Newly appointed sheriff Pat Garrett is pleased when his old friend Doc Holliday arrives in Lincoln, New Mexico on the stage. Doc is trailing his stolen horse, and it is discovered in the possession of Billy the Kid. In a surprising turnaround, Billy and Doc become friends. This causes the friendship between Doc and Pat to cool. The odd relationship between Doc and Billy grows stranger when Doc hides Billy at his girl, Rio's, place after Billy is shot.
Western legends Pat Garrett, Doc Holliday and Billy the Kid are played against each other over the law and the attentions of vivacious country vixen Rio McDonald. . You can read more in Google, Youtube, Wiki
The Outlaw torrent reviews
(br) wrote: Starry Eyes excels at showing depression and anxiety at your lowest, while offering a fresh story.
(jp) wrote: Love everything. It gets better every time I watch. There's such restraint. Altman winks throughout but it never goes into camp mode. Tim Robbins is so beautiful.
(jp) wrote: I've never thought I'd watch a movie that deserves only 1/2 stars... but here it is
(br) wrote: A powerful movie with an amazing ending. A must see to fully understand what went on in Iraq.
(jp) wrote: should've left the original alone.
(mx) wrote: This actually stands as one of Jack Black's most enjoyable moments, and while far from Steven Martin's best he gives a great performance in this as well. The Big Year is surprising a great idea to collaborate two raunchy comedians like Owen Wilson and Jack Black, put them with a classic comedian like Steve Martin, and make a PG rated movie with them
(nl) wrote: Excedingly poor, gritty crime flick, riddled from the outset with swearing, ultra-violence and lacking any respectable plot. Sean Bean is too good for this weak crud. Brutal and unpleasant. I would rather listen to nails running over a blackboard than experience this film again.
(de) wrote: I'm not quiet sure what this was, but it was amusing
(us) wrote: Laughed my ass off. Some of my favorite actors, plus my hero, John Prine!
(ag) wrote: Oh, what an ear Guy Ritchie has. Though not a fan of the walls that confine a comprehensible plot, Ritchie may as well be the Brit Tarantino when it comes to dialogue. Gifted in his ability to craft conversations characterized by a daunting mixture of street guy toughness, blackened humor, and ironic prudence, listening to his characters speak is something like hearing a virtuoso violinist perfervidly perform Johan Sebastian Bach's Chaconne from Partita in D Minor, hardly breaking a sweat. What a joy it is to watch a film where colloquy is everything, where characters are vehicles for bravura dialogue to travel in. The film, 1999's "Lock, Stock, and Two Smoking Barrels," was the first for the now cultishly beloved Ritchie, who kept his cheeky stride with 2001's similar "Snatch" but lost it all after marrying Madonna and throwing his career away in 2003 with "Swept Away," a misguided attempt to combine work and play. After "Snatch's" release, he's come close to matching the initial triumphs of his first two releases ("Sherlock Holmes" brought him much needed commercial success, "The Man From U.N.C.L.E." showcasing him as an immensely capable talent-for-hire), but nothing takes the place of "Lock, Stock, and Two Smoking Barrels," whose vitality and crotchety humor makes it as punchy of a crackpot crime comedy as it was back in '99. Its hard-to-follow plot, a familiar case of too many characters and too many stories, is its weak link, preventing us from feeling that internal cackle that follows suit after undergoing something like "Jackie Brown," which was similarly complicated but nevertheless straightforward and rewarding to keep up with. There comes a point during "Lock, Stock, and Two Smoking Barrels" in which the hurricane of thick British accents and bafflements of the intersecting stories becomes too much, us having to throw our hands up in surrender to its byzantine ways. But its delightful performances and saucy dialogue never lose their introductory charisma - getting lost in its setup is very much a possibility, but tiring of its personality is certainly not. The film concerns the misadventures of a pocket of East End thugs, who match in their tendencies to blunder but who vary in their callousness. Most conspicuously featured are Eddy (Nick Moran), Bacon (Jason Statham), Tom (Jason Flemyng), and Soap (Dexter Fletcher), low-lifes who unwisely devise a plan to earn enough money to land Eddy a spot on the poker table of porn producer Hatchet Harry (P.H. Moriarty). So