An outlaw gang hanged by a posse in the late 1880s comes back from the grave to terrorize the descendants of the posse's leader.
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Ghost Riders torrent reviews
Cindy P (it) wrote: It was ok, there were a few tense scenes but nothing that could catagorize this movie as a thriller, suspense, or horror. I found the acting to be completely unbelievable at first but as people begin to die off the mediocre acting gets overshadowed by the several very strange groups of survivors they run across, each with their own theory and homemade weapons that tend to malfunction more than they actually work. However, the one's lucky enough to survive are actually planning to use these makeshift weapons to declare was on millions of invisible aliens... yea, ok.. Hopefully they will not make it back to the US so that wemkokudon't have tttto bec
Caleb M (jp) wrote: Horrible b-movie trash with the awesome Lou-Diamond Phillips being a badass.
Jon H (fr) wrote: Funnier than either Club Dread or Beerfest, and on roughly the same level as Super Troopers.
Adrienne P (ca) wrote: Russell Crowe plays the most unstereotypical gay man I've even seen in a movie. And Jack Thompson's character as the supportive father is a breath of fresh air. The movie becomes a bit of a downer towards the end but picks up shortly after. One of the greatest father son relationships I can remember seeing.
Dean M (nl) wrote: Intelligent performances and a disturbing story line ripped from current headlines are nearly sabotaged by director Mark L. Lester's emphasis on ludicrous violence and gratuitous mayhem.
Mike M (ru) wrote: A hell of an introduction to Anna Magnani: inebriated, up to her ankles in pigs**t, laughing her head off, making the filthiest of allegations. And all this at SOMEBODY ELSE's wedding reception: "I'm not embarrassing you, am I?"... The film plumps for [the mother-son relationship] as a generally good thing, a raft for these two drifting souls to cling to, an analogue to the father-son relationship of "Bicycle Thieves", yet we're not too far removed from the Christ story (Mamma Magnani as Mary Magdalene, and the boy suffering for her sins), nor from "Oedipus Rex", both of which Pasolini would come to film within the next five years. Already, we see the beginnings of the director's experiments with form, mitigating against any reading of "Mamma Roma" as straightforward neo-realism: the frontal ceremonial compositions that would recur in "Salo", striking sequences in which Magnani literally walks the streets under lights that resemble the very stars in heaven, attracting and rebuffing the attentions of clients, and telling (selling?) her story to just about anybody who'll listen. It's a film that comes at you in vivid handfuls: properly scrappy scraps, painful betrayals, epic dark shadows under the eyes, a bold, enigmatic finale, and a directorial sensibility already wise enough to be using classical music as a way of heightening the tragedy and underlining these characters' standing as perpetual outcasts.
Mike G (au) wrote: Like Conrad Veidt. Enjoyable pace of opening. Supporting cast is good. Theme is right for its time. Seriousness of purpose is fairly shown. Professionalism of German sailors seems free of typical anti-Nazi sentiments. Proper vehicle to explain the Great War at a time when the US was about to enter and at a time when we were still not in WWII.
Russell G (jp) wrote: Cagney is fun in this one. He turns on the charm over the menace on this one, and it works.
Jennie R (nl) wrote: B-Movie with B-movie acting and martial art effects. It was apparent that this was in the style of Jackie Chan. It played out moves, storyline and all like a Jackie Chan movie. It wasn't terrible. The main character Zhang Li was cute in a simple kind of way. He did not have the depth or dimension of character to make him a memorable actor but this isn't bad. I am not a fan of Martial Art Movies but this movie kept me interested.
Paul K (nl) wrote: We loved it; pure and sincere; great movie for children to learn how to handle adversity and be strong in who you are. Great perfomance by Kay Panabaker. Sasha Cohen's acting debut; Don Johnson keeps shining.