Battle Beyond the Stars

Battle Beyond the Stars

A young farmer assembles a band of diverse mercenaries to defend his peaceful planet from an evil tyrant.

A ragtag group of mercenaries including a lizard-like humanoid, an improbable space cowboy, a zaftig female warrior, and brooding killer-for-hire Gelt, is hired to defend a peaceful planet which is under threat of invasion of the dictator Sador and his armada of aggressors. . You can read more in Google, Youtube, Wiki

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Battle Beyond the Stars torrent reviews

John M (kr) wrote: Stay far far away. This looked like it was being filmed as the cut scenes for some video game. With dialogue to match

Isaac T (it) wrote: Great Kevin Smith Movie

Jose D (kr) wrote: Film que data de 1990, en B&N con la habitual recreacin esttica de films de otras epocas a cargo de MADDIN.Melodrama blico donde se confunden roles, BOLES es un soldado quien a su regreso busca a su amada, confundindola por otra persona de similitud corporal.Sin la inventiva de los ltimos trabajo de MADDIN como han sido BRAND UPON THE BRAIN! y THE SADDEST MUSIC IN THE WORLD.5/10

Issac L (ca) wrote: A R.W. Fassbinder double-feature binge (CHINESE ROULETTE 1976 and QUERELLE 1982, his swan song) coincides with a starting point for me to access his oeuvre, as one of the pioneer of modern German cinema, Fassbinder has a burning-too-fast career orbit, as if he was exerting all his energy in cranking out films before his dooming self-indulgent suicide at the age of 37 (with more than 40 works done in 15 years). Yet two films must have its restricted view, but Fassbinder films' mindset nevertheless more or less could be conjectured from them, and his stylish flourish is also mesmerizingly toxic. Both films could adopt themselves comfortably into a theatrical play not the least courtesy of their (mostly or exclusively) in-door locales, for CHINESE ROULETTE, it has a secular tone, 90% of the film takes place inside a rural mansion, with familial secrets, connubial deceptions, mother-daughter hatred, the divide of social strata, vindictive self-destruction viciously unfold and infuse a deleterious corruption even to the onlookers, all is triggered by the innocuous eponymous game. While QUERELLE is projected on more ritualized dark amber light sepia background setting stimulating a claustrophobic oppression of lust and desire within a handful locations (the faux-deck of a ship ashore, the phallus worship Hotel Feria Bar, an underground tunnel for hideaway), a male-dominant sexual obsession mingled with blatant homosexual thrust to an astounding incestuous extremity, brilliantly done via an intuitive candor. Mirror is a recurrent item in both films, exposes the other-half which reflects the true id inside one's soul, in CHINESE ROULETTE the stunning flux of the stationary tableaux interlacing two or three out of the eight characters orchestrates a scintillating picture of a guilt-and-punishment visual symphony with swishy panache; in QUERELLE, mirrors reduce their occurrence but the conscientiously measured compositions transpire an even more ostentatious narcissism with a sultry plume of hormone-excreting rugged contours of male bodies. QUERELLE is adapted from Jean Genet's novel "QUERELLE DE BREST", whose literature text also introduced through the soothing voiceover of an unknown narrator, the film does stage a sensible amount of poetic license to filter a vicarious compassion through a singular mortal's inscrutable behavioral symptoms; in CHINESE ROULETTE, a prose (or poem) soliloquy of androgyny also contrives to reach the same effect (but sounds a trifle recondite when contextualizing it under the film's incumbent situation). Anyhow Fassbinder is a trailblazer in defying the mainstream's prejudices, and very capable of visualize and dissect the tumor of humanity. The cast, there are 8 characters in CHINESE ROULETTE, with almost equal weight in the screen time, but it is the youngest one, Andrea Schober (under Fassbinder's guidance for sure), the crippled girl seeks for revenge to her parents' betrayal and negligence, teaches all of us a lesson (how selfish we are to find a scapegoat for every bit of repercussions happen to us) with such acute insight, fearless audacity and extreme measures. While big name (Anna Karina) and other Fassbinder's regulars (Margit Carstensen, Brigitte Mira, Ulli Lommel) all end up licking their own wounds in the corner. In QUERELLE, Brad Davis (a real-life AIDS fighter then) is valiant, his masculinity and sinewy physique defies all the stereotyped treatment of gay men in the media, injecting a raw and visceral complexity into Querelle's spontaneous promiscuity and sporadic anger. Hanno Pschl may fall short to guarantee the vigorous duality required for his two roles, but the gut-bashing combats (or playing) between two brothers fabricate the most erotic intimacy has ever been presented on the screen. Two veterans, Franco Nero is either recording his secret affection in the cabinet or wandering near Querelle from oblique angles; the fading beauty Jeanne Moreau, hums "Each man kills the things he loves", and is lost in her own fantasy of the banquet she can savor. Personally I incline towards QUERELLE's unconventional approach to kill off the ambiguities of sexual orientation and examine the most primal desire made with blood and flesh, but CHINESE ROULETTE achieves another form of success, it maintains a serene aplomb above all the vile assault and bitter turbulence, like the unspecified pistol shot at the coda, no matter who bites the dust, a bullet is never an ultimate solution to all the problems.

