Hannibal

Hannibal

After having successfully eluded the authorities for years, Hannibal peacefully lives in Italy in disguise as an art scholar. Trouble strikes again when he's discovered leaving a deserving few dead in the process. He returns to America to make contact with now disgraced Agent Clarice Starling, who is suffering the wrath of a malicious FBI rival as well as the media.

Seven years have passed since Dr. Hannibal Lecter (Anthony Hopkins) escaped from custody. Hannibal tries to reconnect with now disgraced FBI agent Clarice Starling and finds himself a target for revenge from a powerful victim. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

Hannibal torrent reviews

Karen R (de) wrote: Saw this movie for the fourth time and laughed out loud all over again. Brilliant acting, clever writing and directing. I want a sequel!

Ken S (us) wrote: It is hard to figure out what the makers of this were going for. Is it a parody of 70s sci-fi movies? Is it a family drama? Is it a comedy? The film has inconsistent characterizations and plots that make it difficult to figure out what the intention actually was. Patrick Wilson plays a character that seems like a complete goofy comic character, complete with phony mustache...then he turns into this somewhat sad and suicidal gay man trying to hide from who he is. The look and parody elements of the way 70s sci-fi looked is dead on...but the comedy doesn't always land and the character stuff is hit or miss. I liked the idea of this movie, I just felt like it never truly worked. If the filmmakers had settled on a tone early on and stuck with it, it really might have worked.

Kristi M (it) wrote: This is the first movie I've seen that I can remember that actually brought me back to feeling like I was in high school walls again- I was on the little closed circuit news broadcast and this was so true to how easy it actually would be to pull something like this off with nobody taking it seriously. I got a little bored with it here and there but the simplicity and humor very well masks a dark character study. Stating "hey, you don't seem to care that I'm probably a sociopath" with a laugh when it's actually true, cameras deliberately set up to capture the action. It has a poignant after affect that will leave you in your thoughts for a moment afterward- especially the way it's left so abrupt, which actually works out in its favor. It's hard to rate, really it was very well done by achieving exactly what it set out to do but at the same time it's still like watching home video that just runs on too long (albeit probably one of the most unsettling movies right at the end that I've seen in a while simply because there was no Hollywood there)

Santosh N (nl) wrote: Funny in a silly sort of way.

Laure E (kr) wrote: Un film nostalgique sur un fond de magouille immobilire.

Westleigh Q (es) wrote: Incredibly awkward and painful psychological battle of wills between a man who meets the woman of his dreams, and her son, who hates that his mother has someone new to love. For a dramedy, I was surprised at how raw and honest this movie was. It's not the raunchy, laugh out loud film that I was expecting from John C. Reilly and Jonah Hill, but it's actually a very touching look into family dynamics and relationships that everyone can relate to on some level.

wedstarfish 8 (au) wrote: Meet The Spartans is directed by the same people who brought us Date Movie and Epic Movie, two absolutely terrible and unbearabley unwatchable movies. I honestly went into this movie expecting it to be horrible and that's really what I got. It's honestly old at this point. If you hated Date Movie and Epic Movie, you're most likely going to hate this one too. Another horrified parody.

Grant T (gb) wrote: Different role from Adam sandler is a nice change of pace. Strange story and very sad at times

Dag A D (au) wrote: a true masterpiece done by Kristin Scott Thomas and Pio Marma

Ray M (jp) wrote: Find a much better movie!

Alec B (jp) wrote: A so so movie. the hobo always creeps me out

Love U S (es) wrote: An absolutely fantastic movie. It carries the deep meaning Shakespeare plays have, accompanied with amazing famous lines of poetry. Pool created an art piece, but to appreciate it you must understand it.

Dan R (jp) wrote: Ang Lee is one of my favorite directors, so from the perspective of seeing how his filmmaking has changed since the beginning of his career this is interesting. But on its own this was just decent. I didn't love it. Great food scenes though.

Jeff M (us) wrote: A very nearly perfect movie...

Paul D (ca) wrote: Excellent tense Western from one of the stalwarts of the genre. Good storyline of the fear of the gun played out well.

