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221 results for “robcreber”
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#TheRapture is one of those serendipitous finds that used to make #CableTV so satisfying for me.
The best thing (along with #FullBodyMassage) that I've seen #MimiRogers in, and also my introduction to #DavidDuchovny.
The post-80's #evangelical theme is, sadly, still timely. I don't know if the rest will hold up.
I do know that ending has stuck with me more than 30 years and is why #TheCriterionChannel has it in 90's #horror.
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The #wellingtonnz 'British And Irish Film Festival is running at present. 'The Return' stars Ralph Fiennes in one of his best ever performances, plus another superb performance from Juliette Binoche.
It is a slow burn, tense and psychologically driven period Greek tale covering a segment of Homer's 'Odyssey'. It's so new it doesn't even have a trailer yet, but go see it anyway. It is *beautifully* made, a bit Game of Thrones, and Oscar worthy.
https://www.rogerebert.com/festivals/tiff-2024-the-return-riff-raff-the-friend
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Starz's Blindspotting Returns to Stake Claim to Television's Top Tier
"The series captures the same bold spirit & urbanized beat... it presents a new conversation about modern Black culture & the criminal justice system's effect on inmates & their families. "Blindspotting"’s sophomore season doubles down on its new #Oakland ordeal with stronger confidence & lyricism & bold unforgettable episodes, more powerful than the film it spun off from."
https://www.rogerebert.com/streaming/blindspotting-tv-review
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https://www.nytimes.com/1994/10/19/movies/film-review-vanya-on-42d-street-spare-chekhov-begins-sneakily.html The actors and spectators for "Vanya on 42d Street" make their entrances casually...evolved into #Chekhov almost before a movie audience is ready to notice.. the furniture and scenery are stripped away. Instead, there are only wayward emotions and deep regrets, the raw essentials of a #psychodrama that has been coaxed forth here with illusory ease...
https://www.rogerebert.com/reviews/vanya-on-42nd-street-1994 ..the #drama seems to take place outside time.. A #film by #LouisMalle
https://www.imdb.com/title/tt0111590/ -
Because I love #JohnPrine sooo much, I'm just gonna go ahead and follow the last song with the first of his songs I ever heard, at least performed by him. And, as is usual, he's got a story. Half of his appeal is the stories he tells.
In Spite of Ourselves with #IrisDement
https://www.youtube.com/watch?v=P8tTwXv4glY
Also a great story for the ages, is how Roger Ebert probably launched John's career: https://www.rogerebert.com/features/john-prine-american-legend
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All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
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All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
-
All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
-
All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
-
All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
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Pitch: You know that scene in The Dark Knight where Heath Ledger lights a mountain of cash on fire? That but as a 2hr18min metaphor. #Joker2
As a lifelong DC fan that has not seen either of these films due to the pre-release vibe of director, actor,trailer plus the post release fanbases reactions to popularity and criticism.
Haven't been so pleased with missing out since Batman & Robin.
Reports of 52mil budget upfront split between Joaquin, Todd, and Lady.
