Underworld: Awakening is directed by Mans Marlind and Bjorn Stein and stars Kate Beckinsale, Stephen Rea, Michael Ealy, Theo James, India Eisley and Charles Dance.
The IMF is shut down when it's implicated in the bombing of the Kremlin, causing Ethan Hunt and his new team to go rogue to clear their organization's name.
Dated Released : 2012
Quality : DVDRIP.XVID.AC3-PRESTiGE.nitro
Info : imdb.com/title/tt1715320
IMDB Rating : 7.3 (115 users)
Star : Adam Copeland, Jamie Kennedy, D'Arcy Allen
Genre : Action | Drama
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Bending The Rules is the new WWE Studios movie starring Adam"Edge"Copeland. This was shown on RAW(27/2/12).
Detective Nick Blades is a New Orleans cop on trial for corruption.
Assistant District Attorney Theo Gold is the man in charge of putting
him behind bars. When these two unlikely partners from opposite sides of
the law stumble onto a criminal plot, they'll need to rely on luck -
and patience - to take down a dangerous killer without killing each
other first.
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The Darkest Hour (in theaters 12/25), is quick approaching, and yet despite the trailers and TV spots that have been appearing as of late, much of the film’s plot is still a mystery to the general public. That, of course, is a excellent thing. Films are spoiled too often these days either by information-gray trailers or candid set photos. Thankfully, The Darkest Hour—an alien invasion film directed by Chris Gorak (Right at Your Door) set in Moscow, Russia—has been spared this invasion of show privacy. Still, if you’re interested in knowing a bit more about the film than the trailer, or other press materials have let on, we’ve resolute to give you a bit of a synopsis. Reckon of it as an appetizer before a huge, juicy meal (or in this case, a huge, juicy bowl of borscht).
The Darkest Hour is as much of a fish-out-of-water adventure as it is an alien invasion film. Budding Internet entrepreneurs Sean (Emile Hirsch) and Ben (Max Minghella) travel to Moscow, Russia to meet with a Skyler (The Killing’s Joel Kinnaman), a morally ambiguous German business man, about their latest business venture. Along the way they meet up with two American travelers (Rachael Taylor and Olivia Thrilby) for some drunken revelry in Russia’s hard-partying capital.
And then the aliens come.
Now, we’re not talking the huge-headed, bug-eyed aliens you’ve seen in countless other movies. Nope. The aliens in The Darkest Hour are harder to pin down look-wise than Lady Gaga and Michael Jackson combined. Essentially, they are energy-based beings that make their presence known by lighting up bulbs and other manipulating electrical objects. Lacking an electrical indication of their presence, these aliens are essentially hidden. That would be fine if these were amiable extraterrestrials (like, say, E.T. or Alf), but that’s not the case. These creatures have the power to turn human beings into piles of ash; a power they are not above all shy of putting to use.
Why have these electrically-charged beings resolute to invade Earth? We’ll leave that to you to find out. Remember, The Darkest Hour opens nationwide Christmas Day. We can’t reckon of a more pleasant way to spend the holiday.
Carmen is a excellent apprentice with a terrible attitude who lives for dancing in the underground clubs of Chicago. She yearns to be ‘somebody’ but is frightened to believe in herself. Her settler Mexican, working-class parents want her to stay in teach and get an education, so she attends junior college while working at a grocery store. Carmen’s professor catches her performing one day in the neighborhood and challenges her to audition to a formal dance teach in California. She gets into a fight with her chaotic family and runs away to her best supporter Gina’s place only to find out Gina’s been getting beat up by her boyfriend. Meanwhile, Carmen’s boyfriend, Jared wants her to commit and go in with him. Pulled apart in every direction, her dream of dancing fades. Can Carmen overcome her fears and take the largest chance of her life, or will she give in to her self-doubt?
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Dated Released : 5 September 2010
Quality : BRRip 720p.AMiABLE.scOrp
Info : imdb.com/title/tt1518812
IMDB Rating : 6.6 (3,729 users)
Star : Michelle Williams, Bruce Greenwood, Paul Dano
Genre : Western
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By: www.mamovie.net
The year is 1845, the original days of the Oregon Trail, and a wagon
train of three families has hired mountain man Stephen Meek to handbook
them over the Cascade Mountains. Claiming to know a shortcut, Meek leads
the group on an unmarked path across the high plain desert, only to be
converted into lost in the dry rock
and sage. Over the coming days, the emigrants face the scourges of
hunger, thirst and their own lack of faith in one another’s instincts
for survival. When a Native American wanderer crosses their path, the
emigrants are torn between their trust in a handbook who has proven
himself unreliable and a man who has always been seen as a natural born
enemy.
If your a fan of cinema, horror, and quirky B-grade films, then the name “Roger Corman” should be plenty familiar. His credits deem reasonably impressive with 100′s of films to his directing name. You would reckon that life is one continual production and film set for the man who’s cost effective prolific nature seems lacking end. The is Bluray/ DVd relief pays homage to the man, his work, and his films. It also features plenty of interviews, clips, demonstration narrations and commentaries from Roger himself. Whether its giant sharks, crazy sea-human creatures or just insane bloody showcases of violence, Corman is usually waiting in the wings with his directorial influence fueling it on.
