Reviews

I am not normally regarded as a mobile gamer, but I loved this game, you can find everything in this game. Especially the puzzles are made of classic games. Also storyline is epic.

PRIVATE OSMAN belongs neither with the guns-and-muscle revenge rippers of his first decade in cinema, nor with the sheep-and- tractor social portraits of his last.The titular character, played by Güney himself, is a hapless photojournalist who has returned from military service and now makes his living in Istanbul by manufacturing spectacular crimes that he and his colleague- girlfriend will then be the first to cover. Constantly ducking from the law, shooting up bars, and starting fights, Osman is a kind of devil-may-care Peter Parker, a Belmondo with a camera.

His racket eventually lands him in the thick of a crime syndicate's real intrigues, and he ends up having to walk more of the walk than he expected. Osman takes on more and more of the traits of Güney's traditional "Ugly King" persona, culminating in a half-hour long showdown in which many bad guys get shot from impressive distances.

Following less in the footsteps of Italian neorealism than HOPE from the same year and more in those of the French New Wave, PRIVATE OSMAN features a girl and a gun, frenetic cutting, and a mockingly American soundtrack consisting mostly of a few repeated bars of Yankee Doodle. Those interested in class struggle will also find the token band of striking workers, portrayed with a mix of back- slapping familiarity and ironic detachment. Snippets of a union leader's exhortations are heard and glimpses of torn posters for proletarian street rallies are glimpsed. Both references to the contemporary political situation in Istanbul recall early Godard in their light-handedness.

If BAND OF OUTSIDERS is Godard's most accessible film, PRIVATE OSMAN is certainly Güney's.

Ex-architect Yesim Ustaoglu was inspired to make this film after reading newspaper articles about Kurdish villages laid waste in southeastern Turkey. Given the level of censorship she faced, this lyrical, deceptively simple tale about love, loss, and identity (brilliantly shot by Kieslowski's old cameraman Jacek Petrycki) is all the more courageous. The story starts with two outsiders, Mehmet and Berzan, meeting in Istanbul, where both are eking out an existence in the face of police oppression. When Berzan is killed, Mehmet embarks on an epic journey across country to return his body to his home village. Ustaoglu is never didactic. Instead, she shows the bafflement and yearning of the young friends as they struggle to make sense of their predicament.

Zeki Demirkubuz's sophomore feature, Innocence represents a marked stylistic departure from the fragmentation and narrative asymmetry of Block-C and converges towards what would prove to be more quintessential recurring elements within his body of work: long takes, painstaking observation of temps mart, stationary camera framing, the inclusion of a hyper-extended dialogue "ellipses" (or in the case of The Third Page, a monologue) that approaches abstraction, the running television as a surrogate for self-imposed isolation, and a temporal ambiguity that projects an epic scope to intrinsically intimate, chamber dramas. Opening to the shot of a recently paroled prisoner, Yusuf (Güven Kiraç), pleading his case before the warden to remain in jail despite having served out his sentence for murder and attempted murder, arguing that he has lost touch with his sole remaining family (the married sister whom he attempted to kill along with her lover, apparently on behalf of his abusive, but weak willed brother-in-law) and does not have the appropriate support system to survive in the outside world without resorting to crime once again, as the official's door repeatedly springs open for no apparent reason, the seeming randomness of the broken door (a recurring image in his films) becomes a metaphor for the ambiguity of his future. A strange and fateful encounter with a couple forcibly removed from the bus reinforces this sense of destiny. Arriving at a rundown boarding house in a rural town to rest for the evening, he comes to the aid of a little girl stricken with fever after her parents fail to turn up for the evening to claim her. Returning the next morning to the boarding house after their mysterious disappearance, the parents turn out to be the detained couple from the bus, a genial, but mercurial drifter named Bekir (Haluk Bilginer) and the elusive object of his affection, a wanton lounge singer, Ugur (Derya Alabora) (perhaps a wink to Josef Von Sternberg's The Blue Angel), who has been travelling across the country for twenty years (with Bekir ingratiating himself into her company) to be near her imprisoned first, "true" love. With little hope for reconciliation with his embittered and suffering sister, Yusuf returns for an indefinite stay at the boarding house and embarks on a friendship with the volatile couple. However, as Bekir and Ugur's relationship continues to be strained by the cumulative toll of their corrosive dysfunction, Yusuf, too, becomes drawn into their seductive, dark world of mutual self-destruction. Evoking the emotional intensity of an Ingmar Bergman chamber film and infused with the idiosyncratic combination of understated humour and soap operatic melodrama (not unlike the television programs that the lodgers watch each evening at the lounge), Innocence is an elegant, remarkably complex, and painstakingly rendered study of destructive obsessions and codependency. But beyond the psychological addiction that defines Bekir and Ugur's interminable journey to nowhere, Demirkubuz's framing of their relationship through the perspective of innocents, initially, through Ugur's deaf mute child, then subsequently, through the well-intentioned (and all too accommodating) Yusuf, Demirkubuz presents an intriguing portrait, not only of a pliable personality, but also the hypocrisy inherent in abusive relationships, where cruelty is rationalised by a sense of helpless, self-entitled victimisation.

