Uccidete la democrazia

Uccidete la democrazia

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Uccidete la democrazia torrent reviews

WS W (au) wrote: My my, like I was still watching .

Heather M (ag) wrote: A bit slow and unusual, but worth watching the slow parts to get the happy ending. A little bit neurotic, a little party drinking, and a little sweetness - a great combination.

Buddy A (ru) wrote: I would have totally zoned out on this movie if it were not for Mike Epps. He was hilarious and I actually laughed at all of his scenes and jokes. As far as the rest of the movie goes, I just can't quite recommend it.

Cameron J (ag) wrote: "Sid and Nancy II: The Ballad of Some Other Underwhelming Late-'70s Punk Band With a Tragic Story That People Forgot About". Well, I reckon I figured out a way to make this film's title less bland and formulaic, though maybe this film should just stick with the title the filmmakers settled on, because Joy Division was only original in their being a post-punked-up version of The Doors, only, you know, a little duller ("Oh, yeah, Jim Morrison made Mick Jagger look tedious, he was such an exciting frontman"). Well, at least Joy Division wasn't quite as obnoxious as Sex Pistols, and yet, plenty of people have kind of forgotten Joy Division... probably because the band, while alright, still wasn't too much better than Sex Pistols. Yeah, I'm not entirely sure on what Ian Curtis had control of, because it wasn't like he had all that tight of a grip on an attractive vocal style... or his marriage... or neurological stability. Jeez, Curtis just couldn't catch a break, so I reckon it's fitting that this film didn't catch too much of a break, so much so that it wasn't even as big of a success as a certain other experimental biopic of a popular musician in 2007, and if you don't know what I'm talking about, well, that's exactly my point. Well, "I'm Not There" wasn't too much more commercially successful that this film, but I still give it plenty of credit for being downright awesome, as opposed to this biopic. That being said, this film is a decent one, even though it can't quite gain enough "control" on storytelling to do away with some flaws. Pacing is nothing if not problematic in this film, with limp areas in momentum being the most recurring issue, but not without some company from hurried occasions, which can at least be found within expository areas of storytelling that are generally well-fleshed out, but have their share of glaring underdeveloped moments that could have easily been made up for if this film didn't pay so much attention to bloating storytelling with excess material that gets to be repetitious. Perhaps repetition could have been obscured by dynamics within the kick of director Anton Corbijn's atmospheric storytelling, but I suppose we'll never know, because while Corbijn's storytelling has plenty of effective areas, limpness in plot structuring goes much too emphasized by atmospheric limpness that looms over the film all but throughout it, watering down kick so much that when you're not blandly disengaged, you're bored. The film gets to be a bit dull, as well as repetitious at times, yet dragging is also emphasized by a certain other aspect, and that is unevenness, for although I give this film a lot of credit for having the guts to tackle most every key aspects within the brief life of Ian Curtis, and often doing this subject matter justice through effective areas in resonance, storytelling has a tendency to, for too long of a time, intensely meditate upon one layer of this intricate character study, - whether it be Curtis' career, or relationships, or internal conflicts - rather than organically bond the layers, thus making the eventual shifts in layers to prove jarring and ultimately detrimental to your investment within any aspect of this story. Focus isn't exactly all over the place, but it is incoherent, and before you know it, storytelling begins to lose a sense of progression and devolves into aimlessness, even though it's not too hard to figure out what stands at the end of this meandered path, thanks to the familiarity of the path that even those who are unaware of the story of Ian Curtis will find. The film isn't quite as formulaic as I feared, but Curtis' story is one that has been experienced time and again by many other musicians, and this film interpretation of such a story fails to do as much as it probably should to grace this narrative with something refreshing, shamelessly succumbing to conventions and tropes that can't even be fully compensated for by the aforementioned and relatively distinct storytelling flaws. Some of your more unconventional areas to storytelling are the flaws, and even then, we've seen uneven pacing and focus in all kinds of films of this type, thus they go emphasized by the conventionalism, leaving the final product to ultimately find itself with too little steam of sustain genuine reward value. Still, there is admittedly enough steam to the final product for it to secure genuine decency, and do so pretty handsomely. I'm not saying that the film is "Schindler's List" good-looking, but intentional black-and-white cinematography in this day and age has to be really hard to do very well, and that makes Martin Ruhe's efforts all the more commendable, because even though the lack of visual color does what degree of liveliness there is within this film's all too often dried up atmosphere no favors, stunningly clever plays with lighting and framing emphasize the sparseness of this film's color palette in way that captures this drama's brooding, yet tasteful tone, sometimes with haunting beauty. For an experiment with colorfully limited visual style, this film looks really good, and places its good looks into the context of its atmosphere with a thoughtfulness that gives you a feel for the isolation faced by the center of this intimate character drama's focus, even if it also adds a bit to the atmospheric sobriety that blands things up by giving you a chance to meditate upon the many shortcomings in storytelling. Of course, I must admit, the steadiness of this slow drama also gives you a chance to meditate upon what is done right in Matt Greenhalgh's and Ian Curtis widow Deborah Curtis' script, which does, in fact, have its share of strengths to offer alongside weaknesses, such as some sharp, if a bit inorganically incorporated comic relief, and genuinely effective areas in expository depth that draw a layered story. Sure, there is quite a bit of underdevelopment to plenty of areas, and the layers of this narrative are all too often unevenly handled, but this script's courage to extensively tackle as many areas of the tragic story of a flawed artist as it can within two hours is commendable enough to be endearing, and when the highlights of Greenhalgh's and Curtis' screenplay go well-executed by Anton Corbijn, the result is pretty effective. Corbijn approaches the telling of this story very steadily and meditatively, and in plenty of ways, underwhelmingness wouldn't be as firmly secured as it ultimately is without the dulling atmospheric dryness, yet when Corbijn's efforts work, you're left to not only meditate upon the pacing problems on paper, but upon the depths of this narrative that give you a sense of progression while you observe the evolution in a man as he comes of age from an ambitious and quiet teenager into a well-recognized and rather well-intentioned man whose flaws will mean his destruction. As much as I praise this film's highlights, they're few and far between, and such infrequency in quality renders the final product unable to escape underwhelmingness, but not get so lost in its shortcomings that you can't see the glimpses into what could have been, which gradually grow in quantity, largely because, as things unravel, material builds for our talented cast, or at least for our lead, because even though most every performer in the supporting cast has his or her moment to shine, at the end of the day, all the supporting characters are are mere bits and pieces surround the story of Ian Curtis, whose portrayal can make or break the final product, which is why then-newcomer Sam Riley gives it all he can in a sometimes underwritten, but generally revelatory performance that keeps consistent in charisma, and proves to be remarkably convincing in its selling the layers to Curtis, whether when he's a punky lad or a seriously flawed man, whose gradual decline is sold with so much dramatic commitment by Riley that, at times, you have to see what this kid who came out of the blue to be in this film does in order to believe it. Uneven writing holds back Riley's impact, but Riley still transforms into Curtis and proves to be instrumental in selling the effective areas in this extensive character drama, and while that's not enough to carry the final product out of underwhelmingness, the Riley's performance is just one of a fair deal of highlight that keep you going, even if you do still walk away wishing for more. When the "new dawn fades"... or whatever, underdevelopment proves to be a considerable issue whose severity goes topped only by repetitious dragging in plot structuring that is made all the more glaring by atmospheric dull spells, and leaves certain aspects to this layered character study to go too intensely focused upon for focal unevenness to be avoided, sending the final producer meandering down a familiar path until finally tripping into underwhelmingness, challenged enough by gorgeous cinematography, well-rounded highlights in writing, compelling highlights in direction and a relatively upstanding, if a bit underwritten lead performance by Sam Riley for Anton Corbijn's "Control" to stand as a decent study on the short life of Ian Curtis, with almost as many highlights as shortcomings. 2.5/5 - Fair

