Torrente 3: El protector

Torrente 3: El protector

The horrendous spanish detective becomes a bodyward in his new third adventure.

The horrendous spanish detective becomes a bodyward in his new third adventure. . You can read more in Google, Youtube, Wiki

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Torrente 3: El protector torrent reviews

Bruno V (ag) wrote: One of belgium best movies for me , great cast , great story recorded in my neighborhood . SOMDVD

OoOo (br) wrote: it was astonishing how that weed got into her shit!

Isabelle S (it) wrote: Excellent !!! Not possible to find on DVD !!!!

Mikhail B (br) wrote: Beautifully-recreated scenes of the old Venice and a love story coloured by the betrayal-jealousy-love triangle. Also, one of my favourites, the cross-eyed Rufus Sewell seems to be constantly emotionally involved in the action even if he fails to convince in his frankness by other artistic means.

Anna L (es) wrote: WORST MOVIE OF ALL TIME. I think my eyes and ears bled throughout the whole thing. How was this allowed to be a movie?!?! It isn't even a good bad-movie! The acting is so terrible that at first it's laughable fun but eventually it grows tiresome. The plot is basically just a lot of repeated training scenes backed by corny as hell fanfare music. Have fun with that. There was only one part in the movie that made me laugh so hard that my stomach hurt (laughing AT it, not with it, mind you), but other than that, don't waste your time.

bill s (kr) wrote: When they killed off Seagal ten minutes in,no matter what,I was going to like this film.

Will D (mx) wrote: The film entertains and is quite stylish. I dislike the genre and the ending is predictable.

Generoso F (gb) wrote: Outrageously flawed yet somewhat redeemable 1973 film shot on the grittier side of Philadelphia about two black con men, one "Blue" (smartly played by Mel Stewart) and "White Folks" played by Kiel Martin, who can pass for white thus allowing him to go on the bigger con with the city's old money establishment. They duck cops and gangsters throughout the film with action that works in a large part thanks to cinematography of Isidore Mankofsky. The dialog on the other hand usually rings true between Blue and White Folks mostly fails during interactions with other characters and hurts the film a great deal. On a personal note, this film was shot in and around my neighborhood where I grew up and gave me a glimpse of Philadelphia that I remember but was oddly surprised hasn't changed much in 30 plus years.

Stuart K (de) wrote: Roger Corman's 8th and final Edgar Allen Poe adaptation, and something of a departure for Corman, as all his Poe films had mostly been done in studios. For this one, he headed to Shepperton Studios in England, and he found himself filming on location in the English countryside for this film, and it looks beautiful, it's a dark, strange film too. It begins with the burial of Ligeia (Elizabeth Shepherd), wife of Verden Fell (Vincent Price). For years, Verden remains mournful and withdrawn until he meets Rowena Trevanion (Shepherd again), daughter of Lord Trevanion (Derek Francis) who reminds him of Ligeia. Although Verden has had his back turned on the world for many years, he finds solace in Rowena, and against the odds, he ends up marrying her. But, Verden finds himself vanishing at night, and Rowena finds strange occurances happening in her room, and there's a nasty black cat lurking around causing havoc. Rowena's old flame Christopher Gough (John Westbrook) fears all is not right, and he discovers a wax replica of Ligeia's body in her grave... It's a dark film, with Price quite restrained and withdrawn, Corman got alot of crew members from Hammer to make this one, and it makes a good combination, with a good main location at Castle Acre Priory in Norfolk.