In Yilmaz Güney's extraordinary Turkish odyssey (filmed by Gören from his script and detailed instructions while he was in jail), five prisoners are allowed a week's parole to journey home. In many ways it's a story about the tragedy of distances: the geographical and historical ones that still separate Turkey, and the distances imposed upon people by a military state and by a heritage that still expects husbands to punish by death wives taken in adultery. A kind of distance, too, makes this a film of the highest order. Its homesickness, for freedom above all, is very particular. Güney can't go home, and completed the film in exile. This perspective gives great clarity to his picture of the state of the nation, a state in suspense where something has to change, which gathers complexity and shifts effortlessly into universal allegory. The film's poetry, its combination of sound and image especially, has an unconscious innocence no longer available to most European and American narratives, and it is inspired by an enormous compassion for the suffering people endure at each other's hands in a world where the strong pick upon the weak, the weak upon the weaker.

Turkish cinema in sixties took place in a dream world. The movies of that era refused to look directly at Turkish society. Hudutlarin Kanunu, on which Yilmaz Güney met director Lütfi Ömer Akad, is one of the movies that changed this state of affairs. Akad's genuine creative vision influenced Güney's style as an actor: one can easily see the difference in Güney's acting before and after Hudutlarin Kanunu. Akad's influence was a positive one. . .

Güney's natural performance marked a change in Turkish Cinema. This was the beginning of what would later be called "New Cinema" in Turkey. With its powerful cinematography and its direct and realistic depiction of social problems, Hudutlarin Kanunu is one of the early milestones of Turkish cinema. Given the manner of storytelling and the style of photography, one might almost say that Akad's film is a Western.

Hudutlarin Kanunu depicts vital problems in the society of South East Turkey. Lack of education, no agriculture, and unemployment compelled people to live by the "law of the border" (Hudutlarin Kanunu) – in other words, smuggling. Hudutlarin Kanunu underlines the importance of education, which is the crucial element of socio-economical progress in third world countries. It also helps us to understand the reasons behind the ongoing, veiled war along Turkey's South East border. Forty five years ago, Lütfi Ömer Akad was alerting Turkish society of the likely consequences if preventive measures are not taken in time. He alerted us with a great and lasting film, Hudutlarin Kanunu.

Ömer Lüfti Akad's Hudutlarin Kanunu comes as a revelation to first-time viewers – a work of great visual and dramatic force, of terrific purity and ferocity. It was made during the year that its star and co-screenwriter, Yilmaz Güney, made his own directing debut. And it's not surprising for first time viewers to learn that this stunning collaboration marked a shift in Turkish cinema, and ushered in what became known as "the director generation." Once again, the World Cinema Foundation's advisory board member Faith Akin has brought us a great and inspirational film.

Adapted by director Christopher Nolan and his brother Jonathan from the Christopher Priest novel, The Prestige has a number of secrets, cleverly wrought and carefully structured in an escalating series of dramatic revelations that may need multiple viewings to fully unravel. Tightly plotted and thematically well-crafted, the film offers converging lessons regarding seemingly harmless illusions that belie grim realities, charades that must be maintained off the stage as well as on, and the hazards of an all-important secret confederate, all coming together in climactic plot twists both haunting and unsettling.

Both films also emulate the three-part structure of a magic trick, as outlined by Cutter in an opening voice-over. In old-school magic parlance, the three acts are called the Pledge, the Turn, and the Prestige. The Pledge offers the audience assurances that nothing funny is going on (please shuffle the cards yourself; nothing up my sleeve, etc.). The Turn is the moment when something extraordinary happens (and the handkerchief is gone!). The third act, the Prestige, seals the deal—brings the handkerchief back, say. "It's not enough to make something disappear," Cutter explains. "You have to bring it back."

Ou-yang Feng (Leslie Cheung) lives in the middle of a desert, where he acts as a middle man to various swordsmen in ancient China. One of those swordsmen is Huang Yao-shi (Tony Leung), who has found some magic wine that causes one to forget the past. At another time, Huang met Mu-rong Yin (Brigette Lin) and under the influence of drink, promised to marry Mu-rong's sister Mu-rong Yang. Huang jilts her, and Mu-rong Yin hires Ou-yang to kill Huang. But then Mu-rong Yang hires Ou-yang to protect Huang. This is awkward, because Mu-rong Yang and Mu-rong Yin are in reality the same person. Other unrelated plot lines careen about. Among them is Ou-yang's continuing efforts to destroy a band of horse thieves. Oy-yang recruits another swordsman (Tony Leung, but the other one), a man who is going blind and wants to get home to see his wife before his sight goes completely. The swordsman is killed. Ou-yang then meets another swordsman (Jackie Cheung) who doesn't like wearing shoes. Oy-yang sends this man after the horse thieves, with better results. We then find out what a man must give up to follow the martial path

As the new night nurse at a soon to be abandoned children's hospital readies the last group of orphans to leave, it becomes increasingly clear that these are not normal children.

Something living in the hospital, something the children call the "mechanical girl," has a terrifying hold over them and will stop at nothing to keep them in the hospital with her forever.

Scenario is well-explained

Characters are OK

Places are well-selected

Totally film can succeed to horrify us

it is worth to watch Calista Flockhart again. Calista Flockhart drags the film tremendously

welcome back ally

Bartleby (B.) Gaines is a fun loving slacker who, unfortunately, gets turned down for every college he applied for, much to the charign of his overly expectant parents. So, with a little cutting and pasting, he creates the South Harmon Institute of Technology, and lo and behold, he is accepted (along with his friends Rory, Hands, and Glen, whose college plans were also all but dashed). However, his parents want to see the website, the campus, and the dean. So now he has his other friend Sherman (who has been accepted to the prestigious Harmon College) build a web page, they lease out an abandoned psychiatric hospital, and they hire Sherman's uncle Ben (played to perfection by comedian Lewis Black) to be the dean. Problem solved? Not quite. The web page was done so well, that hundreds of students show up at the front door, all of which were turned down by other colleges. Faced with no choice, Bartleby decides to proceed with turning South Harmon into a real college, and sets about figuring out what to teach and how to teach it. Meanwhile at Harmon, dean Van Horne meets with Hoyt Ambrose, a rich law student and head of the KBE fraternity (which Sherman is trying to become a member of), to discuss building a gateway for Harmon using land presently being used by South Harmon. He tries finding the leaseholder of the land, to no avail. Meanwhile, his girlfriend, Monica, catches him cheating on her, and a big party at South Harmon lures a chunk of Harmon's students away, including Monica into the arms of Bartleby. Now Hoyt uses Sherman, knowing he has been bouncing between the two schools, in an attempt to bring South Harmon down for good. However, Bartleby has an accreditation appointment with the state Board of Education to prove South Harmon's worthiness. Can he legally bring the South Harmon Institute of Technology to life and win the love of Monica?After being rejected every colleges he applied, Bartleby Gaines decided to create a fictitious university, South Harmon Institute of Technology, with his friends, to fool their parents. But when their deception works too well and every other college rejects starts to apply to his school, B. must find a way to give the education and future his students and friends deserves, including his own, while trying to win the heart of the girl next door

