Grave Danger

Grave Danger

Home alone, Becky (Debbie Kopacz) is already on edge from a night of watching scary movies when an anonymous caller takes her terror to the brink by forcing her to trade spooky stories with him in this Jim Haggerty-helmed horror flick. Tales of murderous ventriloquist dummies, housewives ensnared by voodoo and more follow in an agonizing game of one-upmanship that could end up with Becky dead. Cathy St. George and Vic Martino co-star.

A woman is terrorized by a psychotic caller who terrorizes her with terrifying tales of murderous ventriloquist dummies, possessed housewives, and watching strangers. But will she live to tell the tales? . You can read more in Google, Youtube, Wiki


Grave Danger torrent reviews

Anne B (us) wrote: Taking on the US Health Care System.

Wendy C (ag) wrote: Quite funny. A good try for HK indigenous comic and animation. More resonance for HK people.

Zach L (it) wrote: Interesting and unusual. One that has consequences in somewat human perspective but Godzilla doesnt fight his enemy til the end. 7.3/10

Joey S (de) wrote: With A Friend Like Harry is a suspenseful thriller filled with dark humor and driven by a wonderful performance from Sergi Lopez as Harry, a dangerously obsessive man who claims to be a high school acquaintance of the protagonist. Whether or not he's telling the truth about this is open to interpretation, but he is nonetheless a very fun and interesting character. His backstory is left completely ambiguous, allowing the viewer to interpret who he is, but he comes off as almost humorously psychotic at times. There isn't any huge revelation at the end. Rather, the ending is unusually quiet, although like the rest of the movie it's very suspenseful and tinged with a subtle sense of humor. With a Friend Like Harry is a refreshingly original and enjoyable thriller that will keep you on the edge of your seat up until the end, and one that packs a spectacular performance from Sergi Lopez.

Robyn M (es) wrote: Alot of people beileve just because Madonna has flops in the box office makes her the reason for failed acting career. Truth behold asking your husband to star you in a movie never works. but while young, before guy richie she starred in a jaded,sexy,controversial movie. I've seen it and i believe this is great peices of art, i appluad her. shes Strikingly Beuatiful and guilty tell proven innocent.

Helen T (ca) wrote: I can always, always watch Gerard. Intriguing fillm.

