Nancy Wake

Nancy Wake

The 'White Mouse' was at one point top of the Gestapo's Most wanted list in France. A saboteur who went on to lead 7,000 resistance members and rescued over 200 Allied airmen, the 'White Mouse' was also a woman. The New Zealand born Australian; Nancy Wake.

The 'White Mouse' was at one point top of the Gestapo's Most wanted list in France. A saboteur who went on to lead 7,000 resistance members and rescued over 200 Allied airmen, the 'White Mouse' was also a woman. The New Zealand born Australian; Nancy Wake. . You can read more in Google, Youtube, Wiki


Nancy Wake torrent reviews

Private U (de) wrote: Rafrachissant! On ne peut avoir d'autres envies que d'tre heureux aprs le visionnement de ce film. L'toile est demi en moins c'est pour l'attente que j'avais eu et qui n'a pas t satisfaite. Faut pas s'attendre du Amlie Poulin si non on sera quelque peu du!

Kunyan X (au) wrote: I always praise Lau Ching Wan's acting skills. Gigi's performance in this movie is okay, but Mr. Lau is my fav.

Scott M (ca) wrote: I rewatched this . . . Why did I rewatch this? I did nothing but roll my eyes the entire time.

beth c (ru) wrote: Not Carax's best. It one quite controversial for its unsimulated sex scene which is very explicit, close ups gallore. However I can see what Carax is attempting to do, he just doesnt nail it. I prefer his earlier work

Alan K (es) wrote: An early Tsai film, still good but not as good as his later ones

Aksel G (ru) wrote: A film about a village in Mississippi in the mid 1960's that shows how the KKK (Ku Klux Klan) operated through corrupt officials, and the barbaric way they treated African Americans. As the US had made revolutionary changes regarding slavery and treatment of African American southern states, like Mississippi, were far behind. Not necessarily in the laws, but in the way African Americans were treated. This is an absolutely outstanding movie that's a must see. Not only showing the brutal way of treatment, but how (some) southern citizens got taught hatred against African Americans. Truly an amazing film.

monsieur r (ag) wrote: A story of friendship to the bitter end. Watch for young Micky Rooney as a child actor in the first 15 minutes of the film. Orphans Edward "Blackie" Gallagher and Jim Wade are lifelong friends who take different paths in life. Blackie thrives on gambling and grows up to be a hard-nosed racketeer. Bookworm Wade becomes a D.A. vying for the Governorship. As orphans, two boys grow up and become successful. One illegally and the other legal. At the pinnacle of their lives, things catch up with both. Gable is never better as Blackie, the ammoral killer, watching out for himself all the time. Powell comes off as some sort of unhandsome boob as a result. With a face like William Powell you'd better not be acting beside Gable. Gable steals the show as the devil may care free spirit, while Powell takes the honest road to his fame and ultimate demise. But Loy is pretty much played the same throughout, first a lover of Gable and when that plays out, a lover of Powell. How convenient for the studio, if she fell for the janitor we would have no movie. I want to say this film was pretty rocky to get through the first half. This era of film making just doesnt get traction with me. But it recovers in the last third and makes it worth watching. Gable comes through the true star he was to become in Gone With the Wind. Wrote one reviewer: "This plot is now screamingly familar but, back in 1934, this was original. In fact it won the Best Original Story Oscar for its year. This could have been a real howler but a great cast, tight script and wonderful direction really put it over. Well worth catching--especially for a powerful climatic scene between Powell and Gable. A classic of its type." NOTES about the film: 1 The film's success surprised the studio and made stars of Myrna Loy and William Powell in the first of their fourteen screen pairings. It also solidified the success of MGM's most popular male lead, Clark Gable. 2 The movie entered history as being the last motion picture seen by the notorious gangster John Dillinger, who was shot to death by federal agents on July 22, 1934, after leaving a Chicago theater where the film was playing. Myrna Loy was among those who expressed distaste at the studio's willingness to exploit this event for the financial benefit of the film. 3 Arthur Caesar won an Academy Award for Best Story for this film. 4 One of the very early films of Mickey Rooney CAST Clark Gable as Edward J. "Blackie" Gallagher William Powell as James W. "Jim" Wade Myrna Loy as Eleanor Packer Leo Carrillo as Father Joe Nat Pendleton as Spud George Sidney as Poppa Rosen Isabel Jewell as Annabelle Muriel Evans as Tootsie Malone Thomas E. Jackson as Asst. Dist. Atty. Richard Snow (as Thomas Jackson) Isabelle Keith as Miss Adams (as Claudelle Kaye) Frank Conroy as Blackie's Defense Attorney Noel Madison as Manny Arnold Jimmy Butler as Jim Wade as a Boy Mickey Rooney as Blackie as a Boy ************* Shirley Ross as Singer in Cotton Club Directed by W. S. Van Dyke Produced by David O. Selznick Written by Arthur Caesar (story) Oliver H. P. Garrett Joseph L. Mankiewicz 93 min - Crime | Drama | Romance - 4 May 1934 (USA)

Ruth L (br) wrote: My mom works in a rest home & believe me, this music therapy works.

Joshua D (kr) wrote: it's fine for what the premise of the movie is supposed to do.

David L (au) wrote: Just one of those easily watchable, mildly amusing American comedies that are OK in doses providing they don't drag on too long. Very much a kids film as it's pretty slapstick throughout with only occasional references to gun crime and real violence. It's a role that you would perhaps expect Eddie Murphy to normally perform, but Martin Lawrence does a good job in bad but funny way. He basically dresses up as an obese grandma to get close to a potential accomplice in a crime committed a few years back. Predictably he ends up falling for the woman he is trying to set up, and thinks become a bit awkward, but there's only one way this film was ever going to end - The way all kids want it too, with good prevailing in a fairy tale happy conclusion. For some reason, the black humour always tickles me more than your average white man role so this perhaps cuts the mustard a little more than others of this genre. It's not the sort of movie I'd be particularly fussed about grabbing the sequel for as once you've seen one, I suspect you've seen them all, but I'm sure it'll make some good background viewing one day whilst progressing with some ironing.

