Peur(s) du noir
Several scary black-and-white animated segments in different styles appeal to our fear(s) of the dark.
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Peur(s) du noir torrent reviews
Chetan P (kr) wrote: Worst movie ever. We made the mistake of taking our kids to see this movie, Indian movies should not be this vulgar. Very close to rated R.
Yasmin E (ru) wrote: 1 is always the best ???but like this one as well???????
fatuma (ca) wrote: I CAN'T WAIT TO WATCH IT AGAIN!
Alberto G (kr) wrote: Mostly dumb and over-the-top, but it had some good laughs and more importantly, a very good message in the end. Too silly for it's own good.
Tamara F (it) wrote: A really lovely, simple story set in Patagonia. Three people set out (separately) on the same road to realise a dream.
Jason M (jp) wrote: Vanilla Sky is a psychological thriller. Complex and difficult to understand to some, it may require a subsequent viewing or reviewing to understand the plot. The reality (and non-reality) may be defined by the sky in the backdrop. Is it the normal sky of reality or is it the Vanilla Sky of the protagonist's mother's painting of the same name, which occurs within his mind?The film speeds up in the 2nd half to its bizarre, twisted ending.
Andrey B (es) wrote: This film is an entertainment in its pure form, why should it necessarily be bad? The movie is fun to watch with beatuful performers.
Liam C (ca) wrote: Even with the absurd amount of hype I had for this film, nothing can adequately prepare you for what you are about to witness as it is completely unpredictable. I try to go into every film without any expectations but after everything that I've heard about this, it was quite hard not to go in with expectations. Saying that, The End of Evangelion is a rather unsettling experience that never lets up all the way until the final scene.It's quite hard to review something like this, I've been thinking about this for a long time and I'm finding it increasingly difficult to write anything. It isn't as simple as sitting down for 90 minutes and writing about what you saw, objectively. This film is more about how you interpret it for yourself and coming to your own conclusions for what it all means, very much of it I think I understand but some other parts just mystify me. At the end of episode 24 of the anime they show clips from this, so that means that they were working on this for well over 2 years and it really does show. The animation is absolutely beautiful and it is very smooth, the action is exhilarating and the imagery that appears near the end is unforgettable. I very much like that it is technically split into two halves one as it does keep it the same as the anime but it flows like a film because of the extended length of the halves. It doesn't at all feel like something that should have gone to TV. Both parts are directed perfectly and it is seamless but it's only fitting to have Anno direct part II. The credits are in the middle and it's like a warning, a warning to the audience to leave now because everything after that point just goes south fast. As harsh as this sounds, I'm glad this ran into problems when this was intended for broadcast on the TV, only because I feel like if it was allowed, a lot of what made this what it is would most definitely have been taken out and it would have in turn, dampened the impact. While I don't hate the ending of the anime and you could say both endings happened in one way or another, this certainly has a lot more weight to it and is most definitely more memorable and fits better with the dark tone of the series. The scenes toward the end are so vivid and visceral that I don't think any of it would be allowed to be broadcast and the anime already pushed a few boundaries as it is. Of course, however, if this was left on TV it's not like we'd notice any difference because we wouldn't have anything else to compare it to. However, it does feel like something that belongs in a film and the budget problems that plagued the series and it's finale are nowhere to be seen here and once again, the animation shines. They did an amazing job with what they had in the series and this is just brilliant.Shinji Ikari still remains one of the most fascinating characters I think I've ever seen. I kept waiting for that pivotal moment in the anime where his character would develop into someone that isn't as afraid anymore but after talking with a friend, I just came to the realisation that, that was never going to happen. It's so strange to see a character in a work of fiction who is the same at the end as he was in the beginning and you could even argue that he is worse in the end of this. It might end up being annoying to some that while he has plenty of development, he doesn't really change but life doesn't alway work out in a nice 3 act structure of people overcoming their fears, sometimes it doesn't happen. Sometimes he's annoying, sometimes he's infuriating, sometimes he's likeable, sometimes he's not, he's just a fantastic character. I don't think we're supposed to like him 100% of the time and while that can be a problem of storytelling, wherein, if the main character isn't likeable then the show becomes annoying, I do think it works well with this series and gives it a whole new dimension and any character that has me yelling at the screen has to be doing something right. And to be honest, I see part of myself in Shinji, I've been like he has before, not as bad as he has but there are definitely some parts that ring home and it only makes it all the more relevant and probably a reason why I like him more than most do. When I say that him not changing is a good thing, I'm not trying to make excuses for a bad character and say that it's really deep because it's unique that he doesn't change because it isn't like that, you'd need to watch the entire series to understand fully what I mean. The rest of the characters still remain as brilliantly written as ever and all the original voice actors return.If I have to find any complaint at all its that I think some scenes could have benefited with less music being played in the background and just let the sound effects of the scene set the mood, instead of being told what to feel by the blaring music in the background. Also, I got a little bored in the live action parts of the film, I understand their point and why they are there, it just took me out of the experience for a little bit, but now I see where MGS 2 got a little inspiration. Saying that, these aren't a big enough negative to take away any of the impact that this film holds. This review took a long time to write and it's probably one of the reviews I've agonised over the most. The longer I sit here and think about this film and the anime, the greater it gets. It really isn't hard to see why this series has been as influential as it has been and there is nothing else quite like it. The End of Evangelion is a shocking, emotionally devastating experience with some of the most creative animation I think I've ever seen. It asks plenty of questions, leaves many things up in the air for a long time and explains very little of it (if at all) and just ends, that might be annoying to some but I think it's fantastic. And it'll probably take a few more watches, of both anime and film, to piece it all together and understand it all because of reveals that happen in both anime and film. There was nothing like it before and there probably won't be ever again. It's amazing. Oh, and just because for a joke, 2deep4u... Hopefully someone gets that. Haha.
