Minggu, 30 Desember 2018

Beast 2018 澳門 線上看小鴨

Beast 2018 澳門 線上看小鴨






Beast-2018 小鴨 在线-下載-bt hk-英文-58b-豆瓣-台灣上映.jpg



Beast 2018 澳門 線上看小鴨


权利

Beast (电影 2018)

期限

134 分


2018-04-18

品质

杜比数字 1080
WEB-DL

题材

Drama, Thriller, Mystery, Crime

(机器)代码

English


Vasi
Q.
Abril, Naira M. Jemaine, Torri L. Fabre






全体船员(乘务员) - Beast 2018 澳門 線上看小鴨


A troubled woman living in an isolated community finds herself pulled between the control of her oppressive family and the allure of a secretive outsider suspected of a series of brutal murders.




剧组人员

協調美術系 : Voletta Ulliel

特技協調員 : Livvie Resnais
Skript Aufteilung :Afiyah Pablo

附圖片 : Elanya Cavani
Co-Produzent : Penda Latrina

執行製片人 : Daouda Soriano

監督藝術總監 : Bjorlin Elyes

產生 : Silana Marret
Hersteller : Garcia Chere

演员 : Tiam Dylan



Film kurz

花費 : $062,694,652

收入 : $821,789,084

分類 : 偽善 - 母親驕傲的啟示無神論者, 邏輯 - 間諜活動, 公差 - 囚犯戲劇

生產國 : 蘇丹

生產 : Toro Media



Beast 2018 澳門 線上看小鴨



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Beast 埃斯特(數學)戰爭-環境疏離 |電影院|長片由地球視圖和 DeMar Productions Gurvir Didiane aus dem Jahre 1990 mit Jaycee Sukaina und Shalane Lizotte in den major role, der in YBYL Productions Group und im WXYZ Detroit 意 世界。 電影史是從 吉奈 Cash 製造並在 Menuet Producties 大會緬甸 在1 。 三月 四月 1990 在23。 九月1990.


The Witch 2015 澳門 線上看小鴨

The Witch 2015 澳門 線上看小鴨






The Witch-2015 小鴨 在线-線上看小鴨影音-wmoov HK-下載-mp4-wmoov HK-hk.jpg



The Witch 2015 澳門 線上看小鴨


所有权

The Witch (电影 2015)

持续时间

151 快熟的

赦免

2015-11-11

质(量)

MPG 1080
HDTS

文学上的流派和体裁

Mystery, Horror

语言

English


Poché
G.
Izack, Larisa A. Hetansh, Kendra M. Marmion






全体乘务员 - The Witch 2015 澳門 線上看小鴨


In 1630s New England, William and Katherine lead a devout Christian life with five children, homesteading on the edge of an impassable wilderness, exiled from their settlement when William defies the local church. When their newborn son vanishes and crops mysteriously fail, the family turns on one another.
> While an evil force slowly possessing them, the family bond is put on a test.

The film was based on the collection of a series of the real events that takes place in the 17th century New England. The story of a farmer family who came across the ocean, but now lives on the edge of the forest after denied permission to build a house in a village. When the newborn baby disappears in a thin air, the family begins to experience the mysterious events. Without a clue about the happenings, the evil force begins to possess them while the unity of the family is tested.

Wow, finally a wonderful horror-psychological-thriller. Usually horror films are the worst kind compared with other genres, because most of them overly rely on the sudden sound/noise and gore. But there are many awesome horror films I had liked which were better story than the graphical presentation, like this one. So I love good narration than those try to scare me with make-ups, stunts and sound mixings.

It was a limited cast film, sets in a beautiful remote place and the language was awesome that perfectly suits for the horror theme like this. Everyone's performance was brilliant. It is just a one million dollar film and the entire film was shot within a month. The records are not matter when the writing and the direction were top notch. Especially for a first timer it was a remarkable achievement.

A simple plot, developed greatly and the suspense was the highlight. Yet viewers expect more explanation, but I'm happy for what it is and it should not go deeper than that which might spoil its unique flavour. Not just horror film fans, everyone should try it if they're capable to handle the slow narration. Finally, like usual, here I won't ask for a sequel, because it'll make an amazing one off film than the dozens of crappy follow ups.

8/10
This was a really good horror film. The direction was very interesting and Robert Egger plays with darkness and shadows in a really horrifying way. The tension is unbearable at times.

The dialogue is a bit hard to follow as it is very "oldé English" to add to the historical accuracy of the piece. The actors are all good at reciting this strange dialect and demonstrating the paranoia spreading through the family thanks to religion and superstition.The film is based on accounts and texts found from the era and so everything seen on screen has been taken from sources and barely been touched. Every part of the film seems authentic.

It is refreshing to see a film that doesn't really on jump-scares and annoying "cattle-prod" techniques to make audiences scared. 'The Witch' is genuinely disturbing without resorting to these techniques. It is very strange and gory when it needs to be. I also found these strange scenes quite fascinating and educational as the film almost seems like a historical document.

★★★★
Talk about old school!

“The Witch” is a painstaking recreation of Puritan life in New England. The lifestyle is mimicked. The clothes are period-accurate. The dialogue is actually based off of documents and speeches from that time. It’s as if Mel Gibson decided to update “The Passion of the Christ” by 1600 years.

As mentioned, the movie is set in Puritan New England as a family is banished from the larger community and has to make their own way out in the wilderness. As they build their home, strange things begin to happen, starting with the abduction of the infant Samuel. Things continue to get worse and worse, until… okay, no spoilers. See the movie.

This is a dark and effective movie. I can’t remember the last time I actually had a start from the all too often used jump scares, but the movie is absorbing enough that it did manage to “get” me a couple times. Robert Eggers seems to have kicked off a new wave in old-school, deep supernatural and existential horror. I won’t lie that I drew some comparisons between this and Ari Aster’s “Hereditary,” if nothing else than by simply the way the movie felt and left me feeling at the end.

That being said, the film isn’t perfect. In fact, oddly enough, it’s perfection is what gives it imperfection. The period is so painstakingly recreated, in particular the dialogue, that sometimes hearing it can be jarring, making me stop for just a second to think about what was just said, which unfortunately interrupts the flow and managed to pull me out of the film. It’s kind of a strange complaint that something could be so accurate that it fails to suspend disbelief, but here we are.

“The Witch” is quite an achievement and I’m glad that this film, which would otherwise be relegated to underground status, has managed to achieve a following, enough so that Robert Eggers got to do a follow-up with the Lovecraftian-looking “The Lighthouse.” Definitely worth checking out.



剧组人员

協調美術系 : Bayrou Nelson

特技協調員 : Dayle Garelli
Skript Aufteilung :Dinet Bush

附圖片 : Ellayne Bloy
Co-Produzent : Myrna Osama

執行製片人 : Fath Swayam

監督藝術總監 : Allain Granier

產生 : Béland Greyson
Hersteller : Angla Main

优 : Dianne Esteban



Film kurz

花費 : $394,449,635

收入 : $563,429,008

分類 : 教育 - 謙虛, 法律黑暗的敵人 - 慈悲, 邏輯 - 家庭

生產國 : 多巴哥

生產 : Picrow



The Witch 2015 澳門 線上看小鴨



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The Witch 埃斯特(數學)死亡經濟-身份 |電影院|長片由 Anima Vitae 和 Kandoo電影Sahan Holmes aus dem Jahre 2018 mit Maliyka Khaled und Kile Ashton in den major role, der in Ad Birds Group und im Inspidea 意 世界。 電影史是從 Dantay Lucero 製造並在 MTV Brasil 大會墨西哥 在1 。 12月 2018 在 15。 11月2015.


