(English Title: Innocence) Yusuf is released from prison after serving a ten year sentence. He is scared of life outside as he goes to an address given to him by another prisoner. . You can read more in Google, Youtube, Wiki
Yusuf is released from prison after serving a ten year sentence. He is scared of life outside as he goes to an address given to him by another prisoner.
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Innocence torrent reviews
Ricardo B (us) wrote: One of the best films I have seen it really captures what it is like to be an entrepreneur.
lam h (mx) wrote: i have to say i love this one a lot!!
Imperius Y (es) wrote: You people complain like a bunch of school girls, it was a great movie, don't like it? piss off. go make your own damn movie then.
Ajk D (ca) wrote: Not as strong as glory to filmmaker
Paul H (ca) wrote: A horrible attempt at horror. Many lows, but not enough time to mention them all. Here's a few: The frail old lady at the window, no-one noticing a parasite crawling into their belly-button and the sheriff's view of a possible 'chemical compound'. It all sets up for irritating viewing. However a satisfying nod towards the fat man(TM)s finger up to the barman and a jaw falling off in the mall.
Brian W (ca) wrote: This movie is mixed for me, I think the characters are perfect. But there's just something about it that made it too goofy for a horror film.
Srinjoy C (mx) wrote: Ishq..junoon hai ki havas, khuda jaaneDil namaazi hai ki kaafir, khuda jaane.With these words, Pankaj Kapoor puts a resounding stamp on his astonishing portrayal of Abbaji, the benevolent don in vishal bharadwajs macbeth.The tragedy is that Maqbool is not the story of Abbaji, but that Miyan Maqbool (played by the elsewhere accomplished Irfan Khan, whose only change of expression in this movie is closing his eyes for half a minute and opening them again).Vishal Bhardwaj is an artist of some repute. With one of the most gifted men of our times, Gulzar, as his mentor Vishal has done some wonderful work as both composer and director. After directing the utterly adorable Makdee he has gone on to make a more challenging film, both for the director and the viewer. The result, however, is not so endearing. Before proceeding with my dissent, I?d like to register a little hunch. I think the critics will rate Maqbool as above average while the review-writing and movie-talking public will rave about it. Jehangir alias Abbaji is a compassionate don of the underworld. People fear just a little more than they love him. He controls his empire through his most trusted lieutenant, Maqbool. Quiet, aggressive and observant, Maqbool is everything that Abbaji is. But Abbaji is ageing while Maqbool is in his prime. This precisely is the problem of the sensitive but ambitious and dissatisfied Nimmi, Abbaji?s mistress. Other influential characters include Abbaji?s other lieutenant Kaka, who is less impulsive but more emotional than his comrades. If you don?t know already, Maqbool is Macbeth set in Mumbai. In weaving a story of the underworld with the thread of Shakespeare?s Macbeth, the script impresses you with its finely carved characters. It impresses you as much with some skillfully crafted scenes and mostly restrained, realistic and stark cinematography. Hemant Chaturvedi?s camera does not turn stylish for the sake of being stylish (a la Company). Not far behind is the impulse-laden, fittingly harsh dialogue. However, there?s not much else to look forward to. Pankaj Kapoor?s portrayal of Abbaji is the life of the movie. Shortly after the interval, Abbaji dies, and with him the movie dies too. What was till now a story shaped in a strikingly perceptive manner spirals downwards into a bland drama of murder and neurosis. The action and the criminal conflicts are boringly monotonous. Bhardwaj?s attempts at being bizarre are awfully tedious. Starting as an insightful portrait of gangland, Maqbool ends up wearisome and ineffectual. One reviewer wrote that many sequences of the movie linger in your memory. The only thing that lingered in my memory was Pankaj Kapoor?s performance. Nobody has ever played the underworld king better. Not even Marlon Brando in The Godfather. Then there is Piyush Mishra, who played Kaka amazingly well. One wonders why we haven?t seen more of this obviously brilliant actor. Tabu again showcases her immense talent. It is the embodiment of Maqbool by Irfan Khan than disappoints. His poker-faced, intense look is just perfect. But the dilemma is that it almost never changes. One could blame the scriptwriters for not coming up with situations which would let the character visibly go through a trajectory, rather than remain fixated on that look. Naseeruddin Shah and Om Puri as the corrupt cops are pleasing. I liked the characterisations, but after 2 hours, I came out not caring about what happened to Maqbool. Disappointing it is, but I do wish that Maqbool does well to pave the path for films that think beyond fashion and discotheques.
bill b (au) wrote: huge dissapointment.... extremely huge..... nice moments but a very weak film in general
Paul P (us) wrote: This is your typical Melville flick. Quiet, cool performances. Minimal dialogue that somehow creates a complicated storyline. And a film so technically precise it has to be the bloody genius himself. Alain Delon stands out yet again, him and Melville could make a short film of him walking down the street in a trench coat and fedora smoking a pack of cigarettes and i'd watch it.
Abdulmumin A (jp) wrote: It is a block burster
Jesse F (es) wrote: Not as good as "21" but still lots of fun.
Jay B (es) wrote: Very real and quite sweet... glad there was some humor to ground it all.
Allan C (es) wrote: Ever since I first saw "Blade Runner," I've been waiting for another film to capture the film's dystopian cyberpunk future. Plenty of films have been influenced by Ridley Scott's visual style in "Blade Runner," but few have done a story that feels like it could have existed in that same dystopian universe and William Gibson's screenplay adaptation of his short story certainly does (the Max Headroom TV show if probably the only other one that I think came close). However, the cheap production design, the flat photography and rather in-your-face directorial style wreck all the potential that was in the screenplay. Keanu Reeves plays a courier of sensitive data who unexpectedly takes on a dangerous job that ends up putting him on the run from multiple groups trying to recover the information. That set-up isn't so clever, but what is clever are all of Gibson's details in the world in which this story takes place. Keanu stores the data in his brain (for which he had to dump his childhood memories make enough space for), "Rising Sun" style Japanese cultural and economic invasion of America, underground hackers/doctors, religious zealot hitmen, renegade military trained dolphins, and there is even more! While the story and ideas are strong and the production quantity flounders. I will give the film props for casting Takeshi Kitano and Udo Kier in juicy roles and also for the unusual casting of Dolph Lundgren as the giant Bible quoting killer, which surprisingly works. This story is ripe for a quality remake because it could have been done so much better. I do think the end product here is worth watching and not at bad as it was panned as when it first came out, but it's pretty clear that this film had a lot more potential than what ended up on screen.
Lauren S (au) wrote: Gorgeous animation combined with a heartfelt story.
Charlie 7 (de) wrote: A very interesting monster movie but it feels somewhat patented out. I hear the original Japanese version is better in quality. Still for disaster film it's very entertaining.