Hammett

Hammett

"This is an entirely imaginary story about the writer Dashiell Hammett, who... in the words of one of his most gifted contemporaries... helped get murder out of the vicar's rose garden and back to the people who are really good at it. The detective story has not been the same since." So begins Hammett, the atmospheric and exciting tale of a young mystery writer who really lives the hard-boiled life he writes about -- and learns to dig beneath the surface of his characters to reveal their deeper, darker motivations.

The novel writter Dashiell Hammett is involved in the investigation of the mysterious disappearance of a beautiful chinese cabaret actress in San Francisco. . You can read more in Google, Youtube, Wiki

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Hammett torrent reviews

Dan M (br) wrote: Anyone who would rate this movie with a rotten tomato or a thumbs down either has an alternative agenda or is just showing off their false pompous pretentious front. This one is pure action and pure fun with a decent story and a very good acting job by Rhys Meyers and Smutniak. By no means is it the best action film of the genre or the year, but it's without a doubt a thumbs up unless you're a pretentious snob.The extras on DVD about spies and CIA are A+ segments !

Andrew H (kr) wrote: foul mouthed and hilarious!

Steve S (mx) wrote: i'm really not sure what the director was going for, but this movie ultimately fell very flat. it kind of felt like a stage play directly put onto the screen, kind of reminded me of von trier's "dogville" and "manderlay", but not as good, although martin freeman does give a good performance, but not enough to elevate this boring two and a half hour movie.

Andrew M (de) wrote: It's almost hard to believe that a movie this refined is a first time directorial debut. However, once you associate Matthew Vaughn's name, the great aspects of Layer Cake start to make sense. The film is packed with the same biting dialogue and cheeky humor, as well as hints of hyper-fast editing and directing, that the rest of Vaughn's filmography is known for. The story isn't particularly groundbreaking for the genre, and it even becomes a little convoluted at times, but it manages to hold your attention through many twists and turns. The biggest reason this film keeps you engaged is Daniel Craig: he has the smooth demeanor he'd eventually use for the James Bond franchise, as well as strong moments of confidence and emotion. The supporting cast is full of familiar faces (Sienna Miller, Tom Hardy, Ben Whishaw, and Michael Gambon all make appearances), and they all do a fine job supporting Craig's nameless character. As a first feature, Vaughn manages to hit almost all of the right notes, and the film as a while serves as a solid foundation for the career of one of the brightest and most fun directors in the business today. Layer Cake is simply a fun time; any Matthew Vaughn would be wise to check this one out.

Sean W (au) wrote: What can I say? I quite enjoyed this film.I blame my inner/hidden romantic side. And my love of Bollywood.

Ben C (ca) wrote: I don't like Cuba Gooding Jr. What makes you think I'm going to like this?

Lauren S (fr) wrote: This is a great documentary! It was shocking to learn the types of conditions that these women had to work with. At the same time it was also both poignant and amusing. I really recommend it, this film has so many layers.

my f (gb) wrote: layan bllywood pula..

JeanMichel D (kr) wrote: Ne vaut pas l'Ame des Guerriers! Not as good as Once Were Warriors!

cli o (gb) wrote: no thanks not my kinda thing

Dustin M (kr) wrote: I'd never watched this and honestly wish I hadn't now... Whoever says Mario Brothers was the WORST Video Game movie ever clearly never watched this... WOWZER!!!

Gavin P (br) wrote: A very slow - but occasionally shocking - murder thriller. The acting's pretty ordinary from all involved - even Moore! - with De Mornay particularity wooden. But i guess this adds to their creepiness. It's a bit odd that she thinks her problems can only be solved by murdering them! Not enough tension or suspense to make it great.

Jesse L (it) wrote: Viewed 12/28/03 (VHS) (First Viewing)

Jeffrey M (jp) wrote: Richard Gere is fantastic and Andy Garcia showed depth I didn't think he had. An excellent first two acts, followed by a weaker and messy last act. Still, a very good thriller overall, with Michael Mann-esque direction.

