Posse from Hell

Posse from Hell

Murphy goes after bad guys who shot his friend the sheriff and abducted a local girl. In a plot reminiscent of High Noon, the posse of town blowhards gradually abandons Murphy; only tenderfoot banker Saxon remains, to prove his manhood. When they find the girl, obviously abused by her captors, Murphy shows her acceptance and sympathy whereas the others disply only revulsion.

Banner Cole is a tough sheriff's deputy who forms a small posse to go after 4 death cell escapees who killed the sheriff , along with 3 other men, and kidnapped a woman with rape in mind. . You can read more in Google, Youtube, Wiki

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Posse from Hell torrent reviews

Sara S (ca) wrote: I should have read the critics comments before watching.

Matthew S (gb) wrote: wasn't bad for a b-movie. definitely seen worse this week

Gabe H (jp) wrote: My favorite Pixar short! I quote it all the time!

Adam R (ag) wrote: Long before Michael Winterbottom's filmic explorations became tedious rather than exciting and Kate Winslet had only two acclaimed performances under her belt, there was "Jude." Downright conventional by Winterbottom's often striking, always bizarre standards, the film appears to be a period piece of socially unacceptable love in the stodgy 19th century. The titular hero (Christopher Eccleston who, like Winslet, made the mid-'90s a breakout period for his career) is in love with his cousin, Sue (Winslet), a free-thinking, radiant woman atypical of the era's available mates. "Jude" isn't coy about the pair's love either -- it proceeds from furtive glances and transnational longing to frank coupling, overcoming the genre's seeming resistance to overt sexuality and nudity to show the pair's deep connection on an emotional -- almost spiritual -- and physical level.However, the best thing about Winterbottom's adaptation of Thomas Hardy's "Jude the Obscure" is a scathing, corrosive indictment of religion that feels fresh, legitimately liberating and utterly earned by the end of the film. Expect heavy spoilers for a faithful discussion. Jude and Sue's two children are murdered by Juey (Ross Colvin Turnbull), a disturbed young man Jude sired with his first wife, the emotionally remote Arabella (Rachel Griffiths), upon misunderstanding an offhand remark his father made (it's not the most convincing plot twist but the impact nullifies the implausibility). Understandably distraught, both parents grieve, although Sue takes it harder. The tragedy decimates her once-vibrant mind, anguish convincing her the pair's incestuous union provoked the wrath of God. Unmoved by Jude's logic or appeals to the life they've only begun to share together, Sue resolves to leave her cousin for Phillotson (Liam Cunningham), her lawful husband and Jude's former teacher and confidant. Though Winterbottom frames this tragic twist with appropriate gravitas and Eccleston pulls off the rare trick of making impotent rage dynamic, the real hero of the final act is Winslet, whose dour, lifeless surrender to convention after the trauma makes for a harrowing contrast with the joie de vivre and autonomy we saw before. Winslet is that rare actress who can thoroughly engross herself in any period yet retain the hallmarks of a forward-thinking intelligent woman unacceptable for the era without losing a hint of authenticity. Never anachronistic or an attempt at historical revision, Winslet's zest for life in films like this and the earlier "Heavenly Creatures" never feels cheap, making her emotional defeat in "Jude" all the more crushing. The position of the church as an opiate, offering an easy way to wash one's mistakes without addressing the core issues underlying them, is the film's final message, a culmination of the disgust Hardy and Winterbottom alike exhibit for hollow societal institutions that cheat and leech people away from what is truly important. It's just a pity this very important message didn't occupy more of the story. Much of "Jude" is spent defining the tentative couple's burgeoning relationship to one another. It's time well-spent, but their give-and-take is virtually negligible compared to the power of the final scenes, a once joyous love affair the viewer also partook in savaged by circumstances beyond horrible and extinguished finally by the tyranny of tradition and the narrowness of norms.

Kevin P (kr) wrote: Ben Foster draagt de rol van Lance Armstrong op zijn lijf, maar hij doet dat helaas met een tamelijke veilige biopic die nergens opwindend wordt of waardig voor een echte verfilming. Zelfs Stephen Frears zijn talent als regisseur kan deze film niet redden !

Sylvia M (jp) wrote: enjoyed this western... love terence hill movie...loved watching this movie with my dad who is now passed away...fond memories..

Matti K (us) wrote: Waynen esittama laivastoupseeri komentaa sukellusvenett Tyynellamerella ja ratkoo samalla suhdetta ex-vaimoonsa. Elokuva toimii jonkinlaisena kunnianosoituksena amerikkalaisille sukellusvenemiehille, ja esittaa nama erilaisissa tehtviss aina lasten ja nunnien pelastusoperaatiosta alkaen. Kokonaisuus on kohtalaisen nappara, vaikka sen henkilokuvaus jattaakin toivomisen varaa.

Garrett C (ag) wrote: While Terry Gilliam's visuals are as stupendous and enthralling as usual and Depp's performance is manicly hilarious, the film suffers from the same issue that plagued Thompson's book. The film is funny sporadically and actually insightful sometimes, but most of the time it's just too repetitive and pointless. I enjoyed being in its world for a short time, but eventually it grates on you. Good for viewing once when it's late at night and your mind is open to getting lost in the free-flowing absurdity of everything.