Showing posts with label Drama. Show all posts

Kray (2010)

Posted by Unknown Posted on 4:39 PM with No comments

Kray (2010)

The action takes place shortly after the end of the Second World War in the Siberian hinterland, among Russians and Germans with damaged personal stories and a strange transformation: the victors seem to be crawling into the skins of the defeated, and vice versa. Ignat, is the embodiment of the larger-than-life image of the Soviet victorious warrior who, in fact, proves to be shell-shocked, sick and broken, although not completely destroyed. Trains become fetish for the heroes of the film, and speed becomes a mania; they virtually become one with their steam engines, while the machines take on human names. The heroes set up an almost fatal race in the Siberian forest, risking their own lives and those of others.

Kray (2010)

Director: Aleksey Uchitel
Screenplay: Aleksandr Gonorovsky
Actors: Sergey Garmash, Aleksey Gorbunov, Vyacheslav Krikunov
Date Released: 23 September 2010
Genre: Adventure, Drama, History
MPAA Rating : R
Duration: 124 min
Official URL:
Average Rating
Rating: 6.5/10
Votes: 1,985 (as of 27 May 2014)
Reviewer: James Neon

I saw this at the Toronto film festival on September 11, 2010, under the title, "The Edge". I walked in prepared for a heavy dose of Russian gloom. I like Russian literature, especially Chekhov, but I'm always reminded of these lines from a David Massengill song: "What's wrong with the Russians? Have you read their novels? They all die in brothels." In this case, there is nothing wrong with the Russians. This movie grabs you from the start and doesn't let go. Don't get me wrong, this is not a lighthearted movie; it has serious subject matter and complex issues that the characters must deal with . . . and there is plenty of gloom to go around.

Here is the situation in Siberia: At the beginning of World War II, while Stalin and Hitler were still honoring their non-aggression pact, Germans and Russians were co-existing in a remote labor camp. Eventually, Stalin sends his thugs to oust the Germans and declare the Russian inhabitants to be collaborators. At this point the film opens with a young girl running for her life. Four years later, the fighting is over and a Soviet war hero has arrived to work on the town's steam engine. The only Germans left are the illegitimate child of one of the Russian women . . . and don't forget that running girl.

I found myself missing some of the subtitles because I could not take my eyes of the compelling characters and the actors who play them. The standouts are Vladimir Mashkov as the hero and Anjorka Strechel and Yulia Peresild as the women who love/hate him. But his true passion is the steam engine, which he races through the snowy Siberian woods.

The steam locomotive chase sequences are the best put on film since Buster Keaton spectacularly crashed a Union train into Oregon's Rock River in The General (1927). It's as though director Uchitel is rebuilding the train and the bridge Keaton destroyed eight decades ago and a half a world away.

Unlike Keaton's masterpiece, which should have won an Oscar in 1927, this film is Russia's entry into the 2010 Best Foreign Film Oscar competition.

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Saving Private Ryan (1998)

Posted by Unknown Posted on 4:09 PM with No comments

Saving Private Ryan (1998)

Saving Private Ryan (1998)

Director: Steven Spielberg
Screenplay: Robert Rodat
Actors: Tom Hanks, Matt Damon, Tom Sizemore
Date Released: 24 July 1998
Genre: Action, Drama, War
MPAA Rating : R
Duration: 169 min
Official URL:
Average Rating
Rating: 8.6/10
Votes: 606,934 (as of 20 April 2014)
Reviewer: James Neon

No film before has ever captured the destructive nature of war to this magnitude, and few have exemplified the rousing spirit of man to a degree that encapsulates the essence of the human condition through both the complexities of the soul and the base elements of his very existence via the prism of the crisis that is the firsthand experience of the most destructive of forces. Saving Private Ryan perfectly displays both, Director Steven Spielberg's 1998 epic World War II picture a heartbreaking portrayal of the horrors of war but also an uplifting saga of the dedication to duty; the value of life; the unwavering spirit of freedom; the brotherhood amongst men; the courage to overcome all; and perhaps most importantly, the willingness to make the greatest of sacrifices in the name of honor, principles, and friendship. Indeed, Saving Private Ryan proves itself to be, perhaps, history's most important film, not only for its graphically-realistic portrayal of combat but for the touching storyline and pertinent thematic elements that only reinforce the purpose behind the bloodshed and lend weight to the true price of freedom so that others could in the years, decades, and hopefully even centuries to follow enjoy in life what the men who fought purchased with their heroism, their unwavering commitment to their ideals, and for many, their deaths.

