Las reglas del juego

Las reglas del juego


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Las reglas del juego torrent reviews

Fat T (fr) wrote: What an awesome and unique storyline. I was so taken by this movie, it was everything I loved when it comes to idea. Such a gem! Absolutely in love with it.

Peter W (it) wrote: Average Chinese crime film with some great old school choreographed fight scenes.

Aya M (es) wrote: It was fun watching.

Kevin J (nl) wrote: amazing flick on netflix watch instantly.

Max G (br) wrote: A truly amazing film on par with series... In fact, is like a long episode of it.Great animation, humorous, violent, intense and a masterpiece.9.9/10 or 5 stars

Nathan T (jp) wrote: The animation is pretty impressive and the action is well put together. Now that the good's out of the way I can moan. The story is incredibly insubstantial, there's no sense of the stakes and it just seems like a framework for the action scenes. Also, no time is given to develop the characters in anyway, leading me to see the main character, Saya, not as a tortured soul driven for redemption (I think that's the tone the movie went for) but as bitter and unlikable. If you're after some decently animated action with little substance then I guess this is for you. I enjoyed it, but felt that they could of done a lot more with it.

tamil t (ru) wrote: the best indian film....

Mat K (au) wrote: A mariachi band would have vastly improved this movie. It would not have made any sense but at least it would have had some entertainment value. The film had a decent premise, despite being a Terminator rip off. However the script was terrible, all the main characters do voice over narration and tell us exactly what is going to be said five minutes latter. And then there is how Damian Lee seems to feel the need to repeat important details. Let me reiterate how Damian Lee has a thing about having characters repeat what was just said. Yes, it becomes very annoying how Damian Lee has characters repeating themselves. There are plot holes the size of parking lots. Continuity was either an afterthought or something to be ignored altogether. The action scenes were uninspired as was most of the acting. As for the sound track, the less said the better. On the plus side, there were a few genuinely, and intentionally, cute bits that save this movie from being a complete washout. However, a mariachi band would have been a welcome sight.

Simon T (au) wrote: Very much a film of two halves. The first 45 minutes is laugh-out-loud hilarious as we watch Bill Murray's appalling TV executive bully, cajole and intimidate various underlings like a stoner Donald Trump. But it all falls apart from then on, becoming increasingly ramshackle and shrill and culminating in a horribly misjudged finale. A shame.

JB R (ca) wrote: Pitch-perfect Ozploitation film from the master BTS coming on the heels of his kid's classic BMX Bandits. This film has everything: post-apocalyptic landscape, cars, tits, great action sequences, and a punk rock ethos. The acting is solid (especially a great turn by Peter Whitford as the drive-in owner). Like Romero, Trenchard-Smith always finds a way to layer smart sociopolitical commentary into his entertainment and this film is a perfect example. A true masterpiece of Australian new-wave film-making.

Paul Z (jp) wrote: This much-overlooked British drama opens with, literally fades in on, her days in WWII France. It follows her through the next 15 or 20 years, and ends with an aching scene from a past day when she thought tomorrow seizes nothing but good things for her. But nothing else in her life is ever as valuable, as dignifying or as exciting as the war. She is, maybe, a little insane. She divulges in one scene that she has a considerable issue: "Sometimes I like to lose control." Fred Schepisi's obscure film stars Meryl Streep and it is a performance of daring delicacy. It is hard to play an irrational, maladjusted, quasi-suicidal woman with such tenderness or grace. She is oftentimes quite charming to be around for the other characters, and when she is letting herself fall short of restraint, she doesn't do it in the vein of those exclusive movie frenzy scenes but with a relatively pleasant imperativeness. When she returns to England after the war, she makes friends with a round-faced, grinning imp played by a refreshing Tracey Ullmann. Another is Charles Dance's foreign service officer who is initially charmed by her casual, free-spirited lifestyle, and then marries her and becomes her permanent aggrandizer, putting up a barricade of composure and practically divine patience around her tantrums. It is challenging to pigeonhole specifically what it is that disturbs Streep's character. Early on, David Hare's screenplay shepherds us to her own heuristic that after the valor and brazenness of the war, after the gallantry and the passion, it is beyond absurd to her to readjust back to normal life and endure the tedious small talk of civil commonality. Yet as the film proceeds in a clandestine manner of being episodic, we find there is something persistent, a little vicious, in the way she humiliates her husband at crucial times, constantly seeking to be tactless and incongruous. Ultimately, we gravitate toward his position when he eventually thunders that she is hateful and pitiless, and oblivious to those who have withstood her. But then there is an postlude, moistened by the misty twilight of the most dismal hour of fall, and there is such despondence in the way she and another character both become conscious that nothing will ever graze them again the way the war did. This bit part-filled movie is conclusively not a assertion concerning war, or foreign service, or middle-class British, but just the story of this lost woman who at one time lived profoundly, and now finds that she is barely even living. The performances grant one enthralling solitaire after another. Most of the pivotal instances come as different characters eclipse different scenes. Streep births a complete character around a woman who could have merely been a hit list of problems. Charles Dance has an unrewarding part, as her perpetually agonized husband who from the beginning seems like a very dull bureaucrat, but survives to show that he is respectable as well as foolish. Sting plays a commonplace young man who ineffectively tries to conceive Streep's child for her. John Gielgud has three small scenes and steals them all, which essentially is the story of his career. Plenty is written, acted and directed as a lather of refinement and delicate shrewdness, underneath which grows the revelation that life can often be futile, dull and depressing, and that there can be days, months, years, decades in accordance.

Mark L (kr) wrote: I have always said that finding great movies is like looking for raspberries (as I loved to do as a kid at my grandma's house): You have to look in the shadows for the great ones.This movie is not a great one. It is an uncanny one. Very few films have had me so engaged with the story. Bergmann (the director) makes images that remind me of my own dreams I have. This movie is the first one I can say would play like a Parable, and is one of the best movies about the importance of forgiveness I have ever seen.Outstanding in every way.

Scott M (us) wrote: It has 2 good laughs, and a story that kind of drags a bit. It plays sufficient homage to the original, but does little else. Kidman, To her credit, Didn't try to emulate the great Elizabeth Montgomery.

Denny K (es) wrote: fantastic love story.

Adam B (ca) wrote: superior monster movie. Michael Moriarty is damn good, it's unfortunant his character gets shafted.

Ben G (ag) wrote: Not as good as a lot of Marvel movies, but this one is still fun.