Six people are thrown together during an elaborate bank heist where any move can alter the outcome. Is it coincidence, or are they merely pawns in a much bigger game. . You can read more in Google, Youtube, Wiki
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Joey R (us) wrote: What a fun movie! Watch this one if you're looking for something that's tickle your funny bone!
Michael C (ru) wrote: It's the good kind of stupid.
Kelly S (ru) wrote: very few bright spots - glad its over
Scott C (kr) wrote: I did find this watchable and surprisingly memorable. I think it's messed how a genre of music glorifies thuggery though. I've heard first hand that Curtis Jackson is both a thug and a gentleman. That sort of comes across in this picture and I guess that's what makes it interesting.
Jinath H (ag) wrote: I fell asleep in the first 20 mins, it was soo slow.
Tommy M (es) wrote: The title of this movie makes it seem like its gunna be all about sex and banging a girl to find true love, but really it's a love story that takes an interesting approach. At first Jonathan im gunna call him John seems like the typical guy that wants love but is to shy to engage in converstion much less physical interaction between the opposite sex. But he thinks of a brilliant plan to be able to go into the non male workspace, too look not to bang everything he see's. Through this he is able to talk to the opposite sex and does not stumble over his words and becomes confident in himself and then also liberates others to be confident in themselves too. So it's a good heart felt movie with some boobs and kinky jokes from guys like other teenage movies. It's also funny so I'd say go watch it.
Colin F (ag) wrote: This was a favourite film of mine when I was a Kid and watching it now it is still great. John Cleese (When he was still funny) plays a sensible head teacher who is always clockwise and does everything by the book. He is invited to speak at a Head Teachers convention, when he misses his Train he has the most disastrous journey ever trying to get there! There are so many sub plots and funny moments, the best scene by far is when he robs the Yuppy??s car. A superb underrated British film.
Michael W (br) wrote: Very good story line. Simple and sweet put together and delivered without finishing the whole story, leaving room for a sequel if public acceptance would call for it. Great family orientated movie but, the heart strings needed played earlier and somewhat more if they really wanted a part two.
Breanna B (fr) wrote: The music is great. The characters are quirky and lovable. This movie makes me happy.
D M (ag) wrote: An abominable snowman is pissed so many skiers are on his mountain. A popular ski resort is hosing a series of games, so the yeti decides to eat some of the participants. While some warn of a killer sasquatch, the owner of the resort and Sheriff are reluctant to make everyone leave. Once it becomes apparent the bigfoot isnt going anywhere, some skiers band together to kill themselves a wild beast. A made-for-TV film obviously made as art of the "killer animals" craze of the llate 1970s spawned by Jaws.
Edgar C (fr) wrote: One of the best war films I have ever seen (I am not joking), Masumura's relentless and disheartening war masterpiece is an unbelievably honest depiction of the moral implications of the desperate decisions taken by doctors, nurses, soldiers and generals under desperate circumstances, while the film also reminds us by intervals about the human condition and dignity that all of them begin to lose as the repercussions of war keep making a terrifying progress.The protagonist is the nurse Sakura Nishi, who is send to the field hospitals in China during the Second Sino-Japanese War (1937-1945) in 1939. Another important character is Dr. Okabe, a committed officer and surgeon who has to perform dozens of amputations and operations every day, almost arbitrarily deciding, with his scarce means, equipment and professionalism experience, who lives and who dies. The whole story revolves around the two characters. The nurse Sakura begins to get emotionally attached not only to her profession, but to the patients as well, whereas Dr. Okabe's decisions begin to get professionally affected by his morphine addiction and personal problems.Akai tenshi explores war from a perspective that very few films hesitate to: that of medical assistance to the agonizing soldiers. That immediately causes the viewer to reflect in the effects of violence not only in real life - speaking in terms of the futility of war - but also from a cinematic perspective: watching violent sequences in battlefields, which are normally portrayed as action-oriented, have somehow managed to be qualified under terms of "entertainment", whereas the sights that this film shows are horrifying, full of pain, blood, gore, limbs and sicknesses. So Masumura masterfully constructs a duality between perceptions of war and pain, and between perceptions of entertainment and humanism. That is probably the greatest talent of this 1966 powerful testament.And I say "probably", because when the film fully tackles humanism, it explores certain facets of human life that remind us of our condition with exceptional power: family, fear, patriotism, and unexpectedly, love and sexuality, reaching heights that very few movies do. Nurse Sakura suffers a serious number of transformations, from a woman that was determined to do a job, to a woman that learns how to (but is never cabable of) separating her feelings from her job, to a woman that begins to carry guilt out of the death of 4 people over her soul (whether if it was her fault or not), to a woman that finally reflects on the significance of her survival. The doctor passes from being a morphine addict that saw soldiers not as human beings, but as mere instruments of war that had to be treated for sending them back to the front lines, to a man that rediscovers that which defined him as a man and as a human being: love, which he had lost three years ago when his wife died. All he did now was facing death every day, taking decisions of life and death that should not belong to any single woman or man on Earth.By the time we arrive to the 10-minute climactic, expertly filmed and invigorating war sequence, we no longer even explore the possibility of perceiving the sequence as entertaining. Rather, we come to the conclusion that all of the emotional devastation and discoveries, and all of the pain portrayed in the previous 85 minutes, were result of the action in the battlefield. So this sequence is scarier than it is pulse-pounding or exciting: it is horror that you wish just stopped for not increasing the number of victims and deceased people. What a bold move.So I have to arrive to the conclusion that the greatest talent of Akai tenshi is that it makes people reflect on the consequences of war in a very universal way, rather than hiding its truths under biased "patriotic" statements or entertainment stunts. It is honesty and humanism disguised as a war film which chose its historical setting perfectly.99/100
Alastair M (es) wrote: This the worst movie I have ever seen. Overacted badly, shocking cinematography, lit and edited by someone who is apparently blind. I seen some shit low budget movies with more redeeming features, the entire film feels like you're being preached to. I'll leave the huge holes in logic and massive flaws in the legal ideas.
Jason M (ag) wrote: Deserving of the Best Foreign Film Oscar. This and The Lives of Others and City of God are the premium foreign films of the decade.