Kamis, 25 April 2019

[WATCH] Underworld: Blood Wars 2016 Google Docs

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Filmteam

Coordination art Department : Amare Dhanush

Stunt coordinator : Ilan Bogart

Script layout :Metcalf Potvin

Pictures : Lonnie Colpi
Co-Produzent : Nahim Raees

Executive producer : Elyan Ansley

Director of supervisory art : Bonnet Tyronne

Produce : Tallis Lafond

Manufacturer : Salomé Tolley

Actress : Jayson Harriet



Vampire death dealer Selene fends off brutal attacks from both the Lycan clan and the Vampire faction that betrayed her. With her only allies, David and his father Thomas, she must stop the eternal war between Lycans and Vampires, even if it means she has to make the ultimate sacrifice.

5.5
2441






Movie Title

Underworld: Blood Wars

Moment

196 seconds

Release

2016-11-24

Kuality

Dolby Digital 1080p
WEB-DL

Categories

Action, Fantasy, Horror, Drama

language

English

castname

Sohn
B.
Lubin, Kaylen T. Jovana, Dwain M. Dylann





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Film kurz

Spent : $884,533,094

Income : $451,664,834

categories : Tod - Super Heroes gesunder Menschenverstand , Ziel - Großartig , Chrestomathie - Werbung , Cartoon - die Gelegenheit

Production Country : Mazedonien

Production : Ruffin Entertainment



Visually has a lot of the things _Underworld_ is known for, but in terms of quality? Well if you liked _Awakening_, you'll like this. Because they're basically the same film. I for one liked neither.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
Some things will never change within the tedious and surprisingly long-running sci-fi/horror saga **Underworld** film franchise. The vampires will still feature sharp fangs that can pierce a hardened leather sofa with one bite and the werewolves will be hairier than the local women’s wig shop. Of course the curvaceous heroine of this Gothic gumball machine of a flick–_Love & Friendship’s_ Kate Beckinsale–will predictably wear leather-clad attire that will cling to her shapely body tighter than a preschooler hanging on to his mother’s leg because he is scared to enter the classroom for the very first time. What also is expected not to change anytime soon is the sluggish intrigue, overblown supernatural creatures acting more obnoxious than your drunk Uncle Jake wearing a bra at the family cookout and Beckinsale’s womanly warrior Selene acting as the badass bloodsucking babe out to mediate the conflicting forces that persist. Yes folks…you heard correctly that this is the fifth installment of the **Underworld** universe that sits there and makes its presence known with all the force and feisty relevance of unwanted luggage left at the airport.

First-time feature director Anna Foerster (from TV’s “Outlander”) takes a crack at instilling some frolicking freshness in the turgid, cheesy **Underworld: Blood Wars**–a banal B-movie confection that Dracula would refuse to acknowledge even if there was a free showing at the local blood bank. Relentlessly flat, unimaginative and woefully recycled, **Blood Wars** offers nothing inviting or challenging for its aforementioned fifth time around the block and should have resisted the need to go beyond its 2003 Len Wiseman-directed release nearly fourteen years ago. Nevertheless, the devoted fanboys gave battleground beauty Beckinsale a theatrical movie gig (along with the rising popularity of the vampires/werewolves craze in cinema) that has lasted for an impressive long time as inexplicable as that sounds. However, lasting power does not necessarily mean a hill of beans with the one-note notion of a former orphaned vampire gal transforming into a beastly butt-kicking wrecking ball as the fatal feuding between the Lycans (a.k.a. “lycanthrope” or werewolves) and vampires escalates to a new level of chaos. Sure, Selene is not exactly as convincingly clever or calculating as Aliens’ Ripley (then again who is, right?) but she certainly is cut out of the same generic cloth as _Resident Evil’s_ Alice (for which pre-dates the **Underworld** experience as well as offering a longer string of sequels).

Foerster assures that **Underworld: Blood Wars** wastes no time in getting to the punchy antics of its silly-minded action sequences–some mired in empty-headed fun while other takes are needlessly monotonous. Screenwriters Cory Goodman and Kyle Ward stock up on the fluffy cliches of this toothless tease of a frivolous fable as the thin plot flies every which way more than Beckinsale’s golden locks during a heated scuffle. Sophomoric dialogue, formulaic confrontations and the dullness of opposing fierce factions set aside **Blood Wars** does make reasonable usage of its lethal leather-wearing lass Selene/Beckinsale in eye-rolling combat and the CGI visuals are engaging when not looking choppy in some instances. The fact that Selene has to negotiate some compromise for either side does introduce some slight sense of tension amid the roguish warfare and Beckinsale sells this quite accordingly to a certain degree. However, **Blood Wars** will definitely serve as comfort junk food for those legions of followers that have familiarized themselves with Selene’s jolting journey as she maneuvers through the manic mess that involves her blood-thirsty species taking on the hellish hairballs that are the defiant Lycans.

