Testament of Youth
Testament of Youth is a powerful story of love, war and remembrance, based on the First World War memoir by Vera Brittain, which has become the classic testimony of that war from a woman’s point of view. A searing journey from youthful hopes and dreams to the edge of despair and back again, it’s a film about young love, the futility of war and how to make sense of the darkest times.
- Category:Action, Biography, Drama, History, War
- Stars:Alicia Vikander, Kit Harington, Hayley Atwell, Taron Egerton,
- Country:UK, Denmark
- Director:James Kent,
Testament of Youth revolves around Vera Brittain, an independent young woman who abandons her Oxford studies to become a war nurse. During WWI, she learns a story of young love, the futility of war, and how to make sense of the darkest times. . You can read more in Google, Youtube, Wiki
Testament of Youth torrent reviews
(ca) wrote: Inspired by true events, Wakolda is about one of the world's most terrifying war criminals, Josef Mengele A.K.A 'The Angel Of Death'. It is chilling. Brilliantly cast and brilliantly acted. Amazing photography too.
(au) wrote: Cute movie. Getting second chances when things don't go the way we have planned.
(gb) wrote: Violent but also pretty funny. Really believable characters too.
(jp) wrote: boring movie with no point
(mx) wrote: Insidious is scary, plain and simple. Wan's direction and editing in "Insidious" is so sharp and strong, he raises a relatively basic horror film beyond its natural conventions. The ending is especially cool, like a fantastic film-version of a walk through a haunted house. Old-fashioned terror that is super solid and uber creepy. (P.S. Screw you Tiny Tim and your whimsically terrifying music.)
(nl) wrote: The only film that I didn't like in this series. It had promise it had potential, it had Eugene Levy, but it also had unfunny actors, a actor that tries to hard to be like the other Stiflers, and way to many references from the past movies that had no business being there. And for some reason stiffler is raped by a moose, which despite what it sounds, is not at all funny. Their were two good scenes, when they are at church, and when there at Victoria Secret. Other then that its the sad attempted to milk a great series for every penny it can make. And Brandon Hardesty's character is far to creepy to be funny in any way. In a nut shell this film is a mix of recycled jokes and unfunny situations.
(nl) wrote: No so romantic and exciting that i hope...:s
(br) wrote: A British bomber crashes in holland a crew member survives...a 14 year old boy michiel hides him in the woods......half subtitles but top stuff :D
(es) wrote: Got to watch both parts on DirecTV PPV at home while recovering from sinus surgery. The combat scenes are almost documentary-style. Not flamboyant.
(fr) wrote: An enjoyable documentary about a filmmaker i would have otherwise not been aware of. I was browsing Zeitgeist's releases, and found this one. Needless to say, it was informative, thought-provoking, and strangely sensual.
(jp) wrote: Absto?end, geil, radikal - und ziemlich gut
(de) wrote: Antwone Fisher is a somewhat compelling directorial debut for Washington, but the film is overridden with clichd characters, dragged out scenes, and predictable storylines.
(it) wrote: where there is a will there is a way
(fr) wrote: this was my favorite thing. I haven't been able to find it anywhere and I would really really love to! It reminds me of happy memories with my sister...
(nl) wrote: Il se situe et oscille entre le ridicule et l'amusant. Les bruitages sont insupportables mais la fin vaut son pesant de cacahutes : des paulards attaquent la pieuvre !
(ag) wrote: Charming Truffaut romantic comedy is helped immensely by the disarming performance of Leaud.
