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Retired C.I.A. Agent Frank Moses reunites his unlikely team of elite operatives for a global quest to track down a missing portable nuclear device.

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original title: RED 2

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Retired C.I.A. Agent Frank Moses reunites his unlikely team of elite operatives for a global quest to track down a missing portable nuclear device. Retired CIA agent Frank Moses is in love with Sarah Ross and enjoying their normal life. Out of the blue, Marvin Boggs meets Frank in the supermarket and tells that Wikileaks has released the information that they had participated and know the whereabouts of the Nightshade, a portable nuclear weapon that was smuggled in pieces and hidden in Russia. Now the top agents in the world are under contract to seek them out to discover where Nightshade is. The trio travels to Paris and teams-up with the Russian Katja to track down the former Russian Agent 'The Frog' to get more information about the operation. They learn that the brilliant inventor Dr. Edward Bailey might know where the weapon is. They discover that Bailey has been interned in an asylum in London by the MI-6 for thirty-two years and the British Victoria joins the team. They rescue Bailey and find that the nuclear device is hidden in the Kremlin. Soon the dangerous South Korean Han joins the group expecting to retrieve the weapon. But dangerous killer Jack Horton is hunting Frank down and will not stop until he recovers the nuclear bomb. I remember being a bit disappointed by the first installment of what now looks like a wonderful retirement franchise and showcase for a bunch of first-rate ensemble actors. So now comes this unexpectedly delightful sequel, and I'm panting for the third installment. Helen Mirren steals the show. What she does with two guns in a speeding sports car has to be seen to be believed. She never oversells a line reading and she's always riveting to watch. Bruce Willis with his patented smirk is just fine leading this band of lethal lunatics. Nobody plays crazy better than John Malkovich, who released from playing serious, is a stitch here. Mary Louis Parker trots out her honed-to-perfection cool and sexy lady routine. It's always been adorable, and she works it to a fine comedic froth. Byung-hun Lee is a wonderful addition to this cast, playing a world-class assassin and getting no respect from the Red team until the final confrontation. Manning the sports car where Helen Mirren has her major moment, he mores than holds his own. Catherine Zeta-Jones has overworked the smoldering femme fatal a bit too often, but her brief time livens up the proceedings. Only Sir Anthony Hopkins is a bit disappointing in an underwritten part.

The balance between comedy and action is perfect. This is not a movie to spend too much time thinking about. But it is head and shoulders above most summer movie fare. See if for Mirren, Parker, Willis and Malkovich who were given better material the second time around and made it a huge hit. More please. Review: Bruce Willis really looked like he didn't want to be in this movie, and it seemed like he was holding back his usual wit and charm on screen. All of the other characters put in good performances, especially Helen Mirren, who looked great, and John Mallovich who was quite funny. I was a bit puzzled about the casting of Anthony Hopkins, but he also was great in the film and he really suited his role. The problem that I found with the film was that it seemed like an episode of a TV series like Mission Impossible or New Tricks, but with loads of action. You can really tell were all of the budget went, with all of the explosions and such an A-List cast, but it lacked punch and wit. The lady that plays Bruce Willis's girlfriend just became annoying and in the way. Apart from that, you do stick with the movie to see the outcome and so,e of the action scenes were quite good. Watchable!

Round-Up: For her age, Helen Mirren plays a great hit woman and she makes the movie enjoyable, in her couple of scenes. It's good to see the funny side of Anthony Hopkins, after watching him playing so many classic serious roles, and it didn't seem like he was out of his comfort zone. One of the problems that I found with the film was Bruce Willis who just seems to walk through the movie not doing anything amazing, which was surprising because he was the main character. He does pull of some action moves, which was surprising for a man of his age, but he isn't like he was in the early Die Hards or Moonlighting. John Mallovich brought some comedy to the movie, like he did in the first Red movie, but he hasn't got anyone to bounce off, like he did with Morgan Freeman. Anyway, there is something for everyone and I'm sure that this isn't the last that you will be seeing from the Red franchise.

