Lewis & Clark & George

Lewis & Clark & George

A sultry woman (Rose McGowan) joins an illiterate killer (Salvator Xuereb) and a brainy hacker (Dan Gunther), both escaped convicts, to search for gold.

Two escaped convicts join forces with a seductive femme on the trail of a long-forgotten gold mine. . You can read more in Google, Youtube, Wiki

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Lewis & Clark & George torrent reviews

Pierre B (jp) wrote: One of the very worst slashers I have ever seen. True, the villain could potentially - and, for the moment, visually only - be interesting; but how on earth could some eccentric producers be suicidal enough to put any money on this terrible script ? Apart from the villain I hated literally everything in that piece of crap, but what I hated the most is that the Director tries (unsuccessfully) to persuade us this rubbish is interesting by killing all the characters and letting the villain win. A movie that does not have a happy ending is not necessarily a good movie. I doubt any producer will trust this Mr. Buckhalt ever again with a camera.

James H (ca) wrote: The performances by Forest Whitaker and Julia Stiles are quite good and they kept me interested in the film. The did a good job of making their roles three dimentional. They film is slowly paced, but it doesn't distract too much from the movie's overall effect. Good score. I thought it was an interesting movie.

Emma H (mx) wrote: Top actors but not such a strong story - nothing original here. Really a bit of a waste of good acting talent.

Francisco S (ru) wrote: Still funny, but a predictable sequel that can't bring to us nothing new comparing to the original.

Dilly N (ru) wrote: a well made entertaining film. if anyone can critise this film all i can say get a life saddos! you want different bollywood films and then you people say its crap cus its different. you people can never be happy. and for all those entaining peeps a must watch

Sammy K (mx) wrote: the best funniest movie ever

Mickey M (es) wrote: Years ago, "Haru" (the late Chris Farley) was discovered inside a chest by a group of ninjas. He grows up believing that he is the "great white ninja" foretold in ancient scrolls. However, nothing could be further from the truth. He has not become a master ninja, and has only been able to master very few skills. He is overweight and accident-prone, and not too bright. One day, he is told by his Sensei (Soon-Tek Ho) to stay behind and tend to the shrine as those who graduated to ninja in "Haru's" class go on some mission. As he is messing around with a tight-fitting ninja uniform, a woman calling herself "Sally" (Nicollette Sheridan) comes in looking to hire a ninja to tail her boyfriend, "Martin" (Nathaniel Parker). Based on a matchbook "Sally" dropped, "Haru" goes to Beverly Hills to find her. He also finds out that "Martin" is involved in counterfeiting foreign money. Also, he discovers that he can not adapt to Western civilization. Out of the entire cast, Farley is the reason to see this movie. He really should have been a Hollywood stuntman. The guy will do just about anything to his body for a laugh, no matter the level of physical harm. For a guy of his size, he was flexible, as evident with martial arts fights in the movie. He is also good with using props set up in the room he is in, which are for a few good laughs. In fact, there are many laughs in this film. There are just not enough side-splitting ones. If you ask me, the laughs are actually some really good chuckles. I also didn't laugh at every joke, possibly because I didn't think they were that funny. I felt that none of the supporting cast had any real chemistry with Farley. Sheridan was OK when she was with him, but sometimes didn't set up the jokes for Farley's punchlines very well. Chris Rock seemed to me to be playing himself as seen during his days on "Saturday Night Live" more than a character. I also felt that the supporting characters were not well developed. "Gobei" (Robin Shou) was mostly there for his real-life martial arts skills, but was pretty good with the limited amount of physical comedy he was subject to. If you ask me, the majority of the supporting cast were there to make a buck. Out of the most recent movies I've seen, this one has the most memorable soundtrack. Many of the songs are martial arts themed popular songs or covers of classic songs like "Kung-Fu Fighting". I pretty much liked the music in this one. For a martial arts movie, there really isn't a lot of martial arts in it. There is one extended fight in the entire movie, wish some brief ones through out. Even though Farley was trained for the movie, but he uses the ancient form of fighting more for jokes. He even uses martial arts weaponry for laughs more than what they are made for. Sadly, I can't recommend this as a "Must See" movie. I would say it is more suited for watching on television when nothing else is on.

Tawseef R (es) wrote: Fantastic biographical drama. No wonder it won awards!

Halayna P (jp) wrote: one word SSTTUUPPIIDD!!

