Sibling rivalry turned into betrayal between two brothers. One a prime candidate for Prime Minister, the other a henchman for a successful, yet shady businessman. Presented with an opportunity to take revenge against his brother, our anti-hero must come to terms with the truth in a world where you can trust no one and loyalty is rare.
- Stars:Gary Stretch, Vinnie Jones, Stephen Rea, Shannyn Sossamon, Christopher Lee, Lee Ryan, Adrian Paul, Jean Marsh, Sadie Frost, Geoff Bell, George Harris, Luing Andrews, Sam Ardley, Dean Bardini, Greg Bennett,
- Country:UK, USA
- Director:Marcus Warren,
- Writer:Marcus Warren
During a routine hit, "Boots" Mason (Gary Stretch) learns a hit has been placed on his own life when a crooked cop, Dunn (Vinnie Jones), tries to kill him. While seeking his revenge, ... . You can read more in Google, Youtube, Wiki
The Heavy torrent reviews
(ag) wrote: Another awesome Indian movie! It emphasizes about the loving relationship and respect between a family. Highly recommended!
(us) wrote: A terrible terrible low budget film. But it knows it's bad so that's ok. Every character is nothing more than a stereotype: the half-mechanical soldier trying to reclaim his humanity, the mad scientist, the Asian kung fu master with a terrible dubbed-in voice... So bad and yet so good. I think the best way to tell if you'll like this movie is seeing how you react to this fact: the main villain is a demon from hell called Count Draculon. If you want to kill yourself (in a bad way) you're going to hate this film. If you want to kill yourself (in a good way) you'll love it. Simple.
(jp) wrote: Ahora resulta que los japos hacen remakes de peliculas gringas. =S
(nl) wrote: Not much to say about this one, just an exhaustive look at Brando's career, you're either interested in something like that or your not.
(au) wrote: Dude kicks sum serious ass n dont mess wit M-E-T-H-O-D MAN!
(mx) wrote: Can make you sick, but aware
(br) wrote: Loved the "Black Swan" all about Tyrone Powers!
(es) wrote: A highly underrated sci fi horror gem with some serious attitude. The setup is plucked straight from a slasher flick, involving a handful of characters being stalked, hunted, and devoured by a vicious breed of creatures on a desolate planet. The good news is that it doesn't entirely feel like a slasher flick, as it takes genre archetypes and stirs them up to make a really interesting movie. Like him or not, Vin Diesel's character, Riddick, is one that is hard not to become interested in and root for. His lone wolf nature and many shades of grey morality keeps you on your toes and leaves you curious to what he's going to do next. On top of that, this awesome B film gives you some great creature designs and effects, slick sound, and some pretty interesting characters that tag alongside riddick. If you're a fan of sci fi action on any level, you owe it to yourself to check this out. Oh, and I think it's impossible to watch this movie and not want some cool Riddick goggles afterward.
(kr) wrote: This chick flick is so womanized that guys who watch it will get a period.
(us) wrote: an interesting period piece. It's rather slow. If it weren't for Rupert Everett and Colin Firth, this movie would have been totally lame!
(jp) wrote: This is where David Lynch takes off. It is still proper Brgman in aesthetic terms and thematically - the tortured artist and his relation to high society, juxtaposition of his simple but good-natured wife with his own complicated mind, people in isolation, childhood trauma etc. There is nowhere the sublimation of kitsch that we find in Lynch later; here everything is austere and precise and each shot is masterfully minimalistic in that it conveys the absolute essentials. Sven Nykvist's cinematography helps here alot as in most other Bergman films. The similarities with Lynch have to do mostly with the fragmented narrative and the way fantasy and reality mix together. The preformances are magnificent and the actors all manage to bring the eeriness of being manifestations of the artist's subconscious. The surreal montage sequence in the end, when the Max von Sydov character loses his mind completely and goes into his twisted world is particularly notable for its effectiveness of simple visual tricks. Wonderful!
(au) wrote: What a wonderful movie
(kr) wrote: Chow wrote, acted, directed and then produced this film, retaining all his signature styles and anyone not able to appreciate it and have a few laugh is being too serious without a doubt.
