Subtitle Exit Wounds

Subtitle Exit Wounds

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Languages Available in: The download links above has Exit Woundssubtitles in Albanian, Arabic, Brazillian Portuguese, Bulgarian, Czech, Danish, Dutch, English, Estonian, Farsi Persian, Finnish, French, German, Greek, Hungarian, Indonesian, Norwegian, Portuguese, Romanian, Serbian, Spanish, Swedish, Thai, Turkish, Vietnamese Languages.

Anybody should know when you're getting ready to see a Steven Seagal movie you're not getting ready to see a Greek tragedy. What makes \"Exit Wounds\" special is it's all in good fun. There's no pretentions whatsoever. In fact, it even leaves a good share of the running time for comic relief. You have spectacular action in one corner...you have hilarious comedy in the other...what the hell more can you ask for Seagal hasn't made an action flick in a while, so it was great to see him again on the silver screen. He takes a lot of flack for gaining a little weight. OK, so he's heavier than normal. So maybe him and Sammo Hung been hanging out in the same buffet. But Seagal can still kick butt like he did back in \"Above the Law\" and \"Hard to Kill.\" His action scenes are always fun to watch. As I tell people, I'm not easily aroused by action scenes. I can be just as bored by an action scene as one would get bored during an episode of \"Masterpiece Theater.\" But Seagal's action scenes have a sense of originality and flare. Big deal. He's not the best actor. Does his work require great dramatic acting Would a dramatic monologue be appropriate during one of HIS movies Let's be sensible. I think people are way too hard on the man. He's still cool with me.In the comedy department, we have the uninhibited Tom Arnold. Arnold plays the stereotypical cheesy talk show host, who takes anger-management classes with Seagal. There's a hilarious scene where Seagal loses his temper and throws a fit, yelling to the teacher \"I'm a happy person!\" with anger in his eyes. Then Arnold decides that Seagal would be a perfect guest for his show. Also, we have Anthony Anderson of \"Me Myself and Irene\" fame. He was one of the foul-mouthed African-American brothers in the Farrelly Brothers comedy. He gets an even bigger opportunity to flaunt his comic chops in this flick. In fact, him and Tom Arnold have a hysterically funny conversation at the end credits, so PLEASE don't be so quick to walk out the theater. DMX is not a terrific actor, but he's fairly good. He proves his discipline as an actor in a more restrained role than his starring role in Hype Williams' \"Belly.\" In that film, he pretty much portrayed a character out of all his rap videos. So that wasn't a big stretch. \"EW\" gives him more to work with. Not the role of a lifetime, but meatier than a drug-dealing \"gangsta.\" And did I mention Jill Hennesy is in the cast Oh...mannnnn! She is an absolute knockout! Perfect eye candy! Throw in a gratuitous strip club scene(which this film has), and we have the ultimate guy flick. With DMX in the lead, naturally we have to expect some of his songs on the soundtrack. And he provides some good stuff. One--which was used in the previews and thankfully was used in the movie too--is a remix of \"Ain't No Sunshine When She's Gone.\" It's quite innovative how they insert an artist's songs into a movie's soundtrack. There's also a scene where DMX is picking out a car and blasts on the stereo his song \"Why Do Good Girls Love Bad Guys.\" There isn't much depth to \"Exit Wounds.\" In fact, I don't know if there's any depth. But a film like this is meant strictly for exhibition. And in that department, it really really delivers! It's exciting! It's funny! It's rousing! It's a thrill a minute! You won't be bored for a second! An hour and thirty minutes of sheer, uninhibited fun! \"Exit Wounds\" won't have you heading to the exit. In fact, you probably won't even want to go out for popcorn you'll be having such a great time! Strap in!My score: 7 (out of 10)

A war-weary warrior, a legendary sword, a restless and romantic young girl, and a rascally bandit are among the main characters of this ambitious epic. The movie's real interest lies in a series of fighting scenes that veer between comic-book violence and cinematic ballet. The film may be too talky for action-minded viewers, but it brings appealing twists to the martial-arts genre. In Mandarin with English subtitles

Cartoon with German subtitles. Title on screen: \"Die lustigen Streiche von Fritz und Franz... Winterfreuden [the comical escapades of Fritz and Franz... Winter Joy]. Various adventures of the two characters (they are children) on sleds in the snow.

