Driven by passion fed from a life-long fascination with sharks, Stewart Stewart debunks historical stereotypes and media depictions of sharks as bloodthirsty, man-eating monsters and reveals the reality of sharks as pillars in the evolution of the seas.

Sharkwater - The Story "An eye-opening film...visually stunning... this movie will change the way you see our oceans." - Bonnie Laufer, Tribute Magazine For filmmaker Rob Stewart, exploring... . You can read more in Google, Youtube, Wiki


Sharkwater torrent reviews

Debbie W (it) wrote: An excellent documentary that shows exactly how things transpired in Seattle leading up to the departure of the Sonics. Anybody that is interested in the truth about the incident should watch this.

Matthew P (br) wrote: Gunless puts a spin on the typical Western by having its gunfighter placed in a situation he's not familiar with: Canada. Up here, the "showdown at dawn" doesn't exactly fly, and many of the gags in this comedy revolve around the expectations of a typical Western being thwarted by the quaint, gentle nature of the people of the Great White North. This ain't no Wild West; here, the people won't shoot one another just because of a misunderstanding. However, this is all news to the "Montana Kid" (Paul Gross), who arrives in town with a noose around his neck and a tree branch dragging behind him. He had been hung, luckily on a decaying tree, and survived. His horse, whom he loves very dearly and talks to whenever possible, dragged him all the way to a small town in the Rockies, despite being badly injured. While the Montana Kid, whose real name is Sean, is getting patched up by the doctor, a blacksmith goes about tending to his horse. These heathens didn't even ask, so obviously they're bad people. Sean decides that the blacksmith, Jack (Tyler Mane), needs to be taught a lesson, so he challenges him to a duel. The problem with that is that nobody in town has a pistol. They have shotguns for the birds, and rifles for hunting, but no pistols. Only a lady named Jane (Sienna Guillory), possesses one, although it's in severe disrepair. She offers to trade it for some manual labor, and soon enough, the town grows on Sean, and he finds himself liking the people. All except Jack, whom he swears will be soon given the fixed pistol so that a duel can take place. The film works to subvert your expectations, just like it does to the character that Gross plays. When three men, each holding a gun, meet him outside of the local shop, you expect something serious to go down. No, they just think that it's exciting, and they're going to offer him the guns so that the duel can commence. Of course, there's one character who ends every sentence with "eh?," but I figure that's done as a loving gesture to the stereotype, considering he's the only one to do that. Gunless is a very Canadian production, and while not known for it, there is a certain sense of humor that Canadians have. If you've seen the fantastic show Corner Gas, that's about the most well-known production I can think would be likened to this film. Being Canadian, I found it to be quite funny. There were a few misfires, sure, but what comedy is funny for the entire way through? Gunless flew by like a breeze, its 90 minute running time feeling like it went by in just a few seconds, all because I was constantly laughing. Where I had to take issue with it is in the way it concludes its main story, Sean vs. Jack. It is, indeed, finished with a single shot, but not in the way that you'd think. You laugh in the moment but then realize how much time was spent building up to it, and that it needed to be something more. At least, that's what I thought at first, but then I figured how Sean had grown as a character by this point, and how the ending to that storyline actually does fit. I suppose the film gives you something to think about, at the very least, even if its main conclusion isn't satisfactory. There is only one big shootout scene, which comes right near the end and features villains whom we'd previously seen only a couple of times previously. A group of bounty hunters have been chasing Sean since the beginning of the film -- although we don't see them until midway through -- and want him dead or alive. This leads to a great shootout involving the entire town, again, in a way you wouldn't initially expect. Paul Gross is not an action hero, which makes him almost the perfect man to play a character who likes to think he's a whole lot tougher than he is. He can wave his gun around and be impressive, but this archetypal cowboy rarely has to do any fighting. Instead, he gets to play the straight man, someone who can't believe what's going on all around him. Everyone else is "crazy," even though most of them are just going about their business like normal. He mumbles his lines way too often, though, which is a problem. It's sometimes difficult to understand what he's saying, even when he's the only one talking. His character does have more depth than is initially anticipated, though, which makes for a pleasant surprise. Sienna Guillory does nothing to make her love interest stand out, while everyone else just kind of fades into the background, save for Callum Keith Rennie who shows up to be the real bad guy -- the leader of the bounty hunters. Look, Gunless is a funny Canadian Western that will make you laugh if you enjoy the subversion of Western tropes or Canadian humor. It has some very minimalistic approaches to its setting, some solid costumes, and enough humor to make it go by in a breeze, even if it does feel anticlimactic in its main story. It takes the understood rules of the Wild West and flips them on their head. It doesn't have great acting, but it doesn't really need to, either. It sets a modest goal and is successful in achieving it. I quite enjoyed it, and I'll recommend it to you, too.

Carrie L (au) wrote: This movie is ADORABLE! And it's great for kids, they love it.

