Over the GW (2007) torrents full movies


Over the GW

A cult-like rehabilitation center abuses, brainwashes and imprisons vulnerable teens.

Over the GW is a new movie of Nick Gaglia. This movie was introduced in 2007. We can counted many actors in this movie torrents, such as George Gallagher, Kether Donohue, Albert Insinnia, Nicholas Serra, Minnie Krakowsky, G.R. Johnson, Justin Swain, Steve Stanulis, Julia Moriarty, Jessika Graff, Michael P. Mathis, Juliana Huestis, Megan Ribera, Carrie Keranen, Nick Gaglia. There are many categories, such as Drama. This movie was rated by 5.2 in www.imdb.com. This is really a good movie torrents. The runtime of this movie are awesome, about 75 minutes. NickDan is interesting uploader, she is very proactive. 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 'Awesome', so what is your thought. Do you know what are visitors? ChimTo is the best. I don't fight my iPhone screen. Share with your friends and watch this movie together . You can read more in Google, Youtube, Wiki

A cult-like rehabilitation center abuses, brainwashes and imprisons vulnerable teens

Over the GW torrents

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Download   Over.The.GW.2007.DVDRip.XviD-DOMiNODVDRip3244702.73 MB
Download   Over The GW 2007 DVDRip XviD-DOMiNODVDRip3034702.73 MB

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Users reviews

Danamel C (es)

One of my favorite cartoons when I was a kid

Danielle L (mx)

It'll be completely different. You have to pay attention to the movie, and watch it again after you discover what it's all about. and than at the end again. . . and again. . . Top five horror movies of all time! Great mind bang thriller! Must see! It'll make your jaw drop again

darryl c (it)

the more yo look at him, the more you love him. and theyoung actor david kross remonds me very much of the lead in this film. it is so well acted and well paced. but not fox and his friends. fassbinder films usually leave me cold

Ese C (de)

i enjoyed the movie,funny good humor,interesting

Jeanie K (ru)

this is as good or better then the first. . . Cheesy with some creative deaths. Julian Sands is back for revenge as a Warlock and nobody is going to stop him this time

Jonathon P (nl)

Read the book!! It's a story of faith, struggling, doubts, joy, and realizing what do you think?

Mira Mohd S (au)

robably the only plus point for the film goes to Big foot himself/herself, which was terrifying & made to look just like they have been talked about! On the whole Exists in not a bad film, but its not great either, it lies somewhere in between as a passable affair, while people looking for jump scares wont be disappointed, found footage lovers will!. Sanchez has style and I wish he upped his game. I actually found the style to be degrading to the quality of the movie. Where did it come from? Whose camera was it? It's not logical, and it totally brings the film down. The major crime the makers have committed, from the point of a found footage film is, at times they seems to forget about the POV standard as some cameras magically appear out of nowhere in the woods. The found footage only works in spots, and is glaringly misguided in others. As result, we don't care about who dies! The film lacks that raw ingredient that every film needs. The pace is kept pretty solid, but in order to get to the point, the film clearly misses an opportunity for any character development. It isn't necessarily a bad film, but its generic, an almost worse crime. That is exactly what is missing in Exists. What makes a found footage film great are the emotional weight and deep characters that give purpose to the surrounding action. `But unfortunately the movie left me more confused than entertained. Sanchez has made sure the tone is kept pretty creepy, just like his previous one. And then they mess with Bigfoot & get hunted down one by one. There's not really much imagination needed when you think of what big foot looks like; tall, hairy, ape or man-like, seriously! Well the story is pretty cliche - There are five teens, the white leader, the black tough guy, the blonde, the smart girl, and the unlikable cameraman, who are at this cabin for some reason and nobody knows they are there. While The Lost Coast Tapes did a great job while not showing the creature, and Exists does a good job showing it. That could be a good or a bad thing, depending on the costumes and special effects used. Well I have seen quite some big foot movies, the one which has hindered long in my memory has been Bigfoot: The Lost Coast Tapes (2012), but unlike this film the latter actually shows the monster. Well is the film great? Lets analyze. Instead of being attacked by a ghostly witch we never get to see, we are introduced to bigfoot. This time the man behind the revolution, Eduardo Sanchez (The Blair Witch Project), once again reunites himself and his crew deep into the woods. I think I have proven my love for found footage films well enough over the years, by nearly watching everyone one of them which have been coming out over the course of the past 3 - 4 years

