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Showing posts with label Mystery. Show all posts
Showing posts with label Mystery. Show all posts

Friday, August 14, 2020

Saint Maud 2020 Movies Online Stream

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84 Minutes | Horror, Drama, Mystery | 2020-11-20


Saint Maud


📥 Saint Maud 2020
📥 DOWNLOAD HERE



'Saint Maud' is an insight into a very modern, very lonely existence that is sadly only too recognisable. It's a testament to how effective the film is that Glass aligns us closely with Maud to the grisly end, because she's really just acting on her own twisted nature, still looking for that elusive personal connection that will relieve a lifetime of loneliness. Glass delivers on so many levels as a writer/director that it's hard to believe this is her debut, establishing unease through suffocating mood, she finds fright in stillness, quiet, and isolation.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-saint-maud-religious-fervour-and-psychological-horror
**_Emotionally ambiguous, thematically complex, aesthetically daring – an exceptionally accomplished directorial debut_**

>_Qui est en droit de vous rendre absurde est en droit de vous rendre injuste._ [_Anyone who has the power to make you believe absurdities has the power to make you commit injustices._]

- Voltaire; _Questions sur les miracles_ (1765)

> _We all have a tendency to think that the world must conform to our prejudices. The opposite view involves some effort of thought, and most people would die sooner than think._

- Bertrand Russell; _The ABC of Relativity_ (1925)

> _Gli uomini non fanno mai il male così completamente ed entusiasticamente come quando lo fanno per convinzione religiosa._ [_People are never so completely and enthusiastically evil as when they act out of religious conviction._]

- Umberto Eco; _Il cimitero di Praga_ (2010)

Is religious fanaticism a form of mental illness? Certainly the "Four Horsemen" of New Atheism (Richard Dawkins, Daniel Dennett, Christopher Hitchens, and Sam Harris) would argue it is. However, from the perspective of the fanatic, such fanaticism is often not only logical and justified, but unavoidable; they don't choose to be fanatical, they are compelled to be fanatical, no matter how insane their behaviour may seem. The disparity between what a fanatic believes and what other people believe is the main issue examined in _Saint Maud_, the stunning debut feature from writer/director Rose Glass. Part-horror, part-psychological thriller, part-character drama, part-ecclesiastical treatise, _Saint Maud_ can be read in a variety of ways – an analysis of the interaction between faith and self; a threnody for the life of a young woman suffering a mental breakdown; a drama about loneliness; a study of the importance of friendship; a tale of possession; a tragedy about the frailty of the human body. Told mainly (although not entirely) from the perspective of a fanatical Christian, the story makes room for the possibility that, however unlikely, such fanaticism isn't mental illness at all and that God really is communicating with this person. And this magnificently handled ambiguity is the film's trump card. Disturbing, horrifying, challenging, unpredictable, emotional, and occasionally very funny, this is a film that forges a path entirely its own, and is as impressive and daring a directorial debut as you're ever likely to find.

The film takes place in a thoroughly depressing English seaside town (it was shot in Scarborough, but the town in the film is unnamed). There we're introduced to Maud (an incredibly physical performance from Morfydd Clark), a recent convert to Roman Catholicism. Exceptionally devout, Maud believes that all of mankind is amoral, lustful, and wicked, and that only by way of a true saviour can we be saved. Is she that saviour? It's possible, because God has explicitly told her that he has very special plans for her in the near future. Before being called upon to save humanity, however, Maud is working as a private palliative care nurse, explaining to God (we hear her prayers in voiceover) that she feels tending to a dying person and treating them with kindness and dignity in their last days is akin to saving their soul. The story begins as Maud arrives for her first day with Amanda Köhl (the always brilliant Jennifer Ehle); a formerly world-famous American dancer and choreographer suffering from end-stage spinal lymphoma. Amanda has a reputation for being acerbic, but she and Maud get on well – Maud admires her strength of character and zest for life, whilst she wants to help Maud let her hair down a little. However, there are certain elements of Amanda's life of which Maud does not approve – her smoking and drinking, for example, or the frequent visits from Carol (Lily Frazer), Amanda's much younger lover, and as time goes by, Maud starts to exert more and more control over Amanda's life. Meanwhile, although God continues to promise Maud that the time is coming when she will be called upon, she's started to get a little frustrated waiting. And so, facing the possibility that something hideous from her past could resurface, Maud decides to prove to Amanda, God, and everyone else just how far mankind has fallen and just how sanctified she really is.

Although Maud is a hard-line fundamentalist, Glass refuses to dismiss her as an irredeemable monster, arguing instead that such individuals genuinely believe they really are communicating with the Divine. It's the old thing about how a crazy person doesn't know they're crazy, but manifested in a more complex form – Maud may be mentally ill, but even if that is the case (and the film is in no rush to confirm that it is), then surely she deserves compassion and kindness, so completely has her mind bent reality to support her delusion. As will be discussed in a moment, Glass tells much of the story from Maud's subjective perspective, and in this sense, it's almost understandable when she sees signs of God's presence in everyday things (an inexplicable whirlpool in a glass of beer, for example) and when she's occasionally rendered almost catatonic as the Holy Spirit flows through her. As the subjective perspective communicates brilliantly, this may be delusion, but if it is, it's a total delusion that she is powerless against. In a very real sense, she cannot be held accountable for her actions.

Even irrespective of mental health issues, however, Maud is all-in on the whole Catholic thing. She tells God about how important her work is, as it allows her to "_save souls_", which is the greatest task she can imagine; she credits her recent conversion to Catholicism as reversing the downward spiral of her life, explaining that she always felt "_there was more than this_", but it was only when she became a Catholic that she was allowed to see what that "more" was. She's also a firm adherent of the Job school of faith-by-suffering, cheerfully telling a beggar, "_never waste your pain_" and later engaging in some truly gnarly DIY shoemaking.

