Villa Rides

Villa Rides

Pulled into the Mexican Revolution by his own greed, Texas gunrunner & pilot Lee Arnold joins bandit-turned-patriot Pancho Villa & his band of dedicated men in a march across Mexico battling the Colorados & stealing women's hearts as they go. But each has a nemesis among his friends: Arnold is tormented by Fierro, Villa's right-hand-man; and Villa must face possible betrayal by his own president's naiveté

Mexican rebel Pancho Villa lead a revolution helped by an American aviator imprisonned in Mexico. . You can read more in Google, Youtube, Wiki

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Villa Rides torrent reviews

Inder O (fr) wrote: One of the worst movie of the year ....z

Accurate M (fr) wrote: I don't get the hate. Sure, it's not as good as the last one, but it's still freaking amazing.

Ricardo G (de) wrote: Interesante drama thriller durante la epoca previa a la Segunda Guerra Mundial en China. La cinta tiene buenos momentos, casi todos en manos de la siempre fantastica Li Gong y el esplendido Ken Watanabe, Cusak es poco convincente como espia, y la narracion es infame, particularmente cuando desea ser lirica y profunda, nunca peor que en la secuencia final, donde no solo no aporta nada, sino que es completamente anti climatica.

VPNVJ3W (it) wrote: My absolute most favorite movie EVER!!!

David B (it) wrote: A bloody protest on the Bosnian war. A great film.

Richard C (ag) wrote: haven't seen this for a while. one to revisit methinks.

Sara Y (ru) wrote: just plain funny. watch out for the jerky.

Edith N (mx) wrote: I Don't Think Any of Them Know What's Going On, Either It's quite obvious that this is intended to be the followup to [i]Charade[/i]; heck, Stanley Donan even cast Gregory Peck, Audrey Hepburn's first costar, when Cary Grant fell through. Even though you wouldn't know it just to look at the two stories on paper, the plots do have a lot in common. The jokes have a great deal in common as well, and the visual styling is that desperate attempt at modernity so common of movies of this vintage. Which, coincidentally, is probably the thing I like least about [i]Charade[/i]. I would say Donan's attempt to cash in on that first movie's success is probably the thing I like least about this one, though it's got a lot of competition. This is simply a much inferior movie, and probably the biggest problem with the [i]Charade[/i] feel is that it constantly reminds you of a better one, which is a fatal flaw for better films than this. Here, Gregory Peck is stuffy Oxford professor David Pollock, an American abroad. One day, he is asked to translate an inscription on a scrap of paper for a very rich Arab of uncertain nationality called Beshraavi (Alan Badel). He declines, not being fond of what he knows about Beshraavi. He is then picked up by the prime minister and ambassador of that mystery country, I missed their names, and told that it is important to them that the inscription be translated. So he agrees to do it, and while at Beshraavi's, he meets Beshraavi's girlfriend, the lovely Yasmin Azir (Sophia Loren). Things end up getting so complicated for everyone that I'm not sure who half the cast was or was working for. Somehow, David got framed for murder, and Yasmin manages to keep her own name while going through more changes of allegiance than Cary Grant did during [i]Charade[/i]. And eventually, it turns out she's not the only one and that the plot, such as it is, is even more complicated than we thought. It becomes obvious that the role wasn't written with Gregory Peck in mind. Not as obvious as some other miscast movies, but this was intended to be a movie about a man with wit and [i]savoir faire[/i]. Gregory Peck does sometimes exude a certain dry humour, but he had nothing on Cary Grant and knew it. In fact, he apparently even told everyone concerned that the lines might not come across as funny aw written. After all, he wasn't a comedian. And it is probably true that the movie would have been funnier with Cary Grant involved. On the other hand, I think the failings are more than Grant could have solved. It would have been somewhat more believable that Sophia Loren swooned over him right away, given that I'm pretty sure she really did, but the plot wouldn't have worked any better overall, and the lines which fell flat could only have been saved so much by funnier reading. Besides, that would logically only help his own delivery, given I didn't think he had bad chemistry with the cast, the only other thing which would have been improved by a single replacement. Honestly, I find the title quite appropriate. The movie isn't Arabian; it's Arab-ish. None of the actors have any Arabic ancestry. There's nothing approaching a real discussion of the problems at hand beyond a couple of lines at the end discussing the fact that the people of Wherever It Is have oil, not water, and cannot drink oil. I realize, of course, that "arabesque" doesn't mean "Arab-ish," but it feels as though it should. There is essentially nothing in the entire story which couldn't work if the characters were from practically anywhere else in the world. The region just needs to be politically unstable, and that could be just about anywhere. Of course, it wouldn't be most places simply because it was less likely for Gregory Peck to end up with, say, Ruby Dee than Sophia Loren. But anywhere you can have the female lead be only borderline ethnic, because the location doesn't matter to the plot. It's true that the story only kind of matters in [i]Charade[/i], because what you are really doing is watching Cary Grant and Audrey Hepburn fall in love. However, attention is still paid to it for all that. The threats feel real, and while the characters are only borderline believable, they're believable enough so that you can really get involved in the dangers they're facing. And while what we think we know turns out not to be true half the time, that's by design and works. In this, it kind of feels as though everyone changed their mind and is running off in a different direction instead. And since the chemistry between Loren and Peck never quite meshes, we don't even get the joy of discovery that fills [i]Charade[/i]. On the one hand, I don't think it's fair to keep comparing the two movies; each movie should stand or fall on its own merits. On the other, the movie really wants you to make the comparisons, which means it only has itself to blame when that doesn't end well for it.

