Actor Nicolas Bro reigns supreme in the role of Nicolas Bro - a man intent on making a film about himself. After his director friend Christoffer Boe lends him a camera, his selfmonitoring is so hair-raisingly private that it becomes impossible to separate fact from fiction.

  • Rating:
    4.00 out of 5
  • Length:93 minutes
  • Release:2006
  • Language:Danish
  • Reference:Imdb
  • Keywords:Offscreen 2006 full movies, Offscreen torrents movie

Actor Nicolas Bro reigns supreme in the role of Nicolas Bro # a man intent on making a film about himself. After his director friend Christoffer Boe lends him a camera, his selfmonitoring is so hair-raisingly private that it becomes impossible to separate fact from fiction. . You can read more in Google, Youtube, Wiki


Offscreen torrent reviews

Skylar G (it) wrote: I just signed up for Rotten Tomatoes to specifically rate this movie. It's the first movie in a long time that is entirely a metaphor for an idea that you as an audience member needs to develop yourself. I was very moved by this movie. It was gripping and intense. Powerful. Very underrated. Michael Shannon especially stood out in this movie. Great acting by all, but wow. I loved Michael Shannon's police character.

Jason D (it) wrote: maybe if it was a documentary

Bryan E (it) wrote: Not a horror film, more so a comedic zombie film that focuses on family rivalries. It's not as bad as everyone says, Romero is stay able to create an entertaining film.

Mike P (ru) wrote: So slow and about a half hour too long. The characters are great, I just wish something happened that was worth watching.

meriwether c (fr) wrote: In general, I am not a movie fan. Sitting in front of a screen for more than an hour just WAITING for the director to finally get to the cliche, "I knew this was coming" ending irks me. So naturally, when I watched the movie Drive Me Crazy I loved it. I know, I know. I like this movie but I don't like watching other cinematic masterpieces?!!! But for some reason this 90s, mind- numbing chic-flick caught my attention. Yes, the plot was just like everyone other movie plot during this time. The usual girl is neighbors with guy. Guy is weird, girl is popular. Guy and girl don't get along. Something happens to make girl like guy. Throughout the movie girl and guy fall in love without realizing they love each other. End of movie, girl and guy end up together, The end. And I just summarized the whole movie, but no matter how cliche the movie may have been it was still one of the better Netflix movies I have ever watched. I love Melissa Joan Hart in other movies and I loved her in this one (not to mention Adrian Grenier isn't hard on the eyes). The plot in more details consists of Melissa, Nicole, is popular and needs a date to the dance that she is in charge of putting together. Her crush ends up not asking her so she is in desperate need to find someone and of course her choice is her rebellious, misunderstood neighbor, Chase. Nicole transforms Chase into one of the "popular" kids. Some things go wrong throughout the movie but the two end up together. Overall I give the movie a 4/5, except for the ending. THE ENDING IS SO WEIRD. I don't want to spoil it but 0/5 on the end.

monsieur r (ru) wrote: This is great acting and seemingly thin plot... it all takes place in a suite of a hotel in Wichita, but don't go to sleep on it.... the last half hour is as tense as it gets. A real morality play... the young marketing man is a bible thumper at the cost of his job... making one veteren salesman in particular, go bonkers. DeVito is excellent as the weary co-worker. Don't be fooled by the cover jacket photo.... that is simply what one veteran salesman envisions of himself while escaping a crowded suite via the bathroom to talk with his dear friend DeVito. A true dipiction of what salesmen go through to get the big sale from you guessed it: the big Kahuna! At first this was a little waste of time, but stick with it. Again, the last half hour makes the film... very [i]heavy[/i] stuff.

