TT3D: Closer to the Edge

TT3D: Closer to the Edge

By vividly recounting the TT's legendary rivalries and the Isle of Man's unique road racing history, this 3D feature documentary discovers why modern TT riders still risk their lives to win the world's most dangerous race. The Isle of Man Tourist Trophy is the greatest motorcycle road race in the world, the ultimate challenge for rider and machine. It has always called for a commitment far beyond any other racing event, and many have made the ultimate sacrifice in their quest for victory. A story about freedom of choice, the strength of human spirit and the will to win. It's also an examination of what motivates those rare few, this elite band of brothers who risk everything to win.

By vividly recounting the TT's legendary rivalries and the Isle of Man's unique road racing history, this 3D feature documentary will discover why modern TT riders still risk their lives to win the world's most dangerous race, following the leading riders in the 2010 race, most notably Guy Martin and Ian Hutchinson. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

TT3D: Closer to the Edge torrent reviews

Tim M (es) wrote: "Kenny Thomas is a blind man leading a double existence: by day he plays the organ at a rural church; by night he uses echolocation to assassinate targets in London." Great idea, but lets add a beauty queen for some unnecessary romance and needless musical breaks until it's a nice 2 hours and 40 minutes! I made it 40 minutes in.

Timm S (br) wrote: Tropical Paradise, Beautiful Blue Scenery & Lovely Bodies To Olgle...Minus, However.. Any Real So-Called 'Thrilling' Story..What Up With That?

Keith T (mx) wrote: HIGHLY entertaining! Christian Slater's action-hero American Churchill (who was really half-American) is a wonderfull send up. Harry Enfield is also very good as George VI. Lesley Phillips, playing a cross between Neville Chamberlain and Lord Haw Haw is fun too. Goering going round Buck House nicking sall the pictures just had me in stiches. That Anthony Sher plays der Fuehrer more or less straight also adds to the comedy.

Ethan P (mx) wrote: Patriot Games is a strong entry into the Jack Ryan trilogy and an absorbing story of an agent getting revenge for the people who went after his family.

Russ B (nl) wrote: 11/25/2016:. A decent action flick and possibly Seagal's best.

Nick P (gb) wrote: Eric Roberts is one of the most underrated actors of all time.

Colin K (ru) wrote: It's the music, the pace is slow and it's classic Harryhausen. More nostalgic than anything.

