Straw Dogs


Crime / Drama / Thriller

IMDb Rating 7.5 10 52145


Uploaded By: FREEMAN
Downloaded 15,554 times
June 01, 2019 at 04:50 PM



Dustin Hoffman as David Sumner
David Warner as Henry Niles
Peter Vaughan as Tom Hedden
720p.BLU 1080p.BLU
975.26 MB
23.976 fps
1hr 53 min
P/S 5 / 31
1.86 GB
23.976 fps
1hr 53 min
P/S 6 / 45

Movie Reviews

Reviewed by Mark-574 9 / 10

Unfairly kicked around by its critics

This is probably one of the most offensive masterpieces ever made. There's no reason to argue with many of the objections against it, but the main criticism- that Hoffman is battling his Amy's rapists for sexual mastery of her- is unfair. Many of the film's critics don't seem to realize that what the audience learns about events is completely different from what Hoffman knows. He never learns that the villagers raped his wife; and he's never completely sure that Nyles, the villager he's defending, *didn't* rape a girl. He never realizes that the villagers are hypocrites for raping his wife and then hunting down Nyles as a "perverted animal." And he never realizes that his wife wants to throw Nyles out not because she's an immoral coward, but because, after being raped once, she doesn't want to defend an accused rapist. Amy is not the object of his fight, which is why he asks her if she wants to leave in the middle of it. She's as irrelevant to him as the villager he's defending. Hoffman's only concern is his house, which Peckinpah views as the symbol of his manhood. They're both under construction and assault by the villagers. When Hoffman has finally defended his house, he decides that he doesn't really know his way home; his manhood is worthless to him. It's difficult to understand why the film's critics view its climax as an expression of Peckinpah's supposed belief that women must be seized through violence. Hoffman never even knows that Amy's part of the contest, and even though we do, we're left with the impression he's lost her, not earned her, because of his battle.

Reviewed by itamarscomix 9 / 10

Years ahead of its time

Sam Pecknpah followed his extremely violent and critically acclaimed 'The Wild Bunch' with the even more violent 'Straw Dogs', which didn't sit as well with the critics; in fact, 'Straw Dogs' was shocking enough to be banned in the UK where it was filmed, although in the US it was released with an X rating. Critics attacked it as being overtly violent and sexual, and entirely missed the message Peckinpah was making. Three and a half decades later, though, it's easier to appreciate 'Straw Dogs' for the groundbreaking creation that it was, and its influence can clearly be seen in the works of such contemporary directors as David Fincher, David Lynch and Todd Solondz, among others.

With hindsight, it's hard to miss the fact that the sexual and violent content of 'Straw Dogs' isn't a whole lot more shocking than that of Kubrick's 'A Clockwork Orange', released that very same month. 'A Clockwork Orange' also created its own share of controversy, of course; yet somehow it was more rapidly recognized as the masterpiece it is by critics than 'Straw Dogs'. In part, I think that's due to the fact that while 'A Clockwork Orange' is an ultra-violent surreal fantasy from its very beginning, 'Straw Dogs' seems entirely innocent at first, like a very realistic and light-hearted drama, and the violence builds gradually throughout the film. That sense of realism, which 'A Clockwork Orange' never pretends to, makes 'Straw Dogs' much more difficult to take as an analogy; it cries out to be taken at face value, which makes it much more difficult to swallow.

Dustin Hoffman was never an actor to fear controversy, and 'Straw Dogs' catches him right at the peak of his best years as an actor, after 'The Graduate', 'Midnight Cowboy' and 'Little Big Man', and before 'Lenny', 'Papillon' and 'All The President's Men'. His performance is as amazing as in any of these, and again Hoffman proves his rare range, as well as his sensitivity; his performance carries the film to true excellence, and perhaps that's the other reason that the film was a bit more difficult to take than 'A Clockwork Orange' – to take nothing away from the wonderful Malcolm McDowell, what 'A Clockwork Orange' simply didn't have was a protagonist for the viewer to identify with, and therefore, like I stated before, it was easier to take as an analogy, and Alex functioned more as a symbolic and iconic character than as a real human being. David Sumner, on the other hand, is a remarkably realistic and convincing character, and one that is very easy to relate to, which makes the change that comes over him towards the end of the film all the more shocking. Again, it is that building up of tension that makes 'Straw Dogs' such a powerful experience.

'Straw Dogs' is a film that creates controversy and disagreements, and so it should. It's easy to create controversy with sex and violence; but many years later that initial shock fades, and the real test is whether or not the film stands the trial of time and still manages to shock and engross. Like 'A Clockwork Orange', 'Straw Dogs' stands that test. Love it or hate it, it's hard to deny that it's an important and influential film, and it's essential viewing for any film lover.

Reviewed by FilmOtaku 8 / 10

Fantastic thriller that holds its own after 30 years

Straw Dogs is an intense thriller that shows what can happen when you push even the most mild mannered man too far. Dustin Hoffman plays a mathematician who temporarily moves to a house in a rural village in England with his wife, a former resident of the town, played by Susan George. The two withstand incessant needling from several of the townsfolk until George is raped and assaulted and Hoffman is pushed over the edge.

Incidentally, right after watching this film I found a documentary on cable about filmmakers from the late '60s to late '70s and one of the directors profiled was Sam Peckinpah. I had always considered his films to be violent and vaguely shocking, which never surprised me, knowing that he was a hard-living maverick who did things his way - an element that is resplendent in most of his films. A brief mention of Straw Dogs was included in this documentary, where they described it as a "sexist film". There are obvious scenes in the film that could support this criticism, but I think that is overanalyzing the film with a political correctness that is out of place. While the two female characters are both victimized, Susan George also has her moments of empowerment. I may be a female, but I don't consider Peckinpah's tendency to make testosterone-driven films any more sexist than anything that Tarantino puts out, and I'm a big fan of his work as well. It's a dangerous line to draw when one labels a film due to what is *not* included in a film.

What this film does contain is much more stellar - Hoffman is beyond incredible in this film. His character development is amazing to experience. One criticism of the film that I heard from a friend who saw it before me was that it "dragged." I couldn't disagree more. The development of the story until the extremely violent climax is a perfect pace because it made me feel like I was sitting in a dentist chair, knowing that this low boil could explode at any time. After the dust settles, the viewer is left to decide whether Hoffman's character made the right decision, and left to speculate on the ramifications of the choices made. This is by far one of the best films I've seen in recent months and plan to seek out the newly released Criterion edition in my quest to find out as much about this film as I can.


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