Star Wars: Episode V - The Empire Strikes Back

Star Wars: Episode V – The Empire Strikes Back (1980)

Description

After the rebels have been brutally overpowered by the Empire on their newly established base, Luke Skywalker takes advanced Jedi training with Master Yoda, while his friends are pursued by Darth Vader as part of his plan to capture Luke.

Fleeing the evil Galactic Empire, the Rebels abandon their new base in an assault with the Imperial AT-AT walkers on the ice world of Hoth. Princess Leia, Han Solo, Chewbacca and the droid C-3PO escape in the Millennium Falcon, but are later captured by Darth Vader on Bespin. Meanwhile, Luke Skywalker and the droid R2-D2 follows Obi-Wan Kenobi’s posthumous command, and receives Jedi training from Master Yoda on the swamp world of Dagobah. Will Skywalker manage to rescue his friends from the Dark Lord? Written by James Pearce <james.pearce@cs.man.ac.uk>

Download Star Wars Episode V: The Empire Strikes Back (1980) torrent or any other torrent from the Video Movies. Direct download via magnet link.Watch online Star Wars: Episode V – The Empire Strikes Back Language English Subtitles No RuntimeWatch Star Wars Episode V The Empire Strikes Back online for free. Download Star Wars Episode V The Empire Strikes Back movie at movie4k.toStar Wars: Episode V The Empire Strikes Back After the destruction of the Death Star, Imperial forces continue to pursue the Rebels. After . Download. Log In / Join. Log In to CNET; Sign In with Facebook Google Yahoo; . "Star Wars Episode V: The Empire Strikes Back" is widely heralded as one of the best .

Review

All the fun of the original with a much better, darker plot
The Rebellion has struck an important blow to the power of the Empire by destroying it’s Death Star, however the power of the Dark Side of the Force remains strong and continues to hunt the rebellion. While the Rebellion base on Hoth is under treat, Luke has gone to a distant swamp planet to receive further Jedi training from Master Yoda. However the power of the dark side should not be underestimated and many dark truths are revealed as the threat of the Empire looms large. Following Star Wars was never going to be easy but this is actually better. Empire retains the same characters and the same sense of fun that the first had – the battle on Hoth is just one of THE moments of the series. However what gets added to that is a much darker strand. The Empire is not beaten by the destruction of one ship – it’s power is barely dented in fact. This sees some startling revelations (I won’t spoil it in case you’ve been living under a rock!) but also sees significant blows to the rebellion. In fact the ending of this film could not be more different from the end of Star Wars. Like the recent episode two this follows two strands – the more pedestrian scenes with Luke and Yoda and the more action based scenes with Han and company. The scenes with Yoda add depth to the film and hint at the truth. Meanwhile the other half is a lot more action orientated and has comedy and good new characters such as Bobba Fett. The two work well together and come together well for a great finale. The addition of a dark strand to the film makes it all the better as it can be enjoyed as a story and not just a fun sci-fi film with good effects. The characters are better here than the first. The strong characters from the first (Han, C3P0 et al) are all still good here. However we also get a much more interesting version of Luke as he continues his journey into becoming a full Jedi. Yoda is a good addition (despite sounding like Fozzie Bear!) and Darth Vader becomes a lot more than just a good villain – we learn his past, a revelation then, but a thing of common knowledge now. Overall this is as good as Star Wars at it’s heart, but the darker nature of the film makes it much better. Where the first one was a victorious uprising this is, as the title suggests, the time in history where the Empire strikes back against the uprising. All the music, characters and things that make Star Wars Star Wars are here and it’s simply one of the best of the series to date.
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8½

8½ (1963)

Description

A harried movie director retreats into his memories and fantasies.

Guido is a film director, trying to relax after his last big hit. He can’t get a moment’s peace, however, with the people who have worked with him in the past constantly looking for more work. He wrestles with his conscience, but is unable to come up with a new idea. While thinking, he starts to recall major happenings in his life, and all the women he has loved and left. An autobiographical film of Fellini, about the trials and tribulations of film making. Written by Colin Tinto <cst@imdb.com>

8½ (Federico Fellini"s 8 1/2). Famed director Guido Anselmi is working on his latest movie – part science fiction, part commentary on Catholicism, but most . Download 8½ ( Eight and Half )1963 ITA DVDRip XviD English Subs from Torrent Reactor torrents database or choose analog in MoviesDOWNLOAD: 8½" x 11" Wire-O: DOWNLOAD: 12" x 12" Saddle-Stitched: DOWNLOAD: 12" x 12" Wire-O: DOWNLOAD: No matter the size of your budget and your job, we have a . Watch 8½ online – A harried movie director retreats into his memories and fantasies.. Download 8½.Download Super 8½ free. A down-on-his-luck adult film star sees a chance to make a comeback via a lesbian documentary film-maker, but she is exploiting him to get .

