Leatherface: Texas Chainsaw Massacre III

Leatherface: Texas Chainsaw Massacre III

A couple encounters a perverted gas station attendant who threatens them with a shotgun. They take a deserted path in Texas to seek help, but only meet up with a cannibalistic clan interested in helping themselves to fresh meat.

It follows young yuppie couple Michelle (Kate Hodge) and Ryan (William Butler) driving through Texas. When they stop at the Last Chance Gas Station, but after they witness the owner attacking a hitchhiker named Tex (Viggo Mortensen), they panic and flee. What happens to them next? . You can read more in Google, Youtube, Wiki


Leatherface: Texas Chainsaw Massacre III torrent reviews

Joetaeb D (de) wrote: While Cage is far more goofy than he was last installment, This new Ghost rider suffers from crazy cinematography, dodgy CGI and an even flatter script.

Miguel S (gb) wrote: This was a good movie, but it should've been a Horror/Comedy.

George C (es) wrote: More of the same in this gritty sequel, with some new faces and less Bruce Campbell (unfortunately). Still, an enjoyable return nonetheless with great action scenes and bigger body count! The fantastic Leo Rossi was a treat to watch as always!

Helena M (it) wrote: Two robbers concealed as nuns, at the end there is a sharing of the bounty.

Ola G (jp) wrote: Wide receiver Phil Elliott (Nick Nolte) plays for a 1970s era professional football team based in Dallas, Texas named the North Dallas Bulls, which closely resembles the Dallas Cowboys. Though considered to possess "the best hands in the game", the aging Elliott is struggling to stay competitive and relies heavily on painkillers. Elliott and popular quarterback Seth Maxwell (Mac Davis) are outstanding players, but they also characterize the drug-, sex-, and alcohol-fueled party atmosphere of NFL teams of that era. Elliott wants only to play the game, retire, and own a home with his girlfriend Charlotte (Dayle Haddon), who appears to be financially independent, and has no interest whatsoever in football. The Bulls play for an iconic coach B.A. Strother (G.D. Spradlin) who turns a blind eye to anything that his players may be doing off the field or anything that his assistant coaches and trainers condone to keep those players in the game. The Coach is focused on player "tendencies", a quantitative measurement of their performance, and seems less concerned about the human aspect of the game and the players. As one player (John Matuszak) finally erupts to a coach (Charles Durning): "Every time I call it a game, you call it a business. And every time I call it a business, you call it a game." Elliott's non-conformist attitude incurs the coach's wrath more than once, and at one point the Coach informs Elliott that his continuing attitude could affect his future with the Bulls. After the Bulls lose their final game of the season in Chicago, Elliott learns that a Dallas detective has been hired by the Bulls to follow him. They turn up proof of his marijuana use and a sexual relationship with a woman who intends to marry team executive Emmett Hunter (Dabney Coleman), brother of owner Conrad Hunter (Steve Forrest). When they also drag Charlotte's name into it, Elliott, convinced that the entire investigation is merely a pretext to force him off the team, he needs to make a decision of what he wants to do with his life...Part drama, comedy, and satire, the semi-fictional "North Dallas Forty" is widely considered a classic sports film, giving insights into the lives of professional athletes. Based on the semi-autobiographical novel by Peter Gent, a Dallas Cowboys wide receiver in the late 1960s, the film's characters closely resemble real-life team members of that era. Source novelist and co-screenwriter Peter Gent once explained the story behind why the title 'North Dallas Forty' was chosen. In an email interview, Gent said: "I was shocked that in 1964 America, Dallas could have an NFL franchise and the black players could not live near the practice field in North Dallas, which was one of the reasons I titled the book 'North Dallas Forty.' I kept asking why the white players put up with their black teammates being forced to live in segregated south Dallas, a long drive to the practice field. The situation was not changed until Mel Renfro filed a 'Fair Housing Suit' in 1969."The film opened to good reviews, some critics calling it the best movie Ted Kotcheff made behind Fun with Dick and Jane and The Apprenticeship of Duddy Kravitz. In her review for The New York Times, Janet Maslin wrote, "The central friendship in the movie, beautifully delineated, is the one between Mr. Nolte and Mac Davis, who expertly plays the team's quarterback, a man whose calculating nature and complacency make him all the more likable, somehow." Time magazine's Richard Schickel wrote, "'North Dallas Forty' retains enough of the original novel's authenticity to deliver strong, if brutish, entertainment". Newsweek magazine's David Ansen wrote, "The writers -- Kotcheff, Gent and producer Frank Yablans -- are nonetheless to be congratulated for allowing their story to live through its characters, abjuring Rocky-like fantasy configurations for the harder realities of the game. North Dallas Forty isn't subtle or finely tuned, but like a crunching downfield tackle, it leaves its mark." However, in his review for the Globe and Mail, Rick Groen wrote, "North Dallas Forty descends into farce and into the lone man versus the corrupt system mentality deprives it of real resonance. It's still not the honest portrait of professional athletics that sport buffs have been waiting for." Sports Illustrated magazine's Frank Deford wrote, "If North Dallas Forty is reasonably accurate, the pro game is a gruesome human abattoir, worse even than previously imagined. Much of the strength of this impression can be attributed to Nick Nolte ... Unfortunately, Nolte's character, Phil Elliott, is often fuzzily drawn, which makes the actor's accomplishment all the more impressive." The social comments in "North Dallas Forty" are a plenty and by showing the players as pieces of equipment manipulated into performing on the field and then discarded when they are used up we are overthrown by the brutal truth of the sport. The drug use to even be able to get out of bed and the constant exposure to injuries that the management dont care about leaves a foul taste in your mouth. Nick Nolte shows his talents as a character actor and the role as the rebel Elliot fits him like a glove. I reckon the problem with "North Dallas Forty" is the genre mix in the film and maybe the screenwriters shouldve chosen to either go full on drama or full on comedy. The end result is a bit wobbly, but still entertaining and interesting most of the time with the focus on the ugly sides of football.

