Lethal Justice

Lethal Justice

N/A

  • Rating:
    4.00 out of 5
  • Length:100 minutes
  • Release:1991
  • Language:English
  • Reference:Imdb
  • Keywords:Lethal Justice 1991 full movies, Lethal Justice torrents movie

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Lethal Justice torrent reviews

Blake B (es) wrote: De Palma is a fascinating, one-on-one doc with the famed director. The talent, brilliance, and unconventionality of Brian De Palma are showcased from start to finish by Baumbach. One of my ultimate favorites this year, and a near perfect documentary for everyone infatuated with the art of filmmaking.

Jeremy R (au) wrote: The SNL sketch was better, and I've lost interest in SNL.

intuciic (gb) wrote: when you expect that the last there can come person in your life in most simple way and turn your world upside down. he can learn you long forgotten things and teach you lots of new!

Kyle S (ag) wrote: Very underrated cartoon.

David L (kr) wrote: This movie is bloody and gross, hard to follow, meaningless, heartless and filled with action sequence after action sequence. The animation is also preposterous and always too dark to see a thing. It could have been a good film had it had any emotional investment, character development and good animation, but it does not have any of it, it only has a solid script. It is a wasted potential and a film that can only appeal to die-hard fans of both vampires and anime.

alan j (de) wrote: way ahead of its time...very strong themeatically and is a timeless metaphor. Be sure to watch the commentary included on the dvd. An intellectual masterpiece played out sometimes in absurdist fashion, but does hold your interest and may require a second viewing. Simple yet acidic and highly effective story!

Michael L (fr) wrote: wow. whta a great avant garde short film! this definetely deserves it place on the TSPDT top 1000 films of all time. it is very ahead of its time.

Adam G (de) wrote: This was done by Carl Dryer who also did The Passion of Joan of Arc, excellence in film making. I think he was the best.