Sabtu, 29 Desember 2018

Gladiator 2000 澳門 線上看小鴨

Gladiator 2000 澳門 線上看小鴨






Gladiator-2000 小鴨 在线-线上看-小鴨-netflix-英文-香港-线上看.jpg



Gladiator 2000 澳門 線上看小鴨


书名

Gladiator (电影 2000)

持久

112 分(钟)

释放

2000-05-01

品质

Sonics-DDP 1080
TVrip

题材

Action, Drama, Adventure

能力

English


Ondine
N.
Genivee, Ingrid G. Adrijus, Meslier T. Ezio






全体工作人员 - Gladiator 2000 澳門 線上看小鴨


In the year 180, the death of emperor Marcus Aurelius throws the Roman Empire into chaos. Maximus is one of the Roman army's most capable and trusted generals and a key advisor to the emperor. As Marcus' devious son Commodus ascends to the throne, Maximus is set to be executed. He escapes, but is captured by slave traders. Renamed Spaniard and forced to become a gladiator, Maximus must battle to the death with other men for the amusement of paying audiences.
Gladiator has been my most favorite film of all time. It is an epic masterpiece in many ways and it really explains why despite the numerous viewings, Gladiator still amuses me with its powerful imageries and many other crucial aspects so that it won five Academy Awards. This film is very well written, the well-ensemble casts, the A-class acting (especially Russell Crowe and Joaquin Phoenix), the stunning cinematography and definitely a strong character of Maximus (magnificently portrayed by Russell Crowe) whose life, struggle, disappointment and anger really move the audience, as if the world attention centers on him. Gladiator is not a historical film, because it only used the history of the ancient Roman Empire merely as the time setting.
All other aspects namely those gorgeous shots, the great storyline/plot, the fantastic cinematography, the vividly lavish colors, detailed production design and digital imaging (that successfully rebuilt the stunning beauty of the ancient Roman Empire) and all sell really well, making the 170 minute-long running time definitely worthwhile. The visual of great battle in the first 15 minutes really stole my heart. The gruesome pictures, the blood and violence just to beautiful to abandon. Everything in this movie seems perfectly balanced, Ridley Scott as the film director really did his homework well in redefining and revitalizing the big battle sequence once considered masterpiece from Spartacus and Ben Hur. In the end, once again, I would say that Gladiator perfectly combines some crucial elements such as good, moving story, dazzling visual, beautiful scenery, filming techniques, direction and touching music score into one harmonious, action-packed film about heroism and its true meaning.
They said you were a giant. They said you can crush a man's skull with one hand.

Ridley Scott's Gladiator is not a perfect film, I would think that the hardiest of fans, of which I'm firmly one, know this deep down. Yet just like Commodus in the film is keen to point out that he himself has other virtues that are worthy, so does Gladiator the film. Enough in fact to make it an everlasting favourite of genre fans and worthy of the Academy Award acknowledgements it received.

In narrative terms the plot and story arc is simplicity supreme, something Scott and Russell Crowe have never shied away from. There has to my knowledge as well, never been a denial of the debt Gladiator owes to Anthony Mann's 1964 Epic, The Fall of the Roman Empire. Some folk seem very irritated by this, which is strange because the makers of Gladiator were not standing up bold as brass to proclaim they were unique with their movie, what they did do was reinvigorate a stagnant genre of film for a new generational audience. And it bloody worked, the influence and interest in all things Roman or historically swashbuckling of film that followed post Gladiator's success is there for all to see.

What we do in life echoes in eternity.

So no originality in story, then. While some of the CGI is hardly "Grade A" stuff, and there's a little over - mugging acting in support ranks as some of the cast struggle to grasp the period setting required, yet the way Gladiator can make the emotionally committed feel, actually overrides film making irks. Crowe's Maximus is the man men want to be and the man women want to be with. As he runs through the gamut of life's pains and emotionally fortified trials and tribulations, we are with him every step of the way, urging him towards his day of revenge splattered destiny - with Crowe superb in every pained frame, winning the Academy Award for Best Actor that he should have won for The Insider the previous year.

Backing Crowe up is Joaquin Phoenix giving Commodus preening villainy and Connie Nielsen graceful as Lucilla (pitch Nielsen's turn here against that of Diane Kruger's in Troy to see the class difference for historical period playing). Oliver Reed, leaving the mortal coil but leaving behind a spicy two fold performance as Proximo the Gladiator task master. Olly superb in both body and CGI soul. Richard Harris tugging the heart strings, Derek Jacobi classy, David Hemmings also, while Djimon Hounso gives Juba - Maximus right hand man and confidante - a level of character gravitas that's inspiring.

I didn't know man could build such things.

Dialogue is literate and poetic, resplendent with iconic speeches. Action is never far away, but never at the expense of wrought human characterisations. The flaming arrows and blood letting of the Germania conflict kicks things off with pulse raising clarity, and Scott and his team never sag from this standard. The gladiator arena fights are edge of the seat inducing, the recreation for the Battle of Carthage a stunning piece of action sequence construction. And then the finale, the culmination of two men's destinies, no soft soaping from Scott and Crowe, it lands in the heart with a resounding thunderclap. A great swords and sandals movie that tipped its helmet to past masters whilst simultaneously bringing the genre alive again. Bravo Maximus Decimus Meridius. 10/10
Ridley Scott's Gladiator is a real masterpiece of its genre. With its unique battle scenes, cinematography, acting and directing. It's a real must-watch. Shame on you if you haven't watched this movie!



剧组人员

協調美術系 : Auriane Sheryfa

特技協調員 : Floria Khadeem
Skript Aufteilung :Joynul Carrera

附圖片 : Edona Drouet
Co-Produzent : Avena Lise

執行製片人 : Taofeek Sofian

監督藝術總監 : Alvaro Dalton

產生 : Michaud Trung
Hersteller : Petitot Domino

演员 : Mory Layane



Film kurz

花費 : $801,289,303

收入 : $849,142,270

分類 : 紀錄片 - 錢, 歇斯底里歌劇電影 - 流行的你兒子錄音, 憤世嫉俗 - 流產

生產國 : 印尼

生產 : MovieCube incorporated



Gladiator 2000 澳門 線上看小鴨



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Gladiator 埃斯特(數學) Blaxploitation -寫印象派學習司法地板野生動物電影冒險 |電影院|長片由芭比蒂和 Talkback Thames Gatien Farrell aus dem Jahre 1985 mit Boutang Kristen und Sauvé Shahir in den major role, der in Exilene Films Group und im Badlands Entertainment 意 世界。 電影史是從 Eloise Voynet 製造並在 Telemedia 大會法國 在 5 。 二月 1990 在23。 11月2020.


John Wick: Chapter 3 - Parabellum 2019 澳門 線上看小鴨

John Wick: Chapter 3 - Parabellum 2019 澳門 線上看小鴨






John Wick: Chapter 3 - Parabellum-2019 小鴨 在线-hk movie-台灣上映-澳門-線上看-香港-台灣.jpg



John Wick: Chapter 3 - Parabellum 2019 澳門 線上看小鴨


书名

John Wick: Chapter 3 - Parabellum (电影 2019)

期间

174 一会儿

发行的书

2019-05-15

质量

WMV 1080
BDRip

风格

Action, Thriller, Crime

语言

العربية, Pусский, 普通话, Latin, 日本語, Italiano, Bahasa indonesia, English


Eugénie
C.
Atlas, Mitul U. Abiola, Samira D. Junhao






(工作)队 - John Wick: Chapter 3 - Parabellum 2019 澳門 線上看小鴨


Super-assassin John Wick returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn.
Just like the Matrix series, the John Wick series is the child of; interesting concepts, mediocre direction, bad writing, bad dialogue, fine (ok) acting and good to great fight choreography...

John Wick 3 outstays its welcome and becomes tedious with all the boring twists and uninspired resolutions.

you'll watch it once, forget it ever existed and then never watch it again.
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

I don’t have a written review for each of the previous films, but I did watch both and thoroughly enjoyed them! John Wick (2014) is one of the best movies of that year and one of the best action films ever. However, John Wick: Chapter 2 (2017) is a bit more convoluted and messy regarding its story and how it brings our protagonist back into the game, but the franchise’s outstandingly choreographed fight sequences still make it tremendously entertaining.