What make this relief so enjoyable is that there are buckets of films to ponder over thru the years. Equally satisfying is that the tribute and historical overview is littered with top A and B list actors across the board giving us thoughts, experience, and impression into Corman’s work. Many don’t realize that super actor Jack Nicholson was given his first gig and “gigs” (for that matter) under Corman’s productions. Roger is equally respected by directors from the likes of Scorsese, Tarantino, and Ron Howard to name a few. The journal is filled with commentaries by highly regarded directors who tell their tales of The Corman years.
Noted as life a low cost solution guru, Corman is revealed thru the eyes of his colleagues who demonstrate “how” a Corman film was usually made. The tales of guerilla tactics, glide-by footage and cheap gags that simply fulfills Corman’s single desire of capturing whatever he can in the camera eye. One take, rushed schedules, and piles of products that either succeeded or failed…this is the Corman way, and its reasonably unique.
I personally loved much of the in the rear the scenes shots that while might look vicious on screen are reasonably hilarious to see in practice. In one segment, they are filming the notch sequence to DinoShark of which a puppet Dino head is gnawing on its latest victim. Other new additions to the campy B-grade modern wave include “Sharktopus”, “Dinocroc vs. Supergator”, “Camel Spiders”, and “Piranhaconda”. In fact, you might say that the 21st century has opened up a new motivation for Corman to do what he does best.
Upon this review, I was perusing thru the credits to the man’s name of which is reasonably exhausting. The list literally scrolls from year to year with “so many” titles that many will never have time to mind let alone preside over, produce and package. “Corman’s World looks back into some of his trend setting years. One instance includes the Vincent Price films and Edgar Allen Poe” productions (some of my personal favs as well). Other segments talk about his western era and those early giant monster films that worked so well in day and age. “The Small Shop of Horrors” certainly made its mark with a genuine humor driven talking plant. While some of Corman’s achievement are noted, others are tucked away into obscurity. This was the MO was his work…hit or miss.
From the early black and white era of the 50′s to the more extreme visions of the 2000′s, Corman has been nearly to cater to our need for products and low cost experience. In one early segment we are exposed to the 1956 creature from “It Conquered the World”. The image has been nearly in sci-fi books up till this day staring back at us with its bizarre but somewhat effective cheesy looking vegetable-with-teeth-alien-head…this is the stuff of legend.
“Corman’s World: Exploits of a Hollywood Radical” is chock full of cheesy b grade screens and scenes of productions that otherwise might be harder to locate. As in my before statement, this collective look might just give you the overview you need to grasp the degree of work churned out. The journal is directed by Alex Stapleton who does a remarkable achievement of getting Hollywood’s top talent to contribute on screen often in the comfort of their own homes.
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No strings attached fun. Yes, that’s the key word amongst most adolescents in the current day-and-age. So here’s a show on two youngsters who are commitment phobics and who do not believe in any kind of tabs, bonds, commitments and binders. An fascinating concept and director Aditya V. Datt nearly gets it right, except for the concluding moments of the film. It gets a bit too chaotic thanks to the tried and tested diversions in the plot. Yet, if the motive is to have a couple of excellent laughs and seek entertainment, well, Will You Marry Me? assures laughs reasonably a few times.
There’s talk that Will You Marry Me? takes its inspiration from No Strings Attached [Natalie Portman, Ashton Kutcher], but it’s not remotely similar to that film. The film, really, follows the Deewana Mastana [Anil Kapoor, Govinda] formula of two guys trying to outdo the other to woo the girl. Of course, post Deewana Mastana, a number of storytellers have attempted similar movies, but the Tom and Jerry kind of situations, if integrated well in the plot, do keep you hooked. And Will You Marry Me? does have its moments, except when the mandatory songs and the foreseeable scenes on friendship take over.
Will You Marry Me? narrates the tale of three friends, Aarav [Shreyas Talpade], Rajveer [Rajeev Khandelwal] and Nikhil [Muzammil Ibrahim]. All three have one thing in common: their like for their bachelorhood. So much so they place a bet amongst themselves, whoever decides to marry first will lose a huge amount invested in shares by the trio. A few years before long, Nikhil decides to marry the like of his life, Anjali [Tripta Parashar].
Rajveer and Aarav cannot believe their best supporter Nikhil is getting married, but place on a smile to attend his beach wedding in Dubai. During the wedding festivities, Rajveer and Aarav fall for the bride’s best supporter Sneha [Mugdha Godse]. To make matters of poorer quality, Nikhil gets kidnapped by a powerful business tycoon [Paresh Rawal]. Everything turns upside down at Nikhil and Anjali’s wedding celebrations. Will Nikhil make it for his wedding? Who will Sneha choose eventually — Rajveer or Aarav?
