The Image

The Image

Albert Finney stars as a TV-news anchorman who wrongly implicates a good friend in a savings-and-loan scandal; when the friend commits suicide, Finney must question his ethics and obsession with high Nielsen ratings.

When career-focused journalist's investigation indirectly causes a suicide, he questions his own methods and life in general. . You can read more in Google, Youtube, Wiki

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The Image torrent reviews

Ellen G (us) wrote: Helt okay barne/familiefilm som tar sted paa skumle halloween-aften.

Pam D (es) wrote: A little pushy but a sweet story

Joe C (ru) wrote: British ,And it's really good.

Samy A (it) wrote: Emotionally dense and surprising!One of those movie that have to be seen to be understood.

Larry W (gb) wrote: A good sequel to the original. and set us up for a great finish to the trilogy.. that we never got.

Jevro W (jp) wrote: I kept thinking something really bad was about to happen right up to the very end of this movie, a foreboding sense of dread and uncertainty permeates throughout this film. That sense of dread and uncertainty is really just how the protagonist Heidi feels , she's done something bad so she is running away, but her feelings and emotions can't be hidden. Such a good movie , moody and stunningly beautiful to watch. I didn't know Sam Worthington was capable of a three dimensional character and I can see why this movie Catapulted Abbie Cornish to fame. Australian cinema at its best.

Joey N (fr) wrote: I hated that they had to kill the alien (just shows how humans are so reckless about anything, and that they make horrible judges when it comnes to other species). I kind of like the ending though.

Jon C (fr) wrote: Alicia Witt takes this film to the next level.

Eric B (br) wrote: A favorite film of mine, back when Chow Yun Fatt has all the charm in the world. Nowadays, I feel he takes himself too seriously. He's best when he's playing the mischievous scoundrel with a good heart.

John Eric D (mx) wrote: As a modern viewer. Ran is like a Shakespeare novel with a dramatic proportion. A theater style of acting which gives an epic flavor to its motion picture. What's more epic is the authenticity on how the film was made. Hundreds of men gather with hundreds of horses and we have a epic proportion of epic battles. Started very slow but as much as you can follow the sequences, you are in for a treat. Akira Kurosawa's amazing piece of art as what what I can describe and yet this film is one of his greats. Superbly done choreography and the location and the sceneries are fantastic to watch. A must have DVD or Blu-Ray and definitely a must watch. An epic 5 stars out of 5.

Simon D (nl) wrote: Pretty funny thoughout. Jimmy Nail was at his Auf Wiedersehen Pet best. Got a bit too stupid at the end but the rest is good British humour

Joel R (au) wrote: "Is it safe?"Trinta anos depois do fim da Segunda Guerra Mundial, o flagelo do holocausto era ainda bem evidente no seio da sociedade judaica, agora (mais) espalhada um pouco por todo o mundo. Os que sobreviveram aos campos de concentrao ainda se recordavam dos terrores perpetuados pelos cruis nazis, fossem eles oficiais de armas ou apenas mdicos.O filme arranca em Nova Iorque, precisamente quando decorrem umas festividades judaicas, e a narrativa comea logo a adensar-se quando um inusitado acidente automvel mata dois homens de idade avanada: um deles um judeu, o outro um antigo criminoso de guerra nazi. Este ltimo, inserido numa teia internacional de compra e venda de diamantes, desperta a ateno de um outro foragido nazi, o dentista dos campos de concentrao conhecido por Szell, naquele momento a viver em terras sul-americanas. Szell, a quem os diamantes pertencem, entra em parania, julgando que o acidente onde morrera o seu irmo faz parte de uma conspirao internacional para lhe roubar os diamantes, e decide viajar at Nova Iorque para os recuperar.Estes acontecimentos vo acabar por envolver a personagem de Dustin Hoffman, Babe, um simples estudante de histria alheio a toda a esta situao, mas cujo irmo est envolvido no transporte dos diamantes, embora Babe o desconhea. Perseguido pelos nazis, tudo far para sobreviver, ao mesmo tempo que tenta explicar o recente assassinato do seu irmo.Apesar de interessante e bem-executado, pautado com algumas das melhores cenas de suspense de sempre, Marathon Man demasiado confuso. A histria assemelha-se a um complicado novelo de l, deixando-nos, j no final do filme, procura das suas pontas. Os desempenhos dos actores so tambm extraordinrios, principalmente o do irreconhecvel Laurence Olivier (Rebecca, 1940), que lhe valeu uma nomeao ao Oscar. Mas esses traos cinematogrficos no so suficientes para elevar esta pelcula ao estatuto de thriller de excelncia. um bom filme, sim, mas poderia ter sido muito melhor, se tivessem sido oferecidos alguns esclarecimentos adicionais aos espectador, bem como justificados alguns dos motivos ou passados de certas personagens. . .

John B (nl) wrote: Far more effective in my opinion on showing the impact of death on the male psyche. The wanderings of the three husbands is revealing and far too realistic.

