US art dealer returns to his native Germany for a visit and is attracted by Nazi propaganda.
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Mike B (fr) wrote: I disagree with the consensus that the treatment of the subject is shallow. It presents the equivalent of a tactical, personal, rather than a strategic, impersonal view. Kind of shocked. Kristen Stewart was actually so good in this I really like her now, even though I found her quite wooden before. The film is very good, but somewhat monotonous. Probably a result of its subject matter. Nonetheless, it held my attention on first viewing. I enjoyed it more when I watched it again. Recommended.
Al H (mx) wrote: A tender film with great actors.
R Treybian P (us) wrote: You know, every blue moon my wife jokingly says, "Hey, what about Alaska? Let's move there". My answer's always the same- "If they gotta pay you too live there, that shows it sucks". Perpetual daylight, and 30-day long periods of night. And then there's this movie. If vampires were real, and vampires were strategic, OF COURSE, THEY'D ATTACK IT!!! 30 days of night??? Beyond that, movie wise, this was an okay movie. A fun time, if not a "good" movie.
Tina C (kr) wrote: I really enjoyed this. It's kind of an unusual movie from Indian. There's no singing and dancing really. It doesn't even looks like it takes place in India. It's basically a fictionalized version of The Miracle Worker. It's a very enjoyable movie, even though it tries too hard and is a bit over dramatic.
Desmondo R (it) wrote: It's an interesting take on the epidemic/post-apocalypse movie. Unfortunately, some of the underlying agendas the movie is pushing don't sit well with me, and it drops the ball in the last 20 minutes. Not awful, but could've been better.
Ryan M (us) wrote: Baraka is much better then this film. Too much time lapse, and fisheye shots make this film repetitive.
Lee M (jp) wrote: Steven Teisch's outstanding screenplay charts one young man's coming-of-age during the 1960s amidst a swirl of changes.
Michael B (br) wrote: One of the several 70s family adventure stories by Disney, based on a pretty decent novel titled "The Lost Ones".
Cassandra M (gb) wrote: "Willie Dynamite" is miles above the average "Blaxploitation" films made in the 1970's by it's not glorifying the title character in any way but showing him as a ruthless as well as tragic and misguided person. A person who's self-destructive lifestyle as a big time city pimp lead to disaster not only to himself but to all those around him: his women his friends his hangers-on and worst of all his sweet and church-going mother played by Royce Wallace. Back in those days, the 70's, Willie Dynamite, Roscoe Orman, could easily have been made to be a hero for the youth of the inner city ghettos to be looked up to and emulated. Instead the movie wisely chose to show him and his lifestyle for what it was, indifferent and unfeeling. Thats how Willie was to those women who worked the streets and hotels for him selling their hot bodies for the only thing that mattered to him the bottom line: Cold Cash. The film chronicles the rise and fall and in the end redemption of big city pimp Willie Dynamite after he saw his mother collapse in the courthouse, when she found out what Willie really did for a living, and later die in the hospital without Willie being able to tells her that he's sorry for what he did and get her forgiveness. Willie let his mom on to believe that he was a record agent not a pimp.Willie's top hooker Pashen, Joyce Walker, who wanted to get out of the hooker business and become a fashion model after she was shown the light by Cora, Diana Sands, a social worker who tried to save girls like her from being exploited by pimps like Willie. Pashen instead gets sweet-talked back into turning tricks by Willie's and ends up having her pretty face slashed while she was in the womens house of detention waiting to be bailed out by him. Diana Sands steals the movie with her sensitive portrayal of a social worker who knows all too well what life on the streets can do from her sad and abysmal life as a young women and tries to get the girls working for Willie to save themselves from that life like she did. We also see Diana change her opinion about Willie when he's destroyed by his fellow pimps as well as the law and becomes a broken and humbled person instead of the brash and arrogant pimp that she fought with throughout most of the movie. It's Cora's tender and emotional scene with Willie at the end of the film made you want to reach for your handkerchief. Finally Willie himself who went from a cold-hearted and unfeeling person who looked at both his hookers and the Johns who paid for their services only as dollar signs to where he became a sensitive and understanding person by the time the movie ended but it took a walk through hell for Willie to get to that point. The movie also has fine location filming in and around NYC with a great musical soundtrack.It would be unfair for "Willie Dynamite" to be described as a "Blaxploitation" movie; It doesn't exploits it's audience it educates it.