Allan C (us) wrote: I was kind of expecting a sci-fi Full Moon Pictures-style version of "Ms. .45" but the end result did not seem very sci-fi at all and was more just a very dull routine revenge story. Lots of gory special effects and a surprisingly respectable cast the includes Bruce Davison, David Naughton, Frank Pesce, and Stacy Haiduk (who I'd forgotten about but remember having a crush on when "SeaQuestDSV" was on TV).
Derek W (it) wrote: I wish this had a better ending but it's verry intersting.
William W (nl) wrote: With recent global warming causing unpredictable weather patterns worldwide, and documentary films such as 'Chasing Ice' and 'An Inconvenient Truth' bringing more awareness to environmental issues, it reminds me of the plethora of sci-fi and dystopian movies that bombarded theatre screens as I was growing up in Canada in the 70's. Most of the ilk, perhaps to necessitate dramatic strength for the film's structure, maybe due to civil unrest from political turmoil worldwide in the late 60's, presented a future extremely difficult to endure and preciously doubtful to either survive or maintain. 'Idaho Transfer' was no exception.Director Fonda was obviously very talented, and the cinematography is beautiful for such a low-budget piece. The time-travel ideas were uniquely conceived, and though the soundtrack was dated, it worked for me. Fonda realized that like the landscape and the solitary experience the teenagers were facing, one needs to let the ideas have a chance to breathe and reveal their multifaceted meanings. Though the actors weren't professional, the casting works because of the naturalistic, almost documentarian approach Fonda utilized. The pessimism of 'Idaho Transfer' and its bleak outlook--that even though science may be able to, in theory, save humanity, human nature may not be able to handle the idea of a 'utopia' so easily--shows us, two generations later, how interconnected art and politics are, and how important it is NOW to take a stand and support what is truly necessary for mankind, while there is still a chance for us to do so, and a world worthy of saving.I fervently wish that Fonda had directed more films! =)
Art S (us) wrote: Soylent Green is ... probably not based on a true story. I say "probably" only because this dystopian version of 2022 has not yet come to pass - but it might (maybe in 2082). Food and water are in short supply and the cities are jam packed. The film is extremely dated and pretty hamfisted, saddled with Charlton Heston's wooden acting and an obviously low budget. Otherwise, it plays like any of a variety of conspiracy thrillers from the period (early 70s) in which a protagonist fights the system to understand their big secret. The government is always involved. This also marked Edward G. Robinson's departure from films - he died 10 days after shooting finished. Fortunately, he does not really embarrass himself. Ultimately, this is a film that probably needs to be seen just to get the full impact of Heston's guttural closing lines. We really should try to save our environment too.
Renee (nl) wrote: ~~~CARY GRANT~~~ ~~THAT'S ALL YOU NEED TO KNOW!!~~~
Paul D (mx) wrote: American idealism underpins this Colonial pioneer adventure, but John Wayne was a master with this theme and doesn't look out of sorts here. Claire Trevor is also in her prime.
Mario C (au) wrote: Once again, the critics are off base. I saw The Spirit last night (the third or fourth time I've seen it over the years) and I enjoyed its campy humor (thanks to Samuel L. Jackson's oversized villain. I found the plot quite clear, even though I never read the comic books. I would venture say that this is one of those films destined to be a cult classic. And those bald-headed minions with the hilarious t-shirt legends? Priceless. The whole movie visuals have been executed in a way that you feel you're reading the comic book. Awesome!
Kim H (kr) wrote: My favorite Sherlock Holmes thing. It's brilliant!
David C (it) wrote: Joel Grey's MC, the iconic centerpiece of "Cabaret," is a fool in the Shakespearean sense: his outrageous makeup and clownish demeanor give him license to speak the most embarassing truths and to broach the strictest taboos. We never see him out of his MC persona, but do see two layers to his performances. As the host of an interwar Berlin burlesque, he is on one level-and perhaps for him it is the only level-an entertainer for Nazi fat cats and wealthy Yanks and Brits on continental vacations. But art imitates life, and we can also see, perhaps all too plainly, how the songs that the MC presents are mirroring events in the world outside the club. The Nazi party's growing boldness is displayed through rapid cuts between mob violence in the streets and the MC's cartoonish goosestepping on stage. The unusual love triangle between Liza Minelli's hopeful actress and her British and German paramours has its telling parallel in the song "Two Girls." Most shockingly and ambiguously, the MC lampoons anti-Jewish miscegenation laws by romancing a person in a gorilla suit and asking why society should stand in the way of their love. Would the Nazi party view this routine as an endorsement of their policies, since the idea of a human and a gorilla in love is patently foolish, or would they understand that the fool MC's question had truly moved the audience in spite of the veneer of absurdist comedy? The music of "Cabaret" underlines the plot points in very bold strokes, but it works because everything is so unabashedly theatrical. Matching Joel Grey's achievement and far outshining a weak turn from Michael York, Liza Minnelli gives a great performance, particularly in the songs "Mein Herr" and the title tune.