Winter's Bone (2010) torrents full movies


Winter's Bone

An unflinching Ozark Mountain girl hacks through dangerous social terrain as she hunts down her drug-dealing father while trying to keep her family intact.

Winter's Bone is a great movie of Debra Granik (screenplay), Anne Rosellini (screenplay), Daniel Woodrell (novel). The released year of this movie is 2010. We can counted many actors in this movie torrents, for example Jennifer Lawrence, Isaiah Stone, Ashlee Thompson, Valerie Richards, Shelley Waggener, Garret Dillahunt, William White, Ramona Blair, Lauren Sweetser, Andrew Burnley, Phillip Burnley, Isaac Skidmore, Cody Brown, Cinnamon Schultz, John Hawkes. There are many categories, such as Drama. This movie was rated by 7.2 in We have a good movies torrent. The runtime of this movie are awesome, about 100 minutes. MongDu is interesting uploader, he is very proactive. You should spend more time to watch this movie. If we must use one word to describe about this movies torrent, I think it should be 'Awesome', so what is your thought. Do you know what are users? Maria Ozawa is the best. I don't push my laptop screen. Please support us via sharing this movies to your friends . You can read more in Google, Youtube, Wiki

An unflinching Ozark Mountain girl hacks through dangerous social terrain as she hunts down her drug-dealing father while trying to keep her family intact

Winter's Bone torrents

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Users reviews

Adrian R (nl)

Would be an interesting topic, were it not for the fact that it's just a vanity project in which Jamie Kennedy whines and cries about how no one likes him

Andrew K (mx)

cool film - a tad too MTV (a la late 90s) - very gen x

Cameron J (gb)

5 - Fair. 2. All in all, the film is draggy and even a little bland, and certainly rather unfocused, with thin characterization and contrivances behind a story too thin to handle all of the misguidance, which is challenged well enough by the colorful score work, visuals, direction, performances and writing which save Marcel Camus' "Black Orpheus" as an adequately entertaining, if challenging affair. There's plenty to complain about here, and not a whole lot to praise, and never all that highly, but with patience, one ought to find plenty to enjoy in this film, which entertains enough to endear, even if it by only so much. This story is always challenging, as it's so thin and contrived, yet just overblown enough for its interpretation to be meandering, and yet, it's almost Shakespearean flavor and culturally celebratory scope makes for an interesting idea that can be made or broken by the strengths of Camus', Vinicius de Moraes' and Jacques Viot's messy script, whose humor is reliant on subtle satire and wit, if not simply dated, and is therefore flat more often than it should be, but is still sharp enough with its wit to mark heights in a color that rarely falls in the meandering, yet fluffily drawn structural writing. Characterization isn't much of a priority to the storytelling of this flamboyant film, so material is limited arguably a touch more than the usual '50s flick, and there are a few mediocre performances to further challenge your investment, but what performances there are which charm are very charismatic, particularly when accompanied by some solid chemistry that makes this melodramatic affair a little easier to buy into. The film is saved by its being more entertaining and not, and never being less than charming, both in its ambition and in its color, anchored by performances which are more endearing than the roles they portray. There's an immersion value to this film's celebration of Brazil, in all of its aesthetic glory, thus, you can really feel the passion in Marcel Camus' direction, although that's not to say his sharp tastes end with the celebration of distinctly lovely music and visuals, as he actually utilizes these aesthetic touches to compliment the energy of the storytelling itself. Really, this film is a rich tribute to Brazil in a number of ways, not just with its musical style, but with a visual style that isn't too cinematography splendid, but with just enough color to bounce nifty Brazilian culture traits, as well as gorgeous Brazilian landscapes. Even Luiz Bonf's and Antnio Carlos Jobim's widely recognized soundtrack is underexplored, and when it is used, it kind of wears you down when it falls upon, say, the aforementioned overdrawn dancing sequences, but that distinct bossa nova flavor does a lot to liven the film up, and help in selling the colorful culture of Brazil. The final product, however, manages to avoid descending to that point, narrowly saved by an entertainment value which is complimented by a solid aesthetic value. This film ought to at least be driven by its color, and in an adequate amount of ways, it is, but in too many places, it's a little flat, with humor, focus and intrigue, until it falls deep into underwhelminginess, almost into mediocrity. With even the thematic value thin, this film cannot obscure its natural shortcomings, because even with all of the dragging and underdevelopment taken out of account, this story concept remains lighthearted and reliant on a color which is there, but diluted by an execution which is even more problematic than the ideas behind this film. The conflicts feel a bit manufactured, with trite dialogue and histrionics which are made all the more cheesy by fantastic aspects, because at its heart, this film seems to be aiming for some sort of thematic or artistic expression which is even more ambiguous than the focus of the narrative, due to all of the questionable structuring. A lot of the narrative focus is unclear because, for all the dragging, characterization is thin, in that development is not so much lacking, as much as it is questionable, never truly gracing its roles with nuance which might be worthy of investment, and seeming to use them as devices for the contrivances. The film limps along its plot points to the extent of actually losing focus before too long, convoluting a path which is either overblown or, well, undercooked. The film can get rather draggy, with such filler as, of all things, dancing sequences being particularly monotonous, although even the material covered in the actual plotting meanders, making a somewhat thoughtful atmosphere a touch dull, while driving a certain unevenness into the focus of this story of limited layers, or at least what feels like limitations to layers. At the risk of offending yet more people, if this film taught me nothing else, it's that before hip-hop came in and messed it all up, black people were making good music all around the world, and the French whities were making entertaining movies about that topic along the way, although such entertainment goes limited, at least by questionable pacing. Well, I don't know; I'm still not doing progressive Alabama a great favor by watching a film called "[u]Black[/u] Orpheus", so maybe I should refer to this as "African-Brazilian Orpheus", at least to show liberal America just how stupid that sounds. . . . Amazing how these bossa nova tunes are older than "Bossa Nova Baby", and if you think that I sound like an ignorant American for only noticing a style of music once Elvis does it, at least I'm not racist, like a lot of Americans were at this time. I'd say that it's not like they were going to get a white American do direct something called "[u]Black[/u] Orpheus", but that's just today's interpretation of race relations in liberal America, because when this film came out, the blacks were hoping that they would get something this respectful in the States. I suppose ever since they did the "Orphic Trilogy", France has to somehow be involved in anything involving the Orpheus, because this is a joint-French project, and on top of that, it's directed by a Frenchman. "Extra-Tan Orpheus"! I keep forgetting how many black people are in Brazil, although I might simply not be paying too much mind to Brazil, because I keep forgetting that this film is Brazilian