Harry W (nl) wrote: Declared to be one of John Carpenter's most underrated cult classics, They Live sounded like an awesomely fun experience.Coming off the critical and box office failure of Big Trouble in Little China (1986), They Live presents John Carpenter with his second foray into independently-controlled low-budget filmmaking following Prince of Darkness (1987). The lack of studio control over They Live and John Carpenter's quest to get the story of the film out through independent means seems rather allegorical to the subject matter of the story. It takes a very precise talent to craft a film about an alien invasion with such a low budget, but horror legend John Carpenter finds a way. His method is to style it like a contemporary spaghetti western: a low budget feature about a protagonist who drifts from town to town and finds himself caught up in a war between conglomerate dominance of the upper class and the struggles of the working class. These two classes symbolize rival gangs, and their path to resolution is led by pure violence. Though the protagonist does in fact have a name, it is John Nada. Nada quite literally means nothing, and we don't discover his name until the credits roll. With this concept in mind and an effective use of violent shootouts, the Sergio Leone influence over They Live is clear. They Live is a brilliant combination of genres, serving as another testament to John Carpenter's love of the western genre with the brilliant support of social commentary, science fiction and 80's action heroism. The other method to getting away with such a story on a low budget is to engage viewers with a very thought provoking screenplay. They Live is one of the film films to depict an invasion with a tenacious focus on understanding the motives and tactics of the aliens. Rather than simply attacking planet earth with sheer force, the aliens in They Live do it through manipulation of human vanity. Materialism, commercialism and bourgeois bribery are their methods and the way this is presented at viewers really makes them think. The script in They Live is perhaps the most thought-provoking one John Carpenter has ever worked with, and it keeps the setting of the story engaging throughout its slower moments and periods of heavy dialogue. After a steady start, They Live progressively turns into an incredibly engaging thriller with a deeply intelligent screenplay that frequently manages to catch the viewer in an intense trance of unpredictable mystery. John Carpenter's remarkable ability to keep viewers guessing is a distinct trait of his auteur status, and it's hard not to keep enticed by the rich mood of the endless mystery. The mood is consatantly influenced by another brilliant musical score from John Carpenter in which he collaborates with Alan Howarth to give the film a feeling of subtle intensity and mystery during the story building and even some notorious moments that feel distinctively western. Music is never a problem in a John Carpenter film, and They Live is no exception.When you stop and consider how much actually happens in They Live or how few settings the film actually occurs in, you'll realize that John Carpenter has repeated the magnificent trick he pulled on everyone with Escape from New York (1981). The man has characterized a large society built upon a corrupt social regime then told his story through a small-scaled focus. The rest of the world is left to the implications of the screenplay, and John Carpenter ensures that it is all very believable. The importance of They Live rests in the contemporary nature of its society, so by contrast to the futuristic setting of Escape from New York viewers are hardly likely to find any frustration with the limitations on visual exploration of the film's setting. It finds visual brilliance in not the design of its world, but the actual social structure of the world itself. Few films have as much endlessly relevant lasting commentary as They Live, but the subject matter that the film tackles remains as accurate to contemporary society now as it did in 1988. The film's depiction of class segregation, media dominance and police brutality are all problems that remain in the modern day. I've hardly ever seen a film which has made these themes as thought provoking as They Live presents them to be, so this 80's tale of a man waging a war on aliens is certifiably one of the most intelligent films I have ever seen. It's brilliantly written, thoroughly intelligent and has a staple of 80's charm to it which ensures that it finds the balance of an intelligent thriller and a guilty pleasure at the same time.Visually, They Live is a stellar experience. Shot on a low budget, They Live makes use of the natural scenery around them with a lot of damaged buildings and dirty alleys as the backdrop for a society being drained of its valuable resources. The cinematography manages to capture this all nicely and remains faithful to the film's western elements by capturing the protagonist from a perspective where the dead nature of the world around him is easy to see. The way the film depicts the real world in black and white with set design and props that uncover subliminal messages alongside the makeup effects of the aliens provides an interesting collection of imagery. Of course, the finest visual asset to the film is the brilliance of the action scenes. In a throwback to his brilliant work on Assault on Precinct 13 (1976), John Carpenter reminds viewers of his visual mastery with a vast quantity of merciless shootouts spread out throughout the narrative. There are few camera angles that the film takes so it is always easy to comprehend, and the editing paces itself very well. There's also a strong amount of blood which doesn't get excessive, so all in all They Live carries a powerful status as an action thriller as well. And in another remarkable feat achieved by They Live, the question of if wrestlers are capable of properly acting is spearheaded by the performance of "Rowdy" Roddy Piper. Given that the man is an accomplished wrestler he is clearly a perfect fit to be playing an action hero since he is no stranger to stunt choreography, and this comes in handy particularly within the iconic five-and-a-half-minute alley fight scene. In an unforgettable fight scene with Keith David, Roddy Piper and him deliver a series of remorseless blows to each other as a testament to John Carpenter's love of professional wrestling. The entire scene is raw; realistic with its choreography, intense with its masculine-fuelled violence and even hilarious. Roddy Piper is given a chance to show off his wrestling skills in They Live which ensures that he is perfect casting, and the image of him wielding a shotgun behind a pair of sunglasses makes him the distinctive image of a badass. But his performance goes beyond surface level as John Carpenter guides the man to deliver a perfectly befitting performance. Much of what Roddy Piper brings to his performance doesn't demand speaking as the elusive character is one without much to say. He is a mere drifter whose importance rests on what he can do more than who he is. Nevertheless, Roddy Piper's performance is far from shallow. Roddy Piper begins as a silent and subtle everyman who progressively gets more intense and paranoid as the story goes on and he plunges deeper into the secretive world of alien totalitarianism. He grows increasing erratic and angry, getting fuelled by intense masculinity that drives him into the state of a definitive 80's action hero. This is empowered more by his line delivery and the humourous undertones of many of his lines. The strength of his performance reaches his endeavour when he stands in a bank with a shotgun and delivers perhaps the greatest one-liners of the 1980's: "I have come here to chew bubblegum and kick ass. And I'm all out of bubblegum". Roddy Piper is a perfect lead in They Live for his heroic gimmicks and genuine acting skill, and he makes a truly memorable hero.Keith David brings strong support to They Live. With the same sort of merciless masculinity as Roddy Piper, Keith David begins as a standard tough-guy but progressively develops into a similarly paranoid and aggressive hero. His chemistry with Roddy Piper is great because there is a vibe between them of competition to be the more dominating badass as well as a sense of brotherhood that comes from their paired heroism. Keith David says every word with a firm dramatic edge which makes him a dominating presence, and his confident handling of his weaponry and punches makes him a powerful action hero.With brilliant social commentary, an unpredictable story and proudly violent action scenes at the helm, They Live is an incredibly intelligent blend of science fiction, horror and spaghetti western filmmaking filmmaking that testifies to John Carpenter's undying legacy as a filmmaker and Roddy Piper's talents as a leading man.

