Today I received a letter from the upstore that almost 14,000 files (out of 21000) will be deleted on June 1.
Today I received a letter from the upstore that almost 14,000 files (out of 21000) will be deleted on June 1.
It's senior year for the Angel Beach High School buddies, with Pee Wee, Billy, Tommy, Meat, and Brian doing their part for school spirit by conquering the competition on the basketball court, carrying a winning season into the state championship. However, all is not well with the team, finding Meat struggling with his academics, unable to master his biology class, with teacher Miss Webster ready to fail him, keeping him out of the game. Trouble also comes for Coach Goodenough, who's greatly in debt to Porky, who now owns an illegal casino on a riverboat. Trying to gathering enough evidence to put Porky out of business, the gang is captured by the corpulent, violent man. Forced to throw the big game to help escape Porky's wrath, the boys, joined by Wendy, decide to manage their own mischief to save the day, while Meat suffers additional harm at the hands of Porky's sex-crazed daughter, Blossom.
BD50 | 1080p AVC | 01:32:33 | 33.8 Gb + 3% rec
Language: English
Subtitles: English
Director: James Komack
Cast: Dan Monahan, Wyatt Knight, Tony Ganios, Mark Herrier, Kaki Hunter, Scott Colomby, Nancy Parsons, Chuck Mitchell
Country: United States, Canada
Genre: Comedy
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Porky's II: The Next Day
Bob Clark co-wrote and directed this sequel to his own box office smash, Porky's.
The naughty high schoolers of Angel Beach High now seek revenge on a group of KKK religious fanatics and corrupt politicians who want to shut down their Shakespeare production after they cast a Seminole transfer student in the lead.
Porky's Revenge
As graduation nears for the class of 1955 at Angel Beach High, the gang once again faces off against their old enemy, Porky, who wants them to throw the school's championship basketball game because he's betting on the opposing team.
Both films star Dan Monahan as everyone s favorite nerd Pee Wee Morris.
BD50 | 1080p AVC | 01:37:48 + 01:32:48 | 38.3 Gb + 3% rec
Language: English
Subtitles: English
Genre: Comedy
Three friends -- Alfonso, Eduardo, and Cristina - are out for a hike in the woods only to lose their way. A monk in the nearby vicinity finds them and ushers them to find shelter at a remote monastery nearby, where a strange brotherhood holds regular rituals and strange things seem to be going on behind half-closed doors. Complicating things is the fact that Cristina is married to Eduardo but attracted to Alfonso, which mirrors a story told by the Father Superior about a cursed love triangle. Gradually the night spirals out of control as the newcomers discover a dark secret within the monastery walls.
The Phantom of the Monastery is slow but eerie, with atmosphere to burn. It was filmed in real monasteries including one in Mexico City that displays authentic mummified corpses of monks of olde. That spectacle was the producer’s inspiration to make the movie, according to writer Oro. It’s unclear whether the dessicated mummies we see are originals or theatrical mock-ups. They look very convincing. When the supernatural and ghoulish imagery arrives it really carries a charge.
Director: Fernando de Fuentes
Cast: Enrique del Campo, Marta Roel, Carlos Villatoro
Country: Mexico
Genre: Adventure, Drama, Horror, Mystery
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Mario Ruspoli, Prince of the Whales is an impressive documentary which explores the life and work of documentary filmmaker and artist Ruspoli. The feature-film is directed by Florence Dauman (Hollywood Mavericks). The piece explores the work of the acclaimed artist through captivating interviews with family and friends.
Ruspoli was renowned for his contributions to documentary filmmaking. Fellow filmmakers, family members, and friends recount the efforts of the artist and the significant historical elements which revolved around his development as an artist. Known as a filmmaker, artist, and writer, Ruspoli experimented in his field and managed to come up with a number of unique shorts that made his illustrious career a defining one.
Born in Rome, Ruspoli spent much of his life as an artist living in Paris, France. The documentary filmmaker delved into his stories with an emphasis on historical accounts and on entomology. The importance of art – and storytelling – was central to his life and work. Mario Ruspoli, Prince of the Whales explores those elements with a heartfelt eye.
The Lone Ranger began life as a radio series on Detroit's WXYZ in 1933, where it was created by the stations owner George W. Trendle, producer James Jewell and writer Fran Striker. The show became an instant hit, was taken up nationally and turned into two film serials by Republic. In 1949 it arrived on America's ABC network to become one of the first major hits on television.
The first episode told of how John Reid, one of six Texan Rangers, was the sole survivor of an ambush by the Butch Cavendish Hole In The Wall Gang. Reid was nursed back to health by an Indian scout called Tonto, who declared "You only ranger left. You lone ranger now." Reid then set off to avenge the death of his five colleagues, one of whom was his own brother.
With his trademark white hat, black mask and horse called Silver, the newly dubbed Lone Ranger set off with Tonto (who referred to him as 'Kemo Sabe', meaning 'trusty scout'), on his crusade to "clean up the town"; that was any town where villainy was in evidence or a wrong needed to be put right. Having done so he would then ride off into the distance with a "Hi-yo, Silver -away!", leaving his beneficiaries to ponder the question, "Who was that masked man?"
Put celebrated actor Laurence Olivier in charge of directing an adaptation of Anton Chekhov's "Three Sisters", and there's a guarantee of quality seldom seen in the stage-to-screen tradition. Preserving his work on the material for the Royal National Theater, Olivier shows immense respect for Chekhov's writing and the needs of cinema with this endeavor, part of the American Film Theater's efforts during the 1970s to bring theater to the masses.
