Rage Of The Innocents
🔞 ALL INFORMATION CLICK HERE 👈🏻👈🏻👈🏻
Rage Of The Innocents
Deliver to
Russian Federation
Don't Change
Change Address
Movies & TV
›
Movies
Unable to add item to List. Please try again.
Sorry, there was a problem. There was an error retrieving your Wish Lists. Please try again.
Sorry, there was a problem. List unavailable.
Playback Region 2
: This will not play on most DVD players sold in the U.S., U.S. Territories, Canada, and Bermuda. See other DVD options under “Other Formats & Versions”. Learn more about DVD region specifications here
MPAA rating
:
Unrated (Not Rated) Package Dimensions
:
7.5 x 3.1 x 1 inches; 6.4 Ounces Director
:
Lloyd A. Simandl Media Format
:
Import, PAL Run time
:
92 minutes Actors
:
Kira Reed, John Comer, Justine Priestley, Todd Farr, Eva Aichmajerová Producers
:
Rage of the Innocents (UK) ( Chained Heat 2001: Slave Lovers ), Rage of the Innocents (UK), Chained Heat 2001: Slave Lovers Language
:
Unqualified (Dolby Digital 2.0) Studio
:
Lighthouse DVD Distribution Lt ASIN
:
B003L8V4AS Number of discs
:
1
Your recently viewed items and featured recommendations
Conditions of Use Privacy Notice Interest-Based Ads © 1996-2022, Amazon.com, Inc. or its affiliates
United Kingdom released, PAL/Region 2 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada: LANGUAGES: English ( Dolby Digital 2.0 ), SPECIAL FEATURES: Interactive Menu, Scene Access, Trailer(s), SYNOPSIS: In a distant time, the world has become a dark and dangerous place where power is the only truth and brutality the only justice. The Dakota Alliance is led by an evil female commander, Erika (Kira Reed). She rules with an iron fist, trading virgins for fortune and using the most beautiful captured women for slave labor in the heat of the mines. ...Rage of the Innocents (UK) ( Chained Heat 2001: Slave Lovers )
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
It’s Called the Music and Arts Festival for a Reason
Dylan Efron Takes Us On An Adventure
By continuing to use our site, you agree to our Terms of Service and Privacy Policy . You can learn more about how we use cookies by reviewing our Privacy Policy . Ok
There are two kinds of Ken Loach films — those that keep the flame of class rage, and those that keep the flame of class rage and still manage to live and breathe. Along with Mike Leigh and, on and off, Stephen Frears, Ken Loach plugs away incorruptibly at tracking the shifting miseries of his beloved British working classes. He can be funny, and soulful and complex (his 1969 film, Kes , a lovingly poetic portrait of a provincial English boy’s love for his pet falcon, remains his best), but when he’s on a vulgar-Marxist tear, his sense of proportion goes AWOL, along with his sense of humor. His international movies often reflect the battle fatigue of a scold who’s lived too long off his hatred of all forms of institutional power, especially American power. Asked to contribute to a multinational collection of short films on 9/11, Loach served up a screed on American treachery in Chile. Point taken, but his monomaniacal callousness toward the Twin Tower victims was shocking.
This is one reason why Loach’s films continue to carry off important prizes in Europe, while in this country they barely scrape by at the box office. Like Leigh, Loach can be not merely an opponent but a gifted hater. His domestic films — Riff-Raff , My Name Is Joe — are funnier and subtler, but even in some of these, Loach, like many middle-class champions of the poor and oppressed, has a habit of defining his working-class characters solely by their oppression, either idealizing them (in the awful Hidden Agenda ) or rendering them so degraded by their circumstances ( Ladybird, Ladybird ) that it’s hard to find anything to like in them at all.
Loach has lightened up in recent years, in part because of his collaboration with screenwriter Paul Laverty. Laverty isn’t above waxing glib himself on the subject of the demon-imperialist United States ( Carla’s Song ). But on home territory he has a deft touch, a respectful feel for the proletarian life, and a fluency with regional dialect that has brought a sorely needed sense of fun to Loach’s movies. Sweet Sixteen , their latest, which won Best Screenplay at Cannes last year, is easily as good as their last joint effort, My Name Is Joe , and probably better. The movie — subtitled, mercifully — is set in Greenock, a grim town just along the river Clyde from Glasgow, and a prime casualty of the collapse of the Scottish shipbuilding industry. It offers a landscape (the movie has a lowering beauty, invoked by Loach’s longtime cinematographer, Barry Ackroyd) that can be seen all over post–World War II Britain — stunning scenery disfigured by ugly housing projects hastily thrown up to rehouse inner-city slum dwellers. Stripped of all community amenities, Greenock is a place where booze and drugs fill the gap created by rampant unemployment and collapsed families, and where it’s hard for a kid to grow up unscathed by either or both.
