When the head of a statue sacred to a village is stolen, a young martial artist goes to the big city and finds himself taking on the underworld to retrieve it. . You can read more in Google, Youtube, Wiki
When the head of a statue sacred to a village is stolen, a young martial artist goes to the big city and finds himself taking on the underworld to retrieve it.
- Stars:Petchtai Wongkamlao, Tony Jaa, Pumwaree Yodkamol, Suchao Pongwilai, Chumphorn Thepphithak, Cheathavuth Watcharakhun, Wannakit Sirioput, Rungrawee Barijindakul, Chatthapong Pantanaunkul, Nudhapol Asavabhakhin, Pornpimol Chookanthong, Udom Chouncheun, Boonsri Yindee, Arirat Ratanakaitkosol, Woravit Tanochitsirikul,
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Jason S (au) wrote: Well tread ground but it's the best version of the dad on a vengeance quest we've gotten for a while.
Cynthia S (nl) wrote: Excellent movie about flawed, courageous people fighting oppression. Based on actual events in history. This film depicts the courage, and sacrifices, of those who fought against the tyranny of the Nazis. It is fitting to have a 21st century production telling the story of this band of brave Norwegian fighters. Not only does it honor them, but it helps keep this important period of history alive for the a new generation. Very well done..
adam b (nl) wrote: Before watching this I didn't know a thing about Brian Jones who quite frankly, comes across as a complete tosser. It's quite an interesting watch at times, but then for the most part it's incredibly dull, with lots of sex, drugs - but no rock n roll?! For a film that is meant to be about one of the best rock bands ever the soundtrack was pretty bad, except for a couple of songs. For someone who knew nothing about the story of Brian Jones it was good to a point, but could have been a hundred times better.
Suan Sui G (au) wrote: 2 1/2 much huffing But there were funny parts and Hoffmans acting was phenomenal 5 stars for that.
Courtney W (ru) wrote: The story is a little slow but the it's beautiful to watch and the performances of Cate Blanchett and Ralph Fiennes are SO amazing.
Peter P (es) wrote: A fun cheesy mismatched early 90's buddy cop movie with a making fun of Hitler angle. Dan Aykroyd is great as the messed up genius and Gene Hackman works well as the straight man to the duo. Then throw in Dom DeLuise and you have a party. Not a great movie, but I have always liked it and it is worth seeing if you are a fan of the leads.
Curtis b (gb) wrote: A great movie and the soundtrack is awesome
Blake P (kr) wrote: She sits on her creaky wooden porch rigidly. Spite rumbles in her eyes, her dignity holding on for its life as it awaits its dissolution. The woman clinging onto that dignity is Ella Garth (Jo Van Fleet), eighty-three years old and the matriarch of a large family detached from modern society. Her entire life has consisted of maintaining her ancestors' prized property, Garth Island, which sits at the center of the raging Tennessee River. Leaving it is the last thing on her mind - but it's 1934, and the destructive body of water is hell bent on swallowing the patch of land whole. Eviction is inexorable. But Ella, a woman of pristine resolve, won't budge, despite her knowing that she'll be forced off Garth Island whether she wants to or not. Until that time comes, though, sitting on her chipped rocking chair, lecturing and scowling at anyone who tries to convince her to abandon her beloved estate, is the only way she'll know that she's protected the interests of her deceased predecessors. The Tennessee Valley Authority has had it with her enduring stubbornness. To both bolster the economy of the surrounding area and also preserve the livelihoods of the owners of in-jeopardy properties, they've built a hydroelectric dam harnessing the faculty of the unforgiving river. Support is near unanimous: all vulnerable landowners have sold their homes to the government in preparation for flooding, and the public is eager to see the upturning effects it will have on their lives. But Ella, along with her unsinkable clan, refuse to move. In frustration, the owner of the TVA has quit, destroyed by the stress of having to concern himself with saving people who don't want to be saved. But giving up is not an option for the governmental conglomerate - negative publicity will only deter the good they're trying to do - and so Chuck Glover (Montgomery Clift), a compassionate professional type, is flown to Tennessee in a desperate attempt to finish what the previous supervisor could not. Unaware of the extent of the situation's difficultly, he mistakenly believes that