Even Cowgirls Get the Blues

Even Cowgirls Get the Blues

Sissy Hankshaw (Uma Thurman) is born with enormous thumbs that help her hitchhiking through the US from a young age. She becomes a model in advertising and her NY agent 'the Countess' (John Hurt) sends her to his ranch in CA to shoot a commercial, set against the background of mating whooping cranes. There, she befriends Bonanza Jellybean (Rain Phoenix), one of the cowgirls at the beauty- ranch.

Sissy Hankshaw is born with enormous thumbs that help her hitchhiking through the US from a young age. She becomes a model in advertising and her NY agent 'the Countess' sends her to his ... . You can read more in Google, Youtube, Wiki

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Even Cowgirls Get the Blues torrent reviews

Rachmad T (ru) wrote: One of MUST WATCH MOVIES of this year. Seriously!!!

Niklas S (br) wrote: I wan't to make a difference but not by going as far as the boys in this interesting documentary.

Eric L (au) wrote: Understated film, but some really nice rotoscoped animation.

Brad S (ag) wrote: I actually quite enjoyed this one, not sure why it didn't get better reviews. I didn't guess the twist ending, laughed, and was entertained overall. Tough to go wrong with Russell, Baruchel, Stamp and Dillon. Give it a try!

Moises Chayanne P (jp) wrote: why they keep on making to much anacondas the fisrt movie of anaconda is good and anaconda hunt for blood orchid are good movies but the others one like this not good

Blake P (ag) wrote: Woody Allen was made to make thoughtful character pieces, but he was also made to make summery larks more in touch with old-fashioned escapism than heaviness. During his early career, he specialized in the former - "Annie Hall" (1977) and "Manhattan" (1979) were funny, sure, but they also hit you where it hurt in their sympathetic humanity. But in the last decade or so (or more, depending on what you think of Allen's '90s), he's drifted toward high-class popcorn entertainment; just look at the way the majority of his most recent films ("Midnight in Paris" [2011], "To Rome with Love" [2012], "Magic in the Moonlight" [2014]) have taken place in faraway lands and are as light as a feather, working as euphoric escapes for even the most cynical of a viewer. Some of his most die-hard fans have decried the way his films have become hit-or-miss as of late - he either makes frothy romps or searing comedy-dramas - but I've never found myself to be anything less than charmed with what he has to offer, even if the finished product is slighter than his best works. 2008's "Vicky Cristina Barcelona," a sizzling combination of the aforementioned frothy romps and searing comedy-dramas, is Allen at his late-period prime. Seventy-three upon release, it's staggering how well-tuned his dialogue and his characters remain to be after decades in the business. Most filmmakers lose their touch after a long period of brilliance. Not Allen. Consider that he made his directorial debut with 1966's "What's Up, Tiger Lily?," and that his remarkable craftsmanship has never disintegrated (despite a few uneven encounters). His relevance, and the excitement that arrives every year with a new movie, has held steady. "Do we take him for granted?" Roger Ebert asks in the opening for his review of "Vicky Cristina Barcelona." As someone who regularly rewatches his offerings (the latter, "Manhattan Murder Mystery" [1992] and "Sleeper" [1973] among them), I can say, at least in my experience, that I do not. Allen holds a special place in my heart, and "Vicky Cristina Barcelona" is no exception. The last film in his string of works with modern muse Scarlett Johansson, the movie is a breathtaking comedy with pangs of drama and romance that make it as pleasurable as it is meaningful. It follows its eponymous heroines (played by a plucky Rebecca Hall and an earthily sensual Johansson, respectively) over the course of a single summer in Spain, where they partake in adventure and relaxation but also learn a lot about themselves and their desires. Both are finishing up college and are beginning the journey to the rest of their lives. Vicky is level-headed and cautious, a square on the verge of a marriage to Doug (Chris Messina), a nice enough guy she isn't so sure she loves. Cristina is a free-spirit who suffers from unremitting dissatisfaction; she drifts from hobby to hobby, from man to man, in touch with what she wants until her latest interest wanes. Vicky and Cristina have been close since first meeting in school, but this summer could be one in which spending time in each other's company isn't a pressing issue; self-indulgence is key. Temptation comes in the form of Juan Antonio (Javier Bardem), a casanova of a painter who captures the interest of both women after a couple of fleeting glances. First, they catch wind of the man at an art show, intrigued by his dark good looks. But the next time they spot him, he boldly comes to them. Confident in his sex appeal, he audaciously invites Vicky and Cristina to, that night, fly over to his Oviedo home for a weekend of sight seeing, wine drinking, and lovemaking. Vicky is taken aback, dramatically turning him down as if he were the most repulsive creature on the planet. Cristina, on the other hand, is spellbound, and takes his offer. Somehow, she drags Vicky along for the ride, too, who seems to only accept the idea as a way to ensure that Juan Antonio doesn't hurt her head-scratchingly spontaneous friend; he could be a killer for all they know. But the weekend turns out to be summer-changing, at least for Vicky. Upon arrival, Cristina is stricken with a particularly bad case of food poisoning, and remains bedridden as the hours pass her by. At first, Vicky is panicked at the thought of having to spend the next two days with Juan Antonio - but to her surprise, he turns out to be a charismatic companion, one so charismatic, in fact, that, by Sunday (when they've done more than just see the sights and drink wine), she finds herself doubting the success of her current engagement. The three fly back to Barcelona, where things begin to shift dramatically. Vicky keeps her feelings for Juan Antonio a secret, diving deep into her studies, while Cristina, recovered from her brief illness, gives romancing the painter another try and succeeds. The pot is stirred, though, when Doug shows up in Spain, ready to get married, and when Mara Elena (an incendiary Penlope Cruz), Juan Antonio's moody ex-wife, comes crashing into the middle of his and Cristina's relationship just as it starts to flower. And from there, "Vicky Cristina Barcelona" really begins to blossom and really begins to remind us why Allen's knack for writing and knack for characters is something bafflingly ageless. The separation of Vicky and Cristina is the very thing that prompts for the film's effulgent way of kicking off of the Finding Yourself trope, which Allen portrays at once teasingly and cynically. Teasing in how Cristina does so by living with Mara Elena and Juan Antonio and nurturing her interests in photography and sex, cynical in how Vicky frets about potentially leaving Doug for Juan Antonio, with us (and maybe even her) well aware that she'll be stuck in middling married life unless she makes a change (that we know she won't). It's the symmetry between rompiness and pessimism that provides "Vicky Cristina Barcelona" with its attractive glow: it all looks and sounds incredible, its actors and scenery as gorgeous as Allen's dialogue. But because there's an underlying sense of reality beneath its porcelain beauty, it makes for savory popcorn entertainment incapable of getting lifted away in the throes of forgettability. I could take on the role of so many other critics and compare it to Allen's other works and figure it to be light as an eclair and therefore insubstantial in contrast to his many works of genius. But why do so when presented with a film so utterly delightful, one that serves as a reminder that Allen could have easily gone into retirement at his age but still manages to amuse us time and time again? I'm sure I've seen "Vicky Cristina Barcelona" six times within the past four years, and its ability to seduce hasn't wrinkled. That's Allen for you.