David B (mx) wrote: Violent and nasty but good. Rather shocking in its racism and bluntness. However it has a great realism about it and Fred Williamson is beautiful to look at. MGM HD are showing a series of Blaxpoitation films on Sky. Well worth checking out. Lots of the "N" word

Aaron C (es) wrote: Mastroianni is a dead-ringer for Rhett Butler. This comedic italian classic captures much of the essence of european filmmaking of the time, and can be quite entertaining if you can get past being terrified of the loud venomous spats emanating from the (justifiably) vicious viper loren. i had to close my ears after 2 minutes (like many-an-italian-bloke, i bet). :) the youngest boy steals the show though.

Steve M (gb) wrote: When Johnny , a young U.S. Navy sailor on leave (Hopper) meets Mora (Lawson) in a coffee house, it's love at first sight. But is the air of mystique that seems to hover thickly around her the result of her lonely childhood and curious job as a sideshow attraction, or is it as her guardian (Muir) claims--she's not human, but is in truth a sirine, and sooner or later she will lead Johnny to a watery death. "Night Tide" is an atmospheric, low-key film that straddles the boundary between horror and suspense. Although a bit on the slow side, it is carried along by the wide-eyed naivete of Hopper's pure-hearted character as he is constantly contrrasted with the friendly yet strange attraction operators on a Venice Beach amusement pier. The ever-growing mystery of Mora will also keep viewers watching. It's also interesting to see Luana Anders in a part that's a bit different than the creepy sort of characters she usually plays. In fact, I have nothing but praise for all the actors that appeared in the film... everyone comes across as very natural and believable. The only real complaint I can muster with the film is that I don't like the ending. It's in keeping with the rest of the film, but I would like to have seen something stronger and a little more definate. Heck, to be perfectly honest, I think I would have liked to have seen a happier ending. Still, it's an interesting film. Night Tide Starring: Dennis Hopper, Linda Lawson, Gavin Muir, and Luana Anders Director: Curtis Harrington