A Nightmare on Elm Street 2: Freddy's Revenge (1985) torrents full movies

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A Nightmare on Elm Street 2: Freddy's Revenge

A teenage boy is haunted in his dreams by Freddy Krueger who is out to possess him in order to continue his murder spree in the real world.

A Nightmare on Elm Street 2: Freddy's Revenge is a movies torrent of David Chaskin, Wes Craven (characters). The released year of this movie is 1985. We can counted many actors in this movies torrent, for example Mark Patton, Kim Myers, Robert Rusler, Clu Gulager, Hope Lange, Marshall Bell, Melinda O. Fee, Tom McFadden, Sydney Walsh, Robert Englund, Edward Blackoff, Christie Clark, Lyman Ward, Donna Bruce, Hart Sprager. The kind of movie are Horror. This movie was rated by 5.4 in www.imdb.com. We have a good movie to watch. The runtime of this movie are awesome, about 87 minutes. Dat1Phit is crazy uploader, he is very lovely. You should spend more time to watch this movie. If we must use one word to describe about this movies torrent, I think it should be 'Awesome', so what is your opinion. Do you know what are users? ChimTo is the best. I don't leave my iPhone screen. Share this movies torrent to support us . You can read more in Google, Youtube, Wiki

A teenage boy is haunted in his dreams by Freddy Krueger who is out to possess him to continue his murdering in the real world

A Nightmare on Elm Street 2: Freddy's Revenge torrents

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A Nightmare on Elm Street 2: Freddy's Revenge1985 torrent

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Users reviews


Al M (jp)

While I still appreciated the on-location shooting in Romania and the addition of the bloodstone mythology, the film never quite came together as well as its predecessor. I found this to be a rather poor follow-up to the original--it lacked the memorable special effects and brutality


Allan C (gb)

Unfortunately, the lame story about a car thief Jones working with the FBI to recover some random McGuffin is no better than your average Andy Sidaris script. There's also a Lalo Schifrin score. However, the script is based on a story from John Carpenter (I'm curious what his original version was like) and the film features a stronger cast than t his lame brain production deserved, which includes Linda Hamilton, Robert Vaughn, Richard Jaeckel, Lee Ving, Bubba Smith, William Sanderson, Keenan Wynn and Nick Cassavetes. Dumb 80s action flick is only of note because it stars Tommy Lee Jones in a role that seemed more befitting of Chuck Norris or Lorenzo Lamas


Caitlin L (ru)

As the movie went the ending became very apparent


Calum B (br)

The tragedy that should uphold the dramatic framework of the story must be relative to the characters, not the film itself. But comedy that retains dramatic purpose is always preferable to comedy for comedy's sake. Much of the dialogue in I Give it a Year resides in this level of smuttiness to hold the audience's attention in the absence of drama and conflict. It's unbearably grating and not funny. He exists to say unlikely things, like a wedding speech where he talks about having sex with bridesmaids. He echoes Spike from Notting Hill, but minus anything resembling a character arc. Would it spoil the gag to mention there is a fan in the room? Stephan Merchant is a hugely talented comedian but his role is singular: to be as obnoxious as possible, reminding us how even Josh's friends repulsive to Nat. Simon Baker, whose performance overloads on unctuousness, has his romantic credibility strained in a stupid scene where he brings a violinist and doves to a private board meeting with Nat. Anna Faris has a terribly unfunny scene where she is squashed under a would- be threesome with her partner and another girl. Being made a slacker, Josh is the target for a lot of juvenile humiliations including: his in-laws seeing naked photos of him! Or dancing drunkenly like Beyonc at Nat's work function!The potential partners aren't free from this degradation either. The characters are so thinly drawn that it disperses the likelihood of seeing them growing and having an emotional attachment. Mazer also diminishes the comedy by reducing scenes into disconnected skits, determined to embarrass characters, even the ones that we're meant to be rooting for. Instead, we're reminded frequently of why the couple is unsuited but the point is obvious and laboured: we're meant to laugh at a failing relationship that was never promising to begin with. However, this concept is not treated with any dramatic weight or seriousness for the situations to hold any trace of drama or tragedy. The film postures as being about the aftermath of commitment, including the consequences of rushing into a marriage. The familiar premise of two people already spoken for attaches itself to a gimmick where we are meant to realise that Josh and Nat don't belong to each other and are better suited to other partners. Josh becomes reacquainted with his ex-girlfriend Chloe (Anna Faris) and Nat is attracted to the smooth talking and successful Guy (Simon Baker), an American client who likes her but doesn't know that she is married. Nat is working in an office and frustrated by Josh's complacency and his annoying best friend Danny (Stephen Merchant). Josh has written one book but has failed to grasp the second. Two months later and they are already in counselling. None of their friends, including Nat's sister (Minnie Driver), believe that they will last. Josh (Rafe Spall) and Nat (Rose Byrne) are a couple who have decided to marry after seven months. The concept is not as subversive as Mazer claims it is either. Similarly, this film is crassly written as though Working Title Films had a broader demographic in mind, to whom the subject of sex might still seem like the high point of comedy. He wrote and produced all three of Cohen's feature films, including Borat, which were American-UK productions. Mazer is a long-time collaborator of Sacha Baron Cohen. With a script by first time director Dan Mazer, the plot and the characters here are both underdeveloped and the jokes misfire from unrealistic situations and dialogue. This is an anomaly for the British studio Working Title Films whose films, including Love Actually and Notting Hill, have grounded themselves in both quiet observation and dry wit. It forgoes the crucial rule of humour: comedy must exist in reality. I Give it a Year didn't draw a single laugh from me. Modern comedies though often fail to acknowledge the dramatic value of a situation, hoping the jokes will support themselves. The stronger the situations and the more involving the drama of the story, the funnier the film should be. What is said within these situations becomes the punchline. Comedy cannot exist with a dramatic premise because drama forms the situations of reality from which a narrative can exist and develop. All comedy stems from tragedy


Don S (ca)

However, the characters grow and are mostly people you can care about. The story is slow and overlong. It is not nearly the best western I've ever seen (doesn't even make the top 10). This is a decent movie with beautiful cinematography and better than average acting. For me the trouble with iconic movies, in this case the quintessential mountain man, is that they rarely live up to my expectations based on what I've heard


Edgar C (au)

99/100. One of the greatest romantic comedies of the decade, several times referenced in the future specially by Woody Allen. Comedy at its best, since it provides the laughs and smiles from the authenticity of the characters and the previously planned screenplay. Classy, joyous; Bergman playing with a full-star cast , spot-on, polished, comedic dialogues, and the madness of love with some touches of early Max phuls in German territory


Irvin C (us)

Not my favorite Mike Leigh film though. There are funny moments, sad moments and sometimes funny-sad moments but they're endlessly fascinating. A wonderful ensemble of actors (aren't Mike Leigh films inhabited by great ensembles?) bring to life a tale of a working-class family who have their own unique problems. This is a rather sweet (pun intended) film


Jordon J (br)

say SEE IT!!!. With fine and affecting performances all round, this is an enjoyably old-fashioned ensemble piece and a solid start to a career behind the camera


Joseph L (ag)

The books are so much better


Lane S (ag)

Had the film actually resolved all the viewers questions at the end and not make the antagonists so fiction-like, it very well could have been one of the best found footage, maybe even horror flicks of the last 20 years. A very creative premise that is offset by a rather unimpressive storyline