Wild Horse

Wild Horse

Ben Hall offers $1000 for the wild Devil Horse which Jim Wright and Skeeter capture. While Jim is away, Gil Davis kills Skeeter and takes the horse. The Sheriff then arrests Jim for Skeeter's murder. But unknown to them, an outlaw witnessed the killing

Ben Hall offers $1000 for the wild Devil Horse which Jim Wright and Skeeter capture. While Jim is away, Gil Davis kills Skeeter and takes the horse. The Sheriff then arrests Jim for ... . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

Wild Horse torrent reviews

Abel D (nl) wrote: Guilty of overstuff, Eastwood's adaptation of the novel is well acted and directed, but several elements, most prominently the voodoo, go nowhere or add to the themes of power, relationships and prejudice. Still, those elements don't entirely eclipse an engaging legal drama and a stellar performance from Spacey.

Jim A (ru) wrote: Be sure to import the 70 minute British extended cut rather than the needless cut down American version. But for the original cut this is a fantastic look at the science behind this unique group of extinct creatures. The program is both education with great facts about the evolution and lifestyle of these animals and features awesome animated recreations of their lives and all done in stunning 3D. If Attenborough's name is attached you are sure to have a great program and this great 3D documentary is no exception

ToyahKate M (nl) wrote: Couldn't watch it all, it got boring.

Marilena G (au) wrote: Hilarious and quirky, this little French animated film is a real must!

Tonya V (us) wrote: Wow! How terrible can a movie be?

Mohamed H (ru) wrote: Visceral and unnerving. That's what I would call this movie. From the beginning Lynne Ramsay makes you want to know what the hell is going on. For me, I was all in at the twelve minute mark. You always have a clear understanding what the protagonist is thinking (portrayed incredibly by Tilda Swindon) but you really want to know why. It's uncomfortable the whole way through and Tilda's character is has so much to feel miserable about. But the film isn't depressing, most likely due to its mystery framework. Ezra miller and the younger actors are terrifying. Also, it had to be noted the wonderful use of primary colors, especially red. Such a good film.

Daniel R (us) wrote: As utterly captivating as it is heartbreaking. Thoughtful, confronting, challenging, at times gleefully funny, other times vividly tragic, but above all memorable and rewarding.The musical theme by Ludovico Einaudi is a suitable classic for the ages.This one stays with you, for good or bad.

Kevin W (es) wrote: HK classic. Tony and Andy are just so good.

Mark T (es) wrote: I'm not sure what most of these critics think a good movie is but, it must be somewhere @ victims running, getting in a car, driving half way around the world, getting out of the car and run right smack into the killers hands so they can see the blood and guts splatter everywhere. Special Effects, Predictable, No Story. Not knowing what is going to happen next is what makes a good movie. I think this movie has a good story that leaves you guessing, giving little clues along the way to solve the riddle. If you just like Blood and Guts films don't bother but, if you like more of a mystery, watch it, pay attention to details and judge for yourself.

Andy F (ru) wrote: Another Halloween season staple that helped reignite the slasher genre.

Syed R (au) wrote: For a anthology film, it's kinda weak. It tries to be a cross between Tales from the Crypt and Creepshow but it never goes that far. You get 3 shorts and I gotta say none of them are that great. It's good as a product of its time but unless if you're a big horror fan you'll probably get bored. That said, this movie exists solely for the cameos. It was cool seeing Mark Hamill, Sam Raimi, Greg Nicotero, Roger Corman, David Warner, Wes Craven Tobe Hooper, and Carpenter himself in one film.

John A (br) wrote: This TV Version Is Reasonably Watchable, I Thought It Would Have Been Extremely Terrible Due To The Story. This Is One Installment To Far, Why Did They Have To Make This, Because It Definately Wasn't Needed. It Was Made 10 Years After The Final Conflict, Which Was Supposed To Be The Closing Of The Trilogy, Due To Something That Was Raised During The First Omen

