Thor: The Dark World
Thor fights to restore order across the cosmos… but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness. Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.
After the events in The Avengers, the powerful god Thor comes back to the Asgard Kingdom. Now, he will face to some new villains having horrific destructive power. To save Earth to escape the catastrophe from dark powers, Thor begins the worst journey which he has ever experienced. This journey will help him to reunite Jane Foster but also force him to sacrifice everything to save all. . You can read more in Google, Youtube, Wiki
Thor: The Dark World torrent reviews
(es) wrote: This looks crazy good. Perhaps too scary for me, but I've got to see it.
(kr) wrote: Exceptional movie villain is wasted on tawdry tale
(gb) wrote: Qui pouvait mieux incarner ce rle que Dujardin ? je vous le demande. Tout simplement gnial.
(de) wrote: Movies reliant on dialogue, especially when presented as long monologues, must have an unbeatable script. That seems like a pretty obvious prerequisite, but even the most talented tyros and veterans alike (Richard Linklater's early oeuvre comes to mind) seem to forget this rather elementary component. First-time director John Krasinski finds little worth hearing in his feature-length adaptation of a series of short stories penned by David Foster Wallace.Krasinski's incompetence is by no means the result of a lack of passion for the source material. Indeed, the writer/director/star tackles Wallace's work with the reverence and enthusiasm of an undergrad first discovering the stories. Unfortunately, he also brings the same undergrad level of skill, subtlety and depth. The strongest element of "Brief Interviews with Hideous Men" is the cast, Krasinski recruiting a sterling number of truly fine actors. Standouts include Timothy Hutton as a kindly, paternal college professor; Bobby Cannavale as a one-armed man who, in a very brief Q&A segment, reveals how he uses his handicap to lure women into sleeping with him; and Christopher Meloni as a silver-tongued cad who relates how he exploited a young woman's anguish about being rejected and turned it into a hookup, all the while expertly conveying the glimmer of disgust a user of the fairer sex might conceal beneath armor of machismo. Though it's the acting that excels in these brief, few-and-far-between good scenes, Krasinski's writing and direction aren't obstacles in these cases. But the majority of the movie flows lifelessly from vignette to vignette, with the most unappealing, dull characters taking over from a format that, despite its faults, had at least a modicum of potential. Instead, Krasinski moves the second half of the film away from the candid, one-on-one interviews with alternately interesting and irritating men to the interviewer herself: Sara (Julianna Nicholson), a damaged grad student who undertakes the Q&As as part of a school project. Bits and pieces about the character are revealed before her failing romance with longtime boyfriend Ryan (Krasinski himself, an utterly unctuous role for an utterly unctuous actor) takes center stage, alongside a stupid subplot where Sara has a half-assed battle of wills with egotistical college student Daniel (Dominic Cooper). The first time "Interviews" really begins to go downhill is the repeated interactions between Daniel and Sara wherein she resists giving him a passing grade for a paper that puts forth the thesis that horrible experiences can make one stronger and ultimately prove positive. The problem isn't the message -- a wise one -- but the method in which it's presented. Cooper's screeching crybaby shouts and shouts at the brick wall that is Sara before tearfully breaking down and revealing a rather ham-handed secret to his T.A. (who realistically probably wouldn't care what underlies her obnoxious young pupil's angst and contentiousness; she'd just want him out of her office). Krasinski, predictably, presents the suffering-equals-enlightenment point of view as the most profound message in the world. Really, though, it should only come across as deep for naive twentysomethings (i.e. this film's audience) who are so sheltered they don't know hardship. People who have been through actual trauma instinctively know this lesson and, if they're honest with themselves, probably wish they could have learned it a bit differently if they had their druthers. The final nail in the coffin, though, is a sequence near the end in which the cause for Ryan and Sara's breakup is revealed in an overlong, emotionally inert monologue Krasinski self-righteously delivers like the overgrown, immature stranded drama geek he is. It's a fairly simple account of infidelity that drives the couple apart but, "Interviews" being a self-indulgent talky piece, the "real" reasons for the breakup just have to be explored. Ryan proceeds to tell Sara how he picked up a disgusting hippie chick, screwed her, then had the pleasure of hearing how a sexual assault ordeal made her reach the abyss of despair but become stronger for it. Gently echoing the miserable series of repeated