Budget: $84million Worldwide Gross: $140million

I recommend this movie to people who were into the first Red, which also had loads of action and some comedy. 4/10 It’s all supremely silly stuff, and amusingly so, as long as you don’t stop to think about all those blameless officers and agents cut down in the line of mindless entertainment. Ex-black ops CIA agents Frank Moses (Bruce Willis) and Marvin Boggs (John Malkovich) , now considered RED (Retired, Extremely Dangerous), reunite with retired MI6 sharpshooter Victoria Winsler (Helen Mirren) to track down Nightshade, a portable nuclear weapon smuggled in pieces and hidden in the Russian Kremlin by physicist Edward Bailey (Anthony Hopkins), whom MI6 has kept incarcerated in a London asylum for the past 32 years. Aided by Frank's girlfriend Sarah (Mary-Louise Parker) and Russian secret agent Katja Petrocovich (Catherine Zeta-Jones), the five attempt to retrieve the Nightshade device while dodging South Korean contract killer Han Cho Bai (Byung-Hun Lee) and Pentagon agent Jack Horton (Neal McDonough). RED 2 is the sequel to RED (2010) (2010), which is based on a comic book written by Warren Ellis and illustrated by Cully Hamner. The screenplay for RED 2 was written by screenwriter brothers Jon and Erich Hoeber. Marvin fires the AK at general area of the helicopter (notice that he doesn't really aim down the sights, he isn't trying to shoot it down or damage it) so it would retreat and get outside the explosion radius. He's making them run away so they survive the incoming explosion. Carrying the activated Nightshade bomb, Frank boards the plane where Bailey is holding Sarah hostage. Bailey releases Sarah but orders Frank to get off the plane and take the bomb with him. Frank complies and joins Marvin, Victoria, and Han on the tarmac. As Bailey's plane takes off, they await the explosion of the bomb. With only four seconds left, Bailey discovers that the bomb has been hidden on his plane, and the plane goes up in a massive explosion. Frank reveals the empty bomb casing, indicating that he planted the bomb on the plane sometime before he faced Bailey. Incensed at losing his plane, Han says that Frank owes him $30 million for the plane and $20 million for not killing him. While walking away with Sarah, Frank replies, "All right". In the final scene, Sarah is shown jazzing it up on a mission in Caracas while Frank and Marvin (in drag) watch.


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Bullitt Movie In Tamil Dubbed Download


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An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.

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original title: Bullitt

genge: Action,Crime,Mystery,Thriller


imdb: 7.5

duration: 1h 54min

tags: Steve McQueen As 'Bullitt'