Naoya K (jp)

One thing, if I say, is that this film is so powerful that wearing a suit to go to the space looks nothing but cool. It's just part of my life. I love this film too much to talk about

Nate Z (us)

Nate's Grade: D-. Of course the first request would be never to make another movie again. I never thought I'd write this but these two can just go back to their spoofs. The simple premise of a bachelorette party gone wrong is ripe with potential, a potential that will never see any flicker of life under the guise of Friedberg and Seltzer. There is nothing truly unexpected from this girls' night out, and the cheap jokes rarely build or alter, so the pained setup at the beginning of the scene remains the same by the end. With comedy you still need to develop setups, complicate them, provide payoffs, and make sure to provide detours from the expected. It provides a sense of realism, and the long takes naturally build tension, but these aspects benefit the horror genre, not so much comedy. I don't think found footage works in the context of comedies. It irritates me even more that Friedberg and Seltzer could have done any comedy they want, and this is what they delivered, a tacky and too often timid sex comedy that has far too many drawn out sequences in place of actual humor. Best Night Ever is just as inept a comedy as their previous spoof atrocities. I was morbidly curious what Friedberg and Seltzer would set their sights on when not cannibalizing pop-culture in their spoof movies, and now I know. Like most things in the movie, the details are just hastily thrown into the mix and readily discounted. Nope. . . . Okay, 1): why pump milk on a Vegas trip? Is that going to keep on the multi-hour car ride home? And 2): you'd expect with a detail like that there would be a later payoff. Friedberg and Seltzer hastily throw in some "character details" for some, like one one just had her husband leave her for a man and another is a mother and has a breast pump. The only way I was keeping track of who's who was by hair color, and even that is something of a challenge at times (two redheads?). They're all one type: bland. Not one of them has a personality or anything memorable to them. actually it doesn't matter because the characters are so poorly written that they are indistinguishable. . . the. . . the slutty one. . . mother. . . the. . . With Best Night Ever we have. We've got the smarmy a-hole, the uptight straight guy, and the goofy nutball, all classic comic archetypes that can bounce off one another. Comedies have a long history of putting together archetypes; take for instance The Hangover, a surefire inspiration for Friedberg and Seltzer. Let's talk about those characters. Instead it only makes the characters dumber and less realistic than the one-note placeholders they already are. Why blur nudity in an R-rated movie in general, but even more so, if this is found footage, what hypocritical hypothetical editor is blurring certain nudity and letting other nudity pass? Nothing of substance or humor is added to this film by forcing the prism of found footage. So, the age old question, who did all this? Who added music to the sequences? Then there's the fact that later on the camera cuts to reaction shots and different angles in single scenes, completely destroying the illusion of being found footage. Then there's the fact that the footage is seen rewinding and fast-forwarding, presenting sequences out of sequence, some with intertitles added for dates because having a date stamp for a recording wouldn't be good enough. First off, why would anyone just film themselves introducing who they are on a bachelorette voyage when, presumably, the only people watching it will be close friends? Then there's the pesky habit where people keep holding the camera out, framing all four ladies so carefully. I understand the sexy marketing hook of making a found footage movie, but does the entire film have to be stuck in this limited narrative constraint? Can a movie not just incorporate found footage elements but be free to break away on its own, like The Purge? Alas, Friedberg and Seltzer embark on found footage and can't even adequately maintain that guise, often failing to produce reasons for why their characters are still filming. Then there's the lingering thought that the only minority characters in the movie are presented in states of undress, their nudity meant to serve as discomfort. Like other sequences, this part is drawn out and exhausts whatever brittle comic potential it may have had. Oh look, a fat woman chasing after our characters! And so, her nudity is allowed because it's meant to be comical (visions of Borat dancing in my head). The chief threat is an overweight black woman and, apparently, her overweight nude body is meant to be the outlandish joke. Incensed, the couple nude couple chases after them. The end gives us our