meetings with Daniel from before, Ryan then feels the need (like most cheaters) to turn the circumstances around on the victim. Eventually, this culminates in a dare to both Sara and the audience to pass judgement on him and his actions -- as though we weren't already. Again, the problem isn't with the message itself but the Krasinski's terrible presentation of it. Infidelity has been pay dirt to innumerable films but there's nothing quite as tiresome and sad as watching someone who has transparently wronged someone else try to halfheartedly justify his actions with weak excuses. The real coup de grace is the clumsy rush to advocate a non-judgmental mentality, making both Ryan and the man who plays him simultaneously a massive prick; a walking cliche; and an acolyte of the most disturbingly pervasive, socially corrosive outlook on life this side of political correctness. Being judgmental is not only the way to avoid taking in dross like this but also shy away from the exact kind of personalities (like the characters in this film) whose indiscretions become tolerable when one doesn't exhibit enough rudimentary, absolutely necessary scrutiny to navigate life in a way that isn't completely gullible and relentless submissive. It's a brainwashing mechanism employed by people who consciously do bad things who want to escape with the consequences while forcing an unearned sense of shame on any observer weak-minded to accept that's how one ought to react to blatant wrongdoing. In advancing such a mindset, Krasinski advances himself from pretentious, untalented filmmaker who caught a lucky break to a cultural criminal. Put simply, we have every right to judge Ryan and anyone else onscreen. Not to do so would be counter-intuitive; they've laid their flaws bare before us to see. And, given what we see and the smug, poorly executed lens through which we see it, not judging would be a mark of insanity.
(mx) wrote: Welcome to the Jungle is a generic but solid action comedy. Starring Dwayne Johnson in his earlier movie days and a couple of other stars its a well made movie which resembles movies of the 90's. The Rock and William-Scotts rapport feels natural and provides much of the humour and the pacing is good with lots of hard hitting action to endure. Whilst it does nothing new its an entertaining movie which is nice to unwind too.
(mx) wrote: Interesting account of what happened on this tragic day. Not sure which side is telling the truth, but it is quite clear that things got way out of control. This movie was filmed in reality, shaky camera style...not my favorite. However, it was a decent attempt at telling this unfortunate event in history.
(de) wrote: I saw this in the theatre and wanted to grow up to be a gunfighter, think the breakfast club in the Wild West
(mx) wrote: When shipping magnate Cyrus Wentworth is murdered, Captain Street (Withers) immediately arrests the only possible suspect: The disgruntled fiance of his daughter (Stelling), the only person in the room with him when he died. Street's girlfriend, reporter Bobbie Logan (Reynolds), is convinced the case is not as simple as Street believes, and she hires San Francisco's leading private detective James Lee Wong (Karloff) to clear the young man and Cyrus's daughter (Craig) of any suspicion, and to find the true killer. Complications soon emerge, as evidence of connections between Wentworth, Tong criminal activity, and the mass-murder of 400 passengers onboard one of Wentworth's ships are revealed... and Mr. Wong himself comes under fire from gangsters and killers. "Doomed to Die" is the weakest of the Mr. Wong features. It's sloppily written, featuring a badly structured story that's moves slowly through muddled twists and turns to a fairly predictable conclusion. Street is written like an utter moron, and Wong solves the case more through luck than intelligent investigation. (He also seems to have developed a mysterious ability to show up anywhere and everywhere the plot requires him to be, even if there's no particular reason for him to be there other than plot dictates.) An effect of the bad script is that Withers is mostly wasted here. His character is relegated to the role of buffoon. Karloff turns in another decent portrayal of Mr. Wong, but the bad script gives rise to many unintentional comedic moments, all relating to his uncanny ability to appear at windows and on fire escapes. One upside is that the Bobbie Logan character is a little less annoying in this installment than she was in her first appearance (in "Mr. Wong in Chinatown"), and Reynolds' performance is thus a real bright spot in the film... although her good looks certainly help to enliven all the Wong features she appears in! The supporting cast is also decent enough. Out of all the "Mr. Wong" features, this is one that interested viewers might safely take a pass on. Doomed to Die (aka "The Mystery of Wentworth Castle") Starring: Boris Karloff, Marjorie Reynolds, Grant Withers, William Stelling, and Catherine Craig Director: William Nigh
(jp) wrote: 4 stars until the end, which is 1 star. Wish he was just a spooky doll.