budget: $5,500,000

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A no glitter, all guts cop named Frank Bullitt - with two other cops - is assigned to what seems like a normal case: to watch a witness for 48 hours before he goes to trial on Monday. When one officer and the witness are injured, Walter Chalmers gets angry at Bullitt. After he chases the hit-men that shot them, he vows to catch them, and the mafia boss that hired them. High profile San Francisco Police Lieutenant Frank Bullitt is asked personally by ambitious Walter Chalmers, who is in town to hold a US Senate subcommittee hearing on organized crime, to guard Johnny Ross, a Chicago based mobster who is about to turn evidence against the organization at the hearing. Chalmers wants Ross' safety at all cost, or else Bullitt will pay the consequences. Bullitt and his team of Sergeant Delgetti and Detective Carl Stanton have Ross in protective custody for 48 hours over the weekend until Ross provides his testimony that upcoming Monday. Bullitt's immediate superior, Captain Samuel Bennet, gives Bullitt full authority to lead the case, no questions asked for any move Bullitt makes. When an incident occurs early during their watch, Bullitt is certain that Ross and/or Chalmers are not telling them the full story to protect Ross properly. Without telling Bennet or an incensed Chalmers, Bullitt clandestinely moves Ross while he tries to find out who is after Ross, and why Ross has seemingly made it so easy for "them" to find him. As Bullitt enlists the help of his live-in artist girlfriend Cathy over the weekend and as she sees for the first time with what he deals every day, she wonders if he is indeed the man with whom she should be. I hadn't seen Bullitt in at least 30 years. Looked forward to viewing it again. But I ended up mostly disappointed. Take away the famous car chase - and while ground-breaking in its scope and drama, it had since been surpassed many times - and there's not a lot here. McQueen is okay, but it's not one of his better roles. He's caught in that awkward 60's transition of the cop drama. Too late for straight procedural or even film noir stuff, but too early for the anti-heroes like Eastwood's Dirty Harry. McQueen wears paisley pajamas, for crying out loud! And, dead giveaway, a lot of the men wear hats. Jacqueline Bisset sort of wanders through the movie, to no purpose, complaining about the dead bodies and awful scenes McQueen lived with. Dear, he's a cop! Supposedly McQueen wanted Peter Yates to direct this. Not a good choice. Yates was fairly inexperienced at this type of movie, and it shows. Absent the car chase, this moves very slowly. It could have been a lot better, but it's reflective of its time. I enjoy this movie every time I watch it. Absolutely the best chase scene ever filmed,(but I think it has more to do with the cars themselves than the chase) and I have nothing negative to say, but Im sure others have noticed little interesting things like, after Bullitt swerves to miss the motorcycle and spins out, he accelerates, scratches second gear, you hear him shift again into third, and again into fourth. He gets out on the road winding it out..and you hear him double-clutch and shift AGAIN..into fifth? I always smile when I hear that. Also, I have noticed that the Charger changes from a standard to an R/T and back, just as the Mustang changes from a standard Mustang to a GT and back. Not to go all Pauline Kael on you, but Bullitt -- the 1968 crime drama starring a Ford Mustang GT390 and some guy named Steve McQueen -- is a fairly tedious bit of Aquarian cinema: the chicka-chicka-waah soundtrack, the inscrutable plot, the anaerobic dullness of every second that McQueen is off-camera. Bullitt scrabbles to its minor footnote status in film history on two counts. The first: It marks the only time any man ever looked cool in a cardigan -- McQueen should have gotten the academy's knitwear award. The second is the movie's remarkable seven-minute chase scene, with real cars (the Mustang and a black Dodge Charger), real drivers and real stunts, no special effects. Lieutenant Frank Bullitt (Steve McQueen), Sergeant Delgetti (Don Gordon), and Detective Carl Stanton (Carl Reindel) of the San Francisco Police Department are charged by ambitious politician Walter Chalmers (Robert Vaughn) (who is holding a Senate subcommittee hearing on organized crime in two days) with guarding Johnny Ross (Pat Renella), the key witness against Johnny's mobster brother Pete Ross (Vic Tayback). When Johnny's hotel room is broken into and both he and Stanton are shot, Chalmers seems more interested in placing blame on Bullitt's negligence. When Johnny later dies, Bullitt (with the help of Johnny's doctor) decides to hide his body in an attempt to find out who murdered him. Bullitt is based on Mute Witness (1963) by American writer Robert L. Fish [1912-1981]. The novel was adapted for the film by screenwriters Alan Trustman and Harry Kleiner. "A Song for Cathy" composed by Lalo Schifrin. Yes. It's at the corner of Taylor and Clay Streets in the Nob Hill section of San Francisco. The building where Bullitt lives is right across Clay St at the same intersection. Also, the address given for the Daniels Hotel and the phone number of Coffee Cantata are real places, too. Bullitt contrived to keep his death secret because he feared Chalmers, who had no interest in finding the killers, would, through his obvious influence with SFPD brass, have any investigation quashed. Chalmers' only interest