Summer of 1964. Nothing happens in the little rural village, but suddenly somebody gets off the bus...
- Stars:Richard Dreyfuss, Burt Reynolds, Dan Hedaya, Seymour Cassel, Carrie-Anne Moss, Jennifer Tilly, Werner Herzog, Claudia Cardinale, Justo González, Mick Jagger, Klaus Kinski, Eva Mattes, Thomas Mauch, Benino Moreno Placido, Beat Presser, Jason Robards, Guillermo Ríos, Walter Saxer, Baron van der Recke, Baronin van der Recke, Andrés Vicente, Viktor Källander, Jenny Ulving, Nadine Kirschon, Mats Helin, Petter Billengren, Peter Schildt, Christer Fjällström, Ingela Olsson, Johanna Sällström, Michel Riddez,
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Swedish Beauty torrent reviews
Valerio R (it) wrote: Bel thriller, senza tempi morti e una buona sceneggiatura.
Mayur S (us) wrote: So bad, I'm a fledgling dancer and even I thought some of the moves were just rank. Music is bad, no visuals. The final doesn't even seem like the final. At least people in Germany and Brazil should be speaking some native tongue. No Capoeira from the Brazilian crew. Poor, Poor!
Des S (ca) wrote: I really enjoyed this movie. I thought it had the perfect mix of comedy and romance.
Max L (au) wrote: One of the most engaging, enjoyable films I've ever seen.
arshi r (gb) wrote: Grade: C+ Human Trafficking isn't ever really thought provoking, but it does depict the one of the harshest of realities, and that is that women and children are bought and sold as slaves, and they even find their way in to the United States to supply a freakishly nauseating demand. The film doesn't speak much to what actually creates and perpetuates this problem, but gives more of a one-dimensional and TV style storytelling kind of look at the real problems that persist, in a sort of CSI like way; the film is about a female ICE agent Kate Morozov (Golden Globe nom'd Mira Sorvino), who is working on cases involving Russian women in Newark that have been killed recently, all without any ID. She believes it's a case of human trafficking, and the film follows her pursuit in catching the criminals, because indeed, she is correct. We are also introduced to women of different backgrounds, as we see them fall into traps set by an insidious human trafficking criminal mastermind, Sergei Karpovich (Robert Carlyle, at his most Tony Montana-esque, except Russian and less magnetic). He and his close associates and muscle basically coerce woman into their custody, and take control of their identification. We see a woman taken and told to be a sex slave, or risk having her daughter murdered. We see a 16 year old girl utterly robbed of her humanity, and her father's attempt to track down her abductors. The reason I felt the powerful message of this film, and that it struck me at a gut and emotional level, was that I know this stuff really goes on, and that even if the film is too obvious and heavy-handed with its message, and contrived in its execution, it also comes from a source that is all too real outside of the illusion of cinema; therefore, despite the films faults, it retains a certain natural power, simply because of the material. Mira Sorvino plays her agent as pretty much the most moral and ethical person you could imagine, literally a woman without fault. She is perhaps too perfect, so that some of her heroic decisions had my eyes rolling. The writers don't hesitate with many instances of morality lessons being inserted into the plot to keep it chugging along while trying to teach a message of perseverance, and a "keep fightin' the good fight!", Mentality. But the women that suffer from the terrible abuse of these gangster slave-traders, these poor woman have a tough time forgetting this horrible shit I'm sure. We see Mira Sorvino's character being an advocate for these women, but we know that support for them in reality doesn't cut it. Sure, we can give speeches about helping these mentally damaged and severely abused (physically and sexually) women, but speeches never really amount to anything anymore. Sorvino's character does deliver great, heartfelt if cheesy speeches at various moments in the film. But one got the impression that she was just one woman with a big heart, travelling through the heartless halls of a bottomless bureaucracy not truly dedicated to repairing anyone's psyche, least of all a former sex slaves. The film is mainly interested in chronicling the human trafficking and sex-slave syndicates unravelling, as Kate teams up with veteran Customs agent Bill Meehan (Donald Sutherland, who is great for these preachy and respectable character roles), to investigate and bring down this particular slave operation, which in the film has connections in Russia, Prague, U.S.A, Philippines, and elsewhere. The film makes it known that human trafficking is a global issue, which crosses most international borders. It also makes know that demand for this business in the U.S.A also perpetuates the cycle of slavery and profiting from the lives of woman, at the expense of their life. The film juxtaposes cultural values and perceptions, and adds to the sprawl of the story of the Russian sex slaves in America, with a sub-plot about a little American girl in the Philippines who has been abducted by human traffickers in that country. The film shows how she is plastered all over American news, and while the script and tone doesn't really do anything in the way intellectual referencing, I found it intriguing the way that we see the little girl get so much public notice, while the dozens of Russian girls being sold in America get comparatively less in the way of media attention. The film is way too tame for a film about human trafficking and sex slavery, in that I could tell it was very much made for TV. This material warrants expert realism, but it never comes close. Any given episode of the The Sopranos would contain a more authentic feel in one second that this film ever achieves. Authenticity is important for a subject like this, but the film seems to skimp on certain aspects, while becoming falsely preachy and to obvious in others. It also becomes highly repetitive and really slow at times, and runs at least 30 minutes longer than it should have. There is also a lot of happenstance and amazingly unbeleivable occurances and nick of time saves that just build up the level of obviousness in the story's telling. The motives of the characters are mostly too one-dimensional, and the criminals are never more than playing the big bad wolf, and accordingly it's their pride and stupidity that leads to their downfall; but it's done with no subtlety, its completely set-up. The unravelling didn't seem to flow either, and instead the plot seemed to begin to jump around far too much, creating unnatural breaks in the story that disrupted the pacing, and making certain strands feel way to thin, with not enough psychological investment made by the writers to create genuine feelings for the people. I felt the makers of the film seemed to be relying far too heavily on my naturally occurring empathy to gain points with me, the viewer, but that can only work to a certain extent. Obviously I'm going to feel bad for a bunch of innocent sex-slaves, but you need to go beyond that as a storyteller, and this felt a bit too much like CSI, a show I don't watch and don't like. I could literally see the writers creating the most obvious cause/effects during the film, so much so that the film failed to surprise me, except in some instances of visceral violence and cheap emotional shots. So see the film if you like easy T.V drama done slightly better than average; it's really not that bad, and the worst that could happen is you'll learn a little bit about the world you live in; but I warn that this is distinctly fiction, however much it has the aura of reality.