Following the devastatingly bloody but ultimately successful Allied invasion of Normandy on June 6, 1944, a select squad of U.S. soldiers -- led by Captain John Miller (Tom Hanks, Forrest Gump) -- are given a critical assignment directly from the Army's top brass: to locate and return safely Private James Francis Ryan, whose three brothers have all died within days of the invasion, two at Normandy, the third in combat around New Guinea. Ryan, a member of the 101st Airborne Division who dropped into France the night before the invasion, has become lost behind enemy lines, and the jumbled French countryside becomes a deadly haystack through which Miller and his men -- Sergeant Horvath (Tom Sizemore, Heat); Corporal Upham (Jeremy Davies, Rescue Dawn); Medic Wade (Giovanni Ribisi, Sky Captain and the World of Tomorrow); and Privates Reiben (Edward Burns, Echelon Conspiracy), Jackson (Barry Pepper, We Were Soldiers), Mellish (Adam Goldberg, Déjà Vu), and Caparzo (Vin Diesel, Pitch Black) -- must navigate to locate Ryan and, along the way, ultimately come to better understand themselves, one another, their place in the war, and the value of saving Private Ryan and reuniting him with his devastated mother, all in the name of finding some silver lining in the hell on Earth that they endure at the hands of a determined and tough enemy.

Beginning with a discussion on Saving Private Ryan's technical attributes, Director Steven Spielberg has crafted the most potently-aggressive and visually-arresting wartime picture ever made. His purpose is not to devastate his viewers but to instead instill inside them a sense of the terrible struggles and absolute deadliness of combat while also immortalizing all those who gave their lives for freedom. His picture has engendered a new appreciation for "the greatest generation," a term used to describe those who fought in World War II but also one that should encompass all those who have worn, do wear, or will don the uniform and bravely face whatever dangers may come their way as they protect with their lives the advancement and perpetuation of freedom. Still, Spielberg's intense visuals only reinforce the underlying themes and purposes of the film, and the director employs what has become the de facto style for shooting wartime pictures, evidenced in later films like 2001's Black Hawk Down and 2008's The Hurt Locker. Spielberg visually accentuates the grittiness of war and gives the picture something of a handheld, personal, up-close look and feel; the movie is sometimes excessively grainy and sports a washed-out color palette that allows shades of green, gray, and brown to dominate the frame, and while splashes of color are readily evident throughout, Saving Private Ryan does indeed capture a more vintage era-specific feel throughout. Spielberg demonstrates an ability to perfectly entwine the superficialities of the film -- its primary plot and action sequences -- with a broad swath of emotional depth and thematic undercurrents, giving the film a classic wartime era feel while also injecting the movie with modern filmmaking techniques and special effects to give it a unique character that's only been mimicked and never quite equalled, much less surpassed, in the years since its release.