intrigued by the prospect of winning big that they forget that Eddy could, you know, lose, we get the feeling that the twenty somethings are way in over their heads. And we'd be right - Eddy doesn't end a victor and instead becomes a victim of the payback. By the end of the week, he is expected to give Harry an obnoxious amount of cash; Harry, aware that the young man foolish enough to go against him likely won't be able to put his money where his mouth is, eyes his father's bar for purchase. But Eddy and his pals are virilely forlorn, eventually landing on the idea of stealing from a local gangster's (Steven Mackintosh) marijuana business. Connoisseurs of the heist they aren't, though, and the hot water around them gets even hotter the more they try to get Eddy out of his debt. A bevy of characters are further introduced, but to list them all off, describing their individual roles in driving the labyrinthine plot, would be tiresome and maybe even worthless; most likely, you won't be able to keep up with "Lock, Stock, and Two Smoking Barrels" any better than me. You will, however, remain enthralled by its exchanges and its characters - I love the way Ritchie is able to make even the most wearisome of a conversational detail pop with knowing panache, and I love the chutzpah of the performers, especially Statham, then a newcomer, Vinnie Jones, a brawny toughie, and Vas Blackwood, who, with delicious camp, plays a crime boss of unusual merit. So while "Lock, Stock, and Two Smoking Barrels" is not the direct escapism most hunt for to spend a couple of hours with, its exhibition is unmissable; had Ritchie continued on the path set by it, then he might have been a living legend. But there are worse ways to be remembered.
(ag) wrote: Very fun horror anthology. Carpenter is delightful. Really good performance by Mark Hamill.
(kr) wrote: How do you get your wife to watch a horror movie? Tell her George Clooney is in it. When it turns out it's a bit part that barely lasts 10 minutes, she quickly loses interest. This is low budget crap trying to make light of the fact that it is low budget crap. Just doesn't play well. The pacing is terrible. There are no scares. Some T&A and Maureen McCormick of Brady Bunch fame are the only good parts.
(jp) wrote: my advice is dont watch this movie unless you have the mst3k version
(ru) wrote: Seething with raw masculinist angst. Gunplay from out of no where for no damn good reason. Acting was highly engaging.
(fr) wrote: the vibe was like "animal kingdom," a flick i really enjoyed. it's hazy and gritty and emotional and tough to watch sometimes. it was also very difficult to follow. it took a fair amount of reading after the fact (and during the fact) to figure out who was who and why they were doing what they were doing. ultimately, the finer details didn't really matter that much since the outcome was the same-we were witnessing murders being committed. so yeah, if it was told in a more straightforward way instead of relying on tons of implied clues via very rapid dialogue, it'd be a masterpiece. i read that the filmmakers assumed you had a basic knowledge of the case, which makes sense, but doesn't help a ton in my case when i wanna go in with zero knowledge and be shocked. good film though, no denying that.
(es) wrote: Occasionally amusing but disjointed satire on Little Englander intolerance.
(fr) wrote: This movie was awesome and amazing to see what this women went through will make you quiver. Life should never be this hard for anyone. MUST SEE!!!!!!!!!
(br) wrote: Amazing classic exploitation with amazing director and sub-standard plot.
(mx) wrote: As much as I wanted to love this movie for what it was, what it had advertised tho wasn't close to anything that this movie is. For its only scary a hand full of times and failed to succeed on many prime jump spots that the directors atmospheric tone was providingBefore I wake is not a horror movie more like a drama movie stuck in the horror realm. I didn't hate this movie by any means it just had a lot it could have done and I don't know if it was budget issues but I kinda left this movie feeling disappointed. But boy does that kid make you feel for him and doesn't make you angry instead makes you understand he's a kid with shift he doesn't know how to control. And the twist of the whole plot was welcoming. But it's not why I'm sure people reading about the plot and wanted a dark scary movie about the dreams and nightmares of children but instead got a character study in its place."C" is the final grade