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We Are Fine

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We Are Fine

Alena and Alexey love each other. But due to the fact that they have to live in the same apartment with their relatives, and maybe for some other reason, their life together threatens to turn into a living hell.

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Release : 2018
Rating : 0
Studio : Institute of Contemporary Art, 
Crew : Editor, 
Cast :
Genre : Documentary

Cast List



What a waste of my time!!!


Good movie but grossly overrated


How wonderful it is to see this fine actress carry a film and carry it so beautifully.

Sameeha Pugh

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film


The first of two remakes of Mike Hodges' seminal 1971 British gangster movie Get Carter, Hit Man (1972) followed very close on the heels of the original; maximising payback on their own property, MGM put another film version of Ted Lewis' original novel into production just a year later, reworking the plot in a B-movie, Blaxploitation format. This adaptation features Bernie Casey in the Michael Caine role of an out-of-town mob enforcer (here called Tyrone Tackett) who travels to another city (in this case Los Angeles replaces Newcastle upon Tyne) to look into the circumstances of his brother's death, and becomes embroiled in a world of drugs, blackmail, and pornography.Admittedly superior to the Sylvester Stallone abomination that followed in 2000, this still isn't a very good film. Directed by the sometime Hollywood workhorse George Armitage (Grosse Pointe Blank), it is certainly more explicit than the far superior original, with several very bloody scenes of violence (most notably the climactic invasion of the villain's mansion, originally a police raid but which here becomes a machine-gun massacre orchestrated by a rival group of thugs, and the ketchup sure does fly), whilst the sexual aspects are similarly amplified (though it must be stated that, in the porn star / hooker role, a frequently unclothed Pam Grier cuts an infinitely sexier figure than the pill-popping bike played by Geraldine Moffatt). Like most Blaxploitation films, it's quite chronically dated too, with Casey's 'power pimp' wardrobe particularly outrageous, and it is easy to see why it has been accused of excessive stereotyping by some critics. There are a couple of interesting pieces of innovation on the original's storyline (adding a note of ambiguity to the ending is a nice touch, and watch out for Die Hard's Paul Gleason as the assassin), whilst others just seem gratuitous (the method of Grier's exit seems to have been done purely for visceral effect); however, the theme song ("Hit Man, Hit Man, whatcha' gonna do 'bout the situation?") is absolutely dire, the tone is uncertain, the dog-fighting footage toward the start of the film is absolutely reprehensible, and the film's 'black power' pretensions finally irritate. For committed Blaxploitation aficionados only.


This movie was perhaps not the most accurate when it comes to effects, cars don't explode when they make contact with stationary objects, but isn't movies some entertainment? The movie caught on quite quickly, no slogging with getting to know characters just some prime action directly. Cindy isn't perhaps the most capable actress but she is fair to look at. I liked the movie, it tickled some laughs and gave my some entertaining moments. I rate this much higher than a lot of drama that seems to be the only thing people like these days. I might have things go another way if I where to shoot this movie, but the action was good, even though it was predictable sometimes.

Arun Vajpey

Although the story where a person seems to disappear without trace and no one believes he or she existed except their companion has been repeated often, I had high hopes for DANGEROUS CROSSING. But the movie was ultimately disappointing because of uninspired handling of a good plot. No one involved seemed to be very interested in what was going on and the sequence of events looked horribly contrived. Jeanne Crain's hysterical overacting gets on one's nerves 10 minutes into the film and never lets go. Dull direction and wooden performances by rest of the cast do not help much and even the normally reliable Michael Rennie looks like he wants to be somewhere else. Overall a forgettable little film.


This is a truly incredible film - by which I mean it isn't the least bit credible. Anyone who knows anything about diving or oceanography (or for that matter, science in general) will howl at the dozens of mistakes and improbabilities.In a small, Beatles-style yellow submarine that seems barely big enough for 4 testosterone-fuelled men's men and one pretty woman, our heroes are required to travel around the ENTIRE WORLD and place 50 earthquake sensors at strategic points on the seafloor to create a warning system of the impending destruction of the earth by seismic forces! They manage to do this in just one month! The sensors are "anchored" to the seabed by making them explode!The first sensor is placed at the bottom of a trench 6 miles deep. The guy (for some reason I've forgotten) actually leaves the sub in his diving suit! At this depth, his entire body would implode instantly from the pressure. Incredibly, the seabed at this depth is light and swarming with fish! In reality, it would be totally dark and devoid of life.At one point, they are in a very rich area of ocean, where the "minestrone" of available food biomass attracts millions of fish. We get the warning that "little fish attract big fish", so we expect maybe a 20-foot shark... But no, the sub is attacked by a mutant conger eel that must be at least 100 feet long! It totally dwarfs the sub. This is so ridiculous, as you can tell from the way it moves it's just a very tiny eel in a tank. In the exterior shots of the sub, it's so obviously just a small lightweight model in a fishtank. The special effects budget of this movie must have been nil.The best line is this movie is when Shirley Eaton's character says of the female sex, "We have men to thank for our freedom, but sometimes we don't know how to handle it!" I think this was in response to the suggestion that women lead men on sexually, sometimes to their downfall. Well, she may be a scientist, but at least she isn't some crazy feminist! ;-) This film is so dated in general, it's amazing it was made as recently as 1966! There's a palpable mid-to-late 50s feel. The woman is there for the sole purpose of creating tension with the men who lust after her and fight among themselves. In fact, most of the movie's drama comes from the effect this bimbo scientist has on her crewmates' testosterone levels. She is actually wearing stiletto heels when she boards the submarine.The end of the movie is the most hilarious part. The sub is half-buried by a volcanic rockfall, so the captain suggests blowing the buried half off with dynamite to free them! They all accept this rational-sounding theory without complaint. Dozens of sticks of dynamite and plastique are wired INSIDE the sub. They blow the back half of the thing clean off and stay safely sealed in the bridge compartment. How ridiculous! But the front of the sub is still not free! So Lloyd Bridges must venture outside and burn through what looks like a 6-inch cable using a flare! They have to "equalize the pressure" inside the half-destroyed sub by opening the hatch, while trying to prevent too much water rushing in! They're running out of air fast, yet deem it sensible to waste bottled O2 on the pet guineapigs.The crew take about a minute to return from the seabed to the surface. Conveniently enough, there's a chopper already there to rescue them! The joy that other viewers must have experienced (in realizing this film was finally over and they could do something worthwhile instead) was not shared by me. I realized that, with such a rapid ascent and no decompression chamber onboard the chopper, they would all certainly die an agonizing death from decompression sickness. Ah well.The movie totally lacks suspense or thrills, but is mildly enjoyable for its unintended humorousness. David McCallum's performance as the menacing and creepy blonde European type you can never trust is, as usual, entertaining.

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