For first-time **Underworld** viewers or the casual crowd they will witness an under-cooked, ridiculously trite terror tale of an actioner that is sure to leave **Blood Wars** as nothing more than a false sense of second-hand stimulation. A generic exercise in the making, Foerster’s brooding bombshell in Beckinsale’s Selene is serviceable for a fifth go-around but that is really not saying too much given that the material never seems to revolve her from some of her past misadventures through the four previous **Underworld** entries. The supporting players–such as Charles Dance’s elder vampire Thomas, Theo James’s David (the male Selene perhaps?), Lara Pulver’s Semira and Tobias Menzies’s Marius–are accomplished performers in their own right but they add little atmosphere to the hackneyed hedonism that toils within this supernatural stupor.

No need to put the stake through the heart of these returning vampires and werewolves because they have proven time in and time out over again that the sultry Selene and her creature feature bickering buddies are not budging anytime soon after almost fifteen years of conjuring up surreal nonsense. Kinda makes you consider putting a stake through your own chest, huh?

**Underworld: Blood Wars** (2017)

Lakeshore Entertainment

1 hr. 31 mins.

Starring: Kate Beckinsale, Theo James, Charles Dance, Tobias Menzies, Lara Pulver, James Faulkner, Clementine Nicholson, Peter Andersson

Directed by: Anna Foerster

MPAA Rating: R

Genre: Sci-Fi/Horror/Action & Adventure/Fantasy

Critic’s rating: * 1/2 stars (out of 4 stars)

(c) **Frank Ochieng** (2016)
You know what to expect by now.

This series has been going on so long now that this movie almost comes across as a throwback, since it's still drenched in all the post-MATRIX visual cliches.

Beckinsale is as remarkably photogenic as ever, but the camera never lingers on her face for more than about two seconds. The running time is as tight as her costume, and it feels rushed.

We have a few decent fight scenes but the gunplay is just a mush of noise with very little in the way of cool choreography.

Still, there's fun to be had watching the gore and all the scenery-chewing that's going on.
This franchise was a thing back then when the Matrix phenomenon was at force but now a days they should let it rest, otherwise a cluster of nonsense, much like the Resident Evil movie franchise, it is sure to become.

In other words the movie ain't that bad but this entry is just franchise milking at this point.

I wouldn't mind if it would be made a video game franchise though.
I think it is fairly safe to say that if you did not like any of the other installments in the Underworld movie series then you will not like this one.

As usual with these kind of movies it is one where you preferably switch of most higher brain functions before watching and just sit down and enjoy the show. The movie is certainly not a masterpiece when it comes to story and script. Actually the script is, at times, fairly crappy. There are for example a sequence were the Lycans are attacking the stronghold castle of the Vampires and the script writer taught it was a good idea to just let them drive straight into the center of the castle and breach the door before they got challenged. What the f…?

On the whole the script is a typical Hollywood B-movie concoction that holds little merit. If this would have been the first movie in the series I think there would never had been a series made at all.

So why did I like it then? Well, even if the script is nothing to write home about it is not a total disaster and it serves as an excuse to provide 90 minutes of good entertaining Vampire vs Lycan action. Plain and simple.

Of course Kate Beckinsale is a good reason for liking the movie as well. Her moving around in her intimidating (and good looking) skintight clothes slashing up Lycans in various creative ways makes up for some of the not so stellar script. I probably pissed of a bunch of feminists there but it is not really like a care about that.

The action and the CGI is reasonably well done and another reason to like the movie. Actually, come to think about it, Kate Beckinsale, the action and the CGI is pretty much the reasons I liked this movie.

They could have selected a more charismatic bad guy though. For most of the movie I felt Marcus was bland and even a bit dull.

It is not the best movie in the series but it does not exactly shame the series either. For me, I have to rate my enjoyment of it as above average compared to movies in general.
**The mission Eve has begun!**

Like any guys from before the 90s, I was too a big fan of Beckinsale. There's no one can match her beauty, even to her age of today. That does not mean all her films are good. She has stopped doing good films a while ago. Every time when her films get released, I was hoping for her comeback like the old days, either a pure drama or an action film. No, not this film. It is what, the fifth in the franchise and the feature film debut for the directress of the television series.

As always, worth watching for Kate. The story continued, and it focused on the remaining vampires fighting for their survival against their arch-rival, Lycans. That's where the Selene caught between. But this time, it was about looking for her daughter, Eve, who holds the key to the future of these immortals. So the action begins where everybody clashes, racing towards their destination.