Edith N (us) wrote: He Ended the Civil War Still Believing in Glory? A sure sign of a martinet, no matter the situation, is someone who refuses to make allowances in dress for weather and/or climate. Val Kilmer has many surly things to say on the subject of being made to wear wool while filming [i]Tombstone[/i] because "people would be able to tell." Presumably by how sweat-soaked the costumes are and how many extras pass out from heatstroke. Cold is less frequently an issue, but there are doubtless stories out there of people suffering frostbite or worse because their cold-weather gear wasn't regulation. That I don't know any doesn't mean there aren't, right? Similarly, when Henry Fonda shows up and is not only impeccably turned out but demands that everyone in the fort be as well, you know things aren't going to go well. There are other, worse signs, but that one is a good indicator. That his daughter is turned out in the fashion of a young Eastern lady just makes her innocent and beautiful; she never expresses an opinion of anyone else's clothing's being inappropriate and even lets an old woman try on her hat. She will be a good person. Fonda is Lieutenant Colonel Owen Thursday, late a general in the Civil War but one of several who only had a battlefield promotion and were returned to lower ranks after the war. He has been sent to Fort Apache, in the middle of nowhere, to take command. He brings his daughter, Philadelphia (yes, really; played by Shirley Temple). Just shy of the fort, they meet young West Point graduate Second Lieutenant Michael Shannon O'Rourke (John Agar), son of the fort's sergeant major, Michael O'Rourke (Ward Bond). Naturally, Phil and Michael the younger fall in love. Equally naturally, the colonel doesn't approve. What's more, the colonel is in conflict with Major Kirby York (John Wayne). York had reason to assume that he would have been given command, but he wasn't. However, he assumes at least that anyone intelligent enough to be commander of a fort is intelligent enough to take the advice of those who have been there, dealing with the Apache, for years. However, of course, once Thursday hears about the possibility that he can be the Man to Bring in Cochise (Miguel Incln), common sense goes out the window to be replaced by the prospect of getting out of Fort Apache and back somewhere nearer the real seat of power. Obviously, Thursday is a play on a certain George Armstrong Custer, use whichever rank for him you like. Custer's competence level has been a matter of debate pretty much as long as he's been in the public eye. He was, after all, last in his class at West Point in '61. His promotions through the Union Army had as much to do with his knowing whose orbit to move in as anything else. He created his own publicity, as is to be expected of a man who worked with George McClellan. Several of his former superiors blamed the deaths of himself and his men on Custer's own foolishness. It's quite clear which side John Ford and the screenwriters came down on, certainly. Tuesday is dealing with the Apache, not the Sioux, but he does about the most foolish things possible. I'm also not entirely sure his motives are all that much more pure than Custer's. It's true that Custer just wanted the glory--and possibly the political career Grant and others got out of their Civil War service, and it's true that Thursday just wants to be stationed somewhere else. However, that's glory of its own. It's worth noting that Thursday's greatest mistake is not treating the Apache with any sort of respect and dignity. It's not difficult to see that the Apache were being cheated by Silas Meacham (Grant Withers), the representative from the US government charged with the wellbeing of those on the reservation. Thursday knows that the scales to give the Apache their beef rations are faulty. He knows that Meacham is selling rotgut and rifles. Cochise tells him plainly of the difficulties this causes--this is killing people quite literally. (Cochise speaks exclusively in Spanish, which gave the chance to be smug about how much I understood.) Thursday sends York out to negotiate, knowing that he doesn't plan to deal fairly with Cochise. He does not listen to what Cochise says. He speaks with pure arrogance, not even basic courtesy. Bad enough that he objects to the relationship of his daughter and the lieutenant out of pure class consciousness; he just doesn't see how he can possibly be wrong about anything. Had he listened to Cochise, York, or both, his story would have ended very differently. In behaviour, he seems like the commanders of both his war and World War I, the ones who didn't realize that warfare had changed and kept throwing their men's lives away in madness. The two most noteworthy things about this movie, I think, are the scenery and how the Indians are portrayed. It is filmed, of course, in Ford's beloved Monument Valley. There is a scene where York and Sergeant Beaufort (Pedro Armendriz), riding out to treat with Cochise, are looking over a valley in which a river meanders, having cut its winding path through millions of years of rock. The two men on horseback looking into that sculpted valley is worth the price of admission alone. (Free instant play on Netflix!) And, of course, there is the fact that, in this instance, the Indians are right. Meacham is horribly mistreating them, and the US government lets him get away with it. Thursday wants everyone to go through channels, and he is the one who accuses Cochise of violating the treaty, which I'm sure includes requirements for just treatment of the Apache. This movie shows the Apache as trapped, and for all John Wayne gives us a speech at the end about the glory and dignity of the US military, we are left remembering that Thursday wouldn't listen, and men died foolishly because of it.