Liam (Martin Compston), a 15-year-old with acne-pocked skin and a whisper of fuzz on his upper lip, is emblematic of such urban decay. But he’s also a real, live boy, a charming prankster who passes his time goosing the local police and selling cheap cigarettes with his feral pal Pinball (William Ruane) while waiting for his mother, Jean (Michelle Coulter), to be released from prison on his 16th birthday. Unlike his older sister Chantelle (Annmarie Fulton), a single parent who has long since lost hope in their mother and is determined to build a stable life for herself and her toddler, Liam loves Jean with puppyish adoration. When he spots a vacant mobile home with a breathtaking view of the river, he resolves to raise enough money to buy it and glue the family back together, minus his feckless grandfather (Tommy McKee) and his mother’s deadbeat boyfriend Stan (Gary McCormack), with whom he now lives. Liam is a resourceful, imaginative lad, and it isn’t long before his entrepreneurial talent is spotted by Tony (Martin McCardie), a smooth local kingpin who grooms Liam to run a pizza delivery service that fronts for dope-dealing in and around the projects.
Sweet Sixteen is about the corruption of a vibrant, creative but vulnerable spirit, but it’s not in the business of blame. No agents of the repressive state apparatus show up to take the famous Loachian heat; even Liam’s hapless mother is treated with gentle compassion. It’s not a happy film, but there’s much incidental, quotidian happiness in it. Like Lynne Ramsay’s lovely Ratcatcher , the movie is far from sentimental about children, but it has a humane grasp of the pleasures kids create even under hellish conditions and of their adaptive capacity to craft a life out of the materials available.
The mostly nonprofessional cast of children acts with a relaxed naturalism — especially Compston, who brings a vivacious specificity to Liam. If the boy is a symbol of anything, it’s the double lives that so many in his situation must live: as children, naively insisting on family life even where there is none; and as premature adults, eking out threadbare livings on the social margins. The innocent domesticity Liam shares with Chantelle and his unquenchable love for his mother stand in heartbreaking contrast to his brutal apprenticeship as a drug dealer. Like My Name Is Joe , Sweet Sixteen has an inconclusive ending, but by then Liam is such an unshakable presence in our affections, we can’t help but place our bets on his survival.
Like Sweet Sixteen , Baltasar Kormákur’s The Sea unfolds in a bleak, far-flung outpost whose natural beauty and instinctive community have been scarred by progress — in this case a remote Icelandic village whose fishing industry, the only source of revenue it has, is threatened by corporations plundering family fishing quotas. This is a central political debate in Iceland, but in the movie the social issue is no more than a peg on which to hang a family drama so vicious it plays like a Bergman parody. The patriarch, Thórdur (Gunnar Eyjólfsson), a man as broody and cold as the menacing clouds and ice-bound mountains that loom over his spacious home, has summoned his wayward offspring for a family dinner during which he plans to deliver some important news. They’re an uninspiring crowd: an ineffectual eldest son who tries to run the ailing business while fending off his rapacious wife; a shrill daughter, a failed filmmaker who now lives in Reykjavík with her weak-kneed Norwegian husband; a willful youngest son who lives in Paris with his pregnant girlfriend, writing songs while pretending to attend business school at his father’s expense; and a nubile cousin, Maria, who has the hots for the youngest son.
The screenplay is by Ólafur Haukur Simonarson from his own stage play, and early on he produces a skeleton in the family closet that is held accountable for the hell that breaks loose before, during and after the meal. The device can’t begin to bear the weight of the mayhem, which never lets up, ranging from temper tantrums to quickies on the side to arson, all pitched in a sustained key of hysteria. Kormákur, who made the well-received 20-something comedy 101 Reykjavík , has technique to burn and a fine visual grasp of his habitat (I can’t think of a recent film that does such evocative things with weather), but he’s a young man in over his head with grown-up material. The Sea aspires to Chekhov and Shakespeare with a dash of bedroom farce, but the movie, which means to be a no-frills baring of the human soul, is undone by its own malignant contempt for every one of its characters, except a pathologically candid grandmother who single-handedly kept my chin from dropping to my ankles. Even Bergman would be scrambling for his Prozac.
