Der Unhold

Der Unhold

Frenchman Abel Tiffauges likes children, and wants to protect them against the grown-ups. Falsely suspected as child molester, he's recruited as a soldier in the 2nd World War, but very ...

Frenchman Abel Tiffauges likes children, and wants to protect them against the grown-ups. Falsely suspected as child molester, he's recruited as a soldier in the 2nd World War, but very ... . You can read more in Google, Youtube, Wiki


Der Unhold torrent reviews

Rohit L (es) wrote: Quite possibly the worst movie I have EVER seen. It has no redemptive qualities.

Erin C (it) wrote: Freddie Prinze Jr. is still a pretty bad actor, but action was really good, and the storyline kept me interested.

Sarah S (kr) wrote: Bad script, bad acting barely any focus on the time travel. Could have made shhotings more realistic need I say more?

Alexandra W (de) wrote: I could believe the serum works--what I couldn't believe was that the serum could decide how many clues to give Ray Liotta at a time. Kind of a cheap plot device. And Spoiler Alert: Who can watch a movie with Peter Coyote and ever think for a second he's really going to be a good guy? No one. Some casting director had on her bad idea jeans if the audience wasn't supposed to know who the killer was the whole time.

Lynne M (de) wrote: More people need to see this movie it is increadible.It make's 'funny games' look tame.David Keith is amazing, his performance is chilling. The whole movie has such an intense frazzeled, 'it's all about to blow up' feel that you are on the edge of your seat the whole time.

Jack G (gb) wrote: Back when Dario Argento got up in the morning and loved the smell offresh celluloid, a film like Tenebrae could come out. Itwas the peak of his powers as a filmmaker, coming off of work likeSuspiria and Inferno, he decided to once again make a hardcore 'Giallo'(Suspiria and Inferno diverge a bit, though still have the tropes). Ifyou look at it, the story isn't that so much different than other filmsof his: a character, or a couple of them, our heroes, are in Rome orItaly someplace and a killer-with-black-gloves (that's all we see,naturally) is killing people, and the cops are on the case and the casealso involves these characters, and the hero/es try to figure out themurders themselves - this despite how relentlessly grisly and gory theycan get. In this case in Tenebrae, the story surrounds a celebratedauthor of horror-thriller books (Anthony Franciosa), who is in Rome topromote his new book of the title, and murders are happening that areconnected with his material. At first he tries to ignore it, but getsdrawn in inexorably as does happen. But not all is what it seems.Tenebrae - or "Unsane" as it was called for a while in the US - isArgento going the route that sometimes creators of pulp like this wentinto: think Stephen King with Misery, a story of an author who isstalked by a fan, for example. But for Argento, the kills don't allhave to be people we've followed diligently throughout the film; indeedthe first person killed is just a would-be shop-lifter who wanted acopy of the book in a store, and is stalked home and stabbed by thekiller (after an uncomfortable but sort of darkly funny scene with amangy old man trying to fondle her I guess), and the pages of the bookare crumpled in her mouth before the throat gets slit. Oh boy.Or take the girl who we do get to know a bit and like, the daughter ofthe manager at the hotel Peter Neal is staying at. In probably the mostintense and masterful sequence in the film, or at least one of them(and, again, sometimes with dollops of absurd comedy), she gets in anargument with the boy she went with for the day, is out by herself atnight, and a dog - a rotweiler of course - wants to attack her, jumpsover a high fence, and proceeds to chase her, occasionally bite her(them she gets him away), and then runs some more. She then happensupon the killer's domain - how she gets there and how she gets insideis just one of those contrivances, go with it, it's a movie silly - andthen more stalking happens from there. The quality of horror is so highand disturbing that it made me ask a frightening question of logic:what happens to the dog after she goes inside the lair? We may neverknow...Argento's only faults here, and they should be noted, are thefamiliarity aspects - the scenes with the cop explaining things withPeter Neal back and forth are alright, but he's just alright as anactor, maybe near the end he tries more, he's there to give expositionand figure things like a Detective Movie Character does - and just partof the ending. I can't go into it without really spoiling things tohigh heaven, however suffice it to say the killer is revealed (in somepart), and then it kind of feels disappointing as more exposition andother things about the killer are revealed that we, as the audience,already know and don't necessarily need to be shown twice.... but eventhis is excusable, perhaps like the ending of Psycho, for suddenly howtwisted the final moments after this reveal turn things on their heads.This is clearly a filmmaker having so much fun, and in LOVE withfilmmaking.It may not have always the same stylish tenor of Suspiria or Deep Red.At the same time, there's rarely a moment I don't see Argento workingout psychological quandaries here and twisting them into trashy ways.He's also making a very sexual film in many scenes - there's morenudity than I can remember than from any of his films, and certainlysome buxom ladies at that, occasionally to comical lengths like withthe prostitute in the lesbian house - and there is one particular craneshot that, arguably, shouldn't exist. This sequence could be toldwithout it, you might suggest. Hell with you, Argento says, and does itHIS way, in a manner that is so elaborate that you can't help but bewith the movement of it, especially as Goblin, the director's preferredand awesome devisers of the synth-macabre, make it even more epic.This is a filmmaker who wants to REVEAL things is elaborate and twistedways, and when the violence really flows it can be shocking; one womanis killed in such a way that isn't so much fun as disgusting, but it'spart of the point. Truffaut once said that he wanted to feel adirector's love or pain while watching a film, with little interest inthe in-between parts. Argento's on fire with Tenebrae, with histhin-but-sometimes-bold characters, occasionally with flashbacks -where Franciosa winds up shouldn't make sense, and at the same timethere is a demented logic to it that you can go with in thisfilmmaker's hands - and his exquisite (yes, deliciously done) setpieces. If you're going to put the audience through suspense, at leastknow where to point and get the camera for maximum effectiveness.Tenebrae is effective and cracked Italian Horror viewing, filled with ridiculous peril and the joy of terrifying an audience.

James H (br) wrote: 5.5/10. Eerie and suspenseful, but it never quite drew me into the story. The acting is fine, well photographed. It has it's moments but lacks depth.

Cole B (nl) wrote: Favorite director, no plot


M C (gb) wrote: I'm not going near this one. Axis of Evil sucked!

Ryan H (au) wrote: Dull at the beggining but got better towards the end. Overall not bad 5/10