Philip J (it) wrote: It is Halloween night. What are you planning to do? Go trick or treating with friends? Or maybe cause some mischief instead by playing pranks on your grumpy old neighbor? How about attending a Halloween party? But not just your run-of-the-mill soiree -- this party I'm talking about promises a night to remember. Your hostess for this particular party is the wicked Goth chick extraordinaire Angela (Amelia Kinkade). The location: Hull House. In case you are wondering, no this house isn't haunted -- just possessed. Word has it Hull House was actually a mortuary built on land the Native Americans considered "unclean". Hull House was also said to be where pure evil roams free. But these are just rumors, right? C'mon, you know it is gonna be fun having a party at a place like Hull House. The rumors of it being possessed merely enhance the...tone and atmosphere of the spirit of Halloween. Lucky for Angela, there are a bunch of teens out there who are eager to try something different and actually join her soiree. Let's meet them. Judy Cassidy (Cathy Podewell) is the nice, virginal girl. At first, she is reluctant to attend Angela's party, but her boyfriend somehow convinces her. He is Jay Jensen (Lance Fenton), one of those preppy, clean-cut nice guys. We later find out he is not as clean-cut as we thought, but I'll leave it at that. Sal Romero (Billy Gallo) is the rebel, the guy who loves to talk back to you --in your face. Max (Philip Tanzini) and Frannie (Jill Terashita) are the typical horny couple. Suzanne (Linnea Quigley) is Angela's best friend and a slut. And of course, horror movies need to have their share of truly obnoxious guys so fat lard Stooge (Hal Havins) and motor mouth Rodger (Alvin Alexis) fit the bill perfectly. All of them converge at Hull House where they decide to (what else?), party. After spending some time chillin' and dancing, one of the teens suggests that they have a seance of some sort. While the seance is being performed, Suzanne witnesses a visage of a demon in a mirror. She panics, the mirror falls and shatters. She'll definitely be getting seven years of bad luck. But that is the least of her problems because there is even a more palpable threat. The demons, which have laid dormant in the deepest depths of Hull House, are finally awakened. Being that this is Halloween night, these demons are now free to wreck havoc however they wish. So one of the demons possesses Suzanne. She in turn kisses Angela (yes!!!) and before long, Angela is also inhabited by a demon. As Angela and Suzanne gradually transform into full-blooded demons, the two embark on a killing rampage and the bloody mayhem begins. They growl, they bite, they have a penchant for Freddy Krueger-style wisecracks. Who will get out alive? Will anyone be able to survive the night? Get ready for this is gonna be one hell of a party...The extremely cheesy animation sequence which takes place during the opening credits strongly intimate that Night of the Demons is a horror film which really doesn't take itself too seriously. That's a good thing because Night of the Demons is replete with horrendous stereotypes, mostly unsympathetic characters, mediocre-to-terrible acting (and sophomoric overacting) and cliches galore (e.g., those who have sex will die). Night of the Demons isn't exactly an innovative or groundbreaking horror film. The acting is for the most part lamentable and the plot itself is trite and unoriginal. Imagine combining the "house is alive" element from The Amityville Horror, the "I dare you to stay in this spooky place for one night" motif from both Hell Night and House on Haunted Hill plus the demonic possession concept from Lamberto Bava's nonsensical but entertaining Demons. That's basically the formula for Night of the Demons. Another problem I had with Night of the Demons were the appallingly extreme stereotypes. Stooge, the really rotund guy is a rude, obnoxious bastard with zero social grace (picture Bluto from Animal House with a touch of Eric Cartman and Peter Griffin). Rodger, like most black guys in these kinds of movies, naturally has a penchant for acting overzealously paranoid. He also happens to be the son of a preacher. Like the stereotypical Goth chick, Angela acts freaky and even does a freaky dance number at one point while her slutty best friend loves to be gazed at. We also have a grumpy old man as a supporting character. Being the grouch that he is, he hates those damn kids and thinks they cause nothing but trouble (which is mostly true). These stereotypes in turn, make the characters mostly unsympathetic --that, and the fact that they do some of the most absurd things imaginable while trying to survive in a possessed house. Of course, it is expected that teens in horror flicks lack rationale. Only the virginal chick is remotely likable -- and if you watch horror movies frequently, you'll know what kind of role she'll end up playing. As for everybody else, actually I was kind of happy when a few of these characters bit the dust. The dialogue is definitely pathetic, but truth be told, I couldn't help but