Sarah Jane C (kr) wrote: As always, John Malkovich is excellent. The relationship between father and daughter is realistic. The story is intense and although some of the scenes are violent, the director doesn't go over board. It's not a film that i would have choosen to watch but i am glad i did
Fergus S (ag) wrote: Dragged, but Whoopi and Gerard OK
Crystal F (au) wrote: VERY GOOD MOVIE, LOVE BRIAN KRAUSE IN THIS MOVIE(B4 HIS CHARMED DAYS AS LEO)
Robert I (es) wrote: Two Ernestes!? Electric superpowers!? A very entertaining outing for Ernest. Perhaps his second best.
Tim M (ag) wrote: Capped by a fantastic finish, 'Back to the Future' is still fun after all these years. Everyone at their best makes for a cosmic reality that is hard to duplicate.
Monica d (mx) wrote: kool movie my bro wants to see
Yuri Alexey P (au) wrote: Animals acting like humans in the most clich animated film ever. To this day, I can't still believe that this was made by Disney... not bad but not good either :(
MF J (gb) wrote: Clint Eastwood, a veteran director delivers a polite and well executed biopic about one of the most controversial and enigmatic figures of the 20th century in America. Obsessed with the red invasion, J Edgar seems to have dedicated his life to eradicate communism from the surface of the earth. Struggling with his own demons and some personal secrets, the man remained dedicated and focused on his task till his dying breath.On a technical level , the film is really well shot and the sets are lavishly reconstituted.This may not appeal to everyone, but personally i was glad to watch it.
Alex S (us) wrote: Grim police thriller with great performances by Ray Liotta and Jason Patric, I'm surprised that none of them were nominated for anything, especially how Liotta transformed himself into this heavy hard man that is different to how would see him in anything else.The film itself had a similar gritty feel to French Connection which made it feel more realistic than just feel like watching a Hollywood film. I believe it had a low budget which probably helped that, and it worked out really well.
Sean L (de) wrote: As straightforward as spinoffs can get, really. Kids love talking cars, and kids love toy airplanes, so kids will love talking airplanes too, right? And they do, or at least mine do, even if none of this cast has half the sparkle or charisma of a Lightning McQueen or a Tow Mater. Which should speak volumes, since both are pretty much the bottom of the barrel in Pixar's repertoire. As competition-focused racing movies go, it's middle of the pack - energetic and often lovely, but flat as a board and thoroughly predictable. Younger audiences will thrill to the frequent chase scenes, with a good mix of terrain thrown in as appreciable spice, but their chaperones won't find much material hiding beneath the surface. Cars had a timely message about the loss of the great American highway lurking under there, and at least Cars 2 had some buck to its script, but there's really nothing more to this one than a simple played-out underdog sporting saga. And hey, that's perfectly okay. There's plenty of room on the screen for bright, shiny, cookie-cutter kids' fare, and it certainly doesn't offend. It's just no comparison to the Pixar-branded forerunners that paved these lanes. Good enough for a quiet evening, no more, no less, and it gave my three-year-old boys a good dose of imagination fuel.
Kenneth L (es) wrote: Snappy smart dialog. Easy to identify with the characters & empathize with their situation. Wasn't too terribly erotic or funny for a sex comedy but that seemed to add to the story rather than detract from it.Meeting online has really altered society in all sorts of subtle ways already & promises to to become much more a profound omnipresence in the furure. It even blurs our sense of family & home in ways that open dooors to new less confining possibilities. Sex will never hold the same meaning.
Cameron F (br) wrote: Middle aged suburbanites who own fancy motorcycles (sorry I don't consider them bikers) decide to hit the road on a trip where guess what? They run into trouble with a biker gang and they go skinny dipping and they laugh and they find things about each other they never knew about themselves (even though their supposedly longtime friends) and one of them falls in love and most of all they find the meaning of life. Oh yes how creative this movie is. The script must've taken years to write.