Mystery writer Sian Anderson leaves her boyfriend John for three weeks of intense writing in the isolated Greek town of Monemvassia. Upon her arrival in the ancient, deserted, walled-in fortress, she is met by Elias Appleby, the round eccentric landlord who guides her through mysterious underground passageways to the house where she will work. He warns her to stay inside at night because of the killer winds that arrive after dark.
- Stars:Meg Foster, Wings Hauser, David McCallum, Robert Morley, Steve Railsback, Mihalis Giannatos, Summer Thomas, John Michaels, Tracy Young, Dina Yanakou,
- Director:Nico Mastorakis,
- Writer:Nico Mastorakis (story), Nico Mastorakis (screenplay), Fred Perry
A novelist is stalked by a psychopath one stormy night. . You can read more in Google, Youtube, Wiki
The Wind torrent reviews
(mx) wrote: Excellent movie, Crime , Drama, Thriller and Sex along with Great acting!! It's A Winner!! Hear it is will be having a wider release either today or tomorrow. Be sure to Watch!!
(us) wrote: Whitey was a decent crime documentary, but it's excessive talking head style, and repetitive content made it a bit if a drag.
(gb) wrote: Bollywood films mostly have women roles reduced to being love interests, but in Kahaani that stereotype is broken. While the plot does go downhill by the third act Kahaani is still a refreshing experience from the usual male-central Bollywood flicks. Kahaani is about a pregnant woman's searching for her missing husband which takes her from London to Kolkata, but everyone she questions denies having ever met her husband. The narrative structure of the film is very smart. One very good storytelling choice is introducing all the character within the first twenty minutes. Gradually building upon from first introduction. The mystery element of the film is well played. We only get a small glimpse of the overall mystery, but eventually grows into something bigger. The progression of the mystery feels natural with every new clue clearing up a part of the puzzle. The first two act are solid adding more to the mystery and characters past, but the last act is where the plot begins to crumble and show it cracks. It immediately stop building up the mystery behind our heroine missing husband and a twist ending that turns the film into an undercooked spy thriller. The twist never receives any buildup throughout the entire film making it reveal completely artificial and convoluted. Vidya Balan is outstanding in the leading role. Her ability to tailor her emotions of sympathy, anger and despair - multiplies the strength of her character and the film. At time coming of vulnerable and other frustrated over a missing clue making you worried about her safe being. Parambrata Chattopadhyay is subtle and splendid as Rana. Acting alongside with Balan in many scenes with great and convincing chemistry. Aside from the top notch acting it's succeed from a technical standpoint. Director Sujoy Ghosh makes the city of Kolkata a character of the film with it cinematography. He perfectly captures the essence of city - the culture, durga-puja, dirty alleys and even the strained lifestyle. There are no ultra-clean streets with pretty models running about; no unbelievably dramatic situations; no interrupting songs. This accompanied with the score which plays innocently as the characters travel the length and breadth of the city enchanting the mood of what we're seeing. Elegantly shifting mood with every new music piece we listen. Kahaani twist ending might diminish part of the viewing experience for some, but the complete package still satisfies. Filled with fine performances and a mystery that will have you hooked until the very end more than make up for any shortcomings that occur in the last act.
(ru) wrote: Ryan Renolds is hilarious, Jason Bateman is beyond funny, and Olivia Wilde is GORGEOUS! wouldn't say its a must see but it's definitely worth watching.
(au) wrote: Total waste of time ....
(us) wrote: Bittersweet Czech humor. Can't beat it.
(de) wrote: very sad film but its very very good film to see 8 out of 10
(au) wrote: A true masterpiece. One of my favorite short films of all time. Incredible animation, and tells a very powerful story that seems like it should be turned into a feature film. The story of Ryan Larkin is one that needs to be watched and heard.
(jp) wrote: If you love the spice girls (who doesn't really?) You will love this fun extended video clip if you don't like the spice girls you will enjoy this fun British comedy!