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Strong focus on gene patents in Guardians of the Galaxy Vol. 3 https://www.theguardian.com/film/2023/apr/28/guardians-of-the-galaxy-vol-3-review-james-gunns-fun-and-energetic-threequel
https://www.abc.net.au/news/2023-05-04/review-guardians-of-the-galaxy-vol-3-marvel-chris-pratt/102285640
https://www.npr.org/2023/05/03/1173031662/guardians-of-the-galaxy-vol-3-review-marvel https://www.rogerebert.com/reviews/guardians-of-the-galaxy-volume-3-2023 #film #guardians #galaxy #genepatents -
Strong focus on gene patents in Guardians of the Galaxy Vol. 3 https://www.theguardian.com/film/2023/apr/28/guardians-of-the-galaxy-vol-3-review-james-gunns-fun-and-energetic-threequel
https://www.abc.net.au/news/2023-05-04/review-guardians-of-the-galaxy-vol-3-marvel-chris-pratt/102285640
https://www.npr.org/2023/05/03/1173031662/guardians-of-the-galaxy-vol-3-review-marvel https://www.rogerebert.com/reviews/guardians-of-the-galaxy-volume-3-2023 #film #guardians #galaxy #genepatents -
Strong focus on gene patents in Guardians of the Galaxy Vol. 3 https://www.theguardian.com/film/2023/apr/28/guardians-of-the-galaxy-vol-3-review-james-gunns-fun-and-energetic-threequel
https://www.abc.net.au/news/2023-05-04/review-guardians-of-the-galaxy-vol-3-marvel-chris-pratt/102285640
https://www.npr.org/2023/05/03/1173031662/guardians-of-the-galaxy-vol-3-review-marvel https://www.rogerebert.com/reviews/guardians-of-the-galaxy-volume-3-2023 #film #guardians #galaxy #genepatents -
Strong focus on gene patents in Guardians of the Galaxy Vol. 3 https://www.theguardian.com/film/2023/apr/28/guardians-of-the-galaxy-vol-3-review-james-gunns-fun-and-energetic-threequel
https://www.abc.net.au/news/2023-05-04/review-guardians-of-the-galaxy-vol-3-marvel-chris-pratt/102285640
https://www.npr.org/2023/05/03/1173031662/guardians-of-the-galaxy-vol-3-review-marvel https://www.rogerebert.com/reviews/guardians-of-the-galaxy-volume-3-2023 #film #guardians #galaxy #genepatents -
Strong focus on gene patents in Guardians of the Galaxy Vol. 3 https://www.theguardian.com/film/2023/apr/28/guardians-of-the-galaxy-vol-3-review-james-gunns-fun-and-energetic-threequel
https://www.abc.net.au/news/2023-05-04/review-guardians-of-the-galaxy-vol-3-marvel-chris-pratt/102285640
https://www.npr.org/2023/05/03/1173031662/guardians-of-the-galaxy-vol-3-review-marvel https://www.rogerebert.com/reviews/guardians-of-the-galaxy-volume-3-2023 #film #guardians #galaxy #genepatents -
Movie review: I went to see SECRET MALL APARTMENT, a documentary about the time eight artists found their way into an unused corner of a mall in Providence, Rhode Island, and furnished the space, turning it into a sort-of-livable apartment over the course of four years before being discovered. It begins as a story about gentrification and early-2000s punk, takes a more serious turn when we find out what the artists were doing with the rest of their time, focuses on Michael Townsend who was the ringleader of the project, and turns into a discussion of the nature & purpose of art.
There are funny moments, including one excellent editing joke, and another sequence that made me cry – you may find there are two of these.
Today was the last day of PyCon US 2025, an event that's devoted to all sorts of collective projects, and this documentary really resonated with my past three days: the apartment is a quirkier but similar group effort, and the artists ask themselves some of the same questions that open-source developers do: "when is it done?" "who is this for?" "is this really a good use of our money/time?"
Here's a 3.5/4-star review by Matt Zoller Seitz with more details: https://www.rogerebert.com/reviews/secret-mall-apartment-film-review-2025
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Film: The Voice of Hind Rajab, Princess Original Cinema at 7pm Friday 30 January 2026
- What: Film: The Voice of Hind Rajab
- When: 7:00pm on Friday 30 January 2026
- Additional Showings: 4:30pm on Saturday 31 January 2026 and 2:30pm on Sunday 1 February 2026
- Where: Princess Original Cinema
- Location: 6 Princess Street West, Waterloo, Ontario Map <!--
- Online: XXXXXURLXXXXX -->
- Tickets ($14.25): https://princesscinemas.com/movie/the-voice-of-hind-rajab <!--
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- Phone: +1‑519‑884‑5112 (Princess Cinemas)
Dear Waterloo Region friends of Palestine,
WRFP is privileged to share our first film showing of 2026 with partner, Princess Cinema.
A shattering film using only sound and humanity; screened on the 2nd anniversary of the murder of 5 year-old Hind Rajab.
The voice of Hind Rajab is the voice of Gaza itself, a cry for rescue the entire world could hear, yet no one answered.
On January 29, 2024, a five-year-old Palestinian girl named Hind Rajab and six members of her family attempted to obey an evacuation order by Israel’s military before their home in Gaza City was to be bombed. The Israeli military shelled and shot at the fleeing vehicle, killing Hind’s family and trapping the young girl in the wreckage. Hind was able to place a call to the Palestinian Red Crescent begging for help as darkness falls. She waited 3 hours for an ambulance to be granted permission by the Israeli military to come to her only to have it shelled by a tank just as it reached her. The two paramedics were murdered — as was Hind herself.
