Revenant Download Free Full Game is an action-RPGcomputer game by Cinematix Studios, released in 1999 by the publisher Eidos Interactive.
Game Information
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Plot
The main character of the story isLocke D'Averam, a revenantnamed after the house of Averam, which raised him from the dead. His real name is never revealed in the game. Immediately after being brought back from Anserak (Hell), Locke is sent on a quest by his new master, Sardok, who is the advisor to Lord Tendrick, ruler of the island. The quest is to locate and rescue the Tendricks' long-missing daughter, Andria, who was kidnapped by a mysterious cult calling themselves The Children of the Change. The entire game takes place on the island of Ahkuilon, which is home to the town of Misthaven, where Tendrick rules. Revenant Free Download.
As the player progresses through the story, it is revealed that Locke was once the king of an ancient empire centered on Ahkuilon. This warrior-king made a pact with a demon god, but he found the price of his wife's soul too much to bear and could not go through with her sacrifice. For this reason he was condemned by the demon god to an eternity of suffering in Anserak and his mighty empire was destroyed and pulled into the earth.
The cult that the newly resurrected Locke finds himself facing is in fact led by the avatar of the same demon god he betrayed ages ago. As he explores Ahkuilon in pursuit of the missing Andria, Locke finds himself facing enemies both new and ancient. Many characters in the game hint that there is a «darkness» surrounding Locke and some even seem to know of his past. As the story builds to a climax it becomes clear that not all is as it seems and that history may yet repeat itself.
Gameplay
Revenant Free Playable Demo
The main aspect of «Revenant» is its unique combat system that comes in two flavours. Locke can be controlled by the mouse, performing standard attacks. In addition, the player can control Locke with the keyboard, performing different attacks and even attack combos, some of which result in special death animations (fatalities). These specialized kill moves appear to be enemy-specific, and range from a crushing stomp to beheading. A gamepad or joystick can also be used in a similar way to the keyboard method, with nearly every move or command able to be mapped to buttons or button combinations. Locke gains extra fighting abilities after a level cap has been reached (every 3 levels, seemingly up to 24), thus providing the drive to go through the level grind. It is also possible to combine certain movements into a fluid cycle of kicks and thrusts. A trainer in town provides Locke with the necessary instructions whenever he levels up.
In addition to melee combat, there are also a number of talismans which can be combined to cast magic spells. Quraish shihab. Certain combinations can be found in scrolls starting with basic spells and progressing to more complicated ones. Spells vary from freezing to poisoning, and certain spells lock opponents in place allowing Locke to combine a magical attack with a special combat move.
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Reception
The game received generally positive reviews from the critics. Revenant Free Download PC Game.
Revenant Free Download PC Game
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The Revenant’s blood-pumping story about Hugh Glass and his fight for survival has been struck a nerve with the public and critics alike, having been nominated for 12 academy awards and reaching number one at the US box office.
Before its release, Leonardo DiCaprio was making headlines for eating raw bison, sleeping in a horse carcass and being ‘raped’ by a bear.
It was easy to forget that he was starring opposite Tom Hardy, who was coming off the back of playing the lead in both Mad Max: Fury Road and Legend.
We’ll tell you what’s true. You can form your own view.
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If it wasn’t for DiCaprio though, Hardy would have never landed the role in The Revenant, as director Alejandro G. Iñárritu originally wanted El Chapo’s best friend Sean Penn to star as the murderous John Fitzgareld.
Speaking to De Pelicula, Hardy revealed all.
It was only because DiCaprio called him up and told him about the part, saying - as Hardy puts it - ‘You need to do this before you go off and do this other film’ (referring to Splinter Cell) that he landed the supporting role.
After meeting Iñárritu and wanting to work with DiCaprio once more - the pair were both in Inception - the 38-year-old signed up to star in the film. Read our five-star review here.
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The RevenantYou are watching the movie The Revenant
Watch The Revenant 2015 movie online, Free movie The Revenant 2015 with English Subtitles, Watch The Revenant 2015 full movie HD
In the 1820s, a frontiersman, Hugh Glass, sets out on a path of vengeance against those who left him for dead after a bear mauling.