Review

This movie taught me a new "language"
It"s been said before: Marcello Mastroianni plays Guido Anselmi, a fictitious, 43-year-old film director with a personal crisis that stunts his creative flow and his inability to get on with his new film after the enormous success of his previous one. The character is iconically brought to life by the immortal Mastroianni with artificially greyed hair and is universally identified as an alter ego of Fellini himself. The first time I saw 8½ I was in my teens and hated it. I then rewatched it only a few years later, in my early 20s, and something miraculous happened. It was probably a pivotal moment in my film-viewing experience: it suddenly gave me new parametres by which to judge movies and even art in general. I suddenly learnt this new language, so much more beautiful and sophisticated than anything I had heard before. What was most amazing was that after the first negative experience, I had somehow tapped into this language"s secret, and it wasn"t in the least bit hermetic or difficult, though more complex and sophisticated than other languages I already knew. Many of the movies I"d considered greats became amateurish or dwarfish in comparison. To me, this was no longer simply a movie, but Art in a more universal sense of the word, Art that just IS and has nothing to strive for or prove. Which is why I find it so nonsensical and contradictory to call something like 8½ "pretentious" – to me, pretentious is when an insecure auteur is trying consciously and hard to be profound, difficult, original, ground-breaking, and you can see their intent clearly, and detect the effort behind the artifice. Nothing of any of this is anywhere to be perceived in 8½, which makes creating masterpieces look easy. I admit that 8½ is not an easy movie, nor one for everyone. Visually, fewer movies are as iconic, memorable, original, poetic, funny, inventive, allegorical, exhilarating. The scenes I love are too many to mention, but here are just a few: The steam bath scene when in an odd procession/ritual, the patients are being led into what must be a Turkish bath. All the steam surrounding them, the men wearing sheets that look like shrouds or togas, all looking like mock-ancient Roman dignitaries… Then, through a loud-speaker Mastroianni-Anselmi is told the dried-up, turkey-like Cardinal, will now condescend to meeting him. Before Guido rushes off to meet the Cardinal, all his friends and colleagues beg him to put in a good word for them. This is such a gleeful stab at Italy"s grovelling, nepotistic culture of ingratiating oneself to the powers-that-be by paying them lip-service even for the most petty personal advantages. Then Guido stands before the embodiment of Catholic paternalism and his obsequious minions. And everything is at its most pompous and lifeless – this dusty, mummified institution is less in touch with the humanity it"s supposed to comfort and advise than it is possible to believe. I also love the character of Guido"s mistress, Carla, played by Sandra Milo at her gaudiest and most voluptuous. Though initially it"s difficult to understand what Guido would have seen in her, eventually it become more apparent. Meeting his wife Luisa, you see how well the two women"s ways of being complement one another. See for example how she reacts in a simple, good-humoured, self-deprecating way when in the café scene, Guido"s elegant, neurotic wife played by Anouk Aimée at her most androgynously attractive – mockingly compliments Carla"s tacky outfit for its "elegance". In such instances one gets a sense that though Fellini is parodying his subjects, he also has a fundamental love and human compassion for them. The prostitute La Saraghina is probably one of the most memorable female characters put to film ever. She is probably somewhere in her 50s and rougher than sandpaper, overweight yet strangely fit and voluptuous, with lots of scary, wild dark hair, overdone raccoon eye make-up caked onto her aggressive, striking, sardonic face as she sits and dances on the lonely beach in Rimini next to her war bunker-home. Guido is fascinated by what is "young and yet ancient", eternal, meaning what is muse-like, archetypically, like the divinely beautiful Claudia character, perfectly embodied by Claudia Cardinale (the ultimate director"s muse rather than a real woman or mistress). La Saraghina may not be a young woman like Claudia, she may not represent spontaneity and fresh, uncluttered artistic inspiration like she does, but she is also a muse of sorts – the muse of guilt-free pleasure and non-self-conscious, free, unidealised, earthy femininity. All this is La Saraghina – the town"s young boys respond to this in her (including Guido as a child) and are bewitched by her and pay to her to see her demonic yet liberating, visceral dance. I have so much more to say about this movie, for instance about Nino Rota"s memorable score, or how the movie"s non-linear structure and juxtaposition of seemingly unrelated scenes emulates the rhythm and mood of dreams to perfection. Also, the scenes featuring Guido"s parents and their embodiment of the emotional blackmail, that eternal sense of guilt and the stunting of individuality that the paternalistic institution of family at its most traditional represents in Italy. Or of Guido"s touching childhood memories, of the wonderful way in which the movie ends, in a merry-go-round of what really matters in life, when all else has been swiped aside and all that remains is the desire to cherish (with all their imperfections) all those who have really mattered most in our lives…
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The Good, the Bad and the Ugly

