Beowulf (1999) torrents full movies



A sci-fi update of the famous 6th Century poem. In a beseiged land, Beowulf must battle against the hideous creature Grendel and his vengeance seeking mother.

Beowulf is a great movie of Anonymous (epic poem "Beowulf"), Mark Leahy (screenplay), David Chappe (screenplay). This movie was introduced in 1999. There are many actors in this movie torrents, such as Christopher Lambert, Rhona Mitra, Oliver Cotton, Götz Otto, Vincent Hammond, Charles Robinson, Brent Jefferson Lowe, Roger Sloman, Layla Roberts, Robert Willox, Patricia Velasquez, Marcel Cobzariu, Vlad Jipa, Diana Dumbrava, Andrei Rusu. The kind of movie are Thriller. Many people rated for this movie, Rate is 4 in This is really a good movies torrent. The runtime of this movie are awesome, about 95 minutes. Dat1Phit is interesting uploader, he is very proactive. 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 thought. Do you know what are visitors? ChimTo is the best. I don't leave my iPhone screen. Share with your friends and watch this movie together . You can read more in Google, Youtube, Wiki

In a beseiged land, Beowulf must battle against the hideous creature Grendel and his vengeance seeking mother. A sci-fi update of the famous 6th Century poem

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Download   Beowulf (1999) DVDrip x264 [Dual-Audio] [English-Hindi]DVDRip3349586.5 MB
Download   Beowulf - 1999 - with Christopher Lambert - DVDrip DivXDVDRip5427701.64 MB
Download   Beowulf (1999)Other45373.48 GB
Download   Beowulf.1999.DVDRip-Morsan(SweSub)DVDRip3449700.43 MB

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Users reviews


Aaron Kwok vs Mark Dacascos => delicious

AlMarie R (jp)

it was soo good! I cried at the end

Ben L (br)

It makes for a strong trilogy and encapsulates all the best of the man of steel I grew to love as a child. Then I ignore anything that came between or after these movies. My personal preference at this point is to watch three Superman films: Superman, Superman II, and then Superman Returns. And the fight sequences between the Kryptonians might seem slow by today's standards, but I thought it did a nice job highlighting the uniqueness of each combatant. That makes for a very strong superhero story. The primary theme of the plot is based on him sacrificing his own happiness in order to save the world. Just like its predecessor, this movie spends a fair amount of time focusing on how much Superman loves humanity. Aside from that, I think this is a very good Superman film. At a certain point it feels like they are just randomly assigning whatever power the plot needs them to have. Zod seems to have telekinesis, they all can shoot beams of energy out of their fingers, and Superman has mind-altering kisses. . . Instead of holding to the standard ones we know. ) I also have some issues with the random nature of many of the super powers. The huge missteps in this film are when it takes very odd cartoon-like turns that don't fit with the rest of the tone (For instance the cellophane "S" that Superman throws at Non. But you'll have to bear with me because Netflix only provides the theatrical (Richard Lester) cut. From what I hear there is a cut from original director, Richard Donner, that fixes some of the issues I have with this film

Brandi H (ru)

the best movie I have ever seen

Brett W (es)

What a fascinating documentary of the post-effect of the 2016 election

Brian F (ag)

Tibor Takacs' second good horror film (after The Gate

Cindy J (mx)

I DESPISED the ending and last minute message of honor before all else. But the latter half was poorly done and dragged on. The first half of the movie was beautiful and heartbreaking at once

Demetre R (ca)

Not a bad film. Decent acting. Interesting. 5. 6

Edith N (ca)

An American version of this would be sexual; this is romantic and erotic. But this film is willing to show us the eroticism of a revealed leg; American film of the era showed us all of everybody's legs. I went and double-checked the year, and all I could think was, "1969? Really?" And, of course, we think of American film of the era as being more shocking. This film feels earlier than it is. No American film of 1969, or at least no mainstream one, would have shown a pair of adulterous lovers, one a prostitute, having sex--complete with her orgasm!--in a graveyard. Also, it is quite clear that there is no Code in Japan, or if there is, it's looking for [i]very[/i] different things. Any geisha is Koharu; any man who loves a geisha is Jihei. It's as though you could go to any cemetery in Japan and find these lovers, find any lovers, as though no Japanese cemetery is complete without them. They are stylized; these people are themselves and archetypes and copies of themselves all at once. But there is always Japanese film, such as this, which makes far more shots like those beautiful Japanese paintings. Hence [i]The Magnificent Seven[/i], really. Later film, both Japanese and American, is strongly influenced by the great directors of each. The more Japanese film I watch, the more aware I become of some of the slight differences in many works. In the case of Our Lovers, it just happens to be true. Everyone is the center of their own attention, in that lovely Eddie Vedder phrase. Everyone, I think, half-suspects that everyone is watching them anyway. On the other hand, it makes it seem almost more real, almost [i]hyper[/i]-real. There is no attempt at an illusion of reality; the whole thing is seen from a different plane entirely. That's simply how it works. They steer the story, and we watch it. They are everywhere, silent men all in black who follow Our Lovers around, moving scenery and saying nothing. You see, [i]bunraku[/i] is a kind of puppet theatre, and while we are working with human actors, here, we keep the puppeteers. The choice of style doesn't work for everyone, but I think it's the only choice that fits. Breathtaking, really. It's a beautiful piece of film. Let's face it; it doesn't make any less sense than [i]Romeo and Juliet[/i]. Jihei rescues her, but for reasons I don't entirely understand, they'll never be safe, so in order to stay together, he kills her and then himself. Then Koharu's life is in danger, and Osan gives up everything in order to save it--as Koharu later puts it, they forgot to be jealous. They conspire to make Jihei give her up, but it doesn't work. He is wasting his family's money and all his time hanging around the brothel where she works, and his brother and his father-in-law are starting to get seriously upset about the whole thing. As indicated, Jihei (Kichiemon Nakamura) is in love with a courtesan named Koharu (Shima Iwashita), despite being married to Osan (also Shima Iwashita, in one of the film's many interesting stylistic choices). And, of course, the story is old enough so that no one in all of Japan would have been likely to have been surprised anyway. I mean, when you call your movie [i]Double Suicide[/i], we're not exactly expecting Our Hero to triumph and carry Our Heroine away, are we? But the story itself makes it pretty clear that somebody is not going to end happily, and it's probably going to be everybody, even without the give away of the title. I mean, there is no happily-ever-after here, and we'd know that even without the title. Who knew? But [i]Shinj: Ten no amijima[/i], based on a Japanese [i]bunraku[/i] and morality play, it some pretty heavy stuff. Wow, it's no fun being married, Japanese, in love with a courtesan, and in the 18th Century

Erastes A (ru)

although williams does a great job - he's such a great character actor, I was disappointed because I thought this would be a "hidden dangerous secret" deal, kind of like Pelican Brief and I have to say I didn't really understand the plot- and the girl interest, which could have been avoided altogether, was rushed and pointless