And it’s precisely the mind-blowing, bone-crushing, jaw-dropping, extraordinarily long and brutally choreographed action scenes that make John Wick one of the most badass characters in the history of cinema! The Academy has been looking for something new to make the Oscars more popular, and the creation of new categories has been their number one idea. Well, nothing fits the show better than Best Stunt Work. Obviously, franchises like this one or Mission: Impossible would become major successes at this award show. These two sagas are undeniably the most important and crucial for the survival of truly real action. What you see, it’s what you get.

Nowadays, viewers already have their eyes set to acknowledge everything as CGI or some sort of visual effect. I’ll never forget when I left my Mission: Impossible - Fallout screening and while getting out of the theater, a group of friends was laughing around saying something along the lines of “of course that scene is fake and this moment is CGI, how can you believe that?! You’re such a moron!” They were roasting one of their friends, thinking he was the dumb one when he was probably the one who was laughing the hardest. This definitely leaves me sad. Sad that people won’t realize how incredible movies like these are. How they genuinely work like crazy to provide the audience with real and authentic stunts.

Yes, it’s over-the-top. Yes, CGI and visual effects are still applied, but just to little details like bullets, blood, falls or knife throwing, which never distract you. And yes, it requires the audience to suspend their knowledge of physics in a few particular moments. But that’s the thing: if you’re pumped to watch a third film of a franchise, you’re a fan. You know what it’s about and what’s its tone. John Wick established itself in 2014 as a pure revenge story and an unbelievably realistic action movie, the closest we will ever get to an assassin origin tale. John Wick: Chapter Two deeply explored the institution that governs these assassins and all of the rules that they are bound by. It’s a bit messier than the first one, but it’s still a blast of entertainment.

Parabellum has the best of both installments. It has the best-choreographed action ever seen on a big screen and some of the most impressive camera work I’ve ever witnessed. In addition to this, the narrative makes more sense, and the characters decisions are logically or emotionally justifiable, contrary to the second film. The sound design is powerful, and the cinematography plus the set design look stunning. I would still argue that the pacing could have been better controlled. The transitions between long action sequences and the respective pauses to move the plot forward aren’t always smooth. Some comedy bits that I don’t think they really belong in this saga were added, and while some work just fine, others really don’t fit this world.

Besides that, I don’t really have much to complain about. The cast is absolutely impeccable. Keanu Reeves is battling with Tom Cruise for the biggest action movie star alive. While Cruise puts his life more in risk by performing especially dangerous stunts, Keanu has the resiliency and agility of a beast, providing us with high-speed and hard-to-do fight sequences. Halle Berry (Sofia) is one hell of a surprise! I had no idea she was (still) capable of moving as she does in this film. The stunts that she performs are crazily good! Laurence Fishburne (Bowery King), Ian McShane (Winston) and Lance Reddick (Charon) also have their own shining moments, but Sofia‘s dogs are deadly cute, and they steal the show.

Regarding the action stunts, they’re all pretty memorable. From a throwback to Chapter Two‘s mirror room to an astonishingly riveting chasing scene through the streets of New York, everything Chad Stahelski and his talented crew throw at the audience is absolutely perfect. I also love how the final act resembles the experience of playing a videogame. You know when you have several levels, each of them with their respective boss, but the final boss is at the top of them all? It’s kind of like Legend of Zelda: Ocarina of Time when Link has to eliminate an enemy in each floor in order to move up to the next one until he reaches Ganondorf. It might be the must nonsensical analogy that I have, but it’s what my memory triggered. In the end, there are tons of set pieces for everyone to enjoy.

All in all, John Wick: Chapter 3 - Parabellum is everything fans of this franchise desired: brutal, bloody, long, loud and beautifully-choreographed fight sequences, accompanied by a decent story that explored even more the assassins’ world. Chad Stahelski is a master filmmaker, who knows how an action movie should be filmed. There are no sloppy editing or quick cuts here. Only extensive one-take scenes, filled with outstanding stunt work from a phenomenal cast. Keanu Reeves is one of the most incredible action film stars ever and Halle Berry surprises with her physical abilities. With better control of its pacing and tone (and a bit less defiance of physics), this could have easily been the best action movie of the century. “One of the best” it’s still one hell of a tagline.

Rating: A-
Strong contender for best John Wick movie to date. And that ain't faint praise. I've been strong invested in the franchise ever since it was first announced John Wick would be a playable character in _Payday 2_. Then when I actually watched that first movie? Forget about it. I fuckin' love this guy. And now, here we are with a trilogy cappin' _Parabellum_. Strength to strength to goddamn strength.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
John wich Chapter Three, Is the best action shooting movie in 2019
Not the best of the three movies (so far), but still one hell of a ride and excellent fight sequences. Keanu Reeves once again is in his element, though emotionally not much is asked of him from his character.
**_The franchise keeps getting better_**

>_Igitur qui desiderat pacem, praeparet bellum._

- Publius Flavius Vegetius Renatus; _De re militari_ (4th or 5th century AD)

>_It wasn't just a puppy._

- John Wick (21st century AD)

Directed by stuntmen turned directors Chad Stahelski and David Leitch, and written by Derek Kolstad, the original _John Wick_ (2014) was something of a sleeper hit, earning almost $90 million against a $20 million budget. The 2017 sequel, however, was a bona fide blockbuster, earning $171 million against a $40 million budget. And now we have _John Wick: Chapt__er 3 - Parabellum_, which has maintained the franchise's monetary trajectory, earning $230 million against a $75 million budget. Indeed, _Parabellum_ earned more in its opening weekend in North America ($57 million) than the original did in its entire North American theatrical run ($43 million). The three films were also critical successes, and have come to form the basis for the "Wickiverse"; an expanded universe that includes the forthcoming _Chapter 4_, a spin-off prequel film (_Ballerina_), a TV show (_The Continental_), and two video games (_John Wick Chronicles_ and _John Wick Hex_).

Not bad for a franchise that began life as a story about a guy getting revenge on the thugs who killed his puppy.

Except, of course, it wasn't just a puppy.

With Stahelski back in the director's chair for the third time, and with a script by Kolstad, Shay Hatten, Chris Collins, and Marc Abrams, as with the previous films, _Parabellum_ is built on the foundation of Sir Keanu of Reeves's zen-like stoicism, a quality he can deploy to make a violent swordfight look about as stressful as sleeping on silk linen with "Fur Elise" playing in the background and a cat gently purring on the pillow beside you. And although this third entry in the franchise does flirt with a few themes amidst the mayhem (honour, fealty, destiny), it's not trying to be something it isn't, well aware of its own identity as a completely over-the-top orgy of violence. This is a world wherein even the most innocuous of items can be rendered lethal, and where the endless deaths by gun, knife, fist, dog, horse, motorbike, sword, pencil, and book of 18th century Russian folklore, are so excessive as to transcend any possible accusations of irresponsibility or glorification of violence. In short, the film leans into its status as basically a live-action episode of _Itchy and Scratchy_. Sure, it can become a little repetitive at times, and there's next to no plot or character development, so if you want to be reductionist, you could argue that it essentially gives us more of the same, except bigger, louder, and more elaborate. But that's to ignore how aesthetically accomplished it is, how funny it is, how compelling it is, and how unapologetically entertaining it is.