Along the same lines, she tolerates Amanda's little digs about her life and how lonely she seems, but when Amanda turns her caustic wit to Catholicism, Maud is unable to let that stand without offering rebuke. Of course, her relationship with Amanda forms much of the film's narrative backbone, and is deeply nuanced and layered, with neither woman allowed to occupy the moral high-ground. Ehle plays Amanda as profoundly bored with her failing body, whose isolation and inability to leave the house mean she must find amusement where she can, and so she seizes on this strange, ultra-serious young woman who has come to look after her. Amanda is never portrayed as a villain, but she does regard Maud as something of a plaything and Maud's reverential and humourless attitude as something to be joked about, not with the intention of hurting Maud, but with the intention of amusing herself. Amanda, however, fails to understand that these are not mutually exclusive intentions.

As strong as _Saint Maud_ is thematically, however, where it really excels is in its aesthetic design. Glass directs the hell out of it and there's not a weak link amongst her crew – from Ben Fordesman's murky cinematography to Paulina Rzeszowska's detailed production design to Paul Davies's oppressive sound design to Adam Janota Bzowski's creepy score to Mark Towns's ambiguous editing (including a shocking slam cut right at the end that's as brilliantly jarring and thematically crucial as anything in the work of Nicolas Roeg).

Crucial to the overall aesthetic is how Glass handles perspective; most (although, crucially, not all) of the film is told from Maud's perspective, so we encounter her visions not as an objective third-party would, but as she herself does. So, for example, when she sees a small whirlpool spontaneously appear in a glass of beer, we see the same thing, and there's no cutaway to show us Maud staring at a normal glass, _sans_ whirlpool; when a towel placed near a crucifix falls to the ground for no obvious reason, we see it fall just as she does, and there's nothing to objectively suggest why it may have fallen; when God talks to her (in Welsh, no less), we hear His voice as she does, and there's no portion of the scene where we see Maud answering a voice we cannot hear.

Similarly, is it just a coincidence that so many shots of Maud are blocked with windows or lights in the background that create a halo effect, and is the shot of her walking on the beach, with a thin layer of water covering the sand, intentionally framed in such a way that it looks like she's walking on water? One particular scene near the end of the film, which I won't go into as it would be a spoiler, is especially important in the construction of a subjective point of view – what we're seeing couldn't possibly be anything other than psychosis, and yet the film has given us very little to confirm such a reading. Could it be that what Maud is experiencing is real? Is this scene confirmation that her mind has irreparably snapped, or is it confirmation that she was completely sane all along? Constructing a scene based on two literally inverse interpretations can't be easy, yet Glass does it so smoothly, you won't even realise the sharp dichotomy until it's all over. At the very least, even if we don't accept Maud's view of things, the film encourages us to sympathise with a woman undergoing a mental breakdown. There's no cynicism here – either Maud is truly in contact with God or she isn't, and if she isn't then her story is as much of a tragedy as Amanda's, and she deserves help, not condescension or ridicule.

Running only 84 minutes, it's extraordinary how much Glass squeezes into her debut feature; from the arresting performances by Clark and Ehle to the thematic complexity to the extraordinarily well-handled perspectival ambiguity to the haunting aesthetic design. Looking at issues such as trauma, faith, fundamentalism, sexuality, and human impermanence, the film has much more going on than the generic horror elements one might expect. Either a depiction of the mental collapse of a young woman or a study of the supernatural, the ambiguity might frustrate those who prefer their narratives with solid answers, but for the rest of us, there's much to embrace and celebrate here. One of the best directorial debuts I've seen in a long time, I was only half-way through the movie and I was already looking forward to whatever Glass might do next. _Saint Maud_ probably won't break any box-office records, but as a calling card, it's second-to-none, and we are going to be hearing a lot from Rose Glass in the future.



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Wednesday, August 12, 2020

The Burnt Orange Heresy 2020 Movies Online Stream

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99 Minutes | Thriller, Drama, Mystery | 2020-03-06


The Burnt Orange Heresy


📥 The Burnt Orange Heresy 2020
📥 DOWNLOAD HERE





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Tuesday, August 11, 2020

Shutter Island 2010 Movies Online Stream

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138 Minutes | Drama, Thriller, Mystery | 2010-02-14


Shutter Island


📥 Shutter Island 2010
📥 DOWNLOAD HERE



Nice movie
This was a random thing. We didn't even know the schedule and I was just wearing a random shirt and shorts. I just wanted to drink mango shake but then we randomly decided to go to eastwood and check the schedule. We were supposed to watch Diary of a Wimpy Kid but since Shutter Island's showing, then Shutter Island it is. But then wearing my "pambahay" outfit didn't really help since I saw 2 people from AC. grrrrrr. When I dress up, I don't see anyone I know but when I'm not properly dressed and I look like a mess, suddenly all these people come up to me and say hi. Note to self: always dress up.

I liked it. Watching Leonardo is not bad at all. I liked the twist of the story. Although you'll have some hints here and there, you'll think "oh I'll wait and see what it really is". And then the twist happens and you'll be like "I knew that all along". But that doesn't stop me from liking this movie. I'm so jealous of the girl playing his daughter. I mean first kiss...Leonardo Di Caprio???? Wow. I would take her place anytime. Michelle Williams...I'm not really a big fan of her. And after seeing this and being jealous also of her because of how she sat on the lap of Leo, I can say I don't like her at all. lol. Leonardo is awesome as always. It's amazing how good of an actor he is and he still hasn't won any Oscars. His time will come. I know he will win. And that flashback scene, he looked really good. Yum Yum Yum!


I rate this movie as A. Love the story. Love the actor.
Mind-tripping psychological-thriller from Martin Scorsese, a bit of a change-up for him, with great performances all around of course including DiCaprio and Kingsley. This was my first viewing as I had procrastinated watching this for whatever reason, but found it highly entertaining with amazing, foreboding atmosphere. **4.5/5**
Don't you get it? You're a rat in a maze.

US Marshal Teddy Daniels (Leonardo DiCaprio) travels to an island asylum facility for the criminally insane with his newly assigned partner Chuck Aule (Mark Ruffalo). Their reason for being at Ashecliff Hospital is to investigate the mysterious disappearance of murderess Rachel Solando. But Teddy has another issue to deal with at Ashecliff, namely a meeting with Andrew Laeddis (Elias Koteas), the man he believes responsible for the death of his wife (Michelle Williams). Nothing is what it seems at the facility though, and the further Teddy & Chuck investigate, the murkier the truths of Ashecliff become.

