A black-clad Johnny Cash appears in and narrates this version of the story of Jesus' life, death, and resurrection, which was shot on location in Israel. Cash performs a number of original ... . You can read more in Google, Youtube, Wiki
Gospel Road: A Story of Jesus
Johnny Cash appears in and narrates this version of the story of Jesus' life, death and resurrection.
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Gospel Road: A Story of Jesus torrent reviews
marchus w (br) wrote: It is a war movie made by the guys who makes films for scify and it shows, really poor cgi work and some pretty bad acting. However there are some good points one of the best is the bad guy played by Tino Struckmann he is a great actor in a little film, his performance is by far the best part of this film. Some tanks and guns but the bad cgi pulls me out of the scenes. I only hope Struckmann will be really appreciated for his performance and get a chance for bigger movies worthy of his talent.
Andrew G (mx) wrote: Zombeavers puts Sharknado and Piranha 3D to shame. It's gloriously horrendous.
Ron N (de) wrote: Please do give us a great rating!
Adam F (ag) wrote: all round crap. don't waste time or money
Ville S (ag) wrote: Hieno, liikuttava dokumentti eri el(i)mist. (Se karhu)
Ariel R (de) wrote: Interesante pero muy simple
Alice S (mx) wrote: Things I Liked About "Elizabethtown" Upon Second Viewing1. Orlando Bloom's performance. Despite having contracted Orlando Bloom Fever at the beginning of his mainstream career, with each "Pirates" and "LotR" installment, I got wearier and wearier of his pretty boy, dainty-featured backpfeifengesicht - German for "a face in desperate need of a fist." I felt a bit of that repulsion in the first few minutes of this viewing, but I eventually made peace with the delicate flower of his visage and was really impressed with his acting, especially during the road trip montage when he's alternately crying and laughing to himself.2. The heartwarming midwest community. I saw this for the first time in northern Virginia, so perhaps I didn't understand the midwest mentality until I lived in Indiana. My daily life isn't quite like the family portrayed here, but even I was moved at the sequence of Drew first driving into Elizabethtown and seeing everyone waving and smiling at him with faces of seeming recognition, welcoming back the Prodigal Son.3. The memorial ceremony turned into raucous fire and blazes, accompanied by Ruckus's indomitable cover of "Free Bird."4. Claire's thought and effort of creating an emotional road trip for Drew to scatter his father's ashes.Things I STILL HATE About "Elizabethtown" Upon Second Viewing1. Kirsten Dunst. I didn't find her or her character, Claire, charming, cute, deep, or romantic (like NaPo's Sam in "Garden State" and even she's only likeable in small doses). "Elizabethtown" came during that dryspell after Kiki had outgrown her lost prodigy depth and bubbly cheerleader charm - which yielded such lifeless and/or annoying performances as in "The Cat's Meow," "Spiderman," "Eternal Sunshine," "Wimbledon," and this - and before she rebirthed herself as melancholic muse for the likes of Sofia Coppola and Lars von Trier. Her Kentuckian accent is terribly...not, and she plays Claire as much too self-deprecating (half-laughing through the big "I like you!" line), as if the actress didn't even buy the character's quirkiness. Claire herself is just a girl. She recites some manic pixie dreamgirl juxtapositions that seem delightfully incongruous, but then prove to be ACTUALLY incongruous and faux-inspired, e.g. "I'm impossible to forget, but I'm hard to remember." "Men see things in a box, and women see them in a round room." Is she? Do they?2. The so-called fiasco involving Drew's shoe design. There's so much pretentious, aphoristic talk about fiascos and failures, but what exactly WAS the fiasco? What was wrong with the shoe? How could such a promising young podophile possibly think this vaguely Skechers Shape-Up prototype would work, and how did no one else notice its Achilles' Heel, if you will? The fact that none of this is ever revealed shows how little legitimate research on the shoe industry Cameron Crowe did. For one, it's lazy writing and directing. For two: see below. 3. The light treatment of suicide. This needn't have been a sadder movie, but it IS realistic at least, for all intensive porpoises. Without the grounding exploration of what failure means in the shoe industry, Drew's subsequent obsession with suicide is purely comical and absurd, not intellectual or existential. I'm never actually worried for or in suspense about his mortality. Also, the repercussions of the fiasco are only limned in monetary terms. Drew never expresses critical doubt about his mental, intellectual, social or self worth, which are more compelling problems than just the Benjamins. Even after Claire admits her burgeoning feelings for him, his immediate response is to blithely cite his date with destiny? Suicide's just a quirky appointment, not something that he is seriously debating cuz I'm sure after meeting his manic pixie dreamgirl, he'd be more apt to wine and dine the girl, not slice and dice his veins.4. Hollie's tap dance. Okay, I normally love DANCE in movies, but I just wish this number was a little better. I know Hollie had just learned to tap dance on a whim in her grief, but the choreography was more soft shoe than tap. After her standup routine (which I didn't like although I do understand its purpose of diffusing grief), I just wasn't moved or impressed by the dance, and I wanted either more emotion or better execution.5. The "last look" at the memorial. I was already irritated by the quirkiness of Drew "collecting last looks" and Claire clicking her mental camera, and Crowe managed to mess it up in the one place it could work. Amid the smoke, sprinklers, and Skynyrd, Drew looks up to the stage one last time, presumably at the sad but oddly jubilant tableau of his father's smoldering portrait and this utter shitshow, and thinks that this is a good last look, only to reveal Claire as the subject of his observation. It's not even that good of a last look, and it's clearly not the last time she'll be seeing him. I could buy it if it was a goodbye to his father and to the vagaries of the midwest.6. The fact that everyone loves the soundtrack. I think it's overrated. Many of the songs sound like the same indie moaning. I prefer "Vanilla Sky"'s soundtrack.
