A family living on a farm finds mysterious crop circles in their fields which suggests something more frightening to come.

A thriller is set in Bucks County, Signs focuses on the mysterious appearance of a five hundred meter design of circles and lines carved into the crops of the family farm. Graham Hess is the family patriarch who is tested in his journey to find the truth behind the mysterious happening. . You can read more in Google, Youtube, Wiki


Signs torrent reviews

Kong K (it) wrote: History. raw, ugly, in your face. Sadly we can't be sure it won't be repeated.

James H (fr) wrote: Not exactly the best possession/exorcism movie out there, although it did have some creepy scenes.

Swayam B (mx) wrote: Moving...So moving...This movie is going to be in my all time favorites. It's the origisource of the Bollywood movie "Citylights" and so much inspiration that Sean Eilis...the director of theis fick has written creatively for Citylights. The emotions are to the core but they don't disturb the movie's pace which is fast. Superbly edited..this movie is nothing less than a classic marvel. Go for it...and you'll take it in your heart. Must Must Must Watch !!

Bill R (jp) wrote: second film i have seen by antonio campos. thrilling, polarizing and unforgettable character study.

Caitlin M (ag) wrote: This film is really unusual, but I did enjoy it! It explores heavy subject matter; cancer, mental illness, and death. But Agrelo did a beautiful job expressing these controversial topics, with a mixture of saccharine scenes and melancholy motives. This movie does have a lot of symbolism and not nearly as many lines in the script. I think that's why some people may find it to drag on. But I think it portrayed just how awkward people really are sometimes, and how much such things as sickness and death can truly change people. Sometimes even permanently. I thought Jessica Alba did pretty well, definitely different from other roles she played, but that's refreshing in my opinion. I really liked the part about the ax, I thought the meaning behind it was spot on!

Eldin B (us) wrote: "It always fascinated me how people go from loving you madly to nothing at all, nothing. It hurts so much. When I feel someone is going to leave me, I have a tendency to break up first before I get to hear the whole thing. Here it is. One more, one less. Another wasted love story. I really love this one. When I think that its over, that I'll never see him again like this... well yes, I'll bump into him, we'll meet our new boyfriend and girlfriend, act as if we had never been together, then we'll slowly think of each other less and less until we forget each other completely. Almost. Always the same for me. Break up, break down. Drunk up, fool around. Meet one guy, then another, fuck around. Forget the one and only. Then after a few months of total emptiness start again to look for true love, desperately look everywhere and after two years of loneliness meet a new love and swear it is the one, until that one is gone as well. There's a moment in life where you can't recover any more from another break-up. And even if this person bugs you sixty percent of the time, well you still can't live without him. And even if he wakes you up every day by sneezing right in your face, well you love his sneezes more than anyone else's kisses."

Tim M (mx) wrote: really neat little short film

Carol L (us) wrote: Esta me encanto! La historia super bien contada.Bellisima :)

Susan G (ca) wrote: Love this movie. District 9 type feel; with the monster (or alien, in District 9) seeming to represent humankind's self-created Satan.

Jayne E (ag) wrote: Should Have Been Jason Donovan!

Jackson S (ca) wrote: Who are these people?

Tsubaki S (fr) wrote: A western/greek tragedy directed in an almost hallucinatory style by Castellari. With a plague-infected town that gives the film a very apocalyptic atmosphere. Featuring one of the most unique soundtracks for any western, or movie for that matter, that i have ever heard, with a crazy banshee woman and some guy with a weird voice narrating in the songs. Like a greek chorus telling you the story. Is the complete opposite of your usual spaguetti western soundtrack. Make no mistake, it fits the movie perfectly, even if you're not fan of the soundtrack, you won't think of any other music that could suit better this film. I love it, but then again, i have weird taste in music. Keoma has a truly solid cast that features William Berger, Woody Strode, and Franco Nero sporting on of the most badass beards this side of Kurt Rusell's The Thing. A bunch of italian regulars form a well balanced and colorful cast. While the story goes into some familiar territory it remains always engaging and fascinating. Hard to believe that the whole thing was being improvised, one page per day. That the entire cast and crew collaborated to the story gives this a different vibe, and you can really tell that everyone from Nero to the extras are really into it. Keoma is a fantastic way to close the italo-western era, a movie that deserves a page in movie history.