Camille L (br) wrote: Pas forcment effrayant, parfois un peu dpass sans pour autant tre totalement ridicule, Christine est une claire dception pour ceux qui attendait un film du niveau de The Thing de la part de John Carpenter. Cependant, le film en lui-mme est assez sympathique et possde une atmosphre intressante qui parvient plonger le spectateur dans la banlieue amricaine des 70s/80s. Le cast principal (de futurs ralisateurs) compos de Keith Gordon et John Stockwell est excellent, tandis que les seconds rles assurent. Christine n'est probablement un film indispensable, mais c'est un moment assurment sympathique.

Leslie K (au) wrote: Cute...but not as good as TTWA. The carwash is very funny...

The Next Starfighter (ru) wrote: This movie confuses me. Somtimes it plays off as serious, and others it tries to be a comdey, then a romantic film. Lee Marvin is great as a cook named Slob. This film probably made more sense when it came out. As far as I know this title isn't available on DVD, and is kind of rare.

Blake P (it) wrote: Imagine a staircase leading to an open window. A bright light leaks from its center, white doves flying in in hopes to escape the snowy cruelty of the outside. Flowery confetti fills the atmosphere, spinning around in the circling draft of the wind; a gold silken sheet floats down the staircase with the slink of a python on the prowl. Spotted horses, covered in the furs of their master, stand alongside its initial steps, providing company for the lonely statues that adorn the corridor. As we stumble into this foyer, lost in a labyrinth of style, we're both transfixed and horrified, hypnotized by its incandescent beauty, sickened by its seemingly unrelenting movement. Such disquieting allure infects "The Scarlet Empress", an epic in style over substance that uses the scheme of a biopic to give itself an excuse to call itself a movie. In reality, it's a moving painting: every scene is so crammed with ornate decor (ominous gargoyles, gnarled furniture, eye-clogging ball gowns) it's as though Leonardo Da Vinci was asked to set an empress' likeness in stone and ended up exhausting himself through a lavish series of works, dying from an overworked heart at its conclusion. "The Scarlet Empress" is a carnival of decoration, born as the daughter of a hoarder with a mystical eye and dying as one of Prince's jilted lovers. The film begins beautifully and ends beautifully, but changing is its initial feeling of enchantment, which slowly descends into a pit of contorted exoticism. A terminal case of style over substance can sometimes work, but "The Scarlet Empress" is all style and no substance, the style being the result of a drug-induced fever dream. It's as if von Sternberg purchased a studio apartment and decided to fill it with a family of hot pink elephants. But the film is made with a great deal of sensibility, and that's why its cloying ornamentation endures as such a lastingly daring experiment 80+ years later. So much of its outrageousness is done for the sake of simply doing it - doors are so meaty they require six well-dressed women to open them; Marlene Dietrich changes outfits at such an obsessive pace that loudness becomes a given, untouchable furs become a benchmark. Von Sternberg knows that these things provide for interesting fixtures to the eye, and is relentless with how much is put onto the screen. It's a conscious dedication, and it's riveting, however tiring it eventually becomes. "The Scarlet Empress" is a "biopic", its heroine being Catherine the Great, portrayed by a meticulously photographed Dietrich. The film focuses on her transformation from innocent high society daughter to supremely sexual, ultra-cruel dominatrix. She is forced to marry the idiotic Peter (Sam Jaffe), but as her marriage progresses the more she coats in her confidence, lining up man after man to fulfill her most dreamy of desires. The movie isn't a precisely researched source for the history books; it's a vehicle in which von Sternberg is able to go mad with every stylistic inhibition he has ever repressed, a vehicle for Dietrich to seal herself as a screen vamp for an eternity. She does not have to be an actress here - von Sternberg fondles her with his camera, bringing an unseen animal attraction to her erotic face, placing her in a room as though she is the center of the assorted configurations of decoration. "The Scarlet Empress" was released just as the Hays Code was beginning to prosper, allowing for sexuality to ooze off the screen while retaining a snarky sense of bawdy humor. Dietrich is an actress whose persona feeds on sensuality - a film like this suits both her and von Sternberg's ebullient talents. With no story to speak of, the film often leans toward the unexciting (style can only enrapture for so long before it begins to wane), but it's momentous that the movie, almost a century old, was so ballsy in its design in a time where money spoke and artistry started as a whisper.

Mike W (ag) wrote: This Christmas movie was ok.

Kari P (nl) wrote: Creepy psychological profile of a couple young men who try out murder for fun.