Directed by Martin Scorsese, Shutter Island is adapted from the best selling novel of the same name written by Dennis Lehane ("Mystic River/Gone Baby Gone"). It finds the talented director getting closer to horror than at any point in his career, it also finds him arguably over cooking his grits. Lehane's novel is a page turning lesson in thriller writing, there's no need for deep cranial thinking or fill in the blanks like musings. Scorsese has crafted a movie that, whilst both stylish and moody, is far more intricate than it needed to be.

From the off we saw reams of amateur reviewers dissecting the film and searching for other worldly cinematic meanings. The truth is, is that they don't exist, it is just a great story pinging with psychological twisters. Lehane himself said he felt it was a book he kind of knocked out while in his flow (he undersells himself mind). Scorsese, clearly loving the source to be sure, has crammed too much in for the film to be an across the board winner. Technically accomplished? Without doubt. Depth to the story? You bet. But the reality is that the depth isn't enough to sustain all the genre blending atmospherics that is Marty's want. One is inclined to feel that he so aware that he is treading on well worn genre ground (spot the homages to film noir, old time horror and Hitchcockian grandeur), that he's trying to steer the viewers away from the obviousness on offer. The film is further let down by the second half, where it positively crawls along, something not helped by the fact that the first hour bristles with moody excitement and a promise of clinically executed terror. Anticipation can be a real killer at times...

Yet as is normally the way with a professionally assembled Scorsese picture, there's still so much to enjoy and moments that ensure it will always be a divisive film in the New Yorker's cannon. The cast are mostly great, DiCaprio delivers a stunning performance, one that can only be appreciated once the story has reached the climax. Ruffalo (restrained), Ben Kingsley (shifty) & Max Von Sydow (troubling) all do what is needed and in keeping with the tone of the piece. While the girls - Emily Mortimer, Patricia Clarkson & Williams - have small but crucial parts to play.

Then there's the supporting characters played by some quality character actors. Koteas is joined by Jackie Earle Haley, Ted Levein & John Carroll Lynch. How many of you noticed that we here have a roll call of cinematic serial killers? Edgar Reese, Freddy Krueger, Buffalo Bill and Arthur Lee Allen! (OK, Allen was not proved but "Zodiac" the movie lends us to believe it was him). The music used is suitably heart pounding and Robert Richardson's photography is on the money, especially within the dimly lit Ashecliff walls (the foreboding Medfield State Hospital for location filming). The costumes also have a nice 50s look to them, our first encounter of Teddy & Chuck sees them splendidly adorned in film noir hats and coats. While Thelma Schoonmaker's editing is up to the usual tight standard.

It's always tricky when great directors are involved, so unsurprisingly we witnessed at the start a difference of opinion with the critics as to how good Shutter Island is? What most agreed on was that the film fluctuates in quality and should have been, given the talent behind and in front of the camera, a much better picture. There's also no getting away from the fact that if you have read the book first the impact of the ending is considerably weakened. Personally I feel Scorsese was the wrong director for this particular source, but that's me, and be that as it may, he still manages to come out of it in credit with his fans - though even if he just passed gas some of them would proclaim it as a masterpiece... 7.5/10



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Monday, August 10, 2020

High and Low 1963 Online Full HD Movies

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142 Minutes | Crime, Drama, Mystery, Thriller | 1963-03-01


High and Low


📥 High and Low 1963
📥 DOWNLOAD HERE





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Friday, August 7, 2020

Gone Girl 2014 Movies Online Stream

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149 Minutes | Mystery, Thriller, Drama | 2014-10-01


Gone Girl


📥 Gone Girl 2014
📥 DOWNLOAD HERE



Good cast and decent story, although the end is not very convincing.

The cut of the movie is really good and Rosamund Pike is genuinely scary.

Not a master piece but quite good given the lack of passable movies lately.
Rosamund Pike is outstanding as the wronged wife and Ben Affleck is very good as the husband. It is convoluted, and you do start to think is this just going over the top, but the end just shows Pike's character to be a damaged high-functioning psychopath. So at the final sequence, even if it's a tad far fetched even if you feel that Affleck deserves everything coming to him, the look she gives to the camera is that of an pure evil. As my youngest daughter used to say when she was a kid, she's got scary eyes.
"This man might honestly kill me".

The story is about Nick Dunne, as he finds out his wife has gone missing. As increasing police and media pressure mount, the facade of a loving and blissful union crumbles and amidst the lies and behavior of Nick, the question remains - did he kill her?

David Fincher is a true master class when it comes to directing, because Gone girl is one of the best films of this year.

Ben Affleck was perfect for this role, because Ben Affleck through out he's career had a lot of hate from the media and the critics that mostly slammed him in every role that he was in. And that's why he was outstanding in this movie.

Rosamund Pike acting in this film was pure brilliant and spectacular. She was so good in this role she might get a Oscar nomination for this. Tyler Perry in this movie was actually pretty damn good, and am so surprise saying that because Mr. Perry was in such awful films like: MADEA trilogy, Alex cross and the list goes on. But in this movie he did good.

What this movie does so brilliantly well is how we view media today, because most of the stories you hear on the news might not be true and how the media can spread lies about people and ruining their lives. Everybody always believes what the media says even if it's true or not, because we don't know what that person on the news is going through, and this movie got that message out they so perfectly.

My only problem with this movie is Neil Patrick Harris character. Now let me just say that Neil Patrick Harris wasn't terrible in the movie, but his character to me slowed the film down.

Overall Gone Girl is a fantastic film.



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Sunday, August 2, 2020

North by Northwest 1959 Movies Online Stream

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136 Minutes | Mystery, Thriller | 1959-07-08


North by Northwest


📥 North by Northwest 1959
📥 DOWNLOAD HERE



North by Northwest is famous for its famous action sequences such as hanging on Mount Rushmore and the crop duster plane scene.

