Paranormal Haunting: The Curse of the Blue Moon Inn

Paranormal Haunting: The Curse of the Blue Moon Inn

High in the peak stands the Blue Moon Inn, the home of Matthew Hopkins for as long as anybody cares to remember. Here is the place where once every century the moon appears to turn blue and...

High in the peak stands the Blue Moon Inn, the home of Matthew Hopkins for as long as anybody cares to remember. Here is the place where once every century the moon appears to turn blue and... . You can read more in Google, Youtube, Wiki


Paranormal Haunting: The Curse of the Blue Moon Inn torrent reviews

Alison O (ag) wrote: Docudrama that tells the intriguing story of Joyce Vincent, who was discovered in her North London bedsit three years after death. Sat in her lounge with the TV still on surrounded by signs that she was wrapping Christmas presents at the time of her death (of unknown causes), Direct Debits had led to her electricity bill continuing to be paid,. A life moving from job to job and home to home without leaving loose ends in conjuction with a troubled family background meant that three years passed before she was found. Absolutely fascinating.

jing b (us) wrote: one of the lead is too horny

Jason K (mx) wrote: What happens when you get a over worded screenplay, subpar point, and a good mua and cinematographer.

Leo L (ca) wrote: Hilarious! Eric and Sam have a quiet and comfortable life, and home, together when Sam's nephew Scot arrives. Losing his mother to a drug overdose, young Scot must await the arrival of his father (whose lived for several years in Brazil). Staying with the only relative nearby, Scot's apparent behavior begins to take a toll on Eric. A former pro hockey player, Eric is a sportscaster on a renown sports channel and hopes that his career will launch. While spending more time with Scot, Eric begins to realize several things about himself and others. Together, they create a family of their own. Cast- Tom Cavanagh, Ben Shenkman, Noah Bernett, Jeananne Goossen, Fiona Reid, Megan Follows, Sheila McCarthy, Shauna MacDonald, and Graham Greene. Worthy!

Rem Z (ru) wrote: sik music and dancing the spamish are soo cool

Charles H (es) wrote: This was my introduction to the Batman Beyond series, but I did find the futuristic slant to be an intriguing prospect. The continuation of the Batman story-line, following Bruce Wayne's heir to wear the costume and battle Gotham's criminals, is an idea rich with possibilities. Including Wayne as one of the story's principal characters, even though he has long since left his personal brand of vigilante work behind, is a smart way to acknowledge the more traditionally minded Batman fans. Then, of course, finding a way to craft a story around the return of Batman's all-time #1 foe solidifies this as a film that should command any Batman fan's attentions. Comic book readers will be especially satisfied with how that particular point is explained, I think. The animation is a little spotty at times and there were a few details that I thought could have been enhanced with a little more creative thought by the makers. But, I nonetheless found the movie to be very satisfying in what it accomplishes. I would definitely undertake a second viewing.

Aj V (kr) wrote: A horrible zombie movie, the story and all the characters are stupid. The only star is Adam West, and he doesn't get a big role anyway. I hated this movie.

Natalie D (br) wrote: Absolutely hilarious! A complete classic.

Darius J (us) wrote: I guess this is a action movie with random singing in it? Never seen a rock hammer fight. TRIED to be stylish....for 1984.

Matthew C (kr) wrote: Halloween 2 is definitely a disappointing sequel because of how much it relies on gore instead of suspense. But, it is still set in a creepy place and I enjoyed the ending to this film very much. Overall an okay sequel that pales in comparison to the original.

Alexander C (it) wrote: Looks interesting will try to find and watch!

Jeremy K (nl) wrote: Very interesting look at the philosophy of voyeurism and film making. A very postmodern film that I would recommend more then I would actually praise. It's concept is ingenious, one I wish I would have thought of first.

Tamatai N (de) wrote: Really I'm just a sucker for pretentious art films, but this one was a fine example of how the medium of film can be quite an extraordinary art-form. Admittedly, there were many instances in this film where the whole thing felt just far too silly and overblown. But where this film triumphs, is in is astounding, and often downright ingenius visuals that pull you into this bizarre yet beautiful fantasy world that exists within the mind of a tortured poet as he makes his way through life. And really, that's the film's biggest statement: This is the moving image as poetry, this is film as an art-form. Those people who just can't grasp that concept will not enjoy this film. Simple as that.

Martha A (nl) wrote: Never before or since, has a movie so involved people that a CLASSICAL music piece famous in it's own right---becomes "Elvira Madigan" music--Mozart's 21st Piano concerto! SO there had to be something in it to involve the audience!