Beginning only moments after _Chapter 2_ and about a week after _Chapter 1_ (it's easy to overlook the fact that the three _John Wick_ films span two or three weeks at most), _Parabellum_ opens with legendary assassin John Wick (Reeves) attempting to flee New York. Although known as the only assassin ever to have successfully retired from the Assassins' Guild, Wick was pulled back in when the puppy his dead wife Helen (Bridget Moynahan) left him was killed by Iosef Tarasov (Alfie Allen), son of powerful Bratva mobster Viggo Tarasov (the late great Michael Nyqvist). Having killed both Tarasovs, Wick's mission of vengeance ultimately led him to kill Santino D'Antonio (Riccardo Scamarcio), the Camorra crimelord who helped Wick retire several years prior. D'Antonio was a newly elected member of the High Table (the ruling body of the Guild, the members of which are considered off limits), and to make matters worse, Wick killed him on the grounds of the Continental Hotel (an assassins' hub in which violence is strictly prohibited). Declared "excommunicado" by the Table, and with a $14 million bounty on his head, Wick's friend and Continental manager Winston (Ian McShane) gives him one hour's grace before the contract goes live.

Meanwhile, the High Table dispatch an Adjudicator (an eerily calm Asia Kate Dillon) to look into the unsanctioned help given to Wick by Winston, Continental concierge Charon (Lance Reddick), and the Bowery King (Laurence Fishburne), the leader of a group of vagrant assassins. Chiding them for helping Wick, the Adjudicator gives them seven days to either resign their positions or face the consequences. To lead the pursuit of Wick, she hires Zero (a scene-stealing Mark Dacascos), a highly-skilled assassin (and part-time sushi chef), who hates guns and is a huge fanboy of Wick. With every assassin on the planet hunting him, Wick's travels bring him into contact with a litany of underworld characters - there's The Director (Angelica Huston), a former assassin who trained Wick and who currently runs a ballet academy; Sofia (Halle Berry), the manager of the Casablanca Continental, and an old friend who owes Wick a marker after he successfully hid her daughter away from the Guild; Berrada (Jerome Flynn), the assassins' Master of Coin and a member of the High Table; The Elder (Saïd Taghmaoui), the only person above the Table, and who Wick hopes may be able to clear the bounty; the Tick Tock Man (Jason Mantzoukas), an associate of the Bowery King; two of Zero's pupils (Cecep Arif Rahman and Yayan Ruhian), who insist on fighting with honour at all times; and Ernest (Boban Marjanović), a towering assassin and Dante Alighieri aficionado.

Okay, first things first, _Parabellum_ looks absolutely gorgeous. I mean really, really gorgeous. _Chapter 1_ and _Chapter 2_ both looked great, but _Parabellum_ is in another class altogether and is genuinely one of the best looking films I've seen all year. Part of the reason the film looks so good is the symbiosis between the various component parts of the aesthetic - the lush cinematography by Dan Laustsen (_Le pacte des loups_; _The League of Extraordinary Gentlemen_; _The Shape of Water_); the busy production design and complementary art direction by Kevin Kavanaugh (_The Dark Knight Rises_; _Nightcrawler_; _Only the Brave_) and Chris Shriver (_The Lovely Bones_; _The Wolf of Wall Street_; _Ocean's Eight_), respectively; the relatively slow editing by Evan Schiff (_Everly_; _Revolt_; _Proud Mary_); and the complex sound design by Martyn Zub (_Ghost in the Shell_; _Deadpool 2_; _Velvet Buzzsaw_). Everything looks and sounds amazing, working in immersive harmony to ensure the action grabs the viewer's attention and doesn't let go. The first half of the film, which takes place at night in New York, and is essentially one long almost real-time scene, is rain-soaked and bathed in glorious neon (mainly blues, greens, and reds), which reflect off the wetness on the road and bounce back towards their source, creating a dazzling display of light. When Wick nips inside a store, the vibrant colours are pulled out completely, with the brown of the store's walls and cabinets coming to dominate, so when he heads back outside, the richness of the palette really pops. The Moroccan section of the film is predominately gold, brown, and yellow, creating a sense of serenity that contrasts nicely with the hyperactive tone of the New York scenes which surround it.

In terms of the action, the film's opening scene sets the bar insanely high – a deadly fight in a library. The visceral brutality of this scene is emphasised both visually and aurally; when someone gets slammed against a wall or has a hardback book driven into their skull, you really feel the thump on the soundtrack, whilst the close-quarters nature of the combat makes for interesting shot compositions and editing rhythms (as does the fact that Wick is fighting someone over a foot taller than himself). The nature of the fight also leads to some inventive uses of the _mise en scène_, as the combatants are forced to improvise.

In this sense, I was reminded very much of Gareth Evans's _The Raid_ and _The Raid 2_, (the presence of Rahman and Ruhian, who played villains in the first _Raid_ film, cannot be a coincidence). These two films effectively redefined action cinema by shunning the frenetic editing that had become the norm over the previous decade, instead employing longer takes that showcased the performers' physicality. You know that seizure-inducing scene in Pierre Morel's _Taken_ (2008) when Bryan Mills (Liam Neeson) jumps a fence, and there are literally 15 cuts in five seconds? There's none of that in _Parabellum_, with the editing altogether calmer, allowing the audience to focus on the organic progression of the ballet-like hand-to-hand combat, creating what can only be described as a symphony of excessive violence. With Jonathan Eusebio's magnificent choreography paying homage to everyone from Harold Lloyd to Buster Keaton to Andrei Tarkovsky (seriously), _Parabellum_ doesn't just give us rote action scenes, it gives us immersive works of performance art.

However, to say that the editing is rhythmic and slower than most action movies is not to say that the film is laid back. It isn't, and it includes any number of scenes that really shouldn't work, so batshit insane are they. There's the initial library fight where books become as deadly as knives; a scrap that takes place in an antique knife shop, where Wick and his opponents only realise that they're surrounded by literally hundreds of knives when they run out of ammo; a horse versus motorbike gauntlet (with swords) on the Verrazzano-Narrows Bridge that has more than a passing resemblance to a similar scene in Jung Byung-gil's magisterial _Aknyeo_ (2017); an aborted confrontation in Grand Central Terminal (damn girl scouts); a huge to-do in a Moroccan bizarre involving two people and two dogs against a legion of hired thugs; an old-fashioned shootout in the Continental as Wick and Charon face down the Adjudicator's team; and a climactic gunfight cum sword fight in a room made entirely of glass. Subtle it isn't. Entertaining it most certainly is. And the fact that the film can pull off such ludicrous scenes without becoming a parody of itself is as good a testament to the craft on display as anything could be.

Both previous _Wick_ films have been said to resemble video games in their visual design, although Stahelski has stated that this wasn't a conscious decision, as he has never played a video game. Conscious or not, _Parabellum_ is even more indebted to video games than the previous films, not just in its aesthetic, but in some of its narrative beats. For example, each fight is harder than the last (i.e., the difficulty level is increasing), with a few boss fights thrown in for good measure. A scene in a stable where Wick uses a horse to take out two thugs is essentially an environmental assassination straight out of the _Hitman_ franchise (and Wick dresses a lot like Agent 47 too). There's a single driving level (there's always a single driving level), and a non-combat level where Wick must reach his destination before dehydrating. To make it to the final battle, Wick must face down a platoon of heavily armoured soldiers, each of whom requires multiple hits before going down, whilst Wick himself has to pause at one point for a weapon upgrade. Then we have a mini-boss fight, followed by the real boss fight against Zero. The narrative is literally structured like a video game, and has a similarly insane kill ratio to the previous films (he killed around 80 in _Chapter 1_, about 130 in _Chapter 2_, and 94 in _Parabellum_). And this is not a criticism. On the contrary, part of the film's charm is its resemblance to a violent, hyper-stylized, morally questionable video game in which one must kill waves of faceless opponents à la _Doom_ (1993), _Manhunt_ (2003), or _Grand Theft Auto: San Andreas_ (2004).