Sam M (kr) wrote: Very, very good film. I wonder why I missed this one.

Joanna S (ag) wrote: "From the first, I knew that behind those lovely eyes is the brain of a very clever woman, who could never have traveled eight hundred leagues without a purpose."

YOUNG JOO W (fr) wrote: It was hard to understand because I was hard to catch heroine's mind.However it left a long aftertaste. Thus I want to watch this movie again.

Ola G (de) wrote: Keith Michaels (Hugh Grant) is a washed-up British screenwriter who won the Academy Award for Best Screenplay "Paradise Misplaced" in 1998. Since then, he has divorced and, after a few unsuccessful films, cannot sell another screenplay. He begins teaching a screenwriting course at Binghamton University in upstate New York and has an affair with his student Karen (Bella Heathcote). Though, at first, he had no intention of actually teaching, he finds himself actually good at it. And he slowly realises that the teaching job could possibly take him to a new life...Rotten Tomatoes consensus reads, "The Rewrite's unremarkable plot is enlivened considerably by its likable cast, adding up to a comedy that coasts capably on the charms of Hugh Grant and his co-stars." The Hollywood Reporter's Elizabeth Kerr said The Rewrite was not groundbreaking as a romantic comedy but that "it is a pleasant diversion for fans of the form". Kerr considered the film an improvement from Did You Hear About the Morgans? (2009) and said while it was initially similar to Liberal Arts (2012) with "its aggressive academic and literary tone", it fell back on romantic comedy conventions. The film critic found that Grant "embraces his maturity" as an older version of his typical character but that Tomei's character was "painfully underwritten". Kerr said the supporting characters would be forgettable if the actors cast were not so strong.Hugh Grant and the lovely Marisa Tomei are two reasonble talented actors despite the fact that both of them tends to end up being typecasted more often than they should be. Their characters in "The Rewrite" are not breaking the typecast spell and in Grants case he could be sleepwalking and yet nail the character. Grants Keith is however packaged in a sexist, holier than thou asshole with a nack for younger girls and his stuck up british charm and talent hardly makes things better. While Tomeis character is painfully underwritten as Elizabeth Kerr states and Tomei struggles on the sidelines as Holly. The script may try to point a finger at Hollywood and its wear and tear environment, but "The Rewrite" is such a clichridden piece of junk in my eyes it hurt both my brain, heart and soul. The students in Keiths class is so stereotypical, and Star Wars nerd Billy is by far the worst character. That is just poor scriptwriting to believe that this character would work as some sort of a tragic comic relief when the whole production is just poor. And when he started to recite Yoda I just wanted to crawl underneath my bed... Theres no real emotional depth, despite that you have all sorts of possibilities in the film to develop something emotional tangible. Why would the smart, lovely, caring, capable Holly want to be with the misogynistic, rude, condescending and patronizing Keith? All the other female characters are just bitchy, manipulative, spiteful, sad, lonely. And the so called evolution Keith goes through to realise what is important in life is also poor scriptwriting if you ask me. I had hopes and thought this would be an ok romcom, but it caved in pretty early in the film and after that it was just downhill.