An intriguing tale of courage and love in a savage wilderness, as two rivals become friends in order to survive the ordeals of a harsh winter. Follow the adventurous tales of these two as struggle with friendship and survival. . You can read more in Google, Youtube, Wiki
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Melissa P (mx) wrote: The new update to fix this and
Deadly Night S (ca) wrote: I remember really liking this movie in sixth grade. You can definitely tell it was made for TV, but enjoyable enough for fans of fantasy movies. Just don't expect something brilliant.
Russell G (de) wrote: It is a simple yet affable adventure that kids and adults will both like. This is a rare exception where the remake is more enjoyable. Indeed this is a worthy remake, where new technology enabled the filmmakers to better present the already strong story. The biggest change is how the pets themselves talk to each other. These talking pets are much more than childish gimmicks. The strong voice work by Don Ameche, Michael J Fox and Sally Field are surprisingly lovable and bring great personality to the animals. It is a fun journey with lots beautiful natural settings. Who knew talking animals could be so enjoyable.
Juli N (ag) wrote: Westerners unfamiliar with hopping vampires will find this film totally looney tunes and will get a real kick out of it!
Jussi M (it) wrote: Cannibal-leffojen jlkihyryiss kypsynyt tekele. Tm leffa ei ole varmaan koskaan nyttnyt nin laadukkaalta. Ei edes ensi-illassa. Oli kyll uskomattoman hieno 2K kopio. Harmi, ett itse leffa ei ollut samaa tasoa.
Jevro W (nl) wrote: The only reason I had even heard of this movie was thank to James Franco's exploration of the edited scenes from this movies leather bar subculture. Upon finding it I realised it had one of the greatest actors and a director that was very big back when this was made Freidkin had just come of off The Excorsist , French Connection etc. The New York in this movie is a dirty , slutty , grimy city that has long been cleaned up and sparkled . And the gay scene it depicts was soon to be decimated by aids . As phsyco-sexual thriller it is actually quite good but I think it could have gone further especially with pacino's character. The tortured gay serial killer that caused most if the controversy was rightly deserved as this depiction is very shallow and unresolved. but still a much better movie than history has given it credit for.
Octavian (gb) wrote: Boycott, proceeds funds homophobic lobbying.
Omar K (ag) wrote: Nominated for Academy Awards in the categories of Director and Actor and appreciated today for its avant-garde approach to crude filmmaking, Last Tango In Paris is in all honesty a dreary waste of time that is only remembered for its sex, sex and let me think, there was one more? sex! It is the story of an American expatriate??s sexual relationship with a young betrothed Parisian woman, which turns into a quasi-porn fest featuring a Hollywood legend. The purity of wanting to see Marlon Brando essentially perform porn has made it more than what it should have been. It has some brutal sex scenes that are too graphic to enjoy to the point where it definitely feels gratuitous, and this notion has made it globally controversial in pretty much every place it had been released. The eroticism is rife, some may consider it liberating, but in all honesty the film feels like an exercise in sexual intercourse that challenges our ability to appreciate anything other than notice the controversial content on show. Behind that veil reveals a depressing film that is emotionally complex and quite convoluted, not helped by the morose atmosphere that makes you hope for the Last Tango to arrive. Last Tango In Paris is quite rightly overly exploitative, and that isn??t a reason to praise a film that has no purpose. It may have been ground-breaking upon release, but in today??s society where there is so much sex at your fingertips, the film loses its shock factor and is just a dull affair once the sex frenzy has faded. Marlon Brando and Maria Schneider were put through some tough stuff, even for an actor it takes guts to do what these two did, and only an Oscar nomination to show for it. Both have come out saying they regret making this film, feel completely raped and violated by Bertolucci??s vision and that they would never work for him again. I agree because there is no purpose to the film once you dish unwarranted sex out like that, and to create a legacy based on this content is undeserved. Last Tango In Paris is a shameful film that is not to mention pretty monotonous; I think it is safe to say that Bertolucci??s vision here was rotten. ???????????????????? 1/10