Essentially it is a film of mistaken identity as advertising executive Roger Thornhill (Cary Grant) is mistaken for George Kaplan by some bad guys in league with a foreign power presumably Russian.

The trouble is Kaplan is a made up operative created by the CIA to flush out the film's villain, the urbane but deadly Vandamm (James Mason) and his cronies such as the fey henchman Leonard (Martin Landau) who are out to get Thornhill.

Thornhill in order to prove his innocence must evade capture from the bad guys and also the police as he is wanted by everyone. Only a beautiful blonde Eve (Eva-Marie Saint) aids him in this cross country chase but she is more than an innocent bystander as she might be in league with Vandamm.

This is an escapist action film that mixes tension with some comedy and Grant was always adept with light comedy. The film is overlong, it just feels 15 minutes too long and the villains motives seems to be rather cloudy.
I hate user/critic review websites strictly because of movies like this. People will go see like, Gran Torino, be entertained, admire a couple symmetrical shots and smooth camera pans or whatever, and rate the thing a 4.5/5, 9/10, 95%, etc. But then there are movies that have a ten minute chase scene with Cary Grant scaling down Mount Rushmore, every second of which you're screaming at the screen. Of course my most pompous entry is for an Alfred Hitchcock. But please, for progeny's sake, save the high ratings for ones that earn em
Sometimes the truth does taste like a mouthful of worms.

Roger O Thornhill is a harmless and amiable advertising executive who is absurdly mistaken for a government agent by a gang of ruthless spies. Forced to go out on the lam, Thornhill lurches from one perilous scenario to another. Can he survive to prove his innocence? Is the gorgeous blonde who is helping him really a friend? All will be revealed in Alfred Hitchcock's majestic thriller.

If deconstructing it you find that this isn't a perfect Hitchcock movie, for it under uses James Mason's coolly vile Phillip Vandamm (which is a crime), and it also doesn't have a female lead acting with any great urgency since Eva Marie Saint as Eve Kendall fails to fully fulfil the promise of Kendall's arrival in the movie. Yet this film rightly earns the right to be on any critics top 100 list, to be a favourite amongst the legion of Hitchcock fans (of which I'm one of that number), for it is escapist entertainment in its purest form, Hitchcock's most accessible popcorn entertainment piece.

From the moment at the film's opening when you hear Bernard Herrmann's wonderful music, it's enough to send goose pimples all over the body. For it is a musical portent that signifies we are about to get a fusion of thrills, mystery, and some cheeky Hitchcock humour, accompanied by heroes and villains all condensed purely for our enjoyment. Fronted by a diamond Cary Grant performance as the man wrongly mistaken for another that leads to him being pursued frighteningly across the states, the pic is never found wanting for genre high points. Coming as it did after the darkly brilliant and soul sapping Vertigo, Hitchcock clearly wanted to hang loose and enjoy himself.

Working from a fabulous script by Ernest Lehman, North By Northwest's very reason for being is purely to entertain those wanting to invest a frame of mind with it, with Hitchcock cunningly putting us on side with what is ultimately a shallow character in Grant's Roger O (the O doesn't stand for anything) Thornhill. It's a neat trick from the master of trickery and devilment. Some of the scenes on show are now almost folk lore such is the esteem in which they are held by movie fans and makers alike. A crop dusting aeroplane attack (the prelude to which has those goose pimples popping up in anticipation), a pursuit on Mount Rushmore and the often forgotten drunk car on a cliff sequence, these are all trade mark pieces of work from Hitchcock.

North By Northwest is in my humble opinion one of the true greats of cinema history, where as bleak and as unnervingly brilliant as Vertigo was the previous year, this is the polar opposite in structure and fable, but the result is most definitely equally as great. One of the reasons I fell in love with cinema in fact. 10/10
***It has its points of interest, but any 60’s Bond flick is a better choice***

When an ad executive in Manhattan (Gary Cooper) is mistaken for a government agent by a foreign spy & his cronies (James Mason, et al.) he finds himself a fugitive traveling by train to Chicago wherein he meets a woman that seems to have his favor (Eva Marie Saint). After a curious encounter with a crop dusting plane everything culminates at Mount Rushmore, South Dakota.

"North by Northwest" (1959) is an adventure/thriller by Hitchcock with a huge reputation. It obviously influenced the James Bond flicks of the 60s, which started three years later with “Dr. No” (1962), but it’s very toned down by comparison because the hero in this case is not a trained spy. It’s entertaining to a point, but also seriously overrated due to some glaring problems…

Jessie Royce Landis plays the protagonist’s mother when she was only a little over 7 years older than Cooper and it’s too obvious; the story drags too much at this point (when he’s hanging out with his mother); his chance meeting with a key character on the train (Saint) is too coincidental; their make-out sessions are premature, unconvincing and painfully dull; what happens to the plane is stupefying; the crop dusting encounter supposedly takes place in rural Indiana when it’s clear that it’s nowhere within a thousand miles of Indiana (actually it was shot at the southern end of Central Valley, California, outside of Bakersfield); speaking of which, the geography is too noticeably disingenuous: e.g. during the drunk driving episode there are no cliffs like that on Long Island (it was actually shot at Potrero Valley, Thousand Oaks, CA, and obviously so).

Still, there’s enough good here to enjoy if you favor Hitchcock & the cast and don’t mind quaint movies.

The film runs 2 hours, 15 minutes (unnecessarily overlong).

GRADE: B-/C+



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Tuesday, July 28, 2020

Shutter Island 2010 Full Movie Download

Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!


138 Minutes | Drama, Thriller, Mystery | 2010-02-14


Shutter Island


📥 Shutter Island 2010
📥 DOWNLOAD HERE



Nice movie
This was a random thing. We didn't even know the schedule and I was just wearing a random shirt and shorts. I just wanted to drink mango shake but then we randomly decided to go to eastwood and check the schedule. We were supposed to watch Diary of a Wimpy Kid but since Shutter Island's showing, then Shutter Island it is. But then wearing my "pambahay" outfit didn't really help since I saw 2 people from AC. grrrrrr. When I dress up, I don't see anyone I know but when I'm not properly dressed and I look like a mess, suddenly all these people come up to me and say hi. Note to self: always dress up.

