Fire Down Below
Martial arts star Steven Seagal stars in this action drama as Jack Taggart, an undercover agent working for the Environmental Protection Agency. When an EPA representative is murdered in a small Appalachian community, Taggart is sent in -- posing as a handyman working with a Christian relief agency -- to find out what happened.
- Category:Thriller, Action, Drama
- Stars:Steven Seagal, Marg Helgenberger, Stephen Lang, Brad Hunt, Kris Kristofferson, Harry Dean Stanton, Levon Helm, Mark Collie, Alex Harvey, Ed Bruce, Amelia Neighbors, Richard Masur, Michael Krawic, Clay Jeter, Yvonne Pollard,
- Director:Félix Enríquez Alcalá,
- Writer:Jeb Stuart (story), Jeb Stuart (screenplay), Philip Morton (screenplay)
When an EPA representative is discovered dead in a small Midwestern town, government agent Jack Taggart goes undercover to check things out. He then investigates a Kentucky mine and helps locals stand up for their rights. . You can read more in Google, Youtube, Wiki
Fire Down Below torrent reviews
(es) wrote: Une Chine desincarnee subissant les outrages du mondialisme et de la modernite. Sans reperes, sans traditions, entre exploitation et corruption, les personnages cherchent vainement une issue a leur maux dans une ultraviolence aveugle. Terriblement pessimiste...
(gb) wrote: Nominada al Oscar como mejor pelcula animada, A cat in Paris (une vie de chat) es una pelcula que sabes que no ganar, pero que es extremadamente valiosa, no slo por lo visual, que es lo obvio en las pelculas animadas, si no por ser una pelcula que tiene claro a quin apunta y que no es movida por lo comercial. Recomendable, y con excelente banda sonora.
(au) wrote: Can't reach the original masterpieces
(br) wrote: Elements of "Taken" (at Crystal Lake), the brutality of "Hostel" and "Saw", with the hopelessness of "Human Centipede".As a true fan of this genre, I thoroughly enjoyed this film. :-).
(jp) wrote: Want to see Dimitri Martin do something serious
(ru) wrote: Dear Wendy is AWESOME; sensuous filmmaking, an intelligent script, an excellent cast and soundtrack. The kind of movie that Hollywood is not to keen on making. It's written by controversial filmmaker Lars Van Trier, who writes a Baroque gun-toting fantasy that explore American fascination with fire arms. This movie will be lost on many for its un-orthodox style, but and allegorical tone, but for the rest it is worth the experience, because the Imagination of this movie is OUT OF SIGHT. VERDICT: An allegory on guns and violence... what more could you ask for?
(gb) wrote: Putting Bruce Willis into a war movie under the direction of Antoine Fuqua, Tears of the Sun sounded like an exciting action spectacle.Without giving viewers all that much context, Tears of the Sun leaps straight into its story. However, this just means that viewers will realize even quicker that there is hardly much of one in the film. Tears of the Sun lays out a generic story in a Nigerian context, dragging audiences through overly familiar war themes which come off as tedious attempts at sentimentality. As much as I am a sucker for a good war film, Tears of the Sun most simply does not fit that criteria Tears of the Sun attempts to bring the attention of viewers to the events of the Nigerian civil war, and admittedly I didn't know there was one prior to seeing the film. It's clear from this that Antoine Fuqua has the best intentions with his film, and casting actual African refugees to portray extras supports this notion while boasting the legitimate nature of the film. However, viewers are unlikely to be moved by the film as it is so dramatically distant that after having experienced the entire film I didn't feel like I had watched anything. Most of the "horrors" depicted in Tears of the Sun are simply people suffering in silence captured in slow motion, a trope established by countless war films prior such as in Oliver Stone's Academy Award winning Platoon (1986). Turning the unexplored context of the film into a repetitive drama which has been seen countless times before effectively turns Tears of the Sun into both a misfire and a key example of wasted potential, as well as money.To make matters worse, the action in Tears of the Sun does not actually begin until past 50 minutes in. By that point, viewers have been dragged through a long quantity of tedious plotting. The action scenes in Tears of the Sun are the best scenes in the film, but they are still not enough to elevate the film beyond its mediocrity. To begin with, there are too few of them spread out over the course of the narrative. And as well as that, there is a feeling that they have all been seen before. The action is staged very conventionally with little innovation in terms of what actual action is occurring or how it is depicted. The film limits its scope to a small group of select characters and captures them all with A-grade production values yet a B-movie cinematography style in which there is predominantly an oscillation between wide angle shots and close ups with few clever techniques. For a film with such a large budget, the actual style of the action scenes feels too simplistic and fails to elevate the tragedy of the story to its intended heights. The colour scheme is also oddly bleak, casting an abundance of grey over the entire visual field with the intention of adding atmosphere but rather just making the visual experience all the more dull. But I will admit that these scenes remain intense and use the production design and scenery to maximum effect, creating a real feeling of warfare. Alas, it just makes it all the more disappointing when there are so few of these scenes in the film. Tears of the Sun managed to skyrocket its budget to beyond $100 million and yet it churned out such a minimal experience in terms of style, even though Antoine Fuqua clearly has a sense of imagery. If Tears of the Sun desired to be a good action movie then it should have implored a greater focus on warfare, and it would have made a lot more sense because the screenplay hints that it has the desire to transcend this yet the quality of the dialogue and actual story proves otherwise. Instead, viewers are simply left to be repeatedly hit over the head by the same messages about how war is a terrible thing again and again at a slow pace for a running time which stretches its limited material way too far. Tears of the Sun is a film which offers a generic contract of Bruce Willis' status as an action hero and Antoine Fuqua's recognition for creating strong action scenes in the context of a war movie where the promotional material boasts Bruce Willis grasping a weapon. However, in spirit of the same faults the director would adhere to when he put together The Equalizer (2014) many years later, Tears of the Sun offers a sporadic collection of stylish violence which is too sporadic to fulfil its implied promises. However, Bruce Willis remains as solid as ever. Though the man has a great status as an action hero, Tears of the Sun proves to be a chance for him to branch out. The limitations of the material stand in the way of him achieving anything groundbreaking, but his natural talent as an actor is surely an asset for the film. For one thing, his abilities in using weaponry make him an easily engaging soldier during the action scenes of the film. Yet since there are so few of those, he is forced to spend more time engaging with dramatic material. Through every shot where Tears of the Sun clutches to the roots of its sentimental cliches, Bruce Willis works hard to keep up with it all and remains intense the entire time. He has the true nature of a soldier in him, balancing emotional distance from vulnerability alongside determination to protect and serve. Bruce Willis essentially brings his instinctive nature to Tears of the Sun which means he caters to what fans could expect, despite the lack of action scenes. His chemistry with Monica Bellucci is also effectively intense, meaning he is able to engage with her well enough to bring out her own natural strength. Monica Bellucci also works to ensure Tears of the Sun is a well-acted piece.So Tears of the Sun has Bruce Willis' natural charm and Antoine Fuqua's eye for strong action scenes, but both elements are underutilized in favour of a long and slow narrative built upon an abundance of familiar war movie cliches and sentimentalities.
