This Is Where We Take Our Stand

This Is Where We Take Our Stand

In March of 2008, 250 veterans and active duty soldiers marked the fifth anniversary of the invasion of Iraq by gathering in Washington, DC to testify from their own experience about the ...

In March of 2008, 250 veterans and active duty soldiers marked the fifth anniversary of the invasion of Iraq by gathering in Washington, DC to testify from their own experience about the ... . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

This Is Where We Take Our Stand torrent reviews

James F (it) wrote: I actually worked on it. We drove down to Florida from Chicago in February. It was a great way to escape winter and get paid. Some of the crew from Miami Vice worked on it and we had a lot of fun. The busted sunroof stunt went poorly and the stunt guy got banged up pretty badly, but otherwise a great gig. Awful script, awful acting, l got to squirt the blood bottle. Fun!

Frdric H (jp) wrote: A light comedy about 2 black guys who tear up a paper abolishing slavery and find themselves taken back to the days of slavery to fix what they did.

Brett C (ru) wrote: Review In A Nutshell:How did a film that started off so well, fall far down by the time it ends? Wong Kar-Wai's The Grandmaster revolves around the life of the martial-artist master Ip-Man. Right from there, one can easily assume this was going to be an exhaustive biographical study, but when one actually goes through it, it barely shares with you any significant facts about the subject and its dramatic execution lacked any resonating effect. I didn't take anything substantial with me in regards to its story after the film ended. If the film decided to tell its narrative in a more linear and head-on approach, then I think The Grandmaster would have been an effective and memorable film, albeit safe; but since it is under the hands of Wong Kar-Wai, it has to be shown in an art-house approach which can easily alienate its viewers. It worked so well in 2046 because he was handling the concept of love, an idea that is so fundamentally relatable and simple that even passively viewing it, one would still find something to chew on. Also I would like to note that the film seems to draw its attention frequently away from the titular subject, exploring supporting characters and their own personal issues; it wouldn't be too much of an issue if it affected heavily The Grandmaster's own personal story, which it barely does.In regarding to its visuals, the film is stunning; fabricating the most graceful and hard-hitting of martial-arts cinematography. There is a sense of precision in every cut that is delivered during the battle sequences, emphasising a more fantastical aura rather than conveying something grounded and realistic. I have seen multiple martial-arts film where choreography stretches for long periods of time, creating a graceful style that would no doubt keep the audiences engaged all through it; but The Grandmaster is more concerned with the finer details, the precision of the character's movements, the sense of grace in each attack, the firmness of each defence. Cinematographer, Philippe Le Sourd, consistently keeps the frame tight, like many of Kar-Wai's films; but ensuring that there is still a sense of movement with the camera and its subjects; very rarely does the film display large establishing shots, finding the beauty in microscopic proportions, understanding that the essence of martial arts is found internally rather than the exterior.In regarding to the performances brought by the cast, they do quite a good job in shaping their roles, creating a wonderful balance between emotion and physicality. Tony Chiu Wai Leung slips into the legendary figure wonderfully, somehow stripping away the sense of distance in the way we see the character, and find something deeper within him and more towards our level.The Grandmaster could have, should have been a greater film if it handled its historical elements more carefully; allowing more drama to seep into its atmosphere and not be too pretentiously guarded. Thankfully, the film was able to remain mildly entertaining through its exhilarating action sequences and gorgeous photography.

Emma J (kr) wrote: Pretty entertaining but not 'laugh-out-loud' funny.Also, FOTC aren't really in it that much - don't watch it just for them.

Rosanna J (de) wrote: an artistic, beautiful and colourful adaptation of Les Liaisons Dangereuses.

Matt R (fr) wrote: Just awful. I mean, it looks pretty. But none of it makes sense. The first two thirds is straight forward disaster movie fodder which would have been fine. I could overlook the obvious nonsense that the plot hinges on our sun dying, but it can be restarted by a bomb the size of Manhattan ffs, and that for some reason we decided against the sensible idea of sending a robotic craft. But then they decided that wasn't enough and to go a bit "Event Horizon " on us for the ending. But it ends up being a mess.

Al P (nl) wrote: U havent seen Toothless?

Steve H (jp) wrote: Best comedy western ever, similar to Blazing Saddles only Better

Thomas P (kr) wrote: If every Ozu film is a classic, what are his greatest films? History.

John W (gb) wrote: After his bicycle is stolen, a man and his son travel all over Rome attempting to retrieve it. The story is deceptively simple, as the impact it leaves on the viewer will not soon be forgotten. A masterpiece of Italian neorealism. Directed by Vittorio De Sica.

Amy Z (gb) wrote: This movie didn't do justice to what the book is like. The book is soooo much better. The movie was still pretty good. I think given a bigger budget and better special effects a remake of movie could be amazing.

Grant K (jp) wrote: After a promising start, this film collapses under the own weight of its formula a insistence on using genre tropes.

Jason P (au) wrote: Stopped watching after ~45 mins. Norton was great tho, as always.

J B (au) wrote: An unsettling exploration of grief and loss.