laugh at it at times. That's the point, right? One of the more unforgettable (and quotable) lines of dialogue is "Eat a bowl of fuck! I am here to PARTY!" This line is of course, courtesy of Stooge. Another scene takes place in a convenience store, where two horny clerks are staring down Suzanne's dress. She notices the two peeping toms and asks if they have any "sour balls". Of course, the two replied positively, but she makes a comeback by saying that they don't get a whole lot of blowjobs. Some audiences will groan when listening to the dialogue; others will revel in it. I suppose it all depends on what kind of mood you are in. To put it kindly, the acting in this film is unmemorable. Most of the performers themselves were apparently at least ten years older (at the time this film was made) than the teenagers they portrayed. Veritable screen queen legend Linnea Quigley delivers one of the better performances. Especially when she is possessed...and horny at the same time. The overacting from a number of cast members (especially from Alvin Alexis and Hal Havins) bothered me a bit, but I guess they were portraying caricatures after all. Yet in spite of what I have been writing, I still find Night of the Demons to be a competently made horror film. Unlike most post-Scream horror flicks which emerged starting in the late 1990s, Night of the Demons goes for the jugular when generating scares. Instead of going for cheap frights and thrills, director Kevin S. Tenney actually gives a damn about building suspense and tension. He doesn't rely on hyper-kinetic, migraine-inducing editing; instead Tenney focuses on mood and deliberate pacing to exploit -- and play with -- our intrinsic fears of the unknown and supernatural. Tenney makes use of the derelict house setting to amplify the fear factor. When the camera pans the various corridors and deserted rooms of the haunted house, you get a sense of apprehension tingling down your spine. When a demon possesses a character and she begins to exhibit eccentric behavior, you feel just as nervous as the characters on-screen. For me, it is a more satisfying experience to watch a movie that emphasizes on slowly building terror and gradually increasing momentum. It is both nerve wrecking and exciting at the same time. A truly good horror sequence should allow the viewer to realize danger is approaching yet he/she cannot exactly anticipate when (and how) it will manifest. Like Stanley Kubrick's The Shining, Night of the Demons is a possessed house tale that has atmosphere to boot. Good atmosphere, mood, and tension which builds level by level all enable this film to convey an overall sense of palpable dread throughout -- especially once the real party begins! At times, Night of the Demons does go for the "false alarm" scare (this always seems to irate me the most). In one scene during their arrival at Hull House, a couple of teens investigate what is inside a coffin. As soon as they open a coffin, someone jumps out. Of course, it is only Sal. However, unlike a good majority of horror movies out there, this happens only few and far between. The eye-opening special effects are really ingenious. One particularly memorable effect has the possessed Suzanne sticking a tube of lipstick right inside her breast. That sequence admittedly impressed this normally jaded viewer. The graphic and gory murder sequences are worth highlighting. One poor soul gets both of his eyes gouged out. Someone else loses his tongue while trying to make out with Angela. And yet two other foolish victims decide to have sex -- inside a coffin! Consequently, they both get trapped -- permanently. Sex is lethal, my friend. My favorite death scene though involves the aforementioned cantankerous old guy and some sharp-edged razor blades. I will say no more except it is an awesome twist on the traditional throat-slashing murder. Special effects guru Steve Johnson gets the job done right in crafting the gruesome sequences. Earlier on, I pointed out some of the film's more glaring weaknesses, but even I have to admit this: the badness is part of the film's amusement factor. The film's sense of humor isn't overbearing to the point it becomes a parody of itself. Granted the humor does misfire quite a bit, but at least it is worth a couple of chuckles. Good thing this film maintains some semblance of humor; otherwise its flaws would've made this film rather embarrassing. For the more serious-minded horror fan, if you can get past the corny dialogue, lame plot, and inordinate stereotypes, you will find Night of the Demons to be a surprise treat. It is worth a rental for horror film buffs who are looking to have a good time without having to worry about such cinematic nuances as thematic content and pathos. No, this film will not change the face of horror cinema, but it is an enjoyable, spooky ride with the right mix of gore and goose bumps. Be sure to get the unrated version. From what I hear, the R-rated version edited out several good stuff.

Kyle S (mx) wrote: My favorite Disney movie as a kid. Good characters. Beautiful steam punk-ish world building.