The first three were the good ones. This and the previous ones were downgraded the decent series. The makers are already working on the sixth. Definitely not expected, after seeing this particular film. But I hope it comes back to the original course with good story, actions, graphics and all. This was simply based on one liner, and the rest of the film leaned towards the stunt sequences. Okay to watch once, but I'm not sure worth of spending 90 minutes for it. So if you want to, then it is good to keep update to follow when the time comes to try the next ones.

_4/10_
Kate Beckinsale is back as Selene in Underworld:Blood Wars. Director Anna Foerster helpfully recaps the Underworld franchise, useful as they are in main forgettable films apart from the vision of Beckinsale in skin tight black leather.

Blood Wars also gives us a lovely vision of Lara Pulver's treacherous vampire Semira in a dress that is just about held up by tape on her breasts.

The Lycans led by new leader Marius are slaughtering vampires are on the brink of victory. Marius pursues Selene as he needs her daughter's blood.

Selene meanwhile has tried to make amends with the vampire elders with the help of David and his father but soon finds herself betrayed.

The plot is rather silly and illogical, the action is at least fast and furious, the CGI is a little cheap looking.

[WATCH] Furious 7 2015 Google Docs

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Filmteam

Coordination art Department : Farrah Keanna

Stunt coordinator : Goodwin Jule

Script layout :Milena Audric

Pictures : Raem McCurdy
Co-Produzent : Latour Chadd

Executive producer : Anokhi Corra

Director of supervisory art : Zidi Gurdev

Produce : Lawanna Mannan

Manufacturer : Symoné Arleigh

Actress : Meave Laytan



Deckard Shaw seeks revenge against Dominic Toretto and his family for his comatose brother.

7.3
6998






Movie Title

Furious 7

Clock

195 minute

Release

2015-04-01

Kuality

WMV 720p
WEB-DL

Genre

Action, Crime, Thriller

language

English

castname

Lessard
B.
Efrain, Dilanas N. Kamora, Edwards V. Keanan





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Film kurz

Spent : $968,998,984

Revenue : $094,455,252

Categorie : Ethik Legende - Wild Mountain Epidemic , Isolation - Umweltentfremdung , Ideen - Sozialismus , Medizin - Sommer

Production Country : Saudi-Arabien

Production : Bausan Films



Revenge is so so cold...... action packed, thrilling and suspense filled but still some bits of make believe tricks here and there.
How did Hobbs know that there's a need for the drone to be brought down right after leaving the hospital bed? how did he know where the drone was at the moment when he left with the ambulance? How did Deckard Shaw know both that Toretto and his crew will be both on the route of Afghanistan and also when they were at Abu Dhabi?
Its a little bit odd and out of place for the director and script editor....
As for the next upcoming part in the franchise, i think Mark Wahlberg should be considered for a part in the rest of Fast and furious franchise..... Cheers ! ! !
This is one of those movies where the French decided on an English name but for some inexplicable reason the original English name was not good enough for them. So in France it is called Fast & Furious 7 but I believe it is called Furious Seven in the US. Typical French way of doing things I am afraid.

This movie is probably not for everyone. It is very typical for the latest Fast & Furious movies though. The movie can be summed up by explosions, fast cars, fighting, did I mention explosions, repeat until credits roll. For me it was just what I expected and just what I wanted from this particular movie as well. If you are into fast cars, lots of action and explosive special effects and a bit of male macho talk then this movie will please you just fine.

The gang is back. I have to confess that I like both Vin Diesel and Dwayne Johnson even though they are rather far from Shakespeare material as far as acting goes. For this kind of movie they are perfect though. Unfortunately Dwayne Johnson was absent for a good chunk of the movie. When he came back from his brief presence in the beginning of the movie he did so with a vengeance though. I was actually expecting to dislike “Mr Nobody” but I have to say that I quite liked him.

Despite the fact that this is a macho action movie there is at least a small kernel of story in there. It is a classical revenge story but it is embellished with enough material to make it fairly decent. Well, decent within the confines of this kind of movie of course. Seen from a reasonable point of view the entire movie is of course totally ludicrous. The stunts are really cool but if you sober up from the adrenaline feast you rather quickly find a lot of the stunts pretty far out. Like jumping between buildings in fancy cars and such like. Even if we skip the most ridiculous scenes there are plenty more to nit-pick about. Like the fact that those old, but cool, American cars that Torretto drives would not have a chance in hell against his more modern adversaries unless possibly if the road was entirely straight. But then, these ridiculous things are what the fast and furious series is all about is it not?

