José Manuel Gómez Perales alias "El Jaro" lives with his band, also teenagers and their girlfriends. One day he meets Mercedes, a prostitute who want him away from the bad way. Then appears Toñi, a drug addict from which he falls .

  • Rating:
    4.00 out of 5
  • Length:95 minutes
  • Release:1980
  • Language:Spanish
  • Reference:Imdb
  • Keywords:police,   dead man,   thief,  

Jose Manuel Gomez Perales, "El Jaro", lives alone in Madrid, with no other company than his band and his "girlfriends." One day he meets Mercedes, a prostitute of Mexican origin. Mercedes falls for him and offers him her home to take him apart from his life of crime. . You can read more in Google, Youtube, Wiki


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Ilja S (au) wrote: Pineapple Express is one of those stoner comedy movies which actually is fun to watch and manages to be smart at the same time. It may not appeal to everyone, but it's a nice mix between a classic runaway action movie and a buddy comedy.

David J (au) wrote: Despite a plot that tries to be serious and yet moves along without a care of its crazy implausibility, Sunshine Cleaning allows viewers a rare chance to see Adams and Blunt in sillier roles. Blunt in particular is fun.

Cameron M (ag) wrote: Quietly powerful, and devastating- if you haven't seen it do it now

Jackie Y (nl) wrote: I thought the movie was excellent and the three main actors all gave amazing performances. Critics weren't all that fond of the movie, but they aren't always right now are they?

Jeff B (jp) wrote: Interesting but boring, though there are a few thought-provoking nuggets.

adam m (au) wrote: Through Army of Shadows, Jean-Pierre Melville takes the mystique of French Resistance during World War II and shows it for what it really was. Opening in October of 1942 and ending a year later. During that year, we follow various members of the French Resistance as we get a very exclusive inside look at their missions and all the risk and terror that comes with fighting against Nazi-occupation at a time when Germany was still in control of much of Europe. Melville does not glamorize their duties, there are no elaborate heists or professional looking killings. A rescue attempt that has the build-up to compare with the heist scene from his style-drive crime-drama, Le Cercle Rouge (1970), quickly evaporates with a sequence of events that is very tragic and real. Based on Joseph Kessel's book of the same name that was published in 1943. His books mixes his own experiences with fictionalized versions of Resistance members. Realizing that much of this plot is based off real life experiences is not surprising. Running on a very slow-paced narrative that is a lot less glamorized that Melville's other notable films was a very noticeable difference. To appreciate a film that does not resort to cheap tricks, but instead uses time -- 144 minutes -- and effort to give us a realistic image of the French-Resistance and also a very real look at human nature with all its corruption. Philippe Gerbier (Lino Ventura) is a civil engineer with contacts that intimidate the Nazis. We are not told exactly why he is arrested, but since it is 1942 and the Germans are his captors we can assume it is because they find his influence threatening. He is transferred to the Gestapo and showing why his police report describes him as "instinctive" he escapes. Once free, him and his partners Felix Lepercq (Paul Crauchet), and "Buffalo" (Christian Barbier) find the man who informed on Gerbier to the police. They take him to an abandoned apartment, where newcomer "Mask" (Claude Mann) is waiting, to kill him which turns out to be one of the most shocking, and most lasting, moments of the film and their first real act of violence. From then on they are in for good, and their fates quickly become evident. Other members of their group are Jean-Francois Jardie (Jean-Pierre Cassell), a daring former pilot, Mathilde (Simone Signoret), a genius planner who disguises herself from her family as a housewife, and then Luc Jardie (Paul Meurisse), a detached scholar. Through their eyes we witness a world of terror and looming hopelessness; a feeling that we all share and understand. There are some very distinguished faces in this film. Italian actor Lino Ventura guides us as the extremely hard to read character, Philippe Gerbier. He can be remorseless though he sees the tragedy of the entire situation him and his partners are in. Jean-Pierre Cassell is the father of Vincent Cassell who has become one of the best actors working today, Paul Meurisse is best known for his role as the vindictive headmaster in the 1955 film Diabolique. Simone Signoret's performance as the planning genius, Mathilde, who becomes one of the many tragic figures whose life is ended by the very people she had saved, is both wonderful and unexpected since Melville has always been known for having a great lack of female performances in many of his films. Much of the time they play parts that have the single duty of adding a female sex-appeal to his male dominated films, it takes the wonderful Mrs. Signoret to bring a woman's emotional understanding to a very dark a menacing film. Army of Shadows keeps us in an endless state of suspense. Giving off the feeling that at any moment something terrible will happen, by doing that Melville makes us feel what his characters feel. In this kind of work, they risk being caught or killed every moment of every day. None of Melville's films have ever had that much violence and each one of his crime film's body counts can be counted on one hand, it is how he builds up each major moment to the boiling-point. Almost every moment of "violence" is implied, when Felix and Jean-Francious are captured we never see them actually get beaten, just the gruesome aftermath of their tortures. I admire filmmakers who can put their characters in situations that constantly risk their lives while never feel the need to make a shoot-out or elaborate murder that modern movies feel are so essential. Melville makes this film eloquently slow-paced. How can a slow pace be eloquent? Well, I regularly found myself being entranced into the most simple scenes. The most powerful scene of the film is when Gerbier finds out that Mathilde was captured and that she gave away information because they had threatened her family. Gerbier comes to the conclusion that she must be killed which is received in furious dismay by Buffalo and Mask, and rightfully so because she had saved all of their lives on various occasions with her escape-planning. A violent confrontation is avoided when Luc Jardie makes a very risky "hypothesis." Battling ideals that attack the morality of everyone are constant strugglees each character must face and ultimately fail at handling. Since its initial release came in the wake of the largest general strike ever, which left Army of Shadows commercially unseen and critically attacked for "glorifying" Charles de Gaulle, who led the Free Frech Forces during World War II and was also the first president of the French Fifth Republic. Those colliding events along with Melville's popularity made it only a matter of time until enough people fought for its re-release -- restored editions by both StudioCanal and the Criterion Collection -- and it even was brought back to theaters in 2006. So, in many ways a sort of legend follows this film and Melville is just the director to live up to all the hype of a film that is historically honest and daring. Without a doubt one of the great visions from Melville, resulting in one of the most important French films.

