| Language: English Runtime: 98 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps |  |
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| Language: English Runtime: 161 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Verified Torrent | Torrent Size: 815 mb Files: 3 Info Hash: 8320a4e9c6af65856450482ecd2aaa0e0da2b47e |
| Review: Even though I formally thought An Unexpected Journey was a bit chipped off by quality from the original Lord of the Rings trilogy, due to its certain lack of seriousness the former Jackson Middle-Earth films had, I wasnt really disappointed by it. It was a different, more softer storyline, and under it had to have a different directorial approach. Going to see the second one, I had my worries if its going to be on a dose less of action and excitement and more centered on the characters, which I always kind of felt myself, was a mistake for a purely adventure film, a road that many movies have taken on in sequels. Fortunately, it was nothing of a sort. Desolation gives a stronger adventure and enjoyment than the original Hobbit movie. Faster pace, beautiful sets, lovely score, costumes and most impressive CGI than ever before, with the comeback of one of the most beloved character of the original series, Legolas, will surely win over the audiences both fans of Tolkiens book and not, over the globe again this Christmas season. If anything, Ill definitely go catch it again. Thumbs up! |
| Language: English Runtime: 143 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Review: THE GREAT GATSBY There is no movie I have been more prepared to dislike than this one. How dare some Aussie come over here and tell us about the meaning of one of the great works of American literature. Especially this Aussie, Baz Luhrmann, who is known to overload, over-hype and overcook his theatrical product into a glittery miasma of small meaning and little consequence. (i.e. Moulin Rouge) But I was wrong.Jay Gatsby has achieved success in a fashion beyond most imaginations, excepting his own. In true Horatio Alger tradition he has worked hard to improve himself, but when his past creeps up on him and threatens his well crafted self image, he suavely and effortlessly changes it, his past, and he inhabits the change until it becomes the reality. He is the self made American man in every way. He is the American success myth both personified and perverted.Unlike Algers heroes, he has not followed the straight and narrow. He has acquired his fabulous wealth through bootlegging and stock swindles. This belief, that he can change his past, to correct it as it were, has given him a veneer of respectability that has put him in good stead with his underworld connections. But it is not for them that Gatsby has made this remarkable metamorphosis. No, he did everything, and I mean everything, for the love of a woman. Daisy was Gatsbys great love, but he lost her, and now in one final herculean effort he is going to correct his past this one last time. He is going to win her back and make things as they should have been.Leo DeCaprio is the only actor of this generation that could play Gatsby, just as Robert Redford could only play Gatsby the previous generation. Redfords Gatsby seemed reticent and insecure about his past; regretful that he must live a lie in order to accomplish his goal. DeCaprios Gatsby is forceful, decisive; he is a determined man of significant accomplishment and great ability. He has a plan and he is going to execute it and as far as he is concerned, for all the right reasons. For myself, it is DeCaprios best and most powerful performance. This decision (both DeCaprios and Luhrmanns) to take Gatsby down from some ethereal literary icon into a flesh and blood human being gives the movie an intensity that the 1974 version and most of the literary criticism of the book that I have ever read, never perceived. This is not a shining white knight rescuing a damsel in distress; this is a bare knuckles brawl for the hand of Daisy, and she is going to have to choose. Tom Buchanan (Joel Edgerton) is Gatsbys antagonist. He and Daisy were married when Daisy could no longer wait for Gatsby to prove himself worthy of her. Tom is as rich, maybe even richer than Gatsby, but his money is old, he is an aristocrat with a deep sense of entitlement. He has status and wealth because hes supposed to have status and wealth, and hes not about to give up all that, and certainly not his wife, to this new money usurper Gatsby, without a fight.Bruce Dern played Tom as a kind of loopy (Derns specialty) racial conspiracy nut, but Edgerton gives Tom a much harder edge. When Tom espouses his vile racial philosophies one might think that someday he might actually do something about it.Daisy (Carey Mulligan) is a tough role. For all the time that Gatsby spends trying to prove he is good enough for Daisy, the audience, for the book or the film, is led down the path that she is not good enough for him. Mia Farrow played Daisy as an airhead and a dingbat, but Mulligan gives Daisy a bit more spine, and fashions a character that has a pretty good idea where her self-interests lay. Luhrmann and co-writer Craig Pearse stay pretty close to the text with a few additions and devices, most notably, to those of us who read the book, know that it is Nick Caraway (Tobey Maguire) who tells the story, and is a firsthand witness to all the events, but we never knew from where he tells the story. Luhrmann tells us it is from a sanitarium where Nick is drying out from ... |