Edith N (it) wrote: A Bit Muddled, But Awfully Pretty Apparently, Joan Fontaine got a fair amount of hate mail after the release of this movie because she played a woman in a romantic relationship with Harry Belafonte. The letters suggested that, if she was hard up enough to take the part, she might need the dimes and nickels enclosed in the letters. It seems implausible at best, even leaving aside what is said to be near-identical phrasing, that this could have been the idea of a lot of individuals. Having seen the movie, it strikes me as more notable that she played such a small role in it. It's an ensemble piece, but her character is one of the least important in the story and really only serves to highlight certain hypocrisies which exist in both movie and real world. The fact that she was ten years older than Harry Belafonte also seems to have passed without notice, or at any rate wasn't deemed important enough to make the IMDB page. The island of Santa Marta, like so many colonies of the day, is in the process of gaining its independence. This, of course, leads to conflict between the white landowners and British officials, represented by Maxwell Fleury (James Mason), and the black workers, represented by David Boyeur (Belafonte). We are told at the beginning of the movie that some ninety percent of the population has at least some African ancestry, and this turns out to include the Fleury clan. It is revealed that old Julian Fleury (Basil Sydney) is the son of a mother who was one quarter black. This leads to concern that perhaps Jocelyn Fleury (Joan Collins) will not be deemed suitable to marry Euan Templeton (Stephen Boyd), son of the governor (Ronald Squire). The governor's secretary, Denis Archer (John Justin), has fallen in love with Margot Seaton (Dorothy Dandridge), a beautiful local girl formerly wooed by Boyeur, who is also captivated by the lovely Mavis Norman (Fontaine), related by marriage to the Fleurys. And so on. It's a huge soap opera. Max thinks his wife, Sylvia (Patricia Owens), is having an affair. There's Hilary Carson (Michael Rennie), the man Max suspects. There's the whole thing about the new government. This came out at about the same time as [i]Peyton Place[/i] (we'll get to it), and there seems to have been a fad at the time for dense, racy pictures wherein a lot of attractive people have complicated relationships with one another. Like [i]Peyton Place[/i], this contains an unwanted pregnancy, though of course whose it is could have been a lot more daring. Actually, the book version of [i]Peyton Place[/i] even includes a multiracial couple, and this movie has several. (The [i]Peyton Place[/i] one is historical and never appears in anything approaching the time of the story.) Both stories also have class issues as an important feature, though change is coming to Santa Marta much faster than to Peyton Place. At the beginning, we are set up to expect Harry Belafonte to end up with Dorothy Dandridge, and that certainly would have been the safe way to go. To be honest, though, it's hard to imagine anyone finding either unattractive who didn't have, let us say, issues with their heritage. Dorothy Dandridge in particular was just stunning. It is said of her that she could have been a true star if she'd been born just twenty years later, and it's true that she is sadly forgotten today--was before she died, which she did too soon. (She is now believed to have been bipolar, which explains a lot.) In 1965, when she died, it was impossible to think of a black actress as being a big name to white people other than as, say, the Hattie McDaniel type. I'm not sure he'd agree with this statement, but Harry Belafonte has had it relatively easy. He gets a speech at the end about how a black man can't walk into a high-class gathering with a white woman, but a black woman couldn't have walked in unless she [i]was[/i] with a white man. Or else serving drinks. The consensus about this movie seems to be that it's beautiful but kind of dull. I, personally, have always been fond of James Mason histrionics, and Joan Collins was ravishing when she was young. The [i]Crime and Punishment[/i] references are almost enough for me to wish I'd finished it. (Almost.) I admire the courage in letting at least one interracial couple stand--and in the fact that Sylvia Fleury does not seem to care that her husband turns out to have a black great-grandmother. Her problems with her husband have a lot more to do with his personal weakness than anything else. However, all that said, this movie is indeed beautiful but kind of dull. There's only so much melodrama I can take, and this movie is ripe with it. It's also one of those movies trying to say something important but feeling the need to draw attention to itself with sex first. Only the sex is pretty tedious and understated. You almost wouldn't know anyone had any.

Brenno K (us) wrote: Bergman is deeply aware of the gap that separates "saying" from "meaning". His characters always put honesty before consideration, and this is usually the drama they are faced with. His plots take place in the hiatus that separates the depth of thoughts and feelings from the surface of expression. The soothing, conventional expressions, the high-sounding words of love and gratitude, the hollow and pathetic apologies are never uttered, or when they are they do not come without a sense of betrayal. The most genuine impressions are faked as soon as spoken-- because as soon as they are shaped into words one becomes aware of what one is saying; feeling gives way to acting, and, in an irony that reveals the ambiguity of the very word "acting", we, the actors, immediately become spectators of ourselves. We then listen to ourselves speaking, we weigh the words against their meaning and watch ourselves as if from outside while hoping to speak from the inside, and in taking the utmost care to make sure the words and gestures are convincing, we betray them with a false, phony spontaneity. This complex tension between words and meaning, spontaneity and acting, truthfulness and consideration, is the matter of which Bergman's movies -- particularly Scenes from A Marriage, together with its sequence, Saraband-- are made. There's a grain of contempt in every spoken word, Nietzsche said somewhere. In Bergman, each word is spoken as if the speaker, or even the words themselves, were painfully aware of the contempt they carry and the betrayal in which they incur. And because of this they carry a weight and a significance that are rarely to be found today, when the right expression comes instantly on-demand and tailored for the right situation, and words abound full of sound, fury, and little else.

Scott G (mx) wrote: Brilliant cast! Brilliant story!