Harry W (br) wrote: Since Butch Cassidy and the Sundance Kid remains one of my all time favourite westerns, any chance to see Paul Newman up on the screen in the genre again was essential viewing for me.As a vast lover of western films, I always enjoy seeing alternative forms of storytelling within the context of the genre. As a revisionist western, Hombre defies many conventions. Instead of casting a caucasian actor in a Native American role, Homebre features a story about an Apache-raised white man who has to deal with the racial conflict of returning to a prejudiced civilization. The way the film approaches the subject matter is not to pin Cowboys and Native Americans on opposing sides of the spectrum but rather find a middle ground in protagonist John Russell who is interesting enough on paper before Paul Newman brings the role to life. Rather than telling its story through a spectacle of shootouts and horse chases, Hombre focuses on characters and dialogue. While some viewers may find the lack of action to slow down the feature which already comes from a stereotypically slow moving genre, I found that this revisionist approach is thoroughly innovative as an exploration of the Western genre. Hombre is a film that is all about charactes, and it has some interesting ones. This is because the screenplay rests at the heart of Hombre with a lot of insightful dialogue, discussing the difference between Cowboy and Native American cultures with raw honesty. The film is not bias in doing so, and it is one of the first major Westerns to depict Native American culture in a positive light after decades of simplistic depictions of the people as savages that need to be defeated by John Wayne. This makes it one of the more touching films to come from the era and a great sign of the postmodern period of change that the genre went through.Considering that the story itself is very simplistic, the fact that the screenplay is full of vastly important subject matter and interesting characters which compensates for this. The slow burning nature of Hombre means that it is not always the most interesting, particularly when the dialogue is not being spoken. Yet director Martin Ritt still manages to find a way to make the silence in the film interesting, predominantly through the use of atmosphere.While the film is built more upon screenplay than spectacle, there is no denying that it is a powerfully stylish experience. As a western, Hombre manages to keep itself as a low budget film by limiting its quantity of characters, locations and action. At times, the film relies on nothing more than the visual experience to tell the story. And with scenery, production design and costumes all being so extensively detailed, the entire experience feels nothing short of convincing. The bleak silence of the film may slow the experience down, but it also captures the grim and empty nature of the west while the visual experience works to keep things alive during the silence. Hombre tells its story largely through depicting the western landscape as it naturally is since there are so many underlying concepts of the American West which do not need to be explored through action. The scenery is all captured with strong wide-angled cinematography and gentle techniques, long shots which allow the atmosphere to develop naturally with minimal editing while emphasizing the beautiful nature of the landscape. When it comes to the action, what few shootouts there are in Hombre prove very competently structured. The editing speeds up momentarily to intensify the experience, and because the rest of the film made use of such minimal editing it is all the more powerful by contrast. It just makes the style of the film all the more clear, and the intense progressive development of the story ensures that the intensity in the action sequences are fully dramatic.But what keeps the story actively progressing and developing is the performance of Paul Newman.Paul Newman's leading performance in Hombre is brilliant. In contrast to his role as Butch Cassidy two years later, Paul Newman's performance as John Russell in Hombre is far more restrained. He is very gentle and in tune with the world around him, conveying a sense of nihilism about the world that comes with being seen as a savage. He has such an interesting character, and he easily breathes life into the part which succesfully plays a sympathetic spirit. Paul Newman's beautiful eyes light up the screen and draw the focus straight to him, and this makes what little dialogue he has all the more effective. Paul Newman speaks with such a gentle passion as John Russell, and yet at the same time he grasps his weaponry without flinching. This captures the kind of Cowboy who is a relunctant soldier, a gentle soul drafted into a world of violence and reluctant but willing to fight for his existence as the world would force him to. Paul Newman's extensive level of character dedication in Hombre ensures that the film is not a mere star vehicle, but rather a truly touching film and a new challenge for the screen legend. His performance is just beautiful, inside and out.The entire supporting cast make strong supporting efforts, but I found that Martin Balsam firm yet gentle effort as Henry Mendez stood out the most. He is easily convincing as a Mexican, and his normal level of sophistication is buried beneath the costume to the point that he is almost unrecognizable and yet still admirable.So Hombre works powerfully as a postmodern revisionist western, and while its focus on characters and lack of action may slow it down, they also ensure that the experience is a thoroughly touching and insightful western thanks to Martin Ritt's strong eye for imagery and determination to ensure the powerful dialogue is captured in his vision alongside the magnificent leading performance from Paul Newman.

Frdric I (gb) wrote: Considr comme un chef d'oeuvre du cinma (avec Le Gupard du mme Visconti), je reste pour ma part peu fascin par ces mlos en costumes luxueux sur fond de dcadence historique. Mais la scne de l'opra n'a sans doute pas t sans effet sur un film comme Le parrain... Alors respect.

Tim W (us) wrote: Surprisingly pretty funny, with heart. Anyone other than Jim would have made this movie suck. Simple premise.