Nearly a thousand miles away from their beloved Moscow, Chekhov's Three Sisters live in virtual exile. Olga, a schoolmistress, attempts to support her siblings and the home that is the sole legacy of their late army officer father. Masha finds relief from her empty marriage in an affair with a passionate young colonel. Irina, the youngest, wills herself to return the affections of an ardent suitor in the hopes that he will whisk her off to the city before it is too late. Intoxicated by yesterday's triumphs and heedless of tomorrow's disasters, the Three Sisters are left to sift through the debris of their shattered dreams on the eve of the social and political upheaval that will transform Russia forever.
Olivier delivers a lengthy but alert interpretation of "Three Sisters" that benefits tremendously from a game cast, which includes Joan Plowright, Alan Bates, and Derek Jacobi. The ensemble is committed to the powerful emotionality of the play, but they join Olivier's interest in screen construction, mindful of the bigness of the frame and the power of the close-up, adjusting performances to preserves intimacies otherwise impossible to achieve in a theatrical setting.
Long before Marvel had their "cinematic universe", Andy Sidaris created his own "L.E.T.H.A.L. Ladies Cinematic Universe". From 1985 to 1998, through the course of a dozen films, writer/director Andy Sidaris showed us how the agents of L.E.T.H.A.L. (Legion to Ensure Total Harmony And Law) worked and played. The films weren't trying to be Oscar-winners, and they usually followed the same formula, but they did the trick for the VHS generation. These films were popular mainstays on cable and premium channels, such as Cinemax and USA. The history of the Malibu Bay Films empire that Andy built was chronicled in the 2003 book "Bullets, Bombs and Babes: The Films of Andy Sidaris".
The unmistakable formula of director Andy Sidaris: beautiful people filmed in exotic locations with an unapologetic amount of explosions, gunplay, and Playboy Playmates & Penthouse Pets, all with big-budget production values on a low budget.... and did I mention women in and out of sexy outfits? Enjoy the entire collection fully loaded with bonus features including commentary, behind-the-scenes featurettes, and new trailers. All of the movies are rated R, contain nudity and sexual situations.
Starring Playboy Playmates & Penthouse Pets:
Dona Speir, Julie K. Smith, Hope Marie Carlton, Sybil Danning, Roberta Vasquez, Julie Strain and many more!
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Producer George Pal presents the H.G. Wells story, the one used in Orson Welles’ infamous radio play of 1938 that scared the country. The star of this film is Pal’s special effects, orchestrated by Gordon Jennings, which won an Oscar. This updated version from the Victorian-era London of 1890 is now set in contemporary Southern California of 1953.
One would have to have been raised on Mars to have never heard of The War of the Worlds. Vacationing Pacific Tech scientist Dr. Clayton Forrester (Gene Barry) is summoned when a meteor lands intact in a California forest. He meets attractive library specialist Sylvia Van Buren (Ann Robinson) at the impact site, and hangs around for it to cool off and permit further examination. The oddly shaped projectile is not a meteor, but the first of hundreds of alien landing craft, from which emerge gigantic hovering fighting machines. Armed with heat rays and disintegrator beams, the evil-looking machines are protected from attack by invisible force fields. They begin an all-out assault on human civilization. In a matter of days the entire world is overrun by the Martian invasion. Clayton and Sylvia rush to organize a scientific defense at Pacific Tech even as the battle front reaches downtown Los Angeles.
Following the well-received In The House, Francois Ozon returns with yet another voyeuristic character study with Jeune & Jolie (Young and Beautiful). Over the course of four weather seasons, the film follows a sexually driven adolescent striving to discover herself while pushing boundaries that society sets in front of her.
One summer, Isabelle, 16, is on holiday with her family on the French Riviera. Encouraged by her hedonistic parents, she allows an attractive young man to rob her of her virginity, but she takes no pleasure in the experience and sees no real significance in it. The following autumn, Isabelle, now 17, is a fully fledged Parisian prostitute, although naturally she keeps this fact from her parents. Between leaving school and returning to her comfortable middleclass home, she arranges to meet up with her clients at various hotels, clients she has no difficulty attracting over the internet.
Throughout, she remains curiously aloof, showing little interest in the encounters themselves or the money she makes, while Ozon slyly refrains from offering easy answers. As the enigmatic Isabelle, Marine Vacth is magnetic, delivering a star-making breakout performance in this sleek and sexy coming-of-age drama.
This brilliant and provocative film has the dubious distinction of sitting on the shelf with the label "commercially unviable." Lawrence B. Marcus's screenplay is based on Paul Brodeur's 1970 novel of the same title. The movie presents a fast-paced, revealing, and thoroughly engaging look at the movie business. Propelled by the excellent music of Dominic Frontiere and the expert cinematography of Mario Tosi, The Stunt Man is a beguiling work of art which lingers in the mind long after its closing credits.
Cameron (Steve Railsback) is a Vietnam veteran who is being pursued by the police and the FBI. During his flights from the law, he is involved in a strange episode where he apparently causes the death of another man. Eli Cross (Peter O'Toole), a charismatic and authoritarian film director who is making a movie about World War I, offers him work as a stunt man. Cameron soon discovers that the dead man was his predecessor in the job. For a while, the young fugitive is safe from discovery by the police; instead he is at the mercy of the director — an obsessed genius who senses that Cameron possesses the feral drive and madness to make his film something extraordinary.
Director Richard Rush thrusts us into the mad mad world of moviemaking. We see the hectic last three days of production from Cameron's point of view. In several daring stunt scenes, Cameron proves his pluck and death-defying courage. Each of the film's stunts is more dangerous than the one preceding it, and Eli Cross seems hellbent on capturing Cameron's death on film. Cameron is driven the point of total paranoia, unsure if he can trust anyone around him or even if he can rely on his own perceptions.
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