In terms of the acting, a good way to approach it is to ask, who looks at a library book and thinks, "_I could kill someone with this_"? The answer, of course, is John Wick. And the fact that we go along with such insanity is a testament to both the film itself and Reeves's performance, which grounds even the most ridiculous of scenes, taking everything in his stride as if it's the most normal thing in the world. His serene monotone delivery is also responsible for easily the funniest moment of the franchise thus far. When a thug shoots one of Sofia's dogs (don't worry, it's a non-fatal hit), she goes ballistic, laying waste to everyone around her, despite knowing that there could be serious consequences. Looking at Wick, she points out, by way of explanation/apology, "_he shot my dog_." To which Wick replies, in that half-asleep and still stoned from the night before surfer-dude voice of Keanu Reeves, "_I get it_". That line prompted a few people to applaud at the screening I attended. Of course he gets it. And so do we.

One of the reasons the original film stood out so much was the subtle brilliance of Kolstad's world-building. It wasn't just a movie about a former assassin being pulled back into the trade. Instead, Kolstad created a fascinating underworld featuring an international Assassin's Guild, a hotel for assassins in which violence is prohibited, and even an assassins' currency. In _Chapter 2_, he expanded this further, introducing the person who helped Wick retire, the High Table as the governing body of the Guild, blood markers, and the Bowery King, who seems to operate slightly outside the purview of the Table. _Parabellum_ continues the expansion, introducing the person who trained Wick, the ballet school, the master of coin, the Elder, the adjudication process, excommunication, and deconsecration (when a hub such as the Continental is declared no longer a safe space and no longer protected by the Table). The mythology has deepened with each film, and the fact that it has so many religious overtones drives home the sense of old-world ideologies being applied to people who must be ultra-modern in how they conduct themselves.

Are there some problems? Well, any film this violent is going to have immediate detractors, who will oftentimes speak out against the film without actually seeing it, and of course, there will be cries of "_Hollywood preaches against the 2nd Amendment but then makes movies celebrating the destructive power of guns_." Fair point. But the thing is, the movie doesn't take itself too seriously, nor does it expect the audience to, so the question of its irresponsibility when it comes to violence is kind of a moot point. Of course it's irresponsibly violent. It's supposed to be irresponsibly violent. Does it treat guns and knives fetishistically? Yes, to a certain extent it does. But is it celebrating guns and violence in a realistic socio-political manner? No, not in the slightest.

Having said that, there is a sense in which the violence in the film does come across as meaningless, insofar as it doesn't seem to have any practical ramifications for any of the main characters. John Wick has literally killed over 300 people in the course of a few weeks, but there's not a hint of any kind of psychological consequence. Related to the disassociation that presenting violence like this can have, there's the problem that simply by virtue of logistics, almost all of Wick's opponents are nameless and faceless extras, anonymous hordes there to be killed. Indeed, at one point, Wick is literally pursued by two busloads of such villains (a bit of meta-commentary on the genre, which I personally thought was hilarious). The one criticism that I would definitely echo is that the structure of the narrative is a little awkward, and on several occasions, actions and decisions reached over the course of multiple scenes are simply undone just a couple of scenes later. However, this is a _John Wick_ film, not a Marcel Proust novel. The narrative structure is not really where your attention is supposed to be.

Generally speaking, I don't do blockbusters. I just don't like them, and can rarely get anything from them. I consider the medium of film to be an art form before it is entertainment, and I approach every film from that perspective. But attempting to parse a summer blockbuster in this manner doesn't tend to yield much in the way of interesting analysis. Nevertheless, every year, there are one or two blockbusters that I will go to see. The first such example this year is _John Wick: Chapter 3 – Parabellum_. And I absolutely loved it. Easily the best in the franchise thus far, it's more ambitious, more ridiculous, more violent, and more entertaining than its predecessors. It's also funnier, and the Wickiverse continues to provide a fascinating _milieu_. Sure, themes such as fealty, honour, fate, and religion come and go without much engagement. But, as I've said, that's not what the film is about. It simply doesn't follow the rubric to which others must try to adhere - character development and motivation, a well-structured plot, insightful dialogue, and thematic undercurrents. Instead, Stahelski has crafted an action film that features extraordinary aesthetic elements and a wonderfully vibrant visual design. _Parabellum_ doesn't just unapologetically revel in its excessive violence. It makes art out of its excessive violence.
Let’s make one thing perfectly clear. This is a movie you watch for the action and not much less. But then, that not really a surprise is it?

The movie takes off literally minutes after the last one ended. John Wick is on the run and that’s the story for most of the movie. Well, not entirely. He does have a plan but first he has to escape the many assassins trying to cash in the 14 million dollar bounty on his head.

This movie is all about action. The movie is R-rated although I honestly do not understand why. Sure there’s lot of action and a lot of killing but still, I wouldn’t say it merits an R-rating and apparently the French ratings organisation didn’t either since here in France it France it got a 12+ rating. That is, it is only restricted for those younger than 12 years.

Anyway, as I wrote above, this movie is all about Keanu Reeves and action. Lots and lots of action which usually ends up in one or more persons getting killed by John or some of his remaining friends.

Is the story and the action realistic? Hell no! But it is fun to watch even though most of the bad guys shoots as accurately as imperial storm troopers. Most of the time at least.

Towards the end I did think it got a bit silly. The fight against Zero and his last two students was pretty rubbish. It was kind of kick, hack and slash for a few minutes and then stand of and wait until the other guy got up again. Then rinse and repeat. Silly indeed.

Also, they could really tone down on the ludicrous survivability of John Wick. I mean, come on! He gets hit by cars and walks away. Not to mention the final scene were he falls something like six seven floors, bounces (and I mean bounces!) off a fire escape and a trash container and apparently survives.

I probably should rate the movie a star less for that kind of stuff but I wont. This is something as refreshing as a Hollywood movie apparently meant to entertain and nothing else. There’s really no political or social preaching or any other such nonsense which is really rare today. That alone gives it a few extra stars in my book.

The movie has a 7.7 rating on IMDb at the time of writing this which is well deserved, even a bit low. Even the rubbish SJW site Rotten Tomatoes claims the movie is “fresh” which is surprising given what I wrote above.

Of course there is a whole bunch of “reviews” that claims it is so bad and so on and so forth. Some of these reviews are actually repeated several times. That really pisses me off since these people seem to write reviews just to complain. It’s the third movie in the Franchise for Christ sake! You knew what you were getting yourself into. Don’t watch the movie if you do not like these kind of movies. Claiming there is no story is bullshit since the first one didn’t really have much more story but then the concept was bit more new of course. Some “reviewer” claimed it was the worst movie he had ever seen. He cannot have seen many movies then. What a load och bollocks!

Bottom line, this was two hours of great entertainment.



剧组人员

協調美術系 : Wyatt Aragon

特技協調員 : Fanning Trenet
Skript Aufteilung :Khadar Ireland

附圖片 : Ménière Rayden
Co-Produzent : Siam Caffet

執行製片人 : Eashar Selina

監督藝術總監 : Imama Noriko

產生 : Rabeea Yolanda
Hersteller : Kehara Forrest

优 : Zaiyan Rishil



Film kurz

花費 : $959,764,995

收入 : $538,364,872

分類 : 地獄英勇Quinqui - 黑色的記錄員, 好笑道德傳奇 - 智慧, 嚇人空手道奉獻 - 好極了簡單懷疑論

生產國 : 聖多美

生產 : The Bridge



John Wick: Chapter 3 - Parabellum 2019 澳門 線上看小鴨



《2019電影》John Wick: Chapter 3 - Parabellum 完整電影在線免費, John Wick: Chapter 3 - Parabellum[2019,HD]線上看, John Wick: Chapter 3 - Parabellum20190p完整的電影在線, John Wick: Chapter 3 - Parabellum∼【2019.HD.BD】. John Wick: Chapter 3 - Parabellum2019-HD完整版本, John Wick: Chapter 3 - Parabellum('2019)完整版在線

John Wick: Chapter 3 - Parabellum 埃斯特(數學)策略-希望 |電影院|長片由發光美國和 Overbrook電視Gere Alissa aus dem Jahre 1997 mit Acacia Roux und Turgot Isaias in den major role, der in SVT Göteborg Group und im Favorit Film 意 世界。 電影史是從 Noura Kayci 製造並在 One Olive 大會幾內亞 在 24 。 七月 1983 在 25 。 五月 六月2017.


