Documentary about the legendary fashion model, directed by photographer Franco Rubartelli.
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Veruschka torrent reviews
jennifer b (fr) wrote: My 8 yr old loves this and can watch it countless times, eyes transfixed, mesmerised and wonderstruck. why kids love this film so much is a mystery, because it is dire. i asked my daughter why she loves it so much. Her answer? "I don't know." Mysterious!
Wes G (de) wrote: As always, DC comes out with the best animated comic book adaptions. It feels a little rushed but overall very well done and very adult oriented.
Summer B (kr) wrote: Found it! ANother movie I was shown in elementary school.
Ryan L (fr) wrote: What is considered to be a classic by many, Dog Day Afternoon stars Al Pacino as Sonny and John Cazale as Sal as two men who rob a bank one afternoon and everything goes wrong from the beginning as a team member of theirs quits, and the cops, FBI, and news reporters are surrounding the bank. And I found this movie to be great. the acting is top notch of course from Pacino and Cazale. and it is very capably directed by Sidney Lumet. the first hour of this movie is perfect from the dialogue to the attempted robbery and the great suspense that doesn't let up. however around the halfway point, the movie dragged a little bit as yiu find out more and more about Sonny as a person. certain things are revealed about his character and his motivations for the robbery, and although it is interesting and important, it slowed the pacing down a lot. the movie is also not predictable at all which is a huge plus for me personally. Overall this movie deserves to be a classic, it is great, the pacing was just a tad bit off and you don't learn much about Sal as a character which were two flaws that brought the movie down from what I was hoping would be a 10/10. still very good. 7.8/10
Edith N (fr) wrote: Not Really Blaxploitation at All By all rights, of course, it ought to be. It was made in 1974 (Rotten Tomatoes has two options for the same movie; this is the wrong one). It's set in a ghetto. (I kind of missed where, but I'm guessing Chicago, because the novel it's based on is called [i]Hog Butcher[/i].) Almost all the major characters are black; when they aren't, they are The Man. Heck, it was brought to us by the fine people at American International Pictures. Yet for all that, it is missing what I think to be some of the essentials of the genre. Yes, there are assorted petty criminals, but they're almost beside the point almost all the way through. Our Hero isn't any kind of tough detective; he's a boy making a hard choice. The goal isn't even to improve the way of life for the people in the ghetto. I mean, okay, that's probably an indirect effect of the events described, but the goal is to make individual lives better, and it mostly involves getting people out. The "Me" from the title is Wilford Robinson (Laurence Fishburne in his first film role!), a twelve-year-old boy whose cousin, Nathaniel "Cornbread" Hamilton (Jamaal Wilkes), has a basketball scholarship to college. He's going to be leaving at the end of the summer. Wilford idolizes him, constantly telling his new friend, Earl Carter (Tierre Turner), that Cornbread is the greatest basketball player in the country. Cornbread goes along with it in a good-natured sort of way, the whole while resisting the drug dealers and numbers runners (One-Eye, played by dear Antonio Vargas) who want him to work for them. It'll all be okay soon, though, because he's going off to college--meaning he's getting out of the ghetto. Only one day, two policemen (Bernie Casey and Vince Matorano) are chasing some thug. They lose sight of him for a second, and they see Cornbread running down the street. He's merely trying to dodge the rain, but they think he's the guy they're looking for, and they gun him down. No movie called [i]Cornbread, Earl and Me[/i] has any right to be worth watching, but this actually is. Now, it's obvious that Francis Ford Coppola never saw this movie, because he didn't realize how young Laurence Fishburne was when he showed up for casting for [i]Apocalypse Now[/i]. However, if he had seen it, what he would have seen was a really impressive performance for a thirteen-year-old boy. The range of emotions he was called on to portray was beyond a lot of adult actors--sadly, including a lot of the adult actors in this movie. There's only so innocent someone of his age could have been in the situation where he grew up, but the last of that innocence is burned away over the course of the movie. Usually, this process in film involves sexual awakening, which is about the only thing we don't get here. His mother, Sarah (Rosalind Cash), has a boyfriend, and Wilford is aware of what goes on between them. But the pressure of the rest of the world is a bit of a surprise. It's worth noting that not all the black people in this are heroes, and not all the white ones are villains. Officers Atkins and Golich made an honest mistake. They weren't assuming that any black kid of Cornbread's age was a criminal; they really did think he was the guy they were chasing. It is Sergeant Danaher (Stefan Gierasch) who tries to engineer a coverup, a coverup which includes threatening to cut the Robinsons' welfare. However, it is a black woman who accuses Sarah of not really having a heart problem and just not wanting to work. Certainly little of the community loyalty is stronger than the fear when threats begin. It's even true that a few government bureaucrats show more compassion than some of the people on the street. The film does not paint a simplified life of black versus white or even poor versus not-poor. (I'm not sure we ever see any truly rich people.) It's more complicated than that. Yes, this film got made when and where it did because of the sudden realization that there was money to be had in marketing films to black audiences. However, true blaxploitation--a genre I love even though most of it is very bad--requires a certain simplified worldview that this film just doesn't have. One-Eye is as whimsical and charming as Antonio Vargas characters are legally required to be, and while he's part of the problem in his neighbourhood, he's not as bad as the drug dealers and the thugs. The cops are trying to do a good job under difficult circumstances; Officer Atkins is even just a cop while he saves up the money to go to college and be a teacher. No, we don't go into a lot of detail about what Cornbread's chances of getting into the NBA actually are. But Sarah, at least, seems aware that just going to college is a good start for him, and it's what she wants for her son. Even if the drug dealers were defeated by a Cleopatra Jones who happened to stop by, that wouldn't fix the problems. That's why it was so important for Cornbread, and later Wilford, to get out.