was in the publicity from the Senate hearings which, with his key witness dead, would either not occur or be only negative. Granted, all the hotel clerk said is "Sunshine Cab". Bullitt then left the hotel and immediately found the cab driver (Robert Duvall) at the Car Wash. Viewers who have noted this "plot hole" explain it in two ways; (1) Delgetti or Bullitt phoned or went (offscreen) to the cab company to check their records, or (2) the cab driver was assigned to that area and was known to Bullitt. From phone records. The cab driver informs Bullitt that Ross made two calls from a certain phone booth, the second one being long distance (as "He put in a lot of change"). From phone records, Bullitt learns that Ross called Dorothy Simmons person-to-person at the Thunderbolt Motel in San Mateo nine hours before Ross was murdered. In her luggage, Bullitt finds thousands of dollars in traveler's checks issued to Albert Renick and Dorothy Renick as well as travel brochures to Rome, Italy, but no airplane tickets or passports. It's at this point that Bullitt starts putting together the pieces of the puzzle. The chase began because the hitmen had been following Bullitt in hopes that he would lead them to Johnny Ross so that they could finish the job. However, during the first part of the chase, when they're driving at normal city speeds, Bullitt tricks them into passing him in order to see their faces. Now that Bullitt can identify at least one of them, they may have decided to kill him, but when Bullitt outmaneuvered them, they were simply trying to get away. Actually, the car chase was out of sequence moving in seconds from one end of the city to another. Places they pass in the chase include Russian Hill, Bernal Heights, Marina Blvd near Crissy Fields, Potero Hill. John McLaren Park, and ends on Highway 1. It's said that they wanted to perform the chase across the Golden Gate Bridge but couldn't get permission. For two reasons: (1) to kill Dorothy Renick, and (2) to retrieve the passports and airline tickets so that he could get out of the country under a false identity. When he finds the traveler's checks in Dorothy's luggage, Bullitt requests a copy of their passport applications from the Immigration Department in Chicago. At Ross' autopsy, it's noted by the coroner that Ross has multiple surgical scars to his face. When the passport photos come through, Bullitt realizes that the man Chalmers sent him to guard, the man who was shot in the hotel room, was actually used car salesman Albert Renick, surgically altered to look like Johnny Ross, and he concludes that Renick was set up by Ross to take the fall. Unconfirmed Pan American airline tickets to Rome in the Renicks' names are located at the San Francisco airport, so Bullitt and Delgetti go in search of Ross, standing near the gate, waiting for him to board the flight, but Ross doesn't show. On a hunch, Bullitt phones Passenger Service to see whether Renick might have changed his tickets and learns that he was just reassigned to a departing flight to London. Bullitt calls Flight Control and requests that the flight return to the gate. He and Delgetti rush to that gate, and Bullitt boards the flight while the passengers are being made to debark and wait in the departure lounge. He spots Ross at the back of the plane. Knowing that he's been caught, Ross dashes for a tail exit, jumps off the plane, and leads Bullitt on a foot chase over the tarmac. Ross pulls out a gun and shoots at Bullitt then runs back into the terminal where he is eventually caught between two glass doors and shot by Bullitt. Chalmers, who has been waiting at the airport to take custody of his key witness, sees the shooting go down. Bullitt returns to his apartment to find Cathy (Jacqueline Bisset) asleep. He puts down his gun and washes his hands. Up until 1967, aircraft hijackings were still relatively rare, having averaged only one per year since 1958. A passenger could board a flight carrying a gun, and nobody would be any the wiser (incomprehensible today). So, it was still easy to bring a weapon onto an airplane when this movie was filmed in 1968. It wasn't until 5 January, 1973, that the Federal Aviation Administration started requiring airports screen passengers and carry-on baggage for obvious weapons and explosives. Viewers who have liked the chase scene in Bullitt recommend starting with Robbery (1967) (1967), a dramatization of the Great Train Robbery and directed by Peter Yates, who also directed Bullitt. Following Bullitt, the number of movies with good chase scenes proliferated. Some of the recommended ones include: Cotton Comes to Harlem (1970) (1970), The French Connection (1971) (1971), Vanishing Point (1971) (1971), Shaft's Big Score! (1972) (1972), What's Up, Doc? (1972) (1972), which spoofs the chase from Bullitt, Cleopatra Jones (1973) (1973), Live and Let Die (1973) (1973), where the chase takes place in boats, The Seven-Ups (1973) (1973), which reuses the Bullitt soundtrack during a similar chase scene, Gone in 60 Seconds (1974) (1974), Dirty Mary Crazy Larry (1974) (1974), Truck Turner (1974) (1974), Smokey and the Bandit (1977) (1977), and The Driver (1978) (1978). Because Johnny isn't really Johnny Ross. He is a look-alike named Albert Renick. The plan was that Johnny Ross would disappear and not have to testify at the senatorial committee, so he believes that the caller is there to help him to escape and then disappear. He is surprised when the gunman shoots Stanton and then turns the gun on him.