Van R (gb) wrote: "Death Rides A Horse" ranks as one of the best non-Sergio Leone/SergioCorbucci spaghetti westerns.The chief reason that many conssoisseurs lump Giulio Petroni'ssuspenseful but savage horse-play in the same league with Leone may oweto the fact that scenarist Luciano Vincenzoni, who penned thisinventive Lee Van Cleef oater, collaborated with Leone on "For A FewDollars More," "The Good, the Bad, and the Ugly," and "A Fistful ofDynamite." Vincenzoni was a talented writer in his own right and hiscontributions to the Leone westerns appears more obvious in his soloscripting here. Like "FAFDM," "Death Rides A Horse" explores therelationship between an older man and a younger one in their mutualpursuit of men that have wronged them. Indeed, the John Phillip Lawgunslinger wears apparel similar to what the Clint Eastwood bountyhunter wore in the "Dollar" epics. Conversely, Lee Van Cleef is not aformer Confederate officer in "Death Rides A Horse," but an ex-conoutlaw who has completed a long stretch in prison. Composer EnnioMorricone,who scored all Leone's westerns, provides a flavorful butdownbeat orchestral soundtrack that captures the savagery of theaction; Morricone's score differs thematically from his Leones becauseit lacks the lively bells and whistles. Skull-faced Luigi Pistilli andbarrel-chested Mario Brega, who appeared in Leone's westerns, are thevillains. Of course, Lee Van Cleef played in "For A Few Dollars More"and "The Good, the Bad, and the Ugly." He gives a terrific performancein one of his better spaghetti western roles as Ryan, a hardcase outlawcondemned to serve a fifteen year prison sentence for a prison for acrime that he did not commit. "Danger: Diabolik's" John Phillip Lawco-stars as sharp-shooting tinhorn gunslinger Bill Meceita; Bill hassworn a vow to avenge the murders of his father, mother, and sistersince the night that he witnessed the atrocity. Indeed, the samedastards that framed Ryan for the Meceita Ranch massacre and robberybutchered Bill's family. The Meceita Ranch slaughter could only have occurred in an abrasive Italian western. The "Death Rides A Horse" villains are unrepentant bastards. They don't topple like ten-pins when the heroes cross their trails with guns blazing. The grim, unsavory opening scene where this evil gang steals $200-thousand dollars and then murders an innocent family, molests the women, and burns down the house almost as afterthought, gets the action off to a grisly start.Vincenzoni earmarks each amoral malefactor by body jewelry, tattoos,facial scars, or parts of their apparel. As with most westerns, thewardrobe and appearance of each individual tells us volumes more aboutthem than they would ever be allowed to reveal in dialogue. The mostimportant example of body jewelry is the Death's Head pedant thatdangles from the neck of the outlaw who pulls young Bill out of theconflagration and conceals him from his cohorts. Vincenzoni's cleverscreenplay pays off this mystery in the last half-hour and furnishes asurprise ending to top it off. This high body count sagebrusher can bedivided roughly into two acts based on its settings. The first halftakes place in Texas after Bill has grown up and Ryan has gotten out ofjail. The second half occurs in dusty Mexico and blends elements of"The Magnificent Seven" when Ryan and Bill organize the peasants tofight Walcott's gang that has terrorized them for too long. Theshoot'em up finale where the villains serenade the heroes the nightbefore with a funeral march, such as in both versions of "The Alamo"and "Rio Bravo," is genuinely atmospheric. You don't see stuff likethat in most Hollywood westerns. Petroni goes even farther with thefinale by staging the gunfight in a sandstorm, just to make sure thatnobody has the easy way out. Ryan and Bill both qualify as sympathetic,outnumbered heroes, but they are vulnerable, too. Vincenzoni's screenplay is not a straightforward revenge melodramawhere the heroes kill the villains one by one. The villains, who havebecome pillars of the community during the fifteen years that Ryanrotted in prison, commit an even greater crime, and they frame Ryan fortheir latest crime. Similarly, Bill runs into trouble in Mexico andwinds up buried up to his chin in the parched earth with the sunblazing down on him and fistful of salt crammed in his mouth. The scenewhen Ryan shows up at the mission, masquerading as a peasant himself,and meets Bill again is the only time that Petroni allows humor in thisabrasive western. Essentially, while they are capable heroes, they arenot unrealistically invincible, and this makes them believable. The catand mouse relationship between Ryan and Bill enlivens the action. Atfirst, Ryan leaves Bill afoot in the middle of nowhere, and then laterBill rescues Ryan from jail but strands him. They indulge in a constantgame of one-upmanship with the older man pointing out the youngster'serror, a staple theme in most Hollywood westerns. There are some neatlittle touches here that stand out. In a similar saloon scene where theyounger hero helps out a less fortunate individual, there is a shoot.In this scene, a derringer flies out of a dead man's grip and lands ona piano and strikes a dramatic note. Before this shoot-out, the herocalls for the pianist to hit three notes and then the gunplay cancommence something like the finale in "For A Few Dollars More" with itstimepiece melody. When "Death Rides A Horse" ends, Ryan and Bill havemade reconciliation, but when Bill rides off, the feeling is one offinality rather than renewal. Anybody that considers himself or herselfa Lee Van Cleef fan should watch "Death Rides A Horse."
jay n (nl) wrote: Uber tearjerker that is always shown around Christmas, it is sad, sad , sad but has good performances and a sort of twisted beauty to it.