Paul Z (jp) wrote: Johnny Handsome emerges from the film noir envelope of the 1940s, out of movies with bleak streets and bitter laughter, with characters who dwell in sourpuss crash pads and regard bars as their personal salons. It is set in New Orleans, a city with a film noir essence, and it stars Mickey Rourke, who siphons himself into the role of a burnt-out down-and-outer who has as good as withdrawn himself. The only real friend he has is a father figure named Mikey, who brings Johnny in on a jewelry store job with a couple of really shady characters. They call him Johnny Handsome since his face has been miserably deformed since birth. He and John Merrick look closely related. Johnny has also trained himself to talk despite some sort of nasal or vocal obstruction by his disfigurement, resulting in a rhinal, phonetic mutter. As the movie opens he and Mikey have been double-crossed resulting in Mikey dead, Johnny the patsy, the haul in the hands of their despicable associates. In jail, he's accorded a deal if he'll single out his co-conspirators. He declines, because it is of course gangland decree that you do not rat on your partners, and of course also because he intends to kill them when he gets back on the street. But then an intriguing thing happens to him: In jail, a caring surgeon recommends that plastic surgery could turn Johnny into a fairly attractive guy, and speech therapy could make him into an adequate contender for rehabilitation. Johnny is such a miserable and achingly sad character in such a bleak world that we are overjoyed by this ray of sunlight. Johnny has nothing to lose, and subjects himself to the surgery which, faithful to the customs of movies like this, is no problem at all. Out on parole, he walks the straight and narrow. And he happens on a girl who loves him. However Johnny has an inner dilemma: Since the day he was born he's been walking around feeling repulsive, fearful, rejected, that he has a hard time grasping any real fortune. In fact, the choice is clear all along: He can go straight, mind his p's and q's and be content with this woman. Or he can resume with crime and see his vengeance through. As a man who's spent his entire life made to feel like a waste and a good-for-nothing, he has a choice between something that at this point he finds difficult, and something that comes very very easily. As per Rourke's usual, he adopts a challenging physical transformation that complements his emotional one. Made during the late '80s, '90s stretch of typically unintelligent action pictures, with audiences less enterprising in a way than those of the 1940s and stars who like to maintain their hero worship or avoid any threat to their masculinity at the end, there is the expectation that Johnny will choose the path of improvement and hopefulness, not without some difficulty, naturally, but he is endowed with every emotional, practical and legal clean break to be able to do that. Nevertheless, the charm of this film, especially as an American action movie from 1989, is that it takes a level-headed gaze at the natural progression of its character. If you've been jeered into the shadows all your life, no matter how much light you suddenly get, where would you feel most at home? And what is happiness? Satisfaction, peace of mind. If you were him, what would really truly give you those things? This old film noir wine poured into a gritty, hazy new bottle is filmed with genuine flair. Matthew F. Leonetti, the cinematographer, smokes out the scrappiest alienation in the most sordid sections of New Orleans, and the Ry Cooder music is a merge with the blues and a weep. It is strange how Walter Hill's intensely dark and violent dramatic thriller is given little to no reference literature, hardly anyone has heard of it, is all in all a buried treasure. Not that many movies have the utter nostalgia, ruefulness and grit that this movie evokes throughout. And the movie is definitely enhanced by tenacious supporting performances by a remarkably notable cast including Ellen Barkin, playing one rotten apple riding roughshod over any and everything that even comes close to boring her; Morgan Freeman in a rare role as a mean, cold man, a lone-wolf cop just waiting for Johnny to slip up; Lance Henriksen, on the other hand, breaking out of all those stoic roles to eat up the scenery as a formidably wicked character of almost comic-book proportions; and Forest Whitaker, that urgent ray of sunlight in Johnny's life, that one presence who is highly educated and highly compassionate and ennobled by his profession. And though he's largely identified with the action genres of post-classical American cinema, Hill directs with an almost maligning disinterest in Reagan-era Hollywood formality. This is a movie in the real practice of film noir, a movie where heroism is simply being able to survive, where an everyday person treats himself to the darker proclivities of his character, and destiny arrives.

Tim G (nl) wrote: I really enjoyed good morning Vietnam where robin Williams plays a wacky DJ for armed services radio for the Vietnam war I'm not a robin Williams fan but I thought he gave a good performance in this

Cylus O (it) wrote: Loved it, the film engages you from start to finish.

roger r (es) wrote: best paul walker movie since faat & furious series r.I.p

Kyle B (fr) wrote: A remarkable movie with extraordinary performances across the board. From Ben Kingsley's remarkable and deserving Oscar nominated performance to Kim Dickens with only 2 minutes of screen time but owns every second, there isn't a weak link in the bunch. Jennifer Connelly is great, Ron Eldard is great, Frances Fisher is great, and most of all Shohreh Aghdashloo is heartbreakingly great earning her Oscar nomination deservingly as well. It's expertly directed, writing, and has a powerful score from the late James Horner. The final 30 minutes of this movie is powerful and one of the strongest endings I have seen in a long time. This is an excellent movie about race relations, police and government corruption, and life itself. One of the best movies from 2003

Meghna P (de) wrote: Exceeded my expectations. Good acting all around and not as sickly sweet as I would have thought.