Assault on Precinct 13 (2005) torrents full movies


Assault on Precinct 13

A police sergeant must rally the cops and prisoners together to protect themselves on New Year's Eve, just as corrupt policeman surround the station with the intent of killing all to keep their deception in the ranks.

Assault on Precinct 13 is the best great movie of John Carpenter (earlier film), James DeMonaco (screenplay). This movie was introduced in 2005. You can check list actors in this movies torrent, for example Ethan Hawke, Maria Bello, Drea de Matteo, John Leguizamo. There are many categories, such as Action, Crime, Drama, Thriller. Many people rated for this movie, Rate is 6.3 in This is really a good movie torrents. The runtime of this movie are awesome, about 109 minutes. NickDan is good uploader, she is very fast. 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? ShinichiKuto is the best. I can't push my laptop screen. Please support us via sharing this movies to your friends . You can read more in Google, Youtube, Wiki

On New Year's Eve, inside a police station that's about to be closed for good, officer Jake Roenick must cobble together a force made up cops and criminals to save themselves from a mob looking to kill mobster Marion Bishop

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Download   Assault on Precinct 13720p6239702.2 MB

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Users reviews

Ben J (ag)

most mind-blowing doc ever

Christopher B (es)

It really wasn't that great and the payoff was more convoluted than not. I had high hopes for another film starring Keitel and written by Paul Auster

Corpse M (ru)

even tho its a spoof its probably more true than you'd think. pretty funny idea and good cast make this film entertaining

Eleanor R (ca)

WOW! This movie was awesome!!

jon i (kr)

if you like cops movies than this is the one

Joseph W (br)

although is based on a real life person, bloodsport is Rocky meets Enter the Dragon

Martin D (es)

Vacendak admonishes Julie that "you'll have to coach him better than that", then withdraws his forces, and Alex and Julie speed away. He simply waited until Furlong made a mistake: McCandless did not know how to drive. It turns out that the transfer was not complete after all; Furlong got McCandless' secret number wrong, though Vacendak went along with it. Vacendak and his team stop them as the car leaves the estate. A little while later, Furlong and Julie take one of McCandless' cars for a drive. Furlong remarks about how well he feels in his "new" body, before ordering Julie to dress more appropriately. Michelette concludes that the transfer was completed and tries to kill Alex, but is gunned down by Vacendak and his men. Alex responds by saying the code slowly, and Vacendak asks him to continue. Vacendak receives a handheld computer which displays McCandless' code- he instructs "Alex" to tell him what it is. code- a code that Alex wouldn't know. d. Michellette agrees, revealing that only McCandless will know his own personal i. McCandless' scientists cannot determine the answer, and conclude that McCandless will have to identify himself. The transfer results are deemed inconclusive since no one can tell if McCandless has control of Furlong's body. In the confusion, Julie grabs a soldier's gun and shoots the processing crystal used by the transfer computers. Alex, forced into the transfer machine, protests "You don't need a new body, you need a new soul, and your machine can't give you that!" Just as the transfer process begins, Michellette stumbles in, wounded from fighting Vacendak's soldiers. Apologizing, he offers to let Alex run the company while pretending to be McCandless but, as Vacendak arrives, McCandless reveals he was only stalling for time. A virtual reality hologram of McCandless explains why he wants Furlong's body - so he could show his love for Julie. The elevator they're in takes them to the very top floor where McCandless' mind is stored. Alex and Julie escape the meeting, hoping to flee to the lobby, but they are thwarted by a gunfight between the security guards and mercenaries. He fires Julie on the spot, securing his position as top executive. However, it turns out that Michelette has already seen the footage of Julie's grief after Alex's 1991 accident. He hopes they don't know about the couple's past relationship. Alex then pretends to take Julie hostage and negotiates with Michelette to arrange a meeting with him. Michelette, who is after McCandless' job: he was the one responsible for the ambush that caused Alex to get loose in the first place. , Mr. O. Furlong and Julie manage to evade Vacendak's security guards and the McCandless Corporation police force, but they also have to deal the private guards of McCandless' corporate X. Because Alex saved his life earlier, Vacendak gives him a chance to run, and Julie secures one of the armored vehicles used by the bonejackers. Alex demands that he be told who wants his body; Vacendak finally relents and tells him that the person who wants Alex's body is none other than McCandless himself. However, the escape plan is a trap- Vacendak and his men try once again to take possession of Alex, but he manages to defeat the mercenaries and holds Vacendak at gunpoint. She goes to Ian McCandless,(Anthony Hopkins) himself in an opportunity to help Alex escape the city, McCandless promises her that he will help by securing Alex's escape. " When Vacendak shows up, she realizes that Alex actually was Alex. He then goes to Julie, but she calls security on him, believing him to be "the bastard who stole [Alex's] body. Alex goes to his former agent Brad for help, but Brad sells him out, being killed in the process. She also provides him with clothing, food, and a handgun. He takes shelter at a church, where a sympathetic (and well-armed) nun (Amanda Plummer) explains what has happened to him. He has no idea what is going on, so he tries to find Julie, but she is no longer at her 1991 address. When Furlong's captors - led by hardened but honorable mercenary Victor Vacendak (Mick Jagger)- are ambushed by a hit squad, Furlong is able to escape. Alex Furlong (Emilio Estevez) is a professional race-car driver who is just about to die in a spectacular 1991 crash, right in front of his fiance Julie Redlund (Rene Russo) and his agent Brad (David Johansen), when a time machine snatches him from the cockpit and into the 21st century Bronx, a wasteland. The film is set in a dystopic future where most people suffer from poor physical health as a result of rampant drug use and environmental pollution, making them unattractive as replacement bodies. Those who escape the bonejacking, are known as "freejacks," and are considered less than human under the law. In the year 2009, the super-wealthy achieve immortality by hiring "bonejackers," mercenaries who utilize extensive time travel technology, to snatch people from the past just prior to their deaths, so their bodies could be used by the rich to extend their lives

