Border Radio

Border Radio

Before carving out a niche as one of the most distinct voices in nineties American cinema, Allison Anders made her debut, alongside codirectors and fellow UCLA film school students Kurt Voss and Dean Lent, with 1987’s Border Radio. A low-key, semi-improvised postpunk diary that took four years to complete, Border Radio features legendary rocker Chris D., of the Flesh Eaters, as a singer/songwriter who has stolen loot from a club and gone missing, leaving his wife (Luanna Anders), a no-nonsense rock journalist, to track him down with the help of his friends (John Doe of the band X; Chris Shearer). With its sprawling Southern Californian and Mexican landscapes, captured in evocative 16mm black and white, Border Radio is a singular, DIY memento of the indie film explosion in America.

Three musicians take money that is owed to them from a job and flee to Mexico. . You can read more in Google, Youtube, Wiki

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Border Radio torrent reviews

Darren M (gb) wrote: Definately worth a watch. Despite an extremely low budget this tidy little slice of horror is both, novel and unpredictable in ways that many mass produced big budget efforts simply aren't.

Quincy J (nl) wrote: More on the lines of the older ones but with more twists and turns in it. It is safe to say that the story plays with your mind before you really fine out who the real guilty party is. Its is worth watching.

Terri H (it) wrote: No thankyou - Not interested.

Karen H (it) wrote: "nuclear wessels" Rewatched 2016-10-13,14

Gimly M (it) wrote: Set after the events of Superman III, but without Superman (whom is inexplicably off planet at an inter-galactic peace summit. despite there never having been a mention of non-Kryptonian aliens). Starring Helen Slater as Superman's magically existing cousin (from an entire colony of surviving Kryptonians, despite canon that after Superman II, Jor-El was the last living one). Honestly, I could go on listing continuity errors but I'm afraid at some point in the next few weeks, my keyboard is going to run out of batteries. So I'll just have to skip ahead to reviewing the film off of its own merits.Eventually, sorcery (Superman's other weakness) was eventually going to have to be brought into the series, so I can forgive that lameness, most certainly. That's not what makes this a bad film. It's a combination of probably the weakest romantic plot (not subplot, which it really should have been), a chronically unenthused (to put in nicely) Peter O'Toole (Lawrence of Arabia, Troy, The Tudors), an overabundance of non-practical effects (which technology of the time was just not ready for), nearly unbearable banter, and the flimsiest plot built off of characters being inconceivably stupid that make the film so bad.But then, that's really the entire film.At least Supergirl's alter-ego had more thought put into it than "adds/removes glasses" and Selena was an... Acceptable, I suppose, villain. But ultimately Supergirl sits with aforementioned Superman III and Quest for Peace as entirely missable.20%-Gimly