Mike S (nl) wrote: Icons don't get better than Bruce. Script is bogus - everything else is top dollar.
Jonathan T (us) wrote: Definitely the most disappointing movie I've seen in years. John Cassavetes is easily one of my five favorite directors, and I was thrilled to learn *Husbands* was being released on DVD. Although it does have its moments, and initially has great promise, its quickly degenerates into a swirling cesspool of misogyny and utter nihilism. And stays there. How anyone who loves other Cassavetes films can love this movie is beyond me. It's completely antithetical and irreconcilable with any of his masterpieces. Let's just start with the misogyny angle. Cassavetes was a brilliant writer-director, more restless and daredevil than Jackson Pollock but with an almost religious humanist sense for human relationships and the individual, often focusing on women. For example, in *A Woman Under the Influence* he (and Gena Rowlands) created a woman who might be regarded as a mad housewife as something more like a saint, and her blue-collar husband Peter Falk a saint as well! *Of course* his films have raw and brutally discomforting dimensions-- but there's always a pay-off, new revelations and catharsis, painful yet deeply life-affirming truths that we've always thought but never said, or subconciously thought but never realized. No such thing here. Just three extremely offensive macho a**holes getting drunk, vomiting, beating and attempting to rape women, and treating every other character with abomindable insensitivity. If these are our characters, OK-- but there's not a single shred of character development or insight into any of them, after two and a half hours of the movie. With the one exception of Jenny Runacre, not one of the female characters is even given any dialogue, while the film at times borders on a nauseating reverence for its three (anti) heroes. I'm game for all the curve balls and random improvisation Cassavetes sends me, but while every one of his other films passionately embraces humanity in all its flaws-- championing authenticity, vulnerability, freedom-- *Husbands* stands squarely against everything else he ever wrote or directed. As I used to say to my students, even the world's greatest architects have designed a few awful buildings on the way. Let John Cassavetes rest in peace; I love him and *Husbands* in no way diminishes his towering achievements, but I certainly won't be watching it again.
Alex H (au) wrote: I don't know what to make out of this, I'm only interested because my favorite spoof, Airplane!, spoofs this film.
Kevin N (fr) wrote: A moody, low-budget shocker with plenty of story, but not quite enough execution.
Jos Carlos (es) wrote: While it explores no new themes, the efficient "Kung Fu Panda" benefits from an outstanding animation, magnificent voice-actings, tons of likeable characters, and one entertaining, funny and inspirational story that's also full of well-documented details about martial arts.
Iowa B (de) wrote: Russell Crowe delivers an electrifying performance, but, sadly, the film does very little to reward it. "Romper Stomper" deals with a controversial topic and it wants to discard the conventional l setup, which would have implied a transformation of its group of misfits, in favor of a documentary-like approach. And here is where it falls woefully short because of its lack of insight. Geoffrey Wright seems to be more interested in fights, parties, hangouts and occasional murders, than he is in properly developing his film's characters. Because except for Hando, the rest of them are merely a sum of cliches. This might have worked as well, but as I said before, the film offers little insight. We are briefly acquainted with their reasons, but beyond those very few scenes in which this happens, "Romper Stomper" switches between pointless scenes involving parties, fights, some sex and occasional murders. Since there is no character development, there aren't any real connections between the characters. The ones presented are either fake or forced. Also, Wright seems to mistake raw violence for intensity and it is rather amusing to see a film that is fairly violent and yet it has no emotional impact whatsoever. No even in the crucial scenes. Some might argue that most of these things happen because of that documentary-like approach I talked about, but a documentary should document something. In "Romper Stomper" that something is missing and what could have been used as a starting point, it is used here as a punchline.