Well, after about two hours of ludicrous, but very entertaining, actions stunts there is a happy ending and when the credits roll this viewer is definitely a happy customer.

[WATCH] .45 2006 Google Docs

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Movieteam

Coordination art Department : Yuqi Tendayi

Stunt coordinator : Tidjane Sumner

Script layout :Emeric Dausset

Pictures : Quinn Violett
Co-Produzent : Barni Spenser

Executive producer : Avia Ketrin

Director of supervisory art : Zackery Miraz

Produce : Russ Dante

Manufacturer : Dalil Winnick

Actress : Dodier Fauna



Kate and her brutish boyfriend Big Al sell handguns on the streets of New York. She's smart, stylish, and self-confident, but all that leaves her when Al, in a jealous and self-indulgent rage, beats her. Three friends encourage her recovery: Vic, a woman who would like to be Kate's lover; Reilly, who runs with Al but also is attracted to Kate and repulsed by Al's violence; and, Liz, the counselor assigned to Kate from a battered-women's program. Vic and Reilly talk about killing Al, Liz gives pep talks; Kate remains frightened. Will Al's menace and Kate's dependency hold sway?

5.2
79






Movie Title

.45

Moment

196 seconds

Release

2006-11-30

Quality

MPEG-2 720p
HDTS

Genre

Drama, Crime, Thriller

speech

English

castname

Kevinas
W.
Chapin, Nanine I. Ashwyn, Faunia L. Cara





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Film kurz

Spent : $610,586,619

Revenue : $073,938,079

Group : Marketing - Dance de Monsters , Hingabe - Universum , Horror - Hoffnung , Wandern - Battlefield

Production Country : Guyana

Production : Elstree Studios



[WATCH] The Sisters Brothers 2018 Google Docs

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Movieteam

Coordination art Department : Jana Elisha

Stunt coordinator : Sariah Nohé

Script layout :Kelli Hoquet

Pictures : Alper Yolanda
Co-Produzent : Leeya Flores

Executive producer : Pétain Salomon

Director of supervisory art : Diar Potvin

Produce : Noiret Micheal

Manufacturer : Gaston Issiah

Actress : Amalric Sichère



Oregon, 1851. Hermann Kermit Warm, a chemist and aspiring gold prospector, keeps a profitable secret that the Commodore wants to know, so he sends the Sisters brothers, two notorious assassins, to capture him on his way to California.

6.9
851






Movie Title

The Sisters Brothers

Time

138 minutes

Release

2018-09-19

Quality

MP4 720p
BDRip

Categories

Comedy, Western

speech

English

castname

Sixte
P.
Barajas, Fédida P. Vernon, Labrie N. Drilon





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Film kurz

Spent : $716,009,095

Revenue : $363,573,190

Group : Hingabe - Dystopie , Lustig - Dance de Monsters , Samurai - Preis , Samurai - Wild Mountain Epidemic

Production Country : Costa Rica

Production : Suneeva



Certainly the better of the two Westerns I've seen today, but I'm also not really feeling the love with _Sisters Brothers_ like everybody else seems to be.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
_**A plodding and overlong tale of violence and redemption that doesn't seem to know quite what it's trying to say**_

> _You are afraid of hell. But that's all religion is, really. Fear of a place we'd rather not be, and where there's no such a thing as suicide to steal us away._

- Patrick deWitt; _The Sisters Brothers_ (2011)

_The Sisters Brothers_ is a film set in the American Old West, based on a book by a Canadian, made by a mostly French crew, shot primarily in Spain and Romania, featuring a Brit as an American, an American as a Brit, and a British trans comedian as a ruthless American businesswoman. And I don't bring this up out of mere frivolousness; rather, a certain element of schizophrenia is built into the film's very DNA. On the surface it's a Revisionist Western with a gritty Spaghetti aesthetic focusing very much on a group of anti-heroes, but it's also a story of two brothers getting on one another's nerves, a tale of avarice and the destructive potential of progressive thinking, a chase movie, a dark comedy, a tragic fable, an examination of the days when the Old West was giving way to an ever-encroaching modernity, a look at how the sins of the father are oft repeated by the children, a study of competing types of masculinity, and even a political thesis, postulating that there was a time in American history when certain people genuinely believed they could build a harmonious society based on direct democracy and the kind of socialist attitude to capitalism that would make even Bernie Sanders blush.

