A dying Thakur Surjeet Singh bequeaths the entire estate to his son, Raghuvir, disowning the other, Dhurjan, the family's black sheep, who also indulges in black magic. The latter swears to use magical powers to usurp the estate, and even arranges the abduction of Raghuvir's daughters, Sapna and Aarti. Mangal and his men manage to apprehend Dhurjan, imprison him in a dungeon, and rescue Aarti. However, they are unable to locate Sapna, and Raghuvir gets killed. Before dying, he informs Mangal that Sapna has one of two pieces of a locket around her neck, while the other is on Aarti's, and when joined together will reveal the location of a treasure buried in a dungeon. 20 years later, Aarti and her boyfriend, Vijay, along with several others, will attempt to unearth this treasure - not realizing that they not only face betrayal from one of their own, but will also release and fall prey to an ageless and indestructible entity.
A dying Thakur Surjeet Singh bequeaths the entire estate to his son, Raghuvir, disowning the other, Dhurjan, the family's black sheep, who also indulges in black magic. The latter swears to... . You can read more in Google, Youtube, Wiki
Max S (ru) wrote: The film's main selling point is that it has Eric Cantona in, and after watching, that will be the most memorable thing about it. He's great, because he was always a larger than life character and he does pretty much everything you'd want him to do here. It's no masterpiece and if you're not a Cantona fan to begin with, you'll be left rather feeling indifferent, but who doesn't love King Eric?
Miguel R (de) wrote: Broken City has everything a great political thriller needs, but fails to demonstrate it
Marc L (kr) wrote: Encore une fois, le cinema de genre made in France accouche d'un film mort-ne, pourtant trs prometteur sur le papier. Aprs plusieurs echecs en matire de Survival fantastique ("Djinns") ou pas ("Captifs") et de zombie-flick ("La horde"), c'est au tour du film d'horreur old-school de rater son examen d'entree. Pourtant, "Le village des ombres" debutait sous les meilleures auspices avec une atmosphre convaincante qui puisait son inspiration du cte du cinema fantastique espagnol. Une bonne impression que se dissipe malheureusement trs vite, en raison d'acteurs peu inspires et d'une accumulation d'indices et d'evenements peu coherents. Incontestablement doue pour poser une ambiance, Fouad Benhammou ne maitrise pas les mecanismes elementaires de la peur et ne parvient pas davantage solidifier son recit. "Le village des ombres" en devient redondant, comme si Benhammou cherchait desesperement meubler en attendant la resolution du mystre, decevante car trs mal amenee. Ces faiblesses structurelles ont peut-tre une explication logique : peut-tre faut-il prendre "Le village des ombres" comme un "conte fantastique" plutt que comme un "thriller fantastique" ? Dans ce cas, je prefre retourner regarder "Le labyrinthe de Pan"...
Tina G (mx) wrote: bleh. stupid tv movie.
William M (nl) wrote: blacksploitation crap, not well done
Anthony I (ru) wrote: "Love means never having to say you're sorry.". Supposed to be romantic, but in reality, sounds absolutely ridiculous. Love Story is the first gushy, mushy rom-com with a terrible ending. What I can say, positively, is the chemistry between Ryan O'Neal and Ali MacGraw. They play people that are hardly relatable, but their language of love is universal. Ali MacGraw is nearly the best thing about the picture. First of all, tell me she wasn't incredibly beautiful back in those days. The writing is also clever, in a Cameron Crowe kind of way.. despite allowing you to hate Ivy leaguers more than you already do. It suffers by being what it truly is. Along with one of the most annoying soundtracks of all time. "Theme from Love Story" is nails on a chalkboard bad. What you need to know, most importantly, is that time hasn't treated "Love Story" kindly, despite being so familiar and lovely in parts.
Dave A (it) wrote: Just look at that face. And then the title of the movie. SALTY TEARS run my face!! Charlie The Lonesome Cougar is a triumph of the heart, but unfortanately by today's family movie stardards, Charlie is a little out of date. You see, beyond a few cougar tricks and comedy, there is very little else to motivate kids to watch a REAL life version of an animal when all of today's movie animals are CGI coke addicts that seem to be both charming, and masters of physical comedy, all the while speaking English!! Still, Charlie is a magnetic character of a cougar, and I still think kids will be drawn to him. The story and moral principles really drive this movie. Basically Charlie is an orphaned cougar raised by a very caring man in the forestry industry, and quickly a wild cat grows up into a very lovable, albeit big house cat!! The biggest problem with Charlie is the lack of tension and drama. Most of the time there is no doubt of what will happen: things end up alright and safe for the most part. Aside from a section near the end when Charlie becomes rattled and trapped (thus prompted his wild instincts to take over) does the movie get interesting. Otherwise, its a simple parable that's good for showing kids the value of family and friendship. I can't really recommend this unless you have kids. I solely watched this movie because the title was something so oddly hilarious that it sounded like a movie popular Simpsons character Troy McClure would star in. Overall, its a fun 75 minutes, but definitely only a rental. Unless your kid absolutely adores cougars. Then that makes this a collector's item!!
Jarett B (nl) wrote: It is an odd experience watching 'Steamroller' after all of Tarkovsky's later masterpieces. His style is completely different: more direct, and to the point. As a dissertation film it is beautiful and precise, which is probably the point as it functions well as Communist propaganda. The editing is quicker, the shots are action oriented, and image tampering creates some very un-Tarkovskian images but, in the end, a very human film emerges (a trademark of his later work), and it's interesting as a contrast to his later works such as ?Rublev? and ?Solaris.?
Eric R (ru) wrote: The camera work and production design of Max Ophlus' films are so ahead of their time. The camera just flows through the action and is almost constantly in motion. The film really studys pleasure and how everyone defines it differently. Whats great to me is how playful the film is while touching on a relatively serious topic. My favorite stories are actually the first and third. The second story dragged for me and wasnt really interesting until the scene in the church, which was amazing. Overall not one of my favorite Ophlus films but still pretty good and from a technical standpoint it would definetly be a 5/5.
Tracy F (de) wrote: Great IFC flick even if it has Steven Dorff. LOL. Intense psychological thriller.