Abandoned Mine

Abandoned Mine

Five school friends seek adventure on Halloween night in an abandoned, haunted mine, only to find to their horror that the ghostly rumors may be true as they fight for survival.

Five school friends seek adventure on Halloween night in an abandoned, haunted mine, only to find to their horror that the ghostly rumors may be true as they fight for survival. . You can read more in Google, Youtube, Wiki


Abandoned Mine torrent reviews

Troy K (us) wrote: Surprisingly moving story, yeah it's cheesy, but you better bring a tissue or ten.

jason k (de) wrote: Horrible movie no plot just stupidity and predictable jokes.

Chris K (ca) wrote: Great doco on DKR. Excellent for those interested in Tibetan Buddhism but I wonder how it would go down for those that aren't.

Matthew R (ag) wrote: This was surprisingly well made. It had its let downs - mostly acting stuff - but it did have this subtle classiness to it, too. You can see where the director's influences are, and you can sense the homage there and despite having some really insane scenes, it was definitely a cut above thousands of similar martial-art-guy-come-actor action films. So definitely worth it if you like martial-art-guy-come-actor action films.

Allie G (br) wrote: Add a review (optional)...

Morgan W (au) wrote: So very Seinfeld. I would recommend it to any fans, but I don't think you'd get it if you weren't familiar with the humor already. Fun story, though.

Otrebor O (br) wrote: First of all...Erik really wanted me to see this movie and I said alrighty...granted he surprised me when we were gonna see it..but anyways. Overall this is a GOOD movie. There are scenes of torture that really get ya to react. I got all sorts of squeamish and such when viewing it. The storyline itself was unique in the sense of the 'bad guys' and how they got to Elliot (Jason Behr). As the story progresses so does the understanding as to why whats being done to Elliot is happening. The sad part about this movie is the topics of humanity that it touches upon...whether it be religion, money, US control on other nations, how much can one endure, how much would one pay to see one suffer, and what truly makes an individual. I do recommend this movie...I also recommend watching a comedy or something light afterwards!

Farah R (au) wrote: A classic Schwarzenegger action flick but with a twist. I thought the story was very smart and interesting, especially for the 90s. The best part is that it's enjoyable and funny and a good pastime.

Adam R (fr) wrote: The Szalinski clan returns with a new addition in another Disney classic. It's gotten a little worse over the years, but it is mostly still a fun family movie and one you won't forget. (First viewing - Childhood)

Steve J (it) wrote: Decent early Cronenberg. Hampered by uneven performances and constraints of a clearly low budget. After a near-fatal motorcycle accident, Marilyn Chambers is subject to an experimental skin graft procedure (which actually predicts the use of stem cells by quite a number of years). For some reason Chambers develops a vaginal opening in her armpit. When she is sexually aroused a poisonous proboscis shoots from the opening, draining the human victim of the blood she now craves. The sting has the power to infect its recipient with a highly contagious form of rabies, and before long the city of Montreal, Quebec is overrun with frothing zombified lunatics who crave blood. Central conceit is actually confusing; this is one case where a bit of explanation may have helped sell the conflict. As it is, the idea is viscerally repulsive in the right way but basically incomprehensible and frankly kind of cheesy. That said, Cronenberg begins to show signs of improvement in crucial areas, but there was still a long way to go till the glory days of The Dead Zone, The Fly, and Dead Ringers. Elements of zombie invasion, apocalyptic themes, and social commentary predict Romero's Dawn of the Dead while being clearly influenced Romero's earlier Night of the Living Dead and The Crazies. Not a bad film for horror fans, but most others might as well steer clear as this film isn't likely to bring them around to the genre.

