Wrong Turn

Wrong Turn

Chris crashes into a carload of other young people, and the group of stranded motorists is soon lost in the woods of West Virginia, where they're hunted by three cannibalistic mountain men who are grossly disfigured by generations of inbreeding.

For years, the government wonders about the sudden disappearance of tourists in the West Virginia woods, but the fact that they was killed by genetic mutation bloodthirsty brothers. They have no name, only known as Three Finger, One-Eye and Saw-Tooth. The film resolves around 6 people trapped in the forest of Virginia. They realize there is something that is hunting them. Will they fight or run for their life? . You can read more in Google, Youtube, Wiki


Wrong Turn torrent reviews

Nam L (br) wrote: The movie is bright and colorful but does not live up to the original from dr. Seus

Michael D (mx) wrote: puzzling, weired and boring. unexpected disappointment from my beloved director ;/

Bruno C (ag) wrote: So many people bad mouth the aging director and this movie. It definitely provokes a reaction out of you (and not in the way Jackass or Glitter do), which is the 1st step towards a quality film. There are some beautiful shots of monumental European cities, and it's rare to see such a convincing and tender relationship between mother and daughter as they travel Europe...it felt very real in this respect. Maybe it got a little pretentious once we are introduced to the cruise ship capitan (played by Malkovich) and the European celebrities traveling...but it does touch on some interesting topics of discussion, and then the ending...I cannot say more. You will either love it or HATE it. I liked it quite a bit.

Rohan G (kr) wrote: Just a cool film...Dolph and Cary Tagawa team up again...

Jose Luis M (ru) wrote: Ahora le toca el turno a las ovejas ser las asesinas, ligera y entretenida cinta inglesa, aunque abusa del gore

Sue S (gb) wrote: "Boy, I am two seconds from being on you like white on rice in a glass of milk on a paper plate in a snowstorm. I'm gonna put my foot so far up your ass, the water on my knee will quench your thirst."

Akshay M (kr) wrote: The most emotionally and spiritually moving film of all time and one of the greatest movie ever made. Beautiful,just beautiful. Wings of desire is special, it is something that you can never witness. The poetry,cinematography and screenplay were fabulous, that attachment between all the characters was unreal. It is a hidden gem, a masterpiece and a must watch movie.

Tom B (ca) wrote: Prince Of Foxes was released the same year as The Third Man, and in one Orson Welles, as Harry Lime, says "In Italy for thirty years under the Borgias they had warfare, terror, murder, bloodshed"but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, 500 years of democracy and peace, and what did that produce? The cuckoo clock." It is the signature moment in the film and sums an ethos that signifies an attitude of self-exalted anarchy embodied by Lime. In Prince Of Foxes Welles plays Cesare Borgia himself and brings pretty much the same crafty-eyed cynicism to the character expressed in the tone of the above stated sentiment. We thought Prince Of Foxes was a reasonably fun film with an good cast, notably a stand-out performance from Everett Sloane. Welles was his usual wicked self, and Tyrone Power gave us some moves we found reminiscent of what he did in Nightmare Alley, and Wanda Hendrix was fine and at times enchanting. We found the story overall to be average in terms of dramatic power, yet informative, with some tasty philosophical reflections and reasonable developments in character and the like, set against actual locations in Italy which gave it a lovely period look. The cinematography had it's fine moments, especially in exploring the features of Sloan's face and the local countryside. Art and artifice are central themes, explored in entertaining ways, and there is some derring-do and swordplay to round it all out. A history lesson? Hardly, but a reasonable evocation of period and some actual characters and, one presumes, a bit of a taste of what life was like back then over there. Too bad we didn't get to see Da Vinci building those catapults they used to attack the castle...

Ryan C (it) wrote: Ben Stiller takes his friends to London in the third and final movie and while it has its entertaining moments and special effects, it's the same formula and thus another throw away kids movie to end the trilogy.

