A team of oil workers board a flight home but their plane crashes into the remote Alaskan wilderness. Battling mortal injuries and merciless weather, the survivors have only a few days to escape the icy elements - and a vicious pack of rogue wolves on the hunt - before their time runs out. . You can read more in Google, Youtube, Wiki
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Howard E (kr) wrote: Who would have thought that a film that looks like a Woody Allen film, sounds like a Woody Allen film and even stars Woody Allen would not be made by Woody Allen? That's what John Turturro achieved with his vanity project, FADING GIGOLO. (To be fair, Herbert Ross directed PLAY IT AGAIN, SAM.)Murray (Allen) runs a New York shop that sells rare books. Like many independent businesses, his has reached the end of the line and is closing down. When his dermatologist mentions to him that she would like to have a three-way with her BFF and someone else, she asks Murray if he knows anyone who would be interested. He immediately thinks of his long-time friend and former mentee, mild-mannered florist Fioravante (Turturro). Both could use the cash and so begins the adventures of "Dan Bongo" and "Virgil Howard", pimp and whore, bringing magic to New York's rich and lonely. Along the way, Murray meets the emotionally repressed Avigal (Vanessa Paradis), a young Hasidic (Satmar, to be exact) widow from Brooklyn's Williamsburg district. Murray senses that Avigal could use a bit of sexual healing and he arranges for her to meet with Fioravante. However, no one expected the two would develop feelings for each other.What starts out as a film about a mnage ends up being a film about a massage... and that's a good thing. FADING GIGOLO wouldn't have been a very believable sex comedy. After all, would women as hot as Sharon Stone and Sofia Vergara really need to pay for sex, let alone have it with someone as vanilla as John Turturro? Instead, this is a film about change and connecting with others. The very tender scene where Fioravante touches Avigal for the first time plays perfectly. Of course, she is going to react the way she does. She hasn't been touched at all in at least two years and has probably never been touched in that way before. It's a beautiful scene.Turturro has said in many interviews that Allen helped him craft the script over a two-year period and it shows. Many of Murray's one-liners are classic Allen. In one scene where Murray is playing baseball with his African-American girlfriend's street-smart kids and Jewish Avigal's cloistered kids - a premise that is funny enough on its own - the kids want to team up based on racial lines. Murray nixes that plan saying, "This is why fascism gets a toe hold all the time." The soundtrack of retro jazz and Latino songs also seems very Allenesque, though Turturro has said that this is music that he himself loves listening to.It's clear that Turturro has also learned a thing or two over the years about being behind the camera. The movie is shot on film, rather than in digital, which is the more common format these days. The images created from using film soften the actors' faces and add warmth to the outdoor scenery. Turturro is well aware of camera angles too. In the scene where he and Selima (Vergara) meet for the first time, the camera is positioned between her incredibly fierce stilettos, pointing up at Fioravante. He looks like a gunslinger who is facing down his equally fierce opponent. Instead of guns, the two shoot it out with words and punctuation.The film also benefits from a strong supporting performance from Liev Shreiber (in addition to both Stone and Vergara), who plays Dovi, Avigal's neighbourhood civilian patrolman and her would-be suitor if she would only let him into her heart. Dovi knows that something unkosher is going on between Avigal, Murray and Fioravante but, because of his religious upbringing, he can't quite figure out what it is. The scene where he and his friends kidnap Murray to take him to a religious tribunal seems right at home in an early Allen film.FADING GIGOLO is a thoroughly enjoyable film. (Yes, I've read a few other reviews and I disagree with them.) If you love Woody Allen and John Turturro, you will love this film too. And, if you're Jewish, you will be plotzing at the scenes in Brooklyn!
Frank G (it) wrote: clunky script, some leaden voice performances. OK, but not charming.
Juan B (es) wrote: La magia de una historia simple mostrando la complejidad de la vida diaria, hermosa!
m w (fr) wrote: Been trying to watch this for what seems like forever. The obvious comparison to make with this is to "super" and to be honest super was better. Actually this is like super mixed with fight club in a way but not quite add good as either somehow. It definitely had its moments and a lot off likable characters. Has a real Indie feel, sound track can be distracting, same with the hand held camera shots. Overall i feel very comfortable giving the movie a solid 8 out of 10.
James C (de) wrote: There are worse ways to catch up on the history you slept through at school. Robert Carlyle owns this role.
Michael G (ru) wrote: What the hell is this? This is terrible and possibly the worst entry in series plus the plot made no damn sense.