Blake P (br) wrote: "Eyes of Laura Mars" is the kind of film that sounds good on pencil and paper but ultimately gets lost in the translation to the silver screen. It is a vehicle for Faye Dunaway, whose titular fashion photographer is being terrorized by psychic visions of horrific murders. The visions themselves are not fragments of the future a la "That's So Raven" but in-the-moment experiences that force Laura to see life through the killer's eyes during his most bloodthirsty moments. Laura's work combines sex and violence with opulence perhaps only equalled by David LaChapelle - don't rule out a photograph featuring semi-nude Veruschka look-a-likes surrounded by German shepherds and post-explosion muscle cars. Because the film is set in the 1970s, much of the population is, of course, disgusted by her disregard of good taste; the killer's obsession with modeling his murder scenes after her spreads is fitting. But before long, it becomes ever apparent that, while the madman could easily spend the rest of his life targeting those closest to Laura, the woman he is dangerously infatuated with is the broad he'd like to Catherine Tramell the most. "Eyes of Laura Mars" has been touted as a fine example of American giallo by the biggest of, ahem, giallo nerds (me being one of them), but such a title seems to be thrown around as an act of desperation rather than a genuine one, retaining none of the cool of the cult subgenre yet magnetizing all the recurring melodramatic faults. It could be a film of sizzling noir edges - the imagery surrounding Laura's occupation is the best onscreen depiction of the sex-and-death-101 trope I've ever seen put to film - but it is much too Hollywood to be anything other than a white woman in trouble cheesefest. With a story straight out of a hallucinatory De Palma masterpiece, one can imagine the film it might have been had it put all its attention on sleek style and thrilling scenes of terror to further its whodunit status. But no: it is more hell bent on an unconvincing romance between Laura and a detective (Tommy Lee Jones) that goes from passing glances to breathy "I-love-you's" in a time period shorter than a gnat's attention span. I can only sob at the way it chooses the path of a modern Joan Crawford vehicle; I don't mention De Palma for nothing, as he could have made the film something really special (picture the split-screens, the genius close-ups, the neat cinematographic effects!). But we're stuck with Irvin Kershner, who doesn't see the gold in front of him and directs the film with a disappointingly bland palette. Even Faye Dunaway, one of the most quintessential actresses of the 1970s, makes for an unimpressive lead, pulling out all the stops necessary to overact a role with Doris Day-in-"Julie" heft. "Eyes of Laura Mars" dumps a truckload of wasted potential onto us. And no, we don't find out why Laura was given the enigmatic ability to live life through the killer's point-of-view at the worst of times. It's ridiculousness trapped in a laughable sandwich.

Patrick Z (nl) wrote: Pacino's best performance.

Rob L (ca) wrote: Really bad Swedish film. Watched it on Netflix, but wasn't very interested.

Alexis R (gb) wrote: Big Ass Spider Movie Review!So, story-line. A spider is found on the dead body of some person who just so happens to grow extremely in a matter of hours. Hi-jinks ensue.Now obviously. It can get a bit convoluted, it can be silly, the graphics sometimes are obviously an eye-sore, but you know what? In the end? That's just part of the charm. I found myself enjoying it more than I thought I would.It's obviously a B-Movie. It's not meant to be taken so seriously, it's just a movie for fun. And quite honestly, it just doesn't go above and beyond to convince you it's real or try to lure you with sub-realistic things. I mean, it involves aliens at one point. Need I say more?Bottom line? It's silly fun that you'd like if you wanna take a break from the serious movies.I give this an 8 out of 10 (4 stars)

Peter L (ca) wrote: My Rating: 1.5/5 stars; Grade: C-; Gesture: One Thumb Down; Status: Kinda Bad (Rotten); Emoticon: :-(.