Instead of directly depicting this horrific action, the director, Ben Hania, centers the drama within the offices of the Palestinian Red Crescent in the West Bank. The film chronicles the efforts of the call centre dispatcher to maintain an open phone line with Hind while negotiating safe passage for the rescue ambulance with Israel’s uncaring military.
In a bold and inspired move, the director utilizes the actual audio of Hind’s phone calls in the film, a choice that refocuses the line between fiction and documentary, yet never feels exploitative. The film was made with the support of Hind’s mother and the real-life dispatchers who tried to coordinate the rescue effort. The Voice of Hind Rajab is heartbreaking but it is also unflinching portrayal of genocidal intent and the dangers of humanitarian aid work in middle of military fire which targets civilians and civil society. The film is a memorial to a young, innocent life extinguished by a brutal genocide.
The film will be introduced with opening remarks by Robert Massoud, founder of Zatoun.
In deference to the film’s subject it will not be followed by the usual conversation / Q&A.
Tunisia, France, USA | Kaouther Ben Hania | 89 minutes | Arabic with English subtitles
Awards and reviews:
The Voice of Hind Rajab was awarded the Grand Jury Prize at the 82nd Venice International Film Festival in 2025. It received the longest standing ovation in the festival’s history (24 minutes). Director Ben Hania said in her powerful acceptance speech: “The voice of Hind is the voice of Gaza itself, a cry for rescue the entire world could hear, yet no one answered. Her voice will continue. Her voice will continue to echo until accountability is real, until justice is served.”
On Rotten Tomatoes, the film has 98% based on 49 critics reviews. The website’s consensus reads: “Incorporating real-life elements that are as difficult to witness as they are impossible to forget, The Voice of Hind Rajab is a harrowing docudrama that makes a powerful appeal to humanity.” Metacritic assigned the film a score of 85 out of 100, based on 14 critics, indicating “universal acclaim.”
“Not a day has gone by that I haven’t thought of Hind and the life that she was denied. Ben Hania’s film asks you to do the same: to remember her smile, her voice, her love of the sea, and her.” rogerebert.com.
The film is Tunisia’s entry for Best International Feature Film at the 98th Academy Awards on March 15, 2026.
Hope to see you at the film on Friday, 30 January 2026 (extra showings on Saturday and Sunday). Please share with family and friends. Princess Cinema needs our support to encourage screening of more films on or about Palestine. Thank you.
In solidarity and peace,
#Gaza #HindRajab #OriginalPrincess #Palestine #WaterlooRegionFriendsOfPalestine #WaterlooRegion
Irene, Robert and WRFP -
Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Der Kollaps des Kapitalismus – Margin Call (2011)
Fast 20 Jahre nach der Weltfinanzkrise, dem Kollaps der Lehman Brothers, und der Rettung von Banken überall auf der Welt mit dem Geld der Steuerzahler:innen, ist das ziemlich atemberaubende Debüt von J. C. Chandor noch immer ein Schlüssel, um den Finanzkapitalismus zu verstehen. Die Frage bleibt: Haben wir dazu gelernt, seitdem?
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Der Kollaps des Kapitalismus – Margin Call (2011)
Fast 20 Jahre nach der Weltfinanzkrise, dem Kollaps der Lehman Brothers, und der Rettung von Banken überall auf der Welt durch das Geld der Steuerzahler:innen, ist das atemberaubende Debüt von J. C. Chandor noch immer ein Schlüssel, um den Finanzkapitalismus zu entschlüsseln. Die Frage bleibt: Haben wir dazu gelernt, seitdem?
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)
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Christophe Gans – „Pakt der Wölfe“ (2001)
„In dem Film geht es um Wölfe, französische Aristokraten, Geheimgesellschaften, Irokesen-Indianer, Kampfkünste, okkulte Zeremonien, heilige Pilze, Prahlhänse, inzestuöses Verlangen, politische Unterwanderung, tierische Geister, blutige Schlachtszenen und Bordelle. Das Einzige, was man nicht tun sollte, ist, diesen Film ernst zu nehmen. Seine Wurzeln liegen in traditionellen Monster-Sex-Fantasy-Filmen mit Spezialeffekten.“, schrieb Roger Ebert. (ARD, Wh)