Will You Marry Me? starts on a lighter vein and maintains the tempo as the reels unfold. It only gets serious when Paresh Rawal arrives on the scene to demand his money back. Those scenes are equally absorbing, also because Paresh describes his part so differently. But the writer seems so heavily inspired by similar plot movies that he refuses to come out of the comfort zone and reckon of ground-breaking dreams. The humor, at times, is pedestrian, while the romantic moments between Shreyas and Mugdha as well as Muzammil and Tripta lack fizz.
Director Aditya V. Datt has handled numerous moments well and one does notice his growth as a storyteller. But he could’ve done with a better speech that steers clear of standard cliches. With Aditya teaming up with multiple composers, who have numerous well loved tracks to their credit, one expects the soundtrack of Will You Marry Me? to be equally lilting, but barring a song or two, which offer sporadic relief, the remaining songs are a mere distraction. The cinematography [R. Dvaaraghanath] deserves special mention. You can buffet your eyes on the stunning locales of Dubai in the show.
Shreyas Talpade puts up a natural act and is simply brilliant in the bathroom sequence. Rajeev Khandelwal handles his part with gusto. Muzammil is decent. Mugdha doesn’t get much scope in this all boyz film, yet she gets her scenes right. Celina Jaitly is hardly there, while Tripta Parashar is strictly okay. Paresh Rawal gets some meaty scenes to sink his teeth into. He excels. Manoj Joshi is perfect.
On the whole, Will You Marry Me? is better than what you expect it to be, but the film arrives with minimal awareness and promotion and that might curtail its prospects to a large extent.
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Dated Released : 8 September 2011
Quality : LIMITED BRRip 720P.x264-GECKOS.nitro
Info : imdb.com/title/tt1972663
IMDB Rating : 7.5 (787 users)
Star : Jason Burkett, Werner Herzog, Michael Perry
Genre : Documentary | Crime
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Herzog continues his Americana with Into the Abyss, a documentary about Death Row. It is perhaps the most somber Herzog film in years. There have been similar death penalty issue films like Errol Morris’s Thin Blue Line, and more recently Joe Berlinger and Bruce Sinofsky’s Paradise Lost docs, which really helped to exonerate their subjects (or at least to have them out of jail). But Herzog very concentrates on the impact of violence that is felt on both sides of the crime. He doesn’t overtly state the institutional killing is incorrect. But he certainly makes us reckon about it with a skillfully balanced filmmaking.
Stripped away is Herzog’s usual droll narration. Mostly comprised of interviews and crime scene videos, the film briskly moves on one scene to another. Michael Perry and Jason Burkett shot and killed three people while stealing a sports car in 2002. A senseless crime committed by a couple of 19 year olds. Perry was sentenced to death, and Burkett life imprisonment. In an interview with Perry, Herzog tells his subject frank that he respects him as a human life and feels sorry for him that he has to die, but that doesn’t mean he has to like him. Youthful and even jovial 8 days before his execution, Perry tells Herzog his state of mind as a condemned man. “I’m going home or home either way.” He cites ‘hanging with the incorrect crowd’ as the root of the problem. It is evident in the interviews with friends and relatives of both perpetrators and victims, that in their lives there was a systematic pattern for unending violence, even in the suburbs of the American South: large numbers of family incarcerated, drugs, poverty, theft and felony. Serving a 40-year sentence for multiple felony charges, Burkett’s father tells Herzog that he knew he saved his son’s life when he saw two ladies in the jury crying after his tearful “Don’t kill my son. He never had a chance,” testimony during his son’s sentencing. He says his most shameful following came when he and his two sons (Jason’s grown-up brother is also in prison) got a chance to have meals together in the prison yard.
There are certainly Herzogian moments: the red Camaro, the source of the three lives lost, still sits in a police impound. The sheriff clarifies why they had to go the car to another spot: the tree grew from underneath the car and came through the floorboard. Herzog also gets in some memorable lines, “Describe your encounter with a squirrel,” and “Would Jesus be for the capital punishment?” over the course of the film. Then there is Mellyssa who is carrying Jason’s baby. They fell in like when she worked as a legal assistant on Jason’s case. She is coy about how she has be converted into pregnant.
Executions have an emotional impact on those who have to involve out the sentence as well. Herzog interviews a Texas man who had a breakdown after assisting in his 125th execution. Now, he opposes the capital punishment. A death row chaplain starts crying when he is questioned about the last rites he performs for the inmates. “I can’t stop the process, I wish I could.” One must reckon of the recent execution of Troy Davis, a man whose trial was plagued by racial bias and police manipulation of witnesses. One of the arguments in the attempt to commute his death sentence was the potential psychological impact of forcing officers to perform an execution on a man whose guilt had not been established further than a reasonable doubt. Lisa Stotler-Balloun, who lost her mother and brother to the crime, went to see the execution of Perry. Even though Perry’s death can’t bring her family back, she felt somewhat of a relief afterword. But when questioned if the life sentence for the murderer would’ve satisfied her, she says yes.
