Dhoom (2004) torrents full movies



Dhoom reinvents the classic cops and robbers tale for the 21st century. Fast bikes, big action, and non-stop fun make for a thrilling story.

Dhoom is a funny movie of Vijay Krishna Acharya (dialogue), Vijay Krishna Acharya (screenplay). The released year of this movie is 2004. We can counted many actors in this movies torrent, such as Abhishek Bachchan, Uday Chopra, John Abraham, Esha Deol, Rimi Sen, Manoj Joshi, Sanjay M. Singh, Amir Farid, Mehul Bhojak, Rohit Chopra, Palash Dutta, Sanjay Keni, Ajay Padhe, Ayesha Raza, Mukesh Ahuja. The kind of movie are Thriller. Many people rated for this movie, Rate is 6.7 in www.imdb.com. This is really a good movies torrent. The runtime of this movie are awesome, about 127 minutes. Leocuto is interesting uploader, he 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 'Excited', so what is your thought. Do you know what are users? Maria Ozawa is the best. I can't leave my iPad screen. Share with your friends and watch this movie together . You can read more in Google, Youtube, Wiki

Their super-fast bikes make it too fast to catch for Mumbai Police. A gang of bikers rob one place after another in Mumbai

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Users reviews


It's amazingly entertaining and absolutely thrilling, certainly a wonderful film

Ana Maria R (mx)

All rights reserved. CASTCinderella: PETRA VIGNAStepmother: KRISTA STADLEROlder Stepsister: ROSWITHA SCHREINERYounger Stepsister: CLAUDIA KNICHELPrince Charming: STEPHAN MEYER-KOHLHOFF 1989 (C) OMNIA Film & Toro Film, in association with ZDF and TVE. The movie is based on the classic fairy tale by the Brothers Grimm. "Cinderella" (Aschenputtel), German-French-Spanish co-producition movie, produced by Omnia Film & Eurokim, directed by Karin Brandauer and starring Petra Vigna, Krista Stadler, Roswitha Schreiner and Stephan Meyer-Kohlhoff

Blake P (nl)

But not quite enough. It gets it right, mostly. It's all good, wily fun, but "Elvira, Mistress of the Dark"'s most pertinent issue stems from the fact that it thinks it's smarter than it is - though the one-liners are decent and Peterson always seems ready to jump onto a stand-up stage, it forgets that sappy interludes and constantly laughing at your own jokes isn't a good thing unless you do it right. The situation worsens when Elvira discovers that she has only inherited her aunt's mansion, her dog, and a mysterious cookbook that her uncle has an odd obsession with. Trouble is, her aunt doesn't live in a community much willing to welcome unwanted (or wanted, depending on how you get your rocks off) cleavage and sexual wise-cracks, making Elvira's entrance a bombastic explosion in a land of white picket fences and Jesus freaks. So Elvira travels down to her estranged aunt's estate in her gaudy convertible, her heavy metal blasting, her red lipstick omnipresent in the glare of the sun. Inheritance is a very real possibility. But missing is the money she needs to land a venue all the way down in Nevada, which makes the coincidental passing of a distant relative a gift from God. A few sexual harassment incidents later, and bam! - her dreams of shredding her contract finally end. She is on the verge of quitting, especially considering she is about to take an offer that will provide her with her own stage show in Las Vegas. Her producers take her for granted, and the studio is stricken with low-production values that hinder her work. As the film opens, we find Elvira undergoing another taping of her popular show - and while her devoted audience laps it up, Elvira herself is miserable. Accusations could be thrown everywhere, a major sign of a movie with a lot of potential that doesn't quite work out in the end. We could blame Peterson and her team of writers for forgetting to concoct at least one other funny character - but we could also wag a finger at the fizzy direction of James Signorelli or the cardboard cast. A lot of it is delectable - much of the one-liners are quotable, and the fish-out-of-water based comedy makes for some sticky situations - but frustratingly often is the feeling that everything besides Elvira is flat, her doing all the heavy lifting while running around and laughing at her own jokes like a camp Phyllis Diller. So it's a shame that her first foray into cinema, 1988's "Elvira, Mistress of the Dark," is an uneven big screen comedy, unsure of whether it wants to continue on the same path as "Movie Macabre" or if it wants to develop its titular mistress as a box-office commodity rather than a small screen scene stealer. A screen personality such as hers would never make it in the 2010s (if we can't handle Kylie Jenner's big ass lips, could we really handle a shapely woman dressed up like a vampiress auditioning for RuPaul's drag race?), making her existence all the more precious; she is an era definer, and a charismatic one at that. But I like Elvira, with her pre-Lana Del Rey beehive 'do, her enviable ability to consistently be pleased with herself, and her heaving bosom. As a guy who gets his throwback kicks from "Twin Peaks" and "The X-Files," I hardly have time to sit around and watch movies with smarmy commentary already embedded in them - sometimes, I like to do the roasting myself. We all know and love Elvira, the big-breasted 1980s screen personality (portrayed by the endlessly self-deprecating Cassandra Peterson) who made a living hosting episodes of "Elvira's Movie Macabre," a series devoted to airing exquisitely awful movies, her Valley Girl accent making smart ass comments in the background. "Elvira, Mistress of the Dark" tries and sometimes wins as a tongue-in-cheek horror comedy, though the horror is more humorous schlock than horror and the comedy is much too reliant on the little-goes-a-long-way craft of the one-liner. Stand in a spot grounded in other decade and you can call yourself an original, "Re-Animator" and "The Evil Dead" being the grandaddies of them all. If self-awareness can signify a movie too smart to be bad then your name would be "Scream" and you'd have to be a baby of the late-1990s, during which the word "meta" was all the rage and clichs were easy access so long as you did them right

David W (ag)

Rocky 2 may seem like a rehash at first, but with enough care for the protagonist to go through

Heather M (ca)

I am going to pass on this for now

Liam J (gb)

Weird, but amazing puppetry

MarieBella C (us)

A charming and delightful kiddy heist film relying on the strong performances from it's young cast

Sarah A (au)

Wow! Edge of my seat

Timothy S (nl)

Like so many others Spike Lee Joints, this has something to say. Because of the combined efforts of the director, the writer and the seasoned cast, "Clockers" is so much more than just another gang picture. It's exceptional here. Rather than focus on the expected and gratuitous violence, the mood here is more melancholy and Lee is a master of choosing just the right music to fit the mood. There are a lot of outside sources swaying them in different directions in the form of Delroy Lindo as the drug lord and Keith David as a local cop who cares about the people he serves adding to the richness of the story. Isaiah Washington is the family man, shunning the criminal lifestyle in favor of working two menial jobs while his sibling (the exceptional Mekhi Phifer) earns the easy money working for a crime boss. Lee and screenwriter Richard Price is more interested in exploring the power struggle involved in life on the streets, exploring the story of two brothers in the same situation but each with a very different way of dealing with it. Even his misfires were more interesting than a lot of director's successes, and "Clockers" is a little-seen but vital piece of work that delves so much deeper into the gangster lifestyle than a dozen other similar projects. The 1990's were a decade rich with young black filmmakers making a splash with a lot of impressive and important movies, but no one spoke louder than Spike Lee well into that time period and beyond