#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Screenwriter David Sumner travels with his wife Amy in his Jaguar to her homeland Blackwater, in the Mississippi. Amy’s father has passed away and David intends to write his screenplay about Stalingrad in the house. David hires the contractor Charlie and his team to repair the roof of the Barn. Amy was the sweetheart of Charlie when she lived there and neither him nor his crew show respect to her. Charlie invites David to hunt deers with his group and him but they leave David alone in the woods and rape Amy. She does not tell to David what happened but when the drunken coach Tom Heddon calls Charlie and his friends to hunt down the slow Jeremy Niles that likes his daughter, David decides to protect not only Jeremy, but also Amy and his honor.
Plot: L.A. screenwriter David Sumner relocates with his wife, Amy, to her hometown in the deep South. There, while tensions build between them, a brewing conflict with locals becomes a threat to them both.
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|5.8/10 Votes: 32,823|
|5.8 Votes: 349 Popularity: 14.558|
Fine as a standalone, but you’ll wonder why they bothered as a remake
Most modern remakes carry with them a whiff of disappointment, a general feeling of déjà vu and a sense that watching is time wasted because they’re invariably going to be worse than the original (apart from in a few instances). The same can well be said of STRAW DOGS, a film that relocates Sam Peckinpah’s controversial classic in the southern USA but otherwise tells exactly the same story, with the same sequences and even the same dialogue beats.
Put simply, STRAW DOGS is a fine enough film in itself and would be more impressive if the original didn’t exist. Compared to the original, it comes second in every way; the cast is a lot worse, the direction is non-existent compared to Peckinpah’s masterful stylistics, and the power is just lacking. Fans of the original would do better to stick with that because there’s no way this film has a hope of coming close to it.
Taken as a standalone movie, though, and compared to other modern thrillers, it turns out to be well, not bad. The slow-building plot is as effective as ever, and the climax doesn’t disappointment when it arrives and unleashes a wave of violence upon the screen. James Marsden struggles because you can’t help but compare him to Dustin Hoffman in the role, and Kate Bosworth doesn’t really capture that level of coquettishness that the Susan George character had, either.
But the supporting players are better, and Alexander Skarsgard is particularly sinister as the bad guy who doesn’t really do anything all that bad – although we hate him anyway. James Woods ignites the screen, as ever, and Dominic Purcell offers a completely different performance to David Warner’s, so his role is all the better for it.
So what we have here is a film that can be taken in two different ways. As a remake, it’s a pale effort compared to the vibrant original. As a standalone movie, it’s a pretty tense thriller with a gripping storyline. I liked it enough the first time around, but is it worth a rewatch? Not like the original.
Original Language en
Runtime 1 hr 50 min (110 min)
Genre Action, Drama, Thriller
Director Rod Lurie
Writer Rod Lurie (screenplay), David Zelag Goodman (earlier screenplay), Sam Peckinpah (earlier screenplay), Gordon Williams (novel)
Actors James Marsden, Kate Bosworth, Alexander Skarsgård, James Woods
Awards 2 nominations.
Production Company Battleplan Productions
Sound Mix SDDS, Dolby Digital, Datasat
Aspect Ratio 1.78 : 1 / (high definition) (Home Media Release), 2.35 : 1
Camera Panavision Panaflex Gold II, Panavision Primo and Angenieux Optimo Lenses, Panavision Panaflex Lightweight, Panavision Primo and Angenieux Optimo Lenses, Panavision Panaflex Millennium XL2, Panavision Primo and Angenieux Optimo Lenses, Panavision Panaflex Platinum, Panavision Primo and Angenieux Optimo Lenses
Laboratory DeLuxe, Hollywood (CA), USA (prints), Sony ColorWorks, Culver City (CA), USA (digital intermediate) (as ColorWorks)
Film Length N/A
Negative Format 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (3-perf) (source format), Techniscope (source format) (some scenes)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema