Severed Ways: The Norse Discovery of America

Severed Ways: The Norse Discovery of America

On the coast of North America in AD 1007, two Norsemen are stranded when their expedition is attacked and they are left for dead. As they struggle to survive in the vast forests of the New ...

On the coast of North America in AD 1007, two Norsemen are stranded when their expedition is attacked and they are left for dead. As they struggle to survive in the vast forests of the New ... . You can read more in Google, Youtube, Wiki

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Severed Ways: The Norse Discovery of America torrent reviews

Simon C (fr) wrote: Tony Todd owes me 86 minutes.

Ted N (de) wrote: This is one ultra-violent movie, typical of a Martin Scorcese gangster film. Strangely, the brutal violence is somehow balanced by the "normal world" scenes with Ray Liotta, who plays an FBI agent. Asian actors usually don't wow me with their acting performances, but Eugenia Yuan's portrayal of "Snake Head Mama" made me want to rewatch this one scene with Liotta's character a few times. Moviegoers may not like it too much, but Revenge Of The Green Dragons is a thought-provoking and disturbing look into gang culture and human trafficking, and, like Goodfellas and The Departed, the movie is based on true events.

Naveed A (gb) wrote: ahhh now i find out something I dont like about the RT feedback and rating system - - when you 'star' a film it makes you 'LIKE' the page on facebook. urrrgh. ahhh yeah this film - I liked it, what else is there to say apart from the badger scene although bizarre actually worked well.

Manu G (fr) wrote: If you take the ride, you must pay the price.Good but not so great. Cadillac Records is narrated by songwriter Willie Dixon played by Cedric the Entertainer. The film needs a narrator to compensate for the lack of a strong story arc. Nonetheless, Cadillac Records is worth seeing for the music and the recreation of a bygone era. Just don't expect any drama that will knock your socks off! In this tale of sex, violence, race, and rock and roll in 1950s Chicago, "Cadillac Records" follows the exciting but turbulent lives of some of America's musical legends, including Muddy Waters, Leonard Chess, Little Walter, Howlin' Wolf, Etta James and Chuck Berry.

Corey C (ca) wrote: REAL and Raw. Reminicent Of City Of God

bill s (de) wrote: Always thought Chris Farley was more than a tad overrated as a comedian....and this so-so offering is his best work,Oh Brother.

Reece L (ca) wrote: A thoroughly ridiculous and absolutely hilarious satire of Hollwood's vapid tendencies and the misogynostic stereotypes that women have had to endure in countless "women's pictures" over the years, Death Becomes Her remains a staple in the gay community for good reason; you'd be hard pressed to find a campier film that doesn't completely collapse in on itself.Note: It also contains one of Meryl Streep's best performances, which is obviously a weighty claim given her career. The woman can really do it all.

August C (nl) wrote: Juice 3 Out of 5 StarsFour inner city friends get caught up in a robbery gone wrong while in the pursuit of "juice", a term used for street credit and power. Stripped down to its bare essence, Juice is a heist gone wring film. The difference here is that it??s layered social commentary that still can be considered relevant twenty five years later. This film has a fairly large cult following and its easy to see why. Its gritty, atmospheric and shockingly real at times while delivering a strong entertaining narrative.Juice really does a good job at portraying the survival struggles of urban black youth adrift. Most of the scenes early on make a point to feature the crowded school halls or city streets. The nameless masses looking for the same thing and the rival groups who are willing to take whatever means neccesary to get ahead. It really makes you feel like these friends have banded together not just out companionships but for the necessity of survival, an element of there bond that comes into play later on.The real pride of this movie though is Epps and Shakur on screen chemistry. They both play opposite ends of the same spectrum. Shakur does a phenomenal job as the antagonist as its almost chilling watching his increasingly selfish choices escalate.I recommend this film, there??s a lot of good going for it and while it may not be as poignant or as polished as other films in the genre, it stands well on its own as a gripping thriller. The third and fourth act does gets a bit off track thematically in my opinion, but its a minor qualm.

Naische F (au) wrote: Nice little light action comedy from Blake Edwards. This is Bruce Willis just before Die Hard! Willis plays Hollywood early western actor Tom Mix and James "Rockford" Garner plays Wyatt Earp - no joke! The two team up on a movie then it gets weird as they go out together on a murder case! Nice villain played by Malcolm McDowell and there's a classic fight between Willis and Vernon Wells (that Aussie guy who was the villain in Arnie's Commando)! Recommended if you're a fan of Willis' Jon McClane and Garner's Jim Rockford.

girlybat h (mx) wrote: sometimes i find it hard to watch unlikable characters, but was told that this is one you had to stick with 'til the end. that sure was the truth. a good lesson in what hatred and bigotry can get ya.