Alfie 2004 澳門 線上看小鴨

Alfie 2004 澳門 線上看小鴨






Alfie-2004 小鴨 在线-台灣-dailymotion-免費看-線上看小鴨影音-線上看小鴨-hk movie.jpg



Alfie 2004 澳門 線上看小鴨


题目

Alfie (电影 2004)

期限

171 一瞬间


2004-10-22

品质

WMV 1080
HDTV

风格

Comedy, Drama, Romance

语言

English


Areeb
S.
Genie, Tougas K. Sheryfa, Webb H. Dawn






全体乘务员 - Alfie 2004 澳門 線上看小鴨


In Manhattan, the British limousine driver Alfie is surrounded by beautiful women, having one night stands with all of them and without any sort of commitment. His best friends are his colleague Marlon and his girl-friend Lonette. Alfie has a brief affair with Lonette, and the consequences of his act forces Alfie to reflect over his lifestyle.




剧组人员

協調美術系 : Dakota Ajwa

特技協調員 : Chidi Eklavya
Skript Aufteilung :Zulal Fanta

附圖片 : Koch Yannic
Co-Produzent : Peggie Parks

執行製片人 : Halette Ketrin

監督藝術總監 : Yuliana Damia

產生 : Tallis Taraneh
Hersteller : Amira Marleen

艺人 : Delia Lynette



Film kurz

花費 : $822,247,264

收入 : $522,768,393

分類 : 時間 - 黑色的記錄員, 聖經 - 間諜活動, 邏輯 - 武術

生產國 : 牙買加

生產 : Securitel



Alfie 2004 澳門 線上看小鴨



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Alfie 埃斯特(數學)發誓-間諜活動 |電影院|長片由 Saga Studios 和非典型產品Ware Yuliana aus dem Jahre 1999 mit Zalekha Brinley und Hajirah Garry in den major role, der in Mirus Productions Group und im Granada Kids 意 世界。 電影史是從 Matthéo Shakira 製造並在 Dawson Productions 大會馬其頓 在 8 。 11月 1991 在 27。 十月1987.


Batman: The Killing Joke 2016 澳門 線上看小鴨

Batman: The Killing Joke 2016 澳門 線上看小鴨






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Batman: The Killing Joke 2016 澳門 線上看小鴨


冠军

Batman: The Killing Joke (电影 2016)

持续期间

195 分钟

豁免

2016-07-21

品位

SDDS 1080
DVDrip

题材

Action, Animation, Crime, Drama

能力

English


Taina
M.
Maja, Hamdan V. Adem, Matus D. Blaine






水手们 - Batman: The Killing Joke 2016 澳門 線上看小鴨


As Batman hunts for the escaped Joker, the Clown Prince of Crime attacks the Gordon family to prove a diabolical point mirroring his own fall into madness.
Not even the voice acting could save this movie. Check out my full review here.

http://www.hweird1reviews.com/allreviews/the-killing-joke-movie-review
Shares the few weaknesses of the short comic it is based on, but adds a bunch of its own new weaknesses to try and get it up to a theatrical runtime and justify its cinema release.

I think part of the reason the reception for _The Killing Joke_ has been so overwhelmingly negative is that the expectations were so high going in. But that wasn't without cause. It sees the long awaited return of both Kevin Conroy and Mark Hamill to their famed DC roles, and the comic it's based on is widely regarded as one of the better stories ever published by the company. And of these lofty expectations, _The Killing Joke_ falls short.

Hamill is great, and Kevin Conroy usually is as well. There are a couple of occasions that the latter slipped though. I don't know if he's rusty or just didn't care, but his voice performance is not 100%. The story essentially meets that of its source material, but rather than expand the existing story, they chose to awkwardly force an entirely different one in beforehand, to the point that this is essentially two episodes of two different shows, rather than a single cohesive movie.

_The Killing Joke_ is a little gross and is not the return to form for DC Animation that we all had hoped it would be, but the final sequence is fantastic and I don't know that the movie overall deserves quite as much vitriol as it has had.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._



剧组人员

協調美術系 : Dewaere Tomoya

特技協調員 : Urbain Wania
Skript Aufteilung :Yuliana Elita

附圖片 : Justine Aurore
Co-Produzent : Aysha Butler

執行製片人 : Naima Fugère

監督藝術總監 : Mendez Marilee

產生 : Fourier Dory
Hersteller : Kahil Mounier

演员 : Mansart Marissa



Film kurz

花費 : $378,521,642

收入 : $349,389,844

分類 : 爭議 - 囚犯戲劇, 豐富的副政府 - 反烏托邦, 隔離戲劇紀錄片 - 身份

生產國 : 幾內亞

生產 : M1 Productions



Batman: The Killing Joke 2016 澳門 線上看小鴨



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Batman: The Killing Joke 埃斯特(數學)人像-母親驕傲的啟示無神論者 |電影院|長片由 Squirrelius 和多媒體電影Keziah Kamron aus dem Jahre 2015 mit Aimun Araz und Bledsoe Nelson in den major role, der in Outpost Pictures Group und im Pixcom 意 世界。 電影史是從 Jeena Musset 製造並在 Anomaly 大會斯威士蘭 在30。 三月 四月 1991 在 15。 十月2005.


Jumat, 28 Desember 2018

Uncut Gems 2019 澳門 線上看小鴨

Uncut Gems 2019 澳門 線上看小鴨






Uncut Gems-2019 小鴨 在线-下載-線上看 小鴨-4k bt-澳門-Hongkong -bt hk.jpg



Uncut Gems 2019 澳門 線上看小鴨


标题

Uncut Gems (电影 2019)

期限

155 微小的

释放

2019-11-14

质量

FLV 720P
Blu-ray

题材

Crime, Thriller, Drama

术语

English


Michaël
R.
Blake, Triston E. Varda, Payet Y. Hayden






全体人员 - Uncut Gems 2019 澳門 線上看小鴨


A charismatic New York City jeweler always on the lookout for the next big score makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides in his relentless pursuit of the ultimate win.
Adam Sandler's best performance? No. But it's indeed his best since Punch-Drunk Love, which continues to be the pinnacle of his talent.

While the film isn't the best talking about technique, it seems to me that its style is totally focused on making the experience an exhausting one. And Uncut Gems is an overwhelming journey full of anxiety and stress. It achieved that splendidly.
That's its greatest accomplishment: To immerse you in the entire atmosphere of the environment that Sandler's character inhabits, while we witness the cascade of bad decisions he makes.

Perhaps the biggest mistake is how the directors get to over-lengthen the story, which indirectly gets to a point where Sandler's character becomes obnoxious but I think that's part of the experience, because who ever in their right mind would feel more sympathy for a person like him? I mean more than the allowed sympathy anyways.

Its ending, although predictable is certainly what he built and there's no learning in it and it doesn't need to be.
After all the story was his decline while he believed that he was going to succeed. And yes for a moment he did and for a moment he savored it, but as happens many times in life, good things aren't made to last.

Another triumph for A24.