| Language: English Runtime: 91 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Review: There is a sensational and overwhelming power that Alfonso Cuaróns space thriller Gravity possesses and manages to sustain in its 90 minute run time. I think I left my jaw on the theater floor. There are four things in particular to credit for this occurrence. The first of which being co-writer and director Cuarón, who has constructed one of his finest outings. Gravity breathes in a way I havent seen before and is probably one of the best technical marvels that cinema has offered in the past twenty years. Cuarón handles the film with absolute certainty, restraining himself from committing any science fiction bourgeois, and reinventing the genre in a miraculous execution. Ive never looked at the world of Cinematography with so much respect and adoration until I saw the works of Roger Deakins and now, firmly sitting next to him at the table as the most innovative and brilliant DP working today, Emmanuel Lubezki. Weve all seen what hes accomplished in his Oscar-nominated works in Children of Men, in which he was teamed up with Cuarón, and Terrence Malicks The Tree of Life, both of which resulted in unimaginable losses. A 13-minute opening shot shows his abilities to capture the essence of the now, the feelings that life offers. Real life doesnt cut, Cuarón and Lubezki understand this. The liberties where he chooses to take us, even when we step inside from the cold, lonely edge of space, manages to turn this very simple tale into a full-fledged meditation session with the sooth sounds of composer Steven Price. Visual effects have never been put to better use than what you will witness in Gravity. One of the few films I urge everyone to see on the biggest screen possible. The post-conversion in 3D, although cool at times, was a bit unneeded. It doesnt add to the depth and scope of Cuaróns dramatic endeavor, it actually undersells it as a cheap, blockbuster space movie. An IMAX screen, the largest you can find, with a sound system able to make your eardrums bleed, those are the basic requirements. I havent been in this much awe of a films quality and optics this since I saw Terminator 2: Judgment Day when I was six years old. Avatar and Life of Pi are great spectacles, but this will be revisited in years to come as the bench mark for modern day science fiction. Its this generations 2001: A Space Odyssey.Finally, Ive had a childhood crush on Sandra Bullock since I feasted my eyes on those pretty browns driving a bus in Speed during the early 90s. This manifested into looking at her abilities as an actor with a skewed vision. Shes hinted at this greatness Ive felt she could achieve in films like A Time to Kill, Crash, and her Oscar-winning role in The Blind Side. Sandra Bullock has finally realized her potential as a leading lady and taps into the very essence of the human spirit as Dr. Ryan Stone; a work that stands as her greatest endeavor and her gift to the silver screen. Natural, poised, and fully engulfed, Bullock is absolutely magnificent and in many ways, my favorite performance of the year so far. She rallies an emotional connection from the audience and demands things of herself that she hasnt done before. An Oscar-worthy work that should land her as a Best Actress nominee...and perhaps a winner.George Clooney as Matt Kowalsky is exactly what youd come to expect from the Oscar-winning producer and actor. He utilizes his wit and charm to be a lighter force of our dark tale, and is a perfect balance to Bullocks frantic demeanor. As aforementioned, Steven Prices musical work is tenderly utilized and precisely executed, building up lots of affectionate tones that may leave some audience members in tears. The script by Alfonso Cuarón and son Jonas Cuarón inhabit a rich texture of dialogue that arent thrown in for the sake of breaking the silence. They arent afraid to let the scenery speak for itself or to let the actors portray their emotions in mannerisms, but when they step away from that, everything connects beautifully.Gravi... |
| Language: English Runtime: 146 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Language: English Runtime: 165 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Review: Set five years after Dark of the Moon, Transformers: Age of Extinction sets out to continue the franchise, taking a new path in more than one way. Lots of explosions, action scenes and robots wrecking cities up and weve got ourselves the fourth one.To begin with, there were a lot of weak points, the biggest challenge being the fact that the entire human cast was replaced. I felt that Wahlberg and Tucci did a good job, but the rest of them were terrible. A lot of it has to do with writing: the characters were shallow and didnt have any depth at all. At a running time of 2h45min you think it would be enough to flesh them out but no. Wahlbergs daughter just yells Dad! and screams her entire screen time. Her boyfriend is shoehorned in just to complete the clumsy romance but in the end is just a tool to move the plot. Sophia Myles, amongst others, is completely wasted. The fact that Bay chose to concentrate on the humans again, and failed with it again, speaks volumes.It was, however, good to see how Cade (Wahlberg) first comes across Optimus Prime and being a mechanic/inventor, revitalizes the beaten leader. The focus also shifted from Bumblebee to Prime as the main link to the protagonist, but oddly it was never explained why Bee left Sam in the first place, being his most loyal protector.Now, speaking of techs in the film, there was a lot of slow-mo. A lot. And it really took away from the action. It is okay to employ slow-mo sometimes, for example when the robots are transforming, but not at every single shot. Moreover, the transformings themselves were weaker than in the previous installments. I mean, in the first one when Starscream transformed into a plane in the middle of the flight or they were fighting/transforming in the narrow street, or in DotM during the fights, this depth was lacking in AoE. Also the fights werent as good compared with the gigantic robot battles or human black ops tactics in previous films. Lastly, as cheesy as it may sound Optimus Prime riding Grimlock was pretty awesome. Even if Grimlock was in the movie for about ten whole minutes. And Lockdown the bounty hunter as the main villain was also done nicely.The film is way too long, the beginning stretches a lot, the middle even more, the finale as well. We are treated to a lot of badly written human characters who just slow the movie down and stretch. Even the endless explosions got tiring (boom, boom, boom and slow-mo all the time, why oh why?). But honestly, going in I thought this would be loads worse. In the end though, not as good as the first or the third, but still better than the second (not that this should count for anything as that was plain awful). Altogether, too long, too stretchy, way too much slow-mo, too shallow characters, some decent fights and action, Prime riding Grimlock and Wahlberg being his usual self. Could have been worse but not by much. |