Cha t (ca) wrote: Gong Li (Memoirs of a Geisha, Curse of the Golden Flowers) speaks english fo rthe first time.
Jeff D (fr) wrote: Jennifer Lopez - Before the plastic surgery.
Greg W (nl) wrote: director suzuki + yakuza= this one
Blake P (de) wrote: Movies that were controversial during the Hollywood Golden Age are rarely still controversial in the contemptuous decade of the 2010s; "Pillow Talk" is yet another reminder of this notion. Back in 1959, S-E-X was on the shitlist of every major movie studio, but audiences were sickening of perfumey, sanitized entertainment. Doris Day was the epitome of that cloying wholesomeness - to the world, she was the 40 year-old virgin, a woman carrying all the sexiness of your mom. So imagine. It's 1959. You're sitting in a theater, waiting for your movie to start. Then, a preview for "Pillow Talk" comes on. You see Doris Day, her buttery voice in the background, singing the title theme. You automatically roll your eyes. But then, Rock Hudson, playing a womanizing cad, blames Day's hygienic uptightness on her lack of action in the bedroom. You're taken aback. Since when have "bedroom problems" been discussed in a movie? Naturally, everyone saw the film when it was released; it made $19 million (which was considered to be a blockbuster in the penny-for-an-ice-cream decade), renewed Day's status as a bona fide movie queen, and reestablished Hudson's box-office appeal. It was the talk of the town, a "racy" romantic comedy that could be charming but also risky. But now, "Pillow Talk" is merely a charming romantic comedy without the racy riskiness it carried in 1959. Doris Day is still about as sexy as your mom and the film is still perfumey, even if it is a little less sanitized than other rom-coms of the decade. Yet, Day and Hudson are attractive. The CinemaScope makes even the gaudiest of colors feel chic and nostalgic. The exchanges between the characters are sitcomy in an "I Love Lucy" way. The ballsy courageousness of "Pillow Talk" has severely waned over the years, but its appeal hasn't. Day portrays Jan Morrow, an interior decorator, and Hudson plays Brad Allen, a playboy musician. They live in the same apartment building and are forced to share a telephone party line; naturally, Jan accidentally interrupts many of Brad's gooey conversations with various women. She scoffs. She needs to make calls too, after all. Jan goes to the telephone company to complain, but the employee they send to resolve the situation is seduced by Brad. Of course. Jan has never seen her enemy in person, but if she did, she'd surely sock him. Well, that's what'd you think. When the two bump elbows at a local restaurant one night, Jan, unaware of who Brad actually is, is instantly smitten. Brad, meanwhile, knows who she is as his best friend is taken with her himself. But the former is surprised to find how much he is attracted to Jan, even if she does have bedroom problems. In panic, he devises a Southern accent and a fake name to fool her. Brad finds himself in quite a pickle, however, when the romance begins to take a more serious turn. The chutzpah in "Pillow Talk" is not balls-to-the-wall daring, but rather, hesitant, somewhat unsure of its footing. If it makes a sex joke, a double-entendre of sorts, it covers it with a sheen of CinemaScope glamour. It's a precursor to the soon-to-be sexual revolution. But if the film's gutsy movements aren't as penetrative as they once were, then there should be a much bigger focus on its stars. Day has become the underdog when reflecting on vintage films, as more attention is turned towards the voluptuous Marilyn Monroe or the exotic Sophia Loren. But she is a true talent, effortlessly at ease in her performances and radiant when she sings. She is at her best in "Pillow Talk," marking a new name for herself in bright red permanent marker and knowing that it will stick. The chemistry between Hudson and Day is uncomplicated and natural, transitioning smoothly from comedy foils to love interests. These days, you can see "Pillow Talk"'s influence. Some scenes have the pupil staining pigmentation of an Almodvar film. Others contain the split screen camerawork that would plague mod '60s capers and various television shows. If it hasn't aged well in consideration to the new age, then "Pillow Talk" should be seen as a template, a quintessential romantic comedy.
Mark K (us) wrote: pure entertainment. the best movie of 2007.
Luke C (ca) wrote: Great transvestite film. But it doesn't actually explain why he did it. It doesn't beat Mrs Doubtfire.
Tyler B (de) wrote: This movie is one of the more inventively crazy movies I have ever watched but I totally enjoyed it. Does not make much since but it's not supposed to, that's what makes it so good.
Melissa C (kr) wrote: the best documentary movie ever
Johnny B (us) wrote: The plot of this French thriller feels somewhat inplausible and the two main characters are not particularly likeable. However a tense atmosphere is deftly conjured up as all Antoine wants to do is escape the claustrophobia of his Rover 75 car (interesting choice for a French character) with traffic jams, heat and a disinterested wife to contend with as they head south on holiday. He therefore takes every opportunity to take a break and down a few whiskies at the same time. The best thing about this film is the superb cinematography coupled with the Debussy soundtrack Nuages which makes the motorway journey look beautiful. The plot doesn't hold together so well but retains the interest. One minor point of interest is that the Irish Rocker that Antoine meets in a sleazy rock bar is played by a Micky Finn. I wonder whether it was the former T Rex bongo player of the same name who died around the time this film would have been made.
Cooper H (kr) wrote: Burnt is an enjoyable tale thanks to Bradley Cooper and Sienna Miller, but is also formulaic and likely forgettable.