Release Date: August 21, 2009
Length: 153 Minutes
Country: USA
Language: English
Audio Quality: 10/10
Video Quality: DVD – 10/10
IMDB Rating: 8.6
Rotten Tomatoes Rating: 88%

Brad Pitt ……………….Lt. Aldo Raine
Mélanie Laurent ………….Shosanna Dreyfus
Christoph Waltz ………….Col. Hans Landa
Eli Roth ………………..Sgt. Donny Donowitz
Michael Fassbender ……….Lt. Archie Hicox
Diane Kruger …………….Bridget von Hammersmark
Daniel Brühl …………….Pvt Fredrick Zoller

Where Can I Find This Movie?

Genre: Action, Thriller, War
Directed by: Sylvester Stallone
Starring: Sylvester Stallone, Julie Benz, Matthew Marsden, Graham McTavish, Reynaldo Gallegos, Jake La Botz

Release Name: Rambo-The.Complete.Collecto’r.Set[2008]DvDrip-aXXo
Size: 1 CD, 700 MB
Quality: DVDRip, 957 kbps XviD, 652×356, MP3 112 kb/s
Runtime: 88 min
Download: Torrent Search – Usenet Search – Rapidshare

Links: Wiki, IMDB, Homepage

Support the Makers – Buy the Product

Genre: Action, Thriller, War
Directed by: Peter MacDonald
Starring: Sylvester Stallone, Richard Crenna, Marc de Jonge, Kurtwood Smith, Spiros Focas, Doudi Shoua, Sasson Gabai

Release Name: Rambo-The.Complete.Collecto’r.Set[2008]DvDrip-aXXo
Size: 1 CD, 700 MB
Quality: DVDRip, 876 kbps XviD, 692×290, MP3 112 kb/s
Runtime: 98 min
Download: Torrent Search – Usenet Search – Rapidshare

Links: Wiki, IMDB, Homepage

Where Can I find this Movie? (this has all of the Rambo Movies)

Genre: Action, Thriller, War
Directed by: George Pan Cosmatos
Starring: Sylvester Stallone, Richard Crenna, Steven Berkoff, Charles Napier, Julia Nickson, Martin Kove, Julia Nickson-Soul

Release Name: Rambo-The.Complete.Collecto’r.Set[2008]DvDrip-aXXo
Size: 1 CD, 700 MB
Quality: DVDRip, 935 kbps XviD, 700×296, MP3 112 kb/s
Runtime: 92 min
Download: Torrent Search – Usenet Search – Rapidshare

Links: Wiki, IMDB, Homepage

Where Can I find this Movie?

Genre: Action, Thriller, War
Directed by: Len Wiseman
Starring: Sylvester Stallone, Richard Crenna, Brian Dennehy, David Caruso, Jack Starrett, Michael Talbott, Chris Fulkey

Release Name: Rambo-The.Complete.Collecto’r.Set[2008]DvDrip-aXXo
Size: 1 CD, 700 MB
Quality: DVDRip, 962 kbps XviD, 700×296, MP3 112 kb/s
Runtime: 90 min
Download: Torrent Search – Usenet Search – Rapidshare

Links: Wiki, IMDB, Homepage

Support the Makers – Buy the Product

The film begins, as Winkler’s picture did, with a genuinely harrowing fire-fight, in this case in Tikrit, shot with tight-in visceral energy by Chris Menges, in which an American company manning a checkpoint is lured into an ambush during which some soldiers are killed and others seriously injured. The leader of the squad, Sgt. Brandon King (Ryan Phillippe) blames himself for the losses and is glad that his tour of duty is over. Returning his ultra-patriotic Texas hometown to a hero’s welcome along with buddies Steve Shriver (Channing Tatum) and Tommy Burgess (Joseph Gordon-Levitt), he’s surprised to discover that instead of being restored to civilian status, he’s been tagged for another Iraq tour via the “stop-loss” provision that allows the automatic extension of duty to insure a sufficient supply of trained manpower for the continuing occupation.

This policy, rightly characterized in the film as a backdoor draft that places an onerous burden on some servicemen in order to preserve the illusion of a fully volunteer army when in reality a quasi-permanent obligation is being arbitrarily imposed, is without question a shamefully dishonest one, deserving of national debate and inviting strong dramatization. Unfortunately, Peirce and co-writer Mark Richard have chosen to frame their script in melodramatic terms by having King, after dissing his superior officer (Timothy Olyphant) and just escaping a trip to the brig, going AWOL and taking off first for Washington, D.C., where he hopes to enlist the help of the senator (Josef Sommer) who’d just pinned a Bronze Star and a Purple Heart on him and then, when that plan flounders on political reality, to New York City, where he plans to purchase forged documents that will allow him to flee into Canada.

