All your favorite SCARY MOVIE characters are back in a laugh-packed sequel that scares up even more irreverent fun than the original! Marlon Wayans, Shawn Wayans, and Anna Faris return anyway to "re-possess" their roles for this follow-up in which four students are invited by their professor to his haunted mansion, Hell House, for a weekend sleep-deprivation study. Providing the sleep deprivation, however, is a series of murderous, supernatural goings-on. . You can read more in Google, Youtube, Wiki
Scary Movie 2
While the original parodied slasher flicks like Scream, Keenen Ivory Wayans's sequel to Scary Movie takes comedic aim at haunted house movies. A group of students visit a mansion called "Hell House," and murderous high jinks ensue.
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Scary Movie 2 torrent reviews
Arnaud L (kr) wrote: Better than Fire of Conscience but far inferior compared to Beaststalker.
Byron R (us) wrote: brilliant animation and action sequences, very different to most films you'll see
Evan M (ag) wrote: Led with offbeat direction and a surprisingly funny taboo subject, Juno's fantastic performances from Cera and Bateman, let alone Ellen Page's comedic star turn easily lead this film through its outstanding script and unorthodox themes, accompanied with a great soundtrack and enjoyable ending.
Rick S (kr) wrote: Thriller, soft porn, or what? Wanted to like it but felt the story was lacking a lot of substance. Had potential bit sort fails.
Kate M (ag) wrote: An intriguing and interesting film, Rx (or Simple Lies) tells the tale of 3 friends (played by Colin Hanks, Lauren German and Eric Balfour) who take a trip accross the Mexican border to procure prescription drugs to smuggle home. The performances are all especially strong, particularly Eric Balfour as the humanly flawed protagonist Andrew. All the leads are likeable and relatable, thus the reason why Rx works so very well. Predominantly a drama, Rx also delves into thriller terrain at times, and the result is a confronting and sometimes surprising film. Aimed towards young people, the only problem with Rx is that at 80 minutes, it doesn't flesh out a lot of the potential story that is could. Rx is a likeable and thoroughly engaging film, one of the better modren dramas.
Michelle T (ca) wrote: It?s a good idea which is why I watched it, except it was awfully nauseating and boring. I really like the idea of music as a truth and universal language ? but MTV would have done a better job showing that than this crap.
James H (de) wrote: 70/100. Director Jan Hrebejk beautifully mixes dark comedy with drama in this very well acted and interesting film. Always interesting to watch, it's provocative and thought provoking and has a wonderfully original style. It makes it's point subtly yet clearly. The cinematography is stylish, the score is wonderful.
Melania Z (it) wrote: had to check this one out since I have a huge soft spot for John Hawkes. some Tarantino - Jackie Brown type of vibes, cleverly edited, but with several flaws in writing, and ultimately an unimpressive film. on a high note, the film scoring was sublime.
Sabrina T (kr) wrote: Lack of self esteem, self destruction ... a real drama!
Cameron J (gb) wrote: "Across 110th Street pimps tryin' to catch a woman that's weak!" Yeah, this film's theme song doesn't exactly have the most subtle of lyrics, but it sure is one funky little ditty, and is certainly catchy enough to be more memorable than this film apparently. Barry Shear is off somewhere sarcastically thinking, "Thanks a lot, Quentin Tarantino, now this song is more popular than my movie", and all the while, Bobby Womack is genuinely thinking "Thanks a lot, Quentin Tarantino, now people actually remember me." No, I suppose Womack was an adequate success, though that's partially because he recorded a solo version of "Lookin' for a Love" and stole attention away from his brothers. Sure, Womack's brothers were providing backing vocals in the recording of the sort-of cover, but no one cares about backup vocalists, so I reckon that The Valentinos, as a whole, just couldn't catch a break. Hey, it could be worse, they could have lived in Harlem, and they were from Cleveland, which should tell you just how bad Harlem is for black people. I don't know about y'all, but I find this film highly realistic, because if I were so close to the edge of Harlem that I was in across 110th Street, mafia benefits are not, I hitting Central Park, which isn't to say that this film, as decent as it is, has other, more pressing problems. A layered story that focuses on several characters and subplots, this film juggles more than I expected, and apparently more than it can handle, because although the film isn't necessarily uneven, or especially undercooked, the film takes on too much to fully flesh out, thinning out certain areas of exposition that would have reinforced your investment in the film, even though this film is slow enough without its breaks to meditate upon more thorough characterization. I won't go so far as to say that this film is strait-up dull, but when it slows down, it really limps out, slipping into quiet dry spells that meander along and often leave you wondering just when things are going to pick up. Rest assured that when the film does pick up, it's worth patience that is not all that firmly demanded, due to their being compensation for plenty of slow spots throughout the film, but make no mistake, this film is surprisingly a bit of a slow one that drags along with disengaging blandness to accompany disengaging conventions. Coming along in the early '70s, when films of this type were really starting to become abundant, this effort wasn't exactly trite for its time, and still touched upon aspects that weren't exactly explored inside and out by then-forthcoming brethren, but even for its time, this film had a tendency to succumb to tropes, and by now, what refreshing notes there are have become pretty dated, so it's hard not to look at this film - especially in retrospect - as just another member of the "Harlem Crime Drama Movement" (TM), complete with some questionable areas in dramatic storytelling. Many consider this effort a blaxploitation film, and if it is, then the evidence is limited, with one of the most glaring reflections of blaxploitation elements being subtlety issues, particularly in dramatic areas, but not with the typically over-the-top flavor that makes other, more formulaic blaxploitation films more forgivable, thus making the dramatic shortcomings extra disconcerting. Don't get me wrong, there is enough that is compelling about this film for the final product to win you over as borderline rewarding, but all-out goodness cannot quite be achieved, as the film undercooks too much, meanders too often, hits too many tropes and faces too many dramatic shortcomings, until it finally fizzles out as kind of underwhelming. Still, while the film doesn't quite kick as much as it potentially could have, it still comes close to the status of rewarding on the wings of enough competence to