The Finished People

The Finished People

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Prepare yourself for an extraordinary film, featuring the most compelling performances of the year. With a cast of young actors baring their souls on screen for the first time, THE FINISHED PEOPLE is a landmark Australian film that will stay with you long after the credits have rolled away. Tommy sets off on a journey to overcome the addictions which have haunted him his entire life. Van, sleeping in a carpark at night and stealing clothes by day, strikes up the most unlikely friendship with Carla. Des, tired of living on the streets, struggles to provide for his pregnant girlfriend. From the heart of south-western Sydney comes this unexpected film that you'll never forget. . You can read more in Google, Youtube, Wiki

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The Finished People torrent reviews

Alexi A (nl) wrote: The performances are hard to come, but director Amat Escalante achieves to portray quite good a sad reality in the country, that affects almost every zone, overcoat zones like Heli's one.

Lucy H (es) wrote: Very well acted but bit depressing

Holly R (jp) wrote: Rocket Science had the makings of a really great film, but it just didn't go anywhere for me. There were a bunch of interesting, believable characters, but they just fell flat on their faces. The ending had many issues. Firstly, it was completely predicable. You could see it from the moment Ben suggested to enter as a home schooled team. The final scene was also a problem for me. It felt like a forced let's-wrap-this-up-somehow ending, and I was left feeling unresolved. I was also disappointed with the character of Ginny. She faded out of the movie completely and I wasn't sure whether I should like her or hate her. Rocket Science had moments of brilliance within an average storyline. It's a shame it didn't rise to it's potential.

MEC r (fr) wrote: I did not really like this movie.

Swayamdeep S (kr) wrote: Superb ending , Solid script & very good acting, but very unlikable characters.

Steve B (us) wrote: Before Bend it Like Beckham there was Madame Sousatzka and I prefer this one much better. This is all about being a mother and resigning to see your beloved son fleeing 'away ("you're best creation" as it is said in the film). And it is all about Shirley MacLaine who is wonderfully alive as the old russian lady teaching the young bengali prodige, both immigrants in the 1980's London.

Philippe M (gb) wrote: Jennifer Connely est pas mal du tout, tres sensible, tres sexy, mais un peu trop jeune quand j'y repense. Dempsey a de la gueule. Quebec City offre de beaux paysages et je me reconnaissais dans le recit de cet homme arpentant les rues du Vieux-Quebec, a la recherche de sensations sexuelles fortes.

Simon D (ca) wrote: Pretty funny in places and worth watching for the splendid ending. I wish I'd have watched this when I was 15, I'm sure I would have enjoyed it more. I'm not sure why but I really don't like Donald Sutherland, he really annoys me.

Andrew O (de) wrote: Probably the most angsty film ever made, Breathless does a whole lot of nothing while managing to deliver a poignant and affecting finale and groundbreaking usage of film techniques.

Lee G (mx) wrote: The series was out of steam, budget and ideas by this point. Paul Williams' performance as the orangoutang "Virgil" is the only spark of life in this cheap, dreary and embarrassing last gasp of the original Apes franchise. John Huston's gravitas is wasted in a pointless wraparound device that is clearly aimed to teach young audiences something about peaceful coexistence *yawn*

Blake P (de) wrote: "Don't be afraid. I'm not. As long as you don't hurt me more than I like to be hurt, I will do anything you ask ... you should never be ashamed ... You mustn't be. You know, there's nothing wrong. Nothing is wrong." Bree Daniels (Jane Fonda) assures a nervous client. As high-class prostitute in New York City, Bree gets business multiple times a day - she's a pro, a master, in fact, of manipulation, easily getting the most money out of the pockets of her johns simply by utilizing her knowing voice and approachable sex appeal. Most men love her - but one in particular wants to kill her. That's where Detective John Klute (Donald Sutherland) steps in. He is investigating the disappearance of a family man, and it seems that the latter was sending Bree letters that were violently profane. After a line of questioning, she aids Klute in his search, but only then does she begin to realize that she is in extreme danger - and reluctantly, she begins to fall for Klute and his mild-mannered persona. Jane Fonda is a gold mine in "Klute" - she is so gut-wrenchingly insecure that she's a character for the ages, a model for modern actresses to go by. We see her attempting to become an actress, an occupation she so desperately would prefer, only to be rejected, forced to go back to her demeaning job as a call girl. We see her confessing her sins to her psychiatrist, her answers detached in a way that echoes her encounters with clients. Only when her relationship with Klute begins do we see a shift, a sway in the direction of focus rather than flimsiness. The answer isn't as quick as we might think, as it turns out to be much harder to give up such a faked out lifestyle and start one that has meaning. Fonda brilliantly captures Bree's inner turmoil, giving us a better perspective of the bottom feeders of the world that we automatically judge. The murder plot on the side is what gives "Klute" the kick it needs, however. While Fonda is a wildfire on the screen, her relationship with Klute is more touching than consuming - if it was simply a romantic film, there wouldn't be much plot to contend with. But having a killer in the background, relentlessly listening to he and Bree's past conversations on his tape recorder, adds a menace that threatens nearly every scene with a passion. It isn't a whodunit, because we find who the would-be-murderer is quite quickly, and the film isn't Hitchcockian. Rather than serve as a suspense set piece, the killer poses more danger to Bree's future - that's scarier than taking her life right away, because we don't want her to die in hopelessness. We want her to get off the streets, out of the sheets, and into the safety Klute's arms bring. Pakula's direction is taut and voyeuristic; many scenes of the film are uncomfortable, but they are never gratuitous. The screenplay is filled with conversations that only feel necessary, never existing simply to give a character background, but to understand how they think and feel. "Klute" is one of those films that isn't Hollywood tainted in its existence - it instead is an honest portrait that just happens to be entertaining.

Daniel W (us) wrote: Probation officer Cornel Wilde is such a kind-hearted guy, he finds it necessary to insert himself into his parolee's lives to show them the benefits of a normal, crime-free life...unless the parolee is the lovely Patricia Knight, then all bets are off.Directed by Douglas Sirk, and co-written by Sam Fuller(!), "Shockproof" is a fairly average Noir that lacks both the former's characteristic emotional glossiness, and the latter's blunt, fist-to-the-face storytelling. (It's a good bet that the tacked-on, happy-happy ending was not in Fuller's original script.)

Keith W (us) wrote: Very funny and great message

Ragnos W (it) wrote: A good, forgotten film. Not quite as good as the likes of Ferris Bueller, Breakfast Club or Sixteen candles... but it's still a pretty fun watch.

John M (mx) wrote: Mia Farrow puts on one of the most unique performances of all time. Roman Polanski directs the hell out of this movie, a slow burn paranoia thriller that balances the line between dreamlike imagery and what's real.

Ryan M (ru) wrote: I can see why the critics hated this. But it was cute and corny in a Percy Jackson kind of way.