Ian M (ru) wrote: Just when I thought it couldn't get any worse, Tori Spelling shows up

LaDonna M (jp) wrote: Another 80's coming of age movie! It's good

Van R (jp) wrote: This atmospheric World War II era horror chiller constitutes a rare treat. The filmmakers have skillfully intertwined serious, real-life serious events with supernatural fictional proceedings. Meaning, few monster movies appropriated the contemporary crisis of World War II and exploited it as a part of its storyline. Remember, during World War II, American and British films served as propaganda for the masses and championed democracy over fascism. Usually, these horror films skirted political ideologies, with only the most marginal references to the war. Mind you, ??The Return of the Vampire?? doesn??t weave World War II entirely into the fabric of its yarn, but the titular fangster does arise as a consequence of the German Luftwaffe. Moreover, the evil that National Socialism posed to England is comparable to the bloodlust of the vampire. Like the autocratic Nazis that manipulated millions into submission, the vampire here exerts total control over its powerless prey. During a London air raid, bombs shatter the tranquility of a cemetery where the vampire has been consigned to oblivion with a stake in his chest. Director Lew Landers and ??Mummy??s Hand?? scenarist Griffin Jay have taken Kurt Neumann??s original story idea and done a splendid job of integrating the war with the vampire??s reign of terror. The cinematography of lensers L. William O'Connell and John Stumar creates a creepy feeling with its reliance on a fog machine and some graceful camera movement. Today??s audiences will probably find nothing scary about this old-fashioned ghoul fest with its use of expressionist shadows to tell a story. ??The Return of the Vampire?? is quite unusual as it foreshadowed the combo chiller that brought together two supernatural creatures. A vampire and the werewolf work hand-in-hand for the first fifty minutes before they turn on each other in the end. ??Twilight?? fans may initially find this film disconcerting because the vampire wields power over the werewolf, but they will savor the ending.Bela Lugosi doesn??t appear during the opening 23 minutes. Nevertheless, when Lugosi does show up, nobody can steal a scene from him. The first scene where a werewolf, Andreas Obry (one-time actor only Matt Willis), enters a gloomy cemetery and awakens the vampire at dusk is mildly spooky. Andreas serves as the equivalent of Renfield from "Dracula,?? because Lugosi??s vampire possesses his soul. Admittedly, Willis appears rather ridiculous in his hirsute make-up, but this scruffy canine look may have been frightening to early twentieth century audiences. Anyway, Landers and his lensers pay tribute to German Expressionist filmmakers when they present the vampire as a shadow against a wall as he emerges from his coffin. The only flesh and blood shot is a close-up of the bloodsucker??s hand as it raises the coffin lid. Similarly, they stage the action of a man driving a stake into the vampire??s heart in silhouette against a wall. Initially, use of silhouettes was a Hollywood method of depicting violence without nauseating the audience. The vampire, Armand Tesla (Bela Lugosi of ??Dracula??), differs considerably from Count Dracula. A depraved Romanian scientist who lived 200 years ago in 1744, Tesla published an authoritative text about vampires. He fell victim to his obsession with the undead and turned into one after his death. No, the filmmakers never explain what specifically turned Tesla into a vampire. Tesla is preying on young women in the year 1918 when the action unfolds and the werewolf acts as his servant. Meantime, Dr. Walter Saunders (Gilbert Emery of ??The House of Rothschild??) and Lady Jane Ainsley (Frieda Inescort of ??Mary of Scotland??) track Tesla down to his tomb and hammer a spike through his heart. Ironically, everything that Dr. Saunders knows about vampires he has learned from Tesla??s writing. Landers and his scenarists use Dr. Saunders as a mouthpiece throughout these early scenes so that non-horror movie audiences would not be left in the dark about the procedure for killing a vampire. The second act of ??The Return of the Vampire?? occurs in 1940 before America had entered World War II with the British. Dr. Saunders has died in a plane crash and left behind a manuscript of his fantastic exploits, principally the destruction of Armand Tesla. Scotland Yard??s Chief Commissioner, Sir Frederick Fleet (Miles Mander of ??South of Suez??), has perused the manuscript and has no alternative but to exhume Tesla??s body to substantiate what appears to be murder. Of course, Sir Frederick flatly refuses to believe in the existence of vampires. Later, a bomb devastates the graveyard where Saunders and Lady Jane buried Tesla's body in an unmarked grave between the Fairchild grave and the Smithley grave. Two laborers stumble upon Tesla??s unearthed coffin and mistakenly believe that the bomb hurled a spike into the corpse. The conversation that they have between themselves about this grisly incident serves as amusing comic relief. Dutifully, the laborers remove the spike and bury the coffin. Nevertheless, Tesla arises and Andreas reverts to his werewolf days. Since Tesla??s demise, Andreas has been a tireless laboratory assistant to a now older Lady Ainsley. Lady Ainsley??s son John (Roland Varno of ??Zanzibar??) has grown up. A former Royal Air Force pilot, he has now become a concert pianist, while the late Dr. Saunders?? daughter Nicki (Nina Foch of ??Illegal??) serves in the women??s corps. The two plan to marry in the future. Tesla enters Nicki??s bedroom and bites her. Later, Nicki bites John. Nothing that Lady Jane tells Sir Frederick about Tesla convinces him that Tesla is a supernatural being. Meanwhile, when his detectives question Andreas, Andreas turns into a werewolf and escapes from them. The detectives show Sir Frederick the wolf hairs that they collected in their brief struggle with Andreas, but Sir Frederick remains dubious.Meanwhile, Lady Jane has been asked to help a scientist fleeing from the Nazis. Dr. Hugo Bruckner has escaped from Axis-occupied France with the help of the Resistance. He comes to London to meet our heroine. Tesla has Andreas dispose of Bruckner, and Tesla assumes the scientist??s identity. Eventually, Sir Frederick discovers this deception. Tesla visits Lady Jane. Since she knows his true identity, Tesla decides it is time for him to exact his revenge against her and turn Nikki into a vampire. Before Tesla can carry out his morbid plan, Andreas kills him. Eventually, Sir Frederick discovers this deception. Tesla visits Lady Jane. Since she knows his true identity, he decides it is time for him to exact his revenge against her and turn Nikki into a vampire. She exposes a cross and Tesla flees. Later, Lady Jane has another of her futile arguments with Sir Frederick about the reality of vampires. Before Tesla can carry out his morbid plan, Andreas kills him. The ending of ??Return of the Vampire?? is both clever and amusing. Despite everything that has transpired, Sir Frederick remains adamant in his disbelief about vampires. He queries his two plainclothes detectives. ??You two fellows don??t believe in vampires, do you??? They are just as convinced that vampires exist as Lady Jane is. Sir Frederick then breaks the fourth wall and addresses the audience. ??Do you people??? All vampire movies have their own unique set of rules. ??The Return of the Vampire?? is one of those vampire movies where the vampire can enter a residence without the permission of its owner. "The Return of the Vampire" may have been the first time in a film that a character shines a mirror on a vampire and the mirror reflects the vampire's apparel but not the vampire. Typically, in these scenes, the vampire's image is not reflected in the mirror, including his apparel.