Cameron J (mx) wrote: "He said, 'I ate the last mango in Paris, took the last plane out of Saigon, took the first fast boat to China, and, Jimmy, there's still so much to be done.'" Forget you, Jimmy Buffett, for ruining this film's title, and thank you, Bernardo Bertolucci, for having that title completely ruin the humorous direction that one lowbrow guy might take by pointing out how ris-kay something sounds. Jokes on you, obnoxious dude, because this film already is ris-kay, perhaps even taboo, not so much because it's about anonymous, periodic sex, but because it sees an Italian celebrating Paris. Speaking of which, looking at this film and "The Godfather", it appears that 1971 was the year Marlon Brando really got into pseudo-Italian cinema, which sounds a whole lot more exciting than calling 1972 the year Brando finally decided to get freaky for the ladies, when he was middle-aged and flabby. I just love the irony in the fact that Maria Schneider, discussing this film, emphasized that it was "Burtolucci" who "was fat and sweaty and very manipulative" (Jeez, and I thought that Brando was a jerk to his directors), although, in her defense, Brando was still a little ways away from being old and fat in this film. I'm surprised he didn't end up evolving to that point by the end of principal photography, because the rough cut, alone, was absurdly sprawling, although Burtolucci was wise enough to recognize that this story doesn't have the scope of something like "1900", so instead of making this drama about a middle-aged widower bumping uglies with a hot Frenchwoman over five hours long, he only made it... over four hours long. Jeez, and at a little over two hours, this film, while decent, is too long and dull, although that might provide time for a little more exposition.Now, don't get me wrong, I'm all for the casual sex... uh, by which I mean that I understand the significance of the ambiguity in the characterization to the leads that has us getting to know the characters as they come to know each other, but by thinning the secondary characters as borderline inconsequential, the range of the character-driven narrative is limited more than it ought to be, while spots in the leads' exposition prove to be too ambiguous for the good of your investment. The missteps in characterization make it a little harder to get passed the unlikable traits within the flawed leads, just as they keep the film from being fleshed out enough to feel completely distinguished, without falling into near-aggravating conventions that range from plot tropes to a problematic abuse of an artistic license. If this drama isn't something of an art film, then it is just way too blasted European in how it's tells its story, not getting flashily overstylized, but relying much too much on naturalism and aimless meditation for a sense of cinematic substance to thrive. I would find the film's doing a whole lot of nothing, for the sake of some sort of artistic expression, so much more forgivable if there wasn't so much blasted dragging to Bernardo Bertolucci's and Franco Arcalli's script, because as much as I've jokingly expressed relief about the definitive version's shaving a whopping two hours off of the rough cut, said definitive version, at roughly 130 minutes, is way too blasted long to be driven by monotonous chatter and patterned plotting. The film drags its feet something awful, no matter which version you see, and to make the pacing all the more glacial, Bertolucci's direction carries a certain intense thoughtfulness and slow-burn clip that, when backed by all of the aimless dragging, and by the pseudo-artistic meditations on nothing but naturalism, dull things down, often into all-out tedium. The film freshens up your investment recurrently enough to endear with very compelling moments, but when effective material lapses, engagement value falls flat, and no matter how good the acting is or how beautiful the film is, the final product either engrosses or flirts with mediocrity. Either way, the drama is underwhelming as artistically and structurally misguided, and yet, what it does right proves to be engrossing, whether it be complimenting dramatic value to a certain extent, or establishing outstanding aesthetic value.In this slow-burn, largely quietly naturalist drama, Gato Barbieri's score is unevenly used, and when it is brought to prominence, it sure is worth waiting for, as it, with light modern classicism and a couple of creative jazzy parts, compliments the subtle artistic integrity of this drama through a unique and often mesmerizing beauty. Such praise can also be applied to an aspect that is, of course, much more prominent in this under-scored affair: Vittorio Storaro's cinematography, which is utterly breathtaking with its very Italian, very striking palette, which stresses somewhat sunny coloration to illuminate every shot as portraitist, particularly in shots that actually emphasize light as stunning just about beyond belief. The storytelling style is problematic, but when it comes to musical and visual style, this film is incredibly beautiful, and that's fairly endearing, holding some degree of your investment, until Bernardo Bertolucci, as director, secures it, upon finding realization in his thoughtfulness by not getting too caught up in artistic meandering, and by finding material amidst his celebration of the tasteful style in order to draw you in, with resonance that brings life to the potential of worthy subject matter, at least at times. This story is minimalist enough in concept, without being interpreted with a questionable style, at the expense of extensive development and tight pacing, but this subject matter about two people escaping their personal struggles by beginning a new, initially anonymous and strictly sexual relationship that may reach emotional breakthroughs and enlighten the individuals on their respective situations and feelings for each other is rich with a potential that is ultimately betrayed by misguided direction and writing, but only to an extent. As I said, there are times in which Bertolucci's direction really comes to life, but the film really shines with Bertolucci's and Franco Arcalli's scripting of the interactions between the lead Paul and Jeanne characters, for although the characters' interactions with their other peers have their highlights, and although a lot of the chatter between the leads is monotonous, with moments of lowbrow comic relief and utterly trashy references (Pretty much any scene involving butt stuff is ridiculous), the dialogue, sometimes translated into French by Agns Varda, is witty and memorable, typically anchoring characterization that is usually so lacking, but found in the leads' interactions with the utmost nuance. As the leads come to know each other on more than just a sexual level, you come to recognize the true human depths and nuances of the central focus of this film, which would have been so much better if it kept consistent with that kind of smart storytelling, backed by more dynamicity and liveliness, which isn't to say that there isn't some sense of humanity maintained throughout the course of the film, thanks the portrayals of the leads, for Marlon Brando and Maria Schneider, on top of sharing impossibly sparkling chemistry, deliver on individual charisma and dramatic effectiveness, with Schneider capturing the vulnerability and spirit of a young woman who comes to distinguish her independence, while Brando really stands out, in one of the better performances of his career, cutting through all of the potentially unlikable aspects of his often crude, deviant and slightly selfish character (Character? That sounds like Brando in the '70s) with devastating moment of emotional intensity that capture the frustrations, denial and instability of a widower seeking something rejuvenating in miserable, confusing life. When Brando and Schneider shine, the film itself is at its brightest, so it should go without saying that material is limited in this, in certain areas, flat affair of overblown artistry and limp pacing, for the final product, through all of its strengths, falls pretty decidedly into underwhelmingness under the overwhelming weight of its misguidance, met with enough inspiration in style and substance to render the final product decent, with some pretty compelling moments, limited in quantity, though, they may be.When the tango is done, the final product all but collapses into mediocrity under the weight of too much expository ambiguity, too much familiarity, and too much misguidance in a meandering artistic naturalism whose dullness is exacerbated by monotonous, if not aimless dragging and atmospheric cold spells, but on the backs of beautiful score work, breathtaking cinematography, moving directorial highlights, and worthy, character-driven subject matter that goes brought to life by smart moments in scripting, and by electric chemistry between and performances by Marlon Brando and Maria Schneider, "Last Tango in Paris" stands as an adequately engaging and sometimes engrossing, if often distancing drama about escapism and the mystery of people.2.5/5 - Fair

Rob C (it) wrote: Disney has been no stranger to updates over the years, what was once traditional animation placed against painted backgrounds has now turned to fully computerised worlds, such as the one seen in Frozen. Disney saw a creative renaissance through the late eighties and nineties and at the end of it all, we were gifted with Tarzan, which is most definitely up to the standard Disney had at the time.For those unfamiliar with the story, Disney's adaptation (based on Tarzan of the Apes by Edgar Rice Burroughs) follows the titular hero from boyhood to adult. After his parents are killed by a leopard, Tarzan (Played by Alex D. Linz as a young boy) is taken in as a baby by the gorilla Kala (Glenn Close) who coincidentally lost her baby to the same leopard. But when the adult Tarzan (Tony Goldwyn) stumbles across members of his own kind in the form of Jane (Minnie Driver), her father (Nigel Hawthorne) and their guide Clayton (Brian Blessed), he struggles with the challenges of not only fitting in but also figuring out where he belongs. It's this central struggle that forms a huge amount of heart around the overall package. Just as the jungle swinging action is frenetic and engaging, so are the more poignant moments emotional and come with the right impact. It's a quickly paced film, flashing between the two and a mix of mild comic relief to keep the audience engaged at all times. The only problem, which will ring more true for adults than children, is that the villain is super obvious from the moment he's introduced, but even he gets some laughs to keep him from becoming completely stale. Tarzan's plot is a healthy mix of emotion, action and comedy, sure to entertain audiences time and time again, no matter the age bracket.With a varied and infectious plot, the characters rise to match its success. Both Linz and Goldwyn do a brilliant job of conveying the confusion and fascination present in Tarzan's mind which gets the audience to care about his struggle right from the offset. Jane fits the classic archetype of Disney's damsel in distress but her character is set apart from the other Disney heroines with her endearing clumsiness and a hint of Victorian authenticity, making her instantly likeable. Kala and her mate Kerchak (Lance Henrikson) are also very strong with the latter bringing an intense level of intimidation to match the disdain the alpha male gorilla shows towards Tarzan. The comic relief characters including Rosie O'Donnell as Tarzan's gorilla cousin Terk and Wayne Knight as the paranoid elephant Tantor are fairly amusing, but they never interrupt the emotional proceedings that are sprinkled throughout the main plot. When the main cast is so strong, it's a shame that Brian Blessed's performance as Clayton feels quite basic by comparison; there isn't really that much depth to his character and he doesn't develop much over the course of the film, but when the rest of the cast is so strong it's a mere drop in a lake of solid characterisation.Tarzan was made at a time before fully 3D computer generated animation became the norm and it makes some of the best uses of the technology before it was eventually replaced in the 2000s. While it may seem dated nowadays because of its static painted look, the jungle environment is nonetheless lush, colourful and green which works hard to transport the viewer into the film's setting; the painted environments also coalesce nicely with the animated characters. But where Tarzan really makes an impression is through its cinematography; the set piece moments are all incredibly thrilling and tense and they take the hero far beyond just swinging on vines; the chase scene involving the baboons is brilliant to watch because of the way the camera spins and twists to brilliantly capture the wild nature of Tarzan's life in the jungle. And then there's the soundtrack featuring songs by Phil Collins; one of the most riveting orchestrations ever seen in an animated film (I'm serious; "Son of Man" and "Strangers like me" deserve to be right up there with Frozen's "Let it go"). It's fast and furious in the action sequences and it also finds time to calm down for the more emotional moments; it's simply the perfect complement to an already fantastic animated film.Tarzan is heartfelt, breathless and exhilarating and it stakes its claim as one of the best animated films of the nineties; quite ironic considering how it was the last of the Disney Renaissance films (which lasted from 1989 to 1999). For adults it's easy to nit-pick some of the more light-hearted moments and blindingly obvious villain, but you'll be so enthralled by the film's brilliant animation and set-piece moments that you won't mind one bit.

Simon D (ca) wrote: I always expected this series of films to be terrible. I'd never seen Chris Tucker before and nearly turned it off when he started talking but I stuck with it and it turned out to be quite entertaining. The culture clash of the misfit partnership was amusing and probably has a long way to go before that it exhausted.

Elaine S (fr) wrote: Awesome film. Loved it.