Ossimer S (it)

nly real good action in the opening sequence. . pretty weak

Rangan R (gb)

1/2/10. It will going to be one of those movies to be praised in the future. I would say it is a very underrated movie and needs immediate recognition. So that brings the climax, and you should watch the movie to know how it all ends. But, how the kid gets affected if the confrontation gets ugly as the story progresses is the point to develop ahead. Because her presence was the vital than to display stunning performance, as it was a conflict between two different racial people. The kid was the centre of the story formation, but the screenplay did not designed her to dominate. Happy or sad ending, it does not matter, because it is simply delivering a message about the difference between good and bad. So as we're civilised, it must be minimised. As a living creature, the conflict within is not an invalid, even non-living substances do have when they come together in the form of chemical reaction. A movie that is not pinpointing the mistakes of the past like some of the recent films depicted, but looking forward to the future and unifying by removing fences. Apart from them it has some cheerful humours. "Top notch performances, especially the Kevin Costner, and Octavia Spencer in some crucial parts. "Well, there are certain things a man can do,certain thing a woman can do. The families are definitely going to love that particular part. Especially one of the courtroom scene in the third act which was a turning point in the story was so touching. Lots of emotional scenes involved right from the first frame itself. At some point I felt scenes were very intensified and old fashioned, but the story and dialogues were not. In this, the characters are so special, made a huge difference with an interesting opening plot. Child custody battle is a most familiar theme, but not a very common. The reason is simple, about famous people and histories always have the edge over the fictional works in the film world. Should have been in the Oscar race in any category, but it didn't. Such kind of theme is always welcomed, but in this case, again, those critics behind ruining the movie. Obviously a sensitive matter, but incredibly written screenplay that balanced both the ways. It is a partial courtroom drama and it was about a biracial kid, whose grandparents fight to own the custody. One of the beautiful melodrama of the year. Emotional dispute for an innocent young soul

Robert B (gb)

** 1/2. Still, a decently-paced movie with solid performances from its principles, lensed by a director who knew what he was doing better than most? Certainly worth an hour and a half or so of your time. But since I was expecting it, well, you know. To me, that is one of the hallmarks of a strong thriller, and I appreciated it more than I would have that big apocalyptic clash, to be honest. Don't go into it expecting some sort of apocalyptic clash and you'll probably be more satisfied with the ending, which is anticlimactic and thoughtful and leaves you with a number of questions you will need to think about and answer for yourself. It's possible that some of my misgivings about the film have to do with the various summaries of it I've read, which give away much more of the second half than does that synopsis-and, more importantly, telegraph the idea that these two storylines are going to intersect much more directly than they do. Meanwhile, Bobby Thompson (The Grasshopper's Tim O'Kelly in one of only three big-screen appearances he would ever make), a sociopathic sort who is kind and happy outwardly but seething with misplaced rage inside, is scouting out places around Los Angeles to shoot random people from while bulking out his gun collection on his father's tab. The studio has already committed Orlok to appear live at a drive-in theatre where the new movie is premiering a couple of nights hence, and they pressure him to make the appearance, hoping it will be a gateway into convincing him to stay. ) At the screening, the studio head (hammed up wonderfully by Yours, Mine, and Ours' Arthur Peterson) pushes Orlok to stick with writer/director Sammy Michaels (played by Bogdanovich himself) for one more picture-at which point Orlok announces his retirement, much to Sammy's dismay; not only did he write the lead specifically for Orlok, but he's also romantically involved with Orlok's personal assistant, Jenny (House Calls' Nancy Hsueh), and fears Orlok will haul her back to England with him. (I found it very amusing that the footage of the film in question was all lifted from Roger Corman's The Terror, which also starred a young Jack Nicholson, and really is kind of a silly thing. In one, Byron Orlok (the mighty Boris Karloff), an aging B-movie actor, has just completed a movie he loathes. Two parallel storylines play out here. I finally got round to watching it a few days ago, and I found it quite enjoyable; I'm not sure it belongs on a thousand-best list (though I have rated it such that that option remains open to me, at least until I stumble upon another 250 or so four-star-and-above movies), but it is definitely the kind of slow-burn thriller that fans of the subgenre will be well-rewarded for seeking out. Interesting note: two of the other six also, and only, appear on Rosenbaum's list: 1990's Texasville and 2002's The Cat's Meow). Six of Bogdanovich's pictures appear in my collection of top-thousand lists (I currently have eleven on my spreadsheet), including Targets (which appears on three, including the one I consider canonical, Jonathan Rosenbaum's. Targets (Peter Bogdanovich, 1968)Peter Bogdanovich is one of those directors who, it always seemed to me, generally flew under the radar where the public was concerned-you don't often hear his name brought up in conversation about great directors, or at least I don't-but is quite beloved of the critics