I liked it. Watching Leonardo is not bad at all. I liked the twist of the story. Although you'll have some hints here and there, you'll think "oh I'll wait and see what it really is". And then the twist happens and you'll be like "I knew that all along". But that doesn't stop me from liking this movie. I'm so jealous of the girl playing his daughter. I mean first kiss...Leonardo Di Caprio???? Wow. I would take her place anytime. Michelle Williams...I'm not really a big fan of her. And after seeing this and being jealous also of her because of how she sat on the lap of Leo, I can say I don't like her at all. lol. Leonardo is awesome as always. It's amazing how good of an actor he is and he still hasn't won any Oscars. His time will come. I know he will win. And that flashback scene, he looked really good. Yum Yum Yum!


I rate this movie as A. Love the story. Love the actor.
Mind-tripping psychological-thriller from Martin Scorsese, a bit of a change-up for him, with great performances all around of course including DiCaprio and Kingsley. This was my first viewing as I had procrastinated watching this for whatever reason, but found it highly entertaining with amazing, foreboding atmosphere. **4.5/5**
Don't you get it? You're a rat in a maze.

US Marshal Teddy Daniels (Leonardo DiCaprio) travels to an island asylum facility for the criminally insane with his newly assigned partner Chuck Aule (Mark Ruffalo). Their reason for being at Ashecliff Hospital is to investigate the mysterious disappearance of murderess Rachel Solando. But Teddy has another issue to deal with at Ashecliff, namely a meeting with Andrew Laeddis (Elias Koteas), the man he believes responsible for the death of his wife (Michelle Williams). Nothing is what it seems at the facility though, and the further Teddy & Chuck investigate, the murkier the truths of Ashecliff become.

Directed by Martin Scorsese, Shutter Island is adapted from the best selling novel of the same name written by Dennis Lehane ("Mystic River/Gone Baby Gone"). It finds the talented director getting closer to horror than at any point in his career, it also finds him arguably over cooking his grits. Lehane's novel is a page turning lesson in thriller writing, there's no need for deep cranial thinking or fill in the blanks like musings. Scorsese has crafted a movie that, whilst both stylish and moody, is far more intricate than it needed to be.

From the off we saw reams of amateur reviewers dissecting the film and searching for other worldly cinematic meanings. The truth is, is that they don't exist, it is just a great story pinging with psychological twisters. Lehane himself said he felt it was a book he kind of knocked out while in his flow (he undersells himself mind). Scorsese, clearly loving the source to be sure, has crammed too much in for the film to be an across the board winner. Technically accomplished? Without doubt. Depth to the story? You bet. But the reality is that the depth isn't enough to sustain all the genre blending atmospherics that is Marty's want. One is inclined to feel that he so aware that he is treading on well worn genre ground (spot the homages to film noir, old time horror and Hitchcockian grandeur), that he's trying to steer the viewers away from the obviousness on offer. The film is further let down by the second half, where it positively crawls along, something not helped by the fact that the first hour bristles with moody excitement and a promise of clinically executed terror. Anticipation can be a real killer at times...

Yet as is normally the way with a professionally assembled Scorsese picture, there's still so much to enjoy and moments that ensure it will always be a divisive film in the New Yorker's cannon. The cast are mostly great, DiCaprio delivers a stunning performance, one that can only be appreciated once the story has reached the climax. Ruffalo (restrained), Ben Kingsley (shifty) & Max Von Sydow (troubling) all do what is needed and in keeping with the tone of the piece. While the girls - Emily Mortimer, Patricia Clarkson & Williams - have small but crucial parts to play.

Then there's the supporting characters played by some quality character actors. Koteas is joined by Jackie Earle Haley, Ted Levein & John Carroll Lynch. How many of you noticed that we here have a roll call of cinematic serial killers? Edgar Reese, Freddy Krueger, Buffalo Bill and Arthur Lee Allen! (OK, Allen was not proved but "Zodiac" the movie lends us to believe it was him). The music used is suitably heart pounding and Robert Richardson's photography is on the money, especially within the dimly lit Ashecliff walls (the foreboding Medfield State Hospital for location filming). The costumes also have a nice 50s look to them, our first encounter of Teddy & Chuck sees them splendidly adorned in film noir hats and coats. While Thelma Schoonmaker's editing is up to the usual tight standard.

It's always tricky when great directors are involved, so unsurprisingly we witnessed at the start a difference of opinion with the critics as to how good Shutter Island is? What most agreed on was that the film fluctuates in quality and should have been, given the talent behind and in front of the camera, a much better picture. There's also no getting away from the fact that if you have read the book first the impact of the ending is considerably weakened. Personally I feel Scorsese was the wrong director for this particular source, but that's me, and be that as it may, he still manages to come out of it in credit with his fans - though even if he just passed gas some of them would proclaim it as a masterpiece... 7.5/10



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Saturday, July 25, 2020

Drishyam 2015 Movies Online Free Websites

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163 Minutes | Crime, Drama, Thriller, Mystery | 2015-07-30


Drishyam


📥 Drishyam 2015
📥 DOWNLOAD HERE





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Friday, July 24, 2020

The Batman 2021 Watch Movies Online

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| Action, Crime, Drama, Mystery | 2021-09-30


The Batman


📥 The Batman 2021
📥 DOWNLOAD HERE





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Friday, July 10, 2020

The Sixth Sense 1999 Movies Online Free Websites

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107 Minutes | Mystery, Thriller, Drama | 1999-08-06


The Sixth Sense


📥 The Sixth Sense 1999
📥 DOWNLOAD HERE



The Sixth Sense phenomenon.

Child psychiatrist Malcolm Crowe takes on the case of a deeply troubled boy named Cole Sear. At first Cole is reluctant to be helped, but as Malcolm gets closer to the boy, Malcolm learns the root of Cole's fears, he claims he sees ghosts.

The Sixth Sense was a monster hit back in 1999, a deftly crafted ghost story with a kicker that was talked about by all and sundry, the box office bulged and the critics did rave. Nowadays you will find hundreds of people proclaiming that the film is boringly formulaic, that they worked out the film's premise easily in the first quarter of the film, or that the film is a mere cliché, funny how I don't remember it like that back in 1999! The box office bulged because many went to see the film more than once, they went (myself included) back to see just how director M. Night Shyamalan (Academy Award Nominated Best Director) managed to bluff us and pull the rug from under our feet. I remember vividly both times I saw it in the cinema, the crucial turning point of the piece bringing a collective audible gasp from the viewers sunken in their respective seats, that's the sort of impact that carries a film's reputation far and wide, and that's the reason why I will never rate the film lower than 10/10.

Repeat viewings of The Sixth Sense obviously dim its star appeal because we know the tricks of the directors trade, but the film still ranks to me as one of the best of its type for so many other reasons rarely mentioned. The writing from Shyamalan (Academy Award Nominated Best Screenplay) is surprisingly complex, the piece masquerading as a horror picture is emotionally charged, linking children with the paranormal through loss and a need for understanding, the need for closure of unresolved differences, but chiefly and crucial to the film's heart is the message of connection before it's too late.

The performances are incredible, Bruce Willis as Malcolm Crowe is perfectly understated, all the pointers for the denouement are there for us to see, but such is the actors performance, and we now know he is cutely having to play his cards close to his chest, are hidden from us until the revisit of the picture reveals it all. Hayley Joel Osment (Academy Award Nominated Best Supporting Actor) is wonderful, for a child performance in a film of this type to not be over sentimental, is quite an achievement. Sympathetic Cole may be, but Osment never lets it become less than the accepted level of child vulnerability. Rounding out the great trio of leads is Toni Collette (Academy Award Nominated Best Supporting Actress) as Cole's mother, Lynn, fabulous in portraying the love and confusion in Cole's troubled world, this story arc between the two is expertly realised. The direction from Shyamalan is very restrained, forgoing out and out shock value for periods of disquiet, he uses sounds to make the audience sense the unease unfolding in this creepy tale, while his camera work, full of draw ins and pull outs-and subtle side shifts, is adroitly in tone with the narrative. The score from James Newton Howard flits beautifully between the uneasy periods and the sustained moments of query, while Tak Fujimoto's cinematography puts a gorgeous funereal texture over this part of Philadelphia.

If you haven't seen it then don't believe the naysayers, because The Sixth Sense deserved every penny/cent it made, its a wonderful, creepy, and yes, at times, a beautiful picture. A film that still ranks as one of the best ghost stories ever crafted. 10/10



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Tuesday, July 7, 2020

Ava 2020 Watch Movies Online

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96 Minutes | Action, Crime, Drama, Thriller, Mystery | 2020-08-06


Ava


📥 Ava 2020
📥 DOWNLOAD HERE


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V TV Series 1984–1985 IMDb ~ Created by Kenneth Johnson With Marc Singer Faye Grant Michael Ironside Jane Badler A year after Liberation Day courtesy of the reddust bacteria the humanoid lizardlike aliens develop a resistance to the microorganism and try to regain control of the Earthonly now some humans are knowingly working with them

V definition of V by The Free Dictionary ~ 1 the 22nd letter of the English alphabet a consonant 2 any spoken sound represented by this letter 3 something shaped like a V 4 a written or printed representation of the letter V or

V 2009 TV series Wikipedia ~ V is an American science fiction television series that ran for two seasons on ABC from November 3 2009 to March 15 2011 A remake of the 1983 miniseries created by Kenneth Johnson the new series chronicles the arrival on Earth of a technologicallyadvanced alien species which ostensibly comes in peace but actually has sinister motives V stars Elizabeth Mitchell and Morena Baccarin and

V 1983 miniseries Wikipedia ~ V or V The Original Miniseries is a twopart American sciencefiction television miniseries written and directed by Kenneth shown in 1983 it initiated the sciencefiction franchise concerning aliens known as the Visitors trying to gain control of Earth and of the ways the populace reacts

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Monday, July 6, 2020

Malibu Road 2019 Movies Online Free Websites

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95 Minutes | Romance, Mystery, Thriller | 2019-09-19


Malibu Road


📥 Malibu Road 2019
📥 DOWNLOAD HERE





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Friday, July 3, 2020

Chinatown 1974 Watch Movies Online

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130 Minutes | Crime, Drama, Mystery, Thriller | 1974-06-20


Chinatown


📥 Chinatown 1974
📥 DOWNLOAD HERE



He nose you know!

Chinatown is directed by Roman Polanski and written by Robert Towne. It stars Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez and John Hillerman. Music is by Jerry Goldsmith and cinematography by John A. Alonzo.

Private investigator J.J. Gittes (Nicholson) is working on an adultery case but quickly finds himself embroiled in murder and corruption.

The gathering of Polanski, Towne, Nicholson and Robert Evans (producer) put their respective skills together to craft one of the most lauded neo-noir films of all time. It's a searing picture awash with the staples of the film noir and gumshoe detective movies that graced cinema in the 40s and 50s. From the characterisations (suspicious femmes - mouthy coppers - sleazy kingpin - tough protagonist in a whirlpool of unravelling layers), to the hard boiled script, violence, sex and brutal revelations, it's a noir essential that only lacks chiaroscuro and expressionistic swirls to seal the complete deal.

Allegoraries unbound, iconography assured and dialogue now in the lexicon of legends, Chinatown is not to be missed, not just by fans of noir, but fans of cinema, period. 9.5/10



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Thursday, July 2, 2020

The Prestige 2006 Movies Online Stream

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130 Minutes | Drama, Mystery, Thriller | 2006-10-19


The Prestige


📥 The Prestige 2006
📥 DOWNLOAD HERE



Perplexed by the storyline at the beginning, deeply attracted to the narratives of the intense rivalry between two actors in the main body of the show, and finally shocked by the revealed truth, or *The Prestige* in the end. This is one of the most mind-blowing mysteries that I've watched in recent years.

One of the best part, I think, is how the characters of two young magicians are depicted -- through small but noticeable details like the facial expressions, one or two words, the novels et cetera.

In fact, the title of the movie, even being explained by Cutter in the beginning, still puzzles me and I can't stopped thinking about the meaning of it. Not to mention other puzzles. But ultimately, I came to realize that the plot structure corresponds to a epic magic show as well.



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Monday, June 22, 2020

Vertigo 1958 Movies Online Stream

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128 Minutes | Mystery, Romance, Thriller | 1958-05-09


Vertigo


📥 Vertigo 1958
📥 DOWNLOAD HERE



All I know, this film wasn’t so successful at first and this probably because the audience didn’t expect a film so dark and claustrophobic. Vertigo was so strange already from the beginning because of its surreal and nightmarish atmosphere. I bow to Hitchcock in his creativity in visualizing Jimmy Stewart’s acrophobia by implementing one of the oldest cinematography techniques, using zoom lens as it zooms in while the object moves away, emphasizing his terrified feeling and insecurity whenever he’s at a particular height due to a chronic vertigo he suffers. As always, the film director’s cameo appearance has always been fascinating since we know it’s his habit therefore we will usually let our eyes wander throughout the film, trying to spot him. In conclusion, this timeless thriller remains a classic gem despite the emergence of new modern films. The great visual effects also seem timeless when compared to digital effects. I hope my review doesn’t give you vertigo = )
I will never understand the universal adoration for Vertigo. Blindly inherited wisdom is the only explanation. How anyone could prefer this to North by Northwest or Rear Window is beyond me. An exceptionally made, exceptionally boring movie
A tense, dizzying thriller from the Master.

Plot in a nutshell: A retired detective suffering from acrophobia takes the case of an old college chum's wife, who may be possessed by the spirit of her great-grandmother who committed suicide many years previous. But of course, a much darker, and more down-to-earth, secret lies beneath the surface.

Comments: James Stewart is the perfect anti-hero in this: clever and brave, but also disturbed, unhinged, and at times possessive. He does a stellar job with a difficult role.

In the supporting role of Stewart's faithful friend "Midge" is Barbara Bel Geddes, and she does a delightful job.

According to one source I've read, after Vertigo flopped upon release, Hitchcock blamed Stewart, claiming he (Stewart) was too old and people no longer wanted to see him, hence the film's lack of success. When Hitchcock went on to do North By Northwest, Stewart reportedly begged Hitchcock for the lead role, but Hitchcock refused, giving the lead to Cary Grant, who was actually four years older than Stewart.

But according to a biography of Cary Grant written by Pamela Trescott, the reason Hitchcock wanted Grant instead was simply because they worked well together and had wanted to do another collaboration after the success of To Catch a Thief. In short, that the lead role for North By Northwest had been intended for Cary Grant, and no one else, right from the beginning.

All that aside, Vertigo has established a high reputation as a masterpiece of film, and rightly so. It's also beautifully photographed, and the entire film has a soft, haunting, dreamy quality to it that's utterly captivating.



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Sunday, June 14, 2020

Chinatown 1974 Movies Online Stream

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130 Minutes | Crime, Drama, Mystery, Thriller | 1974-06-20


Chinatown


📥 Chinatown 1974
📥 DOWNLOAD HERE



He nose you know!

Chinatown is directed by Roman Polanski and written by Robert Towne. It stars Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez and John Hillerman. Music is by Jerry Goldsmith and cinematography by John A. Alonzo.

Private investigator J.J. Gittes (Nicholson) is working on an adultery case but quickly finds himself embroiled in murder and corruption.

The gathering of Polanski, Towne, Nicholson and Robert Evans (producer) put their respective skills together to craft one of the most lauded neo-noir films of all time. It's a searing picture awash with the staples of the film noir and gumshoe detective movies that graced cinema in the 40s and 50s. From the characterisations (suspicious femmes - mouthy coppers - sleazy kingpin - tough protagonist in a whirlpool of unravelling layers), to the hard boiled script, violence, sex and brutal revelations, it's a noir essential that only lacks chiaroscuro and expressionistic swirls to seal the complete deal.

Allegoraries unbound, iconography assured and dialogue now in the lexicon of legends, Chinatown is not to be missed, not just by fans of noir, but fans of cinema, period. 9.5/10



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Friday, June 12, 2020

Spree 2020 Watch Movies Online

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93 Minutes | Comedy, Horror, Mystery, Thriller | 2020-08-14


Spree


📥 Spree 2020
📥 DOWNLOAD HERE





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Sunday, June 7, 2020

Rashomon 1950 Online Full HD Movies

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88 Minutes | Crime, Drama, Mystery | 1950-08-26


Rashomon


📥 Rashomon 1950
📥 DOWNLOAD HERE



Rashomon beguiles through the torrential downpour of fabrication. “It’s human to lie. Most of the time we can’t even be honest with ourselves”. Honesty. Deceit. Contradiction. A crucial part of human preservation is the requirement to lie. Intentional or accidental, it’s within our ancestral blood. The unprejudiced can succumb to the immoral values of deceit, either through meticulous storytelling or scattershot deception. Even the truth can be distorted by one’s self-absorbed ego. The mutually contradictory stories of a bandit, Samurai and his wife, during a police questioning of an ambush, rape and murder, provides Kurosawa with the leverage to thematically explore the depths of human duplicity. A narrative conveyed through the perspective of four individuals, each telling a variation of the same event and asserting it as the truth. Yet who is moral? Who is verifiable?

The answer lies within the embellishments of mankind. The egotistical residue enveloping the desires for personal gain. The bandit, openly admitting to the events in question, proud of his barbaric conquest. The wife, subjecting herself to sorrow and helplessness, innocently scarred from the visceral crime. The Samurai, communicating through a spiritual medium, self-gratifying his noble demise. And the distant woodcutter, examining the various preceding stories, acting as the fragile bystander solidifying his story as the whole truth. But when characters reside in a downbeat world where “you just can’t live unless you’re what you call selfish”, is anyone’s depiction correct? Is lying for personal gain and visibly stealing an abandoned baby’s clothing the same selfish endeavour? Variational stories so similar yet so different in tone. It all comes down to the genius that is Kurosawa.

