Johanna, a young drug addict, falls into a deep coma after an accident. Doctors miraculously manage to save her from death's doorstep. Touched by grace, Johanna cures patients by offering her body. The head doctor is frustrated by her continued rejection of him and allies himself with the outraged hospital authorities. They wage war against her but the grateful patients join forces to protect her. This is a filmic and musical interpretation of the Passion of Joan of Arc.
- Stars:Orsolya Tóth, Eszter Wierdl, Zsolt Trill, Tamás Kóbor, Dénes Gulyás, József Hormai, Sándor Kecskés, Viktória Mester, Hermina Fátyol, Andrea Meláth, Kálmán Somody, János Klézli, Géza Gábor, Kolos Kováts, Sándor Egri,
- Director:Kornél Mundruczó,
- Writer:Yvette Biro (author), Kornél Mundruczó, Viktória Petrányi
Johanna, a young drug addict, falls into a deep coma after an accident. Doctors miraculously manage to save her from death's doorstep. Touched by grace, Johanna cures patients by offering ... . You can read more in Google, Youtube, Wiki
Johanna torrent reviews
(es) wrote: Just seemed like a film to push an agenda, the story itself was rather dull with unlikeable characters and the "comedy" did nothing for me. It wasn't terrible but this is something you forget you saw within a week.
(nl) wrote: As always a good DC animated movie!
(au) wrote: Brainless, but well done and quite compelling.
(de) wrote: a master piece not understood yet a little ahead of time movie may be hey ram 2020 will be a blockbuster
(mx) wrote: Best sandler film by far
(us) wrote: Funny movie and didn't lose it's touch. Can't believe Vanessa is a robot but now austin has no rules and does everything he wants to do again. Dr evil is back and eviler than ever.
(es) wrote: A by-the-numbers lump of crap.
(ca) wrote: It was alright, there's way worse movies than this one.
(gb) wrote: yip a lot like the old song by the same name
(br) wrote: The Burbs was an enjoyable film with some laughs and a nice little surprise twist at the end. Living in the suburbs most of my life, the cliques and scenarios the characters were in was familiar and entertaining. The whole cast was fun and featured some big name actors that weren't quiet as big in the late 80's. The pacing was nice but toward the middle it did have a little slow down as they dragged out some scenes a little bit to long. It was a little creepy at times but when it finally came to a conclusion the end, while slightly shocking could of been a little more thrilling. Tom Hanks was fun to watch act dorky and goofy, after seeing him in mostly serious movies lately. The film was just very basic and a little corny but thats kind of typical for 80's films of those type. I don't regret watching it and if you want some classic, early Hanks stuff, you should find some enjoyment in this flick.
(de) wrote: Another great Charlie Chan Film, this one is about the sabotage of a airplane that's being built for the USA government. Like all the Chan films with Toler in it not only is there mystery but comedy throughout. This film has a guess appearance of Shemp from the Three Stooges. Supposed to be in New York, but when at the airport landing in NY you see mountains in background. Doubt that any off this film was actually taken in NY. Still worth 3 1/2 stars
(es) wrote: Dry as all hell. But captivating.
(ca) wrote: Drama convencional que sobresale por la actuacion de Bette Davis y por tener de protagonico a Humprey Bogart.
(ag) wrote: Uh, no...This was not even a possible SyFy "B" movie. This movie had it all bad acting, bad dialogue, and the special effects were something to be detested. The only thing it had going for it was the ladies were cute...Not gorgeous or beautiful, just cute. A waste of an hour and 27 minutes...
(gb) wrote: I actually found this film really moving and very good. Yes, there are a lot of American stereotypes featured in the film but there is a strong cast (particularly Benjamin Walker and Teresa Palmer) and lots of emotion. I enjoyed it very much
(es) wrote: Damn, this sounds good.
(es) wrote: Gus Van Sant's Elephant, though a rapturous and terrifying memorial to the Columbine massacre, brings nothing to the discussion on high-school violence. No causes, no solutions, no moral or intellectual perspective, none of the facile politicking that immediately followed in the incident's wake. Those looking for answers, or even insights, are certain to be disappointed by Van Sant's audacious experiment, which offers a delicate and uninflected meditation on high-school life during a not-so-ordinary day. A natural companion piece to Gerry, his minimalist landscape film about two men lost in the desert, Elephant creates gorgeous, wide-open spaces that allow viewers the freedom to reflect without having a point-of-view imposed on them. In that sense, the film does the important service of stealing Columbine back from pundits and politicians on both ends of the ideological spectrum, all of whom seized upon the event so opportunistically. With ace cinematographer Harris Savides' elegant Steadicam prowling the halls, Van Sant quietly restores some humanity to the victims and perpetrators alike, if only to account for their existence. Using a mostly non-professional cast, he tracks all the students involved in this fateful day, which begins with mundane routine and ends in bloody mayhem. Because there's no time to get past first impressions and truly understand these characters, many appear as Breakfast Club-like stereotypes (The Jock, The Nerd, The Bulimic Princesses), reduced to their place on the high-school caste system. Van Sant spends more time with John Robinson, a wispy blond boy who looks out for his alcoholic father (Timothy Bottoms), and Elias McConnell, a yearbook photographer with an unerring eye for beauty. In the film's most problematic sequence, he also follows the two killers (Alex Frost and Eric Deulen) in the moments leading up to the massacre, using the opportunity to check off all the usual "causes"-violent video games, gun proliferation, Nazism, repressed sexuality-that are commonly attached to such rampages. But collectively, all the players are brought together under the same umbrella, their lives intersecting in a way that none of them could have anticipated. While it seems that Van Sant is merely leading his lambs to the slaughter, Elephant has a gentle, hypnotic tone that's insistently sweet and elegiac, in spite of the horrors that overwhelm the frame. In its juxtaposition of the serene and the violent, the beautiful and the brutal, the film achieves a balance that's exquisitely judged, tiptoeing artfully through a cultural minefield.