SnakeHead Swamp

SnakeHead Swamp

A horrifying hybrid of genetic science and nature has taken over the Louisiana bayou, leaving terror in its wake! In the heat of the summer, what began as an day of boating and bikinis changes drastically when a school of genetically enhanced snakehead fish finds their way into Black Briar Swamp.

Terror strikes when a swarm of Snakehead fish invade the Louisiana swamp land. . You can read more in Google, Youtube, Wiki

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SnakeHead Swamp torrent reviews

Simon E (fr) wrote: Curious tale of super powered children with tim burtons usual flair of the weird and macabre. A bit slow to get going but with engaging characters and some nice fx it was an enjoyable watch

Jeffrey N (it) wrote: An epic failure of a movie that spends too much time on two moderately appealing characters and never expands on 4 other equally-as-interesting characters. Formulaic for about 95% of the movie, I spent most of my time wondering why it seemed so conceptually similar to When Harry Met Sally, yet was centered around babies. Then, with 10 crucial minutes left to wrap up a story that, if continuing with the formula, had a very predictable ending, yet if it strayed from the formula, it was going to happen very quickly and would ultimately ruin the movie. Somehow, this movie did both. This was a long hour and forty minutes. And the depth just wasn't there. On one hand, it seemed like Jon Hamm life partner, Jennifer Westfeldt, was constructing a sweet film about friends who fall in love, but then on the other, she reduced it to a very shallow and empty story. Such a waste of an incredible cast.

Christopher B (br) wrote: Slightly above average Seagal flick. The true stars here are the birds and their maneuvers.

Kevin F (nl) wrote: One of the worst movies that I've ever seen. Kept me from seeing another film in the theaters for quite awhile.

Niloo R (ru) wrote: this film's biggest problem was that it wasn't developed much beyond a tagline - a guy who wants to kill himself looks around for someone to burry his body. there's really little beyond that revealed in the film. maybe the filmmaker knew a lot about the character that he didn't reveal, but to me it looked lazy and pretentious enough to mask its laziness as profundity. what a lot of "art-house" filmmakers don't realize is that there is a huge difference between making an audience work for a satisfying ending and flat-out denying them one. people watch movies because they love stories, because they want to feel something and maybe shed a little light on their own complicated lives. being "profound" just for the sake of being profound, without any message really doesn't do much except waste everyone's time. people learn and feel and let themselves be affected by movies because they connect to the characters - and this film didn't have any. it's protagonist had no personality and no conflict - and even if he did, we had no idea what it was and therefore didn't care. the script felt very amateur, as if written by a film student who wants to be profound and make sweeping comments about the world, but doesn't know the first thing about human emotion or even telling a story for that matter. and for all its pretence of artisiness the film resorted to a cheap cliffhanger to force emotion out of its audience. even the film's visual style was horrible - the shots were long and redundant (there was very little editing skill involved) and literally 75% of the film was just a long shot of a car driving through a desert - not very entertaining cinema. this movie is the epitome of the empty art-film which doesn't actually have anything to say and tries to suck all the entertainment out of film to make it into "art" and it makes me mad. art and entertainment don't have to be mutually exclusive - and true art never is.

sianmarie h (ru) wrote: good sequal after no'2

aiden t (gb) wrote: Oliver Stone's sympathy for the Vietnam veterans really shows. This film really opens your eyes to what our boys go through when they come home.

jen m (ru) wrote: even though the relationship between jonathan and ellen (skip's mom) was extremely strange, the film was still highly enjoyable! i love all of the guys' characters, but roscoe was definitely my favourite! <3

Erik H (br) wrote: Most untouchable killer teens film study. They kill! They maim! They're obstinate! They sell drugs! Sadly, nothing can be done, ever, except by Man Zero, Mr. Norris. Nothing makes any sense, it's all schlock, but the ending is very satisfying. Strange Michael J. Fox role too.

Waynewv37 W (ru) wrote: I remember this film. My Brother was in KC when they filmed it and got meet Lee Marvin. Our only brush with greatness.

Cameren L (au) wrote: Stop #384 on my trip through the 1001 Movies You Must See Before You Die list was a dark, quirky delight.(Other recent stops on the 1001 list: Masculin Feminin, The Gold Rush, Bring Me The Head of Alfredo GarciaTentative list of soon-to-be-seen 1001's: Cyclo, Stalag 17, Modern Times, Eyes Wide Shut)

Alan W (gb) wrote: Made over 50 years ago and on a pretty tight budget, this is not as bad or cheesy as I thought it would be. The acting may be uneven and occasionally stiff (the real Daily Express editor playing the fictional Express editor looks like he was reading rather than acting), and McKern is lumbered with the role of Basil Exposition, but the script has its moments, the dialogue is witty, sometimes risqu and flirtatious and carries a message that is still relevant today. The use of news and real footage is clever enough to counter some of the more out of date and wonky special effects. Location shots (one in Trafalgar Square is particularly impressive) serve the film well, especially in terms of its authenticity and I cannot deny my fascination in seeing the real London in the 60s in the background (that is until the new print does such a good job that it looks obviously a painted backdrop). Fun and not as frivolous as I expected - with a nice touch of an ending that is fashionably ambiguous and thought-provoking.

Lucas A (fr) wrote: Saw this on Hammer's YouTube channel. The plot of this movie kinda remind me of 1935's Mad Love with Peter Lorre, but done in an interesting and well-written way. Terence Fisher once again proves that he's the only British director I can think of who can turn a solid story into a good movie.