Originally presented in IMAX theaters, LOST WORLDS looks at untouched aspects

of nature in parts of the world where humans rarely tread.

From plants, to animals, to geology,

this artfully photographed documentary presents facets of the biological world that you are not likely to see anywhere else.

What happened here? What keeps all civilizations alive? To find out, join narrator Harrison Ford on a scientific adventure from the arctic to the equator. Tunnel into a metropolis of micro-organisms beneath New York, swim through the underwater forests of the Pacific, and climb to the top of the mysterious mountains in Venezuela that inspired Arthur Conan Doyle's novel The Lost World. Discover the wonders of biological diversity—and its importance to all of us.

Everybody Is Zombie Fighting! It's Kill Bill meets The Evil Dead in this rousing martial arts horror auctioneer starring the one and only "Master Killer" himself, Gordon Liu (Kill Bill 1, Kill Bill 2, Master Killer) Taoists priests Park (Liu) and Hak (Terry Fan from The Story Of Ricky and Iron Fist) have been competing with each other for leadership of their school by using various sorcerers. But when their battle accidentally awakens the King of the Vampires, who as laid dormant for a thousand years. Pak and Hak must unite and use the 5 Elements Formation to stop the demon and his army of darkness. Will their powers be enough to defeat this invincible immortal? Filled with hopping vampires, exploding zombies, and dazzling fights, Shaolin vs. Evil Dead is a nonstop special-effect kung fu gore fest!

Gordon Patrick, young analyst of the CIA, should investigate the mysterious death of an important Russian politician. Soon it does friendship with Dina, an intelligent youth with a secret past.

And she carries directly to a dangerous point without return, in which the more he advances more dangerous he returns : crime organized, political murders and the murky financing of a campaign, they are only the tip of the iceberg.

Finally , Gordon should be faced to a brutal reality: those in which has trusted they are in which should never have believed

The whole thing at the above is a snack worth for a weekend

A photographer finds herself drawn into a cycle of death and pictures in the horror film SNAPPED. A gallery owner commissions a series of unusual works from young photographer Amy: to collect images of the recently deceased. The job seems impossible, until a series of murders seem to literally fall into her lap, committed for the sole purpose of allowing her to continue with the assignment. As she nears completion, bodies continue to drop, and she slowly starts being driven mad by the death and dismemberment around her. Will she ultimately go to the authorities, or justify the murders by collecting on her valuable job? SNAPPED is a horror film that looks at the fine line separated art and life (and the lack of it!).

film was opening with scene who is shaking his ass,new york lady feminist writer named;Novak wrote a book .she reached at the top with her book on the bestsellers.film is depending on "what does a feminist want?". we have character named;block a playboy editor who can find easily women for a night we have two basic sub characters.first one is mac man nus is a boss and best friend of block, he is the opposite of block for women.and V have a Vikki, a witched women and enjoys short period relations.you cannot endure until last 20 minutes.everything is changing.u cannot meet up with such an unexpected scenes and replicas. costumes are terrifying. musics are such a good for this film. residents was selectively detailed.

Renee is still Renee man actor i cannot remember him is such a good acting as Mac manners is worst character Vikki is my best and the director did what he could do but the story is at this worth:5 if u wanna watch this film just rent it!