Death to the Supermodels

Death to the Supermodels

This sexy comedy finds the world's greatest, most eccentric supermodels gathered on a deserted island for the swimsuit photo shoot from hell

This sexy comedy finds the world's greatest, most eccentric supermodels gathered on a deserted island for the swimsuit photo shoot from hell. . You can read more in Google, Youtube, Wiki


Death to the Supermodels torrent reviews

Elisa T (au) wrote: Un film qui donne un peu d'espoir...

Suneel S (de) wrote: A well directed emotional story of poverty, struggle and lost innocence which is unfortunately a reality for thousands of children across our country. Has an inspirational ending but not before making your eyes wet a few times. Great Film.

Wendy C (us) wrote: I would like to like this movie and the show more, but I just can't get into it. I like plenty of crass, obnoxious stuff, but this doesn't amuse me.

Jon H (br) wrote: An interesting polemic look at the manufactured world of mass media and some of the problems that underpin it. At times the style of the documentary jars and doesn't know itself, but the Max Clifford footage alone given recent events makes you think about the rest more.

Jonathan M (jp) wrote: Wow, I can't believe I gave this 3 and half stars. Nevertheless, considering that this is a Disney channel film, it's good.

Susan B (kr) wrote: A sad (yet hopeful) family drama. I liked the way the story unfolded subtlely, without announcing its plot points. Molly Parker is fantastic in it.

Chris G (ca) wrote: A good kick in the balls to late 20th century Christian iconocism in the British government....besides, there's all those slinky outfits.

Tatsuhito K (es) wrote: One of the most annoying Woody Allen movies I've seen. I just wish Diane Keaton could stop talking and being a nosy woman. It was so annoying and often painful to watch. Not because she's a horrible actress (although she plays the same kind of role over and over again throughout her career), but because I hated this character! Allen manages to combine his usual snappy dialogue with a sense of Hitchcock-esque thriller, and it works! Not one of his best works, but for those who are a fan of Allen's films, then it will satisfy their needs. Manhattan Murder Mystery is messy, but occasionally entertaining.

Dustin O (ru) wrote: I always want to put dennis as mitch holleman from his expressions and his temperment style just like george wilson as brad garrett and martha as doris roberts, switchable sam as daniel stern, mickey as seth smith, margaret as sarah rose karr and her brother travis tedford. dennis's mom and dad as molly shannon and kevin nealon

Michael D (gb) wrote: Can't wait for med school now...

Katie N (ru) wrote: AMAZING. "BRILLIANCE." Never gets old, even after 1239 watches

JeanFranois S (ru) wrote: Pour le vingtime film (en peine 8 ans) de la saga Zatoichi, la production dcide de marquer le coup en concrtisant le fantasme de milliers d'amateurs de films de samouras : runir Shintaro Khazu (Zatoichi) et l'immense superstar japonaise de l'poque, Toshiro Mifune ! Ce dernier va reprendre son clbre rle du garde du corps (Yojimbo) de Kurosawa (qui deviendra "Pour une poigne de dollars" par Sergio Leone). Plus d'une anne de production (du jamais vu dans la srie) et un film de prs de 2h (contre 1h30 en moyenne). Ds les premires images, on sent que le film ne sera pas un pisode de plus dans la srie. L'image est travaille, la mise en scne soigne, Toshiro Mifune toujours aussi magistrale, mais son personnage a volu depuis les films films de Kurosawa, mme si on retrouve son esprit beau-parleur toujours prompt exalter les pires vices de ses adversaires, son personnage a vcut et devenu bien plus amer. Si le marketing publicitaire des productions avide d'argent facile, nous a rendu mfiant des titres mlangeant les franchises (X contre Y), voila une belle exception o vous ne serez pas du des promesses du film. Le film fut l'poque un norme succs, mme l'tranger.

Aroonav D (ru) wrote: Taut political thriller with narrative twists having the dramatic punch of fiction, though being based on real events. Sheer masterpiece of the genre.

Andy C (nl) wrote: It's not the most interesting story I've seen even this afternoon/evening, but it is packaged neatly by a directorial legend, so people love it.

Michael G (fr) wrote: God, this movie was really disappointing. Even though my expectations were really low and I was only watching Green Mansions as an excuse to drool over Audrey Hepburn for a couple hours it still somehow managed to skimp in the Saving Graces department. The story was mediocre, the acting was generally overinflated and if the movie wasn't being completely non-engaging, it was completely depressing. Tiny coffin depressing. Hepburn turned in a decent performance considering what she had to work with and the fact that her then-husband Mel Ferrer was in the director's chair, but despite all the reasons I can give for someone not to see this movie, she kind of trumps just about all of them.