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Coming together to solve a series of murders in New York City are a police detective whose family was slain as part of a conspiracy and an assassin out to avenge her sister's death. The duo will be hu

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duration: 1h 40min


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Max Payne is a undercover agent and detective in DEA who left and joined NYPD. He is out for revenge of murder of his family along with Mona Sax (damsel in distress) who is after same person who killed her sister. It is loosely based on Max Payne game. Three years ago, NYPD detective Max Payne's wife and baby were murdered. Max gets himself transferred to the cold case office where he can continue searching for the killer who got away. He's a loner, but two people reach out to him during a fateful week: Alex, his ex-partner who may have found a clue, and BB, the security chief at the pharmaceutical company where Max's wife worked. Meanwhile, bodies are piling up, some as a result of a drug on the street that is highly addictive and, for many who take it, brings hideous hallucinations. When one of the bodies is a woman Payne was the last to see alive, her sister comes looking for him armed to the teeth; Max must move fast. I never played the game so I had a clean slate when I went to watch the movie. Thus, I can truly criticise the film based on it being a movie and not how good an adaptation it was/is; hence, not bias.

To me... this movie was horrible. It was so terrible that I wanted my money back (okay only an expression). The movie was anticlimactic nearly all the time and rarely catches the attention of the audiences.

The worst aspect of the movie and also the best is the CGI and the visual effects. Though brilliant, fascinating and visually pleasing, it was completely unnecessary and does not contribute anything to the plot or characters. However, without it, the movie will be even lower than what I think of it.

Another thing I really hated was the so called 'symbolism" in the movie. There were way too many inappropriate and redundant references and allusions to Ragnarök and the Valhalla. Only someone who is really below average intelligence would think the use of these allusion was brilliant; someone saying something like this in their head: "Wow they are using biblical allusions, that's genius, it must be good". Yes I have encounter someone saying this and I really resent that person for that comment. It could be me being stupid and not understanding it but seriously, they make it seem so important when it really isn't. The film didn't explain this properly and it didn't make enough strong links. Therefore, the film failed in relating to the audience.

I've watched this ages ago so I can't remember much, only that I really hated the movie. So unfortunately, I can't remember much of the acting; thus, I can't complain/praise that aspect of the movie.

Judging from the comments, it could have been a really awesome movie, but it wasn't. What a shame.

I don't recommend buying/downloading/watching this. Remember when Mark Wahlberg won an Academy Award? Yeah, neither can I.

Seriously, NOTHING happens in this film. Mark Wahlberg, somehow thinking "stoicism" means "rather than act or affect any character motive whatsoever just talk every line of dialogue like you're reading a manual on how to replace a filter element on a tractor engine", pisses and moans his way through a plot that feigns being convoluted (but turns out to be about as complex as its vague reference to soldiers in the Middle East is relevant), ultimately providing dud answers for questions nobody cares about, such as: "Chris O'Donnell - whatever happened to that guy?" and "How do you make the brutal slaying of a baby boring?" Mark Wahlberg, the whole time looking more concerned with getting the scene over with so he can go home, just frowns and sighs throughout the whole film - and that's really all the film is: one big sigh of disappointment, where even the sets look embarrassed to be there.

Whereas the game puts a genuinely dark and interesting twist on film-noir clichés, this film strips the Max Payne narrative of everything that made it exciting in game form. The game was seminal in creating the popularity of bullet time, yet the film - somehow keeping bullet time as the ace in the sleeve to be unveiled at the gripping climax - manages to remind everyone what a bored and hackneyed cliché cinema bullet time has become. What the film crew should have done is go into someone's living room and film them playing Max Payne on their computer from start to finish. Seriously, an adaptation of "Lemmings" would have been more exciting than this film. The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R. Max Payne is based on a 2001 video game of the same name. The video game was adapted for the screen by American screenwriter Beau Thorne. The most common track used is "If I Was Your Vampire" by Marilyn Manson. Yes, although there isn't much of it. While in spirit and tone, the Max Payne film is very similar to the game, many details are changed. Obviously, numerous things are cut because the film runs at about 2 hours, while the play time of the game is much longer

The character Jason Colvin (Chris O'Donnell) is a completely new character added for the film. Max's inner-monologue and "comic book" style narration are almost completely cut, except for minor bits in the beginning and end of the film. Jack Lupino's origin is revealed, as he is portrayed as a "test subject gone mad" in the film. He was given Valkyr as a sort of "super serum" for soldiers in the War on Terror, and, like almost all the other test subjects, eventually went insane. In the game, Jack Lupino dies in the first section, whereas in the film he dies in the final act. Also, in the game, Max kills him, while in the film, he is killed by B.B. Hensley. Nicole Horne does not die in the film.