(us) wrote: [font=Arial][size=3][color=navy]apart from the far-fetched ending... it was a pretty good movie.... [/color][/size][/font]
(it) wrote: Almost like a live action anime... or not. But anyway, it was a violent, odd, and devious good time. Not classic Miike though.
(fr) wrote: A very effective telling of the events that unfolded at Sobibor, and surprisingly close to what others have written about this Holocaust story. Amazing that the characters were drawn out as close to their real counterparts as they were. What the movie sadly lacks is a really good musical score??the musical motives seemed to do a disservice to the scenes unfolding, to the point of detracting. For the presentation of the story alone, I give 4 and half stars.
(ag) wrote: an absolute masterpiece
(au) wrote: At some time or another everyone has been employed in an oppressive workplace; generally under a manager we would secretly love see either miraculously disappear of the face of the earth or destroyed by a rouge anvil dropped from a great height.Maybe not to the certifiable, manipulative and vengeful extent of those that populate Horrible Bosses, but the easily relatable notion of killing your supervisor in aid of making the world a better place is riotously appealing. Can't work with em'; may as well kill em'.Best Friends since high school, working schlubs Nick (Jason Bateman), Dale (Charlie Day) and Kurt (Jason Sudeikis) have all reached the same career advancement dead-ends. Blocking their progression are three bosses sent from hell. Utterly intolerable, they are the evilest souls ever to obtain executive parking spots.Punching the unkind daily-grind under promise of becoming senior VP, office drone Nick arrives at work before dawn and leaves long after dusk, but must endure the incessant abuse and bizarre mind games from his sadistic and psychotic CEO Dave Harken (Kevin Spacey).Dental hygienist Dale spends his day's turning-the-cheek to a diatribe of raunchy expletives and fending off unwanted sexually aggressive advances of novocain-wielding predator and nymphomaniac Dr. Julia Harris (Jennifer Aniston). Whilst accountant Kurt seemingly loves his job and boss Jack Pellit (Donald Sutherland), owner of a small environmentally friendly waste-disposal company. Until a sudden heart attack leaves the factory in the hands of his vile, coke-snorting, hooker-happy debauched son with a dreadful comb-over and a broken moral compass, Bobby (Colin Farrell). After an inebriated evening venting about the OTT blackmail, terror and humiliation they must endure at the hands of their respective demon's; the trio decide to take action and rationalise a plan to dispose of their unpleasant supervisors, permanently. Hardly stone-cold killer types, they embark on a wild journey to hire a crazy hitman from the seediest bar in the worst-part-of-town, MF Jones (Jamie Foxx). However when aid of self-confessed 'murder consultant' is less than helpful they must adjust there scheme. If they kill each others bosses and criss-cross motives whilst making it look like an accident, it's perfectly logical there would be no repercussions, right?Briskly written with an overt peppering of vulgarity, this black comedy relies on sexual and mental panic delivered in the midst of predictably moronic SNL skit style shenanigans. Falling through ineptitude and landing in the safety net just before reaching the truly daringly dark territory. This movie never quite seems to peak managing to always fall just short, as a mildly amusing. Director Seth Gordon has presented not only three well-defined types (which actually match similar movie The Hangover almost exactly) but he has also found the perfect actor personifications. Bateman is measured as the voice of reason, Sudeikis is the group's Hugh Hefner stud and Day is the third wheel in desperate need of greasing. Intermittently weaved through the manic juvenile chaos of our hopeless would-be assassins is their wonderfully characterised nemeses'. Spacey raises despicable to an artform as the unrelenting paranoid tyrant, Farrell is unrecognisable in the funniest skin-crawling seedy cameo since Tom Cruise's Tropic Thunder and Aniston is genuinely shocking and dirty as an unashamedly amorous and sexually deprived succubus in scrubs. The Verdict: Dealing with workplace angst never seemed so easy, however if your thinking about taking up the reins as a would-be henchmen and spiking the water cooler, perhaps it would be best to wait for the ever inevitable sequel. Published: The Queanbeyan AgeDate of Publication: 02/09/2011