The Tall Stranger

The Tall Stranger

A Union soldier returns to his western home at the end of the Civil War and finds himself caught in the middle of a land war between his greedy half-brother and a wagon train of Confederate homesteaders. This 1957 film stars Joel McCrea, Virginia Mayo, Barry Kelley, Michael Ansara, Whit Bissell, Michael Pate, Leo Gordon, James Dobson and Ray Teal.

  • Rating:
    4.00 out of 5
  • Length:81 minutes
  • Release:1957
  • Language:English
  • Reference:Imdb
  • Keywords:The Tall Stranger 1957 full movies, The Tall Stranger torrents movie

Ned Bannon comes across rustlers and is shot and left for dead, but is found in time by a wagon train heading for California. When he recovers he becomes suspicious of the two outsiders who... . You can read more in Google, Youtube, Wiki

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The Tall Stranger torrent reviews

Brad C (fr) wrote: I enjoyed the Lloyd the conqueror. It was a small movie with a big idea. Very nice change from the Hollywood rubbish audiences are subjected to. The humour was subtle and characters very strong.

Kenneth H (gb) wrote: We've seen the premise before if perhaps not quite in this setting - computer runs amok and takes over. Only this time its a "house of the future." Basically preying on the old fear of "oh my gosh, what if they run amok and take over." Some parts are clver, but mostly the acting is uninspired and its not really worth thw 90 minutes of your life.

vick s (ag) wrote: the movie brings in new form of energy and freshness. the story of a stunt man who is also a "player" and anti-marriage meets a girl who is a model turned doctor. they both hate LOVE. well with that kind of story you cant expect many twists and turns. but the plot is handled well by Sabir Khan, whose sole ambition is to "entertain". Aksay kumer is perfect for the role, he does action, comedy and romance with perfection and i would say he carries this silly and mad film on his talented shoulders. Kareena supports the leading man well. She is gorgeous and talented actress who does her best to justify her charecter and succeeds to much extent. supporting cast supports well. especially the guy is sidekick of Aksay in the film. Sly, Brandon and Denise fit in whatever their roles were. its quite hilarious to see Sly doing Bollywood action. my most favorite scene is when Aksay comes out of the shower yelling at the neighbor, watch for Aksay's expression there. on the whole movie is all entertainment. if your not doing anything important and just want to laugh on silly jokes without worrying about the script this one is must watch. ***1/2 from me for Entertainment and Strong performances by lead actors.

Josh D (ag) wrote: Such a good little horror! I didn't really have high hopes from the description, however there are interesting twists and turns that keep the pace of the film going, some good moments that even made me jump! All in all a very good watch.

Chris V (ca) wrote: a nice creepy unsettling movie...the plot stretched in some spots but managed to cover up any holes well enough to not make you question it further...i thought kilner & white were excellent, d'agosto was pretty good, but meester was pretty annoying and distracting.

Godwin G (es) wrote: Creepy, witty, and visually dazzling.

Greg W (es) wrote: gr8 cast strange but very interesting

Pierre K (ag) wrote: Such an underrated but touching and moving movie. I cannot recommend this enough. Immigration can be tough but with some love and good people on the way it can be a great adventure too;full of hope meaning and love.I wish Sheridan was still making such good stuff. Watch it. It deserves it.

