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Murphy's Law Full Movie In Hindi Free Download Mp4
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DOWNLOAD: http://urllio.com/r4bp1
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An action-packed thriller starring Charles Bronson as Jack Murphy, a cop who is running to stay alive long enough to even the score with his wife's killer.
Charles Bronson plays Jack Murphy a veteran police detective who is framed for the murder of his ex-wife. Although taken into custody, Murphy escapes from the police station handcuffed to a foul-mouthed car thief. Pursued by the police, Murphy must find the real killer before it is too late.
Charles Bronson once again re-teams with director J. Lee Thompson (it isn't exactly Cary Grant and Alfred Hitchcock is it?) for another hard boiled thriller. You don't have to have much cinematic experience to know what to expect when these two fellows put their talents together....and once again, it's all violence and foul language in a dreadfully familiar psycho-on-the-loose thriller.
Bronson plays a loose cannon of a cop - a sort of inexpressive cousin of Dirty Harry - who has a booze problem since separating from his wife (who's also a sleazy stripper). To add to his woes, he upsets the local Mob bigwig by gunning down his brother, and even more trouble heads his way when a female stalker starts calling him on the phone and warning him that she means to kill him. His wife and her slimy lover are murdered; Bronson is framed for the slaying and spends the rest of the picture eluding the cops whilst attempting to unveil the real killer, aided by a dirty-mouthed lady car thief.
The action sequences in this one are generally sub-standard, and the performances are fairly lazy. Wilhoite makes her movie debut and tries hard, but the script does her no favours by asking at least ten smart-ass wisecracks too many of her. Bronson looks like a caricature of himself, phoning in an undemanding Death Wish-style performance with the one difference being that this time he is marginally on the right side of the law. Snodgress, interestingly cast as a female crackpot, widens her eyes in violent rage and looks like a pantomime baddie in every predictable scene she's in.
On the cover of the DVD case there is a close up of Charles Bronson, looking wary but determined, holding the biggest, shiniest revolver you ever saw, framed against a burnt orange background of Los Angeles' slick, wet city streets. At the bottom, the tag line. "They set him up. He takes them down." Now, my advice is to get hold of the case -- not the DVD, just the case -- do something that will produce a chemical alteration in your brain, then sit back and stare at the cover for ten or fifteen minutes. This, I assure you, will save you both time and money, and the results, however shabby they may turn out to be, will be an improvement over the movie.
Does anyone really care about the plot? The screenwriter and the producers certainly didn't. But, okay. Ten years ago, LA cop Bronson and his partner sent a more than usually savage female murderer, Snodgrass, to Camarillo, which used to be called, aptly, a "Hospital for the Criminally Insane." Now Snodgrass has just been released. This was a big mistake on someone's part. She's nuttier than a fruitcake and is obsessed with payback. She's going to put Bronson through hell. She does so by systematically murdering his ex-wife, his former partner, and some others -- I forget -- and managing to frame him for the killings by means so improbable you can't even imagine them.
Well, I'll give one example. Bronson leaves his office and gets into his car. In these kinds of movies, anyone entering his car should always check the darkened back seat. Snodgrass bops him over the head. With the hero slumped unconscious in the passenger's seat, Snodgrass drives to Bronson's ex wife's home and, with the cop's own pistol, shoots down the ex wife and her boyfriend. She drives away and is duly spotted in Bronson's car with his license plates. She's wearing a black fedora, so she's mistaken for a man. The perfect frame. Now Bronson is wanted by the police too.
It goes on, but I can't. Along the way, pursued by the fruitcake, the police, and known Italians, he picks up a potty mouthed companion, Wilhoite, who curses all the time and calls people names like "monkey vomit" and is supposed to be amusing instead of irritating.
Absolutely none of the characterizations ring at all true. I don't have any idea how J. Lee Thompson, who was responsible for the original "Cape Fear," a movie full of similar stereotypes yet with some texture, could have committed this abortion to celluloid. Shootings abound. Faces splattered with blood are a dime a dozen. In the final shoot out, Snodgrass is armed with a crossbow that has a scope attached to it. She manages to drown a fully grown man by the simple expedient of yanking his feet out from under him when he's in the bath tub.
Golam/Globus were always less interested in the film than in the profit. There's nothing wrong per se in working within a limited budget. Some fine flicks have emerged from similar strictures -- the Boettiger/Scott Westerns, Val Lewton's unit at RKO, and some Indies like "The Littlest Fugitive." But to do something respectable, even if the attempt fails, I suppose you need more on your mind than money. It doesn't take much additional effort to prune a lousy script like this of its more heinous features. You and I could do it.
The climactic slaughter takes place in the Bradley Building. It's a famous and familiar location. Monomaniacs will remember it from movies as diverse as Jack Nicholson's "Wolf" and Billy Wilder's "Double Indemnity," in which the insurance office was located on one of the floors of the Bradley Building. But I can't even recommend seeing this film for a good look at an old, reassuring location. The atrium is too dark to make out anything but the vine-like ironwork and the elevator descending to squash the tied-up victim beneath.
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