(br) wrote: Interesting idea. Just not that funny.
(ru) wrote: I love everyone in this movie - it just feels good to watch.
(jp) wrote: Welcome once again to the mad gory world of Herschell Gordon Lewis where bad is good & all the lines of credible film making are puked on. Although not as gloriously horrible as his original blood trilogy it does deliver what you expect from the director. Cheap gory trills, horrid pacing & atrocious acting. If you're a fan of his schlock then there's a lot here to like. It's like watching a 3 car pile up & waiting for the coroner to arrive. Gruesome fun for undiscriminating taste. You can't hold too much against it because it knows what kind of mindless exploitation it is. It's business is blood & business is booming
(gb) wrote: Accattone announces a director, Pier Paolo Pasolini, who is a haunting/haunted poet from his surroundings and realist, someone who wants to put his eye on the world without flinching on the details of how 'ordinary' (of the street) people speak and interact, how raw and uninhibited they can be, these being the guys on the streets who are vulgar and coarse at best and at worst are abusers of women. But at the same time what one comes away with is poetry in documentary form - it's another level of neo-realism, a little more like an urban story than a post-war treatise that still throbs with the importance of those in poverty. Anytime I hear the song Matthaus Passion I'll immediately contemplate those harsh images of Vittorio Accattone, being cast aside by his family for being a pimp, or that poor girl being beaten at night by that gang of men, which is something that elevates such hard scenes into art.Vittorio Accattone is the main character- charming and attractive, and also a perpetual scoundrel who also is a total outcast. He has a wife and kid(s), but is estranged from them by choice - her choice most likely - and he finds himself in big trouble once his main prostitute, Maddalena, is sent to prison for a bad informing job. It's after this we see Accatone on his potential path to redemption when he meets a supremely sweet and average girl from out of town, Stella, who he may eye as a new girl on the street... or perhaps not, as his attachment to her grows more and stronger, in spite of what and who are around him every day and night in the dirty province.He's someone we want to root for in being a better person, or, perhaps even, better at what he does. He's a tragic anti-hero in a New-Wave sort of sense, cool looking and aspiring to be modern and cool (and maybe he is, up to a point), but also poor and uneducated, so much so that being on the fringe and being called "PIMP!" is what he's been reduced to by default. The performance from Franco Citti is one thing that keeps the viewer locked in: he's so good here because he looks plucked right off the street by Pasolini, as would turn to be his method with choosing most of his 'actors' on camera. There's a reality to his interactions with his friends (so called) or his business associates. Some of their dialog and tones of speech aren't refined or look trained. At one point when Citti's Vittorio breaks down in tears- a sudden turn from a previous scene showing more attitude- is authentic, even as another actor could have possibly played it "better".It is what Pasolini wants, and he gets it, much in the same way he also gets a view of this side of Rome in a way that hasn't been seen before up until this time. His DP Tonino Delli Colli shoots simply often, and sometimes not so much - there's complexity, say, to a tracking shot in front of Accatone talking to a girl who is on a bicycle, or when we see the horrorshow of the men taking Maddalena at night in the middle of nowhere, the only lights starkly coming from the car. The effect is nothing short of a slow-burn. While a few of the actors do fall a bit too flat, and some scenes come close to lagging around (the editing might be the most significant flaw here), the raw emotion and fire in the subject matter keeps things fascinating. You want to see what happens with this young guy, and it's his tragedy that gets us absorbed, even as the Bach music abstracts the sorrow, and agonizing poetry of the streets, and it's this that makes it a classic.Only downside I must mention - if you live in the US, or happen to watch it on a DVD or online from Walter Bearer films, the print is just not very good. It's the sort where the white subtitles drop in and out of view depending on who's standing where in a frame. It's not totally detrimental, but some scenes become hard to follow due to the poor quality of the subtitles with the print. This, if for no other reason, demands the film receive the Criteron treatment.
(de) wrote: The concept is great but the film lacks a certain zest. It is rather dull really. Miranda Richardson is always good.