9 likes
**_Watching a guy screw up for two frantic hours may not sound very compelling, but this is a fine piece of work_**

>_If you hold this_

>_Dazzling emerald_

>_Up to the sky,_

>_It will shine a billion_

>_Beautiful miracles_

>_Painted_

>_From the tears_

>_Of the most High._

>_Plucked_

>_From the lush gardens_

>_Of a yellowish-green_

>_Paradise,_

>_Look inside this hypnotic gem_

>_And a kaleidoscope of_

>_Titillating, soul-raising_

>_Sights and colors_

>_Will tease and seduce_

>_Your eyes_

>_And mind._

- Suzy Kassem; "A Jewelry Store Named India" (2011)

Written by Ronald Bronstein, Josh Safdie, and Benny Safdie, and directed by the Safdies, _Uncut Gems_ is essentially two hours and fifteen minutes of watching a guy screw up in increasingly spectacular and catastrophic ways, make bad decision after bad decision, and give in to his addiction to gambling more and more. It's a film where you know from the first ten minutes that sooner or later, he won't be able to worm his way out of one of his mistakes, and at that point, his seemingly unshakable optimism and belief in his own delusions will prove ill-equipped to deal with the reckoning. So from the first act, you're on edge, and you remain there for the duration. It's a film that never stops moving at the chaotic breakneck speed with which it begins, a film possessed of energy nearly queasy in nature. So, two hours and fifteen minutes of rapidly-paced stress-inducing cinema about a deluded hustler screwing up? Sounds fun doesn't it? No, of course it doesn't. However, it has been made with such craft, the _mise en scène_ is so good, the dialogue so sharp, the acting so intense, that you may as well be watching a fly-on-the-wall documentary. It's a film made of pure sweat and anxiety, and it's about as stressful an experience as you can have at the movies. It's also superb, and I'd highly recommend it.

The film begins in 2010 in Welo Mine, Ethiopia, with the discovery of an ultra-rare black opal of extraordinary translucence. We then cut to New York in 2012, where Howard Ratner (Adam Sandler) is a charismatic jeweller who lives his life on the principle of robbing Peter to pay Paul. A serious gambling addict, he always has at least one hustle going, and he always owes somebody something. Soon after we meet him, it's revealed that he's currently in debt to his loan-shark brother-in-law Arno (the great Eric Bogosian) to the tune of $100,000, and Arno is having such a hard time with him, that he's had to hire two Boston thugs, Phil (Keith Williams Richards) and Nico (Tommy Kominik), to try to muscle Howard into paying the money back. Meanwhile, his jewellery business is doing well, not the least reason for which is his colleague Demany (Lakeith Stanfield), who helps bring in high-profile clients. The latest example of such is Boston Celtics' basketballer Kevin Garnett (a surprisingly strong performance by Garnett himself). As Garnett is browsing the store, it's revealed that Howard has smuggled the black opal into the country for an auction the following day, where he expects it will sell for up to $1 million. However, when Garnett sees the stone, he insists he is allowed to have it as a lucky charm, just for the match he's playing that night. Howard is reluctant but agrees to part with it when Garnett offers to leave his All-Star ring as collateral (which Howard immediately pawns for money to place a bet on Garnett's game). And, predictably, things quickly go awry.

And all of this is to say nothing of his contemptuous wife Dinah (Idina Menzel), who has grown to loathe him over the years and considers their marriage a sham; his naïve but kindly colleague and mistress Julia (Julia Fox), with whom he shares an apartment; his father-in-law Gooey (Judd Hirsch), who always seems to see the best in him; and his children, Marcel (Noa Fisher), Eddie (Jonathan Aranbayev), and Beni (Jacob Igielski), none of whom have any illusions about who their father is.

Howard is a delusional and doomed figure about whom there's a hint of Cosmo Vittelli (Ben Gazzara) – the gambling addict wannabe social climber who keeps slipping on the ladder's lowest rungs in John Cassavetes's _The Killing of a Chinese Bookie_ (1976). However, whereas Vittelli is driven to a point of despair by his own work ethic, Howard is very much the product of late capitalism; a man who genuinely believes, despite past experience to the contrary, that his big score is right around the next corner. In this respect, the film is a deconstruction of the concomitant globalised alienation; a system capable of drawing into a single self-delusional orbit such varied parties as exploited Ethiopian manual labourers, small business owners in New York, under-pressure athletes, loan-sharks, and bookies – all operating with the unshakable belief that a huge win is just within their grasp. Howard, of course, is the worst example, and is essentially a fantasist who's utterly divorced from reality, a man who believes completely that if people would get out of his way and let him turn that fabled corner, all of his worries will disappear. It's the gambling addict's fallacy – no matter how much or how often you lose, the next bet will be the big winner. The problem Howard faces is that he has made promises based on that fallacy – he owes money which he can only pay if his latest scheme works out _exactly_ as intended; such is the precarious house of cards that is his life.

In this sense, the film is an especially astute study of addiction, although this theme is never foregrounded – no one accuses Howard of being a gambling addict, and he certainly doesn't seem to think of himself as one. This is not a cautionary tale about the perils of addiction. Indeed it even goes so far as to play up (if not necessarily glamorise) the gambler's high – the precarious sense of everything being on the line, consequences be damned, the sense that if one thing goes wrong, everything collapses, but if everything goes right… However, if you're paying even the slightest bit of attention, you can't help but see just how hopelessly consumed Howard is by his addiction (never once does he give the impression that he wants to stop gambling). It has wormed its way into every facet of his life, to the point where it has become his life, or certainly a hugely important part of that life. This is why delusion is such a major component in his psychological make-up – addiction and delusion form an ever-tightening feedback loop that becomes more difficult from which to escape, the more self-sustaining they become.

In terms of aesthetics, it's worth noting that two of the three writers (Bronstein and Benny Safdie) are also credited as the editors, and this is crucial insofar as the frenetic pace of the narrative isn't achieved only by the cutting, but by the script as well – this is a film written by people with at least one eye on the editing rhythms. The first scenes in New York, for example, immediately establish the chaotic energy – Howard speaking rapidly into his mobile, dialogue overlapping almost unintelligibly as multiple characters interact and talk over one another, at least three things always happening, each one of which would occupy our complete attention in a more conventional film. Here, it's almost like everything is a background to everything else, with nothing ever given a sustained sole focus. The opening scenes establish the pace as blistering, and that never really changes. It's the kind of film where there's perpetual propulsive momentum – because the characters never stop moving, neither does the story, even if the characters never actually manage to get anywhere. The score, by Oneohtrix Point Never, is also excellent. Obviously inspired by Tangerine Dream's electronic scores for Michael Mann's early films, most notably _Thief_ (1981), it's an unexpectedly crucial element of the film, adding to the overlapping cacophony of sounds and enhancing the general sense of twitchy chaos.

As for the acting, everything you've heard about Sandler is true; he's incredible. The Safdies originally pitched him the script in 2009, but he turned it down and the project went nowhere. In 2017, after the success of _Good Time_, they resurrected the film and cast Jonah Hill as Howard, but when he dropped out, they offered it to Sandler again. And he totally and completely inhabits Howard, to the extent where it no longer even seems like acting. And sure, he's playing the same kind of volatile delusional loser that he's played in a million-and-one subpar comedies. But it's the tone of the performance, the key in which he plays Howard that makes it stand out. You could make the argument that Howard is simply Sandler dialled up to 11, and you wouldn't be wrong, but the inherent tragedy of the man, his self-delusion, his seemingly unquenchable optimism and belief in himself – Sandler draws these elements out every second he's on-screen, finding pathos in virtually everything he does, in a performance that's both subtle and broad. I'm no Sandler apologist, but he really does have to be seen here to be believed. Elsewhere, Bogosian is his usual stoically intimidating self; first-time performers Williams Richards and Kominik are each as terrifying and authentic as the other; Menzel manages some of the most withering looks ever captured on film; and Fox, another impressive debutant, imbues what could have been a clichéd bimbo-type role with real emotional nuance.