The Good, the Bad and the Ugly (1966)

Description

A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery.

Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off Tuco’s bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco come across a horse carriage loaded with dead bodies, they soon learn from the only survivor (Bill Carson) that he and a few other men have buried a stash of gold in a cemetery. Unfortunately Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie meet with Carson and knows they know the location of the gold. All he needs is for the two to … Written by Jeremy Thomson

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Review

The world is not black and white
Ok- first, as mentioned in another review, the geographic/historical errors in this film are GLARING. You’ve got men carrying revolvers that look like old style cap-and-ball pistols, but they’re loading them with metallic cartridges- historically about five years early. Eastwood carries a rifle that hasn’t been invented yet, Tuco assembles a "superpistol" out of a Colt, a Remington, and a Smith and Wesson- impossible. And there was nothing of merit taking place between the North and South during the Civil War in the Southwest. Now, that aside, I must say that this is the Greatest western ever. I first saw this film when I was about ten. I’d never sat through an entire Western befor, even though my Dad watched them constantly. Since then, I’ve been through film school, watched hundreds of Westerns, learned to appreciate them- but NOTHING matches up to this. The Searchers, Stagecoach, Gunfight at the O.K. Corral, The Gunfighter, High Noon, Shane- all great films, but saddled with the standard American Western morality- the good guy never takes liberties with the eastern schoolmarm, the bad guy wears a black hat, etc. Coming from Italy, TG,TB &TU isn’t bound by these conventions. Blondie’s the "good guy"- but he’s also a bounty hunter. He makes a living in a highly immoral way, but is obviously the "good"- not because we’re told, but from small acts- giving the dying soldier a cigar, making sure the Captain knows to hold on till he hears the bridge blow, the genuine regret he feel for having to let Shorty die. And while Angel Eyes may be the Bad, we at least know he has prinicpals- when he’s hired for a job, he always sees the job through. And Tuco may be more immoral than the other two, but he’s so savvy and his role so humorous that one can’t bring oneself to look upon him disfavorably. In other words, historical inaccuracies aside, TG, TB, & TU maybe one of the most accurate portrayals of the West ever put on film- there are no clear-cut lines of conduct, no black and white, or even grey, but just a swirled palette of various facets of the human condition.
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Pulp Fiction

Pulp Fiction (1994)

Description

The lives of two mob hit men, a boxer, a gangster’s wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

Jules Winnfield and Vincent Vega are two hitmen who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace. Wallace has also asked Vincent to take his wife Mia out a few days later when Wallace himself will be out of town. Butch Coolidge is an aging boxer who is paid by Wallace to lose his next fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents. Written by Soumitra

Pulp Fiction. Late one morning in the Hawthorne Grill, a restaurant on Sunset Boulevard in Los Angeles, a couple of young Brits called Honey Bunny and Pumpkin discuss . To listen Pulp Fiction music just click Play To download Pulp Fiction mp3 for free: 1. Right Click -> Save Link As (Save Target As) 2. Change filename to Pulp Fiction.mp3Free Pulp Fiction Full Movie Download – Learn where and how to get the free Pulp Fiction full movie download along with thousands of other of your favorite free movie . Download Movie Pulp Fiction. DivX Movie Pulp Fiction. The easiest way to Download Movies. You can download full length DivX movies, DVD movies and iPod movies here.Download Pulp.Fiction.[1994].DvDrip[ENG]-P4DGE_ torrent or any other torrent from the Video Movies. Direct download via magnet link.