persuasion is merely a matter of delivery and wording. But only a half-day into his arriving date does he come to understand that the process of removal is hardly going to be an easy endeavor. Things are made additionally challenging by his eventual falling in love with Ella's granddaughter (Lee Remick), and by his discovery that racial segregation has delayed the vacating of Garth Island. With its moral complications and empathetically mounted characterizations, 1960's "Wild River" is such a substantial slice-of-life because its point of view is all-seeing: not a character, even a despicable one, has shallow rationale to accompany their actions. Seen are individuals that are comprehensibly contradictory, feeling, and deep-rootedly real. The film isn't so much trying to tell a story as it is determined to voyeuristically watch as disparate people react to a ripplingly affecting discord. There are no outright answers to its ethical ponderings, but its astute observations and supplemental performances render it as a weighty, forward-thinking drama. Acting as a new beginning for era-defining filmmaker Elia Kazan, who was coming off an unbelievably fruitful '50s (built up by a sequencing of inarguable classics like "A Streetcar Named Desire," "On the Waterfront," "East of Eden," and "Baby Doll"), "Wild River" is a minor (but cultishly venerated) work within his oeuvre. It's a prcis of his almost off-handed ability to crank out starkly humanistic films attractive in their visual cues and their charged performances. It lacks the inner-demon lashings of "Waterfront" and "Eden" - but that could just be because Clift is understated where Brando and Dean were frantic - but its way of involving us in its traumas is comparatively formidable. As "Wild River's" protagonist, Clift is impeccably cast, though unsaid savvy on the part of Kazan could have something to do with it, too. Just three years before the film's release, amid production of Elizabeth Taylor co-starrer "Raintree County," Clift's face was gnarled by a car accident that left behind puffiness and partial paralysis. Already tortured by uncertainty of his sexuality, the hampering of his beauty further muddled self-confidence. For the rest of his life, to be cut short by a long-in-the-making heart attack less than a decade later, he unwisely tried to drink away the pain that tormented him both psychologically and physiologically. We can see that suffering make its way into the performance. Gone is Clift's once crucial expressionistic skill set, but retained is the encapsulating power of his eyes, which are able to display the ins-and-outs of an everyman's emotional palette better than any student of the Method ever could. Since Chuck is the most conflicted character of "Wild River," tugged at by his responsibilities to represent the TVA, by his love for Remick's Carol, by his empathy for Ella, and by his ethical doubts, those delicate internal reverberations accentuate his performance. The film's other performers are just as fine-tuned - Remick is excellent as Carol, a mother of two who lost her husband at the age of nineteen, and Van Fleet, forty-eight but made to look elderly, brings pedigree to a role that begs to be portrayed in caricature style. Superb is the way Carol and Chuck's romance is not out of moviedom sexiness but out of what are we waiting for tenderness, and how Chuck never condescends Ella, who could be seen as staunchly obstinate but ends up being the most moving character of "Wild River." But what I like best about the film is how it's so capable of seeing so many sides without losing its credibility as a multi-faceted character study. Its representations of corporate dedication could be seen as evil, and its pedestaling of reputation maintaining could be seen as rote. And yet it stays humanistic no matter the side we're regarding it from. It's a quiet showcase of an intimate drama, a career high for Clift, Remick, and Van Fleet and a played down piece from the maestro that conducted it.
Sujata S (us) wrote: Interesting take on time travel and how it can be used to better family life.
Jeremy M (au) wrote: I loved this movie. Definitely kept the suspense going and was well worth the watch.
Paul B (br) wrote: Drags on despite its deceptively brief running time, as this depiction of lost passion and cultural warfare is unforgivably quaint and shallow.
Javier V (br) wrote: Divertida propuesta de los creadores de Wallace & Groomit, con el mismo corte, el mismo estilo, pero en diferente contexto.
David E (gb) wrote: Daniel Day-Lewis plays this role so well your eyes are glued to the screen with immense pleasure