Bullet To The Head Full HD Free Movie Download Link High Speed

Bullet To The Head Full HD Free Movie Download Link High Speed. Adapted from the French graphic novel of the same name (or Du Plomb Dans La Tete. if you want to be accurate), Bullet To The Head is a sleazy, straight-up action flick that doesn’t dare subvert or exceed one’s expectations. Stallone strolls through the carnage as a mean, no-bullshit old sod who is roped into doing some honest-to-goodness heroics after he’s double-crossed by the mob. Seeking revenge, he pairs up with a technophilic cop, forming an unlikely - if generically made-for-measure - alliance to bring the bastards to justice.

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After coming together for the action movie supernova of Expendables 2 last year, the grumpy old men of Hollywood - Sylvester Stallone, Arnold Schwarzenegger and Bruce Willis - are hoping to take 2013 by divide and conquer, each with their own spin on the old-dude-with-a-gun setup. As we have seen, The Last Stand may have brought Arnold back to the top of his game (although not the top of the box office charts), and there’s no doubt A Good Day To Die Hard will fare better financially later in February, but for now we have Bullet To The Head, Sly’s team-up with seasoned action movie pro Walter Hill.

Nevertheless, Stallone is at home here, and his weathered features tell a tale that the script can’t hope to capture. When the film cuts to a portrait from his younger days, and we see a Rocky-era headshot, you almost buy into the story that ‘the game got rough’, and the blackening of this sourpuss’ soul has been etched into his face.

The film has an ace up its sleeve - and it’s not the jittery cameo from Christian Slater. No, its an under-utilised turn from Jason Momoa as the unscrupulous hitman hot on the tail of our heroes. Looking like Brandon Lee on steroids, Momoa cuts a mean figure, hulking and glaring in some of the film’s better scenes of wanton destruction. It’s a cat-and-mouse relationship that builds towards a final showdown, one that may make or break the film if you’re the kind of viewer who desires such matchups. Stallone versus Momoa. One on one. A passing of the action movie torch that, despite the title on the poster, isn’t played out with pistols. No, they’re going to fight to the death with axes. Axes!

Bruising fights almost get our adrenaline pumping but the narrative is flimsy and the characters are poorly sketched, so there is no compelling reason to invest emotions in Stallone's tortured hero as he embarks on his suicidal crusade for vengeance.

Bullet To The Head splutters and wheezes through 91 uninspired minutes, putting Stallone through the physical wringer in well-choreographed skirmishes.

A couple of one-liners elicit a wry smile, such as when Keegan invites Jimmy to take part in a duel with battle axes and he quips, "What are we, Vikings?!"

However, most of the dialogue falls flat and the final act falters in the total absence of any genuine concern from Stallone's hit man about the wellbeing of his beloved daughter.

Kang enjoys a few fist fights, while Christian Slater savours a cameo as a sleazy middleman who discovers that crossing Jimmy comes at a hefty price.

Hill says he has always been interested in films whose characters must "go beyond the traditional rules and constraints of society to solve the dilemmas they find themselves in." That's the prevailing theme of nearly all his movies. In 1981's "Southern Comfort," members of the National Guard must resort to murder to survive a training weekend in the Louisiana bayou. In 1987's "Extreme Prejudice," a Texas Ranger resorts to illegal tactics to take down a drug dealer. In "The Driver," an obsessed detective seeks the help of a gang of bank robbers to catch a getaway driver-for-hire.

"Stallone's (hit man) is not a character to be imitated or admired," Hill says. "But he is a character who is brutally honest about the world he lives in. And the people he is assigned to kill are not exactly exemplars of society. But the critical scene in the movie that breaks ground is when he kills (a villain) who they could have arrested instead. The policeman says 'You can't do that.' And Stallone says 'At least I shot him quickly and put him out of his misery. Most of the people I know would do it slow to get even.' That's the point where the differing philosophies of the two men crash into each other. Who's right in that situation? You'd have to be Aristotle to figure it out. But Sly definitely does not represent the normal standards of bourgeois society. Is it fair for a movie to give that point of view an articulation?

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