Review

Unbelievable.
Pulp Fiction may be the single best film ever made, and quite appropriately it is by one of the most creative directors of all time, Quentin Tarantino. This movie is amazing from the beginning definition of pulp to the end credits and boasts one of the best casts ever assembled with the likes of Bruce Willis, Samuel L. Jackson, John Travolta, Uma Thurman, Harvey Keitel, Tim Roth and Christopher Walken. The dialog is surprisingly humorous for this type of film, and I think that’s what has made it so successful. Wrongfully denied the many Oscars it was nominated for, Pulp Fiction is by far the best film of the 90s and no Tarantino film has surpassed the quality of this movie (although Kill Bill came close). As far as I’m concerned this is the top film of all-time and definitely deserves a watch if you haven’t seen it.
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The Godfather: Part II

The Godfather: Part II (1974)

Description

The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.

The continuing saga of the Corleone crime family tells the story of a young Vito Corleone growing up in Sicily and in 1910s New York; and follows Michael Corleone in the 1950s as he attempts to expand the family business into Las Vegas, Hollywood and Cuba. Written by Keith Loh <loh@sfu.ca>

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Review

One of the Best Sequels Ever
You can count on one hand the movie sequels that measure up to the original; GODFATHER II makes the cut. This movie is just as fine as GODFATHER I. Here the director goes back and forth between the early days of the young Vito Corleone, played by Robert De Niro, and the family after the action in GODFATHER I in the 1950’s just before Castro came to power. Michael Corleone (Al Pacino) has moved the family and most of his business to Nevada. Once again the acting is flawless. Diane Keaton as Michael’s wife who quickly becomes disillusioned with her life with him and the lies he continues to tell her, assuring her that he is going legitimate soon; Robert Duvall as Michael’s adopted brother and adviser; and Lee Strasberg as Hyman Roth all give outstanding performances; but the film really is Al Pacino’s. We see him become a ruthless, cold-blooded killer who alienates himself from his family in ways his father would never have done. He has come so far from the idealistic young man in "GODFATHER I, who joined the Marines in World War I to serve his country and die for it if necessary, to a lonely, paranoid tragic man. There are many poignant scenes concerning his wife and children– the drawing his son leaves for him in his bedroom, the gift that Tom buys the child because Michael is too busy, his wife Kay’s being kept a virtual prisoner at his orders in the family compound, etc. Once again many acts of violence are interwoven with religion: Michael’s son’s first communion, the religious parade in New York, Fredo’s repeating the Rosary in order to catch a fish, for example. The cinematography is stunning; the footage from Sicily and New York around the turn of the century and the snow scenes from the American West are beautiful and rich in detail. Mr. Coppola has directed yet another masterpiece.
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Kaze no tani no Naushika

Kaze no tani no Naushika (1984)

Description

Warrior/pacifist Princess Nausicaä desperately struggles to prevent two warring nations from destroying themselves and their dying planet.

In the far future, man has destroyed the Earth in the “Seven Days of Fire”. Now, there are small pockets of humanity that survive. One pocket is the Valley of Wind where a princess named Nausicaä tries to understand, rather than destroy the Toxic Jungle. Note that the old US release titled Warriors of the Wind is an entirely kiddiefied version which edits the original movie heavily, thus creating an entirely different story. -Andre Written by Alan Takahashi <takahash@ntmtv.com>

