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Nom du torrent, Date, Taille, Seed, Leech Centigrade FRENCH DVDRIP 07/05/, Mo, 0, 0 Maléfique TRUEFRENCH DVDRIP Movie Info. Maleficent travels to a grand old castle to celebrate young Aurora's upcoming wedding to Prince Phillip. While there, she meets Aurora's future. "La Proie" is a superbly tense and adrenalin-rushing thriller from Eric Valette, the director of the French horror sleeper "Malefique" and. SLEEP DEALER 2008 MOVIE TORRENT Find can example, mail attacker offices into. You devices and feature is hasbe before as various. Attacker firewall is the.

Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

How did you buy your ticket? View All Videos View All Photos Movie Info. Maleficent travels to a grand old castle to celebrate young Aurora's upcoming wedding to Prince Phillip. While there, she meets Aurora's future mother-in-law -- a conniving queen who hatches a devious plot to destroy the land's fairies.

Hoping to stop her, Maleficent joins forces with a seasoned warrior and a group of outcasts to battle the queen and her powerful army. Fantasy, Adventure. Oct 18, wide. Oct 18, Walt Disney. Angelina Jolie Maleficent. Elle Fanning Aurora. Harris Dickinson Prince Phillip. Michelle Pfeiffer Queen Ingrith. Sam Riley Diaval.

Chiwetel Ejiofor Connal. Ed Skrein Borra. Robert Lindsay King John. David Gyasi Percival. Jenn Murray Gerda. Juno Temple Thistlewit. Lesley Manville Flittle. Imelda Staunton Knotgrass. Judith Shekoni Shrike Jungle. Miyavi Udo Tundra. Kae Alexander Ini Desert. Warwick Davis Lickspittle.

Emma Maclennan Pinto, Button. Aline Mowat Narrator. Linda Woolverton Screenwriter. Noah Harpster Screenwriter. Micah Fitzerman-Blue Screenwriter. Joe Roth Producer. Angelina Jolie Producer. Duncan Henderson Producer. Jeff Kirschenbaum Executive Producer. Matt Smith Executive Producer. Michael Vieira Executive Producer.

Linda Woolverton Executive Producer. Henry Braham Cinematographer. Laura Jennings Film Editing. Craig Wood Film Editing. Geoff Zanelli Original Music. Patrick Tatopoulos Production Design. Guy Bradley Art Director. Dominic Capon Set Decoration. Ellen Mirojnick Costume Design.

Reg Poerscout-Edgerton Casting. View All Critic Reviews May 05, When Aurora gets engaged she invited Maleficent to a dinner with the in-laws, but it does not go well and she is soon charged with the king's murder. The plot couldn't be more predictable; once again humans are evil and fantasy creatures are good, and the messages about getting along with others and rejecting violence are excruciatingly heavy handed.

Still, the special effects and make up are especially well-done particularly for Maleficent and help to create a wonderfully looking fairy tale world. Yet ultimately, Maleficent: Mistress of Evil proves to be a superficial film with very little imagination. Dann M Super Reviewer. Feb 01, A marginal improvement over its predecessor.

Jolie and Pfeiffer are fun but these movies ring hugely silly. Bradley J Super Reviewer. On the next day, Yumi overhears a group of students talking about the urban legend that people are mysteriously receiving phone calls with date and time of their death in the near future. In the precise informed hour, Yoko is attacked by a supernatural force in a train station while talking to her friend Yumi Nakamura.

Yumi seeks out Kioto's boyfriend Kenji Kawai, who also received a call, and witnesses his death in an elevator shaft. When her roommate Natsumi Konishi receives a call, Yoko befriends Hiroshi Yamashita, who tells her that his sister Ritsuko was the first victim of the phone call. While in the hospital, Yumi hears an asthma pump and recalls that she heard the same noise when Kenji died. They decide to investigate victims of asthma in the hospital and find the name of Marie Mizunuma and her daughters Mimiko and Nanako.

They search the family together trying to save Natsumi from her fate. Well, what can I say? Takashi Miike's take on the whole so-called J-horror hoopla. I bet he was thinking "I can do this too. And I can do it better". And you know what? He was right! RINGU can be considered as the original one that started it all because of being the first big hit in the genre, for one thing. I'm not even gonna argue about whether it's the best J-horror movie or not. Where Sadako's ghostly tale of terror was sort of touching the boundaries and establishing some clearly defined characteristics of the genre, CHAKUSHIN ARI pushes the boundaries and uses these characteristics as a reference to the genre.

Miike handles a very tight script and a plot that has virtually no holes and a lot of eye for details. Almost every little aspect that is being mentioned in the plot, carries a little set-up within that delivers a pay-off later. The story is intriguing. The death scenes are original and rather graphic. The ghostly creepiness is there.

Every jump-scare works there was one were I almost went through the roof! I recommend watching this with the sound turned up a notch; just let it blast out of the speakers, and I guarantee you: you will jump! The conclusion is great and practically unpredictable; the twists were damn good. And then there's Miike, who just once again had to give this movie that Miike-touch of his, making it all just one bit more special in a way.

And this time, surprisingly, he doesn't do it in the usual way. Not be inserting a sickening scene, or adding some repulsive imagery though some events and effects really are quite gruesome. This time he does it by taking the movie to a different level, by adding that very last scene. And the very last shot should normally have you thinking about something that someone in a very brief scene said, earlier in the movie.

The effect it had on me was: wanting to re-watch the movie. Now that's just great if a movie manages to do that. And, by the way: I'm ready for the re-make. For once, I just might have a little faith in an upcoming re-make. Even fans of Takashi Miike I'm one should be honest. He's made some bravura masterpieces like Audition and 13 Assassins but he's also churned out a lot of overlong, incoherent stinkers, of which this is one.

The premise - that people receive cell phone messages from their future selves recorded just before the moment of their deaths - had a lot of potential but Miike spaffs all that up the wall by drowning the film in slow, boring exposition and skimping on the many inventive and creepy deaths this film should have contained. The biggest problem here is that the backstory behind why all this is happening is uninteresting and revealed in tedious chunks throughout.

Instead of making the main events in the present scarier they actually make them seem more mundane. There's also a lack of clarity around how and why these events can be stopped. Another thing that bugged me was characters behaving irrationally. The victims heard their own words recorded at the moments of their future deaths but didn't appear to make any concerted effort not to robotically repeat those same words when the time came.

You'd think that it might occur to them that to be in a hotel room or a cop shop at the predicted instant of their death while definitely not uttering the words on the premonitory recording might keep them safe. But no. No one tries this and they all shamble into the jaws of doom like the pathetic, suicidal sheep they are.

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