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The Texas Chainsaw Massacre

The Texas Chainsaw Massacre

After picking up a traumatized young hitchhiker, five friends find themselves stalked and hunted by a deformed chainsaw-wielding killer and his family of equally psychopathic killers.

Five young people, including Sally, Franklin, Jerry, Kirk and Pam, are on their way to investigate reports of grave robbing. A hitchhiker suddenly appears and want to pass by. They pick him up but he use a pocket-knife to demand money from them. They force him out and drive to the local resident but unfortunately fall into a hole of psycho killers. . You can read more in Google, Youtube, Wiki

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The Texas Chainsaw Massacre torrent reviews

Signe P (nl) wrote: Ahahahaha. I enjoyed every moment.

Tonnetta D (us) wrote: This was like a great love story.

David L (mx) wrote: Mimic does have some similar themes to other genre films, it is tonally uneven and the characters and acting are really forgettable, but this is still an underappreciated movie as it has its strengths, mainly the authentic creature design, very entertaining action sequences and overall a solid plot and atmosphere. It is a flawed, but still a fun and memorable experience.

Kimberly L (ru) wrote: A realistic love story, about how life can make things very complicated.

Richard M (nl) wrote: I heart Chomsky. I loved the 10 year interview in the extras on the DVD release.

Maria P (ru) wrote: Another fantastic Spike Lee joint. And what a cast!

Frank P (ru) wrote: Eccentric, innovative, and recklessly enjoyable. Enough has already been said about the film's astonishing beauty, but I shall emphasize that the climatic Passion play completely dwarfs Mel Gibson's cartoons. If you like Medieval music, then you will love Perceval.

Kim S (au) wrote: It was embarassing. Don't waste your time unless you're looking for a film to mock like Mystery Science Theatre 3000.

Mitts 2 (au) wrote: Slow-paced and beautifully shot, this movie gives the viewer their own sense of inner peace and tranquility as they follow Siddhartha on his quest. The shots are long and there is very little action, so those that have short attention spans should stay clear of this one.

Vivian G (kr) wrote: I like this movie and I was like wow she stud up to her mom. For some reason I was wondering why she didn't noticed that William Williams was so into her and loved her. When he was right under her nose.

Chucky (jp) wrote: December 8th 2009, December 15th 2010December 19th-20th 2012December 20th 2013December 22nd 2014December 16th 2015December 24th 2016

Joseph W (it) wrote: Pretty awkward premise, but enjoyable 90s haze.

Mark W (mx) wrote: Around the time of Wild At Heart's release, David Lynch was already enjoying an abundance of praise for his cult TV show Twin Peaks. However, this time he was working on an adaptation from another writer's work. The last time Lynch attempted to do this (Frank Herbert's Dune), the results were catastrophic. That said, Barry Gifford's source material is far more suited to Lynch's style. This may be a more linear film than most Lynch fans expected but it's one of his more accessible offerings while still maintaining his talent for the weird and the offbeat.Sailor Ripley (Nicolas Cage) and Lula Fortune (Laura Dern) are young lovers fleeing south from Lula's vengeful mother Marietta (Diane Ladd). In a fit of rage, Marietta is determined to prevent the two from seeing each other and employs the services of a P.I and hitmen to track them down.Some may (and do) claim that this is not Lynch's strongest output. I'm not about to split hairs on that particular opinion but there are some obvious reasons for this. For a start, Lynch has already got some solid films on his resum and, as mentioned earlier, the original material is not his own. He also attempts something a bit different from his norm. For the most part, he abandons his surrealist, claustrophobic narrative for something more open and approachable: a road movie with numerous different characters and motivations.It isn't entirely what we have come to know and love about a Lynchian experience but he still manages to imbue it with some colourful dialogue and showcases his idiosyncratic knack for oddball characters which provides great fodder for an eclectic cast of strong performers: A lot has been said about the downfall of Nicolas Cage's career in recent times but it can often be overlooked just how good he was in the 80's and 90's and he's rarely been better than he is here. It's a very energetic performance and he plays it at just the right note whereby he's both funny and dangerous - not to mention the Elvis impersonations and the love he has for his snake skin jacket which "represents his individuality and belief in personal freedom"; Laura Dern is no less his equal as she captures the hyperactivity and naivet of an infatuated teenager - even if she is slightly too old for the role; Diane Ladd is simply wonderful (and deservedly Oscar nominated) as the bitter and spiteful Marietta that will stop at nothing in achieving her vengeance and retribution on Sailor. It's a film filled with eccentric characters and the supporting ones are just as memorable: there's cousin Dell (Crispin Glover) who has a thing about Christmas and putting cockroaches in his underpants; Marcelles Santos (J.E. Freeman) the menacing hitman with a wicked sense of humour and real threatening conviction and Private Detective Johnny Farragut (Harry Dean Stanton) as the gentle heart of the film. You could also mention a brief and suitably odd Jack Nance or Sherilyn Fenn as a random car crash victim who deliriously worries about her purse while picking at the fatal wound in her head. It doesn't even have to be a prominent character, sometimes it's just a name; Uncle Pooch, Bob Ray Lemon and the enigmatic criminal kingpin, Mr. Reindeer - a character that wouldn't look out of place in a Quentin Tarantino story. There's so many vibrant characters that it's difficult to name them all but the best of the sordid bunch is when the lovebirds reach Texas and arrive at the town of Big Tuna and meet Willem Dafoe's incredibly creepy, Bobby Peru. If there's any comparison to the dark characters that inhabit Lynch's world then Blue Velvet's Frank Booth is probably the only one that can compare to Peru and his downright nastiness.The narrative itself is a dark and twisted delight; Lynch has always claimed the film to be a love story between Elvis Presley and Marilyn Monroe as they travel through the land of Oz and Lynch makes constant references throughout the film. Some work and others don't but there's no denying his inventive approach to the material.As much as this is a more linear and more approachable David Lynch movie, that's almost what makes it a lesser effort. It's his dream-like ability to work within realms that's missing. That's not to say that Wild At Heart doesn't have touches of this but it's not as prominent as it often is. That said, it still has the requisite amount of bizarre to please Lunch enthusiasts. Those who also enjoy a crime yarn with colourful characters will find plenty to admire too. In fact, I've mentioned Tarantino earlier for good reason. There's no doubt that Tarantino has been influenced by this particular film in his lovers-on-the-lam, screenwriting endeavours of True Romance and Natural Born Killers and the ability to make such inconsequential supporting characters so memorable. He even, personally, admitted that the film was a big influence on the style and tone of Pulp Fiction.Ultimately, the problem that makes Wild At Heart feel less like a Lynch film, though, is because he's constantly on the move. He rarely gets a chance to remain static and create an ambience within a room. This is what Lynch is a master at but having to focus on so many characters and so many locations doesn't provide him with that opportunity. That said, his deranged approach to characterisation is ever present and Wild At Heart contains some of the best.Like the odd love child of Tarantino and The Coen Bros. It matches the violence of the former and the zaniness of the latter and comes out feeling just as fresh and original as their work often does. It may be one of Lynch's more coherent films but it still has flashes of his dreamlike quality, peppered with strange, outlandish characters and events. Regardless of it being more linear, though, it's still a depiction of the off-beat and depraved underbelly of America, that no-one can do quite like Lynch.Mark Walker