The first U.S.-made film drama set during the Iraq war, THE SITUATION chronicles the tragic death of an Iraqi teenager at the hands of U.S. soldiers. The incident sets off an "investigation," a cover-up, and complications involving Iraqi mayor Sheikh Tahsin (Saïd Amadis), who has a complex relationship with the Americans.
- Stars:Connie Nielsen, Damian Lewis, Mido Hamada, Driss Roukhe, Nasser Memarzia, Saïd Amadis, Omar Berdouni, Chérine Amar, Shaun Evans, Thomas McCarthy, Mahmoudi M'Barek, John Slattery, Peter Eyre, Fatiha Watili, Hamid Basket,
- Director:Philip Haas,
- Writer:Wendell Steavenson
The story of an American journalist, a CIA operative, and an Iraqi photographer against the backdrop of the bloody war in Iraq. . You can read more in Google, Youtube, Wiki
The Situation torrent reviews
(mx) wrote: Pretty good documentary about someone who really should have been elected president. This really just left me a bit angry.
(de) wrote: Should have cast Christian Bale for the lead.
(nl) wrote: emotional journey follows the life of a street kid in Brazil and his struggle to deal with the neglect society has placed on him. this film gives us an insight into the reasons why he chose the decisions he did, and how the authorities in Brazil had let him down.
(nl) wrote: A sumptuous return to the controversial ideas of his early films, Almodovar brings incredible directional skill and narrative flare to this debauched tale of sex and death and everything in-between. Matador is a film utterly intoxicated with stunning imagery and beautiful visual and narrative juxtapositions, beginning with a wonderfully drawn comparison between the execution of the Bull in the ring and Assumpta Serna's particularly memorable coital preference and ending with the ultimate "Petit Mort." Its always ridiculous, incredibly exaggerated, but such is the conviction of the excellent cast and the constant innovation of Almodovar's stunning direction that Matador never becomes tiring or unnecessary. An absolute triumph!
(fr) wrote: Anti-social and mysterious Albert Johnson frees a husky from a dog fighting ring. The original owner seeks revenge, and a shoot out ends up with someone dead. The dogged and weary Canadian mountie (Marvin) has to bring him in, but it ends up turning into a vicious chase from beginning to end. Based on the true story of the Mad Trapper, the pacing is solid and the cast is decent. Death Hunt is a well directed rural thriller in the cold North.
(jp) wrote: Being John Carpenter's first major feature as a director, Dark Star sounded like a nostalgic step back to the legendary director in early form.John Carpenter has been repeatedly recnognized for his skilful talent at crafting a film on a low budget, and with Dark Star's budget being limited to $60,000 it is clearly a film which has limitations to face. It cannot be considered in the same realm as his later films because it is clearly an experiment to see how much of a film he can craft with montery limitations. Given that the production started as far back as when he and Dan O'Bannon were students at the University of Southern California, it has history as a student project. As a result it should really be judged as such; as a step forward in the careers of John Carpenter and Dan O'Bannon towards greater success with bigger projects.Though it may not be his most consistent effort, Dark Star is a distinctively John Carpenter film. For one thing, the simplistic composition of the synthesizer musical score is very gentle yet perfectly eerie and nicely executed. But more effectively, the atmosphere is genuinely intense. There are a lot of situations that occur in the story, and the ones that lie in the relevance of the bigger picture provide much opportunity to John Carpenter for him to exercise his tenacious ability to create thrills. They don't so much come from the characters in the film as there are too many for the story to fit in any real characterization amongst its larger-scale science fiction themes, but the stylish moments of the film prove to bring out the director's glory in its earliest form.As far as the visual experience of Dark Star goes, it is mostly an enjoyable experience. There is no doubt that it is a dated film due to its visual effects being very simplistic hand-drawn visuals which are rather cartoony, but when considering that the entire film was constructed from scratch it is easily forgivable. In actual fact it makes for a trippy experience, and when this is combined with the manipulation of colour in the lighting it really creates a hynotic effect which is bolstered even further by the aforementioned musical score. It's a clear influence on the film's atmosphere and a sign of the director's tenacity. These help to overshadow the lesser visual moments, such as the alien in the story which has been actually referred to by the filmmakers as the "beachball with claws". One of the best-executed sequences of visual finesse in Dark Star is the elevator sequence. Though not as glorious as the film's climax, there is much admiration in the way the film preserves the illusion of an elevator shaft. Through a mix of specialized production design, camera angles and the physical dedication of Dan O'Bannon as a cast member, it is really convincing that viewers are looking down an elevator shaft. The expertise in this scene is a big credit to everyone involved, and though it may go on for a long time its stylistic execution is still very admirable.You can tell that the film is very Stanley Kubrick influenced. The feature is primarily a satire of 2001: A Space Oddysey (1968) due to the way it captures themes of deep space exploration's effect on the human psychology as well as communication with artificial intelligence. The latter is a theme captured with unprecedented depth and intelligence within the narrative through clever scripting, yet the philosophical side of the film also maintains a dark pessimism which is distinctive of John Carpenter's apocalyptic tastes. Amid all this is an oddball addition of satirical humour along the lines of Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) through the examination of human error. Dark Star maintains clever elements of classic works by Stanley Kubrick, as well as a premise which would later be re-tooled into the screenplay for the science fiction classic Alien (1979). Quintessentially, Dark Star comes from an intresting time in science fiction film history due to being post-2001: A Space Oddysey yet pre-Star Wars (1977) and its insistence on pushing the thematic boundaries of narrative tropes compensates for its lesser moments and small budget. All in all, Dark Star is really a brilliant display science fiction filmmaking in both the areas of deep and complex writing as well as use of clever visual technique. It certainly has its flaws, but it works as both a clever piece of Stanley Kubrick-influenced science fiction and sign of John Carpenter's developing status as an auteur.And though characterization is no strong point of the film, Dark Star does offer a cast who are all very dedicated to seeing the film succeed. There are two primary cast members to credit in this. Dan O'Bannon is one of them due to the aforementioned dedication of his physical performance in maintaining the ilussion of an elevator shaft, as well as his ability to grasp the intense nature of the story. But from a character perspective, the greatest challenge is given to Brian Narelle of convincing a bomb with artificial intelligence rudiments of phenomenology. In doing this he not only puts up a charismatic and dramatically-rich discussion of intelligent concepts, but he genuinely convinces audiences through his intensity-rich line delivery that he not only understands the material but also that he is genuinely having a conversation with a computer. He contributes to making this scene the most intense moment in the film, and it embraces the thought-provoking material of John Carpenter's vision with intelligent dedication. With his passionate contribution to the project, Dark Star effectively carries a powerful climax which ensures that it remains a distinctive memory for audiences who have been intrigued enough to stick around for its full potential. Dark Star has both technical and narrative limitations imposed by its shoestring budget, but it still maintains a combination of John Carpenter's distinctive sense of stylish filmmaking and dark narrative with Dan O'Bannon's talent for special effects.
(au) wrote: "Fantasia" has the essence of Disney at its core. Charming stories with memorable characters set to music, it's the magical world of Disney summed up in one feature.