Although Saving Private Ryan proves a far deeper film beyond the horrifying wartime images it so disturbingly portrays, there's a reason why the picture -- particularly compared to its genre brethren -- is best remembered first as a tour-de-force of grittily-realistic combat while its more substantial dramatic and emotional themes often seem to go at least partially unrecognized amidst the chaos and directorial brilliance of its combat sequences. Certainly Hollywood had, with the Vietnam era of movies from the late 1970s through the mid 1980s, moved away from what was often a more reserved, heroic, and perhaps even "gentle" look at the horrors of war; while some films crossed over and proved thematically darker -- The Oscar-winning All Quiet on the Western Front from all the way back in 1930, for example -- the years during and that followed after World War II saw something of a glamorization of combat. It was never pretty, but never seemingly all that honest to the experience, either. For whatever reason(s) -- war fatigue, the physical and emotional pain incurred from the substantial loss of life and property around the world, the perceived importance of painting the war effort as clearly-cut and black-and-white as possible, and the effort to prove war as a necessary evil without showing just what a hellacious creature it is and can be -- Hollywood chose to play it safe, offering a string of films like The Longest Day and A Bridge Too Far that depicted "historical events" but never really demonstrated "war." With the era of Vietnam, studios and filmmakers began to find value in promoting more realistic pictures that entwined anti-war messages (hinting back to the era of Erich Maria Remarque and All Quiet on the Western Front) through the emotional, psychological, and physical turmoils of soldiers. Films such as The Deer Hunter and Apocalypse Now used the Vietnam War and the resultant negative effects on the psyche to look deep into the long-lasting implications on a man's very being both on and off the field of battle. Platoon and Full Metal Jacket also used Vietnam as a prism through which to explore the traumas of war, the former taking into question the identity of the true enemy during wartime, the latter offering something of a more complete experience that looked at the transformation of a man throughout his military career. Finally, Director John Irvin's grossly overlooked 1987 masterpiece Hamburger Hill follows in Platoon's footsteps by examining the fruitlessness of war, but the picture also proved one of, if not the most, graphically-intense pictures of its, or any, generation. Saving Private Ryan encapsulates the best of all worlds; it's visually realistic almost to a fault and captures the horrors of war like few others, but unlike the Vietnam pictures of yore, it doesn't necessarily speak out against war. Steven Spielberg's film doesn't glorify war in any way, but it recognizes what is sometimes its necessity while paying tribute to those that gave their lives for a purposeful and worthy cause.

Indeed, Saving Private Ryan proves a singular achievement in filmmaking by capturing a broad array of emotional themes while also demonstrating an unflinching portrait of the terrors of combat. It manages to do what War films before it consistently failed to accomplish, weaving several themes and styles together -- the gritty realism of Hamburger Hill, the patriotism and demonstration of honor and courage of Hollywood's "golden era" of World War II films, and the understanding of the effects of war on man's inner being as was often the primary element in the string of incredibly-powerful and Oscar-winning Vietnam pictures from years ago -- into a one-of-a-kind masterpiece of cinema. The result is a picture that's often difficult to watch on any level. Even those viewers who have seen the picture countless times may find themselves openly weeping even as the film begins as the foreknowledge of what's to come on not only a visual and physical level but, more importantly, on an emotional one, takes shape. The picture's themes of courage, honor, and sacrifice engender in the viewer a sense of the heartbreaking reality that is the carnage of war and an appreciation for those who laid down their lives in the name of freedom, both then, now, and into the future. Director Steven Spielberg -- once known as something of a cuddly filmmaker who crafted family pictures like Always, E.T., and Close Encounters of the Third Kind or rough-and-tumble and flat-out-fun adventures like Raiders of the Lost Ark and Jurassic Park -- proves himself with Saving Private Ryan to be, arguably, the greatest filmmaker of all time, and certainly its most capably diverse. No other picture in history has proven as relevant as this; it transcends its R-rating for violence and language as a movie that should -- yea must -- be seen by all at a time of proper emotional and mental preparedness, even by those with an aversion to its graphic visual elements. Saving Private Ryan is chaotic, bloody, frightening, and oftentimes emotionally overpowering; the picture's scenes that show secretaries typing notifications of death and the delivery of three such letters to Ryan's mother prove the picture's most devastating even beyond the most gruesome of combat scenes. Saving Private Ryan never fails to engender an emotional response -- and a broad array of them at that -- with every viewing that proves a unique but no less powerfully moving experience.