Stephen T (br) wrote: One thing the pre-code Hollywood pictures do very well is they allowed significant brevity in film. Arrowsmith is adapted from the famous Sinclair Lewis novel of the same name. John Ford adapts a 440+ page, well-known, and widely-read novel into a best picture nominee in under 110 minutes. Impressive. The release year of 1931 represents the transition period between sound film novelty acts like The Jazz Singer (1927, Alan Crosland) to serious, well-made, award season contenders like Arrowsmith. Of course, Arrowsmith is not the first great sound film to be nominated for awards. In fact, its difficult to even call it great at all; its watchable, not memorable. Yet here we have a silent film transition star in Ronald Colman transitioning into a talkative character in Arrowsmith, a director in John Ford transitioning from B-westerns and melodramas, and a studio in MGM under Louis B. Mayer who wants to transition MGM from leading studio status to untouchable. Unfortunately for Colman, Ford, and Mayer, their attempts to push Arrowsmith into an unforgettable film failed. Melodramatic, sentimental, and clich seem like harsh labels, but alas, they fit this film. Also, the natives of the Caribbean infected with Bubonic Plague are shown in unflattering portrayals, as are the Swedish characters with their accents amped to the point of unintelligible babel. In the end, Colman never really broke into A-list star status, the film never won any awards, although a few bright spots emerge: (1) Mayer and Ford went on to achieve legendary greatness; (2) the female stars in Helen Hayes and Myrna Loy became female icons and A-list stars in their own right; and (3) Arrowsmith introduced a market for medical-related drama film. Also, notice the widespread drinking in this film; Prohibition is still in effect in 1931 and its interesting to see some of that pre-code naughtiness come through.

Sue S (nl) wrote: A friend of mine contends that the parts played by Terrence Howard, Colin Farrell and Bruce Willis were all heroes. I said I believed that the truest hero of those three was Terrence Howard and that Farrell tried to out-hero Howard and then Willis tried to out-hero Farrell.

Serge L (ru) wrote: They lost me right at the suicide. It did not make sense. They said in the film it was not making sense. Just learned that the them is not any better than the her version of the film. The film seemed like the story of someone dead already and living dreams of the past life or what could have been. The whole is strange and not making much sense, and so long. Bleh.

Lucas M (es) wrote: Caveman, looks silly and sometimes presents a poor script. But this Carl Gottlieb's comedy is really funny together with his special effects and unforgettable scenes.