Man On Fire
Jaded ex-CIA operative John Creasy reluctantly accepts a job as the bodyguard for a 10-year-old girl in Mexico City. They clash at first, but eventually bond, and when she's kidnapped he's consumed by fury and will stop at nothing to save her life.
In Mexico City, John Creasy, a burned-out ex-CIA operative, who has given up on life, a former assassin swears vengeance on those who committed an unspeakable act against the family he was hired to protect. . You can read more in Google, Youtube, Wiki
Man On Fire torrent reviews
(ag) wrote: Very slow, yet beautiful. It's all worth it for the ending.
(es) wrote: Way cuter than the other ones. Moreover, the production is better than with the first movie. Kind of funny.
(gb) wrote: Ask the Dust is a interesting film thanks to the good performances of Salma Hayek and Colin Farrell. Other than that, it fails on every other level.
(es) wrote: Original, Intriguing and Claustrophobic! A movie with a uniquely strange atmosphere!!
(fr) wrote: A must see for all Lynch fans. The MK2 BluRay version is far superior to the DVD cut. Time is ripe for David Lynch to resume his masterful craft.
(es) wrote: A French film that became a cult hit here in the United States and was eventually re-made by Bridget Fonda in the movie, "Point of No Return". The story of a homeless Heroine addict who is "Put to Death" by lethal injection for the murder of a police officer only to wake up in a facility to be trained as an Assassin for the French Government. A good movie. It is in subtitles.
(fr) wrote: Parece que a RTP1 assumiu a responsabilidade que a RTP2 tinha de passar "o filme bom da semana ", e foi assim que "Performance" apareceu perdido na madrugada de domingo passado. Aos poucos, um qualquer bravo resistente na programao da RTP1 anda a enviar sinais de fumo para quem quiser fazer uma boa descoberta por semana. Obrigado. "Performance" a todos os nveis uma descoberta e um filme com caractersticas rarssimas de se ver em canal aberto. Ao tropear nele, durante o zapping antes de ir dormir, demorei algum tempo a perceber o que se estava a passar, o que sempre ptimo sinal. Fiquei depois a saber que se tratava do filme que revelou ao mundo a inconfundvel linguagem de Nicolas Roeg (realizador capaz de nos deixar de queixo cado no cho ao segundo filme), ou pelo menos quela parte do mundo que arranjou estmago e cabea para mergulhar numa trip de identidades mltiplas como raramente se viu no cinema dos grandes estdios (a Warner Bros. financiou "Performance" e nunca soube muito bem o que fazer com ele). Nesta primeira vez, desisti de o tentar compreender depois de 30 minutos estonteantes e acabei por me sentir recompensado com um dos melhores festins visuais dos ltimos tempos.
(de) wrote: I kept coming back to those young, young faces. My grandpa enlisted in the army when he was just seventeen and spent the next several years of his life in Europe killing and trying not to be killed. I've seen a number of war movies, but somehow this seemed to connect me with my grandpa's experiences in a way no other movie has; I just kept coming back to those young boys' faces--the hard, mostly monotonous work in which they were engaged day in and day out, and their not infrequent brushes with death. Though it was warm, entertaining, affirming, frequently funny, and deeply patriotic, it was the grueling manual labor and stays in hospitals that lingered in my mind, interrupted by gunshots and explosions (all the more brutal and jarring for their juxtaposition against such a quiet daily routine). The characters in the film felt like real people doing a real job, and, for all of John Ford's wonderful lyricism and Hollywood romanticism, I found that sense of authenticity (from actors and filmmakers who had actually served in the military themselves) very moving. Pansy pacifist that I am, it may be easier for me to see the ravages of war in something like The Hurt Locker than the real heroism Rusty displays when he offers his spot in the airplane. Both The Hurt Locker and They Were Expendable seem, at least partly, to be about men (Renner and Wayne, respectively) addicted to combat--the former demonizes the adrenal addiction, while the latter acknowledges the sacrifice and dignity of men willing to do whatever they can for an essential cause. While I do think war is too frequently justified, I can't help but feel incredibly humbled by those willing to put their life on the line for something bigger than they are, and something so incredibly necessary. The uncertainty was another element that struck me--while I've seen a lot of movies about WWII, I haven't seen any of the American war movies actually made during the war (with the exception of Capra's Why We Fight documentaries), and the possibility not only of death, but also of defeat gave greater weight not just to the battle scenes, but also to the quietest moments. The gathering clouds both contextualizes the puniness of these characters in the scheme of things, and also highlights their humanity. As is frequently the case with Ford, the emphasis is on community--not just the community of the squadron, but, by extension, the entire armed forces and everyone back home supporting them, the entire country, the Allies, maybe even the human race. The freedom of the individual life is precisely what is worth fighting for, but, in times of war, it's exactly what must be subordinated for the welfare of the community. The John Wayne and Donna Reed characters' beautifully developed romance may actually amount to a hill of beans, but that doesn't mean they'll ever be able to find each other after that phone got disconnected. Those small moments of sacrifice were telling.
(jp) wrote: This film doesn't deserve a 49% Chlo Grace Moretz and Julianne Moore did a great job
(jp) wrote: Good, but not great. Westfeldt was herself, but something was missing here.
(au) wrote: Creepy as fuck and great performances. A must see.
(it) wrote: Quirky in a Wes Anderson style. Not mainstream. Watchable and enjoyable.