Spielberg and Writer Robert Rodat (The Patriot) lend further weight to the violence and emotional undercurrents through a wonderfully compelling collection of characters, each coming to life with a seamless performance from each member of a perfect ensemble cast. Among them is the mysterious leader, the stout and dedicated Sergeant, the devout sniper, the confused infantryman, the frightened translator, the devoted medic, and the Jewish trooper, each of whom lend a unique perspective to both the war and the mission to rescue Private Ryan. Practically each character in the film is written so as to lend them tremendous depth; while the nearly three-hour runtime grants the space needed to adequately develop them to a point, the strength of the picture in this regard is its use of non-combat "downtime" to allow them to reflect on and philosophize about life, their bond, and the war, notably as they recover from a rainy and intense day within the confines of a darkened church in the town of Neuville. Indeed, for as brutal as the picture can be, it's often equally tender. A blood-stained letter home. Frank discussions of lives past. Reflections on friends lost. Regrets. Expectations. Hopes. Dreams. Jeremy Davies' character, Upham, is the film's best, the antithesis of most everyone else in the movie. He's far removed from combat not only on a physical plane but from an emotional and mental perspective as well. He's a translator and mapmaker, not a soldier; his skills fit the mission and fill a niche in the overall objective of the Allied plan to win the war, but as to a more crucial element to the film rather than the war effort depicted therein, Upham represents the viewer. His is the most emotionally-unbalanced character in the film, and his frightened countenance and self-doubt but also budding understanding of the bonds of brotherhood, the agony of war, and the triumphs of the spirit even in the face of the failures of the flesh all come together to build a character that could be anyone in the audience suddenly faced with the terrors of combat as it grates on the body and disturbs the balance of the soul. It's not Upham's ability to, through the course of the film, find his place in the war -- it's questionable as to whether he does or does not -- but it's rather the character's ultimate understanding of its importance, his witnessing firsthand of its dangers, and his coming to terms with a realization that "the right thing" in the face of destruction and despair does not always point in the same direction as a moral compass shaped by years of a more traditionally-educated life in what can be assumed to have been a relatively peaceful environment, paradise, even, compared to the terrors he witnesses along the journey to find Private Ryan. Less crucial to the dramatic elements of the picture but certainly helping in its pacing and structure is Spielberg's keen sense for comic relief through the Upham character; the director manages to earn an honest laugh in several places even amidst the bloodshed of combat through Upham's shy and fearful ways, whether his failure to understand the significance of "FUBAR" or, in one scene, cling to Caparzo as would a small child.

Certainly a War film at its most basic, Saving Private Ryan's deep characterizations nevertheless engender a deeper sensation that can become lost under the intensity of the combat and the staggering attention to detail found throughout, but further examination proves the movie to be of far greater significance than its bloody and bullet-riddled façade might otherwise suggest. In the years following its release, Saving Private Ryan has become a de facto memorial not merely of World War II veterans of but of heroes before, after, now, and tomorrow who sacrificed their lives for the righteousness of liberty and peace. Abraham Lincoln's words quoted in the film -- "[the] costly...sacrifice upon the altar of freedom" -- encapsulate what not only the picture, but the purpose behind it and the significance of the heroes who perished in the war, is all about. Indeed, Saving Private Ryan seeks to honor those that have given all and, through their actions, demonstrated a bravery and courage rarely before or since matched. Saving Private Ryan is, at its most basic and most important, a human drama, a film that examines one of the most basic guiding principles of life and that for which so many fought and died: the importance of leading a good, wholesome, honest, and free life. The picture reinforces the notion that the sacrifices of these men cannot and should never be taken in vain; every day must be a reminder of their struggle to build a better world for those who would come after, who would rebuild, who would go on, who must remember. Abraham Lincoln again says it best in another address: "The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us -- that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion -- that we here highly resolve that these dead shall not have died in vain -- that this nation, under God, shall have a new birth of freedom."

Special Features and Extras

All of Saving Private Ryan's special features are found on disc two, spread out between two categories: Saving Private Ryan and Shooting War. The latter (480p, 1:28:05), narrated by Tom Hanks, is a fascinating documentary that chronicles World War II through the lens of the film camera, the first war to be so extensively be captured on film. The piece begins with the U.S.' unpreparedness for Pearl Harbor and the unpreparedness of cameramen to shoot the coming multi-front war. The documentary looks first at Director John Ford's Oscar-winning short films on Pearl Harbor and the battle of Midway and follows to look at the history of the war through both black-and-white and color combat footage and still photographs on land, sea, and air, and the role of combat cameramen in the war effort, all the way through to the end of the war in the Pacific theater in 1945. The piece examines combat photography in both the Pacific and European fronts, and like Saving Private Ryan, it features several disturbing and graphic scenes.