Edith N (fr) wrote: Even Holly Golightly Only Got Fifty Bucks for the Powder Room It was kind of hard doing a certain kind of crime drama during the era of the Code. It isn't even just the whole thing about how you couldn't have the criminals as good guys and how Crime Does Not Pay. It was also the case, in the days of the Code, that certain crimes were forbidden material for Hollywood films. In the case of this particular story, a fictionalization of the downfall of Lucky Luciano, the problem is that Luciano was convicted of running a major prostitution ring. Thomas Dewey, best known for not defeating Harry Truman for President in 1948, made a fine hero, but the problem was that his witnesses were guilty of crimes you couldn't actually portray onscreen in 1937. This means that there's a lot of talking around, not to mention putting in crimes which you can talk about which are often inevitable consequences of any kind of organized crime. It also, however, means that the reason these "hostesses" are given hundred-dollar bills by random strangers is left a little vague. Bette Davis is Mary Dwight Strauber, though she just calls herself Mary Dwight. She works as a "hostess" in the nightclub of the notorious Johnny Vanning (Eduardo Ciannelli). Vanning runs what is called a "clip joint," a place where people are ludicrously overcharged for food and drink, often lured to it by hostesses promising what's not on the menu. One night, Ralph Krawford (Damian O'Flynn) writes a bad check to cover his debts. Mary takes pity on him, but it's too late. Johnny has his men kill Krawford. That gets Crusading Attorney David Graham (Humphrey Bogart) involved. He wants to prosecute Johnny, and he wants it bad. But Mary knows that there's no life out there for a "hostess" who turned in her employer, so she essentially throws her testimony. Only the whole thing means her sister, Betty (Jane Bryan), finds out what Mary does for a living, and what with one thing and another, Betty ends up at a party where she's hopelessly out of her depth, gets into a fight about what, exactly, she should be doing for that hundred-dollar bill, and takes a tumble down a flight of stairs. Mary is, in fact, the marked woman of the title. After her sister disappears, last seen at one of Johnny's parties, she goes to David Graham for help. Johnny, as you might figure, does not take this well. He doesn't dirty his hands himself; he doesn't ever dirty his hands himself. However, he has his men beat Mary half to death--and then cut an X into her face to show that she double-crossed Johnny Vanning and paid the penalty. It's pretty grim stuff, and Davis handles the part well. Better, indeed, than the studio wanted. This was before the days when the easiest way to an Oscar was to tone down the glamour. (Though the winners that year weren't far gone from that theory.) They wanted the bandages to be small and discreet, nothing which would detract from the beauty of their star. Bette Davis knew they were missing the point, and she insisted her doctor put the bandages on her that he would a woman who had suffered what Mary did--and then insisted that she be filmed wearing them. This was an unusual role for Bogart, of course--he played the good guy. Well enough; don't get me wrong. Bogart may have excelled at the heavy, but he didn't exactly always play villains. However, if you were to describe the plot of this to someone who knew old movies in general but not this one in particular, they would most likely assume that Bogart played Johnny Vanning. He and Bette Davis actually made several movies together, including of course his breakout role in [i]The Petrified Forest[/i], but they were mostly before he was a major star. It might also be surprising to people to learn that, therefore, he's really playing second fiddle at best. A later Bogart movie would probably involve the Crusading Attorney's being the main character, and he simply isn't here. Arguably, he is just a tool for Mary's use, by the end of things, and that's not what modern audiences expect of Bogart. One of the reasons the women accept the life they lead is that they know there aren't a whole lot of options out there for them. Mary has hidden her life from her sister. She is sending Betty to school, though she doesn't ever say so, because she wants Betty to be part of a better world than Mary ever will. It isn't even just the prospect of a rich husband--definitely never mentioned but almost certainly considered by Mary, if not Betty. It is also that education is its own power. If Mary finished high school, it's probably more than Emmy Lou (Isabel Jewell) did. If David Graham is Mary's tool, it is no less true that Mary and the others are his. What's more, he is the one who decides when the tool's use is over. He does consider a future for Mary, though he'd have to choose between her and politics, I think, but he does not consider one for the other women. Whatever fate they go to, they go to it alone.

Andrew S (fr) wrote: This Disney classic is the reason I began to pursue the idea of becoming an artist! Although it does not quite match the quality of "Mary Poppins", (the film from which many of the creative minds were reunited) "Bedknobs and Broomsticks" comes very close with excellent effects, songs, creativity, and the impeccable chemistry between David Tomlinson and Angela Lansbury. Need I say more? I can remember being four years old and being so uplifted by the final sequence when the suits of armor from a London Historical museum that I just had to try and capture it on paper. I have been drawing diligently ever since. All I can really say about the film is that I love watching it, and my gratitude for all it has done for me will never cease.

Jason S (ru) wrote: This strange cross of giant monster and handy cam footage worked incredibly well. It's a thrilling disaster film.

Carlos G (es) wrote: Top 10 2000's comedy classic for sure. Bit of dragging in middle but Bradley cooper saves it there.

Kyle M (jp) wrote: Malkovich's good, but nasty and a little of a threat to this thriller by one unnecessary plot point that was too violent. Next to him in really good performances is Eastwood, both following director Wolfgang Peterson's direction that was taut with some smarts. (B+)(Full review coming soon)