(ru) wrote: Whoreful or Hopeful: It Is All A Matter Of Perception Paulo Coelho wrote "I am two women: one wants to have all the joy, passion and adventure that life can give me. The other wants to be a slave to routine, to family life, to the things that can be planned and achieved. I'm a housewife and a prostitute, both of us living in the same body and doing battle with each other" (Eleven Minutes). The prostitute industry is booming as a result of a declining economy. Internationally an increasing number of women have turned to prostitution in order to survive, provide their children with a brighter future, and in some cases to pay tuition fees in a world of commercialized education or even for the sole purpose of enjoyment. In addition, daughters of brothels are expected to follow their paths into prostitution. Some films glorify prostitution turning it into a romantic comedy such as Pretty Woman whereas others such as Born Into Brothels: Calcutta's Red Light Kids and Whore shines light upon the harsh realities of life of the prostitutes and their bastards. All three films however delve into sexual politics entailing a misogynistic depiction of women from different points of view; however, Pretty Woman attempts to humanize prostitutes. At the end of the day it is all a matter of perceptions. The romantic comedy Pretty Woman revolves around your typical Hollywood love story that transcends all differences, but however the woman involved in the narrative is a prostitute. The film deludes the audience by romanticizing prostitution and humanizing prostitutes by convincing the audience that prostitutes are beams of beautiful sunshine and their customers are peripatetic filthy rich businessmen. The film's portrayal of prostitution is entirely fiction. It does not depict the prostitute's life narrative that lead to where she currently is. Many of the prostitutes are victims of sex trafficking, which is the case for instance in Paulo Coelho's Elven Minutes. On the other hand, Ken Russell's Whore depicts a day in the life of a prostitute, and how she was abused and manipulated into where she is today. The prostitute, Liz, breaks the fourth wall throughout the movie by directly addressing the audience. By doing so, she is better able to genuinely articulate her personal narrative and how she got to where she is today. Though fictional, the film provides the audience with a more realistic view towards the ugliness of prostitution through the eye of the prostitute herself. The non-fictional documentary Born Into Brothels: Calcutta's Red Light Kids revolves around prostitutes in Sonagachi, the largest Red Light District in Asia and one of many in Kolkata, and the lives and predetermined fate of their bastards. The filmmakers exploited the cinema and film to raise awareness of a grave issue that is often neglected and overlooked. The film is shot through the lens of eight children. By doing so, the audience's gaze is shifted to viewing the documentary through the eyes of the children. The children were treated as slaves in the whorehouses, and their eyes were filled with hopelessness. Hope for a brighter future was regained once the photojournalist, Zana Briski, introduced them to the world of photography, which they eventually excelled at. The three films presented a similar issue from different perspectives: society, prostitutes, and bastards' view of prostitution. The variety of gazes gave rise to three different perspectives. All three films however touch upon the male gaze, which tends to objectify and sexualize women. Sigmund Freud established the Madonna-Whore dichotomy, which can simply be summarized in "Where such men love they have no desire, and where they desire they cannot love" (Freud, On Sexuality: Three Essays on the Theory of Sexuality and Other Works). To some extent the theory categorizes representations of both men and women alike in society and governs the thought of many. As result, the variations of different sexual representations arise. The three films put together forms a triangle representation and perception. Born Into Brothels: Calcutta's Red Light Kids provided a just representation of the architecture of confinement, the whorehouse, that entraps the prostitutes and bastards alike, most of which are hopeless of a brighter future. This is represented throughout the film with the use of cinematic metaphor and symbolism. Multiple times throughout the film the camera shifts focus from the children onto a caged bird, which symbolizes the children trapped in the brothel. The differences in the societal representation of prostitutions could have been a result of the different cultures. For instance, Born Into Brothels: Calcutta's Red Light Kids represents the Indian societal gaze, Whore represents a British American societal gaze, and Pretty Woman represents an American societal expectations of Hollywood movies. The films depict sex, class and power. Michel Foucault wrote, "If sex is repressed, that is, condemned to prohibition, nonexistence, and silence, then the mere fact that one is speaking about it has the appearance of a deliberate transgression. A person who holds forth in such language places himself to a certain extent outside the reach of power; he upsets established law; he somehow anticipates the coming freedom" (The History of Sexuality, p9). Power and sex intertwined to a certain extent; it is a form of biopower. Often times men seek prostitutes in order to feel powerful, and in some cases they may turn into sexual predators as seen in both Whore and Born Into Brothels: Calcutta's Red Light Kid. Often times those prostitutes presented to be submissive. How we perceive and interpret art relies upon the artists' representation and our own life experiences. The three films provide the viewer with an insight into prostitutions; however some are more realistic than others. Due to the patriarchal society that we live that tends to value a man's sexual desire more than a woman's, most films that touch upon prostitution tend to objectify and sexualize women. How often do we see male prostitutes as compared to female prostitutes in the art? When prostitutes do appear in the art how often do artists provide the audience with their personal narratives that lead them to where they are today? Many prostitutes have very complex narratives that involve oppression, violence, sex trafficking, drug addiction, and controlling pimps. Films need to portray the harsh realities of the prostitution industry in order to shine light on the prostitutes' personal narratives such as in Whore rather that glorifying prostitution as seen in Pretty Woman. Cinema should not always provide gratification for the viewers. If that is all what it did, we would have created a mental image of an ideal world that'll keep us longing for it but never being able to attain it. Work Cited Born into Brothels: Calcutta's Red Light Kids. By Zana Briski and Ross Kauffman. Dir. Zana Briski and Ross Kauffman. THINKFilm, 2004.Coelho, Paulo. Eleven Minutes. Trans. Margaret Jull. Costa. New York: HarperCollins, 2004. Print.Foucault, Michel. The History of Sexuality. New York: Vintage, 1988. p9. ditions Gallimard. Web.Freud, Sigmund, James Strachey, and Angela Richards. On Sexuality: Three Essays on the Theory of Sexuality and Other Works. Harmondsworth: Penguin, 1977. Web.Pretty Woman. Dir. Garry Marshall. Perf. Richard Gere, Julia Roberts, and Ralph Bellamy. Buena Vista Distribution Co., 1990.Whore. Dir. Ken Russell. Screenplay by Deborah Dalton. Perf. Theresa Russell. Cheap Date, 1991.
(de) wrote: If your brain dead Disney addict with low standards and the attention span of a gnat don't bother to rent this movie for your family.