Dawn T (kr) wrote: don't like documentaries

Eric H (es) wrote: I actually enjoyed this movie. I wasn't expecting to like it nearly as much as I did. It's a great family movie for older kids (10+), and it was a fairly accurate look back into 1978.All of the lead actors did great work. Bow Wow should be proud (although it's time to start using his real name I think). And the skating and practice it must have taken to get that down is noteworthy. The only thing that didn't work for me was the skating guy who handed out skates. What's with the Jimi Hendrix look? Would that have been accurate in 1978? Well, a few things regarding the time period may have slipped through. But those are just minor details. Ok movie. I enjoyed it.

Ravan Florentin P (nl) wrote: Lafka story, for the abstract ppl ^^_

Fiona N (ca) wrote: I don't find the story particularly intriguing but nevertheless it's a beautiful movie.

Wes S (es) wrote: It doesn't deserve the title, and it seems rather out of place with it's adventurous tone, but I can't say it's not entertaining. Gory moments, crude scares, and callbacks. Decent characters for the most part. The plot isn't too great, but it has interesting parts. It is a bit too long though. Ultimately the final climax sells it, but it could of been better.

George P (ca) wrote: Bjrk's acting is RAW in this, beautiful, tragic and utterly human.

Grace Z (de) wrote: Love it. I love Jane Powell, a fellow Portlander. I love the music. I love the ceiling dance. I love that it's based on Fred's career with his sister. (viewed February 2009)

Millo T (br) wrote: As a erotic film, Ok. Not more.

Ryan H (nl) wrote: A Disney animated classic!

Keith T (mx) wrote: I was drawn to this after seeing Dominic Cooper play Ian Fleming 'playing' James Bond in 'Fleming'. An impressive performance as both Uday and Latif.