Download Free 9

What?!?? Why are people saying this is "mind blowing?" Just face it the
ending is on of the worst endings in the history of cinematography! 4
left and the whole world has ended! Not to mention the character 9 was
a idiot the whole time he got everyone killed. 1 was right the whole
time, if he sacrificed 9 then non of this would have happened. People
giving there lives for a stupid cause and for what?... to make it rain?
I admit the movie had it's parts, and the whole concept was
fascinating. But a lot of it was clich.

i saw this movie ay hbo but i haven't got a chance to watch it. .

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Shane Acker‘s new post-apocalyptic animated adventure “9” began its life as the young director’s thesis project during his grad school days in UCLA’s animation department. In that original incarnation, the film was an 11-minute silent short that plunged viewers into a desolate, destroyed world inhabited only by diminutive rag dolls loosely stitched together out of whatever odds and ends survived the unseen cataclysm I have no idea who “9″ was made for, aside from me. It’s a dark, post-apocalyptic tale whose main characters are walking burlap sacks. There are killer robots, responsible for obliterating the human race, and they have long spindly arms and glowing red eyes, cousins of the Matrix’s sentinels. The story involves one of these sacks (9) meeting up with a group of other sacks, in an attempt to reclaim the world for… more sack people.

I don’t suppose there are many people who haven’t heard of Lady Godiva, or at least know that she was that woman who once rode naked on a horse. Which is exactly how this film begins, with a pretty young woman disrobing, mounting her white horse, and riding through the muddy streets of Coventry. Wasn’t it lucky that long hair was fashionable in the middle ages, and that it could be conveniently draped to hide any naughty bits? The medieval tomfoolery is soon over though, and the scene shifts to modern day Oxford, where Jemima Honey (Thomas) is working as an art teacher in a snobby private school and dreaming of rebuilding the Art Factory, a education centre that she set up with her dead brother. Jemima’s mother (Markham) doesn’t approve, blaming Jemima and the Art Factory for James’s death. Michael (Chambers) is a local horse-breeder who has written a book about the Godiva legend, inspired by his favourite horse, the grey thoroughbred Lady. Jemima dismisses him as a playboy, but their paths keep crossing. One evening, when Jemima has finally given in to her mother’s nagging, she goes to clear up the Art Factory; Michael sees the lights and goes to investigate. He introduces her to Lady, gives her a riding lesson in the rain, and turns up at school a few days later in a purple helicopter, encouraging her to leave her less than inspiring job and rebuild the Art Factory. With his support, Jemima starts to believe that it can actually happen. But the course of true love never did run smooth. Jemima is humiliated by Michael’s ex, a tv presenter; after a fight, Michael bets a reporter ?100,000 that she won’t ride naked through the city and, determined to get back at him, Jemima accepts. If this all sounds like a farrago of nonsense, believe me, it is. It’s a shame as the performances aren’t bad but the script is just silly. Vicky Jewson wrote the script when she was only 21 and raised the money to make it herself; I applaud her courage and determination but wish she’d spent a bit longer on the development process. The main story makes no sense – in order to get to the point where Jemima rides naked through the streets, the script has to tie itself up in knots. It’s the kind of film that, as you’re watching it, makes you ask yourself why, again and again – why does Michael’s horse wear a bridle all the time, even in the stable; why, when the horse is ill, does no-one call for a vet; why is Jemima’s mum such a bitch; why doesn’t Michael wear a riding hat; why would someone drive through the countryside to get a Chinese when they live in the city; why does the film appear to condone bullying, and why oh why oh why oh why does it introduce a dreadful subplot about Prince William? At the end of the film, when a passerby on Magdalen Bridge asks what’s going on, I felt that he spoke for the entire audience. Not only does Jemima ride naked through the city, but she does a ‘raunchy’ strip tease first. Another why. Phoebe Thomas is attractive and does her best, but Jemima is so woefully underwritten that she often comes across as a bit dim. When she finally does mount the horse, I was mostly concerned that the stirrup leathers would pinch. .

The animation in "9" is just fabulous. It's so detailed; you can see each little thread that makes up the "stitch-punk" characters. I feel immersed in this movie everytime I watch it..

i think it's good.

i want to download right now.

the quest : good movie as areal action two can play that game : realy cute.

LOVE TO WATCH THIS MOVIE....

hope i can download this movie....

Shane Acker has a good career ahead of him. At the least, one can only
hope so. His talents expressed here, his first feature adapted from his
short film of the same title, are immense and sharp and clear and dark
and staggering and other words I didn't have time to look up for this
review. He takes a scenario one could be familiar with- entities
battling robotic elements in a future or just another time period, a
desolate wasteland, a possibility of hope on the horizon- but it's
infused with the passion and archetypes of a fairy tale. And even with
this there's certain twists, or unexpected pleasures. You'll see a lot
of critics talk about the lack of a full story, of the beauty of the
animation and look of the film outweighing any kind of story or clearly
defined characters. You can take that to heart before seeing the film,
but a lot of them may have missed Acker's intention here.

These are some archetypes on screen, sure. And one may have seen them
in films made by the likes of Don Bluth with the Secret of NIMH or,
dare I compare, Henson/Ozs' the Dark Crystal (here the latter's object
of purpose is reversed, sort of). But the characters in 9, the ones
with personalities, are not complete. The idea in the film is that all
of the characters, all numbered from 1 to 9 and called as such, are
little robotic creations given life by parts of the soul of a scientist
who gave himself up for his creations. Others he made, a 'machine' for
it, was also imperfect - so much so that it turned against its creators
and did what giant gorram robots do when created with human's own
defects. So the characters may appear to be things we very simply
identify- hero guy, hero girl, slight comic-relief twins, and the
grumpy and ornery older one (#1)- and as it goes on the characters
simply are what they are... actually, 1 develops a little more, and in
a subtle, captivating way.

But if you're going to see an animated film this year for its
distinctive style and design and (yes) cinematography and creations and
colors out of the netherworld of a glorious imagination - and it's not
from John Lasseter's Disney or Pixar - it's 9. And damn the torpedoes
is this movie beautifully wretched to look at! One can see why Tim
Burton and Wanted's Timur Bekmambetov latched on to Acker and helped
him get the movie made as it is: it's a world like Terminator
Salvation, only if it had actual focus and a capacity to elicit a
terror in its audience (young or old). The little robots themselves are
cute in a rough way, and the robots - and specifically what they do to
one of the critters when they capture one of them by sucking out their
souls - move and react like inhuman things that do what they should and
look and feel like the world really has ended. You simply can't take
your eyes off the movie, and it's animated with such an eye for
original detail.

At the same time it doesn't aim directly at adults, albeit with a PG-13
rating. I can imagine, or at least would hope to, that a child watching
this and being bewildered and confused and mortified and entranced,
just as I was watching NIMH or Crystal, and that's a good thing. PIXAR
has its wonders, but to see this is to see the A-game upped another
notch in the medium and its potential. There are times I didn't even
feel like I was watching just animation. Other times, I was taken away
like any good fantasy or fable: in the one little moment of respite,
'Somewhere Over the Rainbow' plays on a record and there's peace...
until it's broken. It's rare a filmmaker can conjure something like
that, but 9 has that in spades..