A young girl is plucked from small-town obscurity and thrust into the spotlight of the glamorous world of super-models.

A young girl is plucked from small-town obscurity and thrust into the spotlight of the glamorous world of super-models. . You can read more in Google, Youtube, Wiki


Stardom torrent reviews

David S (ru) wrote: I was expeting something more like Bowling... or Farenheit 9/11... but no, this is just a documentary about the night before the 2004 US elections for president /BUSH/KERRY in a mass democrat party like a late night showWHAT?

Mark B (es) wrote: Has to be the best Kazakh film I've seen for a long time.

Cory A (ca) wrote: you don't need the world of Pandora to deliver amazing visuals, James Cameron does that by going to the bottom of the ocean

Ulises R (de) wrote: Es una pelcula que me ha sorprendido. De la situacin inicial de ambos protagonistas a la situacin final hay una inversin total de los paradigmas de cada uno. El conflicto central de la historia es el decreto del rey para que al fin las mujeres puedan participar en representaciones teatrales. Esto implica una oportunidad para que la talentosa pero ignorada asistente de un actor especializado en personificar mujeres se haga de un protagnico. Desplazado, el citado actor enfrenta una serie de conflictos de identidad, los cuales superar de la mano de su ex-asistente y ahora primera actriz, asumiendo una nueva personalidad y complementndose ambos magistralmente en las puestas en escena. Hay algunos personajes bizarros, como el rey y como Sir Charles, pero en general todas las actuaciones son agradables, destacando -para mi- la de Claire Danes en su papel de Maria Hughes. Muy recomendable.

Adam S (au) wrote: great... but I don't kno if I could watch it again

Blake P (fr) wrote: The years haven't been so kind to 2004 indie wunderkind "Garden State". While it was a gargantuan success upon release (it made back its budget a nauseating amount of times, got a Grammy for its soundtrack, and defined the twee indie romantic drama for a generation), critics, along with the public, have decided that it wasn't so good after all, preferring to be believe that it's actually a sickening, uninspired piece of whining hipster clichs. If it starred Zooey Deschanel instead of Natalie Portman, backlash prone audiences might roll their eyes with sarcastically lethal force. Maybe it's the fact that I was born too late to consider it a masterpiece during its prime shelf life or maybe it's because I don't find quirky indie sparkle to be all too annoying unless whimsy becomes cloying - but I liked "Garden State", now-dated Coldplay songs, Manic Pixie Dream Girl-ness and all. I can understand the newfound hate - its tropes have become paralyzingly tired ever since Michael Cera's career died - but one has to remember that things weren't all cutely kooky before it crash landed into theaters, unless you count Hal Ashby's most eccentric moments of the 1970s. It stands as a likable product of the times, aged in its soundtrack but not in its emotional expression. Writer/director Zach Braff, making his filmmaking debut, stars as Andrew Largeman, an immensely depressed 20-something living in Los Angeles in pursuit of a currently fledgling acting career. (His only screen credit consists of a retarded football player in a lackluster TV-movie). His heavily medicated world is rocked when his father (Ian Holm) brings news that his paraplegic mother has died, sending him back to New Jersey after nine years of intentionally staying far away from it. Emotionally numb, Andrew catches up with old friends with the enthusiasm of a cartoon donkey; he can hardly wait to escape his past once again and continue living miserably alone. That all changes when he unintentionally meets Sam (Natalie Portman), an exuberant young woman with a habit of pathologically lying. With a charmingly outlandish outlook on life, she may be the bright spot needed to dig Andrew out of the pitch black well he's been living in for his entire existence; their mutual idiosyncrasies could repair themselves with a plentiful serving of cinematic love. "Garden State" isn't perfect - it drifts back and forth between offbeat humor and sad-sack drama with a questionably twee exterior - but it has moments of relatable brilliance; thank God those moments are frequent instead of rare. Braff's sensitive but touchingly personal writing is vulnerable without being wimpy, funny without being crass; his direction, with just enough visual flair, travels along with impressive perceptiveness. His soundtrack has, in no doubt, aged, but we can't imagine a different sort of music playing as the characters reach thousands of mini-climaxes and discover themselves after years of believing the world had given up on them. And while it may be Braff's vanity project, his acting is not what makes "Garden State" such an immediately likable film - its biggest asset is Portman, who brings a vivacious energy needed to make both Braff's Andrew, and the film's, mood go from blaring gloominess to infectious hope. She is lovable when everything else threatens to be a major downer. So say what you will about "Garden State": it works; the dusty soundtrack is as fitting as the inclusion of Portman's archetypal Manic Pixie Dream Girl. The backlash makes a certain sort of sense, but it's much too harsh when we live in a world that Iggy Azalea also inhabits. Don't run away in fear of incurring the wrath of Tumblr users - see this early-2000s classic. It'll be worth it.

Mickaw90 (nl) wrote: The story needed more touchable elements, other ways Pure is good drama movie. Good acting and performances. Even kids did good job in their roles.

Tom B (ca) wrote: I really liked this little independent film. It doesn't have much of a plot and there is no dialogue, but it is original and quite entertaining, although the second half does get a bit stale. Still, worth watching!

Ryan V (ca) wrote: This is nothing more than a longer version of a forgettable episode from the show. Just when First Contact knocks it out of the park, this one brings The Next Generation series of movies to a place of uncertainty and mediocrity.

Conner R (mx) wrote: While it's nowhere near a good movie, it's extremely impressive that Broken Lizard managed to make this for so little money and with almost no experience. There's some really great moments and funny characters that make it at least worth watching.

Jesse M (it) wrote: A total afront to what was established in the first two films. Out of all the sequels, this would be the most pointless. A petty title defense? Daniel being an obnoxious aggressive jerk forgetting all the important life lessons he was taught before? A lame revenge plot involving Krees and his sleazeball war buddy? Hell even the opponent is just an asshole for hire. All of this spells out a contrived story with zero reason to be told. The only saving grace is Pat Morita who tries very hard to hold this crap sandwich together. A real shame.

Alexander A (de) wrote: Goes nowhere very slowly and steal as much as it can (even John Rhys Davies) from Indiana Jones.

Gerry T (br) wrote: Great action Pirate Movie

Will M (de) wrote: I liked the music. I haven't totally made my mind up about the rest. The director, like so many 20th century artists, substitutes philosophy for a compelling product. There is no technique, no talent behind the camera, only a theory and a style. Bach's music has all of the above except for a theory. Perhaps there is an irony to work out in this, perhaps even an intentional one, but who has the time?

Sammy B (ag) wrote: it felt too long but now I understand why people like John Wayne