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Old Drac torrent reviews
Shawn R (us) wrote: Surprisingly a good story with a kind of original plot.
Michael V (mx) wrote: You definitely get what you paid for and I got this as a free rental. The CGI effects in this movie were so unbelievably poor. The crocodiles were among the crappiest CGI creatures I have seen in a long, long time. The intentions were good, but the effects were so lousy. As for the story? Well nothing much to be expected here. Your standard "lets keep churning them out because there is still a few bucks to be made". Local people and non-locals are being eaten by monstrously big crocodiles, and a gun happy hunter is brought into the fray. And a family with troubles that somehow manages to save the day while fixing their own issues. It is all here. And it has all been seen before. The acting, well it was wholeheartedly attempted, and actually most weren't too shabby. Some were questionable to say the least. Though I have to say Michael Ironside and Yancy Butler save this from being worse then part 2. And of course some nice boobie shots to help hide just how bad this is.
Hobie P (nl) wrote: I laughed my ass off at this film. One of the better sequels,along with Part 2 & 3!!
Maggie F (ag) wrote: Didn't appreciate the violence.
JeanFranois S (jp) wrote: Indit en France, ce tlfilm amricain n'a de tlfilm que le nom. Un casting exceptionnel Michael Gambon, Donald Sutherland, Alec Baldwin, Philip Baker Hall, etc...), un grand nom la ralisation et un film de 2h45 (!) qu'on ne voit pas passer. John Frankenheimer a chipp la recette miracle d'Oliver Stone sur "JFK" et l'applique cette fois sur Lyndon B. Johnson et l'intensification de la guerre du Viet-Nam. C'est presque une suite non avoue du film d'Oliver Stone. Un film passionant, qu'il faut dcouvrir !
Cody O (kr) wrote: I have always liked this movie for the spectacle. And although not a masterpiece, I have a soft spot for this movie.
Nick M (de) wrote: Gregg Araki's filmmaking style is erratic to be sure and this multi-character comedy/drama/sci-fi film is no exception. A great soundtrack and a surreal atmosphere highlights this journey into a whacked out Los Angeles.
Private U (it) wrote: I liked it quite much. The cast is awesome, it was just incredible to see them all on the same screen. A bit slow in pace, but the burn in the character settings was interesting enough.
Andr D (mx) wrote: Sucia y nihilista cinta que recurre al sexo gratuito para decirnos nada. Cyrill Collard, su director y protagonista murio de Sida.
Michael S (mx) wrote: Their isn't much I don't like about this movie, after watching it for a second time it made an even bigger impact on me, highly recommended
bernard a (kr) wrote: Hmmm...there is something about this story that bugs me. It could be me just reading way too much into this story and perceiving a "message" where none exists. I admit CITY FOR CONQUEST is an entertaining film to watch and I'm sure it was meant to be that...but still, I just have this nagging feeling that the writers were making a statement - albeit a subtle one - about "traditional family values". Bear with me and I'll try to explain: I'm trying to think if James Cagney ever played a more decent guy than he does here in CITY FOR CONQUEST. Sure, he's played the tough guy with a heart of gold before - but never with a bigger heart than he does here, I bet. It's one of the main points of the story as pointed out by a bum (Frank Craven) who acts as a kind of Jiminy Cricket-like narrator to the film. He is first seen admiring the New York City skyline from the deck of the Williamsburg bridge. The bum is roused from his reverie by a policeman (yep, that's Ward Bond under that uniform in an uncredited bit role) who tells the bum that he can't loiter there and must move along. The bum explains that despite New York being a vast and seemingly cold & impersonal city (as exemplified by the policeman) - underneath it all beats a warm and caring heart. The bum takes us to a poor working-class neighborhood where the film's main characters are first introduced - as little kids. A girl, Peggy is dancing to an organ grinder's music before a crowd of onlookers. She dreams of one day being a famous dancer. Danny, her boyfriend looks admiringly from the sidelines. When a bully pushes another kid into Peggy, knocking her to the ground - Danny is quick to her defense. Point being - Danny is the brawler. There is also Danny's brother, Eddie - who would rather practice on his accordion than play "kick-the-can" with the other kids. Eddie dreams of one day being a famous musician... Fast forward to present day - Danny (James Cagney) is content just being a truck driver. He doesn't have the ambition to pursue a prizefighting career despite a talent for boxing and rebuffs offers from a boxing promoter (Donald Crisp). Danny explains that he doesn't want to end up like the washed up ex-boxers who hang around the gym... "old before their time. No, thanks, I think i'll stick to driving a truck". Danny's biggest plan though is to one day marry Peggy. But Peggy (Ann Sheridan) wants something more out of life. She doesn't picture herself becoming like her mother - barely eking out an existence. She wants to make a name for herself first - a famous dancer on Broadway. "We'd only be hurting each other if we let ourselves into the lives like our families had...always struggling, always making a dime do for