When the brilliant but unorthodox scientist Dr. Victor Frankenstein rejects the artificial man that he has created, the Creature escapes and later swears revenge.

Frankenstein.AKA.May.Shelley's.Frankenstein.1994.576p.BDRip.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	2h 3mn
Size:	2.89 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1024x552
Aspect ratio:	1.85:1
Frame rate:	23.976 fps
Bit rate:	2 651 Kbps
Audio
English 5.1ch AC-3 @ 640 Kbps

https://nitro.download/view/D252FDA433D78CC/Frankenstein.AKA.May.Shelley’s.Frankenstein.1994.576p.BDRip.x264-HANDJOB.mkv

https://ddownload.com/2xjebcxuwl9o/Frankenstein.AKA.May.Shelley’s.Frankenstein.1994.576p.BDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:Multi language

The post Kenneth Branagh – Frankenstein AKA Mary Shelley’s Frankenstein (1994) first appeared on Cinema of the World.

In the Echo Park neighborhood of Los Angeles, everyone is more than they initially seem. May waits tables, raises a son, Henry, and is an aspiring actress. She needs a roommate and takes in a pizza deliverer named Jonathan, an aspiring songwriter. In the adjoining flat is August, an Austrian body sculptor who appears in a deodorant commercial and dreams big dreams. May takes a job delivering singing telegrams as a stripper, Jonathan invites Henry to tag along with him on deliveries, August gets into trouble with the police who call his father in Austria, and the friendships, frustrations, and love affairs of everyday life come to a head.

Echo.Park.1985.DVDRip.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1h 25mn
Size: 	1.60 GiB
Video
Codec: 	x264
Resolution: 	710x546 ~> 1010x546
Aspect ratio:  	1.85:1
Frame rate: 	25.000 fps
Bit rate: 	2 424 Kbps
BPP: 	0.250
Audio
#1:  	English 2.0ch AC-3 @ 192 Kbps (Stereo)

https://nitro.download/view/F8F8D1EADE98DEC/Echo.Park.1985.DVDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:English Spanish French Dutch German Italian Swedish

The post Robert Dornhelm – Echo Park (1985) first appeared on Cinema of the World.

Quote:
Mike Hodges (Flash Gordon, Get Carter) wrote and directed this supernatural chiller as a meditation on the human race s ability to destroy the world, a gothic tale of suspense and the occult, guaranteed to send shivers down your spine. Martha Travis (Rosanna Arquette, Pulp Fiction, Crash) is a travelling clairvoyant on the road with her sceptic father (Jason Robards, Once Upon a Time in the West, Magnolia). During a séance Martha communicates a message from a dead man to his wife in the audience. Shocked the wife insists her husband is still alive. Later that evening the husband is killed by a ruthless assassin. As Martha foresees more and more tragic events journalist Gary Wallace (Tom Hulce, Amadeus, Animal House) follows the pair in pursuit of a hot story with catastrophically eerie results. Sent direct-to-video by its struggling distributor on initial release, Black Rainbow unfairly never got the exposure it deserved, newly restored from the original negative audiences can now discover the darkness at the end of the rainbow, as never before.

2.77GB | 1h 443m | 1024×552 | mkv

https://nitro.download/view/C5DBE614F2E6DEE/Mike_Hodges_-_(1989)_Black_Rainbow.mkv

Language:English
Subtitles:English

The post Mike Hodges – Black Rainbow (1989) first appeared on Cinema of the World.

Synopsis: For this film adaptation of Peter Shaffer’s Broadway hit, director Milos Forman returned to the city of Prague that he’d left behind during the Czech political crises of 1968, bringing along his usual cinematographer and fellow Czech expatriate, Miroslav Ondricek. Amadeus is an expansion of a Viennese “urban legend” concerning the death of 18th-century musical genius Wolfgang Amadeus Mozart. From the vantage point of an insane asylum, aging royal composer Salieri (F. Murray Abraham) recalls the events of three decades earlier, when the young Mozart (Tom Hulce) first gained favor in the court of Austrian emperor Joseph II (Jeffrey Jones). Salieri was incensed that God would bless so vulgar and obnoxious a young snipe as Mozart with divine genius. Why was Salieri–so disciplined, so devoted to his art, and so willing to toady to his superiors–not touched by God? Unable to match Mozart’s talent, Salieri uses his influence in court to sabotage the young upstart’s career. Disguising himself as a mysterious benefactor, Salieri commissions the backbreaking “Requiem,” which eventually costs Mozart his health, wealth, and life. Among the film’s many pearls of dialogue, the best line goes to the Emperor, who rejects a Mozart composition on the grounds that it has “too many notes.” Amadeus won eight Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actor for F. Murray Abraham. In 2002, the film received a theatrical re-release as “Amadeus: The Director’s Cut,” a version that includes 22 minutes of additional footage. -Hal Erickson (AMG)

Review: Amadeus is a rarity: a dramatic film made by people who understood music as much as filmmaking. A celebration of music and genius, the film exults over Mozart’s seemingly divine creations even as it refuses to canonize the man behind them. Instead, the decision to tell the story from Salieri’s point of view provides a justly critical portrait of Mozart, and in so doing so it provides a commentary on genius that mines trenchant insight from resolute objectivity. That Mozart’s music is beyond reproach is never called into doubt; likewise, that the man himself could be utterly reproachful is also beyond question. Paradox is at the film’s core, both in the presentation of Mozart and his music, and in the character of Salieri, who managed to be both Mozart’s greatest fan and most punishing detractor. In making this sort of paradox its central theme, Amadeus is one of the most illuminating pictures of genius ever committed to celluloid. Part of its brilliance lies in its principal performances: in Tom Hulce’s Mozart, we see a man equally un-self-conscious about his genius and his vulgarity, and in F. Murray Abraham’s Oscar-winning Salieri, we see the tragedy that results from the inability of talent to live up to desire. These performances are lavishly complemented by the music in question, a forceful character in its own right. Part of Forman’s great acheivement as the film’s director was bringing this music to millions who had never set foot inside of an opera house or theatre, with a passion and immediacy that could appeal to a much wider audience than just classical music enthusiasts. -Rebecca Flint (AMG)

The Making of Amadeus :

2.68GB | 3h 0mn | 720×304 | avi

https://nitro.download/view/D82938BCB7F3825/Amadeus_(1984)_BDRip.avi
https://nitro.download/view/F5F307B1ADFD407/eng.srt
https://nitro.download/view/58BF6CA987835A8/The_Making_Of_Amadeus.avi
https://nitro.download/view/2B98A1DB68EA713/Amadeus_-_Theatrical_Trailer.avi

Language:English
Subtitles:English (srt.)

The post Milos Forman – Amadeus [Director’s Cut + Extras] (1984) first appeared on Cinema of the World.