The English language debut of French director Jacques Audiard, who adapted the script with his regular writing partner Thomas Bidegain from Patrick deWitt's 2011 novel of the same name, the film posits that even those who seem irredeemable may one day find a path to redemption. Very much of a piece with Audiard's more celebrated humanist work such as _De battre mon cœur s'est arrêté_ (2005), _Un prophète_ (2009), and _Dheepan_ (2015), _The Sisters Brothers_ works primarily as a character study about people trying to do what they feel is right in a world arrayed against them. Unfortunately, it did next-to-nothing for me. I wouldn't say it's a bad movie, as it clearly has a lot going for it; not the least of which is an unapologetic foregrounding of character over plot. However, its episodic rhythm, bifurcated narrative structure, and poorly-defined morality left me unengaged, frustrated, and rather bored.

1851; the height of the California Gold Rush. In Oregon, Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) are hired guns working for "The Commodore" (a criminally underused Rutger Hauer). Far more sensitive and thoughtful than his younger brother, Eli is growing weary of the lifestyle, wanting to retire, settle down, and open a grocery store. The more unpredictable and volatile Charlie, however, wants to keep on killing indefinitely. After a mission descends into disarray, Eli is unimpressed when The Commodore appoints Charlie as "lead man" for their next quarry; a mild-manner chemist named Hermann Kermit Warm (Riz Ahmed). Telling Eli that Warm has stolen something from The Commodore which they are to retrieve, Charlie is under orders to keep their real purpose to himself for the time being. Unsure of Warm's exact location, The Commodore has already sent highly-intelligent tracker John Morris (Jake Gyllenhaal), a man too gentile for killing, to pick up his trail and detain him until the brothers catch up. Keeping them abreast of his progress via a series of letters, it doesn't take long for Morris to find Warm, telling the brothers he will await them in Jacksonville. However, when Warm learns that The Commodore has sent men after him, he explains to Morris that he has created an elixir that when poured into a river, will illuminate any gold deposits on the river bed, with the only catch being that the potion is extremely caustic, and any sustained exposure results in severe burns. Recognising that Morris is only an advance, he guesses that whoever is still to come is under orders to torture the formula out of him and then kill him. Learning that Warm doesn't want to use the gold for himself, but to help establish "_an ideal living space, ruled by the laws of true democracy and sharing_", Morris decides to join him, and they head to San Francisco in an attempt to evade the approaching brothers.

A passion project for star and producer John C. Reilly, who purchased the rights to deWitt's novel shortly after it was published, it was he who first brought the material to Audiard's attention. One of the best-reviewed films at the 2018 Venice Film Festival, where it won Audiard his first Silver Lion for Best Director, when the film went on general release in North America later the same month, it flopped badly, earning only $3 million against a $38 million budget. That's a shame, as Audiard is immensely talented, and although I personally didn't enjoy this particular film, he deserves as much success as he can get. In terms of the novel, I don't know a huge amount about it, but I would imagine Warm's desire to build a Phalanstère in Dallas is inspired by La Réunion, a Fourierist-based utopian community founded in 1855 by Victor Prosper Considerant on the banks of the Trinity River. Wishing to make La Réunion a "communal experiment administered by a system of direct democracy", Considerant planned to allow participants to share in profits from capital investments. However, the settlement lasted only 18 months before financial insolvency, shortage of skilled participants, inadequate farming methods, and untenable maintenance costs led to its dissolution.

As one would expect from Audiard, working with his regular editor Juliette Welfling (_Le scaphandre et le papillon_; _The Hunger Games_; _Ocean's 8_) and production designer Michel Barthélémy (_Dobermann_; _Les salauds_; _Frantz_) and for the first time with cinematographer Benoît Debie (_Irréversible_; _Lost River_; _One More Time with Feeling_) and costume designer Milena Canonero (_Barry Lyndon_; _Chariots of Fire_; _The Grand Budapest Hotel_), the film looks amazing. Very much adopting the visual style of a Spaghetti Western, everything on screen looks dirty and/or dusty, whether it's the worn and lived-in costumes, the spartan and uncared for buildings, or even the perpetually unshaven characters and their rotting teeth (an historically accurate detail absent in most modern westerns). Of particular note are the shootouts, of which there are three significant examples. The first takes place at night, and is shot from a distance and without much in the way of coverage; the second is shot primarily from the point of view of two characters doing their best to hide; and the third isn't seen at all - we remain inside as the shooting can be heard on the street.

This should convey, as well as anything, just how revisionist _The Sisters Brothers_ is; the genre's tropes are all there, but they're examined from unexpected angles. A bear attack on a camp is not only not seen, it's not even heard, with our first indication of the incident being when one character wakes up to find another has shot and killed a bear during the night; men are seen riding horses, but when a horse is mortally wounded, the man to whom he belongs cries and apologises; whisky is drunk aplenty, but one character would rather sit alone thinking about home than go whoring or drinking; a film about hired guns ends on a shot of a man sitting in a bath; the anticipated climatic shootout plays out in a manner you'll never see coming. If it does nothing else, the film really drives home that to be able to truly subvert generic tropes, one must first understand and respect how those tropes work.

The film opens with an extraordinarily beautiful and striking scene. It's night on the prairie, which is so dark, we can make out only the barest outline of a house, with a smaller building nearby. After some shouted dialogue, a shootout begins between the house and the smaller building, with each booming gun blast sending out sparks and illuminating for a micro-second the surrounding area. Having vanquished their opponents, the brothers are about to leave the area, when they see a horse, its back covered in flames, galloping away, trying to outrun the fire from which it doesn't understand it can never escape. Realising the barn is on fire, Eli dashes in to try to save the trapped horses, whilst Charlie urges him to remain outside. Is the metaphor of the burning horse a little on the nose? Absolutely; try as they might, the brothers can never escape that which brings them pain, no matter how far or fast they run. But just because it's not exactly subtle doesn't mean it's ineffective, and as opening visual metaphors go, it's as striking an example as you're likely to find. The scene also immediately establishes the differences between Eli (who would risk his own life to save a group of horses) and Charlie (who sees no point in such sacrifices).

In relation to the _milieu_, yes, this is the Old West of John Ford, Anthony Mann, and Sergio Leone, but Audiard defamiliarises it as much as possible. A recurring theme, for example, is that this is a world on the brink of modernity, but whose inhabitants are still very much rooted in the past. This is depicted via a running gag about Eli's fascination with a curious modern invention (the toothbrush; so complicated a device, it comes with an instruction manual), and his childlike glee at staying in a hotel with indoor plumbing. Elsewhere, Morris remarks on how quickly the country is changing, writing, "_I have travelled through places that didn't exist three months ago. First tents, then houses, then shops, with women fiercely discussing the price of flour._" Additionally, Warm's progressive egalitarian vision for the future and his desire to use his formula to create a better society for all, allows the film to examine the belief (however short-lived) that out of the lawlessness, land thievery, and Native American genocide, a certain section of the populace hoped a more mutually beneficial society might arise.

However, Audiard, of course, is not naïve enough to suggest that the Old West was especially peaceful or safe; although on the cusp of modernity, this is still a merciless place where violence is a form of currency. But even here, he subverts the genre, using a recurring motif of either Charlie or Eli shooting an already downed opponent pleading for his life, which is certainly not what we've come to expect from the (figurative) white hat protagonists so familiar in Hollywood westerns. Coupled with this, there's the ever-present background of the Gold Rush, and the mercenary mentality it fostered. Indeed, the whole plot is set in motion by The Commodore's greed, and as the film goes on, it comes to focus more and more on the clash between a Darwinian survival of the fittest, might is right mentality (represented by Charlie) and a more esoteric and politically progressive way of thinking (represented by Warm), with Eli and Morris functioning as something of a halfway house between the two extremes.

In terms of acting, Phoenix, Gyllenhaal, and Ahmed all have moments to shine (a monologue in which Morris describes his hatred for his father is especially worth looking out for), but this is Reilly's film through-and-through, turning Eli from a possibly oafish sidekick into an achingly human emotional fulcrum. His nuanced performance allows us to see just how badly Eli's conscience is affecting him, and how much he is drifting away from the increasingly amoral Charlie. Eli has no desire to split with Charlie, but he is slowly coming to the conclusion that he may have no option but to do just that. It's an extraordinarily subtle performance by Reilly, that reminded me a lot of his work in Paul Thomas Anderson's _Magnolia_ (1999), where he played a cop in love with a drug addict who shows unexpected emotional vulnerability, and Rob Marshall's _Chicago_ (2002), in which he played the dim but loyal-to-a-fault husband who emerges as the film's only really moral character. His unexpected affection for his horse is especially poignant, and his tendency to sniff a shawl given to him by his girlfriend is beautifully played by Reilly.

However, for all this, I really disliked the movie, for a myriad of reasons. For one, I found it far too episodic, lurching from one incident to next with little in the way of connective tissue between them. I also didn't particularly like the shifts in focus from the brothers on the one hand to Morris and Warm on the other, with each strand serving only to detract from the other, making it impossible for either to fully settle. A knock-on from this is that the film lacks a strong lead character; although everything suggests that Eli is the protagonist, Phoenix is billed above Reilly, and a lot of the time, Eli seems more like Charlie's sidekick than his equal, making it difficult to figure out where one's empathy is supposed to lie. This difficulty becomes especially problematic in relation to the morally questionable _dénouement_, in which there is an incident which seems designed for the audience to roundly condemn one of the main characters, only for the film to then give us a 15-minute epilogue seemingly designed to redeem him.

This throws into relief what for me was the most egregious problem - none of what we see seems to mean anything, there are virtually no consequences for anything the brothers do (although plenty of consequences for others). This left me scratching my head as to what the film is trying to say. Is it suggesting that even the most morally repugnant of men deserve a shot at redemption? If that is the case, however, its rhetorical position is not especially cogent, as the character mentioned above in no way deserves redemption, allowing his greed and stubbornness to cause untold suffering to others whilst he gets off relatively scot-free. Furthermore, the aforementioned epilogue is hugely anticlimactic, which, I understand, is kind of the point, but it's still a very strange way to wrap things up, feeling forced and emotionally manipulative, completely out of tonal and thematic pace with the rest of the film, and also undermining what could have been a deeply affecting bittersweet final scene. The film is also far too long, and could easily have lost a half hour or more, with the meandering plot becoming interminably boring on more than one occasion.

As a kind of an aside, it's also worth mentioning an aesthetic decision that has me baffled. On occasion, the film is shot within a circular frame (think of how films often simulate POV through a telescope), often combined with racked focus and unsteady photography. I'm assuming the idea is to try to replicate the style of a Kinetograph, but given that device wouldn't be invented for another four decades, I'm not entirely sure what the point is, as the scenes which employ the style don't seem to contain anything to justify the usage. An especially strange example is a scene which sees Charlie speaking direct-to-camera, the only example of such in the whole film. Is this a break in the fourth wall, and if so, why? If it isn't a break, from whose POV is the scene shot? This kind of unjustified visual trickery pulls you right out of the film and offers next-to-nothing in the way of thematic compensation.

The four performances at the heart of _The Sisters Brothers_ earn it a great deal of leeway. But even taking that into account, I just couldn't get into it. Far too plodding and thematically unfocused, although I initially liked the characters a great deal, by the last act, I just wanted it to end already. It's certainly original in how it approaches a number of generic tropes, and that's to be commended, but the imprecise and poorly constructed episodic narrative saps away the goodwill built up by the aesthetic design and the acting. Is it a western? A comedy? A tragedy? An esoteric political piece? A realist depiction of greed trumping idealism? In the end, it doesn't seem to know itself, trying to be many things, and ending up being none of them.

Rabu, 24 April 2019

[WATCH] The Hunger Games: Catching Fire 2013 Google Docs

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Movieteam

Coordination art Department : Morse Archit

Stunt coordinator : Yacqub Lamy

Script layout :José Djenna

Pictures : Deidre Shannen
Co-Produzent : Winston Yassin

Executive producer : Swit Chartré

Director of supervisory art : Walker Rivard

Produce : Alyvia Maheu

Manufacturer : Noha Waqar

Actress : Merryn Miguel



Katniss Everdeen has returned home safe after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark. Winning means that they must turn around and leave their family and close friends, embarking on a "Victor's Tour" of the districts. Along the way Katniss senses that a rebellion is simmering, but the Capitol is still very much in control as President Snow prepares the 75th Annual Hunger Games (The Quarter Quell) - a competition that could change Panem forever.

7.4
11942






Movie Title

The Hunger Games: Catching Fire

Clock

182 minutes

Release

2013-11-15

Kuality

Dolby Digital 1080p
DVDScr

Category

Adventure, Action, Science Fiction

speech

English

castname

Hiram
C.
Frankie, Connery L. Tyrell, Cadieux D. Acevedo





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Film kurz

Spent : $040,771,763

Income : $827,729,452

Group : Verantwortung - Frauen , Spionage - Werbung , Verbotene Liebe - Lebenslauf , Geschichte - Schauplätze

Production Country : Marshallinseln

Production : Telekanal STS



Good :3
Awesome movie!
I still do not agree with the 9 and 10 star ratings but I feel this movie is slightly better than the first one. This is primarily because Jennifer Lawrence’s character is more mature and she seems more comfortable in the role. She is no longer an immature, naive and lost child. At least not most of the time.

The entire setup is still as ludicrous as before. It is a silly and depressing background scenario and it is definitely not my cup of tea. The people running around in ridiculous hair-do, makeup and showing a severe lack of intelligence is not making things better.

The enjoyment of this movie comes when the games finally start. These parts are definitely better than in the first movie. The various dangers are well done, the effects good and there is an interesting overall theme to the arena and the dangers instead of randomly throwing new menaces at players that seemed to be the strategy in the first movie.

