The film is based on the novel by Whitley Strieber. A detective Dewey Wilson whose task is to investigate the death of a rich land developer and his wife. After more people are murdered, he meets some Native Americans and uncovers secrets. . You can read more in Google, Youtube, Wiki
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The Movie W (fr) wrote: As a child, traveller John Paul Moorehouse (Connors) saw his father gunned down. A rival traveller family, the Powers, had been thought responsible. When the Powers camp on ground near the Moorehouse halting site, the bad blood is once again stirred. Against the wishes of both families, John Paul rekindles a youthful romance with Winnie Powers (McGlynn), the daughter of the head of the Powers. When the unstable Mickey Moorehouse (Coonan) makes enemies in the local settled community, it brings trouble the family could do without. As John Paul investigates his father's death, he discovers the killer may be closer to home than previously thought.Those of you outside Ireland will likely be unfamiliar with the Irish subculture of travellers. Other cultures would know them as gyspsies, a nomadic people whose lifestyle has caused much controversy in this country. Ask any Irish person for their opinion on travellers and you'll get a passionate and often angry answer. The travelling community are keen to have a positive image of their way of life projected which makes the participation of actual travellers in this film so baffling. I struggle to recall a more negative screen portrayal of the travelling way of life. By aping the gangster films of Coppola and Scorsese, writer-director O'Connor has reinforced every negative stereotype surrounding these people.O'Connor's script is awash with every gangster movie cliche imaginable and at times veers uncomfortably close to unintentional comedy. A nod to the famous "I could've been a contender" scene from 'On the Waterfront' is particularly cringeworthy. O'Connor struggles with his writing but as a director he seems a natural. His film contains some of the most cinematic moments ever seen in Irish cinema. The first ten minutes reel you in with skillful coverage and editing. He also gives us something most film-makers deny us now, a legitimate credit sequence which really sets the mood of the piece. O'Connor and his cinematographer David Grennan pull off some very impressive tracking shots. One at a traveller wedding oozes cinematic cool.Amateur actor John Connors is a great find, the sort of face you don't see onscreen anymore, a bully-beef-Brando whose natural talent is undermined by poor dialogue. Conversely, professional thesp Coonan is the worst thing about this film, completely out of place in his role. If O'Connor can find a worthy script he could blow us out of the water in the future. I suspect his future lies outside his own country though.
Eva M (mx) wrote: Much better than it ought to have been.
Yasemin Y (mx) wrote: One masterpiece again from Mahsun !
Mark D (jp) wrote: Interesting documentary about arguably the most famous porn film ever made. Problem is it has little input from Lovelace apart from archive footage which is sketchy at best. Oh well!
Regan C (gb) wrote: A mature, sensibly-directed thriller that moves slow and plays fair but will not astonish those who are rather tired of this "stories starring writers" trope.
Tyson P (gb) wrote: Hillarious begining to end. Mike Epps is funny in anything, even resident evil.
Ben F (gb) wrote: You come from a big city, get stuck in a small town, start to love it, settle down. That's the plot of a fair number of modern movies and it's become familiar enough that I sometimes play devil's advocate and root for the main character to say, "No thanks," and get high tail it to London, like Kate Beckinsale's Flora Post in "Cold Comfort Farm." There were a few moments in "Doc Hollywood" (1991) in which I wished Dr. Ben Stone (Michael J. Fox) might choose that fate. And yet for all that, I found the movie to be incredibly touching. Why? Part of the film's triumph belongs to Mr. Fox, who acts just as boyish as he did in "Back to the Future." Yet he's more bitter here. Playing a doctor volunteering in a small town, he often explodes with profane anger that cracks past his nasal mumbling. Thankfully, his anger dissipates into other feelings--happiness, contentment, and romantic longing. And in the end as he gets to know the town, it changes as much as he does. It's filled with people who have their own contradictions that make them more than hick cartoons. The local ambulence driver might be a former NYC bartender, but that doesn't mean that she's dying to get out of the country or that she totally belongs in it either. In the end, of course, "Doc Hollywood" travels to its expected destination--Dr. Stone discovers his rural happily ever after. But arrival of the known doesn't provoke a cynical sigh, but leaves feeling relieved, happy, and just a little sad after such a long, looping journey. ****:)
Chris E (kr) wrote: very good film about prision boxing. Pretty underrated film.
City Lights b (ag) wrote: love love love this movie!
Adam S (mx) wrote: Another in a long line of "historical" action films that rely far too heavily on CGI and blood splatter and forget to give an engaging plot line, "Centurion" does have a decidedly British feel to it.Set in northern England, where native tribes battle with the Roman Empire for supremacy in the region, "Centurion" focuses on a broken Roman legion, featuring Michael Fassbender and the leader of the survivors, Dominic West as their fallen leader, Olga Kurylenko as a woman tracking them with intent to kill, and Noel Clarke, David Morrissey, Liam Cunningham and some other people as a raft of interchangeable other Roman people who mainly walk behind Fassbender for the majority of the film. There's also some guy who has ulterior motives, but what those are, the film seems to forget to tell us.A highly boring film that really brings nothing new to an already stale genre.
Claudette A (gb) wrote: A bit of a strange story about a OL (office lady - Japanese term) who hates her job. So she takes off to the States to look for treasure from a film she'd seen.