The Saving Private Ryan tab opens up a long list of additional extras. An Introduction (480p, 2:35) features Director Steven Spielberg sharing scenes from the World War II films he shot as a child, his fascination with the era, and the picture's place in film history for the veterans who fought in the war. Looking Into the Past (480p, 4:40) again features Spielberg, this time discussing his research for the film, the events on which the film is based, and his approach in making the film an authentic recreation of war. Miller and His Platoon (480p, 8:23) examines the collaboration between Spielberg and Hanks and continues on to look at the additional characters and the attributes they display in the film. Boot Camp (480p, 7:37) examines the contributions of Military Advisor/Actor Dale Dye and the difficulties of the cast's physical and military training in preparation for the film. Next is Making 'Saving Private Ryan' (480p, 22:05), a solid examination of the process that was the construction of the film, featuring Director Steven Spielberg speaking on his style, the film's place in his career, and how the shooting experience differed from other pictures he's made; an examination of the shooting locations used in the film and the authenticity of the sets, props, and wardrobes; the work of Cinematographer Janusz Kaminski and the look of the film; and the importance of creating an authentic World War II chronicle.

Re-Creating Omaha Beach (480p, 17:58) begins with a brief historical overview of the Omaha Beach invasion and moves on to look at the authenticity of the sequence, shooting in Ireland, the use of Irish troops in support roles in the film, the collection of weapons issued to the actors, shooting the landing scenes, the realism of the shoot and the chaos of the set as an authentic military engagement recreation, the stunts of the sequence, the importance of safety and capturing the finest of details for the sequence, and more. Music and Sound (480p, 15:59) features Composer John Williams speaking on the role of music in the film and how it fits within the realm of the Spielberg/Williams collaborations, while Sound Designer Gary Rydstrom speaks on how the absence of music enhanced the realism of the battle scenes, his research to create the most realistic period sound possible, the process of editing the sounds together, and the construction of the sound design for the film's epic climactic battle in Ramelle. Into the Breach: 'Saving Private Ryan' (480p, 25:01) is a quality behind-the-scenes piece that features cast, crew, World War II veterans, and Historian Stephen Ambrose speaking on the real-life events surrounding the Normandy invasion; stories of brothers killed in combat; the story and themes of Saving Private Ryan; the picture's realism; Steven Spielberg's early films, inspirations, and fascination with the World War II era; the actors' physical and military training for the roles; the picture's legacy; and more. Some of the material in this supplement repeats parts of other extras found elsewhere on the disc. Parting Thoughts (480p, 3:43) features Tom Hanks and Steven Spielberg sharing a few final thoughts on the picture's themes and importance. Rounding out this collection of extra content is the Saving Private Ryan theatrical trailer (1080p, 2:16) and the film's Re-Release trailer (1080p, 2:05).

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Saving Private Ryan (1998) Download Info</h3>

Saving Private Ryan (1998)
Sapphire Series with Extras
1080p Blu-rayRip | MKV | AVC @ 16.4 Mbps, 23.976 fps | 1920 x 1080 | 02:49:28 | 25.9 GB (including Extras)
Audio: English DTS-HD Master Audio 5.1 (48kHz, 24-bit) @ 4198 Kbps | Subtitle: English, Spanish, French, Portuguese
Director: Steven Spielberg | Stars: Tom Hanks, Matt Damon, Tom Sizemore | Country: USA
Genre: Action, Drama, War

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The Principles of Lust (2003)

Posted by Unknown Posted on 5:54 AM with No comments

The Principles of Lust (2003)

Crippled by his writer's block, Paul enters into a new, disturbing accord with adventurousness Billy and super-sexy Juliette. As it becomes more tangled, however, he have to accept one of them over the other.