| Language: English Runtime: 123 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Review: Godzilla has found a true admirer in Gareth Edwards. Someone who set out not only to envision a new future for Godzilla but to protect the previous Godzillas long 60 year history, a man capable of delivering a Godzilla for our time. After seeing Gareth Edwards Godzilla it is my opinion that he has succeeded in mastering the vision for the monster that Tomoyuki Tanaka had in mind 60 years ago. Even though the original Godzilla will always be just that - the original, Gareth Edwards Godzilla is for me the first TRUE and complete representation of the vision of Godzilla. Executed in the most masterful of ways in direction by Gareth Edwards and in overall story by Max Borenstein. In delivering the picture that he has Gareth Edwards has completely put to shame directors such as Michael Bay, Roland Emmerich, Zack Snyder and the other go-to blockbuster directors. Injecting a surprising amount of suspense into this Godzilla Gareths Godzilla will have you on the edge of your seat and holding your breath in anticipation of what is next to come - something a Godzilla movie has not done since 1984. Unlike many of the reviews that I have read, I found the pacing of this movie to be absolutely fine, in fact I would have personally preferred a few more opportunities to catch my breath and gather my wits. Gareth Edwards has clearly given Godzilla the strongest opportunity for continued box office presence that he has ever had in the United States (although the burden of that task in my opinion seems almost insurmountable - and in all honesty - I would prefer to see this Godzilla remain as it is, a superior standalone). A rebirth of epic (but not overwhelming) proportions this Godzilla harks back to the radiated and devastated scenes of Tokyo in Tomoyuki Tanaka and Ishiro Hondas original 1954 Gojira capturing with somber respect and sadness the human toll in stark contrast to most summer blockbuster movies in recent memory (especially Man of Steel and Star Trek Into Darkness) Gareth Edwards and Max Borenstein can now rightfully join the likes of Tomoyuki Tanaka, Ishiro Honda, Akira Ifukube and Eiji Tsuburaya as masters of Godzilla. |
| Language: English Runtime: 100 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Language: English Runtime: 107 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Review: I took my 7 and 8 year old sons to watch this at the cinema.It was a holiday treat. The trailer made it look fun. I wanted to like it. I kept looking across at my boys, hoping to see signs of enjoyment on their faces. I didntThey didnt complain afterwards, just noted that nothing really happened in the film, and didnt mention it again - unlike films they really enjoy and rave about for days afterwards.Perhaps I just wasnt in the mood. Perhaps its just not my cup of tea. Some people seem to have written good reviews...But for me this was a wasted two hours and I came out feeling slightly depressed that Id planned a day out around such a disappointing film. There was only one person in the cinema who laughed aloud. |
| Language: English Runtime: 103 min Audio: 2.1 Stereo Resolution: 1280x720 Frame Rate: 24 fps Video Bitrate: 5428 Kb/sec Audio Bitrate: 384 kbps | |
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| Review: Here is how I see it. The second installment (to what promises to be a yearly occurrence) of the Purge was a lot better than the first. But it isnt because The Purge: Anarchy is a significant film. Its because Writer/Director James DeMonaco is finally able to incorporate the underlying theme of class hierarchy that was completely misguided in its predecessor. The big mistake with the first film was making it a trite home invasion thriller. With Anarchy, we explore the outside world during the 6th annual Purge, and it proves, without a doubt, to be ten times more thrilling and suspenseful. We see the nut cases in freaky masks (one with GOD written on it) wielding their weapons of choice. We see the upper class citizens holding each others hands reciting the New Founding Fathers motto that feels like some satanic cult. In our seats, we feel that we have to look around all at times, because there could be a killer ahead or behind us.There are three revolving stories of people who are entering the night. One is Eva and Cali, a waitress and her daughter. There is Shane and Liz, a crumbling couple with no killer instincts at all. And then there is Leo, the sergeant, the kick ass and take names guy. Leo is out to revenge Purge. The others find themselves wandering the street. Leo winds up having to protect them. Will his generosity effect his main goal? Can Leo really save everyone? Frank Gillo makes for a very convincing and likable hero. While we watch and the story unfolds, we learn that The Purge, and its purgers, arent so much anarchic as they are regulated. With its unique premise the Purge is always able to separate itself from the average horror/thriller film. Most importantly, Anarchy is a step up because it realizes its potential to be truly scary from the realism of its legal murder concept; rather than just bludgeoning people left and right. Unlike the first film, your instinctive fascination with such a nightmare concept will multiply here, not diminish or turn into a laughing stock.I can recommend Purge Anarchy. Not only does it save what looked to be a profitable franchise, but it is a decent film too. |
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