Remember the Titans (2000) torrents full movies

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Remember the Titans

The true story of a newly appointed African-American coach and his high school team on their first season as a racially integrated unit.

Remember the Titans is the best funny movie of Gregory Allen Howard. This movie was introduced in 2000. We can counted many actors in this movies torrent, such as Ryan Gosling, Hayden Panettiere, Denzel Washington, Ryan Hurst. The kind of movie are Biography, Drama, Sport. The rating is 7.8 in www.imdb.com. This is really a good movies torrent. The runtime of this movie are awesome, about 113 minutes. Fakyougo is funny uploader, she is very hard-working. 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 'Crazy', so what is your opinion. Do you know what are visitors? Maria Ozawa is the best. I don't fight my iPhone screen. Enjoy this movies torrent and share to your friends . You can read more in Google, Youtube, Wiki

Based on the actual events of 1971, the team becomes the unifying symbol for the community as the boys and the adults learn to depend on and trust each other. The year is seen through the eyes of the football team where the man hired to coach the Black school is made head coach over the highly successful white coach. Williams High School under federal mandate to integrate. C. One Black and one White high school are closed and the students sent to T. Suburban Virginia schools have been segregated for generations

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LinksNameQualitySeedersLeechersSize
Download   Remember the Titans720p22755599.4 MB
Download   Remember the Titans1080p152761.71 GB

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Users reviews


Arvinth K (nl)

. . didn't amused like the first part --- can watch once just for Ajith --- the style, thrill, speed is missing from its previous part


Campbell P (gb)

. It's flawed for sure but it's a fun time and Reese Witherspoon is really what drives this film and it works. Legally Blonde was not terrible like I thought it would be. It's really more of chuckle worthy laughs. As for laughs, I laughed at some parts but not hard. The ending was actually really spot on of what I wanted to happen and had a good payoff even if it did wrap up kinda quick. Also the movie wraps up way too quickly at the last half hour and actually did affect the way I viewed the movie from that point on. A few other things I found problems with is the romance in this movie and how it's a throwaway and that there's not much chemistry between the two until the very last minute. I think that could've been handled a bit better in my opinion. I like how it took time for her to get good with knowledge about law but I think a montage doesn't show a ton of studying or practice, it really just went to her getting right answers. Her courtroom scene is really good because once she's handed the case, I like that she's not totally prepared, in fact she stuttered a lot thorough it until she found her ground. A girl who aspires to go to Harvard so she can be with her boyfriend is really corny but it works so I guess I can't complain too much. The story, while I did enjoy it, was cheesy. The rest of the cast did a fine job, Luke Wilson had this off whispery tone that I didn't understand but it's knit picking. I'm being totally serious when I say I can consider her performance almost empowering even if it's not for the right reason at first. She's innocent, naive, and determined and proves to be a possible role model for girl viewers in my opinion. She was perfect for the role of Elle Woods. There's really a lot to like about this chick flick and the best part being Reese Witherspoon. I expected to hate it as some of these movies tend to get on my nerves but it ended up catching my interest. I'm personally shocked at how much I enjoyed Legally Blonde


Giorgio P (br)

American Pie attracts the more easy to please audiences with gross out comedy but actually manages to impress with a nice and heart warming message


John E (ca)

The kids steal the show. A classic family film of its time but it stands up remarkably well in these CGI days. A real period piece, but its superb cast bring this endearing adventure alive


Matthew S (mx)

Too cheeky for its own good, this is still a fascinating look at the off-balanced beer industry by a former president of Mike's Hard Lemonade


Mickie M (au)

the best OUT OF NOWHERE B-side movie I've seen since my teenage years! I have been studying Tourette's Syndrome for a while since my theseis on it and this movie just took the cake!


Mo B (nl)

Rating: 48%The Legend of Hercules has a laughably bad story and the acting is very terrible, although the visual effects make up for part of that


N C (ag)

more geared to the male audience with the gratuitous shots of Salma Hayek's bust and bikini body. not a bad movie for entertainment sake


Parker M (ru)