keep you going, or at least keep your eyes attracted. Okay, perhaps Jack Priestley's cinematography isn't all that great, as several of its stylish lighting aspects have dated as hazy in some parts, and emphatic of technical limitations in others, but on the whole, Priestley's efforts remain fairly handsome, boasting a subtle glamour in the midst of grit that proves to be complimentary to both the tone of the film and attractive aesthetic punch-up, further complimented by the musical aspects that are, in some ways, more recognized than the film itself. As I said, the film is often a bit too quiet for its own good, as quietness further dries up the final product's limp atmosphere, so you "Jackie Brown" fans shouldn't expect this soundtrack to be as explored as you might hope, yet do expect the moments in which the soundtrack is, in fact, played up, to be lively ones, anchored by anything from J. J. Johnson's stylish and often fairly tasteful score, to entertainingly funky songs, both commercial at the time and original. Whether they're Johnson's efforts, or Bobby Womack's efforts, or the efforts of other stars of mainstream black music at the time, the music in this film, when actually used, colors up an atmosphere that is generally dried into limpness, and while the final product's musical and photographic strengths aren't enough to make this effort as rewarding as it could have been, they help, though not as much as the telling of this tale that is ironically as hurt as it is because of storytelling. Luther Davis' script is heavy with tropes and histrionics, and Barry Shear's directorial storytelling all too often limps out, but when things are done write in storytelling, you get a taste of what could have been, whether it be through tastefulness in what characterization there is, or through intense moments of atmospheric handling that actually are pretty effective, fleshing out the story as fairly engaging, with a well-established sense of consequence. If this is a blaxploitation film, then it, like the critics say, overcomes plenty of its limitations, of which there are still too many for the final product to reward, but not so many that you can't give glimpses of a compelling thriller that break up a consistent fair degree of engagement value, reinforced by a certain aspect that is stronger than it usually is in films of this type: acting. As a "blaxploitation" film, this film's acting could have either fallen as nothing special or kind of disconcertingly over-the-top, but when given their chance to shine, the talented performers behind this effort deliver more than expected, with range, restrained intensity and distinguishing soul that may be more than this film deserves, and fleshes out the characters more than script itself, to where you'd be pressed to not become invested in the fair deal of subplots throughout this somewhat layered dramatic thriller. Were the film as effective as its performers' acting, it would have rewarded as a thoroughly engaging crime drama, but as things stand, the acting is just one of several aspects that power the film as enjoyable, with high points that firmly secure decency, no matter how much it goes shaken. "I got one more thing I'd like to talk to y'all about right now", and that is, well, a rehashed mentioning of the exposition issues, slow spells, conventionalism and subtlety issues that lay heavy blows upon compellingness and drive the final product just short of good, but not so short that decency isn't secured by the handsome cinematography, lively, if underused score and soundtrack, rich high points in writing and direction, and myriad of surprisingly strong performances that make "Across 110th Street" a generally reasonably compelling dramatic crime thriller that could have been more, but proves to be pretty enjoyable on the whole. 2.75/5 - Decent
Nathaniel M (jp) wrote: Fantastic photography and interesting concept. It felt a tad incomplete to me, no pun intended for those familiar with the story.
Martin S (ru) wrote: Van dos veces y podria volverla a ver.... cuantas veces sea necesaria.
super c (jp) wrote: This was an incredible movie especially considering it was released in 2004. It set the pace for copy cats to take its foundation and morale dilemma between robots and people and how it might change society and what rights the robots have and what roles they will play how they will effect the economy. It lead many people to copy including Ex machina with which the robots look nearly exactly the same with realer faces as if they evolved as they would over the years. For That this movie is actually really good given its time frame it came it. It still is a good watch to go back and watch. Another under estimated element of this movie is the fact Will smith is in it and his acting is phenomenal his flawless and perfect acting really keep you immersed in the movie and keep the intensity of the movie that much higher. Will smith one of the most under estimated superstars of all time recognized but not nearly at the super star level he clearly has earned and shot way beyond where his credit is due for any real actor. Bruce Greenwood is always plays an amazing role as well Get film play. My only grievance are a couple of small things i could point out that are hard to notice that are arguable holes in the story, not big and dont take away from the movie, and the starting scene Will smith has no shirt on and showers seems to be unnecessary and thrown in there for people who love man candy. But it could be argued that it was to show how in shape he was in, to make it more real when he was fighting off the robots it makes more sense that a strong man would be needed to do alot of the stuff he did and not a skinny punk who clearly was weak like a twilight actor, it would be unreal. To dedicated film watchers, and film students and those with theatrical experience this is obvious to the average watcher it prob seems to be nit picky. If you havent seen this movie you should check it out, This is before movies started to become mindless i honestly should give it 5 stars but i feel there are a few things that couldve put this movie just over the top, and i didnt get that over the top feeling watching it and some of the small things that make no sense other than to build suspense such as the professor leaving clues in holograms knowly before his death he could have instead of simply leaving one long message to explain whats going on he could have said in case of me being murdered here is a message to the police of inside corruption, it makes no sense he leaves a series of long drawn out clues because of those few things 3 1/2 stars and an extra 1/2 star because it inspired so many copy cats and it was very original for its time in 2004
Rolando B (ru) wrote: This movie is flat out funny because of Robin William's performance and has a really good message about family and love. The movie seems long at times but you can't deny watching Williams' hilarious portrayal as a British nanny.
Scott C (au) wrote: Not super memorable, but it did the job.