But that’s only part of the scenario. The person who travels with King on the lam is Michele (Abbie Cornish), Shriver’s fiancée; and his buddy is furious not only because he takes her with him, but because he sees King’s defection as a betrayal. (He intends to re-enlist, despite Michele, because he can no longer live in the civilian world.) And Tommy is unable to readjust to married life, a situation that leads to tragedy.

There are sequences in “Stop-Loss” that are extremely powerful—not merely the opening reel, with its home-made videos introducing the squad in Iraq and the horrifying ambush scene, but also the few moments that Brandon shares with his concerned parents (Ciaran Hinds and Linda Emond, both underused) and an extraordinary episode in which he and Michele visit one of the most seriously wounded soldiers (very well played by Victor Rasuk), which simmers with genuine emotion. But too often the picture veers into territory that smacks of melodramatic overstatement. That’s especially true of moments during Brandon and Michele’s cross-country road trip, one in which he comes upon an AWOL family in a seedy motel and, even worse, another in which he confronts a trio of street thugs who’ve robbed their car, which punches across the point about the nightmare of combat he’ll always have to struggle with too broadly. A big confrontation between King and Shriver in a cemetery also opts for the overwrought.

Even in its weaker moments, the picture is helped by the cast. This is one of Phillippe’s best performances, showing a strength and vulnerability he missed in “Breach,” and his Texas drawl is pretty good too. Tatum’s beefy solidity is excellent, too (though his total lack of accent is perplexing), and the always interesting Gordon-Levitt keeps a part that might simply have tumbled into cliché from doing so. Cornish, on the other hand, is okay but unremarkable. On the technical side, Menges’ cinematography is almost as fine in the stateside sequences as in the Morocco-shot Iraqi ones, and John Powell’s score is happily unobtrusive.

The ending of “Stop-Loss” is a bit of a problem. On the one hand, it testifies to the sense of unbreakable camaraderie and sense of duty among the soldiers that’s one of Peirce’s major points. On the other, it fails to offer a genuine resolution to the very real issue of policy that the picture is meant to highlight. Of course, that ambiguity can be taken as a virtue, in that the absence of an answer, for King or for us, points up the fact that in what seems an interminable war there are no easy solutions, only more pain, though the sacrifices are not equally shared.

I just want to thank “One Guys Opinion” for this review. I could not have said more because frankly I have never seen this movie.

Where can I find this flick?

Flashback to Germany 1936: he holds court in a smoky nightclub. One of his lackeys describes him, with no small amount of admiration, as “the most charming scoundrel in Berlin.” Booze, fake passports, he provides it all. And the customer always comes first: when one blond fräulein shoots him a withering look upon finding out his real name, he doesn’t bat an eye. His motto: one adapts or dies, which he lives out to the fullest after the police bust his counterfeit money and passport ring.

The year 1939 finds him with a sledgehammer in the rock quarry at Mauthausen concentration camp. Briefly, the film’s cinematography turns an icy gray, the recent palette of choice for Holocaust films. And it’s only here that writer/director Stefan Ruzowitzky shortchanges Sally’s survival skills. This work detail was virtually a death sentence; to survive at all was an achievement.

Hard-edged and less spectral colors return, just when Sally’s moral ground turns grey; he’s transferred to Sachsenhausen in 1944, becoming part of an effort to create counterfeit sterling in Hitler’s bizarre scheme to flood and destroy the British economy and possibly finance Germany’s war machine. His draftsmen skills have kept him alive so far, put to use by the SS. Now, he’s given new clothes, secondhand actually – the previous owner has been deported to Auschwitz – and assigned to a group of craftsmen, all Jewish, including communist Adolf Burger (August Diehl). The real-life Burger, now in his nineties, wrote the memoir that is the basis for the film.

All the men live in spotless barracks removed from the rest of the inmates. In the workshop, a yearning Bel Canto aria plays in the background as Sally retouches the counterfeit pound notes and supervises the other men. By aiding the Nazi war machine and prolonging the Nazi regime, they’re kept alive. If they fail, they die, and they know it.