O Lucky Man! is long but earns its minutes by never slowing down to suggest its purpose because it reeks of one -how quick will it take to remove that luckiness and buoyant smile off Travis's face?. When Anderson forces us to watch a pornography movie at a local gentleman's club, he emphasizes the pain of waiting and pointless debauchery, not the mere salaciousness of it. Its world is ridden with glee, aspirations, and hope -yet also sarcastic and uncomfortable with itself. Simultaneously that is what makes O Lucky Man! fascinating. Anderson's use of silent film homage reflects a traditional era, which plays as a comic addition to the film, nothing serious or informative. O Lucky Man! inspires cheekiness and a more facetious narrative that parodies one ideology and ingratiates the other. The whole film feels whimsy, with never an inclination to become something darker, or very real. O Lucky Man! does come across one-noted (at least on a first view). These are lucky man, who by the end, rarely seem fortunate. Yet both seem to be objects of their society and then suddenly manipulated in an opposite form of it. I began to think McDowell's eyes, as he was with Alex, represent thoughts and ideas being programmed and tortured into his mind in replace for his natural ones. 7) Oh and one more: O Lucky Man obsesses over eyes. Travis, in the end, is harassed by a group of vagrants, in which Anderson cuts nicely to the film's climax, which puts all the characters in a blender (reminded me much of Fellini's beautiful finale in 81/2). Either way, it is the characters ambition that ultimately make them realize that a life of theirs is only quixotic. Travis is a 'good boy' and Alex is a 'bad boy' yet what has driven them for most of their life is put on a pedestal and torn apart. 6) Finally, both films are a unique journey, centred on discovery and shifting idealism, all enforced by society. Romance in both films act as punishment -both characters really are martyrs in society, vulnerable in a sense by their own sexual nature. McDowell is often naked in A Clockwork Orange which is some poetic justice, considering his character always strips his victims of everything they cherish. As Alex rapes, murders, and teases his victims we become obsessed by his sexual exterior (like him holding the big dildo at the cat lady). We romanticize the regressive state of his character, while also hating him to the bone. O Lucky Man! uses love as a tool for loss, inevitability, and obscurity - if Price quoted love in his songs, I think he'd say "Love if you are willing to hate!" In A Clockwork Orange, the romance is all in Alex. By the end of the film, Travis cannot even recognize Patricia as she is dressed in conservative attire, obscuring her liberal appearance. As for Travis, he can never fully earn Patricia's heart as she is "in love" with a man of royalty, though her attraction to him seems more obligatory. Travis always seems to be below Patricia; her father (played by Ralph Richardson) is an industrialist tycoon who literally causes death amongst his coworkers (that scene reminded me of the business head's window death in the Coen Brothers' much later Hudsucker Proxy). But it's not a typical romance. 5) Could we dare argue the singeing romance in the two? Travis runs into Patricia (Helen Mirren) and they lust for each other. Kubrick's use of classical music creates a frightening beauty to Alex's movements, while also self-referencing not on the basis of its ideas but with its main character: with Ludwig Van playing it was as if Alex's terror was ubiquitous. The good ol' Ludwig Van would palpitate as Alex and his 'droogs' marched down the Britain streets and prowled in their unusually fast vehicle. Music beheld an extraordinary yet equally foreboding purpose in A Clockwork Orange. It's hard to embrace the music as a part of the movie because it seems to be in another dimension of time and space (until Travis actually walks through the soundstage in which he almost jumps through the looking glass). Using self-reference through music makes O Lucky Man!'s gleeful score prominent but also frivolous. In the film, Price sits at his piano, chants the music, while Lindsay Anderson surrounds them holding papers. Musician Alan Price's score is fast-paced, upbeat, and positive. 4) Music plays like narrative commentary in O Lucky Man! (as it did in Clockwork). " Both films, through these expressions, create McDowell's character as an extrovert programmed to make these gestures according to what surrounds them: Alex's cynical Britain and Travis's saccharinely optimistic Europe. Alex is defined through the first shot of A Clockwork Orange: staring at us, the victim, as he drinks his drencrom to sharpen himself up for the old "ultra violence. In O Lucky Man! all it takes is a quick shot of McDowell's Travis staring up at his Imperial Coffee superiors and giving a courteous simper. Through one mere closeup, they defined his characters. " 3) Both Lindsay Anderson and Stanley Kubrick were fascinated by the euphoric visage of McDowell. Oh, it's no world for an old man any longer. . . As that drunken beggar pouts: "It's a stinking world because there's no law and order anymore! . His iconic Alex was much of this nature, but intuitively guilty and profane, making him an allegory of the Britain dystopia around him. The character is proclaimed "Guilty! Guilty! Guilty!" while through the whole film he wanders like a puppy dog and smiles self-consciously. In O Lucky Man! Travis's innocence is detached through a mock-silent film to kickstart the film. 2) First and obviously foremost, both contain the charming yet assertive McDowell playing characters much like this. " In particular, O Lucky Man! is considered the cinematic edition of Voltaire's Candide -a sly critique on idealism in society and the pressures of curbing one's scruples to achieve independency. It's about (as Alan Price's song goes) "Smile while you're makin' it, Laugh while you're takin' it, Even though you're fakin' it, Nobody's gonna know. In this review I will break both films down in categories, mincing their comparable features into something rather unique -this relic, yet still relevant O Lucky Man! 1) The plot: We all know what Kubrick's adaptation of the Burgess novel is about, but O Lucky Man! is about an amoral tale of Michael Travis (Malcolm McDowell) who ventures across Europe having to detach his positivist idealism in order to avoid the evils of the world. In various degrees, it contrasts but it is through those variations that the film imputes it (it came 2 years after A Clockwork Orange). The film simultaneously tallies with Stanley Kubrick's A Clockwork Orange. To review O Lucky Man! properly, I won't elucidate it on its own. It's title screams with desperate joy in a sense that it is making a statement that it hardly can be assure of. 5 Stars out of 4 "I went to Lindsay and said 'We've GOT IT! The title!" and he said with a snub, 'Well what is it?' David and I looked at each other with excitement and cheered, 'LUCKY MAN!' Lindsay raised his eyebrows and teared through his thoughts, until he whispered in our ears: 'O Lucky Man!' Then we all screamed 'Ah Yes!'" -- Malcolm McDowell Lindsay Anderson's O Lucky Man! is a special film. 3


Pia K (nl)

neton Seattlessa). ;) (Suom. . . Sopivaa katsottavaa yvuorojen jlkeen kun ei yll vsyt. Tavanomainen draaamakomedia