SWEET SIXTEEN | Directed by KEN LOACH | Written by PAUL LAVERTY | Produced by REBECCA O’BRIEN | Released by Lion’s Gate Films | At Laemmle’s Sunset 5, Laemmle’s Monica 4-Plex, Westside Pavilion Cinemas
THE SEA | Directed by BALTASAR KORMÁKUR | Written by KORMÁKUR and ÓLAFUR HAUKUR SIMONARSON | Based on a play by SIMONARSON | Produced by KORMÁKUR and JEAN-FRANÇOIS FONLUPT | Released by Palm Pictures | At Laemmle’s Fairfax, Westside Pavilion Cinemas
Advertising disclosure: We may receive compensation for some of the links in our stories. Thank you for supporting LA Weekly and our advertisers.
LAWeekly Instagram: Featuring the culture of LA since 1978
Relationship with the Victim*
Spouse Parent Child Sibling Family member Other
Sweet James has my permission to help provide a free police report
Goodreads helps you keep track of books you want to read.
Start by marking “A Rage of Innocents (Chief Inspector Morrissey, #5)” as Want to Read:
Want to Read
Currently Reading
Read
Error rating book. Refresh and try again.
We’d love your help.
Let us know what’s wrong with this preview of
A Rage of Innocents by Kay Mitchell.
Problem:
It’s the wrong book
It’s the wrong edition
Other
Not the book you’re looking for?
Preview — A Rage of Innocents
by Kay Mitchell
Paula's last hope of conceiving a child of her own has gone, and Social Services has ruled that she is too old to adopt. Then a new doctor offers a miracle that will cost nothing but money and a little pain. Placid and round of belly, she waits in her private room for a miracle to happen. Lucy is sixteen, suspicious by nature, and homeless. But she's also six months pregna
Paula's last hope of conceiving a child of her own has gone, and Social Services has ruled that she is too old to adopt. Then a new doctor offers a miracle that will cost nothing but money and a little pain. Placid and round of belly, she waits in her private room for a miracle to happen. Lucy is sixteen, suspicious by nature, and homeless. But she's also six months pregnant, so when she's picked up by the Malminster police and taken to a refuge she stays there grudgingly. But trouble is brewing in Malminster. Tempers are fraying; the body of a pregnant woman is found in a rain-swollen ditch; a man is stabbed to death by a gang of kids; a housewife is brutally raped in her own home. And as Chief Inspector Morrissey investigates the alarming crime rate, he discovers a horrifying secret that lies at its core.
...more
Published
1997
by New English Library
A Rage of Innocents (A Chief Inspector Morrissey Mystery)
0340624620
(ISBN13: 9780340624623 )
To ask other readers questions about
A Rage of Innocents ,
please sign up .
This book is not yet featured on Listopia.
Add this book to your favorite list »
·
39
ratings
·
2
reviews
Start your review of A Rage of Innocents (Chief Inspector Morrissey, #5)
Jan 25, 2021
Arline Trew
rated it
liked it
·
review of another edition
I’m a fan of Kay Mitchell but this novel was too gruesome and crude for my taste. It was well-enough written and would likely appeal to most people. I have a low tolerance for gore and crudity. This is a very raw book
Feb 25, 2018
Elizabeth
rated it
really liked it
loved the whole series. keep waiting for a new book in this series. would recommend it anyone who loves a good mystery
Camille Dee
rated it
liked it
Feb 23, 2014
Gerri Balter
rated it
did not like it
Jun 11, 2014
Heather
rated it
liked it
Oct 30, 2014
Kelley
rated it
it was ok
May 30, 2008
Roger Zarzycki
rated it
it was amazing
Apr 18, 2014
Lucy
rated it
it was amazing
Nov 02, 2015
Pat Brennan
rated it
it was amazing
Feb 21, 2018
M.SueStockman
rated it
it was amazing
Dec 13, 2016
Sharon cone
rated it
it was amazing
May 27, 2019
Sian
rated it
it was amazing
Nov 10, 2020
Barbara
rated it
really liked it
Jun 02, 2014
John Nooney
rated it
really liked it
Jun 23, 2017
Sue
rated it
it was amazing
Mar 15, 2013
Ruth Lamothe
rated it
liked it
Jul 28, 2022
Dale
rated it
really liked it
Aug 19, 2015
Patrick Morrissey
rated it
it was amazing
Mar 23, 2022
Anunka
rated it
really liked it
Sep 10, 2012
Joan Bowman
rated it
really liked it
Jan 25, 2014
Michaela
rated it
liked it
Dec 19, 2009
Jane Weaver
rated it
liked it
Jan 03, 2015
Ronald A Owen
rated it
it was amazing
Oct 31, 2017
Tony Molocznik
Secret Desires Of A Housewife 2
Hot Movies Free Online
Young Moms Porn