Live footage from concentration camps after the liberation, and the complex transport and lodging of masses of prisoners of war and other deported people back to their home countries, at the end of World War II. . You can read more in Google, Youtube, Wiki
Live footage from concentration camps after the liberation, and the complex transport and lodging of masses of prisoners of war and other deported people back to their home countries, at the end of World War II.
- Stars:Claude Roy,
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Reunion torrent reviews
Daniel C (kr) wrote: Brilliant film, absolutely loved it
Carol C (de) wrote: Yuck. Not funny. Not believable in parts.
Dimitri S (jp) wrote: A good movie. Great action and figting scene's in the movie. Great story. Not the best movie with Dolph Lundgren for me, but one of the best movie's with hem.
Karen H (ag) wrote: 2017-01-06 rewatched
Zane P (es) wrote: Unnecessary love story that made no sense with the plot.
Jennifer E (us) wrote: This would have been better if there would have been a little more closure in the end. A sad story. There's no way I would have ever taken Andrea back.
Kevin R (ru) wrote: What do you care if two crazies kill themselves?The wife and children of a Mormon is massacred in their home. The Mormon returns home and while clearly destroyed emotionally, he wants god to handle the killers and will not help with the investigation. A reporter finds this story interesting and comes in to try and find the people responsible. As he digs further into the act, he discovers the governor up for election may have something to do with the massacre."You are not welcome here.""I've noticed."J. Lee Thompson, director of Kinjite: Forbidden Subjects, Death Wish 4, Battle for the Planet of the Apes, The White Buffalo, Cape Fear (1962), and Return from the Ashes, delivers Messenger of Death. The storyline for this picture is fairly straightforward and predictable. The action scenes are average and the characters are really nothing special. The cast delivers mediocre performances and include Charles Bronson, John Ireland, Jon Cedar, and Trish Van Devere. "I have a feeling I'll be exploiting you further."I DVR'd this picture because it starred Charles Bronson; his movies are generally bad, but I watch them anyway. Sometimes Charles Bronson films surprise you, but this wasn't one of them. This was a clich 80s action picture with mediocre acting, mediocre action scenes, and a mediocre plot. I recommend skipping this picture."You're going to name the son of a bitch or I'm going to beat you to death."Grade: D
Rgers C (nl) wrote: Poetic, groundbreaking and beautiful. It's a sham more people don't appreciate this masterpiece.
Jos M (es) wrote: Entraable y nostlgico film ochentero.
Nicki M (kr) wrote: Honestly couldn't get into this. Lasted 25 minutes. Boring.
Joetaeb D (gb) wrote: The Rite shows potential, thanks to Anthony Hopkins presence and eagerness to please the audience. Unfortunately lead man Colin O'Donoghue doesn't connect to Hopkins or the story, which very slow about not getting to the solution or bringing frights.