Cassandra M (kr)

The jokes come quick and fast throughout and the film only gets better with the introduction of the fantastic but pretty unstable motel worker Deliverance Bodine (Brittany Murphy). After a slow first ten minutes when we get introduced to the main characters Toby Wong (an excellent Mark Dacascos)and Malik Brody (equally as good Kadeem Hardison) the action gets under way and doesn't stop until the closing credits. I thought that this movie was excellent, I watched it after a recommendation from a friend

Christina H (nl)

loved the characters!. One of the best films I have seen! Both funny and philosophical at the same time

David G (br)

What a ride. These were breakable, bleeding, corruptible, crying, bad-ass thugs with feelings and no clear line where black and white lies. with real men fighting, not the fantasy Bourne-like superhumans with kung-fu fighting skills that Hollywood delivers day-in, they out. . . That was one intense action flick!

J G (gb)

Coming of age british musical with all the heart of Billy Elliot but hardly any of the talent

Jens T (nl)

Thumbs up. It's actually Woody Allen who pull this movie off with his hysterical hypocritical character once again. it is simply a joyful and playful comedy with a lot of blind jokes with an indie film undertone. Will Val be able to pull it of without being exposed? Hollywood Ending doesn't have any lack of creativity. So Ellie works as Val's eyes through the whole production. The only people who know about this are his agent and his Ellie who both don't want any one to find out. He suddenly have gone blind, and the doctors says it's mentally not physical. If Val's stubbornness wasn't enough for the budged and the schedule another problem occurs during the production. This time it's the story about the highly acclaimed, but very stubborn film director Val Waxman (Woody Allen) who finally got the chance of directing a film produced by his ex-wife, Ellie (Ta Leoni) and her fiance Hal (Treat Williams). Woody Allen's Hollywood ending, isn't of course one of his best films, but it's certainly always a joy for me to watch any kind of Allen films

Matt R (nl)

Soooooo random. Except me, I guess. No one questions a damn thing. New head (with head gear and all) pops out of the shoulders. Pop. Body drops to floor. Head flies off. Pow. You read that right. The one that takes the cake is how our kick ass Sister of the Lord randomly grows a head back after being decapitated by Angela. BONUS RANT: [Spoiler] This film likes to throw very random things into the mix without ever explaining them. It has some solid moments and ends on a rather strong note, but getting past the first half of the film will surely be a struggle. "Night Of The Demons 2" starts trying to become its own franchise instead of one that homages and builds on the cliches of 80s horror. Unintentional humor abounds here on random things, like hands that reach through a demon's breasts to grab a guy, but it never really tickles the funny bone like the first one did with its cliche homages. Despite the occasionally solid one liner and over the top slapstick joke that worked (the demon playing basketball with his head was so dumb it was hilarious), the film just comes off more awkward then truly humorous. After the first 30 minutes of relentless sex jokes and rather cliche religious funny fodder, I was ready to just mute the damn thing. The film also seems pretty hit or miss on the humor too. Great ideas, but poor execution on this end. There are some great special effects (with particular nod to Angela's final snake like transformation at the end) but it doesn't save it from being rather lackluster in the Horror side. The final act of the film, when they all head over to Hull House to save Melissa from a fate worse than the movies dialogue, does some nice things visually to bring back some creepy vibes but it rarely works on the 'scare' level. Rarely do the scares work. This sequel doesn't fair so well in this department. Can these dimwit teens and a hard ass sister of the cloth take down one of Hell's worst nightmares and her minions to save Melissa?Although its hard to admit that the original "Night Of The Demons" was a good movie, it had the right idea of getting the campy humor to work with some legit scare tactics. Now Angela has a plan and it requires her sister to enact. When a group of hormone engaged teens decide to sneak out of the school and pull a prank on Melissa, they accidentally resurrect Angela The Demon Princess. Six years after Angela's (Kinkade) party at the haunted Hull House went horribly wrong, her sister Melissa (Kennedy) is now an orphan living at a religious school. Although it has its moments of hilarious one liners and some damn fine special effects, the balance to make it work is out of whack and it lends this sequel towards the disappointment end of the franchise pool. Although the original 1988 "Night Of The Demons" was a fun campy romp on the 'haunted' house genre, the inevitable sequel "Night Of The Demons 2" spends far too much time on sex jokes and bad dialogue to work quite as well as its predecessor

Mike L (kr)

In it's time it would actually have been impressive given the quality of the graphics and action but it doesn't stand up against new school horror. Your typical cheesy old horror flick