EXT, U.S. Army medical unit loads supplies onto trucks for transport. Snow on the ground; soldiers in winter gear, VS loading large wooden crates. VS, the convoy of medical unit trucks travels over difficult terrain, dirt and mud roads, etc. MS, a truck dumps a large amount of rubble onto a dirt road, soldiers [and possibly locals] shovel and level off the roads. LS, underexposed, supply trucks move along a road, mountains in BG. MS, captured German soldiers stand in line with their belongings, receive rations, interviewed by the liberating U.S. Army unit. Pan, several German soldiers look at the camera while others look away. MLS, the group from another angle, destroyed buildings in the BG. Traveling MLS of rows and rows of triangular shaped stone markers in the ground, in the FG are broken railway tracks. MCU, Col. Zabin standing in front of the markers, in combat uniform with his helmet in his hand. Buildings in the valley below, continuous pan of bombed out buildings and church. MCU, sign: \"Prüm-Kreis Prüm-Reg Bez Trier.\" MS, Col. Zabin posing in front of an open truck with German soldiers and officers from the medical unit. From a moving vehicle, soldiers and/or refugees march along the road with their belongings on their backs (underexposed). VS of locals, soldiers, or refugees standing along the road, resting. Convoy of U.S. Army vehicles crossing a makeshift bridge across the Rhine River. LS, pan of the destroyed Rhine Bridge. VS, makeshift bridge and destroyed bridge. U.S. Army and locals remove fur coats from a warehouse.Scenes from Dachau in black and white. MCU, sign in German, skull and cross bones warning of danger - gas - on the metal door to a gas chamber, the door is slightly ajar, inside there is a camp inmate in a striped uniform. Above another door says: \"BRAUSEBAD.\" MCU, stack of wooden coffins in the anteroom. MCU, bodies. INT, MS, underexposed shot of a pan of inmates' barracks at the concentration camp. VS, inmates in the hospital ward of the camp, some have their heads bandaged, some are standing, some lie in cots, most look directly at the camera, there are men and women, young and old. MCU, inmates in striped uniforms pose for the camera. In color, a dead body is floating face up in the Wuerm River. LS, the river and liberated camp inmates, standing behind a wire fence, outside of their barracks. MS, dead bodies, female, lying in the grass near the river's edge. VS, Dachau camp, pan of buildings, American flag flying atop one of the buildings, LS, high angle view of the main camp courtyard, many people milling about, the camera continues to pan, until the confines of the camp at the edge of the river. EXT, pan of railcars, open, full of dead bodies. U.S. soldiers, roll call in an open field, there are men and women.Festival in Czechoslovakia. MCU, toddler in traditional Czech costume poses shyly for the camera. MS, young men playing volleyball in an open field, spectators in the FG. LS, men playing soccer, many spectators. MS, group of Czech folk dancers in traditional costume perform for the crowds.LS, city street, Col. Zabin exits a building and crosses the street, heading toward the camera. Col. Zabin near the banks of a river, he takes off his shirt and sits down to relax, he speaks with the cameraman. VS, Col. Zabin near the river's edge, he rolls up his pants and begins walking on rocks in the river.

Color footage. MCU moves out to MLS, and then a pan of destroyed equipment on the beach. VS, beach head and surrounding countryside, military vehicles and personnel in BG. Field full of rubble and artillery shells. CU, remains of a building stairwell, rubble surround the stairwell. ENDLS, from high angle, rooftops of an unidentified town. VS of the rooftops, a street and bridge below with civilians walking across it. VS, MCUs and CUs, the camera pans a church spire and other architectural details of the building. CUs of two American soldiers looking through the viewfinder atop the cathedral to the town below. They look at the cameraman; one is talking on a phone, they smile again for the camera. ENDINT, MLS, underexposed, silhouette of two people standing in front of a large window. Pan of the INT of a church, people standing in front of stained glass windows, several American soldiers, in helmets, their heads are silhouetted against the window, sunlight streams in from outside, the rest of the shot is dark. More panning, hard to see, perhaps architectural details. Several seconds of black. ENDBlack and white footage. EXT, low angle, MCU, architectural detail of rose stained glass window. MLS, U.S. Army officers in combat gear, standing in front of this building. VS, the building, military personnel, military vehicles, civilians walking or bicycling past the building. ENDColor footage. MS, a U.S. Army plane on an airstrip, the number \"17\" painted on the side. Plane taxis on the airstrip. LS, several planes parked on the airstrip. MLS, tall yellow grass, fields, surrounding airstrip. MLS, Col. Zabin, in uniform, pointing. CU, pan of a damaged torpedo or artillery casing. INT, MS, two women seated in a café, near a window, looking at the camera, in the BG on the street outside two U.S. Army soldiers stand in front of a military vehicle, with a large white five-pointed star. Café, full of civilians, barista in white jacket behind the bar (underexposed). Several patrons smile for the camera. EN