The Principles of Lust(2003) Trailer

The Principles of Lust (2003)

Director: Penny Woolcock
Screenplay: Penny Woolcock
Actors: Alec Newman, Marc Warren, Sienna Guillory
Date Released: 12 March 2003
Genre: Drama, Adult
MPAA Rating : Not Rated
Duration: 108 min
Official URL:
Average Rating
Rating: 5.2/10
Votes: 720 (as of 14 February 2014)
Reviewer: James Neon

Granted the Principles of Lust is patchy, but it's annihilation like as bad as you would achieve from added user reviews. It pushes at the boundaries, challenges the eyewitness with absolute images you would never apprehend to see even in an 18-cert movie, but does as well say a lot about relationships in the process. Paul and Juliette's burning allure and abortion to acquaint finer echoed abundant of the love-hate attributes of absolute activity relationships in my experience, appropriate down to the closing shots area adulation and acerbity amalgamate while Juliette's son looks on, uncertain. Secondly, Paul's ambiguity about himself and his cachet as a biographer speaks volumes - and thereby he represents the all-inclusive majority of us. Ultimately, do we apperceive what we absolutely want? Maybe we are all fatigued to the aphotic ancillary but are abashed to accept it, even to ourselves?
So from my perspective, acclaim to Penny Woolcock for authoritative this film, which accordingly will polarize its admirers - but bethink its nod to Fight Club, and the actuality that it is acclimatized from an atypical by Tim Cooke. It's harder to brainstorm a feistier adjustment than this.

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Voodoo Possession (2014)

Posted by Unknown Posted on 5:20 PM with No comments

Voodoo Possession (2014)

Imagine a clamorous demon that feeds on blood, thrives on pain, and alcove from above the grave to affliction the living...and the dead. For believers and skeptics alike, there is annihilation in this apple or the next to battling the adamant angry of an Allure Possession. Burdened back adolescence with a gnawing faculty of guilt, contemptuous Aiden Chase journeys to a Haitian batty cover in seek of his missing brother. Upon arriving, he discovers all the inmates and the hospital ambassador (Danny Trejo, Machete) are acutely bedeviled by a bloodthirsty allure spirit. Now, Aiden have to carelessness absoluteness and alight into an alarming spirit apple to try to accomplishment his brother - or they will both be accursed for eternity.

Voodoo Possession (2014)Trailer

Voodoo Possession (2014)

Director: Walter Boholst
Screenplay: Walter Boholst
Actors: Ama Amoafo-Yeboah, Davante Bell, Tomas Boykin
Date Released: 14 January 2014
Genre: Drama, Horror, Mystery
MPAA Rating :Not Rated
Duration: 94 min
Official URL:
Average Rating
Rating: 0/10
Votes: 0 (as of 8 January 2014)
Reviewer: James Neon

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DVDRip | XviD @ 892 Kbps, 23.976 fps | 640 X 272 | 01:34:42 | 698 MB

Audio: English MP3 2.0 @ 128 Kbps, 48.0 KHz | Subtitle: none

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Riley Rewind (2013)

Posted by Unknown Posted on 9:26 AM with No comments

Riley Rewind (2013)

Riley Brown is an ordinary teenage girl, except for the actuality that she is able to go back in time and change her past. Jay who is an anxious acquaintance is the alone being she has told about her time traveling ability. When traveling aback or 'rewinding', Riley takes concrete accident to her physique such as arch aches, adenoids bleeds and even coughing blood. She as well risks altering added contest she did not intend to. Over the alternation she learns that she can't consistently change the assured with her abilities, but still tries to.

Riley Rewind Trailer

Riley Rewind (2013)

Director: Ray William Johnson
Screenplay: Anna Akana
Actors: Anna Akana, Lamar Legend, Leanna Spear
Date Released: 12 December 2013
Genre: Drama, Sci-Fi
MPAA Rating :Not Rated
Duration: 49 min
Official URL:
Average Rating
Rating: 8.3/10
Votes: 3,176 (as of 6 January 2014)
Reviewer: James Neon