Hope B (it) wrote: ITS UNDER-RATED and has a young Ben Stiller and Viggo Mortenson. I love that Molly is shown to be uneducated through the sporatic use of bad grammar. Its hilarious. The wardrobe is effing great.

TTT C (au) wrote: (*** 1/2): Thumbs Up A very funny movie. It had me laughing throughout.

Dave G (fr) wrote: LOVE Sting's music but not his best

Luke R (es) wrote: Jamie Lee's boyfriend's death is the most random death ever filmed.

Private U (fr) wrote: Rule #1 this film is not to be used as a cultural model, great doc, hilarious Richard Pryor commentary, awesome music, gives you a great feel for that moment in time, etc..Also highly recommend Flag Wars, not in this catalog, so I couldn't rate it :( But its an excellent Doc :)As well as Musique Au Poing, an excellent doc about Fela Kuti..

Al M (it) wrote: Aside from the original Gojira, Mothra is probably my favorite Kaiju film that I have seen so far. A really cool early 60s blend of a fantastic, prehistoric, native island in a manner akin to Skull Island in King Kong and a typical giant monster attack But Mothra invents a new nation that seems like the U.S. and Mothra actually acts out of a somewhat benevolent impulse--he is merely trying to retrieve the lilliputian-sized women from Infant Island who have been abducted and forced to perform by a oppurtunist explorer. Mothra will destroy whatever comes in his way, but he only does so because humankind has disrespected other civilizations. A fun, stylish blend of sci-fi, fantasy, and kaiju horror that is true classic of the genre.

Filius S (ag) wrote: Be Kind Rewind is an oddball story about films, indie film making, video stores, gentrification and community, and the swinging dick of big business. The film begins in a relatively crappy looking part of Jersey, where Lethal Weapon's Roger Murtaugh has finally retired and opened up a VHS rental shop. Murtaugh, being the oldschool motherfucker that he is, refuses to rent DVDs and that leads to his company bleeding cash, and threats of getting shut down so the city can gentrify the building it's all located in, despite its historic past. Murtaugh goes to check out some DVD shops, and figure out how to modernize his shop, leaving his young employee, Mos Def, in charge. Now, Mos Def, being the chill dude that he is, is buddies with Jack Black; despite Black being a tinfoil hat conspiracy type guy, living in a nearby trailer, in this film. Well, due to his nutty personality, Black tries to sabotage an electric substation nearby that he thinks is controlling his thoughts, in the process magnetizing himself. The next day, when he gets to the video store, his magnetized self erases every single tape inside the shop. By now, customers have started coming into the shop, with one in particular asking for a copy of Ghostbusters (good choice). Mos Def, thinking fast, decides to film the movie with Black using props they have lying around, and basic special effects. They finish the film just in time, just as another customer comes in requesting Rush Hour 2. The effect is repeated over and over as people begin hearing about the films, and start to refer to them as "Sweded" versions, and the little shop begins to make more money than it ever did before. That is, until the MPAA hears about it. Charm goes a long way within a film, and this example from director Michel Gondry is absolutely brimming with it. It's the underdog story of the dog under the underdog, and I found myself instantly rooting for the characters, and literally moved by their impassioned attempts to keep their community happy based on their encyclopedic knowledge of film. This is, in a way, a filmmakers ballad to the craft, and it really shines through and gives the viewer a lot of appreciation for the hard work it takes to make a movie. The film has nothing fantastic in the way of cinematography, just your typical comedy style vibrant color scheme, and regular shots (although there are some great artifacts on the Sweded style films). The music and sound are everything you expect in a film like this, and I can't really remember a stand out song/theme. The film is often classified as a comedy, but it's not one that tries to be funny all the time, opting to add heart, and let the ridiculous situations the two main characters find themselves in to be the source of the laughs. TL;DR - 8/10I came into this movie not really expecting much. I actually saw it in theatres because, if I remember correctly, there just wasn't much else to see at the time. When I walked out of the movie theatre, I was elated, and from the impression I got off the half-full cinema, so were most of the other people there. The film won't find itself on any top 100 comedy lists, because it never aimed to be one. It won't find itself on any drama lists either. Hell, because it's kind of a weird movie, you probably won't see it on a list at all. But fuck all that, this movie deserves to be seen by anyone who likes films, and doesn't mind having a couple laughs while watching a movie about making them.

Ryan B (de) wrote: I didn't know this was going to be about the idiot female lead. As much as Bruce Campbell is a complete dick, he's probably the only good thing about the film. The mole people are just confusing, why would anyone want to be king of that crap heap? was it all in her head though? Mindwarp!

Michael T (de) wrote: Exploitation film gender-bends The Defiant Ones.