Cameron J (br) wrote: "Save me from this prison, Lord, help me get away, 'cause only you can save me now from this misery, 'cause I've been lost in my own place, and I'm gettin' weary; how far is Heaven?" I'm so, so, so sorry, I'm not even crazy about that song, it's just that I'm watching this film after that song - which is two years younger - was released, so I just could not help myself. Besides, Chicano rock is kind of fitting, because as much as this film is driven by themes dealing with race, gender, sexual orientation and class, we may as well slap in a Mexican ethnicity for good measure. Music should be a major theme also because this stylish period drama about gays' problems, women's problems and Julianne Moore's problems is in more-or-less ever other way the definitive Todd Haynes film, except it actually made its budget back. Huh, and Russell Crowe didn't join this project because he thought that it would be too low-profile, but lo and behold, his bold statement was challenged by this film's shockingly exceeding its outrageous of... $13.5 million. Shoot, I joke, but "Velvet Goldmine" didn't cost but $9 million and didn't even make it to $2 million at the box office, but that was 1998, and this is the 21st century (2001 mind you, but the 21st century nonetheless), where the struggles of the homosexuals are respected enough for us to sit down and embrace film that outline the depths of their hard live... as well as the hard lives of the blacks and women who we keep kissing up to. This is a film for liberals, to be sure, but hey, my conservative self liked it, and yet, it's "far from heaven...ly" (Tee-hee), and for several reasons. This is certainly a pretty modernist film, but Todd Haynes makes the nifty stylistic choice of marrying contemporary filmmaking sensibilities with sensibilities of films from the late-'50s era in which this drama takes place, and such a move is unique and often effective, but the dark, dirty secret in the film industry is that they weren't exactly making terribly sharp decisions back in the day when it came to filmmaking, so when this effort does anything from presenting distancingly near-amateur fade transitions or overplaying the colorful score, it's hard not to be thrown off, especially when the modern filmmaking sensibilities work their way back in, and not all that organically. The film is kind of uneven in its storytelling style, juggling contemporary and old-fashioned filmmaking sensibilities with off-putting assurance issues that go matched in severity only by inconsistencies in the story itself. It's hard not to appreciate this film's thematic depth, as it is uniquely handled and worthy, but quite frankly, this drama does indeed get pretty carried away with its being packed with so many themes and plot layers, to the point of feeling overblown, or at least as though it has trouble juggling all of its key elements without evading focal unevenness. The film gets to be excessive and inconsistent in its layered storytelling and struggle to flesh out as much as it can, and yet, no matter how much this film wears itself out with depth, there's still something kind of undercooked-feeling about it, as immediate development is lacking, and attention to full dramatic depth has its limited areas, yet there is still more time than there should be that is dedicated to the aforementioned excess material. Haynes will carry this film a long way in a lot of places, and then he'll end up making some questionable move that holds things back, so don't go in expecting this effort to be as realized as something like "I'm Not There" or something, no matter how much it may feel like Haynes wants to carry this vision to that level, due to a palpable sense of ambition that reflects the areas in which Haynes falls short. This is a rewarding drama, but it's not what it could have been, nor is it what Haynes wants it to be, even though he tries so hard to bring effectiveness through the questionable stylistic choices, excessive thematic depth and, in some ways, subtle storytelling that ironically end up holding back Haynes' vision. Nonetheless, Haynes' keeps the film going more than he holds it back, crafting an ultimately very compelling and lavish drama, but not without the help of some fine artistic collaborators. A bona fide legend in film scoring if there ever was one, the now-late, great Elmer Bernstein was among the definitive film score composers of the 1950s, thus, back in 2002, Todd Haynes summoned Bernstein to this project to compose what would end up being his final score, and by extension, quite the capper to a legendary career, because even though Haynes' plays with the atmosphere of Bernstein's efforts are occasionally cloying, Bernstein's unique and beautiful marriage of subtle modern tastes and good-old fashioned color is both musically outstanding and about as complimentary to the selling of this era as Peter Rogness' art direction. This wouldn't exactly be an effective 1950s homage if the art department didn't put its all into reviving this distinguished era as lavishly as he can, thus Rogness pumps a lot of inspiration into his leading an inspired design team, highlighted by production designer Mark Friedberg and costume designer Sandy Powell, both of whom deliver on mesmerizingly intricate designs that, on top of being immersive, captivate with a loveliness that goes complimented by Edward Lachman's lushly colored and warmly lit cinematography. Visually arresting and musically delightful, this film excels from a stylistic standpoint so much that if you see this effort for no other reason, see it to marvel at its artistic integrity, but don't go in expecting this film to only have artistry going for it, because when it comes to substance, praise is also due, if limited. As I've been saying, storytelling gets to be problematic, whether when it's getting to be uneven in its narrative style, or when it's getting to be overblown with its thematic depth and dramatic layers, but where this story concept could have really thinned out its weight, or even slipped into conventionalism, this compelling narrative, even in concept, is unique and complex on both a thematic level and dramatic level, with worthy messages and a very human core that go brought to life in inspired storytelling. Todd Haynes' score may get to be overblown and uneven, but where this very boastful thematic drama could have gone the way of other dramas of its nature and collapsed into glaring subtlety issues, there's a very sharp and controlled cleverness to Haynes' writing that keeps characterization about as well-rounded as it can be with limited expository depth, and it itself is brought to life by genuine highlights in Haynes' direction, whose heart may get to be too ambitious for you to not notice the shortcomings in this efforts' struggle for excellence, but carries a flavorful thoughtfulness that keeps entertainment value consistent, until broken up by genuine emotional resonance whose effectiveness ranges from gripping to moving. Haynes' inspired offscreen performance as both writer and director builds a very endearing human drama, but what truly brings this character study to life is the onscreen talent, because if nothing else outside of style is consistently strong about this film, it's the performances, particularly those of the leads, with Dennis "The Allstate Guy" Haysbert being thoroughly charismatic as an intellectual black man who challenges the judgment of society, while Dennis Quaid all but steals the show in his emotionally powerful portrayal of a married man who comes to discover dark depths about himself, and leading lady Julianne Moore carries the drama with an effortlessly layered portrayal of an upstanding woman of the community whose flaws and questionable decisions will threaten her with the scorn of her peers and the devastation of a fantasy life. In most every regard, this film is inspired, and that makes the final product's falling just short of considerable strength under the weight of unevenness and overambition all the more frustrating, but the fact of the matter is that there is a lot of heart in this film, and you can challenge such inspiration for only so long before compellingness gets through, entertaining, engaging and ultimately rewarding as a both modernist and old-fashioned drama. In conclusion, the old-fashioned touches get to be questionable, and don't exactly organically gel with the more contemporaneous touches, as surely as the overwhelming amount of thematic depth and plot layers don't always elude unevenness, or, for that matter, expository limitations, and with these shortcomings going emphasized by a certain sense of ambition, the final product falls short of what it wants to be and perhaps could have been, but through a captivating artistic style that goes built on excellent score work by Elmer Bernstein, immersive art direction by Peter Rogness and lush cinematography by Edward Lachman, as well as through a unique and complex story that goes brought to life by thoughtful writing and direction, and compelling performances, - particularly those by Dennis Haysbert, Dennis Quaid and Julianne Moore - Todd Haynes' "Far From Heaven" is left to stand as an entertaining, when not thoroughly engaging and modern interpretation of questionable relationships during a less modern era. 3/5 - Good

