A provocative thriller that will surely raise the fear in you. Proving that no one, not even DEATH can separate us from the living. A story that conquers the old adage "till death do us part", Roman (Oyo Boy Sotto) dies in a car accident. In a restless and unforgiving state he continues to prove his affection for girlfriend Joyce (Angel Locsin) . He then decides to embark in an intrepid and malevolent journey in order to keep Joyce. Joyce then began receiving hair raising text messages and even gets "death photos" of people close to her, including that of her current beau Alex (Dennis Trillo). She ignores these at first, but when the deaths happen under the exact circumstances at which they were predicted, she realizes she must fight the evil behind all these to protect her loved ones from this supernatural force.
Writer:Michael Tuviera (story), Penny Daza-Tuviera (screenplay), Paul Daza (screenplay)
A provocative thriller that will surely raise the fear in you. Proving that no one, not even DEATH can separate us from the living. A story that conquers the old adage "till death do us ... . You can read more in Google, Youtube, Wiki
Jordyn J (br) wrote: don't put this app on your phone
Corinna P (us) wrote: Steve was awesome!! He made the movie but the movie wasn't all that great. Still a nice quirky comedy though.
Craig L (gb) wrote: Solid action movie but some of the filming and some of the acting was not A List quality. Still, it's worth a viewing if you don't really have anything else to watch. Can't say it didn't entertain.
Natalia I (de) wrote: A wonderful film that speculates on the creation of one of the masterpieces of Vermeer. A 16-year-old peasant girl becomes the subject of the famous painter's work. Vermeer's wife is jealous with Griet who is harrassed by Vermeer's patron. Neither Vermeer or Griet have a thought of maintaining relationships, no words of love are pronounced, but the viewer understands that both of them have deep feelings which are coveyed through glances, gestures, silence and a few words about the essence of art. The film is a good example of the detals' symbolism.
Hunter H (jp) wrote: one of my favorite movies
Stephen E (jp) wrote: The first 45 minutes of Zero Effect are some of the best 45 minutes I've ever seen in a movie. It's so stylistic and exuberant that it's impossible not to enjoy yourself. The characters are great (especially the lead performance from Bill Pullman) and interesting, the soundtrack is fabulous, and the story is pretty involving. It starts off like any detective movie, but it takes the road less traveled; a road that leads more towards drama than it does thrills. But as the movie goes on, it loses steam. The first half is so great but it is also very misleading. You think that you're getting into a good crime-caper film, when, in reality, things get real quiet real fast and everything's just going to end like you imagined. And a little predictability never hurt anyone. There are plenty of movies out there that recycle the same formula that's been done a thousand times and they somehow manage to pull it off. But you just can't start off so originally and then end so... well, plainly. I just kinda lost interest in the final minutes. I'm not asking for something mind-blowing; just something that I haven't seen before.And I also didn't like how the film started on Ben Stiller's character and then ended with Pullman's character. Stiller wasn't even really in the second half of the movie at all. Sure, I liked his character a lot less than Pullman's, but that doesn't mean I want him gone. Now, the high points of Zero Effect are three things. First off, the wonderful soundtrack by the Greyboy Allstars. It's a smooth blend of jazz and funk, and it's just a pure pleasure to the ears, keeping up right on pace with the action. Second, the camerawork. I'm not a big fan of static shots, so I like seeing the camera move. Especially when it's in angles that I've never seen before. And thirdly, the lead performance from Bill Pullman. Why wasn't he nominated for a Golden Globe or something? It's such an energetic and charismatic performance that is just a treat to watch.
Zack B (it) wrote: The only thing I was really into was Bob Hoskins' fierce performance.
Van R (ca) wrote: No, Michael Curtiz's "Virginia City" is not as memorable as "Dodge City." Curtiz helmed "Dodge City"(1939) about the taming of that historic frontier railroad & cattle town with Errol Flynn triumphing over the elements of chaos. He refuses to pin on a lawman's badge until the villains kill a helpless little boy. Warner Brothers lensed "Dodge City" in Technicolor , whereas the Burbank studio filmed "Virginia City" in black & white. The characters in "Dodge City" possess greater charisma, including Bruce Cabot's villainous Jeff Surrett. Robert Buckner, who penned the screenplay for "Dodge City," also wrote "Virginia City." Furthermore, lenser Sol Polito photographed both epics, and his cinematography is outstanding, except that the gorgeous desert locations in "Virginia City" lanquish by comparison in black & white. Although Warner Brothers wanted to capitalize on the success of "Dodge City," the studio cut many corners on this quasi-sequel. Whereas "Dodge City" was a rip-snorting, larger-than-life western, "Virginia City" differs because the good guys and the bad guys behave differently in the last quarter-hour. The last 30-minutes are pretty contrived and the hero makes a moral decision that conflicts with his command imperatives as a Union officer. The resolution seems rather far-fetched and an effort to wrap up everything with a happily-ever after ending. Humphrey Bogart makes an uncharacteristic appearance as a mustached Mexican bandit who preys on our heroes. The first time that he encounters Kerry Bradford (Errol Flynn) on a stagecoach, he tries to rob him, but Bradford outsmarts him. Actually, Bogart is the only genuine villain in this Civil War era oater that takes place in Nevada. Flynn plays a resourceful U.S. Army officer Bradford who tangles with Randolph Scott's Confederate Army officer Vance Irby. They are sworn enemies from the outset with Flynn and his cohorts Alan Hale and Guinn 'Big Boy' Williams holed up in the notorious Libby Prison with Irby as a Confederate officer in charge who catches them trying to dig their way out. Later, they blow-up a powder magazine while tunneling to freedom when Irby is off elsewhere. Meantime, Captain Vance Irby (Randolph Scott of "She") and Julia Hayne (Miriam Hopkins of "Barbary Coast") devise an audacious scheme to transport $5-million in gold ingots from Virginia City to the South. President Jefferson Davis (Charles Middleton of "Flash Gordon") approves of the plan. Bradford and company set out to thwart Irby and Hayne. Although it is in black & white, Curtiz and Polito provide a good-looking picture and Flynn makes a first-class hero. Scott qualifies as a quasi-villain because Flynn and he wind up on the same side when Bogart's Hispanic outlaw attacks the wagon train led by Scott. The Confederates have cleverly concealed the gold in wagons with false bottoms. Naturally, Flynn falls in love with Hopkins. The action scenes are terrifi, especially when Murrell and his army surround the Southern wagon train in the desert!
iain m (fr) wrote: Maybe I just like films based on Homer's Odyssey, but I think O Brotrher is brilliant. While very funny it deals with hard subjects, pulling no punches when it places the Confederate flag front and centre with the lynchings and 'secret societies' during the 30s. The film also acts as an important record of songs from the Great Depression and is worth the ticket just for that.