Where can I find this flick?

IMDB – 7.9/10
Rotten Tomatoes – 91%

Synopsis

A fictionalized account of personal bravery and comradeship in the early days of the Viet Nam war. The story follows the experiences of Lt. Dieter Dengler whose plane was shot down over Laos and taken prisoner by the North Vietnamese. In a story that should not be classified as either pro or anti war, it explores the tragedies of war for all involved.

Review

As portrayed by a simultaneously vulpine and puppyish Christian Bale, pared down to skin and bones for the role, Dieter appears to be psychologically incapable of countenancing defeat. Born in Germany during World War II, Dieter’s earliest experiences were marked by extreme deprivation and hardship. He became obsessed with flying after a bomber flew so close to his house that he was able to look the pilot in the eyes. It’s a defining incident that Dengler recounts in the documentary and Bale reprises in the film. As vivid as the anecdote is, it’s hard not to wonder if the experience has not been distorted in his memory by the need to impart order and meaning on the senseless suffering.

If indeed Dieter’s memory of the event is more interpretation than pure recollection, it’s remarkable for its adaptiveness. You can’t believe that this is what little Dieter takes away from his first brush with death. As one of his fellow POWs exclaims upon hearing the story, “a guy tries to kill you, and you want his job!”

His childhood close encounter would not be the last time Dieter exchanged meaningful glances with death. The film begins in 1966, when Dieter and his battalion are sent on a secret bombing raid over Laos. After his plane is shot down, Dieter endures a few days of torture at the hands of Pathet Lao soldiers. After he refuses to sign a statement denouncing United States policies, he is taken to a POW camp.

Where Can I find this Flick?

To Dieter’s surprise, he meets two fellow Americans there, Duane (Steve Zahn) and Gene (Jeremy Davies), as well as three Southeast Asian prisoners, Y.C. (Galen Yuen), Phisit (Abhujati Jusakul) and Procet (Chaiyan Chunsuttiwat). Some of them have languished in the camp for more than two years.

Gradually, and against Gene’s wishes, Dieter meticulously plans their escape.

In different hands, this extraordinary story of survival might have played like a catalog of action tropes. And it would be something if suddenly Herzog decided to hit us with some slow-motion acrobatics against a Jimi Hendrix track (though I’m not sure what). None of the usual consolations is offered here — no soaring violins, or quivering nostrils, or righteous killings or platitudes about faith in God and government.

Herzog has never been interested in mythmaking, and it’s safe to say he isn’t starting to be interested in it now. If anything, he seeks to do the opposite. He places three people in one harrowing situation and watches them react. Aside from a riveting adventure story that Herzog tells in all of its terrifying, stripped-down simplicity, “Rescue Dawn” is a fascinating study of human particularity. Bale, Zahn and Davies disappear completely into their roles — for that matter, they nearly disappear altogether — as three men with wildly different approaches to life. A docile company man, Gene remains convinced until the end that the Army is planning his rescue — even though the Army prefers not to admit he exists. He is suspicious and fearful of Dieter’s flouting of authority and confused by Dieter’s self-reliance. Duane, on the other hand, attaches himself to the leader who offers him the best chance at survival. It’s amazing to see Davies and Zahn reduced to emaciated nubs of pure character — talk about who you are in a crisis. And Bale does something amazing, his Dieter seems to become more calm, more sure of himself with every passing day, until he practically glows.

In “Little Dieter Learns to Fly,” the real Dengler gives Herzog a tour of his house, revealing the terrors that never left him, like his lifelong fear of hunger and closed doors. What makes Dieter fascinating is not what he feared but what the fear made him do. Dieter’s talents weren’t limited to picking handcuffs, hording rice or plotting ambushes. He created a game in which he and the other prisoners took turns detailing the contents of an ideal imaginary refrigerator. Survival, as Herzog suggests, requires a combination of attention to detail and imagination, craft and faith. It’s an art, in other words, and Dengler was quite possibly its genius.

carina.chocano@latimes.com

“Rescue Dawn.” MPAA rating: PG-13 for some sequences of intense war violence and torture. Running time: 2 hours. At Pacific ArcLight Cinemas, 6360 W. Sunset Blvd., Hollywood, (323) 464-4226; and Laemmle’s Monica 4-Plex, 1332 2nd St., Santa Monica, (310) 394-9741.