Carmen Y (us) wrote: Really strange. I can't say I'd watch it again, though. Believable and not at the same time.

mike h (de) wrote: one of megs and matts best films, seriously what is wrong with you people

Sweetilusion69hotmailcom S (it) wrote: Antonnio Banderas : wow

Kevin L (kr) wrote: How can you not like the pure nostalgia. Paul Freeman as Ivan Ooze is over the top and great in his campy villain role.

Eliabeth W (ru) wrote: very intense film, all the actresses are brilliant in it...

Paul C (nl) wrote: Eastern European horror movie with poor SFX and worse acting - unbelieveably it went on to spawn three sequels - and i'm still going to watch them all!

Grayson W (us) wrote: This is a really fun slasher movie that I'm surprised isn't more popular. The plot basically rips off the Toxic Avenger for the first 20 minutes and shows the making of a locker room prank gone wrong that produces a vengeful deformed nerd.Years later the teens come back to the highschool and are killed off one by one.. Who could be the killer?There are some cool special effects and an old abandoned highschool that make the film very entertaining.

Lesley N (ca) wrote: Surprisingly good and gritty 70's drama about three carworkers, Yaphet Kotto, Harvey Keitel, & a straight-playing Richard Prior, trying to stick it to the man/company/union. .

Alec B (gb) wrote: Boorman crams enough material for two movies into one, which is why it's a mess, but the film is still visually inventive and highly entertaining. Despite it's problems, I wish studios would be willing to still make fantasy films as unapologetically weird as "Excalibur".

Calvin R (us) wrote: Horrible bosses, is funny, and it has a solid premise. Great performances, hilarios dialogues, and a great script, makes this a great comedy.

Ethan B (ru) wrote: This is better than I expected, for it being made for the effects it works. The plot isn't too great and the audio is over dubbed at times, but not a bad first film from Alec Gillis.

Lauree K (gb) wrote: Violent sexual tension. Excellent.