainstream and narratively generic that it's hard to see any positive directorial stamp. It would be quite a stretch to describe any of the Step Up series as auteurist works. But whether through sheer good will or a somewhat tighter second half, it does eventually improve upon its predecessor and ends up as something perfectly passable. It comes from a first-time director, features little or no continuity with the previous offering, and is in some respects just as thin and episodic as we've come to expect. Considering the declining fortunes of the Step Up series, you could be forgiven for not holding out much hope for Miami Heat (also known as Step Up Revolution). The franchise has innovated itself as far as it possibly can, the quality has already started to decline (good three-quels are very rare) and everyone has decided to just give up and enjoy what's left of the box office. The fourth film in a given series - a "four-quel", to quote Mark Kermode - is often the point where all remaining principles and good intentions go out of the window. Most film franchises don't make it past their third instalment


Ellen G (ru)

katter er fine dyr. Fin film. Trodde det var dokumentar, s ble overrasket


Hannah C (it)

uy 1 get shit 1 free or wot. . . Seriously


Josh O (ru)

Thank goodness the Navy staffs cooks with deep, military and martial arts experience. The plan they hatch is absurdly ridiculous and inadequate. Also, the war room features probably the most incompetent group of army generals ever in a motion picture. As one member protests taking back the ship, Seagal reminds him, "this isn't a job; this is an adventure!" The plot is basically a generic action story that plays its hand within the opening minutes, when Busey's character orders to have the number of guards patrolling the missiles reduced. Jones manages a relatively outstanding performance given the terrible script, which for all its problems does deliver a few gems, such as one when Seagal is trying to rally the surviving crew. It's completely unnecessary in terms of plot, but absolutely worth it. The always memorable Busey even dresses up in drag and dances way too enthusiastically at the pivotal party scene. Tommy Lee Jones, and Gary Busey play hammy villians whose over-the-top performances perfectly compliment seagal's typical, "soft" style. Probably the only Stephen Seagal movie you will ever take remotely seriously, Under Siege deserves a viewing mostly because of its supporting cast


Logan A (us)

I wouldn't recommend this to anyone who hasn't watched or read the original Trigun series, but fans will be pleased after a 10 year lapse since the show ended. The action is absurd, but considering this is an anime, it fits. ), it's mot the best (Lupin III). There have been worse anime movies based off a TV series (Pokemon, etc


Mark W (es)

disappointing script but the two leads hold it up


Tony P (ca)

The film has a documentary feel like an episode of Michael Portillos Railway Journeys but on the whole provides a worthy film to watch. A broody stiff upper lip Englishman. The story is very interesting and emotional but the trouble with Colin Firth films I find is he plays pretty much the same character in all of them. After travelling back to the site of his capture he finds forgiveness to the Japanese 'translator' soldier. His demons come back to haunt him once he finds love with Patti (a rather boring Nicole Kidman) and the identity of one of his torturers is revealed as still being alive by wartime friend Finlay (Swedish Stellan Skarsgard). Lomax is a railway geek hence the title of the film. He and his colleagues endure severe torture at the hands of their Japanese soldier captors forcing severe post traumatic stress disorder long after the war has ended. Lomax is played in two timelines by Jeremy Irvine in the war and Colin Firth in his older years. Moving drama based on the WWII experiences of Eric Lomax a Prisoner of War forced to work on a railway in Burma following the fall of Singapore to the Japanese