The Dirty Outlaws
The Dirty Outlaws, also known as Big Ripoff, King of the West and The Desperado (in original Italian, El desperado), is a 1967 Italian spaghetti western starring Chip Corman. An outlaw masquerades as a blind man's son in order to trick him into a cache of Gold. After a while he grows attached to the family and all goes well until the outlaws gang comes through town...
- Stars:Andrea Giordana, Rosemary Dexter, Franco Giornelli, Dana Ghia, Aldo Berti, Giovanni Petrucci, John Bartha, Giuseppe Castellano, Giorgio Gruden, Gianluigi Crescenzi, Sandro Serafini, Piero Lulli,
- Country:Italy, Spain
- Director:Franco Rossetti,
- Writer:Vincenzo Cerami, Ugo Guerra, Franco Rossetti, Elio Scardamaglia
The Dirty Outlaws, also known as Big Ripoff, King of the West and The Desperado (in original Italian, El desperado), is a 1967 Italian spaghetti western starring Chip Corman. An outlaw masquerades as a blind man's son in order to trick him into a cache of Gold. After a while he grows attached to the family and all goes well until the outlaws gang comes through town... . You can read more in Google, Youtube, Wiki
The Dirty Outlaws torrent reviews
(nl) wrote: 7 das en La Habana 
(it) wrote: Mon Pire Cauchemar : une situation improbable qui amne quelques sourires grce la performance des acteurs. Mais a tire en longueur pour finir sur quelque chose d'encore plus improbable. Mal ngoci.
(us) wrote: hmm.. people sharing the same faith nonchalantly make fun about each other.. what kind of world are we living right now?
(ca) wrote: It's good. Very sharp account of the rein of Ivan the Terrible (and his followers). Seems like a deja vu with a twist.
(ag) wrote: Any movie about singing is something I want to see :]
(ag) wrote: Best with V for Vendetta
(br) wrote: Nothing like the will of fire
(de) wrote: I always liked this one since it revisits Kirsty.
(au) wrote: Interesting. and a total classic adventure.
(nl) wrote: Una bella y triste historia de amor, con un final inesperado como me gustan...a pesar de lo viejita vale la pena verla
(fr) wrote: I think they did a pretty good job of bringing Mr. MAgoo to life, but they could've done something more to elicit more and better laughs.
(mx) wrote: Jim Jarmusch's great movie has taken on a new level of importance in the past decade. Not that it wasn't important upon it's initial release. It was. I skipped a day of school and drove my beat-up old Buick to Houston to see an afternoon screening. It felt so vital and new. This was my first Jamusch movie. And what a movie it was. There is a great difference in seeing this movie through the eyes of an 18 year old and the eyes of a thirty-something --- and an even greater difference viewing it thru the eyes of a fourth-something. Each viewing is rewarding, but age and the passing of time bring this simple, low-budget movie a far deeper level of meaning. Add in the aftermath of Katrina, this is an important portrait of a New Orleans long gone. John Lurie, Tom Waits and Roberto Benigni (before I found him annoying) are perfectly cast as fictional versions of themselves. Ellen Barkin shows up as well. This is a young Barkin who is already far more talented than her age would suggest. I remember thinking it funny as she tossed our poor Zack's possessions out the window of their grubby and yet impossibly cool apartment. In my thirties I was in pain for Tom Wait's character. He only has a few things and what she tosses out that window are priceless. The New Orleans we see was all too familiar to me in 1986. I was bored of South-east Texas and of Louisiana. I wanted out. Back then, New Orleans seemed dangerous and dirty. I knew Tom Waits as a cool singer/songwriter who had long been creating experimental twists on the blues and jazz. He had dumped Rickie Lee Jones and inspired her to create an entire iconic album. I didn't know who John Lurie was, but he seemed tough and cool. Benigni was a harmless clown. As these three "true" characters find themselves stuck in a jail cell the naturalistic charm and humor comes to full bloom. We follow them on a simple escape. Now fugitives, we see them argue, bond and joined together as outsiders. The film rambles it's way to an ending that is as satisfying as it is kind of sad and unsure. Jim Jarmusch is an essential filmmaker. Over the years his eccentricities sometimes veer far deeply into his "hipster cool" -- this, for me, remains his best cinematic moment. Somewhere in my mind, these three men are still sulking, joking and sliding through their lives. Lives that are far more meaningful that surface view allows.
(ca) wrote: Then boy-genius Orson Welles's first feature length motion picture (which he co-wrote, played the title role in, and directed) is a masterpiece of pioneering technical virtuosity -- a veritable 'Rosetta Stone of modern filmmaking' -- and it's still (and shall almost certainly remain) timelessly entertaining. So many great scenes and sequences -- the newsreel montage about Kane's life, Bernstein's (Everett Sloane) touching personal revelation about an innocuous moment from his life that he has never forgotten, a montage of Susan Alexander's (Dorothy Comingore) brief opera career, and on and on...and on. A solid mainstay in my Top 10 favourite films of all-time.
(de) wrote: "Skammen" ("Shame") is less famous than some other Ingmar Bergman classics, but it's among his finest work. One of many Bergman films shot on his home island of Faro (others include "Hour of the Wolf," "Persona," "Scenes from a Marriage" and "Through a Glass Darkly"), "Shame" is actually a war movie with a surprising amount of "action" by Bergman standards. Though it was reportedly plagued by budget problems, the parade of shell explosions, gnarled corpses and hulking military vehicles marks a film much splashier than the usual drawing-room character study.The casting is nothing new -- Bergman regulars Liv Ullman, Max Von Sydow and Gunnar Bjornstrand again dominate. Ullman and Von Sydow play Eva and Jan Rosenberg, two former classical musicians who have been married for several years. Their quiet life consists of puttering with domestic chores, selling homegrown berries and lazily sharing each other's company (for better or worse -- their erratic relationship often drops into ugly bickering). But their simple world is thrown into chaos when enemy planes suddenly buzz overhead, announcing a violent attack. Land troops soon follow, posing a dramatic threat to the couple's home and lifestyle. Though Eva and Jan are politically neutral, they are interrogated and taken prisoner by the invaders (who self-righteously label themselves "liberators"). The two veer in and out of danger as the destruction increases. Scared and bewildered, they struggle to be compliant with their captors, but the unstable Jan is tempted to join the madness. His deterioration is disturbing, and the film's unresolved ending offers no assurance of a secure future for anyone.The embattled country is never named (the enemy speaks the same language, suggesting an internal conflict), nor are the contentious issues ever mentioned. This is not a film about policy, but a more timeless story about war's toll on civilians.Sven Nykvist's cinematography is typically exquisite, capturing both intimate dialogue and wartime spectacle. "Shame" is among Bergman's last black-and-white films, and the poetry of Ullman's and Von Sydow's weary faces is compelling even without the story. Ambivalent Bergman fans should be forewarned, however -- the action slows down considerably with about 40 minutes to go, and returns to the bleak, tortured conversation that is his trademark.
(fr) wrote: Didn't like the animation and where the premise went. But I appreciate the attempt.
(mx) wrote: Herzog is very confusing if not misguided.
(es) wrote: AND WHY NOT THERE SHOULD BE LOTS AND LOTS MORE JUST SEX AND TO HECK WITH ALL THIS LOVE CRAP.