Jrme V (kr) wrote: Romero : le nom de ce ralisateur voque immdiatement l??esprit des amateurs de cinma de genre l??image d??une horde de mort-vivants se nourrissant de chair humaine. Si le ralisateur figure dans les livres d??histoire du cinma, c??est bien sr pour sa clbre srie des Living dead commence en 1968. Ds le dpart, l??oncle George explorait la psychologie d??un microcosme en situation de crise majeure et jetait un regard dsabus et nihiliste sur les capacits de l??humanit relever le dfi. Ajoutons un regard acerbe sur toutes les reprsentations de l??Autorit et nous avons, avec le lgendaire Night of the Living Dead, un film qui n??a absolument rien perdu de son pouvoir de subversion. En 1978, Dawn of the Dead (passons le mineur et peu intressant The Crazies de 1973) donnait la srie un souffle quasi-pique. Chef d???uvre du genre, on y trouve encore les lments caractristiques de Romero : commentaire social (cette fois sur la socit de consommation : le film, ce sujet, n??a absolument rien perdu de sa fracheur), caractrisation multidimensionnelle des personnages, pessimisme et une certaine dose d??autodrision. Avec deux films d??horreur qui ont, en 2010, atteint le statut de quasi-lgende, dcouvrir le catalogue de Romero autre que la mythique srie est une exprience aussi intrigante que satisfaisante. Paru en 1981, Knightrider est unique en son genre (et pas seulement dans l???uvre de son auteur?). Les prmisses paratront de primes abords d??un ridicule consomm (et Romero ne manque pas de s??en moquer un peu) : des motards recrent des tournois mdivaux en joutant sur leurs motos! Avec ce film, Romero prouve nouveau qu??il n??est pas le genre d??auteur que l??on doit prendre la lgre. Le ralisateur se sert du canevas de la lgende arthurienne (les chevaliers les plus connus y sont tous reprsents d??une faon ou d??une autre, de mme que les moments-cls du mythe) pour explorer les thmes de la dcadence de la civilisation amricaine et de la corruption des idaux. Dans un de ses premiers rles, Ed Harris a la vritable carrure d??un roi et son personnage, empreint d??une mlancolie constante, est la reprsentation pure et simple de la survie des idaux chevaleresque dans un monde qui n??y entend plus rien. Romero utilise le microcosme de la foire mdivale pour reprsenter la fin d??un monde, montrant quel point il a saisit les thmes centraux de la lgende arthurienne. Envahi par le commun des mortels, les chevaliers sont tents par l??appt du gain et de la clbrit. Tels les morts-vivants qui envahissaient le centre commercial en 1978, la horde de spectateurs qui assistent aux joutes paraissent comme de vritables dcadents qui ne pensent qu?? boire de la bire et faire la fte (on remarquera le camo amusant d??un certain Stephen King, autre grand peintre de la socit amricaine). Lorsque compars la rigueur moral des bohmes, le spectateur ne peut que ressentir condescendance envers eux (et, par la suite, faire une bonne sance d??auto-examen de conscience?). Le scnario est complexe et subtile, caractristique d??un ralisateur qui livre une ?uvre personnelle et laquelle il attache une importance autre que celles de recueillir des subsides (pour la petite histoire, Romero s??est rcemment affranchi des grands studios, prfrant la libert d??expression que lui permet le cinma indpendant : pour tourner Diary of the Dead, il a fait affaire avec des tudiants d??une cole de cinma! Le rsultat est l??un des films d??horreur les plus intressants de la dernire dcennie!). La caractrisation des personnages est, une fois de plus, un des points forts de ce film surprenant. En chevalier noir et flon , Tom Savini est parfait : le rle est fait sur mesure pour lui. Autour d??eux gravitent des personnages colors, du genre que l??on ne peut trouver que dans le cinma indpendant : le Merlin le plus cool que l??on ait vu (et qui se plat jouer du blues avec son harmonica lorsqu??il prore!) et mme un chevalier amrindien (avec plumes sur le heaume!). On remarque galement la prsence de Ken When there is no more room in hell the dead will walk the Earth Foree en forgeron! Quant la trame sonore, elle mle dans un ballet unique musique mdivale et jazz (dans les scnes d??action, ces dernires tant, du reste, fort bien russies). Tout comme la srie des Living Dead, Knightriders n??est dfinitivement pas pour tous le monde. Les fans de Romero (et ceux dsireux de dcouvrir une ?uvre cinmatographique originale) y trouveront amples matires discussion (pour peu qu??ils laissent de ct leur soif de scnes sanglantes : ce n??est pas un film d??horreur!). On voit l??attention habituelle que le ralisateur porte aux ?uvres qui lui sont chres : aussi trange que fascinant, Knightriders, malgr ses modes vestimentaires mal vieillies et ses prmisses lgrement ridicules, demeure un film intelligent et rafrachissant dans notre paysage contemporain de productions la chane pour mgaplexes.

David W (es) wrote: As painful and sad the movie is, Kramer vs Kramer has well-made performances and story telling so incredible it lightens my heart

Joyce H (br) wrote: Terrific! the best acting and storyline I have seen in years; 12 hours of completely riveting drama; not a single dull moment.

Matt T (fr) wrote: Released during the last years of the classic period of film noir Odds Against Tomorrow is a heist film involving three desperate men - Robert Ryan, Harry Belafonte and Ed Begley. Ryan in a typical role plays a racist bigot and his animosity towards Belafonte undermines the gangs cause. Both actors put in solid performances with the added bonus of Belafonte performing on stage as a singer in a nightclub. He also produced the film and it is interesting to see a strong role for a black actor in film noir which is very rare. The film suffers because of its slow build up to the eventual robbery. There is an more emphasis on the reasons for the robbers to get involved but this just drags the drama down. The jazz score and the use of the New York locations are both noticeable highlights. There seems to be parallels between this and West Side Story which director Robert Wise would later make. The actors seemingly moving around the streets like dancers in the well staged explosive climax. The most interesting scene is where Ryan and Gloria Graham (another noir stalwart) interact in his apartment. She asks him how it feels to kill a man (he did a stretch for manslaughter) and he realises that she is turned on by his bad boy persona and tells her how much he enjoyed it. They embrace, kiss and the scene ends. No need for any explicit sex scene as the suggestion is made perfectly. Overall good, with many of its parts making up for the slow build up.

Leonard D (jp) wrote: How many more recycled scenes did we have to see in this rushed monster mash!? I could see some potential, but could never top the first, and best film! D+

Jonathan C (mx) wrote: Wonderful performances and an excellent cast...what a strong movie with an intriguing story!