Slavica K (nl) wrote: meni je film tako fenomenalan. ako itko ima dvd, vhs ovog filma kupujem!!!
Alex S (ru) wrote: It's dark and suspenseful and Peter Jackson somehow finds a way to mix original special effects in, but Heavenly Creatures feels long and its overacting is a detriment to its demented true story
Randy T (gb) wrote: I suspect that the writers and the director (Joseph Mankiewicz) would be better suited for comedic endeavors than serious, dramatic westerns. This is one picture that is far too light-hearted to be taken seriously. Even the violence, and there is lots of it, seems slapstick and frivolous. It's a shame that such a great cast was wasted on shallow, forgettable material.
Ethan P (mx) wrote: Hiroshima Mon Amour is a ridiculously handsome film. The actors are good-looking, the sets are intricate and the intimate scenes between the two leads are amazing, some of the best I've ever seen. The snow and dust falling on their skin, but not showing their faces. It was very inventive. As for the story, it's intricate and a little confusing. There are montages of the destruction of Hiroshima at the beginning and flashbacks to the lead actress going mad after her German lover is beaten and the plot isn't all that compelling. The cinematography and the chemistry between the two actors is remarkable, though.
Jo Y (gb) wrote: Montalban is a good actor
Jack W (de) wrote: What do you do when you start watching a film and you realize it isn't that good? Even with a classic film it sometimes is hard to push through and view the entire thing. This is the case with SYLVIA SCARLETT (George Cukor, RKO Pictures, 1935) as the film was particularly hard to follow narratively, the performances were scattered and the film is just old enough that stylistically it doesn't compare favorably with other films made shortly after in the years to follow. The film does have Cary Grant and Katherine Hepburn as it's two stars though, the first of four films pairing these two greats. And while the two of them are often great, this film doesn't offer many times for these two to shine. There is one thing the film does very well, particularly looking back almost eighty years since its release. I am not sure if it is the persona of Hepburn that determines the role of Sylvia or if the script dictated her portrayal. But the wholehearted attack on gender roles and sexuality this film takes is amazing. This attack is multifaceted and takes on many aspects. Let me begin with Hepburn.The most obvious physical change would of course be her hair and makeup. She goes under a radical transformation in cutting her hair entirely in a men's fashion. The makeup applied to her in the role is done well and contributes to her deceptively being very boyish. Her costuming helps as well and this is no doubt aided by her slender figure. The most striking aspect of Hepburn in this role is her movement. She moves just like a man does, totally different from all the other women in the film. All the tricks of hair and makeup are great but it's the movement that makes her convincing. And this effective portrayal of a man blurs the gender lines in the film.Also blurring things is an underlying tone of sexuality to the film, particularly one of homosexuality. I counted three instances of same sex kissing, unheard of in classical Hollywood studio era films. What further muddles this same sex kissing is the pairings. Maudie (Dennie Moore) kisses Sylvia but Sylvia has a penciled mustache. The audience knows its girl kissing girl but the mustache and dress alters the landscape. Next Michael (Brian Aherne) kisses Sylvester. Definitely not a heterosexual moment but allowable because the audience knows Sylvester really is a girl. Finally when Sylvia reveals herself she is kissed by Lily (Natalie Paley). Again, girl kissing girl but the manner of the kiss and it's particular moment in the narrative make it allowable. (Lily is forgiving Sylvia for an earlier slight) Lily of course has the line of the film, cementing this blurring of genders. When meeting Sylvia she coyly states "were you a girl dressed as a boy or are you a boy dressed as a girl"? This statement of confusion sums up exactly what the film is saying. Sylvia is blurring gender lines and the audience is supposed to buy into whichever role Hepburn is playing at the time. The film entirely belongs to Hepburn and her performance is strong.The film is not good and is rather tedious to watch. But there are some fantastic moments within and the undertones that are broached are remarkable. And of course you get Grant and Hepburn.
Karsh D (jp) wrote: Different style of gangster films, here it gives the Romanian Mafia the limelight.
William M (ca) wrote: This does in one film what it took the Fast and Furious franchise 5 films to become. It's just a victim of the audience not needing a film of its kind at the time but it is a fun throwback to grandiose action with a fun (only now) nostalgic angle at the cyber hacking genre. And the cast is so fun. And any Halle Berry fan MUST watch this film.
Marah R (br) wrote: Truly emotional story inspired by the true events of a war survivor. Nicole Kidman gives a great performance unlike her costar Colin Ferth, who was expected to give more as he is the lead of the story.