Boat People

Boat People

A Japanese photojournalist revisits Vietnam after the Liberation and learns harsh truths about its regime and its "New Economic Zones".

A Japanese photojournalist revisits Vietnam after the Liberation and learns harsh truths about its regime and its "New Economic Zones". . You can read more in Google, Youtube, Wiki

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Boat People torrent reviews

Lester Y (jp) wrote: By no means am I a fan of The Who, but I do enjoy them in very small servings. The first major portion is good enough, covering their roots, profiling every band member from Keef to Pete to John to Roger, and plus we get to see Pete Townshend practically doing autofellatio. Oddly enough they only spend about 2 minutes on the more theatrically destructive aspects of their live act, with no mention of Cincinnati or that one time Keith's drum blew up on TV. HmmmmThe last segment or so captures a reunited Who (minus John and Keith, obviously) recording a song called "Real Good Looking Boy" and it's boooooooorrrrrrriiiiiiiinnnnnnggggggg. And you will hear fragments of this song for the entire 20 minutes, so hopefully you will love it (you won't). Naturally it's Pete and Roger loving themselves and there's just something terribly self-indulgent about it. It kinda ruins the rest of the documentary, which was already pretty sub-par anyway.

Sierra H (br) wrote: Really funny... and kinda hot.

Mel (mx) wrote: Sesso da Tarde feelings. *o* i used to love those twins.

Alexandra L (nl) wrote: Je sais prsent pourquoi ce film ne m'a cot que 0.50 cents.

Larry Y (ag) wrote: Scary enough when it first came out. Today it seems like a documentary on the Tea Party. A must watch.

Jack B (jp) wrote: Demme is a strange bird to me. There is so much I like about his films, but it's always surrounded by little things that bug me. However, in the end I always enjoy the film so I guess I can let things slide. This is a pretty good one.

Tiberio S (jp) wrote: There are surprising things here for the time. The way he gases his opponent to sleep. The inner circle society that hypnotized the uncle. Vince McMahon must've gotten his ideas for hardcore chair brawls from an amazingly gritty sequence in this film.Hitchcock's camera movements are always interesting, eye-opening. There's a shot that moves through the church parish as the tabernacle leader points out there are strangers present. I like the idea of crime hiding behind a church, suppression of truth through faith - can't convince a faithful cop there's any wrongdoing here.There's funny quirks, like the old lady with the shorts and man legs. Another old lady who holds our main character at gun point. I love the cylindrical door in Lorre's office. The opening is lively, full of fluid dynamics between the family and their friend, the eventual assassinated target, as well as the community around them at the ski resort, some who are conspirators. The Royal Albert Hall assassination setup is one of the greatest I've ever seen, and it's had a fair share of copies. The objective for the conspirators is to strike at the loudest note of the symphony, and for the family or police to catch the assassin. The mother is on the lookout, but who is she to reveal or stop a conspiracy like this? The suspense is played between the music's various crescendos - which note is it? - and from her point of view, tracing around the auditorium for the potential killer. She has an idea of a man in the darkness who might be it, but what can she do? Her hopelessness turns to her tears and POV going out of focus, a stroke of genius. There's no return from this, she can't do anything. We see various cutaways to the instruments that will play over the shot, but there's one instrument that will change everything -- the helpless mother's scream. Inevitably, the shot goes off and catches its target, but later it's revealed her scream threw off the shooter's full target and only caught his shoulder, a terrific twist.The buildup to the showdown between police and conspirators has a great exterior cutaway with a blowing bag through the empty street - this whole section is blocked off for public safety - a beautiful calm before storm effect. And for good reason. These are all assassins, and when the fires start ringing, the situation becomes volatile. This whole setup between the police and conspirators is brilliant. We see various setups the police are engaged in to get in position to fire back at the conspirators. There's concern over friendly fire hitting the husband or daughter. There's always something happening to advance or heighten the situation, it's not just a lot of random firing. Peter Lorre is practically suicidal, he intends to fire till death and put anyone else in harms way. He's not cold at all, he feels for the people he's lost, but he's driven by "the cause." They eventually catch him hiding behind the door - lucky shot, imagine if it were the wrong person?!

Doctor S (mx) wrote: If you're tired of the repetitive, mindless machinations of modern action films, then here's a modern action film you may want to check out. Without a doubt, it's the most "realistic" action film I've seen in a good long while. People get tired after running through the streets or up flights of stairs. Everyday vehicles are not built like the Batmobile - when they take damage, they respond poorly. Oh yeah, most of all this movie gives this important reminder: bullets hurt. People who get shot are virtually incapacitated, and it doesn't take a barrage of 56 of them to take someone down. Even with these real-world limitations - you know, annoying stuff like actual physics and biology that directors and CGI effects dweebs prefer to ignore in favor of pushing their new rendering progs - Richard Donner has constructed quite a white-knuckle thriller. He's old school, the director of the original Superman and Superman II (which are the only ones that count), and here he's as interested in exploring the personal drama as firing shotguns. Bruce Willis gives one of his best performances as a tired cop filled with inner conflict about who to trust - his prisoner (Mos Def), his partner (David Morse), or his conscience. Mos Def does a remarkable job in turning what at first seems like a sniveling worm with an extremely irritating voice into the most sympathetic character in the movie. Seems to offer a climax or two too many, but still an engrossing and hair-raising ride.

Iskie P (gb) wrote: Every Gamer's dream movie. It is a must-watch for all gamers out there. The visuals are suprisingly high. Facial expressions are present. The Action Sequence also suprised me with the perfect close-up timing and slow motion to emphasize quality. Love it!

Josh L (es) wrote: first saw this through pay per view on tv.fight scenes were amazing

Matt G (ru) wrote: Each day of my life I have spent NOT watching "UHF" has been a day wasted. If you like Weird Al at all, then you will like "UHF"...if you don't like Weird Al, then excuse me while I weep for your cold, black heart. A sensational celebration of silliness and being odd.

Patrick W (kr) wrote: ending sucked but overall entertaining