a dollar...", she tells Danny her reluctance to rush into marriage. Eddie (Arthur Kennedy), meanwhile is the struggling composer/musician...earning a few bucks teaching neighborhood kids how to play the piano. Eddie is working on writing a symphony - a musical "portrait" of New York City (film composer Max Steiner took a cue from George Gershwin's RHAPSODY IN BLUE here. The similarity is readily apparent). Three characters with different ambitions...but the fate of the other two characters will eventually revolve around Cagney's charter -Danny. It's to Danny's credit that despite his disappointment with Peggy for postponing their marriage -he doesn't hinder her ambition to become a dancer. Danny also doesn't mind when another guy asks Peggy to be his partner for a nightclub dance competition "...as long as she's having a good time, I don't worry about Peggy", says Danny to his worried buddy, Mutt (Frank McHugh). Peggy's dancing partner, Murray (Anthony Quinn) is a talented dancer too and the pair wins the competition - and so are noticed by a booking agent. With Murray as her dance partner, Peggy thinks she is on her way to achieving her dream. Unfortunately, Murray takes an instant disliking to Danny and his friends. The film never really explains why. I suppose Murray is meant to be the "bad guy" in this - the third spoke of the "triangle" - but he just comes across being too one-dimensionally bad - without added depth to his character. Yes, Murray helps Peggy achieve the fame she was yearning for...but at what price? The pair become a vaudeville success story...but you wonder why Peggy would choose to remain Murray's dance partner considering his behavior towards her. With Peggy's star on the rise...Danny is motivated to "win" her back. He accepts the offer from the boxing promoter and becomes a prizefighting sensation - eventually gaining a chance to fight for a championship crown. A bout that would end with fateful consequences... ...which brings me to my point about "traditional family values". I wonder if the writers were (at heart) espousing traditional family values as the main theme of the film? I thought it was very "un-traditional" that Peggy would choose a career for herself over marriage. I thought too that it was a plus that Danny was tolerant to Peggy's ambition. Although, he was a bit jealous that Peggy eventually spent more time with Murray - Danny didn't really hinder her career moves or that they never had any bad arguments over it. But look what eventually happens to them. Yes, the film ends on a bittersweet, tear-jerking note but it seems to me that both were "punished" for having liberal views in regards to "family values". The boxing promoter played by Donald Crisp - chews out Peggy for her behavior - "I've seen you give that boy (Danny) the rawest deal that any woman ever gave a man...You're no good for him..." hmmmm, all because she chose a career over marriage? Consider too that CITY FOR CONQUEST was made after the institution of the Hollywood codes which states: "The sanctity of the institution of marriage and the home shall be upheld". It was important to show that folks are punished for their transgressions - all for the sake of the public good. There is also a small but memorable role played by Elia Kazan - in one of his few acting roles before he became a director (A STREETCAR NAMED DESIRE, ON THE WATERFRONT - to name just a few). Kazan plays one of Danny's friend, Googi - also from the same poor neighborhood. Googi is first seen stealing bread in the beginning of the film and is admonished by the narrator bum. Googi later becomes a rich gambler and hood. But alas, due to the "codes" - Googi's fate is sealed too. Interesting film with very good performances from Cagney and Sheridan...if you don't mind being manipulated a bit. Am I reading too much into this? Oh well. That's what makes watching classic films fun. 7.5
Bradford D (fr) wrote: The pre-release version rings more truly and portrays the characters with real motivations. It quotes Nietzsche and doesn't shy away from the hard life from which Stanwyck's character broke. The theatrical release should be trashed. It's a sugar-coated fable.
Stuart K (br) wrote: Nothing to do with Hammer Horror's long-running Dracula series, this one is actually closer in tone and structure to Hammer's Karnstein Trilogy, it's based on legends of a "Blood Countess" who lived in Hungary in the 17th Century, and that makes the setting for this gruesome but compelling tale. This has the elderly Countess Elisabeth Ndasdy (Ingrid Pitt) who has just inherited a castle from a relative, and she accidentally discovers that she can become young again if she bathes in the blood of young women. She gets the castle's steward Captain Dobi (Nigel Green) to assist in the kidnapping and murder of young girls from the area, in her youthful state, Elisabeth poses as her daughter Ilona Nadasdy (Lesley-Anne Down), who is being held in a house outside of town. The youthful Elisabeth falls for Lt. Imre Toth (Sandor Els, off Crossroads), but to keep the illusion that she is young, she needs more and more blood. Then, the castle historian Grand Master Fabio (Maurice Denham) learns of what is going on. It is a dark and brooding tale, through it has it's moments of Hammer silliness, but when the gore comes it's all good. Pitt gives a great performance both young and old. It does end a bit abruptly though, but alot of Hammer films did that.