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Delicatessen

Delicatessen

This bizarre surrealistic black comedy takes place in a small fictitious post-apocalyptic town where food is scarce and butcher Clapet has the macabre business of using human flesh to feed his customers. Yet when his daughter falls in love with his next slaughter victim things turn into chaos.

Set several years after a nuclear war has wiped out most of humanity, Delicatessen tells the story of a landlord of an apartment building who occasionally prepares a delicacy for his odd tenants. . You can read more in Google, Youtube, Wiki

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Download   Delicatessen.1991.BRRip.H264.AAC.GopoBRRip151571.82 GB
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Download   Delicatessen full DVDOther52344 GB
Download   Delicatessen.1991.720p.BluRay.x264-DON [PublicHD]BRRip38424 GB
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Download   Delicatessen [1991]Other4335697.28 MB
Download   Delicatessen [1991] BRRip XviD - CODYBRRip5034797.24 MB
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Delicatessen torrent reviews

Kathleen B (ru) wrote: An extremely low-budget British horror. There was nothing original, lacked heavily in any true scare factor or jumpy scenes. The footage was badly edited, I would only recommend for the original ending, although it only left me confused and as though I had wasted my time.

Al M (kr) wrote: An interesting and well-made British horror film concerning volunteers for a drug trial that goes terribly awry, The Facility is a mostly effective interrogation of capitalism's dark underbelly in which even human beings become nothing more than expendable test subjects. Featuring a few found-footage-style moments, The Facility ultimately never quite builds to a climax like it should. It is a slow-burn horror film that just doesn't quite pay off in the end. Still, a relatively enjoyable ride....

Monica S (ru) wrote: Its an awesome movie! Its a sweet mystery

Dane L (us) wrote: Exactly what a documentary should be. An unbiased, fact-driven film used to educate the masses on what is going wrong with our government. Highly recommended.

Joshua L (gb) wrote: good story but more fighting and better filming cudda done wonders 4 this

Kevin C (ru) wrote: This movie breaks the bonds of narrative cinema and becomes truly transcendent. It's better than Tarkovsky!

Andy F (fr) wrote: Engaging and entertaining seafaring thriller based on a true story.

William G (nl) wrote: Gods Not Dead is an excellent and beautiful film that has been trashed by atheist liberals. It provides a sense of faith, and represents Christianity very well. Highly recommend!