Genre: Adventure, Drama, Thriller, Western
Director: Alejandro González Iñárritu
Actors: Brad Carter, Domhnall Gleeson, Kristoffer Joner, Leonardo DiCaprio, Paul Anderson, Tom Hardy, Will Poulter
Country: Hong Kong, Taiwan, USA
Duration:156 min
Quality: HD
Release: 2015
IMDb: 8.0
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The old-timerUS box office: Leonardo DiCaprio-led The Revenant challenges Star Wars
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It’s not news that Leonardo DiCaprio is a star. What is, is that he continues to be. Opening The Revenant – a dour and unrelenting frontier western – to a bracing $38m in the US demonstrates his ongoing pull. That’s almost what director Alejandro González Iñárritu’s previous film Birdman made in its entire North American run ($42m). All the juicy leaked titbits from The Revenant’s ordeal of a shoot, including the infamous bear-rape humdinger, can’t have hurt publicity-wise. But it would be remiss to discount the DiCaprio factor; this is his fourth biggest debut ever, behind Inception ($62m), The Great Gatsby ($51m) and Shutter Island ($42m). With proven old hands like Tom Cruise and Will Smith displaying wavering form these days, DiCaprio is perhaps the only A-lister stepping up to a similar longevity and consistency. The Revenant looks likely to be his 10th $100m US grosser – unusually, there isn’t a franchised film among them. That’s what sets him apart from the newer generation of stars, such as Jennifer Lawrence, who is currently struggling to float David O Russell’s Joy commercially and prove her independence from The Hunger Games.
The Revenant review – gut-churningly brutal, beautiful storytelling
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But what’s so special about DiCaprio? Not only has he natural acting talent in more abundance than most major-league stars, he has managed it well. Titanic earned him a vast, screaming worldwide fanbase and commercial clout to match. But he cannily parlayed that into the right to work with virtually every mainstream directorial talent who took his fancy: Scorsese, Spielberg, Tarantino, Mendes, Nolan, Eastwood … This is how his raw and still-exciting screen presence has continued to be regularly showcased in big, successful and frequently agenda-setting projects (though, as is regularly remarked on, he has never won the best actor Oscar). What can be added to his now-maturing army of late-90s devotees is the general feeling that his name is a byword for substance and quality; maybe one of the last remaining links to the human wellspring of the star system that, in the age of CGI, appears to be running dry. It’s surely that magnetism that enabled The Revenant to open to an impressive $7.6m in Russia, among other markets, this weekend – an advance on Inception ($7m) and Django Unchained ($5.5m). Iñarritu’s film is now looking at $100m-plus in the States and has a shot at $300m worldwide, though you’d suspect it’s a little too uncompromising to canter up to The Great Gatsby ($351m) or Catch Me If You Can ($352.1m). $300m would be great for DiCaprio, but it’s a must for The Revenant, whose costs spiralled to an unfortunate $135m.
The all-timer
So, Star Wars, where are we? $812m domestic – the No 1 US film of all time; $1.73bn worldwide – passing Jurassic World to become the No 3 film of all time. Given a strong but not outstanding $52.6m Chinese two-day debut this weekend, it now looks almost certain The Force Awakens won’t claim the overall crown. Which means it’s the first time that the all-time US box-office champ and the global one will be split between two different films; a sign of the rise of overseas markets in the 21st century, and the schism between American and foreign tastes that has opened up. Without wanting to diminish Disney’s achievements, it’s also important to recognise a couple of other caveats. Adjusted for inflation, The Force Awakens is still only the 15th highest US film, about to pass Avatar, but way behind the likes of the original Star Wars in terms of estimated ticket sales (94m to the 1977 film’s 178m). The global picture is even more difficult to pinpoint because of differing rates of ticket inflation around the world. The JJ Abrams film may sneak past Titanic’s unadjusted $2.2bn, but even a flat currency adjustment gives it no chance of passing either the latter or Avatar’s updated totals (both over $3bn). Displaying a fairly typical drop-off rate for most modern blockbusters (-54% in the US this weekend), it doesn’t, crucially, appear to be doing abnormal amounts of repeat business. Perhaps because, as a calculated reprisal of Episodes IV, V and VI, it is already itself repeat business. Titanic, the admissions high-water mark of the last 20 years, was something fresh and unprecedented; why it remained US No 1 unbroken between Christmas 1997 and March 1998.
