Army Major RUBEN MEDRANO was once a part of an elite anti-kidnapping task force. An unfortunate incident during an operation got him suspended and sent back to Manila. There he tries to ... . You can read more in Google, Youtube, Wiki
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Army Major RUBEN MEDRANO was once a part of an elite anti-kidnapping task force. An unfortunate incident during an operation got him suspended and sent back to Manila. There he tries to ...
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Alex S (kr) wrote: I don't know exactly how to rate this.... I want to give it 5 stars because of the ending I really do. Because the ending deserves more than 5 stars, but the begining was kinda slow and there were some things that I thought were wrong. Then Nolan justified them... I really just don't know.So I saw it again... And I did enjoy it better the second time. I still don't exactly know how to express what that movie was to me. I loved and hated it at the same time if that is possible.
Valria V (us) wrote: Um drama entre pai e filho, diferenas criticas e talvez um imenso amor um pouco tarde demais. Comovente.
Laurel S (jp) wrote: Sweet story that made me cry.
Allegra F (fr) wrote: God, I saw this a long, long time ago. It was a really good movie, though. I'd like to see it again.
Jonny P (br) wrote: For a musical, this musical certainly doesn't have much music. I've never heard much about "1776" and I now understand why. It may be historical, but there has to be a better way to portray history in musical than by having extensive scenes continue on for twenty minutes without a song. The story (though not entirely historically accurate) is interesting and the acting brings it to life, but the musical just isn't that good. I think that there was a lot of wasted potential, both in the love story of John Adam and his wife, as well as the incorporation of historically recorded dialogue and letters into the script. If the movie wasn't 3 hours long, the content would have been fine. But the excessive dragging on of the film left me wanting something more than "all guys, all the time." I spent an hour listening to John Adams speak and couldn't stop thinking "I know that voice, it is so familiar... who could it possibly be?" And then it hit me like a bolt of lightning (Ben Franklin pun intended), IT'S MR. FEENY!!!! I guess that there was life before "Boy Meets World" for him. His acting was wonderful and, though his character was a bit annoying, that's the part that he needed to play. I love the interaction between Adams, Franklin, and Jefferson, particularly in the song "But, Mr. Adams." Without question, that was the highlight of the film... and it was all downhill from there. "1776" has its magical moments as one of the most important moments in United States history comes to pass, but I'd rather see a dramatic interpretation than this comedy masquerading as a musical by throwing in a song ever once in a while.
Lanny G (mx) wrote: Carole's showcase. A good script that she elevates with one of the best comedic performances in film
Blake P (kr) wrote: People in haunted house movies seem to have the same problem. Though the doors in their extraordinarily massive homes slam by themselves, though there are ominous staircases that lead to nowhere, though there are attics that are covered in cobwebs and red flags, they never stop and think "maybe I should go somewhere that isn't haunted." The family in "Poltergeist" stayed until their house was sucked into the depths of Hell. In "The Conjuring," it took a possessed mom and battered kids to make that realization hit home. The haunted house movie is already a faulty genre because no person in their right mind would stay in a home filled with apparitions and ghostly noises. But when it's done right, it can be enormously effective, even if you have to clench your teeth to stop yourself from telling the leading character to stay away from that closet. "The Changeling" nearly goes too far, but it manages to work. George C. Scott stars as John Russell, an aging composer who has recently suffered the loss of his wife and daughter in a car accident. After three months of numbing mourning, he decides to move into a secluded mansion in Seattle to get away from it all and allow himself to restart. It's too bad that the house itself doesn't seem to want him there. Every morning at 6:00 sharp, he is awakened by enormously loud bangs on the walls, rhythmic and foreboding. The attic seems to be cloaked with malevolent energy. John is the kind of man that heads few haunted house movies: he is scientific, intelligent, and not one to believe that something as silly as ghosts could create such a ruckus. But one can hardly blame him when the house seems to have a mind of his own. He teams up with a historical society worker (Trish Van Devere) to figure out exactly what's wrong; as they delve deeper into the mystery, it seems the haunting of John's newfound home is rooted in a conspiracy that crosses generations.Scott carries a kind of presence that feels comfortably authoritative. You feel you can trust him, with his bitchy resting face and intellectual voice. In the haunted house genre, the characters are unbelievable because there doesn't seem to be many reasons why they should stay and hang out with spirits. It's as if they live their lives miserably simply to entertain the viewer. But John Russell is a man who has lost everything; if anything, he is so intent on discovering he house's history because he can't have another batch of loss or failure in his life.The reason for the haunting involves a murder for profit, a money-hungry father, a replacement child, and a senator. "The Changeling" seems plausible because the plot is so tight and the ghost does have a reason to haunt someone. The camerawork likes wide shots and sharp angles; it makes the house feel eerily spacious. While the film is classy and well-made, especially for a genre film, however, I never found myself truly terrified. It's a creepy movie, but there isn't much of a sense of worry. Scott gives a good performance, but his character is written in a way that makes it clear that he won't die at the end. Towards the middle, the film leans towards the idea of a supernatural episode of "Cold Case.""The Haunting" or "The Innocents" were more successful because you truly felt that the leading characters were in danger. Julie Harris began to connect with Hill House, somehow passing her loneliness into the walls. Deborah Kerr's sanity goes into question. Scott is more like a detective; he is somehow detached from the situation around him. A haunted house movie works best when most of its events cannot be explained; our imaginations should be able to run wild and we shouldn't be able to put all of the pieces together. "The Changeling" might be a bit too tidy for my taste, but there is something about it that draws you in with compelling force. I wanted to see what happened next, even if the film never is exactly textbook chilling.
John T (gb) wrote: This is one of the worst movies I have ever seen. Rollerball goes wrong in almost every single area. The plot (what there is of one) is bad (or baffling might be a better word). The acting is bad. Chris Klein is not a leading man and his performance was tepid at best. LL Cool J seems vaguely lost in his role as Jonathan's sidekick. Rebecca Romijn-Stamos flits through half of the film with a bad Eastern European accent and a helmet over her head. Jean Reno came off as nothing more than a caricature of corrupt Central Asian warlord. The editing is a textbook case of how not to edit a movie. It was an incoherent collection of random and rapid fire shots, sometimes repeated in slow motion for needless emphasis, that amount to a number of muddled and disjointed action scenes. In the original, we understood how the game worked on a circular track. In the remake, there's a track that crosses at points like a figure eight, but because we're never shown an entire "play" in this game, we never understand the inner workings, so it's like watching a sports highlight film for a sport we've never seen before. At no point during the film are we ever shown a score for a game. There were three games played in the film, but we were never told what the score is not through the incredibly annoying announcer or through graphics. If the score doesn't matter, the characters have nothing invested in the outcome of the game and the audience is not liable to care. Moreover, this film failed to duplicate one of the best aspects of the original: hearing the sounds made by the athletes, fans and motorcycles during competition. Instead we are subjected to blaring rock music that distracted from the thrill of competition. The only good thing about the soundtrack is that it drowns out the inane dialogue. The original Rollerball had the struggle of wills between Jonathan E and Mr. Bartholomew as its underlying theme, but this film has no such subtext; leaving only a ridiculous plotline plainly obvious to the viewer. This raises the question: why remake this? If you're going to remake a movie, there should be some kind of compelling reason to remake it such as a new take on the original story or improved special effects based on today's technology to take the concept further. There is nothing about this movie that I can recommend to anyone.