Logan M (ru) wrote: More awkward than it is humorous, "Wedding Crashers" feels like a 2-hour long collection of set-ups for better, funnier comedies.

Allan C (kr) wrote: Probably the most lurid of all Alfred Hitchcock films. And I'll assume that everyone reading this knows the story and I won't bother summarizing the story or worry about spoilers. But there's always an undercurrent of sex and violence in his films, but he really pushed the limit with the one and audiences loved it. The studio hated Hitchcock's idea to doing a gruesome story based on real-life serial killer Ed Gein, so they slashed his budget in hopes that he'd drop the project, but Hitch went ahead and made the film with his "Alfred Hitchcock Presents" TV crew on the Universal backlot and the rest is history. My other favorite bit of film history with "Psycho" is that Anthony Perkins was basically a teen heartthrob before making this film, starting as the romanic lead opposite Audrey Hepburn, Sophia Loren, Shirley MacLaine, or Jane Fonda. Perkins gave such a great performance as Norman Bates that no one could ever take him as anything but a deranged killer and ended up typecasting him for the rest of his career. Though not to diminish Perkins contribution to the film, director Hitchcock is at the hight of his powers in terms of manipulating the audience. On the story level, Hickcock manages to keep the audience thinking that Norman Bates' mother is responsible for all these killings without doing any cheats and even after the audience knows the film's big reveal, a second viewing of the film becomes laced with wickedly dark humor that goes unnoticed the first time around. In therms of use of the camera and editing, Hitchcock again demonstrates his mastery of the medium. The iconic shower sequence is what this film is most remembered for and it still today is incredibly brutal and jarring. I think it's Marion Crane's naked vulnerability that makes the scene so frightening, along with, of course, the music and sound editing. Hitch's shot choice and precise editing is so much more effective compared to a majority of the sloppy murder scenes you get in most contemporary films. And the scenes that directly follow the murder, where Norman Bates cleans up the mess left behind by Mother is quite a gruesome affair in itself with all it lurid little details . There are plenty of films before and since where someone has cleaned up a murder scene to hide the crime, but Hitchcock gets devilish glee in lingering on Norman picking up Marion's shoes and wrinkled note papers and those sorts of details make the scene go on excruciatingly (in a good way) forever. And that slight moment the car being dumped in the swam with Marion's body stops sinking, is just terrific suspense (not to mention that Hitch has you worrying about Norman). But speaking of Bernard Herrmann's music, beside the i conic murder music, the entire score is amazing, particularly the second half of the film when the story shifts from Marion Crane to Norman Bates. Herrmann's use of only strings to compliment the black and white photography plays brilliantly as a stripped down compliment the film's overall stark nature. I've always felt this was the closest to a horror film that Hitchcock ever got, with a brief tease toward the supernatural when Vera Miles and Marion's boyfriend find out that Norman's mom has been dead for years. Overall, this film is a real classic that I think would still engage modern audiences.

Matt M (gb) wrote: A detective is drawn into a web of conspiracy as he investigates a murder of a young woman in the White House. Severely lacking in originality and full of implausibilities.

Asani P (nl) wrote: This is where Adam and I first met. Yeah so what if it was me watching him on tv.

Adam R (ca) wrote: (First and only viewing - 10/1/2010)

Carlos M (fr) wrote: What begins as a taut, intriguing thriller soon becomes too complicated and desperate to defy our suspension of disbelief (as with a ridiculous shootout at a country house), and it is only worth it for Olivier's wicked villain and a fantastic scene in the New York diamond district.

Paul N (gb) wrote: I think it was a great movie. It shows interpersonal communication in its extreme! It disects how people struggle and differ on so many levels, especially in dire circumstances or events. (plus, it doesn't help to be stranded out in the desert, with no help or water). You just have to hope you would never be faced in a circumstance, where some of your friends die and the "calls" made by you or someone else could mean the difference between "life or death".

Tegan C (gb) wrote: Just saw it tonight. To begin with, I was worried that all the funny parts would be shown in the trailer and the rest of the film would be a let down. Happily, I was wrong! This film is funny from start to end, quite surprising. Acting was great, storyline entertaining and action packed. Go with an open mind, don't try to predict anything and just have fun.

Adrian Z (au) wrote: Handsome production and superb make-up effects transform Louis Gossett Jr. into a very convincing alien, but the film struggles to generate a plot, mainly due to a very simple premise. Human and enemy alien become stranded on a deserted planet after a dogfight, then learn to coexist. A little too chummy sometimes, but things finally pick up when slavers appear towards the final act.

Edward G (mx) wrote: Wow! what a boring movie

Justin S (mx) wrote: Solid and still enjoyable. Lots of action and a decent message make it fun to watch.

Richard H (fr) wrote: A highly underrated movie. It has a clever story, solid acting, cool effects, and a perfect pace. Best of all there are no standard hollywood cliche scenes that make one want to hurl. No dumbass car chases or big lines of black cars or even pathetic love scenes.