David J (ag) wrote: Saddle the Wind is a Cain and Abel story about two frontier brothers on such opposite planes it?s hard to believe they could be related. It stars Robert Taylor as the older, wiser brother, Steve Sinclair. John Cassavetes plays the younger, cocky, uncultivated Tony Sinclair. The two are significantly apart in age. I?d estimate that Steve is in his 40?s, while Tony looks to be somewhere around 25. However, Steve states that their parents passed away when he was young. Steve is a reformed gunslinger turned open range cattle rancher. Tony still sees Steve as the gunfighter he once was, and which Tony probably barely remembers, and has idealized that lifestyle his whole life. The two conflict when Tony starts playing badass gunfighter for real. Before Steve could turn around Tony became a young man. Tony believes he has come of age. He is fast on the draw of his pistol. Fast enough that one day when a notorious gunfighter comes to town looking for Steve, Tony is able to gun him down. Tony also brings a woman home for the first time, a saloon singer, Joan Blake (Julie London). Tony surprises everyone when he introduces her to Steve and their ranch hands as his fiance. She was probably the first girl to give him the time of day, and he held her up like a prized trophy. It?s later revelled that she just wanted to get out of that saloon. Tony believes that all this makes him a man. Steve has lived long enough to know that being a man is a state of mind. It has nothing to do with being the toughest, or the easiest with women. He wants Tony to understand that, but it is beyond him. Tony suffers from a bad combination of wanting to prove his manhood to everyone, and himself. As well as letting his gun belt do the thinking. I like Robert Taylor as the leading man in this movie. He has a bit of a charm that?s a cross between Jimmy Stewart and Robert Mitchum. Julie London as Joan is terribly underused. In the same year she gave what is considered to be the strongest performance of her career in another western, Man of the West (1958). Her character in this movie was written only to fulfil a need for a female presence. We are led to believe that a romantic situation develops between her and Steve. But nothing is ever shown onscreen. Just before the climax where Steve rides off to what may be a fatal confrontation between Tony and him, he tells her ?wait for me,? She replies, ?I Will.? It is an unnecessary complication written into the script. If there had been a romance building between the two onscreen that would have been one more complication in the relationship between Steve and Tony. There already is quite a bit packed into this 84 minute movie. But what?s worse is that the romance is suddenly introduced, and then nothing is done with it. Even though London doesn?t make much of an impression in the movie as a whole, her character is well-written. All that is her character (and most of her dialogue) is condensed into one monologue. It is during a confrontation with Steve, when she is first brought to the ranch. It may be brief, but we believe her to be a real person with real problems. That is true for all the movie?s characters, and is what makes the movie successful. All the characters, no matter how big or small, we believe could be real people. Steve and Tony occupy much of the screen time, but there are numerous small characters who come and go, all of whom I found to be interesting, and are round enough that they could be the star of their own movie. The dialogue between the characters is also well-written. The exchange between the characters has a certain flow to it that is admirably crafted, and a pleasure to watch. I?m not sure how this western was received when it first hit theatres in March of 1958, but today it?s mostly forgotten. It?s kind of amusing how this movie is an eclectic collection of talent that was then, mostly yet to come. The movie was partly directed by John Sturges, who didn?t receive a credit. Sturges later went on to become one of the western genre?s essential directors. He also directed Bad Day At Black Rock (1955), The Magnificent Seven (1960), and Joe Kidd (1972), written by Elmore Leonard and starring Clint Eastwood. Rod Sterling, who wrote the screenplay later went to on to become the distinctive voiced host of The Twilight Zone. Julie London was a famous singer of the time, most remembered for her single, Cry Me a River. She developed a legitimate acting career also; this was one of her early roles. There was a theme song composed for this movie, which London herself sings during the opening credits. It?s an enchanting song, which I unfortunately haven?t been able to find to download. London describes her own voice perfectly as, ?a kind of oversmoked voice, and it automatically sounds intimate.?

Jessie M (ca) wrote: This was pretty good, although kinda depressing.

Anthony B (us) wrote: Toula is a woman living her life in Chicago. Toula's family is Greek, but most importantly, they are very close to each other. Even her aunts and uncles are always around them. Toula's father wants her to finally meet a man. Not just any man, but a nice Greek man. Someone who is like the rest of their family/culture. Toula starts dating a non-Greek named Ian. Her father is very upset and tries to set her up with other Greek men through dinners at his house. Her whole family realizes that she is happy with Ian, so they decide that they need to accept that Ian will soon be a part of the family. When Ian and Toula get married is when the families start to except each other more and they learn to love. At the end, Toula and Ian move in right next door to Toula's parent's home in Chicago. This movie is a great family movie that is filled with good clean fun. This movie shows what families are like in different cultures

Chris (nl) wrote: Not a bad movie at all, it's just a very...adequate one. Short enough that it never gets boring but nothing that stands out either.

Kaleb P (mx) wrote: That was a great movie.

Scott C (jp) wrote: I'm not quite sure why the critics ratings are so high for this. It was really sleazy. Sure, it was artistically done, but very hard to watch. Maybe if you like really twisted exploitation pictures, you'd enjoy this.