Chip C (ca) wrote: extremely overrated movie

Quenten L R (us) wrote: good biting material

Daniel M (es) wrote: Most coming-of-age films are better remembered for the careers they launched rather than their artistic merits. It's difficult to talk about The Last Picture Show, American Graffiti or Stand By Me without focusing on the breakthrough performances of Jeff Bridges, Ron Howard and Kiefer Sutherland respectively. This is largely because -- with the possible exception of The Last Picture Show -- coming-of-age films are traditionally thin on plot, focussing on the age-old quests for cars, women and money. It takes something extraordinary, like City of God, to prevent this kind of film from becoming stagnant. Gregory's Girl is not extraordinary, at least not anymore. For not only are coming-of-age films relatively insubstantial, they also don't date very well. Ones like or dislike for such a film will depend on two things: whether it addresses the period in which you personally came of age, and whether or not it taps into any kind of 'universal truth' about the difficult passage to adulthood. Gregory's Girl attempts and generally succeeds on the second front, but it unconsciously relies on the first front so much that it is not an unqualified success. In many ways, Gregory's Girl is an antidote to many American films aimed at teenagers from the same period, which were potty-mouthed and looked at the more putrid side of adolescence. Where Animal House, Porkies and Revenge of the Nerds were content to serve up joke after joke about bodily fluids and the female anatomy, Gregory's Girl is far more gentle, focussing on the communication barrier between girls and boys. The film opens with a voyeuristic sequence of Gregory and his friends spying on a woman taking her bra off, but it's executed in such a such an underplayed and funny way that we aren't tempted to shout "Grow up!" at the screen. The film manages to put an interesting twist on the coming-of-age story, insofar as the younger children seem to be the most developed and mature out of everyone on screen. Gregory's younger sister, Madeleine (the 'Gregory's girl' of the title), is very mature for her age, and gives her 'hormonally challenged' brother astute tips on what to say and not say on a date. She also finds time for a teasing romance with her own suitor, although this little sub-plot is never explored for more than a couple of scenes. Contrast her maturity with the adolescent sniggering in the staffroom, where teachers boast about love letters from students and mock the PE teacher's moustache. Bill Forsyth's film has another big strength, which is that it doesn't allow any of the background elements of production to overwhelm the emotional power of the script. The budget was so low that many of the actors wore their own clothes, and the musical score is very minimal. Save for a few jazzy sections, which sound like off-cuts from a Steely Dan album, there is no real musical accompaniment to the dialogue, which makes the awkward conversations between Dorothy and Gregory to seem all the more awkward and realistic. Compare this to American Graffiti, whose jukebox soundtrack threatens to swamp George Lucas' already stodgy direction, and it's clear as to which is the better film. The central message of Gregory's Girl, which it delivers very solidly, is that the person we set our hearts on and fall in love with is not necessarily the person we are destined to be with. Having spent the first two thirds of the film pursuing (or attempting to pursue) Dorothy, Gregory is seemingly stood up on a date with her. Along comes one of her friends to pass on the news that something came up after school, and apologises on her behalf. Gregory is then led to a series of locations by alternating friends of Dorothy, winding up with him and Susan spending time together in the park. Susan is the first to admit that she wanted to date Gregory, and that Dorothy was simply a means of making that happen ("it's what girls do"). This is the emotional heart of the film, and is communicated without any sugary gloss or mawkish pay-off, allowing us to completely believe in the characters. Despite these advantages, Gregory's Girl is still problematic for the precise opposite reason of its American rivals. Where Porkies or Animal House often became too grisly and sleazy to remain appealing, Gregory's Girl rises and falls on our ability to tolerate both its whimsy and its quirkiness, neither of which are easy to sustain over 90 minutes. Unlike Forsyth's later films, like Local Hero and Comfort and Joy, there is very little in the way of darkness or heartbreak to balance out the moments of head-over-heels joy, not to mention the bizarre two-scene cameo by the man dressed as a penguin. The closest the film get to the genuine heartbreak which runs throughout teenage life is where Gregory is waiting under the clock, and that too is quickly dealt with by the arrival of the other girls. The narrative of the film is very simple, even if the pay-off is pleasantly unexpected. But its structure and focus is very meandering, with many unnecessary sub-plots being tentatively introduced and then remaining unexplored. As mentioned before, there is a fleeting suggestion of Madeleine having a relationship with a young boy of her age, who calls round to inquire about her. But after Gregory shoes him away, he never turns up again. The film could have been funnier if we saw her relationship being played out alongside Gregory's, enhancing the film's inverse relationship between sexual and emotional maturity. Then there are the supporting characters surrounding Gregory, who seem a little underwritten . Gregory's father, his frequently unlucky school friends, his pal from cookery class, and the window cleaner with the snazzy jacket, all come and go as they please. Their incidental nature is never justified beyond a basic need to keep the story focussed on the thrill of the central chase, and yet without these believable surrounding friends the chase becomes less thrilling. Many of these characters eventually become annoying, and the ending scene of two of them trying to hitch-hike to Caracas does feel like a bolt-on. Gregory's Girl is not Forsyth's best film, nor is it the best film about coming-of-age. But it's a happy, harmless and charming addition to the genre which has several memorable moments and a brutal honesty which in the end wins you over. It is also a timely reminder, with the recent death of John Hughes, that comedies aimed at teenagers do not need to be all crude jokes and contrived scenes of anarchy. At its worst points Gregory's Girl becomes too light and frothy for its own good, and it does play better to older viewers. But as a slice of nostalgic escapism, it's hard to fault and equally hard to hate.

bill s (us) wrote: Hope can not help float this movie.

Jason M (fr) wrote: One of my favorite Westerns of all time.

Carlo V (jp) wrote: Death Spa is like a thesis on shlocky 80's horror sensibilities, and the only argument you need in defence of movies being an art form. Scene after scene it is gorgeous, interesting to look at, and moves at an impressive pace. This shit is so in line with what I look for in a movie it's scary.Also Michael and his lawyer were 100% fuck buddies."All right bitch, I'll show you fried chicken."

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