Riley Rewind illustrates and narrates the top academy activity of Riley Brown with the astonishing adeptness to rewind time. Riley told alone one physique about her superpower, getting adolescent advocate Jay. Her superpower tends to affliction and accident her physique if she exceeds in activating it.
Like added heroes, Riley has assertively to use her admiral in a way that is benefiting to others as able-bodied as to her surroundings. If she encounters Angela she journeys herself into arduous settings with a being who distances themselves by assertive that the apple is deserting them. Riley alive this feels for Angela and backtracks to save her. As she does so she recognizes that accident time impacts the lives of others too as such Riley questions it.
Riley and Jay agitation the time traveling admiral appropriately allegory a being accomplishment their own approaching against what the approaching has artificial for them. This personifies humans debating about how they chronicle to time and tends to even alarm to humans on any ancillary of this animal agitation to accede the added way of cerebration about time. As such it tends to animate admirers to brainstorm altered possibilities of how the adventure could accept unfolded.
The story's scenes move bound in an absorbing way and plateau for the body up of scenes to arise and afresh to move rapidly again. What seems to accomplish it absorbing is how those scenes hotlink calm with the story. It appears that the makers advised it as such to accelerate the admirers as able-bodied as to get them accommodating from the alpha like they anatomy allotment of the adventure too. The plateaus are about creating anxiety and apprehension and its able-bodied abstinent aback its affecting attributes continues to backpack advanced as it progresses.
The complete clue is absolutely ambient which about adds an affectionate atmosphere to the story. It includes acoustic and cyber banking tunes which arise to accurate the animal aspect and the science aspect of the adventure respectively. This fits able-bodied into the scenes in agreement of their tone, timing and rhythm.
Riley Rewind makes for agreeable & affable examination with its humor, adventurousness, adroitness and agreeable characters. It as well rewinds us back to our time in top academy area we can chronicle to the capacity of the formal/prom and relationships. This might be a mini-series, but in it exists a big heart.
Enjoy!

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1080p WEBRip | MKV | AVC @ 7348 Kbps, 23.976 fps | 1920 X 1080 | 00:49:18 | 2.62 GB

Audio: English MP3 2.0 @ 128 Kbps, 48.0 KHz | Subtitle: none

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Antichrist (2009) - The Criterion Collection

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Antichrist (2009) - The Criterion Collection

Lars von Trier befuddled up the blur apple if he premiered Antichrist at the 2009 Cannes Blur Festival. In this clear psychodrama, a crestfallen man and woman afire Willem Dafoe and Cannes best extra champ Charlotte Gainsbour retreat to their berth abysmal in the dupe afterwards the adventitious afterlife of their baby son, alone to acquisition alarm and abandon at the easily of attributes and, ultimately, anniversary other. But this a lot of confrontational plan yet from one of abreast cinema a lot of arguable artists is no simple provocation. It is a visually sublime, emotionally burglary adventure to the darkest corners of the bedeviled animal mind; an advancing action of the sexes that pits rational attitude adjoin age-old superstition; and a greatly able abhorrence film.

Trailer

Antichrist (2009)

Director: Lars von Trier
Screenplay: Lars von Trier
Actors: Willem Dafoe, Charlotte Gainsbourg, Storm Acheche Sahlstrøm
Date Released: 20 May 2009
Genre: Drama
MPAA Rating :Not Rated
Duration: 108 min
Official URL:
Average Rating
Rating: 6.6/10
Votes: 59,893 (as of 3 January 2014)
Reviewer: James Neon

Seditious

Lars Von Trier is an administrator who's consistently been traveling his own ways, and this can absolutely be apparent in this movie. Antichrist is a cine that doesn't authority annihilation aback if it comes to gore, and the getting that you see in the blur will not leave your apperception the next brace of days. But the cine itself is abundant added than that... The cine is beautifully shot, the adventure and ambience acutely afflictive and the acting is fantastic. The cine is ancient aching to watch, not in a "Saw" or "Hostel" affectionate of way, but if you leave the amphitheater you feel absolutely uncomfortable, and that is one of the affidavit why i admired this movie. It's a cine like annihilation I’ve accomplished and I'm animated that we accept admiral like Lars Von Trier that dares to accomplish a blur like this. It's annihilation like the boilerplate movies that are getting fabricated nowadays, and it makes your apperception chase if you leave the theater, something actual few movies does. You aren't served with facts, as with any added movies, but are larboard to adapt and anticipate for yourself. It's a camp cine and not one for the aside of heart, but if you cartel to be affronted and see a cine like annihilation you've anytime seen, then watch Antichrist.