Cameron J (nl) wrote: He's just kicking butt and taking lives, so he's pretty much the last boss you want to tick off. Man, this is one seriously crazy Canadian who must be brought to justice, thus, we have to call in a major detective to take seriously... or at least a hot chick. Well, there is some reasonable casting in this film, like Kiefer Sutherland as a... Canadian, and Ethan Hawke as... um, an art dealer. Hawke is an Austinite, so I can get his being pretentious enough to be an art dealer, but it's still trippy not seeing him or Sutherland as law enforcers of some sort, and, of course, seeing Angelina Jolie doing the detective work. D. J. Caruso might just be collecting as many stars as he would like to in this cast in order to lavish in making a more high-profile crime thriller than "The Salton Sea". Well, in most every other department, he must have lazed out, because even though this film is a much, much, much bigger commercial success than "The Salton Sea", it's not as big of a critical hit, although, in all fairness, there probably weren't enough people who saw "The Salton Sea" to provide all that accurate of a consensus. I don't know how accurate the consensus on this film is, because I kind of liked it, although I have my share of reservation, kind of like the film does when it comes to, say, exposition. There's no background to the protagonists, and although gradual exposition, or at least engaging performances, are serviceable in getting you used to the characters, there's a serious shortage on some sense of humanity amidst all of the over focusing on plot progression over nuance. More often than not, the film focuses on action, action, action, not of a combative nature, but of an investigative nature, with new natural slow-downs, which is monotonous enough without all of the fat around the edges of the plotting, backed by atmospheric dry spells which are near-dulling. The film tries livening things up with fluff which ranges from lightheartedness and a hint of humor, to somewhat overwrought action sequences, and which marks inconsistencies in a largely serious tone, while sometimes proving to be cheesy in its being near-witless and trite. Much of the film is trite, or at least simply conventional, following a formulaic path that is filled with formulaic characters and set pieces, until finding itself becoming something that a mystery thriller like this shouldn't be: predictable. The film sometimes has the audacity to all but spell out where it's heading, through contrivances that extend beyond the forced fluff, and are often directed in obvious tonal hints and manufactured happenings that get to be downright improbable, and are recurrent enough to take you out of a lot of a genuine sense of tension. The film is far from as incompetent as they say, being pretty sharp in a lot of ways, but nevertheless flimsy in a number of other ways, with no much developmental depth, or dynamicity, or momentum, and a number of inconsistencies, clichs and contrivances, thus making for a fairly inconsequential thriller that doesn't cut deep enough to be memorable, let alone stand a chance of transcending underwhelmingness. The film even flirts with mediocrity on occasion, but on the whole, it held my attention just fine, with both style and substance. This murder investigation thriller is not much of anything new, and is plenty improbable, and one has to question the shortage of humanity and nuance for the sake of forward momentum that its limited enough by flimsy storytelling, but there is always something intriguing with subject matter like this, some potential for heat in a chase that, no matter how predictable, can be fun to unravel, at least with a cast worth sticking with. Ethan Hawke often stands out in his portrayal of a distinct anxiety and fear in a witness to a horrible crime that may come back to haunt him in more than just a psychological way, and Kiefer Sutherland is pretty solid for the brief time he's present, but most everyone has some charisma in this talented cast, from which a particularly lovely Angelina Jolie also stands out, with an engaging presence that convinces you of the Illeana Scott's competence more than the development and casting choice. Jolie is, in fact, miscast in her being so much of the hot, pseudo-psychic investigator, but her and most everyone else's performance is pretty endearing, bringing some substance to a thriller that mostly thrives on style, even that of a musical nature. Now, there is a lot of conventions and some contrivances to this film's score, but only so much can be done to hold back a gifted classical mind like Philip Glass, who turns in some tasteful and intense pieces which prove to be almost as aesthetically solid as truly stunning highlights in Amir Mokri's bleak, sparingly lit cinematography, which graces the thriller with an effective and immersive visual style that does not mark a peak in style. Highlights in D. J. Caruso's directorial style include simulations of Agent Scott's deeply intense observations for clues which immerse you into the environment, but there's always some sort of flash in Caruso's utilization of creative filming and Anne V. Coates' snappy editing, particularly in the context of some forced, but solid action sequences. Caruso is better at livening things up than Jon Bokenkamp's uneven script, but what can make or break this thriller is the effectiveness of the storytelling, and even though there are pacing issues that hold Caruso's grip back, audacious, if somewhat overly disturbing imagery, and some moments of piercing thoughtfulness to storytelling, lead to genuine tension that is recurrent enough to make the plot reasonably effective. Storytelling in writing and direction is plenty messy, enough so to hold the final product quite a ways back, for all of the strengths, but there is enough entertainment value deriving from style, and engagement value deriving from heights in storytelling and acting, to make the final product fair, if flimsy. Overall, there's not much developmental depth to place humanity in the wake of all of the repetitious focus on eventfulness which still finds time to reach slow spots, forcibly broken up by jarring and trite fluff that is almost as contrived as lapses in probability which make the clichd narrative even more predictable, thus, there is a lot to challenge one's investment, and is itself challenged by an intriguing story that is carried by solid performances, score work and cinematography, and by often stylish and effective direction, enough so to make D. J. Caruso's "Taking Lives" an adequately effective thriller, in spite of its messiness. 2.5/5 - Fair

Justine S (fr) wrote: So stupid and funny it turned my friend and i momentarily dumb. It should have won an Oscar for best any category. Wouldn't see it again for it was to awesome to be watch. 10/10 heads!! would never watch this again!