Cameron J (ru) wrote: "Lay down your money and you play your heart; everybody's got a crazy heart!" Man, that was cheap, especially considering that heartland rock just isn't American enough for a film like this. Granted, the Americana value of that kind of heartland rock is toned down by Bruce Springsteen's a super-liberal who doesn't realize how much his jingoism threatens American culture, but even with that taken out of account, this film is so country that it's loosely based on the life of Hank Thompson, and is set so deeply into its roots that it title sounds like something that someone's old uncle came up with when he was whittling on the porch or whatever. The film features some tunes that come courtesy of Stephen Bruton, who apparently found this project so satisfying as a testament to Americana music that he died right after working on it, knowing that it doesn't get any more American than this. I'd imagine the throat cancer didn't exactly hinder his passing, but hey, he can rest in peace after working on this film, and I'd imagine Jeff Bridges could rest in peace if there was a chance of him passing away any time soon, because with this film, I reckon he's secured our disbelief that he's not from Texas or wherever. He's about as bad as Creedence Clearwater Revival at sticking with his California roots, but hey, I don't mind, because as someone from the region these fellas wish they were from, I can tell you that they do a pretty decent job of replicating this part of the music industry. At the very least, they know how to make a decent film about this part of the music industry, and yet, like Bridges' and John Fogerty's attitude about their more westward-bound roots, this film still has its share of serious problems. There's been much talk about this film's lack of originality, and, wow, such talk couldn't be further from the truth, for although there are some distinct moments of inspiration which distinguish this particular inspiration of an age-old tale, the final product is rendered hopelessly predictable as it works its way through trope, after trope, after trope along a formulaic plot. Perhaps the conventions would be easier to get past if it wasn't for, well, first off, the cold spells in storytelling bite which I will talk more about later, as well as, of all things, occasions in which storytelling gets too carried away with dramatic momentum, to the point of reaching subtlety issues, of which there are only so many, though still enough, and in enough key places, to shake the genuineness of this drama with melodrama. Whether they derive from an ambition to flesh out depth, or even from a laziness to the fleshing out of genuineness, subtlety issues, however limited, undercuts much of this drama's, if you will, "heart", and that's a shame, because much too often, when the film isn't overexploring its depth, it's undercooking it, conceptually taking on themes regarding losing public relevance and personal life with age, as well as addiction, and doing them something of an injustice through underdevelopment, if not a somewhat tamed portrayal of potentially meaty subject matter. Highlights in the onscreen and offscreen performances are well worth waiting for as compliments to the depths of this drama, but the film takes a long time to get to its conflicts, let alone those dramatic highlights, and such near-gross underexploration of a worthy story concept deals a devastating blow to effectiveness which goes matched by the blow delivered through the route opposite of undercooking. In a lot of ways, the film is too tight to draw upon its dramatic core, and in just as many ways, it's overdrawn, certainly not with excess material, but excess filler that meanders on and on, to the point of bland repetition that Scott Cooper, as director, quite frankly, exacerbates with an atmosphere that is too thoughtful for a film this limited in depth to meditate upon, resulting in an occasionally dull toothlessness. About as lacking in atmospheric dynamicity as it is lacking in structural dynamicity, the film has its inspired moments of dramatic momentum, but much too often, flat pacing really places a heavy number on this drama's engagement value, further shaken by a certain flatness to uniqueness and depth, until the final product finds itself sputtering out, not just pretty short of potential, but pretty deeply into underwhelmingness. Yeah, the film is nothing short of a let-down to me, but by no means is it a misfire, being rather misguided in a lot of ways, but nonetheless inspired in enough other places to endear, perhaps even musically. Often too quiet for its own good, this film doesn't even play up its already fairly forgettable score all that much, let alone its song soundtrack, but when those tunes come into play, although plenty of them run together, and often don't impress all that thoroughly, lyrically or musically, they consistently entertain, to one degree or another, with sheer charm, alone. When the quality really kicks in, the soundtrack really endears, yet the music of this film always plays a pretty respectable role in capturing the thematic depth of this ballad of a man expressing a life of joy and struggle through his charming music, though certainly not that much as it probably should in a film that often does a flat job of selling a worthy story. Conventional in concept and melodramatic, underexplored and draggy in its execution, this story is often so betrayed by lacking, maybe even aimless storytelling that it's difficult to get a feel for the depth of this drama, and yet, denying the value of this age-old drama about a man finding deeper regions of his humanity as he gradually comes to terms with his flaws and dwindling celebrity is all but impossible, or is at least made so by moments of true inspiration to storytelling. Such inspiration is a borderline rarity in this thinly scripted and often directorially toothless drama, but the patient are likely to be engaged by what is indeed done right here, whether it be within a script that carries clever dialogue and some intriguing moments to characterization, or within a thoughtful directorial performance that, when actually backed by some material, resonates, perhaps not thoroughly, but enough to compel. Scott Cooper's debut performance as a writer-director is shaky, make no mistake, and it's really hard to get invested in this drama because of that, yet there's always something charming about Cooper's sense of heart, kept pumping by effective moments that, to be honest, thrive on Cooper's work with a strong cast. From the charismatic, if underused Robert Duvall as a old buddy of our protagonist, to a dramatically effective Maggie Gyllenhaal as our protagonist's love interest, most every member of this film's respectable cast does a perfectly fine job of delivering on reasonably memorable performances that add to the selling of this character study, although it's Jeff Bridges, as the portrayer of this drama's central focus, who really delivers, though admittedly not nearly as much as many are saying, getting too caught up in his usual acting formula and having too little outside of that to work with to stand out, let alone be worthy of an Oscar that probably wouldn't be too much worthier in the hands of Bridges' fellow nominees (Jackie Earle Haley got no love for "Watchmen", probably because I'm the only jerk giving love to "Watchmen"), but still turning in a worthy performance that utilizes thorough charisma and ever so delicate subtleties to project the gradual change in a celebrity who comes to realize and work towards mending his flaws. Really, even the strongest elements of this drama, like the performances, aren't all that impressive in this limply handled effort, so the final product is all around kind of flat, but by no means mediocre, because whether it be because of the charm of its ambition, or true inspiration, the film endears time and again, despite its great deal of shortcomings. Overall, the occasional subtlety issue and many a convention are among the less problematic elements of a seriously undercooked, repetitiously draggy and atmospherically cold telling of a worthy story concept that is done too much injustice for the final product to stand a chance of transcending underwhelmingness, challenged enough by a decent soundtrack, some clever writing, thoughtful direction, and solid performances - particularly that of Jeff Bridges - to make Scott Cooper's "Crazy Heart" a charming, if kind of flat drama. 2.5/5 - Fair