Since 1912, baseball has been a game obsessed with statistics and speed. Thrown at upwards of 100 miles per hour, a fastball moves too quickly for human cognition and accelerates into the realm of intuition. Fastball is a look at how the game at its highest levels of achievement transcends logic and even skill, becoming the primal struggle for man to control the uncontrollable.

The new documentary Fastball explores the classic showdown between pitcher and batter. Hank Aaron and Derek Jeter, with Kevin Costner narrating, lead a cast of baseball legends & scientists who explore the magic within the 396 milliseconds it takes a fastball to reach home plate, and decipher who threw the fastest pitch ever. . You can read more in Google, Youtube, Wiki


Fastball torrent reviews

Yasser R (kr) wrote: cheap chick flick; give me 3 back....

Aaron O (ru) wrote: Rachel Getting Married is powerfully acted and has believable characters and relationships, but the constantly arising conflict throughout sacrifices a lot of subtly and realism.

Vaibhav W (br) wrote: Somehow reminds me of the 'Forever Alone' meme, this quiet Japanese film is about the tragic consequences of retail therapy.

Tom H (ag) wrote: Violent and yet sexy movie with good story line.

Elric K (de) wrote: I tend to really like Scrader films but this one was a little tough. The melodrama is pitched so high that it tends to feel like a joke - yet the lush colours and style are pitched at the same level so it starts to resemble a noir version of a Sirk film. Somehow this weird/ lame/ sexy film won me over...but against my better judgement.

Marcus W (ru) wrote: A little bit of Crank and a huge smattering of Jackie Chan, mixed with dollops of Rush Hour.Dacacscoscscos gets into fights, wins, and then the building they were fighting in explodes. Repeat until the end.

Ross P (kr) wrote: Un-sodding watchable. Not even funny.

Kenneth L (fr) wrote: A standard biopic about the rise of singer Billie Holiday and her eventual demise, Lady Sings the Blues has enough surprises to hold audiences captive for its lengthy 2.5 hours runtime.Chief among the standout surprises is Diana Ross' startlingly raw portrayal of the doomed songstress. From the first five minutes of the film, audiences are stripped of any delusions that this is a glammed up star vehicle for Ms Ross. While no doubt a vehicle, Ross takes the role by the horns and slams headon with no make-up or safety net in sight. From gangly awkward teenager to streetwise doped up songstress, Ross takes us through this harrowing journey with pulsing nerve and unflinching honesty - and it is at times hard to watch. And this isn't even taking into account Ms Ross' interpretation of Holiday's songs. While making the songs completely her own, Ross has somehow also given it enough styling to invoke Billie Holiday. This is truly an accomplishment, since her performance in the film, from the gardenias in her hair, to her drugged up performances on stage and off are all vintage Holiday.Her powerful and uncanny performance is matched with equal measure by Billy Dee Williams as the compassionate Louis McKay, whose chemistry with Ross is as electric as it is volatile; and Richard Pryor, whose turn as the piano man straddles both humor and pathos in good measure.The art direction of this film is also worthy of note - the detail and production values of which always supported the film while providing terrific atmosphere- be they the seedy decor of the underground joints Holiday performed in, or the stark cold cells she spent her time in cold-turkey. Cinematographer John Alonzo bathes the film in lush brown tones, alternately warm and smoky yet gritty and real, never, upstaging the performances but complementing them in their brutal beauty.What distinguishes Lady from the genre cliches is also the fact that Billie Holiday lived out her life in a time when segregation was still commonplace, and her journey into and away from herself is mirrored in her singing tour around the country. In one chilling moment, Holiday runs up a hill to discover the site of a recent lynching. In another, she is confronted by Klan members who storm the tour bus she is in. In both cases, being on tour with an all white band, her sense of isolation intensifies into breaking point, and the music that keeps playing in the background "I can do better" takes on an ironically cruel twist. Furie directs this film with pinache and sensitivity. Yet, despite his best efforts, the film still resorts to a climax that promises to send the audiences off with a smile and a tribute to Holiday despite the fact that her battle with heroin addiction was a disastrous fait accompli. Still, Lady Sings the Blues is worth seeing if only for Ms Ross's revelatory well deserved Oscar nominated performance. It is a pity she has not performed in anything quite like this since.

Fit K (au) wrote: Le avventure di Encolpio e Ascilto che vivono in un mondo che puo' essere ricondotto alla Roma imperiale ma chiss. Personaggi stupendi, in stile Felliniano, appaiono ogni tanto durante il film. La storia non una vera storia, per me piu' un viaggio in un mondo diverso, un occhio obliquo.

Walter M (nl) wrote: "Inside Daisy Clover" starts with Mrs. Clover(Ruth Gordon) reporting her husband missing. So, what if it took her seven years to do so? Who's counting, anyway? Her 15-year old daughter Daisy(Natalie Wood) does, just after her birthday present arrives in the person of Raymond Swan(Christopher Plummer) who auditions her for a role in his film studio. She gets the part and goes far in mind from Angel Beach, California to Hollywood but loses her mother to an institution, and in the process is given over to the guardianship of her older sister Gloria(Betty Harford). The darkly entertaining "Inside Daisy Clover" is a critical deconstruction of Hollywood that sits on the edge between old and new and made at a time when the studio system was crumbling once and for all. The technicolor musical numbers are resplendent, just as the movie dwells on the human cost of becoming a star where Daisy must perform not only on the screen but off too. At the heart of it all is a massive public relations campaign to soften the edges of Daisy into a desexualized gamine ripe for public consumption in movies to distract the public from the Great Depression, at the same time she has a sexual affair with an older man that is statutory rape.(I actually prefer the old system in the way information was controlled. Right now, I know too many personal details of people I could care less about in movies I will never see.) What Daisy loses in the bargain is her freedom and it is telling that she is happy only when barefoot, in a sort of reverse Cinderella fable. The main problem is that Natalie Wood is unconvincing playing a teenager which is ironic since she was a child star at one time, as was Roddy McDowall. Her co-star, Robert Redford, on the edge of his own personal stardom, gives a very loose performance and the next time viewers would see any gaps in his armor would be in of all movies, "Spy Game."

Matthew J (kr) wrote: Using all the successful bits from 'Pillow Talk' and adding some more fun and laughs it scores the center from the first try.

Randy P (us) wrote: Really bad, its actually funny.