Mid-term reports
Time to check in with everyone else out panhandling over the Christmas period. Will Ferrell and Mark Wahlberg’s second teamup, Daddy’s Home, opened very well in the States on the holiday weekend and is already clear of $100m there. But it’s still hobbled by the local bias on comedy, stacking up decently in Ferrell’s usual UK ($17m) and Australian ($10.8m) stomping grounds without showing much sign yet of breaking through decisively further afield. Pixar’s unloved The Good Dinosaur, still fifth on the global chart, is hanging in there longer than expected – but chalking up $266m worldwide on a $200m budget, it looks like a write-off for the animation house. Half the price, The Peanuts Movie looks like better business for Fox: holding in 14th with $221.4m worldwide, it’s registered significantly in a wide enough spread of territories (China, Spain, Mexico, Japan) to suggest that Snoopy’s future as a film franchise may be assured.
The Point Break remake, running at $91m, is looking like another one of those raids on overseas markets (71%, currently) with enough vague ties to a more charming predecessor and flashy-looking new sequences to crawl over the profit-margin line. It probably won’t match B-movie overseas box-office despoilers like the Taken sequels, but with most major European markets still to open, it looks good for $200m. Bridge of Spies, arguably Spielberg’s strongest work for some time, is disappointingly registering at the lower end of his tally – the $151m worldwide take so far is his lowest since 2005’s Munich ($130.4m). Surprisingly, there was far more interest abroad for Lincoln’s ostensibly Yank-centric poring over the Emancipation Proclamation: the 2012 biopic slightly exceeded Bridge of Spies’ US takings, but made more than double further afield. At the bottom of Rentrak’s chart in 20th, Spectre continues to be good value nearly two months after release: in no danger, on $872.1m, of bothering the eminent Skyfall, but second among Bonds, in the finance department at least.
Beyond Hollywood
Very little going on, with local Chinese film-makers normally good for a few chart entries feeling the Force this week. Italian workshy-bureaucrat comedy Quo Vado?, with $52m cumulative, continues to close the gap on the country’s all-time record held by Avatar ($71.5m). In 13th on the global chart, BBC holiday special Sherlock: The Abominable Bride, getting a highly unusual not-only-theatrical-but-also-international release, is now up to $28m – $20m of it Chinese. Deerstalker sales in Beijing no doubt on the rise, and probably BBC bookings into local Hilton suites, too.
The future
The epic quest for credibility continues. Michael Bay – in the same way he tried to prevent Bad Boys-esque brawn from bursting through the seams of his 2013 American Dream satire Pain and Gain – will manfully struggle to keep new Libyan embassy flick 13 Hours: The Secret Soldiers of Benghazi within the bounds of “edgy contemporary thriller”. A $50m budget, Skid Row stuff by Bay standards, should keep him away from the giant robots. It opens in the US and 10 other countries. Elsewhere, Creed has a big weekend, hoping to build on its status as a fleet-of-foot $100m US hit by making friends in 15 new territories across western Europe and the former eastern bloc. Shame they couldn’t have squeezed in the son of Ivan Drago, too.
Top 10 global box office, 8-10 January
1. Star Wars: The Force Awakens, $145.9m from approximately 75 territories. $1.73bn cumulative – 53.2% international; 46.8% US
2. (New) The Revenant, $58.2m from 11 territories. $59.8m cum – 33.8% int; 66.2% US 3. Daddy’s Home, $25.2m from 31 territories. $154.2m cum – 24.6% int; 75.4% US 4. The Hateful Eight, $18.4m from 14 territories. $54m cum – 23.2% int; 76.8% US 5. The Good Dinosaur, $13.6m from 61 territories. $266m cum – 55.9% int; 44.1% US 6. (New) The Forest, $13.5m from 5 territories – 3.3% int; 96.7% US 7. Joy, $12m from 46 territories. $70.7m cum – 34.1% int; 65.9% US 8. Detective Chinatown, $11.8m from 2 territories. $93m cum – 100% int 9. Quo Vado?, $11.5m from 1 territory. $52m cum – 100% int 10. Alvin and the Chipmunks: The Road Chip, $11.3m from 25 territories. $111.8m cum – 32.4% int; 67.6% US
• Thanks to Rentrak. This week’s figures are based on estimates; all historical figures unadjusted, unless otherwise stated.
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