Gregory W (nl) wrote: great story sad but engaging and watchable

Lisa Michelle A (us) wrote: This film never fails to make me angry towards the abusive father, who I want to kill. A strong, powerful, and heartbreaking film. I've only ever seen it twice as more than that is too much to take. A good film nonetheless.

Gabriel A (de) wrote: Pure 80's Horror/Cheese :)

Jayakrishnan R (gb) wrote: 89%Watched this on 17/10/15Underrated, well cast, well acted, rich on details, this Western from Lawrence Kashdan is one of the most memorable films of the genre even though it tells a story that we may know very well, but then again which Western has such a thick story? Compared to the only other western of Kashadan that I have seen( Wyatt Earp), Silverado is far far better. It's also finely shot throughout and although it gets tired towards the end watching the predicable ending take place, the style of the film can outlive it all.

Phillip M (ru) wrote: Forgettable. Reaching. Overdone. Those are some of the words I can think to describe a few of the scenes in Get Hard. For a comedy, I just didn't find it all that funny. It was one of those movies where I was glad I watched it, but I wouldn't be sad if I never saw it again. There is something that is missing that I'm still trying to put my finger on. Thinking about it, the film wasn't horrible by any means. Just...missing something. To wrap it up with a bow, we'll just say a lot of flat moments made the film stagnant.It stars Will Ferrell and Kevin Hart. Ferrell's character James is about to go prison and, for the sake of survival, seeks out Darnell (Hart) to give him tips on how to make it in the big house. While the concept is seemingly funny and I did find myself laughing openly at a couple of parts, Get Hard comes up a little short. I give it a 72.

Weaam M (jp) wrote: there's a part about writing and experiences, and I loved only that part.

Kent D (gb) wrote: Brilliant movie... Holbrook is as ever stellar, and turns in a beautiful nuanced performance here, and Ray McKinnon (the Reverend from Deadwood) is fantastic. 2 flawed main characters - with whom do you sympathize? McKinnon's Choat is a bastard alright, but his family are good and kind. Holbrook's Meecham just wants his home back, but he's no saint either. Walton Goggins (also starring as Holbrook's son) and Ray McKinnon's production company are behind this and I'd love to see more from them.

Chris R E (ca) wrote: Great scenery,good acting - boring plot