Blocking the Path to 9/11

Blocking the Path to 9/11

With Blocking the Path to 9/11, Citizens United Productions exposes the amazing untold story behind the public firestorm surrounding The Path to 9/11. It presents courageous interviews with the original film's writer/producer, director, and editors, as well as numerous terrorism experts and the head of the 9/11 Commission. This documentary sets the historical record straight with explosive new revelations. For all those who seek the truth about 9/11 and want to learn the real story behind this shocking saga, Blocking the Path to 9/11 is required viewing.

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Blocking the Path to 9/11 torrent reviews

Heather L (de) wrote: Very good message!. And a good movie.

Dennis Q (it) wrote: sumpah kocak bgt!! bner2 cewe2 tolol!! wajib nonton bagi penggemar film asterix-obelix yg versi org asli..

Robert B (de) wrote: Desperate Measures (Barbet Schroeder, 1998)[originally posted 19Feb2001]I'm never sure whether I'm going to like a Barbet Schroeder flick when I sit down to watch it. Half the time he pulls off amazing feats of grace under pressure (Reversal of Fortune, Our Lady of the Assassins), and the other half of the time he crafts enjoyable if mindless fluff that stands one viewing well, two viewings passably, and pales by the third (Single White Female, Kiss of Death). Five minutes into Desperate Measures, I was convinced it was the latter; a day after watching it, I'm still not convinced it's the former, but I'm farther along the road than I was at that point.Peter McCabe (Michael Keaton) is a highly intelligent psychopath, a less likable Hannibal Lecter, whose bone marrow happens to be a match for the dying son of Frank Conner (Andy Garcia). All Conner has to do is convince McCabe to be a donor to save his son, and keep McCabe from escaping somewhere between going out of his cell and going back into his cell. Needless to say, that doesn't work, or it would be a very, very short film.Much of the movie's appeal rests solely on the head of Andy Garcia, one of the best actors in Hollywood right now, and one of the most underrated as well. He's not as engaging here as he is in his best roles (Things to Do in Denver When You're Dead, Black Rain, Dead Again, etc.), but his acting ability is enough to make the film watchable. Keaton seems constricted by his role, but one gets the impression that has more to do with the director than the actor himself. A number of decent minor roles also show up in the film (Marcia Gay Harden is especially pleasing as the doctor slated to perform the operation, who gets caught up in the whole mess).If plot's more important to you than acting, however, don't bother with this one. Each "twist" can be seen coming a mile off, and if the ending doesn't make you want to seek Schroeder out and smack him personally, I'll eat my review. Perhaps the most predictable thing I've seen in the past five years. Oh, well, you can't have everything. ** 1/2

Nelson O (jp) wrote: You would have to be a fan of the show to actually appreciate this movie a bit. Not the greatest comedy, but enough to make you chukle for an hour and 20 minutes.

MEC r (kr) wrote: An alright movie at the time...

Hans J E (br) wrote: This was Maya Deren's first documentary and the las thing she filmed before her death. The movie itself wasn't actually finished until several years after her death Teiji Uto. It's filmed in Haiti and is about the voudoun faith of some of the local people. Personally I wanted to like this one, but I must admit that I was rather bored with this one.

Mark W (nl) wrote: Bizzarre, off-beat and incoherent; the Shout surprised me with its originality and hermetic logic.

Dawn K (it) wrote: HILARIOUS!! Had the best time watching this movie. So sweet!!

Allan C (it) wrote: Mediocre WWII submarine film that's made entertaining by the presence of Glenn Ford and Ernest Borgnine. Not available on DVD but TCM showed an nice widescreen version of the film on cable. Rock on TCM!

Vince N (gb) wrote: From gawking to soirees to a round at the Resort; kept me laughing for the most part.

Kayleen S (de) wrote: I love this movie, never fails to pull on the strings

Alexandre L (es) wrote: This film doesn't know what it's trying to be. One minute we find ourselves in a comic-book universe, then the next in a serious human drama.

D P (es) wrote: Weird and not worth the time... Great cast great disappointment

Blake P (mx) wrote: "Planet of the Vampires" uses atmospherics like the 1970s era bourgeoisie snort high-end cocaine: extensively, incessantly, and necessarily - a withdrawal would be devastating. It is atmospheric both because it is directed by Mario Bava, a visual stylist who isn't much of a stranger to combining the bloody with the beautiful, and because it didn't have the budget to be the film that it wanted to be at the time. A sci-fi horror show, its story is set on a distant planet, its main characters, a team of astronauts, the inhabitants of a high-end spacecraft. Trouble is, "Planet of the Vampires" was not provided with the same amount of dough as "Forbidden Planet," and could therefore not build an authentic looking planet nor an actual size replica of a spaceship. For B-directors, such setbacks would act as a tidal wave of cheapery. Not for Bava - like the greatest of filmmakers, he can create a masterpiece out of nothing. This is one of his best films. It stars Barry Sullivan as Mark Markary, an astronautical captain leading a team of scientists to Aura, an uncharted planet where distress signals are radiating. His ship, along with the nearby Galliott, land with disastrous results: immediately upon arrival, the entire crew, save for Markary, are seemingly possessed by murderous forces, attempting to kill one another like deadly assassins. He, immune to whatever power is encasing their minds with the need to kill, is able to snap them out of their hypnotic states. But this occurrence is only the first in a series of bizarre happenings, the most prominent being the slaughter of everyone aboard the Galliott ship and the fact that Aura may be home to a species similar to that of the monsters of "Invasion of the Body Snatchers." "Planet of the Vampires" isn't frightening per se, but here, such characteristics of sci-fi and horror hardly matter - it is, first and foremost, about style, and our consumption of every cinematographic aspect of the film. Rather than waste money on massive sets, Bava encases Aura in thickly strewn fog, artificial, Technicolor lighting, and, when need be, minuscule sets ingeniously spliced next to bigger objects in order to fluidly take us into another world. Because Bava ignores his limitations and metamorphosizes poverty into sumptuousness, we never feel like we're watching a low-budget, 1960s sci-fi time-waster - we feel as though we're in the presence of a great work of art. "Planet of the Vampires" could be silent for all we care. It is so rich, so painstakingly secretive, we become entangled in its lavish sheen. It, occasionally, descends into badly advised camp that doesn't match the tone of Bava's brilliant slow-burning, and its mingling genres sometimes don't mix as well as they would like - but "Planet of the Vampires" makes for one of the most memorable B-movies of the 1960s, rendering gorgeous maximalism out of the minimal.