first glimpse of nudity, as the ladies stumble into the wrong hotel room on an amorous interracial couple. Of all the directions this setup could have gone, a woman pooping on a man's face just seems lame, having to settle for cheap shock value over jokes. And if that wasn't enough, she craps on him as well accidentally. Disguised in ski masks that can't help but trigger associations with Spring Breakers, they break into his home, strap him to his bed, and then one of the ladies eventually urinates on his face. The ladies kidnap the valet driver who they believe mugged them. Let's explore what happens in the lone sequences where Friedberg and Seltzer decide to indulge their R-rated crassness. Why does the movie repeatedly pull its punches when it comes to the bridesmaids behaving badly? I think it's the misplaced idea of not wanting to rankle its target audience, that women have a lower quotient for bad taste. " That's it. We're treated to an extended sequence of the girls just dancing for several minutes, in slow-mo no less, mouthing, "Best night ever. Oh how wrong you'd always be expecting something from these two filmmakers. All right, you're thinking, this should lead somewhere. There's a sequence where the ladies take pills they found in am ambulance. Instead, the whole sad affair has such a timid feel, as if Friedberg and Seltzer decided a largely female audience would be put off by too much crass content. Being Friedberg and Seltzer's first R-rated comedy, the guys should be embracing the tasteless possibilities, getting their ladies into crazy scenarios that spiral out of control. None of these people feel like human beings, let alone friends that we should care about. It's a girls' night out, and from a male perspective, which means a lot of shouting, "woo," dancing, drinking, and all sorts of tame activities. Best Night Ever wants to pretend it's intended for a female audience but the writing makes it seems like Friedberg and Setlzer don't know women. And that's Best Night Ever in a nutshell (no pun intended): a tediously long wait without payoff or jokes. Nope. It's got to be more than this, something different, something a little more bizarre, like perhaps someone spelling out their name in semen. Oh no, semen stains are everywhere, but you keep waiting for a capper. When the girls put a blacklight to their seedy motel room, it goes as expected. There's no wilder escalation. There's also a lengthy dialogue-free montage where the girls no a scavenger hunt of activities around Vegas, most of which are fairly innocuous for a sex comedy (rub a bald man's head?). Why set this up and do nothing with it? And the supposed payoff for the scene is more a jump scare than a joke, and it's not worth the wait. They're in an uncomfortable place and forced to be quiet lest they alert the police. Let's unpack this scene. It takes several minutes until this situation changes, when the girls start singing "What's Up?" by 4 Non Blondes as a patented means of soothing a panicked friend, which itself isn't any funnier. Instead, we hold onto the same painfully long night vision shot (4 minutes and 45 seconds - thanks Ignatiy Vishnevetsky at AV Club) with the ladies breathing heavily. All right, this setup could afford some nice squeamish comedy. The police are outside and they don't want to be caught. Take for instance a scenario where our four heroines hide in a dumpster. With their first original work, Friedberg and Seltzer lose the references but forget to replace them with, you know, comedy. It's a notable absence of comedy. The problem, among others, with their spoofs is that they are not structured for comedy but merely lame pop-culture references, with the reference standing in the place of what should be a joke. How original, right? Being Friedberg and Setlzer's first straight comedy, it's fascinating how it fails in a completely different yet similar manner than their normal spoof monstrosities. But, free of the shackles of a spoof formula, what could these two accomplish? That's a question no one on the planet was seriously pondering but here comes Best Night Ever, a found footage comedy where four thirty-something female friends (Desiree Hall, Samantha Colburn, Eddie Ritchard, Crista Flanagan) travel to Las Vegas and get into oh so scandalous trouble. Each film was further evidence that Friedberg and Seltzer had no grasp on the basic tenets of comedy. Together, these writer/directors have unleashed such loathsome films as Epic Movie, Meet the Spartans, and their most recent spoof, The Starving Games. There are no more reviled names in the world of comedy than the duo of Jason Friedberg and Aaron Seltzer

Oscar S (ca)

- Vince Lombardi. He must walk a tightrope between the consent he must win and the control he must exert. If he does, he is no longer what he must be. The leader can never close the gap between himself and the group