Welcome to New York



Welcome to New York (2014) download yts


Added By: Kaiac
Downloaded 34,281 times
May 18, 2016 at 3:55 PM



Gérard Depardieu as Devereaux
Drena De Niro as Executive Assistant
Paul Calderon as Pierre
720p 1080p
812.23 MB
23.976 fps
2hr 5 min
P/S Unknown
1.64 GB
23.976 fps
2hr 5 min
P/S Unknown

Movie Reviews

Reviewed by losriley-1 7 / 10

Wecome to New York brutal and unflinching

This film has many different rhythms and paces. At first the prolonged sex scenes last so long that they became uncomfortable and disturbing.Although the sex with the prostitutes was consensual Depardieux grunted in almost pig like fashion as he lost himself in debauchery and lust. It had the feel of a porn film but with believable characters. The scenes with Depardieux and Bissett often have the feel of improvisation particularly at the beginning. It would have been nice to have seen more of the victims reactions to the abuse that they were subjected too. The unrepentant nature of the lead character is alarming and brutally honest.He does not seek to be cured even after his arrest makes his life fall apart. He shows no feeling for his victims and just is a serial abuser. His blunt attempts at seduction is seen to be successful in one instance due to his wealth and status and overt womanising. Like Bad Lieutenant this film delivers moments of brutality and spiritual abandon. In both films the central characters are spiralling out of control. The Gauguin nudes on the walls of the apartment are well placed. In all despite the lengthy sex scenes and drawn out almost real time arrest the film is well constructed and well acted. The surreal almost "bad actor" dialogues between Bissett and Depardieux as they confront the aftermath of his arrest fluctuates between the inane and the poetic. I really liked the line that,"The reverse of Love is not hate but indifference" delivered by Bissett. The fact that this film is based on true events adds weight to the subject matter. A difficult film to watch and an adult film on more than one level.

Reviewed by Joe H. 4 / 10

A Gauche, Unopinionated and Exhausting Experience

Unable to pick its path between 70's Sidney Lumet, La Grande Bouffe and Marc Dorcel, the catastrophe that this film turned out to be makes you wonder whether Abel Ferrara has really been directing for 40 years. Characters are inconsistent, the editing is awkward and dialog lines are laughable at their best and lighter than air at their worst. Watching this (very) long feature film is similar to listening to an orchestral piece where all the instruments are out of tune. Welcome to New York gives you the feeling that its production has been rushed for some unknown reason, given the technical inaccuracies of the shots, the rehearsal-like performances of the cast and, most of all, the overwhelmingly exhausting pace of the scenes. There are, however, a few interesting moments in the film, like Depardieu's monologue towards the end of the film, or the lights of the film in the couple's home cinema that reflect on Jacqueline Bisset during a quarrel, but they're not powerful enough to save the film from drowning. Abel Ferrara might be a marginal artist, having directed many interesting pictures throughout his career, but no one can defend this film by claiming it's an "exercice de style".

Reviewed by temrok9 9 / 10

The shadow of Bresson

Painting used to be a major form of art, as it represented reality through the eyes-and the mind-of the painter, and this act wasn't waiting for the surrealists to invent it as it was inherent in every attempt to represent reality(always an act meaning to link the outside with the inside-reality with perception).Photography and then cinema took over the responsibility of this act, as they both appeared more capable of aiming at the real;meanwhile, a demand for more reality lead to aesthetics(growing in the cinema world like cancer) supposed to emphasize the impression of the real-the worst example of this tendency being perhaps the decay of horror film through the limitless repetitions of camera shaken films that followed the example of Blair witch project- and that impression of the real(always created by manipulating means) became the god of a new world where the demand for truth was believed to be satisfied through the revelation of this reality;that alone was taken as enough to guarantee justice, a remedy to fight all illnesses, racism first of all(which became the top topic of every thinking man), and disillusion as well(the spectators of the contemporary fantasy films laugh at the usually more imaginative means cinema used to use to create its monsters when digital was an unknown word). And then comes Ferrara with his movie, one I wasn't sure I was interested in watching, to remind us of that old painters ethos that used to be trade mark of all great cinema-and still is, in rare cases- painting a real story(more real it couldn't be, and watch here Ferrara is not interested in the subjective element of reality of a Rasomon type)with his palette of pictures,shadows, sounds and edits that refuse to give a dramatic and manipulative tone(compare this with the terrible Gone girl) to the film and create a true work of art that,as all modern art does , is not devoid of meaning, but incorporates the meaning in its form and the austerity with which it gets close to-or keeps a distance from-the characters of the story.So Ferrara, bringing in an aesthetic that reminded me of Robert Bresson, succeeds where Scorsese with his Wolf of Wall Street failed, succeeds even more in giving a cinematic portrait of New York unlike any other, lighting the places in subtle ways and creating poetry out of the ordinary.Furthermore, Welcome to New York is one of the most anticomformist movies ever made attacking political correctness with its power of lack of judgment(although the civilization of moneyworld is surely judged and condemned right from the start)and the thoughts it aims to provoke in all of us regarding the inner truth and the world we are living in.A master film by a director I hadn't appreciated enough in the past.

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