Unlike in the game, Mona Sax is not hired to kill Max by Nicole Horne. Mona is not wounded or presumably killed as she was in the game. However, a slight reference is made to that game scene in the film, as she is last seen in an elevator. Jim Bravura is no longer the Chief of Police, but instead an Internal Affairs detective, and is turned from an aging police veteran to a young, upstart, and wise cracking detective. All of the dream sequences from the game are cut, and had they not been cut, the film would have most definitely received an "R" rating. Valkyr is explained much more in the film, and displayed on film as a massive hallucinogenic drug, still created by Nicole Horne's company, Aesir. In the film, however, it was a failed "serum" used on soldiers in the War on Terror to make them "fearless". The drug made the test subjects so hungry for more and insane that Aesir was forced to shut down the project, not before Jack Lupino had escaped to the streets. In the film, the hallucinations of the users are mainly demonic angels which "influence" the user's choices, and the drug also turns violent images into peaceful ones, and peaceful images into violent ones. The best way to describe the effects of Valkyr would be that it turns the user into a sort of paranoid schizophrenic.

Also, in the game, Max Payne killed all three men who killed his wife and daughter when he encountered them when he came home from work. In the movie, one of them got away. It is later revealed that B.B. is the third killer. Also, B.B. is a young guy in the game while in the movie, he is an older man. Yes. At the very end of the credits there is a scene between Mark Wahlberg and Mila Kunis, which sets the stage for a possible sequel: Mona shows Max a newspaper that reports Nicole Horn to be the new CEO of Aesyr Corp. The company, against expectations, apparently thrives. One of the harshest critics of the film was 3D Realms CEO Scott Miller, one of the game's producers, who cited fundamental story flaws "that have me shaking my head in bewilderment," including the game's opening scenes being instead placed in the middle of the film. After the film's #1 opening weekend, however, he retracted his comments, saying that he was now "proud of the film," and that "This kind of opening brings us a lot closer to the reality of a sequel," to the long-stalled video game franchise.(wikipedia) In order to achieve the more attractive PG-13-rating for the cinematical release, the film was cut and edited in terms of violence and sexual content as well as drug use. The unrated version was later released on DVD. Yes. When Max arrives at the bar to meet with Mona, the bartender says to Max, "Good to have you back."


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A company detective goes undercover to expose a gang that uses inside information to rob gold shipments.

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original title: By the Sun's Rays

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imdb: 6.4

duration: 11min



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Bandits capture a gold shipment from the Colorado mines. Where did they get the information that the shipment was to be made? A detective is sent from the company's Chicago office to aid John Davis, mine superintendent, in finding the criminals. Under their very noses another shipment is stolen. Frank Lawlor, clerk in the office, loves Davis' daughter, Dora. The girl feels a strange repugnance for the man. When the detective Murdock arrives, her woman's heart awakens. Lawler is angry, but conceals his feelings. Another shipment is to be made. Murdock gathers a posse and sends them out. He is starting himself for their hiding place when Dora comes along on her horse. Love drives out other thoughts for a few moments, when a sudden flash of sunlight strikes their faces. Murdock is startled. Taking his field-glasses he sees Lawler on a distant hill, flashing a signal with a mirror to someone below. The treacherous clerk returns to the office. Murdock, leading the posse, captures the accomplices. Dora is holding Lawlor at the office by pretending to accept his hated love making when the posse returns. Seeing the game is up, Lawlor attempts to escape, is shot and his body brought back. Dora and Murdock acknowledge their love as the picture fades. A company detective goes undercover to expose a gang that uses inside information to rob gold shipments. Lon Chaney made eight films in all for director Tod Browning and it would have been more, had he lived longer, because Browning had cast him as Count Dracula in the role that ended up with Bela Lugosi. So far, The Unknown is my favourite but I've only seen half of them, if you can count what's left of London After Midnight as a complete film. As a stills reconstruction it's fascinating, but it isn't enough to even rate as a movie. By the Sun's Rays does still exist, thankfully, even though it was their first collaboration and was made in 1914, no less than thirteen years before London After Midnight. As such it's a historic piece of film, no doubt about it.

In fact this is so far back that Chaney isn't even top billed. M J MacQuarrie, whoever he is, has the starring role as 'John Murdock, the Detective'. Chaney has to settle for second on the bill, as 'Frank Lawler, the Clerk', but he stamps his authority on the film in about half a second flat, shifting around in character like a chameleon while everyone else is just there. Lawler is obviously a bad man, leaving the Deep River Mining Co offices to orchestrate a robbery of their departing gold shipment, and it's the job of the good guy detective to catch him.

Unfortunately for M J MacQuarrie, there are only two reasons to watch this film. Chaney is one and Chaney and Browning together is the other. By the time detective John Murdock arrives to look into how the bandits are getting their information, it's already Chaney's film, literally as well as figuratively as we're five minutes into a film that only has a ten minute running time. MacQuarrie seems perfectly adequate in the part until Chaney walks onto screen at which point we simply forget who he is or why he's there. Chaney may be a little too much of the silent era villain but he's still amazing to watch.

For Browning's part, I get the impression that there's more going on here than was the norm at the time. To be fair, I'm not really well versed in anything except slapstick from 1914 but this is still a notch or two above what I expected. Beyond the focal characters, there are plenty of others doing a lot more than just sitting around taking up screen space, for a start. It's also hardly the most detailed and deep plot ever put on screen, even in a ten minute short, but it compares well to things like the low budget westerns John Wayne was churning out in the thirties before he became a star. Given that it was made a couple of decades earlier in the year Charlie Chaplin made his first film, that's saying something. The version popularly on the go here is a little under ten minutes long, nitrate decomposed and light. I am told it is from the only surviving print. The film is unremarkable and if you have it on semi official VHS there are probably continuity errors (e.g. the law chase the outlaw signalling to his accomplices with the mirror BEFORE they spot the sun's rays bouncing out of the woods)- also check the numbering on the titles which are out of sequence. What does make it a milestone? The 1914 pairing of Lon Chaney and Tod Browning.


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original title: Bullethead

genge: Action,Thriller



duration: 1h 51min



keywords: womanontop, violence, vengeance, sex, bullet

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La realizzazione di film a basso budget è la migliore. Seriamente, questo film è tutto ciò che dovrebbe essere un film indipendente. Scuro e grintoso con un sacco di nudità, violenza e uso di droghe. Neanche attori di grande nome. I fan di Killing Zoe dovrebbero assolutamente verificarlo.

Anche se Joe Dekko è ovviamente un vero diseredato, non puoi fare a meno di piacergli. Colin Gray O'Hara (che non ho mai visto in nient'altro) offre una prestazione eccezionale. Forse vedremo più di lui in futuro.

Questo film è uscito da un po 'di tempo. Continuo a sperare che un giorno venga pubblicato su DVD, ma non sto trattenendo il respiro. Non fanno più film come questo. La maggior parte delle altre recensioni dice più che possono sulla trama generale, quindi salterò. Dirò che non ho visto nessuno dei film come & quot; pointless & quot ;; anche le scene di sesso sono state usate per creare il personaggio principale e darti un'idea del suo stile di vita e della sua "morale". La voce narrativa narrativa chiarisce, ma non è eccessiva. Il finale ... beh, un mio amico lo ha messo meglio: & quot; Negli ultimi due minuti, stai pensando, 'Ooooo-kay?' E durante gli ultimi 30 secondi devi solo ammiccare e fissare. & Quot; Penso che la maggior parte degli attori recitasse bene i loro ruoli, ed erano abbastanza convincenti con quello che stavano cercando di trasmettere, specialmente considerando che l'intero cast è fatto di incognite virtuali. Vale la pena vedere, anche se non finisce per essere uno dei tuoi preferiti.


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Un detective stoico indaga sulla scena di un omicidio e del rapimento di un bambino, ma non tutto è come sembra.


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original title: Like Father, Like Daughter

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He-Man e Man-at-Arms cercano di capire quale sia il nuovo piano di Skeletor. Teela, segretamente, li segue.


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