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720p BDRip | MKV | AVC @ 6859 Kbps, 24 fps | 1280 X 544 | 01:43:21 | 697 MB

Audio: English + Russian MP4 2.0 @ 128 Kbps, 48.0 KHz | Subtitle: English, Russian

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La marge (1976)

Posted by Unknown Posted on 7:42 AM with No comments

La marge (1976)

Sigismond (Joe Dallesandro) is a man absent in an amative brume which clouds his judgment. Early in the film, it is axiomatic that the man has a physically amorous accord with his wife, with whom he has a son. While on a business cruise to Paris, he comes beneath the spell of a famous, admirable prostitute (Sylvia Kristel) who resembles his wife. However, his efforts to absorb her absorption are not accepted by her pimp, and he is acutely beaten. When he gets a letter allegorical him of the afterlife of his wife and son, he is absolutely devastated.

La marge (1976) Trailer

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La marge (1976)

Director: Walerian Borowczyk
Screenplay: André Pieyre de Mandiargues
Actors: Sylvia Kristel, Joe Dallesandro, André Falcon
Date Released: 22 September 1976
Genre: Drama
MPAA Rating : PG-13
Duration: 88 min
Official URL:
Average Rating
Rating: 5.3/10
Votes: 235 (as of 25 December 2013)
Reviewer: James Neon

Borowczyk charcoal one of the atomic accepted filmmakers of his era, inarguably an auteur, but one so aberrant and abnormal that he charcoal admired alone by a scattering of critics for his aboriginal surrealist plan and by band cine admirers for his later, sexually-explicit films. While from the mid-seventies alee his films would ambit from the acceptable (Behind Convent Walls, The Story of Sin) to the not-so-good (The Art of Love, Immoral Tales, etc), his film-making bequest rests with the camp La Bete, which abominably belongs to the closing category. However it is his aboriginal films (both activated and reside action) that are assuredly Borowczyk's key works вЂ“ Blanche, for instance, is one of the finest films anytime made, while Goto the Island of Love is about as acceptable вЂ“ and in abounding means these films set up the capacity that would be accustomed throughout abundant of his consecutive work, a lot of chiefly that sex is consistently affiliated with guilt, animality and death.

This is conceivably why La Marge is so unjustly obscure. The casting of Kristel (not to acknowledgment the film's alternating appellation Emmanuelle '77) suggests the blur was tailored to address to the softcore market, yet the absolutely black atmosphere and accountable matter, which includes death, affair and suicide, is decidedly at allowance with this. Compared to the added Borowczyk films of this period, with conceivably the barring of The Story of Sin, La Marge is decidedly restrained. The blur works because of its minimalism and ambiguity вЂ“ the chat is sparse, apparently because of the actors' disability to allege French, and their appearance action is ambiguous to say the least. It is never fabricated bright why Sigimond is apprenticed to bluff on his acutely absolute wife, admitting it is conceivably no accompaniment that Diana added than hardly resembles her. Borowczyk as accepted fills the cine with beheld motifs, application cogitating surfaces to announce the duality of Sigimond's life, and lingering, unerotic shots of changeable ballocks to back what is at the amount of his accomplishments and desires, and what is, in essence, getting a Borowczyk film, Sigimond's prison.

The blur is beautifully photographed, abounding of the director's birdbrained brand framing, and, something rather abnormal for Borowczyk, appearance a arresting aeon soundtrack, from the aboriginal Kristel/Dallesandro sex arena played out to 10CC's I'm Not in Love to the beauteous blowjob arrangement set to Pink Floyd, and an absurd acme that employs Elton John's Funeral For a Friend. While La Marge is abnormally a Borowczyk blur in abounding respects, it aswell possesses a sombreness and ability that was attenuate for the director, for admitting the casual surreal moment (a dwarf watching television, a auberge maid analytical her breasts in the mirror, a deranged old woman watching sex through a keyhole), it is primarily a aboveboard assay of two bedevilled characters clumsy to escape the prisons of their existence. Fans of the director's aboriginal plan may acquisition the blur ever conventional, while admirers of his after aeon may be aghast by how aseptic it is, yet La Marge is an unfairly alone film, one of the director's a lot of constant and addictive works.

La marge (1976) Download Info

DVDRip | MPEG-4 Visual (XviD) @ 1526 Kbps, 25fps | 688 x 424 | AC3 @ 192 Kbps (CBR), 48 KHz | 01:22:45 | 1.11 GB

Country: France | Language: French | Subtitle: none

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