Its generic title could be applied to any number of Herzog films. But with no traces of cynicism or sly wit, Into the Abyss is a above all straightforward documentary. Thoroughly inquisitive and pensive, Herzog seems to be saying enough is enough.
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Dated Released : 11 November 2011
Quality : LIMITED BRRip 720p.X264-AMIABLE.nitro
Info : imdb.com/title/tt1181614
IMDB Rating : 6.3 (943 users)
Star : Kaya Scodelario, James Howson, Nichola Burley
Genre : Drama | Romance
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From the start, the film sweeps away the period choreography of the conventional literary adaptation, sweeps it away so thoroughly that for the first few minutes I thought that this Wuthering Heights must be set a hundred years after a nuclear strike. This version brings the tale back to a kind of social-realist year zero. It dispenses with the “flashback” overture, plunging more or less straight into the action, but – like the 1939 William Wyler version with Laurence Olivier – it restricts itself to the “first generation” half of the book.
The real, unpretty toughness of the Yorkshire moor has perhaps never been represented more matter-of-factly, nor the hardscrabble existence of those who might have really lived in that farmhouse in the 19th century. This world is elemental, very nearly primeval, and the gap between human and beast is lessened. Heathcliff is reimagined, not as the vaguely exotic dark-skinned Gypsy, but as simply black, and confronted with overt and brutal racism from those of his new family who resent the outsider, and are determined to handle him like any farm animal.
Played as a youth by Solomon Glave, Heathcliff is a homeless foundling, learned on the streets of Liverpool by the taciturn Mr Earnshaw (Paul Hilton). In the distinctly accusatory spirit of Christian charity, Mr Earnshaw brings Heathcliff back to live at the grimly remote Wuthering Heights to earn his keep with labour, but also to live as an copy with the two children: the grown-up boy Hindley (Lee Shaw) and the younger girl Cathy (Shannon Beer). Very nearly immediately, Heathcliff runs wild with Cathy on the moor all the livelong day, a passionate childhood romance, heedlessly erotic, innocent in a knowing way, protected and made more glorious by their supposed sibling relationship.
They go riding together on one horse: Heathcliff leans in and inhales the perfume from Cathy’s hair while stroking and manipulation his horse’s flank. When Heathcliff is beaten for insolence and idleness, Cathy literally licks his wounds: an ecstatic following of transgression and defiance. But as they grow to adulthood, Cathy accepts a marriage proposal from the rich neighbour Edgar Linton (James Northcote); deeply angered and hurt, Heathcliff runs away and returns years before long as a man, obsessed with like and vengeance, intent on the reopening of wounds. Now he is played by James Howson, and Cathy by Kaya Scodelario.
In the most extraordinary way, Arnold achieves a kind of pre-literary reality look. Her film is not presented as another layer of interpretation, superimposed on a classic’s embellishments and those of all the other remembered versions, but an attempt to make something that might have existed before the book, something on which the book might have been based, a raw semi-articulate run of actions, before long polished and refined as a literary gemstone. That is an illusion, of course, but a convincing and thrilling one.
Perhaps above everything else, Arnold returns us to the most potent fact about the Cathy and Heathcliff like affair: it is a like affair between equals, not between a woman with coquettish “erotic capital” and a man with property and status. Cathy and Heathcliff are both outsiders: the woman dependent for her future on a marriage proposal, the man on a benefactor’s charity. And it is a like tale between children; it is as children that their like is most pleased and most uncompromised and, probably, most clearly doomed.
That said, the choice to use two separate actors to play Cathy and Heathcliff, in their younger and grown-up guises, was for me a small uncomfortable: it is understandable, of course, but the younger leads are, in fact, not so very young, and their before long selves are not so very much grown-up, and the apparent transformation is an oddly reproduction look.
It is a minor consideration, given that there is so much in Arnold’s film that is exhilarating. There is a scene in which characters savour the wild windiness of a hilltop that reminded me of people doing very much the same thing at the top of a grim tower block, with an open window, in her 2006 show Red Road, and yet the comparison isn’t ironic. The landscape is desentimentalised so deliberately that it could be urban, the crags and fields could as well be particular walkways, but they retain a stark beauty, and Arnold and Ryan are challenging what we reckon of as gorgeous in the first place. The film gave me something I never expect to get from any classic literary adaptation: the shock of the new. How about you? what do you thing about this movie?
Dated Released :
9 March 2012 (USA)
Quality : CAM READNFO XviD AC3-26K.Ags
Info : imdb.com/title/tt1767382
IMDB Rating : 5.5 (1,769 users)
Star : Elizabeth Olsen, Adam Trese, Eric Sheffer Stevens
Genre : Drama | Horror | Thriller
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Chris Kentis and Laura Lau were responsible for the 2003 shark feature Open Water and surprisingly enough, despite getting a considerable amount of buzz from that film, Silent House is their first feature since.