Depicting egoism through embellishment, not just through the verbal tales of the living, but also beyond the grave. Signifying the requirement for flattering falsehood, even when life has been fully exerted. It is the impossibility of human nature that provokes us into fabricating the most obvious details. Never has such an influential film, shrouded in its own classicism, infiltrated my soul through its thematic examination of human psychology as much as this did. Every word. Every detail. Every deadpan look into the camera. Every tracking shot that showcases the glistening sun of truth through the obscurities of darkened natural foliage. It’s perfect.

The imperfect gender politics of feudal Japan (“women are naturally weak”) delicately inverted to portray the weakness of humanity, regardless of gender. Utilising the subjectivity of the woodcutter’s perspective, and regarding it as the most truthful conclusive narrative, mankind is objectively weak. And it’s only through our own digressions that we manufacture the strength of the soul. Kurosawa’s symbolic attentiveness never deviated from this examination. His rampart artistry poetically manifesting the beauty of mystery. Invoking the investigative mind of human psychology. And once that overcast storm dissipates, revealing the warm beating rays of honesty, the overwhelming sensation of enlightenment will seep through.

A synergistic vitality equalling that of Mifune’s energetic quadruple performance. Each tale altering the personality of his bandit blood. Hysterically laughing at the face of adversity, to unbearably breathing from profuse fear and sin. The nuances are not exhumed just from the enigmatic cast. Kurosawa himself orchestrated a tantalising, influential and innovative mystery that combats the perception of regressive culture. It’s never retrograde nor unprogressive. It is however, and I can utter this with adorned confidence, perfect.

Short, sharp and sensational. Relatable on a thematic and personal level that transcends the discourse of time. Apt now as it was back then, only proving that humanity is cemented in deceit and acts of selfishness. As with any Kurosawa feature, the mind must be prepared for allegorical beauty. Rashomon is no different. Rashomon is painted with silky smooth brushes, illustrating an unconventional technique of storytelling through visceral imagery. Rashomon quite simply acquires the perfect rating. An undisputed classic that justifiably conceived, what is now commonly known as, “The Rashomon Effect”.



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Monday, June 1, 2020

The Third Man 1949 Online Full HD Movies

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105 Minutes | Thriller, Mystery | 1949-08-31


The Third Man


📥 The Third Man 1949
📥 DOWNLOAD HERE



Holly Martens (Joseph Cotten) receives a job offer from his friend Harry Lime (Orson Welles) in postwar occupied Vienna. He arrives there only to find that Lime is dead and every witness has a different story. Being a pulp writer, Holly thinks he can solve the mystery.

But this is a Graham Greene story, and the mystery is not just a whodunit but an exploration of evil. Tangling with a nihilistic band of black marketers exploiting the corruption and ruin of a great city after the war, Holly is told that he is in way over his head.

The movie has many unusual touches. Expressionist camerawork increases the feeling of dread. The traditional orchestral accompaniment is eliminated, replaced by a single folk musician playing an eerie tune on a zither. Several scenes of the movie are in un-subtitled Austrian-German, leaving the audience feeling as bewildered as Holly as he tries to communicate with the locals. Holly's amateur sleuthing is frequently comic, in a story that is deadly serious.

One of the masterpieces of noir cinema.
Nobody thinks in terms of human beings. Governments don't. Why should we?

The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker.

When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems.....

It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters.

A maze of moist cobbled streets host chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10
Nobody thinks in terms of human beings. Governments don't. Why should we?

The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker.

When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems...

It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters.

A maze of moist cobbled streets do host foot chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10



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Saturday, May 30, 2020

Oldboy 2003 Watch Movies Online

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120 Minutes | Drama, Thriller, Mystery, Action | 2003-11-21


Oldboy


📥 Oldboy 2003
📥 DOWNLOAD HERE


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The Boy 2016 IMDb ~ Directed by William Brent Bell With Lauren Cohan Rupert Evans James Russell Jim Norton An American nanny is shocked that her new English familys boy is actually a lifesized doll After she violates a list of strict rules disturbing events make her believe that the doll is really alive

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The Boy 2016 Rotten Tomatoes ~ The Boy is a frightening thrill ride directed by William Brent Bell The Devil Inside starring Lauren Cohan The Walking Dead Greta Cohan is a young American woman who takes a job as a


I’m sure that all of you can always spot a film with good acting, superb plot and great cinematography easily but when it comes to a thriller that possesses all those above quality, it would be such a rarity. OldBoy here, second installment from The Vengeance Trilogy directed by Park Chan-wook (Sympathy for Mr. Vengeance, OldBoy, Sympathy for Lady Vengeance) really have them all, good story, powerful acting and the most horrifying and clever end twist if not genius. In fact no matter how many times you see this, the twist would still be awesome. The theme of revenge here is taken to the next level, to its supremacy for it’s really carefully-planned. OldBoy has a mind-bending assortment of drama, thriller, romance and beautifully spiced up with sadistic plot, shocking elements, ultra violence and clever psychological twist. Imagine yourself captured, locked in a room for 15 years, not knowing why and who did it and when you finally escaped and thought it’s all over, you were wrong and here’s the punching line, the direct punch to your stomach. Min-sik Choi as Oh Dae su really acted well, he really got us carried away by dragging us into the mystery that surrounds his life, into the depression he’s been feeling and into the deep well of his curiosity. Once again, OldBoy is a way too remarkable, when “revenge” isn’t merely knife-chopping or gun-battling. Enough said.
This is definitely one of the films to see before you die. It's seat-squirmingly unsettling, shocking and very violent.

It's a journey into a truly disturbed mind; a mind, which - like yours will be - is unable to cope with what it discovers.

This film is brilliantly twisted. It has a thread of the most wonderful, blackest humour running through it, a sense of complete disorientation and enough plot twists and turns to sustain your interest.

Not one of the best revenge thrillers I've seen - simply THE best!



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