Robben M (jp) wrote: Seijun Suzuki is a mad genius. Really. He is quite marvellous in spinning these visually phantasmagorias filled with neon colors and cinemascope compositions so eclectic your head with stretch to cosmic proportions. But in any case, what we have here was supposed to be a standard porn film made in the time of major post-war Japan, totally exploitave and such. Suzuki was a sort of un-intentional maverick. His artist instincts come through all the time. Despite low budgets and set-backs, his films invariably end up as trippy film-fests that defy conventions, even now. This film is no exception. The movie is set in bombed out post-WWII Japan, occupied and filled to the brim with low-lifes and scum of the earth. A young girl, lost in the crowd, is nearly gang raped and assaulted, as a line of whores flaunt their goods to the American GIs occupying the landscape. This same girl falls into a small enclave of tough prostitutes who have an oddly regimented set of rules which can never be broken, the most important being that you never fall in love with the merchandise. This is graphically displayed as one of them is tied up and mercilessly beaten as her hair is cut. This her punishment. While the exploitave S&M implications are entirely clear, Suzuki manages to suck any titliation out of the sequences. They are certainly harrowing. In any case, the girl fits in nicely. All are color coded. The hot-blooded one is red. The sadistic one is yellow. The somewhat modest one is purple. The aforementioned banished one is in white. And the new girl is in green. At first, things go 'nicely', if it could be said that way. Then a rogue Japanese soldier stumbles into their midst. At first, they resent him, but not long, his strange magnetism attracts all four girls, especially the green one, who is struck by his resemblence to her older brother. Eventually, things go to hell as the new girl invariably falls in love. What happens next is especially disgusting. Not in the distasteful fashion but in the traumatic oh-jesus-this-is-horrible-make-it-stop. Suzuki is manipulative, but it's a good kind of manipulation. All the 'pink' implications of the film are shedded the moment the credits come on screen. We see rough sketches of wailing mothers and piles of bodies. The sequences in the run-down streets of Japan are incredibly considering what a low budget they had to work with. Suzuki fashions a surreal environment with billboards, parts of buildings and other scrap parts all smashed together. At times, it resembles a sci-fi landscape, with bombed out towers and cityscapes. The oddest sets are the ones that are deliberately theatrical as a form of emphasis. In one shocking scene, the narrative is interrupted by the girl's thoughts of the man. Each one is sitting in their own personal set. The red one sits in a landscape colored entirely RED. The yellow one in YELLOW and so on... The green one sits besides a green tree with gree leaves in front of a green backdrop. This theatricality of Suzuki is what makes him notable. He continues the onslaught of bizarre imagery, such as one sequence where a black priest threatens his own honor by attempting to rape a girl. in the distance, is a burnt church, though at the steeple a single light shines. Why? Who cares, it looks cool. Other techinques include spotlights coming on at impossible times, actors floating in space as they kiss and float in a constant circle, and double exposured allowing us to see the timed reactions of characters. The faces fill both sides of the frame. It's dazzling. The film makes a rather bitter statement about what it thinks of America and in that sense, it is an outright reaction from Suzuki about the post-war environment. This is not something to be taken lightly. Suzuki is being subversive and yet very slick. It's almost too slick and disgusting, but he's doing it because he can. He's like a Japanese Sam Fuller, except even crazier. What's ironic is that Suzuki would abandon all subversive methods as he would eventually gain more creative freedom as he got older. His later films become even more hallucinatory until, recently, with his PISTOL OPERA, he has entered the realm of ART FILM, full fledged and without shame. But in some ways, I prefer Suzuki's rather sly subversions of genre films under the strict studio that eventually fired him. The restrictions make for some interesting results, and really, this film is only a product of that environment.

Enrica C (fr) wrote: When I first decided to watch this movie I was quite sceptical about it. An American produced movie with both american and Italian actors... this wasn't surely going to be good. But right after its beginning "It Started in Naples" cought my attention. The main story is something I suppose many people experienced back in Italy in those years; locations are just amazing, Sophia Loren & Clark Gable act amazingly in this movie that tells a piece of Italian history. Another thing that I did really like is that life in the South of Italy is so realistic in this movie; I really saw lots of my own country in this movie... that was almost like watching a history documentary, just it was much more funny!

Eliabeth M (mx) wrote: Lelaina Pierce: I was really going to be somebody by the time I was 23.Troy Dyer: Honey, all you have to be by the time you're 23 is yourself.Lelaina Pierce: I don't know who that is anymore.Troy Dyer: I do. And we all love her. I love her. She breaks my heart again and again, but I love her.Reality Bites es un clsico de los 90s. Es considerada para muchos la pelcula que representa a una generacin entera. Con estas credenciales estaba entusiasmada de verla, pero no slo me decepcion, sino que el final en particular me hizo casi descartar las cosas buenas que tiene esta pelcula. Me pareci interesante porque hace un par de aos, cuando mi visin del amor era ms idealista, hubiese considerado la relacin entre Lelaina y Troy romntica.Pero entre las cosas que si me gustaron. Me gust lo crebles de los personajes, sobretodo las expectativas y luego decepciones que tienes a los 20. Definitivamente me pude ver reflejada en varias cualidades y situaciones por las cuales tienen que pasar, sobretodo el hecho de que la sociedad espera que tengas tu vida en orden una vez que te gradas, y sigas una lnea exitosa que consiste en conseguir un trabajo, tener una relacin, casarte y etc etc.. y la verdad que a esa edad casi nadie sabe que quiere o quien es. Vickie (Janeane Garofalo) es el personaje ms real y racional de el elenco y me encant su actuacin. Winona Ryder es elctrica, y es nostlgico verla en este rol, porque no va a haber actriz como ella. Apareca en la pantalla y es imposible quitarle los ojos de encima.

Paul M (nl) wrote: Very good film and I hate werewolves as well