Randy P (kr) wrote: A sequel I wish I never saw.

Adam R (mx) wrote: (First and only full viewing - In my mid-twenties)

Michael F (kr) wrote: As a jaded slasher glutton, I have to say that Visiting Hours boasts one of the most miraculously startling and disturbing jump scares in horror cinema. This is achieved through a highly unexpected hiding place chosen by its killer (chillingly portrayed by Michael Ironside) early on in the film. I won't spoil the scare for those who haven't seen it, but I defy anyone not to gasp when Ironside pops out, especially given the bizarre and irreverent manner in which his character presents himself.Ironside is remarkable in this role, playing a nearly-silent misogynistic psychopath whose intentions are spelled out solely by the plot's indirect nuances and the actor's look of steely determination. Fortunately, the rest of the film's cast is filled out by some other great players. Lee Grant, as usual, turns in an assured and convincing performance. Linda Purl is fetching as the genial nurse assigned to Grant's care and serves as a needed counterbalance to Grant's brashness and Ironside's ferocity. And Lenore Zann is mentionable for her feisty and tough-as-nails portrayal of a hooker, in the vein of Nancy Allen. William Shatner is fine, but isn't given much to do.The film is given ample style and atmosphere by director Jean-Claude Lord, who really knows how to make the scares snap out of the dark and shamelessly confront us. There is a lot of dreadful anticipation in Visiting Hours that you don't really experience in too many other films.Having trudged through countless slasher films of grades of every quality, I can safely say that Visiting Hours is one of the scariest I've ever seen. My only complaint is that Lee Grant's character doesn't get quite enough retribution against Michael Ironside's psycho killer to outweigh the torrent of mortifying misogyny that guides the proceedings. But that jump scare? Now that's the way to do it.