(br) wrote: Saraband is, yes, a sequel to a 5-hour Swedish chamber drama made exactly 30 years earlier. That 5-hour Swedish chamber drama was and still is probably the best love story ever committed to film, essentially because it was the most basic, down-to-earth, everyday story; it took place in a particular culture, modern Sweden, but even if you live in South Africa or Cleveland or Tanzania one can clearly see oneself in spite of any cultural anachronisms. Saraband is a strange continuation of that story, in which the two initial characters, Johan and Marianne, played by Erland Josephson and Liv Ullmann, are not so much the focus but the eyes and ears reacting in their own ways to the disintegration of Johan's family, none of whom Marianne has met since she and he separated so many years ago. The narrative follows a similar structure, much more condensed to be sure, and each scene is its own little vignette with its own little chapter heading. They are showcases of powerhouse acting, on account of not only Ullmann and Josephson, who in their 80s have yet to give a poor performance that I've ever seen, but also Borje Ahlstedt as Johan's broke and run-down widowed son Henrik, and the beautiful Julia Dufvenius as his trapped and defiant daughter Karin. In one scene between Henrik and his father, who shows us a side of him never before seen in such bare frankness, even in the triply long preceding film, Ahlstedt barely speaks, and yet he does so much more than Josephson with the silence he must use. Indeed, the modus operandi of each scene at large is soliloquy in the guise of two characters, one speaking while looking on and another listening deeply. Such stagy exposition is not at all characteristic of writer-director Ingmar Bergman, the very antithesis of this overtly theatrical form being the then 84-year-old master's original epic Scenes From a Marriage, which unfolded in the most natural possible way it had to, in the dialogue, in the settings, et. al. But regardless of their contrivance, each scene is a self-contained achievement of various degrees of talent from the cast of no more than five actors in all. Bergman's swan song opens with his inimitable camera on Ullmann, his most consistent collaborator, standing by a table covered with photographs. It is a well-lit room, and she addresses us through the fourth wall. She picks up on picture after another, in no real order, just scattered all over the table. Some make her smile, or elicit a comment or a sigh. But then she picks up a photograph of Josephson. Seemingly, because she is the maternal ear and shoulder for each character who soon appears, she must have her own counsel, us if no one else. There is a strange perspective to this film. It appears in general to imprint off of the original film, but it is instead an entirely separate one in spite of its dependence on the original. Ullmann will periodically turn to us for an aside, but we soon forget for many long stretches that it is, or could be, her story, as the camera shares secret moments with every character. The film hardly depicts, or believes in, any kind of actual resolution. Saraband begins by permanently changing our view of the original film's story as it was left three decades before, and ends with just as much certainty as the original did three decades before. Perhaps it is a reflection of old age; that seems to be the significance of the deliberate and extensive soliloquys.
(fr) wrote: A man comes and visits a friend who owns a hotel in the Key islands. A hurricane then comes and they all get trapped in the hotel by a known gangster while the gangster waits for a shipment. I haven't seen that many humphrey bogart movies yet but I really,really enjoyed this. and i really like him as an actor. to me he is an icon.Lauren becall is also in this and she gave a good performance too. This movie did a very good job at keeping you in suspense. Very likeable characters as well. I was super impressed with this movie. Very good plot acted out supremely well by all the actors. I hope they have this movie in the classics catagory because that is where it belongs.
(fr) wrote: Silly Pellucidar excursion from the pulp-filled mind of Edgar Rice Burroughs. The monsters are cheesy, the script is stupid, most of the characters are dull (Peter Cushing is exceptionally goofy in this and Caroline Munro is hot as ever), and most the special effects are pretty dated...but I had fun.
(it) wrote: I remember this movie being one of my all time favorites in the 90's when I was in college. My friends and I couldn't stop talking about the cool car chases this film features. Now, years later, it doesn't hold up quite as well as I thought it would but is still worth seeing. The plot involves the Macguffins or Macguffins, a mysterious case that a number of factions are seeking to acquire by any means necessary. What the case contains is never revealed so we never know the stakes involved. I was willing to accept that, but what I wasn't so ready to accept was how certain circumstances would have to line up for double crosses to take place as easily as they did. One in particular actually takes place during a shootout where a character needed to find himself in a certain position to make a switch with no one else around him. Of course that very thing contrives to happen, pretty unbelievable. The acting and the tone of this film are dead serious, although there are plenty of colorful lines in the script to keep things interesting; "Your talking about an ambush, I just ambushed you with a cup of coffee!" Of course the centerpieces of this movie are two glorious car chases, both of which put anything in the Fast and Furious franchise to shame. I do believe there is no or very little CGI in these scenes. You can tell real cars are being put through the paces and metal is rubbing against actual metal. The actors were actually in the cars when they were being driven by the stuntmen in some of the shots. The expressions on their faces says it all!!! Score: 7.5