Dillinger P (kr) wrote: Margin Call is such a cut throat, razor sharp and bleak entity of a film that coming out the other end of it feeling any sort of happiness or sense of motivation is practically impossible. This is a superbly acted, well written and wonderfully shot drama, that just cant stop pulling the building blocks from underneath you and its characters, it a chore to watch, but a bloody good one. Margin Call follows a stock brokers firm, on what should be an ugly day of laying the majority of their workforce, the firm find their problems are only beginning when one of the higher ups they just let go, happened to be trying to solve a massive problem that is about to throw the firm into liquidation. It then turns into a knife wielding, metaphorically, viceral slaughter house, with jobs being axed, career suicide and potentially the fall of the entire market. This is a brilliant drama and would most likely make a great piece of theatre, this is an extremely static piece, so in order to make Margin Call really shine, a huge amount is asked of the cast, but by christ do every single one of them deliver. Kevin Spacey, Paul Betanny, Zackery Quinto, Demi Moore, Jeremy Irons, Mary McDonnell, Stanley Tucci and Simon Baker make up a total tour de force in the acting department. This is a cast to die for and here, all of them are on their A game. The majority of characters have a wealth of scenes together varying on sheer ensemble or just the perfect work of 2 actors dualoguing and it is wonderful. Its hard to actually pick a specific one from the bunch to commend, Spacey is emotional and mature, Qunito is astounding as always as a rocket scientist, Demi Moore is viceral and breath taking, Stanley Tucci is running on raw emotion throughout, Jeremy Irons is just ferocious as the big boss and even the 3 minutes of screen time that she gets, Mary McDonnell adds a huge weight of emotion, into an already emotional roller coaster. The script is extremely hardcore, it is relentless with numbers and terminology that people alien to the sales world will definately have issues digesting, however J.C. Chandon does manage to wedge in some nice touches in order to simplify the jargon being used. There is an amazing moment when everyone gets together in one room, an emergency meeting at 3am and the company are trying to explain what has gone wrong and at that point as a viewer you, yourself are still unclear to exactly what extent the damage may be, when Jeremy Irons' character explains he isnt a genius, he just got to where he is by sheer brutality and that he needs that information simplified so that a child could understand it. Some viewers may see this as writing that doesnt fully believe in its own power, but for me it adds an even deeper layer of meaning and also slaps a huge exclamation mark over how the company got in the mess, in the first place. This piece is so sparse and so gutterall, that there is barely any music what so ever used, throughout its run time, this forces you into conversation and makes you want to decipher the magnitude of what is really going on. It's simply but wonderfully shot, very unique and extremely polished beyond belief, and it has to be. But where the find does falter slightly is its pacing. This is not a long movie, however due to the nature of it and its desolate aura, it feels like you have endured so much and you realise you have only been watching for just shy of an hour. It's a minor gripe, but there are a few points that for me could have been cut or tightened, just a touch, in order to hold my attention just that little bit longer. Also one of the characters, is so redundant and only serves to act as a gateway between characters or to show the little guy, that his inclusion feels a bit alien compared to the rest of the ensemble, im not sure if it was either the acting or the writing but every time this one character was on screen, he almost felt like an eye sore rather than an essential part of the mix. With those 2 gripes aside, Margin Call is a wonderfully tense and relentless film, its not everyones cup of tea, but if you love watching actors verbally batter each other back and forth, this is the film for you.
Carla F (fr) wrote: Seen Better..Plot I knew in the first few minutes..To many names to remember..