Purporting to be based on a right tale (I’ve yet to see evidence this is right though), this is a remake of a Uruguayan film from 2010 that gained attention due to the fact it was filmed in a single 85-minute take as a girl is tormented inside a house her and her father are repairing and putting up for sale. Kentis and Lau’s film sticks with the same plot and the same “one take” gimmick, but attempts to tell a small more tale than the very terrible original while still running into the same problems the original had.
Curiously enough, the way they’ve chosen to shoot this film is its largest problem. Considering the twists in the tale, the fact we stick with the same lead character the entire time means there shouldn’t be anything we don’t know or can’t clarify as we near the film’s end. Not to mention, the camera’s purpose is unclear. Playing our tormented lead is Elizabeth Olsen (Martha Marcy May Marlene) and it’s clearly her tale we’re following, but what the camera chooses to show us doesn’t always reflect that fact.
Unfortunately, the problem with a film such as this is that I can’t say much else lacking ruining it, but I will say this adaptation does do a slightly better job of selling the audience on its tale than the original, at least to the point I didn’t have as many questions nagging me once it was over.
One thing Silent House does do is solidify Elizabeth Olsen as a major up-and-coming actress. This is a near impossible routine to pull off lacking some hiccups, but Olsen comes about as close as you possibly could in terms of eliciting dread, anxiousness, concern and despair.
Where the film runs into problems and where the original really got it better is in the reasoning for why the lead character is doing what she’s doing. Silent House walks a fine line as it battles traditional horror film cliches and telling its tale. It would be simple to laugh at what you’re watching, yelling, “Why would you go back into the house?” But if you’re looking for the best possible viewing experience, don’t let yourself get sucked in by expectation and instead do your best to stay in the following.
While Kentis and Lau do manage some impressive things with the single take technique, especially in a tormented bathroom segment near the end of the film that would probably make for a fantastic DVD extra “making-of” feature, I can’t say this is necessarily a film you need to rush out and see. But, if you’re interested I don’t reckon it’s one you should completely overlook.
I made sure to remain seated after my screening just to take note to the people walking out and reactions were mixed with some frustrated with how it all played out, but others debating it passionately. Any film that gets people talking afterward can’t be too terrible in my book. So whether it’s in a theater or a dark night at home alone, give it a mind some day and see what you reckon.
PL
http://www.putlocker.com/file/8CE6F278B2B58A1A
http://www.putlocker.com/file/6B5E0DBCBADDF049
MF
http://ifileprotect.com/?14f72a80461ac0
http://ifileprotect.com/?14f72a8049650b
RS
https://rapidshare.com/files/1237648300/Toe.Silnthsegcamicinema3satu.mkv.001
https://rapidshare.com/files/2443371915/Toe.Silnthsegcamicinema3satu.mkv.002
UL
http://ul.to/ipdb203v
http://ul.to/tsl42203
UL Single
http://ul.to/403f05vt
Xavier Gens is a mess of a film maker. His most well-known film is the fascinating but ultimately unfulfilling video game adaptation, Hitman, and his most infamous film is the bizarre and nightmarish Frontier(s), a twisted disaster of violence and torture and discombobulated social commentary. His newest film, The Divide, is thematically more like Frontiers, sharing some common nihilistic concepts, but with a radically different setting and tale. It’s also, much like Gens himself, a confusing and muddled show (though not lacking merit).
The tale of The Divide is simple enough. Lacking warning or explanation, nuclear bombs hit New York City, and a group of apartment building-dwellers flee into their basement, where they find themselves trapped with no thought what’s happening outside the walls and above ground. Fortunately for them, the building’s maintenance super Mickey (Michael Biehn) is something of a survivalist nut, so the basement is well stocked with canned beans and water, enabling them to subsist as they try to figure out what to do next. There are numerous players, though the film focuses most on the pregnant Eva (Lauren German), who’s married to Sam (Iván González), an academically sharp milquetoast who immediately feels threatened by the collection of more masculine-seeming denizens, including Delvin (Courtney B. Vance), Mickey, the brothers Josh (Milo Ventimiglia) and Adrien (Ashton Holmes), and their wannabe punk-emo buddy Bobby (Michael Eklund). Rounding things out are Rosanna Arquette as Marilyn, the fragile mother, and a couple of others who frankly don’t really matter.
The gist of the tale is, of course, how they’ll handle this frightening situation, and for the first half-hour or so, The Divide is an engaging, occasionally terrifying film that captures the claustrophobia and fears of this unlikely band of basement dwellers. Mickey quickly assumes the position of master of the domain, only to be challenged by Delvin, and before long Bobby and Josh, while the kindhearted Adrien assumes the position of nervous observer. The tension ratchets up at a snail’s pace but successfully, above all when they learn that there are other survivors out there — ominous, faceless soldiers in sleek white biohazard suits armed with wicked looking guns. After a clash with the soldiers that foliage two soldiers dead and the door welded shut, things start to take a turn for the of poorer quality, as the realization that they are now literally trapped starts to sink in.
