A young female FBI agent joins a secret CIA operation to take down a Mexican cartel boss, a job that ends up pushing her ethical and moral values to the limit.

In the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent is enlisted by an elite government task force official to aid in the escalating war against drugs. Led by an enigmatic consultant with a questionable past, the team sets out on a clandestine journey forcing Kate to question everything that she believes in order to survive. . You can read more in Google, Youtube, Wiki


Sicario torrent reviews

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

George D (nl) wrote: following a hate crime, a lawyer attempts the rehabilitation of a violent young man; a moving and thought-provoking drama.

Panayiota K (ca) wrote: really bad animation, boring storyline

Sam S (br) wrote: I really liked this movie. It wasn't scary but it was still good.

Heather D (it) wrote: Well done. A shocking true story.

Amanda C (fr) wrote: This is the first version of Hamlet I've seen and I thoroughly enjoyed it. I clearly have not studied enough Shakespeare, because I had no idea what they were saying most of the time, but that didn't matter because they all say it so well. David Tennant has a wonderful way with language. Fabulously articulate, and beautifully paced, he is absolutely electric. You can't take your eyes off him. He makes fantastic use of his closeups engaging the audience directly, staring straight into the camera and out towards them, drawing you in. It's unsettling and also completely mesmerizing. Patrick Stewart is also fabulous offering a calming dignified counterpoint to Tennant's manic physical energy. The direction threw me a bit as it's a mix between film and theatre. The staging is very theatrical and fantastic use is made of closeups, but the mix of the two makes it slightly odd to see. Actors are never that still in films and there are rarely such long stretches of a single person speaking while everyone else on screen sits and watches them. As this is from a stage production and there are a ridiculous number of soliloquies in the original text, the director can't be entierly faulted and he should be commended for letting his actors do what they do best and not overshadowing them. The cinematography is absolutely beautiful. Wonderfully desaturated and bleak. Great use of shadows especially on Tennant's face, making good use of its angles. The mirror motif and the duality of sanity and insanity within a single person was well done, through actual mirrors and the mirrored floor. The security camera inserts were unnecessary. I understand the idea behind them, but it comes across as trying to make it more cinematic, which is unnecessary and pulls focus to how uncinematic this production is. The feeling of surveillance was much better portrayed through the use of two way mirrors and people peeking out from behind curtains and doors.Overall most of the problems with this production come from treating it as a film, which isn't completely fair as it was conceived as a stage production. Whatever can be said of its filmic shortcomings however, is more than made up for by truly mesmerizing performances that fascinate whether you can follow the text or not.

Perry S (es) wrote: this movie is awesome

RON (it) wrote: good movie,great effects,sound effects

Tim C (gb) wrote: Jennifer Jones does a complete 180 degrees of her Saint Bernadette in this movie, playing Pearl Chavez, of Native American and white heritage, who wants to be good amidst the temptations of the men around her. Jones is assertive, sexy, and conflicted and really shows her range as an actress to the tests and trials her character faces to the likes of well-meaning Joseph Cotten, playing Jessie, a progressive law school graduate who wants railroads through the state, Gregory Peck, playing Lewt, who is in a rare bad guy role that he literally goes all out in, Lillian Gish as Larabel, the good-natured mother to Lewt and Jessie, and who adopts Pearl after her father dies, and Lionel Barrymore as Senator McCandles, father to Lewt and Jessie and husband to Larabel. It's a steamy western romance, and David O'Selznick's attempt at a good western. Sadly, it is only an attempt because this plays a little like Gone With The Wind.

Justin R (kr) wrote: Some great sequences, and a lot of funny stuff, but it takes an awful long time to get to the haunted house.

Mike N (ca) wrote: beautifully filmed and good performances..the editing was kinda annoying to me,so my interest faded in and out of the story, but it was still touching.

Jonathan S (ru) wrote: Filled with brilliant suspense and great comic relief, Foreign Correspondent is one of Alfred Hitchcock's best movies ever made.

Christopher S (de) wrote: Fritz Lang's politically-minded suspense drama is most interesting as a document of its era, but also works as a thriller. It's heavy-handed with its political ideologies, the acting is dated, and it goes on far too long - but a morally complex plot, several memorable moments, and Lang's taut filmmaking keep it compelling.

Jack F (it) wrote: I've always been a fan of horror anthology films. From "Creepshow" to "Tales From the Darkside" to "Trick 'r Treat," a well-executed horror anthology is a lot of fun. Perhaps it's because the format works so well for the genre in that a story ends before monotony can set in, and then it's on to the next one; essentially, this distills a horror story down to its basest element, which is fear (obviously); no time for fluff or endless exposition. Or maybe it's because so many of them involve terrible people getting their just deserts, and there's just something supremely satisfying about that particular narrative. Anthology comics and series like "Tales From the Crypt" were particularly skilled at this device. Whatever the reason, there's just something in my makeup that responds to this particular category of the genre. And now we can add "Southbound" to the mix, a nasty, effective little piece that churns out five stories all taking place along a desolate stretch of highway somewhere in the southwest. The unlucky characters who find themselves here will soon learn of its sinister, almost purgatorial nature, as they each confront their inner demons-literal and figurative-and try to cope with their various feelings of guilt, shame, and remorse. Most of them are running from something...but they all end up here. It's not hard to draw the parallels between this forsaken stretch of blacktop and its accompanying small town(s) to the Purgatory of Christian theology, what with the idea that these poor lost wretches could be seeking atonement and undergoing a purification process for their souls. But you could also provide a convincing argument that it's actually a circle of Hell, complete with punishment for the damned and a gravelly voiced radio disc jockey standing in for Satan himself. (Certainly the title "Southbound" has all kinds of implications there.) The first story involves two blood-spattered men in a pickup truck seemingly caught in an endless time loop, as they try to get away from ghostly pursuers yet keep ending up back at the same diner. The second centers on a female rock band whose touring van breaks down along the highway, and they unwisely accept a lift from a creepy, eccentric older couple. The middle story involves a gruesome traffic accident in which a yuppie, keeping his eyes on his cell phone instead of the road, strikes a young woman with his car. Next, a desperate man embarks on a harrowing search for his missing sister, and it brings him to some pretty bizarre places. Lastly, a family preparing to send their daughter off to college is terrorized by masked home invaders. Each story has its own merits, and there really isn't a dud in the bunch. The most "conventional" is probably the last vignette, but it's certainly not without its twists. I probably liked the middle portion the best, particularly the traffic accident story, as it serves as a combination of a nightmarish, "Twilight Zone"-like scenario and Cronenberg-esque body horror that's all but guaranteed to make you squirm in your seat. I also feel like this story is the key to the whole movie, though that's certainly up for debate, and that's another good thing about the film: it's likely to promote discussion, particularly if you view the setting in a theological context. The stories also each have an appealing, undeniable sense of David Lynchian weirdness, particularly the second story, with the ostensible good Samaritans and their bizarro friends, and the fourth one, in which the bar patrons of the opening moments seem ripped directly from "Mulholland Drive" or "Blue Velvet." Say what you will about Lynch's work (and I've been critical in the past), but he's an expert at evoking a surreal, nightmare-like atmosphere in his movies, and the ensemble filmmaking crew behind "Southbound" (most of whom previously collaborated on "V/H/S," another horror anthology from 2012) appear to have studied his technique and put it to good to use. I will concede that the differing stories sometimes lead to jarring tonal shifts, and as a whole, the movie doesn't feel as cohesive as something like "Trick r Treat." But each story is strong, and in a style of film that tends to be pretty uneven, that's saying something. Some viewers are likely going to complain about the cryptic nature of the picture as it leaves a lot of questions unanswered. But that only deepened the mystery for me (in a good way), and sometimes I find it better to speculate than to simply wait for a movie to feed me explanations and expositions. Besides, as I see it, the answers to these questions aren't important. It's the choices the characters make; they may all be on the proverbial Highway to Hell but, like the best morality tales, it's on them to figure out when-and how-to get off at the next exit.