A social satire that follows the stories of four black students at an Ivy League college where controversy breaks out over a popular but offensive black-face party thrown by white students. With tongue planted firmly in cheek, the film explores racial identity in acutely-not-post-racial America while weaving a universal story of forging one's unique path in the world. . You can read more in Google, Youtube, Wiki
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Dear White People torrent reviews
Paul D (au) wrote: Low-key reflective drama on life and death, but perhaps too low-key as as much as it creates thought for the audience it also comes across as dull in places.
Franois M (it) wrote: Liverpool a un trs gros dfaut : Il est mauvais. Soit les acteurs sont mal dirigs, soit ils ne sont pas acteurs......... Ils jouent peu prs tous faux ce qui n'aide pas le genre. Mais au fait. De quel genre s'agit-il ? Comdie romantique? Comdie? Suspense? Drame? Un peu tout a sans rien tre la fois. Pnible.
Tyler S (ag) wrote: Full of awesome excellent action, but way too much silliness and the effects looked very poor when it was made. It's the same as the first with poorer acting and amped up irrelevant action.
Graydon B (nl) wrote: Where to start? Monsters, Inc has a great original concept, memorable characters, hilarious moments, and a heartwarming relationship between Sulley and Boo. While not the absolute best pixar film, its one of my personal favorites.
Private U (ru) wrote: Monica is hot...the rest of the movie is...not. Why do french films never have any dialogue
Zach L (it) wrote: .... using solar powerred cars . interesting story for me as i was a former PV system engineer . With interesting end !!
Darryll H (br) wrote: one of seagal's golden era classics, marked for death is an ultra-violent, and action packed movie, with one of the best soundtracks ive ever heard in a movie, a must see
Margot S (ca) wrote: I think I saw this theatrically under both titles. The first time was at a movie house in Plattsburgh NY, about July 1965, and the second time was a few months later at the Wayne Theatre in the Philadelphia suburbs. By the second time, the posters proclaimed "The Great Spy Mission," with "Operation Crossbow" underneath, but the film's opening titles still called it Operation Crossbow. This Carlo Ponti production has always stood a lot of sneers for its top-billing of Ponti's wife Sophia Loren, who has only a brief role in the middle of the picture. But really, it's a pretty good flick, particularly in its production design and the casting of Tom Courtenay. I was quite young, and the atmosphere of wartime London deeply impressed me. You had a Winston Churchill actor intoning sonorously at a mahogany desk with barrage balloons hovering outside the window. When Tom Courtenay shows up to be inducted into the mission there are those wonderful Abram Games-style propaganda posters hanging on the wall-Loose Lips May Sink Ships, and all that. I was quite young and this was all new to me, however clich these trappings might seem now. The best parts of the picture were the historically accurate depictions of the V1 project. The sex 'n' spies subplots seemed confused and perfunctory to my young eyes, just routine filler to provide a semblance of a storyline and an excuse for Sophia Loren to appear. I'm pretty sure Courtenay gets caught and killed. He was the about the only major player who didn't look as though he had wandered in from the wrong soundstage with mid-60s hair and makeup. The minor players and the sets were well done, on the other hand. One minor oddity of the film is that it was done in color, and very good color, too. It was about the first serious, grown-up movie that wasn't in black-and-white. Two other good war films came out around the same time, 'The Train' with Burt Lancaster, and Otto Preminger's incredible 'In Harm's Way' (starring John Wayne, with Henry Fonda, Patricia Neal, Paula Prentiss, Brandon de Wilde, Burgess Meredith, Patrick O'Neal, Dana Andrews, and just about anybody else they could sign up), and these flicks were in glorious b/w. As were the more contemporary 'The Spy Who Came in from the Cold' (set in the early 60s with the first film appearance of the character George Smiley) and that ur-60s London film, 'Darling.' Serious films for grown-ups were in black-and-white up until about 1966 or 1967; color was for Hollywood comedies, musicals, and kiddie fare. A color film about the Second World War was difficult to take seriously in 1965. This, rather than the name 'Operation Crossbow,' was its real problem on first release.
Bill T (mx) wrote: More bland fun with Richard Chamberlain and Sharon Stone... wait, actually, they took the "fun" out of "bland fun" so all we're left is... well, you get the drift. At least King Solomon's Mines was more hooty. This one gets boring quickly, and stays that way.
Robbie V (gb) wrote: A creepy tale of the monster within
Cody C (br) wrote: This movie's pretty good. Caine and Kingsley have great chemistry and both are very funny. Never really gets amazing though, kinda drags in spots, but definitely worth watching. I wouldn't be surprised if I watch this again one day and like it a lot more just cause I'm in more of a mood for it. But anyway, it's good.
Irina M (fr) wrote: A well appreciated film all around it seems, yet I found the story to be very slow moving.'Noir'?!
Benjamin O (es) wrote: Child-size violence.