That’s also the point where the film starts to go off the rails. The group at a snail’s pace starts to get sick from gradual radiation poisoning, although there’s no indication as to how much time has passed — days, weeks, or months, it ruins unknown for the duration of the film. It’s a minor nitpick, but there are numerous more that add up — the presence of the soldiers is literally never revisited, nor is their sinister purpose or the odd, X-Files-esque structures that they’ve built or the bizarre experiments they conduct. There’s one scene, and then bam! They never appear again. It’s a strangely off-putting loose end. Similarly, people start to plainly suffer from the radiation poisoning, but no one ever seems to need to shave or get a haircut. Again, minor quibbles and inconsistencies that at a snail’s pace add up.
The sticking point for most viewers (including Dustin and Seth, who despised the show), is the seemingly abrupt devolution of the group. As the sickness and cramped quarters and battles for control get more intense, the group breaks into smaller factions, each going their own special kind of crazy. It’s understood, if not expected, that a certain amount of disassociation would occur and people would start to lose it, but the changes that take place are so radical, and dreadful, that it starts to lose any sense of realism. The Divide quickly descends into a lurid psychodrama of violence, hatred, visciousness and venality, and becomes a thoroughly unpleasant viewing experience. Given the gender disparity in the group’s makeup, it’s unsurprising that sexual politics come into play, but it’s taken to the nth degree, and (spoiler warning, I suppose) results in some truly horrid rape scenes (then again, is there any other kind?), both implied and explicit.
It’s this implacably horrific examination of human nature that works against the film’s favor. I expected to enter some dark territory, as is Gens’ gift, but the characters’ deconstruction is so total and unflinchingly horrid that it defies logic and starts to simply be horror for the sake of horror, very than for the sake of storytelling. Gens likes to make his audiences squirm, which I respect to a point, but he does it to surplus and at the sacrifice of a cogent narrative, which ultimately makes the film seem pointless. The focus of what started as a pretty engaging tale is really lost in favor of simply making you want to walk out (which, I confess, I was tempted to do at times).
It’s a shame, really, because there’s some excellent stuff perched amidst the detritus of The Divide. Lauren German gives a strong routine as Eva, rarely resorting to cliched, shrill woman stereotypes. Courtney B. Vance is exceptional, but underused. On the other hand, Michael Biehn, an actor who I’ve always loved (well … OK — I like Hicks, Johnny Ringo and Kyle Reese), is unquestionably terrible, giving a contrived, overwrought slice of overacting. Similarly, Ventimiglia is dumb and oafish and poorly rendered, and his routine is easily the weakest of the major players.
Gens’ camera work is solid, though. He makes effective use of the tight spaces and narrow corridors, and of the limited, sparse lighting to successfully make an intense atmosphere. Similarly, the notch five minutes of the film are nothing small of astounding — a havoc-filled, panic-inducing frightfest as the bombs go off and the building starts to end, making a terrifyingly realistic human stampede as people desperately search for safety. And oddly, the closing few minutes are surprisingly gorgeous and intricately depicted.
But the film collapses quickly under its own oppressively gruesome weight. I didn’t despise it, but there wasn’t enough of it that I found likable for it to be a valuable experience. While I don’t mind life made to squirm and swallow my gorge periodically in movies, it has to give the film some sense of purpose or dramatic weight, and in The Divide that purpose is simply never present. Instead, you’ve got a couple of decent performances and some strong camera work bookended by two astonishingly impressive scenes. It’s a shame that everything in the middle is such a goddamn mess.
[BRRip 720p.x264-SPARKS.nitro|700MB-mkv]|JF
Download Files: part1 - part2 - part3 - part4 - part5 |Sub English
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[BRRip 720p.x264-SPARKS.nitro|700MB-mkv]|MF
Download Files: part1 - part2 - part3 - part4 - part5 |Sub English
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[BRRip 720p.x264-SPARKS.nitro|700MB-mkv]|JF Single Download Link
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[BRRip 720p.x264-SPARKS.nitro|700MB-mkv]|RS Single Download Link
A spontaneous like affair threatens stable repercussions when a couple
neglects to use birth control, and finds that their fleeting romance may
in fact have strong roots. Fred (Noah Bean) and Nelly (Anna Chlumsky)
have been together for years. But when Fred meets free-spirited Mindy
(Rachel Boston) while Nelly is away on business, excellent-natured
drinking leads them straight to the sheets. The following morning, when
Mindy reveals that she isn’t on birth control, Fred drives her to the
pharmacy and buys the “morning after” pill. Though Mindy storms off
following a brief tussle, Fred learns that she has to take another pill
12 hours before long in order to halt the pregnancy. Now, in order to
sidestep paternity and salvage his relationship with Nelly, Fred must
find a means
of getting back on Mindy’s excellent side, and getting her to take the
following pill. Unfortunately for Fred, regaining Mindy’s trust will not
only involve an uncomfortable one-on-one with her depressed
ex-boyfriend, but also joining her family to celebrate her brother’s
11th birthday. Somewhere along the way, but, It starts to be converted
into clear that Mindy is everything Fred has ever wanted in a woman, and
that in order to be pleased, he may finally have to experience life outside of his carefully-structured comfort zone
Dated Released : 13 December 2011
Quality : DVDRip XVID-NoGRP.Dmts
Info : imdb.com/title/tt1980162
IMDB Rating : 7.2 (180 users)
Star : Todd Berger, Jack Black, David Cowgill
Genre : Animation | Short
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Under the pretense of an emergency in the dead of night, Po led Tigress and Mantis into breaking into the new Masters’ Council exhibit in tribute of Masters Thundering Rhino, Attack Ox, and Croc. Although Tigress and Mantis were annoyed at the deception, Po engaged their interest in the tale of how the trio of masters first met.