Cameron J (mx) wrote: Well, it would appear as though Marty McFly got lost on his way back to the future. I put it like that because it's a little hard to take Michael J. Fox... and John C. Reilly, and John Leguizamo all that seriously as soldiers (This is kind of a wimpy outfit), although, if anyone kind of defuses the tension in the floating heads poster, it's Sean Penn, with his big mouth and what have you. Mind you, I'm not going to tell him that, not just because he is definitely a commanding force in this film itself, but because I'm scared of him in real life, when he isn't armed with a certain little friend. ...Gay as that sounded, I put it like that because this film is directed by Brian De Palma, which, of course, means that this film ought to be edgier than you'd think it is when you see Michael J. Fox. I joke, but in the poster in question, Fox looks a smidge like Tom Cruise, which I figured would be an "impossible mission". Man, with all of these awful puns, I seem to be about lame enough to be in the platoon portrayed in this film. I think I'll just stick with watching this all from the side, largely because when I'm not being shot at and have to rely on Mike Fox, John Reilly and John Leguizamo to help me (I doubt Penn will help me after I made fun of his face in the poster), this makes for a pretty good film, for all its issues, that is. Being that this film is not much of anything if not a little excessive, even the potentially tight runtime of about two hours goes abused, sometimes with simple filler, and often with so much fat around the edges of material that the narrative ends up sticking with each segment for way too long, to the point of wearing you down enough to spot where the originality lapses. On paper, this harsh Vietnam drama has a certain freshness to its interpretation of horrors found in a dehumanizing place of conflict, but in execution, all but all of that originality is betrayed, whether it be because of character types, or because of formulaic set pieces, or because of near-trite dialogue (So, just how many Vietnam soldiers in real life blurted out, "Get some!", over and over again when they manned a gun turret?) that is aggravating enough because of its griminess. As I said, excess is found throughout this gritty affair, and not just within plot structuring, because whether it be through overt obscenities or through even some overtly disturbing visuals and material, this film tends to beat you over the head with grime, as surely as it tends to beat you over the head with dramatics, with sentimentality and other glaring lapses in subtlety. With all my talk of this film's being rather derivative, it is a whole lot like Oliver Stone's "Platoon", in that it is so compelling, yet it would be more so if it didn't get either a little too grimy, or a little histrionic, or all around overbearing at times with its handling of powerful subject matter, limiting dramatic sophistication by limiting subtlety, even with its characterization. In concept, this film is defined by its humanity, thus, in execution, a lot of hard work is put into bringing this character drama's depths to life, and when that hard work doesn't pay off, believe it or not, it really misfires, offering little immediate development right away, before reaching a body that overdevelops the characters, as types with few layers that the performers work with as best they can, but not well enough to compensate for thin characterization. This lack of subtlety, even in exposition, reflects a sloppiness that really shouldn't be in a film this valuable in concept, and generally inspired in execution, for if there was more grace and tightness, then the final product could have gone far. As things stand, however, what the film slips up on its more than makes up for with what it does so well, even in, of all things, artistry. Composed by the great Ennio Morricone, this film's score, while thematically unique for Morricone, is a bit formulaic, and sometimes tonally abrasive, but on the whole, it's predictably outstanding, combining that trademark Vietnam War film fusion of mild psychedelia and great intensity with Morricone's own trademark Italian whimsy, in the vein of "Once Upon a Time in America", in a manner that is aesthetically solid, not unlike cinematography by Stephen H. Burum that may a little too subdued in a lot of ways, but offers just enough grit to be rugged and sell a lot of the grit of this drama. Both the visual style and the visuals the style falls over help bring life to the immersion value of this grimy war portrait, as art director Bernard Hides nails the setting of wartime Vietnam to the point of drawing you in, particularly with further technical proficiency kicks in during intensely well-staged and tight, if a tad noisy action sequences. If Brian De Palma delivers on nothing else, it's style and action, but really, style is still underplayed, and action is limited, thus, De Palma has to primarily focus on his dramatic abilities, and when it comes to that, he slips up more than he probably should with his overt disturbances, sentimentality and other abrasive touches, yet once he gets a grip on his dramatic vision, the film all but shines with its tension, resonance and, for that matter, entertainment value. Although it is done an almost great injustice at time, this film's subject matter is handled well enough to never feel as thin as its execution, which is good, considering the thematic and dramatic value of this potentially unique portrait on the loss of innocence, humanity and overall decency in the midst of war, in full, horrifying form, done a rewarding amount of service by both De Palma and David Rabe. Rabes' script is a mess of pacing and subtlety issues, and even characterization thinness, but it is just comfortable enough with its depths to provide plenty of dramatic potential to be brought to life by De Palma, as well as the most consistent strength: the acting. Well, some of the performances take some getting used to, as the material is so abrasive, when not thin with characterization, but the portrayals do best what the writing and direction slip up at doing at times: keeping this drama's human heart pumping, with Sean Penn being particularly chilling in his hardcore portrayal of profoundly disturbed man who feels an evil environment justifies evil doings, while Michael J. Fox proves to be truly revelatory in his convincing, subtly layered portrayal of a young solider whose interpretation of justice is clouded by certain peers' vile ways, and by how other peers interpret this villainy. These performances really define what could have been done to make this drama outstanding, but where the final product could have fallen as an underwhelmingly misguided take on worthy subject matter, there is enough inspiration to drive the effort as, at the very least, rewarding. Overall, there are some unnecessary conventions, and even less necessary excesses, in pacing, obscenities and sentimentality, which join somewhat thin characterization in establishing some glaring subtlety issues which threaten the final product's reward value, ultimately secured by the beautiful score work, handsome cinematography, generally effective direction and scripting, and powerful performances - especially those by Sean Penn and Michael J. Fox - which do enough justice to the valuable themes of "Casualties of War" to craft an ultimately rewarding portrait on the horrors of dehumanization during wartime. 3/5 - Good

Ryan S (kr) wrote: 4/5. A fun little scary movie. It's highly entertaining, has many great "Oh Shit!" moments, and a very solid first act and villain.

Isaac T (fr) wrote: this is your typical horror movie for kids the creatures look awesome but also this movie as so much to offer for a typical kid horror movie