Red Road

Red Road

Jackie is a CCTV operator. Each day, she watches over a small part of the world, protecting the people living their lives under her gaze. One day, a man shows his face on her monitor, a man she thought she would never see again, a man she hoped never to see again. Now she has no choice and is compelled to confront him.

Jackie works as a CCTV operator. Each day she watches over a small part of the world, protecting the people living their lives under her gaze. One day a man appears on her monitor, a man she thought she would never see again, a man she never wanted to see again. Now she has no choice, she is compelled to confront him. . You can read more in Google, Youtube, Wiki


Red Road torrent reviews

E L (ca) wrote: Overly long and self-conscious. Could have been a lot more effective with some judicial and brutal editing. Some directors are just too precious about their work.

Claudette A (kr) wrote: I thought this was a pretty good movie with original content. One of Crowe's better films. Though I've never thought of Ryan as much of an actor.

Frances H (ru) wrote: Madison illustrates a basic difference between men and women. Women can never understand why men need to prove their courage by risking their lives to prove that they can drive a boat or car or fly a plane or hang glide faster than any other man in the county, state, country or world, especially when they have a family for whom they share responsibility. If they have to risk their lives to feed their children or fight for their children's right to exist, that's one thing, but to do so just to prove to other jocks that they can climb or fly higher or drive a car, plane or boat faster is something else. In my opinion, such men shouldn't have families, if that is what they choose to do with their lives, and that includes living fathers and mothers. As for this movie , it just reinforces this idea that sports are worth risking your life for, which in my opinion is just as irresponsible.

Anthony C (kr) wrote: This turned out to be a great movie, I've never seen this movie before, I absolutely loved it because it's got a very good cast in it. If you loved "The Rock" (with Sean Connery, Nicolas Cage and Ed Harris) then you'll love "Con Air"!

Paul Z (ag) wrote: Stephen Frears's seriocomic biopic tells the story of Joe Orton and Kenneth Halliwell in flashback, framed by sequences of John Lahr, played by Wallace Shawn, researching the book upon which the film is based with Orton's literary agent, played by Vanessa Redgrave. I couldn't care less about the story being told in flashback. This cinematic device is growing increasingly stale and unnecessary. But what makes this movie fascinating is its portrayal of Orton and Halliwell's relationship, which is so real and deep and truthful and profound that Gary Oldman and Alfred Molina, who happen to be two of my favorite actors, playing the two fated writers, might as well be right in your living room as you watch them.Orton and Halliwell's relationship is drawn from its initial stages at the Royal Academy of Dramatic Arts. Orton starts out as the inexperienced, amateurish youth to Halliwell's older scholar. As the relationship grows, Orton grows more and more doubtless of his ability while Halliwell's writing languishes. They descend into a twisted caricature of a conventional married couple, with Orton as the "husband" and Halliwell as the selfless and ever more overlooked and disregarded "wife." This could be a state of affairs made worse by Orton's incapability or reluctance, in 1960s England, to accept having a male life partner. Maybe, maybe not.The circumstance and descent of their relationship is heartbreaking, but what impresses me the most is the portrayal in and of itself, in the writing, in the acting. Joe Orton is an insatiable, fun-loving bottom boy with an artistic streak and from the start, he is most concerned with self-preservation, pleasure, materiality and substance. Without any self- doubt or feeling, Orton is inclined to exploit whoever would give him a leg up to a life of notoriety and privilege. When quiet, intellectual Halliwell endeavors to cultivate him, Orton takes advantage and Halliwell grows more compliant and eager to be immersed in the depths of his growing love for him.Halliwell alludes to childhood, which he gives the impression of being less pivotal than it really was for him, having been disregarded by his father and coddled dearly by his mother. His mother's death when he was a young boy was surely an immensely damaging turning point in his life, as when his father committed suicide, he came downstairs and "put the kettle on, got dressed and called an ambulance, in that order." He gives to the deficit of his mother in the natural way he lives his life, seldom enforcing his will save for his impressively rare breaking points, but operating by going with the flow of his innate emotions. He is inclined to travel the wave of his feelings for Orton, unable to help his protective, nurturing nature from integrating itself into Orton's life, even if it provides Orton with a convenient safety net and Halliwell himself with never-ending jealousy, disdain and longing for affection of any kind."Prick Up Your Ears" was to be the title of one of Orton's plays. The name was suggested by Halliwell who had provided much of Orton's titles all through the successful portion of his career. The cruelty of Orton's aloofness is infuriating, and the effect it had on the outsized emotional state of Halliwell is widely known, and demonstrated at the very beginning of the movie. Orton seemed only ever concerned with the quality of his own existence and seemed to an almost surreal extent to lack feeling.There is no true way of knowing how Gary Oldman and Alfred Molina interpreted these roles, how different they are from my interpretation and how similar they, or Alan Bennett's astute screenplay, are to the real people. Nevertheless, they deliver profound performances.

Chris V (it) wrote: how could a movie that is only 78 minutes long be so slow? direction/editing/pacing just made this movie crawl. andy kaufman was wasted, i have no idea why anyone chose him, or why he accepted the role...unless it was one of those "joke's on YOU" kaufman moments...

Garrett C (ru) wrote: Some interesting proto-feminist stuff here with a fascinating early Lucille Ball performance, but not much of interest otherwise.

bill s (de) wrote: This may be Pacino's worst film.

Bjorn O (ru) wrote: I bland dyker det upp en film som fr en tappa andan,den hr prlan hittade jag p en grindhouse box som jag ftt av frugan fr ntt r sedan. Frsta fem minuterna tror man att det r en grisig W.I.P. rulle men snart hajar man att det hr r ngot mycket strre, en Hitlerkopia vid namn Speer (nn har tnkt till) dyker upp, det blir lite karate fighter och man fr ett kort gonblick se en kung fu zombie.Sen blir det buskis/glad porr med ett gng amerikanare med tighta jeans och fluffiga frisyrer, Cameron Mitchell dyker upp, han r full, drar bgskmt, det snuskas och fightas,jag ska inte bertta mer men en annan av mnga hjspunkter r en fet fillipinare med hjrtan p boxershortsen och hakkorshjlm som bundit fast en blond dam i sngen fr sp av en av amerikanarna, det som gr det hr s fullndat suvernt r att det r inte "tokroligt", det r inte Troma, det hr r action nr den r som bst, har inte sett ngot liknande sedan Mad Foxes, om du r filmidiot kolla upp, om du r normal hll dig lngt lngt borta.

Daniel D (gb) wrote: I could go 2 1/2 on this one, but I'll go 3 stars because one thing is true: authenticity is the best way to go when you want a girl's heart. And at least the movie makes that bit clear.

Steven P (ag) wrote: Old time Coney Island, great chase through New York ztreetz