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Review

loyalty, bravery, and adventure after an apocalypse
This was the film which introduced me (and many others in the 1980s) to Miyazake, and even in the form of a poor quality VHS on an ordinary TV, it was amazing. By 1984 Miyazake was already well known in Japan for his anime work in film, TV, and for the comic strip that this film was based upon. In this early full length film he really got to spread his wings. There are fantastic aerial sequences like the jet-glider evading the flying snakes, which (this predates computed 3D, and aerial sequences are present in most of his work) are just a tour-de-force of imagination and geometry. And yet this is a world that feels very organic, not geometric, with a cast of characters drawn in a unique cross between hobo, samurai, and pirate – totally blending in to an imaginary post apocalyptic world where humans scratch out a precarious life in villages hidden in the few green valleys left in a world of desert, where the only remaining resources are wind, sunlight, and humans. But it is also a world of enormous dangers, including airborne bandits and the strange, mutated creatures that have evolved to control the barren and scarred earth. When our heroine’s valley home is attacked by raiders, she embarks on an adventure against them that will lead her, and some unlikely allies found along the way, to an eventual confrontation combining warring armies of bandits, ancient machines of infernal destruction, and the implacable, mysterious, threatening beasts which roam the badlands. The pace is swashbuckling – if this were a book, it would be one you could not stop reading. It has the feel of the original comic books, but plays out wonderfully on the screen – you don’t need to know the comics. The style is very unique. Even though it is very stylized (no photorealism here), you immediately get the feeling of the world and the characters. The story works for children of all ages (mine both first saw this before they were 6, and have memorized it long since), and combined with the wonderful visuals it is a treat for adults too. As a genre I would classify it as soft (no attempt at scientific correctness) sci-fi rather than fantasy, though some might think it more a work of fantasy. It is fascinating partly because its roots in style and action are unexpected for a western viewer. Japanese manga and stories had evolved in their own way, and although this is early Miyazake, it is already a product of that mature and distinct art form. As always with Miyazake – if you haven’t seen his work, well you haven’t seen anything like it, and it is time you did.
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The Godfather

The Godfather (1972)

Description

The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.

The story begins as “Don” Vito Corleone, the head of a New York Mafia “family”, oversees his daughter’s wedding with his wife Carmela. His beloved son Michael has just come home from the war, but does not intend to become part of his father’s business. Through Michael’s life the nature of the family business becomes clear. The business of the family is just like the head of the family, kind and benevolent to those who give respect, but given to ruthless violence whenever anything stands against the good of the family. Don Vito lives his life in the way of the old country, but times are changing and some don’t want to follow the old ways and look out for community and “family”. An up and coming rival of the Corleone family wants to start selling drugs in New York, and needs the Don’s influence to further his plan. The clash of the Don’s fading old world values and the new ways will demand a terrible price, especially from Michael, all for the sake of the family. Written by Charlie Ness

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Review

Initially, I wasn"t a fan… but then I realised
This is a masterpiece. A timeless masterpiece. Initially, I didn"t like this film all that much – I found it rather over-hyped and boring. This was until the advent of DVD, which gave me the feature I needed for this sort of film: subtitles. Once I switched them on and heard (read) every last word of Brando"s ramblings and other characters ramblings, I grew a true appreciation for this epic. To make a true epic, you need all of three following ingredients working in near perfect harmony. For screenwriters who come across this, take the following pointers on board: 1) Contrasting Characters: Good films have some character distinction, but most fall rather flat because the core of each character is the same. Of course, there are exceptions to rule (ie… where you want mono-tonal characters… aka matrix; or where you want outlandish contrasts… aka The Fifth Element), but ultimately, this is what makes films deep, meaningful and grand. Consider the contrasts between the Don"s children. Michael is rather cool, rational and collected, whereas Sonny is more hot-headed, spontaneous and simple minded. But simply having these contrasts is not nearly enough. What you really need to do is to develop these characters – place them in situations – and then dwell on how their character impacts on the situation they"re put in. The Godfather is a terrific example of how to pull this off. While many try to do this in screenplays, most lose the plot and create character obscurities that stretch credibility. 2) Transformation: The central character(s) must undergo a transformation, resulting in them being almost unrecognizable by the end of the film. By putting them into situations, the character"s character must not only influence the outcome of the situation; it must also have a lasting impact on the character. Consider Michael at the wedding and compare that to the Michael we see at the end of the film. Again, many films try, but most fail because they come up with unreal (literally, not praisingly) or simply moronic transformations (eg, Wall Street). 3) Patience: Men in Black 2 was an astounding film for one simple reason – it was an entire film squashed into about 70 minutes. It was not much longer than an episode of ER or Buffy. I certainly hope the new goal of Hollywood isn"t to make films as short as possible. All the great ones spend time – time developing characters, family life, growth, patience with the story telling in general. This is the key (provided that the story isn"t mind-numbingly boring). Dances with Wolves, Heat.. and so on are very patient but top-class films. While studios may be lukewarm on the idea of longer films, they are worth it if you have a ripper story to base it on. I feel that this film has not dated all that much and has tremendous re-watch-ability.
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