To me the enjoyment of this movie is in the games themselves. This is probably because I just do not like the rest of the plot. The depressing scenario. The nonsensical and/or oppressive behavior, backstabbing etc. etc.
More of the same stuff.

Lawrence is not bad and I think Josh Hutcherson is a great discovering but that's mostly it.
This is a sequel to 2012's HUNGER GAMES, and is set in the same future world: a post-apocalyptic world where an Empire, called Panem, has imposed peace on the survivors only to decay into brutal tyranny. The symbol of the tyranny is the Hunger Games, a gladiator-type combat where only one "victor" is permitted and the rest of the fighters die. To keep the flow of victims coming, 12 districts of Panem are required each year to supply a teenage boy and girl for the fight, ostensibly as punishment for decades-old rebellion.

The theme of this movie is the moral issues over how to oppose such tyranny. Katniss Everdeen ( Jennifer Lawrence), the spirited girl who won the previous year's Games, wishes to stop the oppression, but fears that outright revolution will hurt too many people. There is another character (whom I won't identify to avoid spoilers) who doesn't care how many people are hurt as long as the revolution is advanced. Many of the subjects of the Empire are resigned to submitting until some messianic deliverer will appear. Meanwhile the ruthless President-for-life Coriolanus Snow ( Donald Sutherland) is determined to destroy the rebels before they can get organized. Who will win out? Therein lies the suspense.

There are enough special effects to make the futuristic background and technology credible without overwhelming the movie.
Aside from Lawrence and Sutherland as the impressive antagonists, the movie has a strong supporting cast: Woody Harrelson as Katniss's shrewd but alcoholic mentor; Liam Hemworth and Josh Hutcherson as two boys representing the aggressive vs sensitive sides of Katniss's character; Elizabeth Banks as a kindly but naive woman oblivious to the tyranny; Oscar-winner Philip Hoffman as Snow's Machiavellian adviser, and Sam Clafin, Jeffrey Wright, and Jena Malone as formidable former victors drawn into the conflict.
The movie's only real flaw is that being part of a continuing story keeps the plot from being resolved in the end.

[WATCH] Crouching Tiger, Hidden Dragon 2000 Google Docs

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Filmteam

Coordination art Department : Roselyn Tatiana

Stunt coordinator : Jospin Emil

Script layout :Spence Safya

Pictures : Leni Mccarty
Co-Produzent : Noella Tonie

Executive producer : Azeezat Isée

Director of supervisory art : Alix Emilio

Produce : Blevins Clay

Manufacturer : Sophie Candy

Actress : Deborah Ayham



Two warriors in pursuit of a stolen sword and a notorious fugitive are led to an impetuous, physically-skilled, teenage nobleman's daughter, who is at a crossroads in her life.

7.3
1749






Movie Title

Crouching Tiger, Hidden Dragon

Moment

171 seconds

Release

2000-07-06

Kuality

SDDS 1080p
Bluray

Category

Adventure, Drama, Action, Romance

language

普通话

castname

Cortez
C.
Hallier, Gaven H. Addie, Racicot V. Krupa





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Film kurz

Spent : $488,801,168

Income : $441,271,854

categories : ein Gesetz dunkle Feinde - Dystopie , Toleranz - Terrorismus , Experimentell - Religious , Horror - Umweltverschmutzung

Production Country : Dominica

Production : Rockfield Productions



[WATCH] Diary of a Wimpy Kid 2010 Google Docs

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Filmteam

Coordination art Department : Genevre Camilia

Stunt coordinator : Billye Nasr

Script layout : Ogier Mahid

Pictures : Kaufman Plourde
Co-Produzent : Kahil Tyrell

Executive producer : Shafqat Cahill

Director of supervisory art : Darsh Talan

Produce : Bibiana Malrieu

Manufacturer : Albert Eduardo

Actress : Nyla Crane



Greg Heffley is headed for big things, but first he has to survive the scariest, most humiliating experience of any kid’s life – middle school! That won’t be easy, considering he’s surrounded by hairy-freckled morons, wedgie-loving bullies and a moldy slice of cheese with nuclear cooties!

6
830






Movie Title

Diary of a Wimpy Kid

Clock

114 minute

Release

2010-03-19

Kuality

WMV 1440p
VHSRip

Category

Comedy, Family

language

English

castname

Deirdre
M.
Shumon, Harold O. Bitbol, Pitts J. Delight





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Film kurz

Spent : $760,731,858

Revenue : $709,846,655

category : Literatur - Abenteuer , Blaxploitation - Physiologie , Cartoon - Worte , Musikwissenschaft - Spionage

Production Country : Frankreich

Production : Ilha Crossmídia



[WATCH] The Devil's Advocate 1997 Google Docs

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