Harry W (us) wrote: With no idea of what to expect from Empire Records, I went into it solely off the basis of a friend's recommendation.Like many of the coming of age films of the 1980's and 1990's, Empire Records is not a film with too much of a plot. The focus lies in the characters as the audience learns about their personalities as the narrative progresses. And like many films of the kind, Empire Records is important on the basis of the time it was produced in. It is a very 90's film, but the simple fact is that the 90's are over and it just doesn't have a timely appeal anymore.Many of the themes are underdeveloped. Empire Records has the potential to talk about changing times and use music as an allegory, discussing the changing tastes in music and the way the corporate conglomerate is taking over independent record stores. Instead, this is just left to be a subtextual implication of the narrative which isn't actually explored at all. I kept trying to figure out what Empire Records had to say about its people or if it was making commentary on the youth culture of the 1990's, but in all honesty I kept drawing blanks. I felt the same sense of disillusioned youth whose free spirit collided with a world which was bent on moving forward without them, but that is honestly a cliche of coming of age films. I got a sense of nostalgia from seeing another film of this genre and listening enjoying the soundtrack, but as a genuine narrative piece I couldn't feel intellectually stimulated. The energy of the film makes it easy to watch as does the somewhat humourous tone, but Empire Records is not the insightful coming of age piece that it apparently wants to be. It has moments of charm and some occasional comedic zing along the way, but as a whole the film just doesn't come together in balancing comedy and drama. Neither of them are consistently good.As well as that, the characters are wasteful. Empire Records has characters such as Joe Reaves who is a father figured to the troubled youths of the story and Deb who is driven to attempted suicide by her desire to stop being invisible, but the relationships these characters share with each other deserve much more than the treatment Allan Moyle gives to them. And since there is a talented collection of actors in the cast you would hope that they would find some way to innovate things, but the fact that the story has no idea how to use them leaves their charms only capable of carrying the film so far. There are a lot of dominant characters in Empire Records who all have their own extensive relevance, and though the film fails to actually do anything with them, it has no problems with piling them up so much that the film becomes uncontrollably confusing to completely keep up with. I enjoyed looking back on the film and seeing accomplished actors like Anthony LaPaglia, Renee Zellwegger and Liv Tyler in early roles, but despite the film providing them a step in the right direction the gimmick of having them all pinned together in the same film did not pay off since it failed to live up to the standards that they are known for. Still, the film is not bereft of fun. Set in a record store, Empire Records is set up to have a strong soundtrack which is one thing it lives up to. The music is very energetic and captures the spirit of its decande easily, giving the feature the energy that it needs to keep moving along and brigthen up the spirits of whatever viewers may find fondness in the material. Though it is mainly the cast who really carry Empire Records to any level of success.Anthony LaPaglia is the standout of the cast. Being the one sensible thinking amid a crowd of lost youths, Anthony LaPaglia naturally gives off a feeling of being a paternal character even if the story doesn't support his efforts in doing so. He conveys a tense nature and looks towards the other characters with a genuine sense of care for them, interacting with them as equals. Though hampered by the script, Anthony LaPaglia proves to be the one actor who sufficiently develops his characters across the narrative and therefore makes a stand as a truly talented actor. Anthony LaPaglia's dramatic charms are a particular asset to Empire Records.Liv Tyler also delivers a strong effort. With all the glorious beauty of one of her youngest performances, Liv Tyler brings a charming attitude to the part while also adding a sense of shattered innocence to the dramatic elements of the film. She is able to channel her emotions at any instant she deems appropriate, and though the narrative may oscillate awkwardly between different kinds of drama she has no problem keeping up with it. Liv Tyler provides an effective insight into the dramatic talents that would flourish in the succeeding years and is able to elevate the credibility of Empire Records in the process.Renee Zellweger also makes a stand. Arguably the most notorious cast member of Empire Records as the one of them all who would go on to win an Academy Award out of multiple nominations, Renee Zellweger is perhaps the most interesting to look back on. Bringing a natural teenage charm to her role while retaining the critically acclaimed dramatic talents she would become known for, Renee Zellweger remains notable in Empire Records for sharing a powerful chemistry with the surrounding actors and for having the essence of a genuine free spirit. She has proven many times to work well in both comedy and drama, and Empire Records makes use of this since she adheres to both themes whenever the material calls on her to do so. Renee Zellweger is great to look back on.Having just seen Johnny Witworth deliver an atrocious performance in Ghost Rider: Spirit of Vengeance, it is refreshing to see that in a much earlier role he still had some passionate charm and charisma to give to the world of cinema. He has a handsome appeal and naturally energetic charm. And Robin Tunney offers a dark edge to the material while Maxwell Caulfield perfectly captured the self-obsessed and deluded charms of Rex Manning.Brendan Sexton III easily captures the nature of a lost youth, but during some of the more dramatic moments in the film he doesn't seem to grasp the edge that he wants and instead comes off as feeling artificial. And sometimes, it still feels like he is trying to be funny in scenes that should be dramatic which creates an unfortunate tonal imbalance. So Brendan Sexton III doesn't rank alongside the standards of the others around him.So Empire Records boasts a talented cast and a groovy soundtrack, but its lack of balance between comedy and drama, underdeveloped themes and lack of direction in establishing any sense of meaning ensures that it is little more than a stylish distraction.

Carlos Z (gb) wrote: Graphic and profound movie about the Gay movement to deal with the AIDS crisis in the early 80s.