Long ago in the city of Jinzhou, Rhino, Ox and Croc were small time street fighters who attracted the displeasure of Oogway who wished them to find something worthy to fight for. As the trio fought themselves to a standstill, two of the villainous Wu sisters were freeing their eldest sister. To stop them, Oogway persuaded Rhino, Ox and Croc into helping him stop the sisters at Hubei Volcano. But, to Oogway’s frustration, the turtle had to appeal the vague prospects of life place on a “path to riches” to get that cooperation.
While the Wu sisters plotted to unite the various criminal gangs to seize control of China, Oogway had to brush off each of his fellow citizen’s pretty proposals during the journey to abandon the others for their benefit. At camp, Oogway eventually learned that while Croc and Ox were motivated by narcissism and greed respectively, Rhino had a deep-seated need to win his father’s, Master Flying Rhino, respect. To that, Oogway suggested to all of them that their current goals were self-defeating and that changing their ways will lead to better lives for all. Before the trio could comprehend the turtle’s point, a messenger bird from the Wu sisters arrived to reveal their plot, and Oogway had the company set off immediately.
To encourage them to change their ways, Oogway secretly led the trio into an extremely perilous path and mandatory them to cooperate in order for them all to safely pass. But, when the trio finally learned that Oogway was life metaphorical about his promised riches, their protests casually got them trapped on a river of lava. Oogway managed to get them to safe ground, but fell to his apparent death, leaving them with only the advice “Remember the path.” to handbook them now.
Dispirited at their loss, the trio tried to find their way home. But, they encountered a village devastated by the Wu sisters’ forces, and its citizens desperately attempted to hire them for protection. Stirred by the villagers’ plight, the trio declined the fee and resolved to stop the Wu sisters for the sake of a privileged ideal.
Thus motivated, the trio interrupted the sisters’ summit. When the former street fighters revealed that they were doing this for honor, they intimidated the various visiting gangs into retreating while the sisters fought alone. Although the sisters proved too much to fight alone, Rhino, Ox and Croc managed to combine their talents to defeat them in a coordinated attack. At the following of their victory, Oogway reappeared, having captured the rest of the gangs, and praised his fellows for life worthy warriors who have found a privileged purpose.
The scene returned to the exhibit in the morning where Po concluded the tale of how the new masters formed the Masters’ Council in Gongmen City. Unfortunately, Master Shifu learned them and set Po to work to repair the roof he hurt breaking in before the exhibit opened in twenty minutes. Unfortunately, Po managed to casually lock himself in the Sarcophagus of Su Wu, and thus trapped resolute to take a nap instead.
Download Link [90MB-mkv]|JF Download Subtitle Indonesia
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[DVDRip XVID-NoGRP.Dmts|90MB-mkv]|UL Download Link
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[DVDRip XVID-NoGRP.Dmts|90MB-mkv]|RS Download Link
In Madrid, Juan (Izán Corchero) is a ferociously bright 8 year
ancient who likes to tell tales. His mother, Luisa (Pilar Lopez de
Ayala), worries that her son’s fertile imagination is fuelling the vivid
and increasingly alarming dreams that disrupt his sleep each night. But
for Juan, the gruesome faceless creature that enters his bedroom in the
dead hours is terrifyingly real.
In London, Mia (Ella Purnell), an 11 year ed-ancient girl on the
brink of puberty, discovers the power of tale telling as she captivates
her classmates with a disturbing tale of a blank faced ghoul called
Hollowface who tries to steal the features of children as he craves
supporter with the human world. Mia, too, becomes convinced that her
tale has crossed over from the realms of imagination into reality and
that she has unintentionally unleashed a malevolent force into the
world. At night, she is haunted by horrifically graphic nightmares.
At first, her father John (Clive Owen) believes that Mia is under
threat from an all too real burglar who breaks into his daughter’s
bedroom, leaving her speechless with dread. He chases the stalker off
and then becomes security obsessed in a bid to protect her, installing
cameras and sophisticated scrutiny equipment at their home.
During a following break in, John again fights with the vicious
burglar intent on snatching a traumatised Mia. But before long, when the
security footage is checked, there’s no sign of a prowler on the tape
and a sceptical detective says there’s no physical evidence of a break
in.