ashton H (es) wrote: i love any elvis movie. i'm 20 and i have been a fan of his sicne i was 9 and anyone who say elvis does not sing good or act good i thank they are stupied

Edith N (ru) wrote: More Meandering I think the problem is that all the movies have basically the same plot, inasmuch as there is a plot here at all. I've now seen three of them--that's half, as it happens--and while the setting varies, the basic idea doesn't. Whether it's a quiet seaside resort, the expanses of suburbia, or modern and modernistic Paris, they're all basically the same movie. What's more, this one is two and a half hours long, and I really think that's too long. I probably could have trimmed an hour. The dialogue of these movies never is terribly important, but I couldn't hear it anyway. This was not a problem when the characters were all speaking French, as the disc helpfully provided me with subtitles automatically. However, this movie features a large number of Americans, meaning a fair amount of the movie is in English. I didn't catch most of it. Once again, we are watching M. Hulot (Jacques Tati) wander through a modernized landscape he does not understand. This time, he has arrived in Paris on what appears to be business, and he was clearly the wrong person to send. He gets lost looking for the man he is intended to see. He encounters a couple of old army buddies. He gets lost in what may be the first cube farm in French cinema--though I feel sure there must have been at least one earlier in an American film somewhere, even if most of what we'd seen before then was just seas of desks. There is much whimsy to be had with French architecture--aside from a few glances of the Eiffel Tower, all the buildings we see were probably described by architects as "exciting" when they were built. He ends up going out to a nightclub with one of those old army buddies, and there is whimsy there. Actually, he rather seems to find his place, which is surprising in a Hulot picture. Even more surprising is that the film seems to end on a note of hope. I'm not going to give spoiler alerts here, because that would indicated that I completely understood the plot myself. Anyway, what I have to say isn't plot-related. When I wrote about [i]Corpse Bride[/i], I talked about how the land of the dead is more colourful than the land of the living. The landscape M. Hulot wanders through here is filmed in colour, but in practical terms, it's mostly grey. However, in the last scene, we start to see colour. It seems, to me at least, to be telling us that there is more to life than just the stark, modern buildings. At last, there are people having a genuinely good time, people enjoying the city. They are not trapped in those boxy, glass-and-steel towers. They are out on the streets of Paris in taxis and scooters and sports cars, and there is joy. Maybe it's too late for M. Hulot to find it, though I suspect he has begun to, but there is definitely time for the young people of Paris. The Criterion release comes with an introduction by Terry Jones, making this the second Weird Damn French Film that I've seen with a Python named Terry introducing it. Terry J. talks about seeing the movie on the big screen; it was filmed in 70 mm. It's certainly true, as he says, that the background is swarming with details that basically don't matter to the larger film but that keep the eye interested. I will admit that I wasn't paying a ton of attention to the movie, but whenever I looked up, there was what was going on in the foreground and what was going on in the background. Tati built an enormous set for the film, and he seems to have used every inch of it. Terry J. seems much more into the film than I got, but I still did like it better than the three-hour movie about mimes that Terry Gilliam did an introduction for, so there's that. In a nutshell, Tati doesn't much appear to be my thing. So far, my favourite of his films is the one that wasn't actually made until nearly thirty years after his death--and then, it was animated. The pictures are, so far as I can tell, mostly just quiet condemnations of modernism that aren't much interested in discussing what might be worthwhile about it. It appears that, so far as Tati was concerned, essentially nothing was. I admit that it's hard to stick up for cube farms and all those glass doors and so forth. The pretentious restaurant, aside from going on as a scene for far too long, doesn't look like the kind of place where you'd really enjoy eating. I admit all that freely. However, he might have seen things differently if he'd considered modernism from the perspective of, say, one of the young women. She actually had the choice of going to Paris alone, after all.

Derek W (gb) wrote: Featuring an impressive performance by gangster film icon James Cagney, "Angels" is a suspenseful masterpiece, with a powerful final act.

mobius f (fr) wrote: Got to admit, didn't watch it all the way through (got about 3/4 though). The film is so badly written. The shark changes size several times, can swim right up to the beach without beaching itself, but is seen later as being a Jaws-size monster, doesn't kill for food (there's an entire whale carcass 500m away the whole time that it ignores), it's just randomly killing. Can somehow bit people in half like they'd been slices with a chainsaw, yet we see later a person getting entirely swallowed. The "medical student" main character seems to fail completely to understand anything about how to treat her wounds. She repeatedly makes choices that no sane person would make, even before the shark attack (like going to a beach she doesn't know the name of, not telling anyone where it is, not bothering to look it up, not arranging a pickup, getting a lift off a total stranger to aforementioned 'secret' beach, surfing in unknown waters alone, etc. etc.) If this was made in the 80's, and Jaws didn't exist, it might have been a three star film. For a 2016 film, it's appallingly bad. It's very nicely filmed though, and the acting is pretty good.

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