Bill J (ag) wrote: please let me erase if from my memory.

Bill T (au) wrote: This was fun to see again. 3 stories, the first one, with James Woods trying to quit his smoking habit is the best (who knew Alan King could be so menacing?) while the other two are so so. The last one is certainly something we've seen before, lots. And the second is something we haven't, but really does seem out of place (and is almost a "horror/suspense" version of the Harold Lloyd classic "Safety Last".

Jenn T (mx) wrote: Worst acting in the world!

Blake P (us) wrote: I feel safest at nighttime, not on the streets but in the sheets, cemented to my bed with my laptop by my side. These summer nights seem to beg me to stay up until the earliest hours of the morning, and it's hard not to comply - at two pm, there's nothing in the world stopping a friend from asking you for a favor, a grandma inviting you to move furniture for an estate sale, a parent demanding you mow both lawns, take out the garbage, and clean your bathroom. But at two am, every one of those people is asleep: nobody expects anything from you, and, for once, the stresses of reality cease because no one else is throwing them in your face. Nighttime is a period of spooky solitude, elusively appealing. "Night on Earth" divides itself into five vignettes, all set during these wee hours, all involving the relationship between a taxi driver and their temporary client, all in a different city. Directed by Jim Jarmusch, one might expect a deadpan drama of steeping revelations and scintillating conversations, in the way "Broken Flowers" could make even the most awkward of an exchange blossom with black hilarity. But "Night on Earth" is wildly uneven, some of the segments mostly involving, others splendidly acted but unsuccessful in their rendering. I've always felt that a movie comprised of short films should be so arresting in each segment that it wouldn't be unheard of to pine for a longer, feature adaptation. But even in its best moments, "Night on Earth" is slight, some performers more pleasing than others - a difficulty when some segments are damaged by particular characters. The first vignette, set in Los Angeles, stars Winona Ryder as the cab driver, Corky, Gena Rowlands as the passenger, Victoria. Corky, young and spunky, chain smokes, chews bubblegum, and figures that her dream career is that of a mechanic; Victoria, middle-aged, welcoming, and refined, is a casting agent looking for fresh talent. She sees a spark in Corky, figuring her rough-and-tumble attitude could be assembled into a rebellious, cool product headed toward stardom. This segment, though dampened by Ryder's unconvincing portrayal of a grungy youth with small dreams, makes an impression thanks to the always lovely Rowlands, who makes what could be an unlikable character affectionate, motherly even. The second, stationed in New York and headed by Armin Mueller-Stahl, Giancarlo Esposito, and Rosie Perez, is the second most annoying of the segments: driver Stahl, a German immigrant, hardly knows how to drive, so his customer Esposito takes over the wheel and loudmouths his way through awkward silences. Midway through the trip, the two pick up the shrill Perez, who happens to be Esposito's sister-in-law. The vignette could be enjoyable, with Stahl sweetening the atmosphere as a gentle giant, but Esposito and Perez are so obnoxious that we can hardly wait for the short to be over. The third sequence travels to Paris, by far working as the most straightforward, best written moment in the film. Here, a blind woman (Batrice Dalle) gets a ride from an endlessly pissed off driver (Isaach De Bankol) who rethinks his usual grumpiness after she gives him a run for his money: the woman, it seems, is scorned by life and completely disregards her ailment, scoffing whenever her cabbie asks an inappropriately curious question. The segment works so well because of the rapport between Dalle and Bankol - whereas the other shorts attempt to have the characters find a mutual understanding between each other, Dalle and Bankol's mutual curiosity/disdain bears an odd sexual tension, fascinating just enough to leave us potentially wanting more but backing off when considering just how well it works. I won't go far into the fourth sequence (set in Rome), which is jaw-droppingly irritating as comedian Roberto Benigni delivers a mile-a-minute performance as a cab driver who just won't shut up. If he's annoying to his guest then he's annoying to us as well - don't expect to want to do anything besides fast-forward as his mouth runs into oblivion, us preferring deafness to hearing any more about another one of his sexual experiences. Following the exasperation of this vignette, "Night on Earth" ends on a melancholy note as it hits the snowy streets of Helsinski, with a group of passengers complaining about how horrible their friend's day was until the driver decides to top it with a soul crushing experience himself. While I appreciate Jim Jarmusch's enviable ability to turn realism into sardonic astuteness, "Night on Earth" feels more like a filmmaking exercise than an actual film. It doesn't move - it serves as an experiment pleasing only the people involved while the audience sits and waits patiently for something moving to happen.

Raffy John M (br) wrote: An exciting and adventorous movie.. It grabs me by the throat, and just want to let go...