Blake P (it) wrote: She sits on her creaky wooden porch rigidly. Spite rumbles in her eyes, her dignity holding on for its life as it awaits its dissolution. The woman clinging onto that dignity is Ella Garth (Jo Van Fleet), eighty-three years old and the matriarch of a large family detached from modern society. Her entire life has consisted of maintaining her ancestors' prized property, Garth Island, which sits at the center of the raging Tennessee River. Leaving it is the last thing on her mind - but it's 1934, and the destructive body of water is hell bent on swallowing the patch of land whole. Eviction is inexorable. But Ella, a woman of pristine resolve, won't budge, despite her knowing that she'll be forced off Garth Island whether she wants to or not. Until that time comes, though, sitting on her chipped rocking chair, lecturing and scowling at anyone who tries to convince her to abandon her beloved estate, is the only way she'll know that she's protected the interests of her deceased predecessors. The Tennessee Valley Authority has had it with her enduring stubbornness. To both bolster the economy of the surrounding area and also preserve the livelihoods of the owners of in-jeopardy properties, they've built a hydroelectric dam harnessing the faculty of the unforgiving river. Support is near unanimous: all vulnerable landowners have sold their homes to the government in preparation for flooding, and the public is eager to see the upturning effects it will have on their lives. But Ella, along with her unsinkable clan, refuse to move. In frustration, the owner of the TVA has quit, destroyed by the stress of having to concern himself with saving people who don't want to be saved. But giving up is not an option for the governmental conglomerate - negative publicity will only deter the good they're trying to do - and so Chuck Glover (Montgomery Clift), a compassionate professional type, is flown to Tennessee in a desperate attempt to finish what the previous supervisor could not. Unaware of the extent of the situation's difficultly, he mistakenly believes that persuasion is merely a matter of delivery and wording. But only a half-day into his arriving date does he come to understand that the process of removal is hardly going to be an easy endeavor. Things are made additionally challenging by his eventual falling in love with Ella's granddaughter (Lee Remick), and by his discovery that racial segregation has delayed the vacating of Garth Island. With its moral complications and empathetically mounted characterizations, 1960's "Wild River" is such a substantial slice-of-life because its point of view is all-seeing: not a character, even a despicable one, has shallow rationale to accompany their actions. Seen are individuals that are comprehensibly contradictory, feeling, and deep-rootedly real. The film isn't so much trying to tell a story as it is determined to voyeuristically watch as disparate people react to a ripplingly affecting discord. There are no outright answers to its ethical ponderings, but its astute observations and supplemental performances render it as a weighty, forward-thinking drama. Acting as a new beginning for era-defining filmmaker Elia Kazan, who was coming off an unbelievably fruitful '50s (built up by a sequencing of inarguable classics like "A Streetcar Named Desire," "On the Waterfront," "East of Eden," and "Baby Doll"), "Wild River" is a minor (but cultishly venerated) work within his oeuvre. It's a prcis of his almost off-handed ability to crank out starkly humanistic films attractive in their visual cues and their charged performances. It lacks the inner-demon lashings of "Waterfront" and "Eden" - but that could just be because Clift is understated where Brando and Dean were frantic - but its way of involving us in its traumas is comparatively formidable. As "Wild River's" protagonist, Clift is impeccably cast, though unsaid savvy on the part of Kazan could have something to do with it, too. Just three years before the film's release, amid production of Elizabeth Taylor co-starrer "Raintree County," Clift's face was gnarled by a car accident that left behind puffiness and partial paralysis. Already tortured by uncertainty of his sexuality, the hampering of his beauty further muddled self-confidence. For the rest of his life, to be cut short by a long-in-the-making heart attack less than a decade later, he unwisely tried to drink away the pain that tormented him both psychologically and physiologically. We can see that suffering make its way into the performance. Gone is Clift's once crucial expressionistic skill set, but retained is the encapsulating power of his eyes, which are able to display the ins-and-outs of an everyman's emotional palette better than any student of the Method ever could. Since Chuck is the most conflicted character of "Wild River," tugged at by his responsibilities to represent the TVA, by his love for Remick's Carol, by his empathy for Ella, and by his ethical doubts, those delicate internal reverberations accentuate his performance. The film's other performers are just as fine-tuned - Remick is excellent as Carol, a mother of two who lost her husband at the age of nineteen, and Van Fleet, forty-eight but made to look elderly, brings pedigree to a role that begs to be portrayed in caricature style. Superb is the way Carol and Chuck's romance is not out of moviedom sexiness but out of what are we waiting for tenderness, and how Chuck never condescends Ella, who could be seen as staunchly obstinate but ends up being the most moving character of "Wild River." But what I like best about the film is how it's so capable of seeing so many sides without losing its credibility as a multi-faceted character study. Its representations of corporate dedication could be seen as evil, and its pedestaling of reputation maintaining could be seen as rote. And yet it stays humanistic no matter the side we're regarding it from. It's a quiet showcase of an intimate drama, a career high for Clift, Remick, and Van Fleet and a played down piece from the maestro that conducted it.