John, and his wife, Sue (Carice Van Houten), reluctantly turn to
outcome psychologist (Kerry Fox) for guidance. The doctor is convinced
that both father and daughter are in the grip of a mutual psychosomatic
trauma and that both need therapy and to be separated from each other.
John, but, knows that his daughter’s fears are real and not imagined.
His wife, who hasn’t seen the burglar, is torn between believing her
husband and following the expert medical advice.
In Madrid, an increasingly frantic Luisa seeks help from a young
Catholic priest, Father Antonio (Daniel Brühl), who starts to believe
that exorcism may be the only, radical option left to save
the increasingly troubled small boy as his physical condition rapidly
declines and his mother finally accepts that her son too is in real,
very than imagined, danger. With the faceless monster now stalking their
every go, she attempts to take flight.
Meanwhile, John, now separated from his family, discovers that a
tragic event from the past may be the link to the terrible actions
happening in the present and races back home to try and save his family.
When he arrives, Hollowface is already there.
An unprecedented blend of real-life heroism & original filmmaking, Act of Valor stars a group of active-duty Navy SEALs in a powerful story of contemporary global anti-terrorism. Inspired by true events, the film combines stunning combat sequences, up-to-the minute battlefield know-how & heart-pumping emotion for the final action adventure. Act of Valor takes audiences deep in to the secretive world of the most elite, highly trained group of warriors in the modern world. When the rescue of a kidnapped CIA operative leads to the discovery of a deadly terrorist plot against the U.S., a team of SEALs is dispatched on a worldwide manhunt.
As the valiant men of Bandito Platoon race to cease a coordinated assault that could kill & wound thousands of American civilians, they must balance their dedication to country, team & their families back home. Each time they accomplish their mission, a new piece of intelligence reveals another shocking twist to the deadly terror plot, which stretches from Chechnya to the Philippines & from Ukraine to Somalia. The widening operation sends the SEALs across the globe as they track the terrorist ring to the U.S.-Mexico border, where they engage in an epic firefight with an outcome that has potentially unimaginable consequences for the future of The united states.
Dated Released : 23 March 2012
Quality : DVDScr
Info : imdb.com/title/tt1395025
IMDB Rating : 5.7 (579 users)
Star : Kareena Kapoor, Saif Ali Khan, Malika Haydon
Genre : Action
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The tale starts with a run of seemingly unconnected actions. All over the Sphere.
In Uzbekistan, Anex KGB Officer is tortured and murdered.
In Cape Town, A Group of International Business Tycoons discuss a
rumor that the dead KGB officer had a nuclear suitcase bomb hidden away.
In Moscow, An Indian secret Agent is exposed. The Agent is shot dead while trying to send a code red message to India.
In India, the head of RAW sees the incomplete message. All it contains is a number 242.
Enter Agent Vinod. Vinod (Saif Ali Khan) is the kind of Agent who
first kicks the door open and then finds out whats in the rear it. His
unconventional deal with puts him in perilous situations, But he manages
to get the crucial leads.Vinod foliage for Morocco, where he meets an
elderly Mafiosi Kazan and the gorgeous but mysterious or Ruby.
A run of twists and turns take Vinod across the Sphere Marakkesh To
Riga, Karachi to Delhi and finally London where he discovers the
ultimate conspiracy.
Agent Vinod, you may not agree with his methods, but you sure are glad he’s on your side..
Agent Vinod your passport to action and adventure.
Rahul Kapoor (Imran Khan), 26, is on his way to be converted into a
carbon copy of his parents when he suddenly loses his job as an
architect in Vegas. Frightened that he has let his parents down, Rahul
decides to hide the truth and find another job. When by a twist of fate,
he meets Raina Braganza, a quick-witted hairstylist, who is everything
he isn’t.
A run of actions lead them to meet on Christmas Eve over a few
drinks… but like always, it’s never a ‘few’. Following this night of
debauchery, they wake up to find out that they’ve gotten married. Now,
Rahul has more than just his job loss to hide from his parents.
They both choose to get it annulled as soon as possible and get an
appointment from the incite in ten days. Over the next ten days they
have their share of arguments, moments and laughs that results in an
unlikely friendship.
Will this friendship turn in like? Will her warmth and fearlessness
give Rahul the courage to face a long-simmering confrontation with his
parents? Will a marriage that started as a drunken mistake help two
people find themselves?
Dated Released : 2012
Dated Released : 25 December 2011
Dated Released : 2011
Dated Released : 5 September 2010 
Dated Released : 21 February 2012
Dated Released : 01 Maret 2012
Dated Released : 8 September 2011 
Dated Released : 11 November 2011
Dated Released : 
Dated Released : 13 March 2011 
Dated Released : 16 December 2011
Dated Released : 13 December 2011 
Dated Released : 7 October 2011 
Dated Released : 24 February 2012 
Dated Released : 23 March 2012 
Dated Released : 9 February 2012 