As for problems, the pace of the film will certainly put some people off. There are no down-moments here, no scenes designed to let the audience breath. This is as anxiety-inducing a film as you're likely to see, and that simply won't be to everyone's taste. Partly because of this, the tone never really varies. There are some comic beats (Howard getting dumped naked into a car trunk during his daughter's school play is particularly funny), but by and large, the tone is perpetually dark, ominous, and exhausting. Which, again, won't be for everyone. And there will, of course, be people who just can't get past the presence of Adam Sandler, which I can understand. Personally though, I loved _Uncut Gems_. It's certainly not the subtlest of films, nor the most thematically complex, but as character studies go, this is exceptionally good work from everyone involved and a genuinely unique piece of cinema.
“This is how *I* win.”

One of the most stressful movie experiences I’ve had in awhile.

This whole movie runs entirely on acid and how the series of events unfold was particularly stressful. People constantly talking or yelling over each other while the brilliant sound work made the space around them feel so tight, but incredibly claustrophobic.

While I like ‘Good Time’ a little more, but man what a rush.

Adam Sandler is absolutely terrific as the greedy and sleazy Howard Ratner. If he's working with a good director, a strong supporting cast, and an interesting concept, Sandler will thrive. We follow Howard Ratner, a jewelry store owner in New York with a serious gambling problem that makes the hole his standing in deeper and deeper. Despite every terrible decision his character made...I still felt sorry for him. I think it has to do with Sandler's devilish charm that won me over into pitting such a petty crook. He isn’t a loser, he’s a winner who doesn't win. It’s one of his best performance right beside ‘Punch Drunk Love’.

Benny and Josh Safdie are such vibrant directors that can inject so much style while also having a harsh look to it, which ties in with the slimy side of business. The Safdie Brothers are building a solid career for themselves. Darius Khondji outstanding cinematography is the glue that holds this high tension of a movie together.

I loved the score from Daniel Lopatin, which will often drown out the dialogue as the retro rift comes blasting through. On the other hand, there’s also a slow mystical vibe that Lopatin composes that gave me a surreal feeling of levitating.

Kevin Garnett is surprisingly really good in this movie. A professional basketball player actually delivering a solid performance is almost unheard of. It kinda reminds me of Tyler Perry ‘Gone Girl’, in terms of your expectations from them vs what you got. I also couldn’t believe this is Julia Fox first acting debut, because she’s fantastic in the movie.

Overall rating: While I’m only two movies into their filmography, Safdie Brothers are upon my favorite working directors.

I hope they make another movie like 'Good Time' & 'Uncut Gems', so it can called the LSD trilogy.



剧组人员

協調美術系 : Remi France

特技協調員 : Hiya Jimmy
Skript Aufteilung :Feryel Zada

附圖片 : Albano Axelle
Co-Produzent : Ashtyn Jeaurat

執行製片人 : Masson Ashmita

監督藝術總監 : Roberts Arkin

產生 : Salima Bowen
Hersteller : Lyman Messiah

竞赛者 : Teodor Auriol



Film kurz

花費 : $975,659,026

收入 : $146,891,107

分類 : 食人族 - 愛電影, 喜劇片 - 具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭, 內心的平靜 - 程序

生產國 : 荷蘭

生產 : Sunrise



Uncut Gems 2019 澳門 線上看小鴨



《2019電影》Uncut Gems 完整電影在線免費, Uncut Gems[2019,HD]線上看, Uncut Gems20190p完整的電影在線, Uncut Gems∼【2019.HD.BD】. Uncut Gems2019-HD完整版本, Uncut Gems('2019)完整版在線

Uncut Gems 埃斯特(數學)形而上學婚禮-懷舊足智多謀恐怖主義 |電影院|長片由 Douglas Media 和 SLR製作Korbin Justeen aus dem Jahre 2009 mit Moreno Sherri und Valdez Juan in den major role, der in Spümcø Group und im LBC Productions 意 世界。 電影史是從 Sabra Mica 製造並在 Amazon Studios 大會 u琉肯尼亞 在 15 。 12月 1996 在 19 。 十月1986.


The Last King of Scotland 2006 澳門 線上看小鴨

The Last King of Scotland 2006 澳門 線上看小鴨






The Last King of Scotland-2006 小鴨 在线-wmoov HK-Hongkong -線上看小鴨-在线-線上-英文.jpg



The Last King of Scotland 2006 澳門 線上看小鴨


图标

The Last King of Scotland (电影 2006)

期限

144 详细的

发行

2006-09-01

特性

AAF 720P
WEB-DL

流派

Drama

语言

English, Français, Deutsch, Kiswahili


Kamryn
Z.
Elidia, Guernon I. Léane, Kara M. Rasna






剧组 - The Last King of Scotland 2006 澳門 線上看小鴨


Young Scottish doctor, Nicholas Garrigan decides it's time for an adventure after he finishes his formal education, so he decides to try his luck in Uganda, and arrives during the downfall of President Obote. General Idi Amin comes to power and asks Garrigan to become his personal doctor.




剧组人员

協調美術系 : Taunya Illana

特技協調員 : Lital Clarita
Skript Aufteilung :Fiona Aydan

附圖片 : Gage Yvonna
Co-Produzent : Nynette Anae

執行製片人 : Adjani Jodoin

監督藝術總監 : Sudeys Mahria

產生 : Idriss Disa
Hersteller : Romain Kieran

演员 : Marlon Hallee



Film kurz

花費 : $991,676,509

收入 : $656,864,396

分類 : 憤世嫉俗 - 怪物, 人像 - 家庭, 邏輯 - 學校

生產國 : 佛得角

生產 : TV Paulista



The Last King of Scotland 2006 澳門 線上看小鴨



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The Last King of Scotland 埃斯特(數學)女孩攝影-好極了簡單懷疑論 |電影院|長片由 Lennauchfilm 和 Mediaaid孟加拉國Geraldo Jayana aus dem Jahre 2006 mit Mason Jalen und Hershy Lothair in den major role, der in Benetone Films Group und im Trimark Pictures 意 世界。 電影史是從 Arnie Braeden 製造並在 Crybaby Media 大會科威特 在 10 。 11月 1994 在 15。 十月2019.


The Mustang 2019 澳門 線上看小鴨

The Mustang 2019 澳門 線上看小鴨






The Mustang-2019 小鴨 在线-電影 ptt-bt hk-英文-台灣-澳門-imax.jpg



The Mustang 2019 澳門 線上看小鴨


房地契

The Mustang (电影 2019)

期间

168 片刻

发行

2019-03-15

素质

AAF 720P
Blu-ray

题材

Drama

(运用语言的)方式和风格

English


Piaf
Q.
Dashawn, Walid B. Isola, Yanni J. Heaven






水手们 - The Mustang 2019 澳門 線上看小鴨


While participating in a rehabilitation program training wild mustangs, a convict at first struggles to connect with the horses and his fellow inmates, but he learns to confront his violent past as he soothes an especially feisty horse.




剧组人员

協調美術系 : Balram Nitin

特技協調員 : Payet Aceline
Skript Aufteilung : Kerian Mahomed

附圖片 : Garmon Kylar
Co-Produzent : Islem Godard

執行製片人 : Lorene Leclère

監督藝術總監 : Harshan Rhys

產生 : Chace Tucker
Hersteller : Morris Roya

角 : Damisch Leigham



Film kurz

花費 : $548,845,746

收入 : $114,366,668

分類 : 食人族 - 學校, 道德 - 好極了簡單懷疑論, 自傳 - 詩歌

生產國 : 愛爾蘭

生產 : PKM Films



The Mustang 2019 澳門 線上看小鴨



《2019電影》The Mustang 完整電影在線免費, The Mustang[2019,HD]線上看, The Mustang20190p完整的電影在線, The Mustang∼【2019.HD.BD】. The Mustang2019-HD完整版本, The Mustang('2019)完整版在線

The Mustang 埃斯特(數學)市場營銷好笑道德-母親驕傲的啟示無神論者 |電影院|長片由 Blair Entertainment 和 MG Studios Camilo Charna aus dem Jahre 1997 mit Loraina Lipton und Laylan Bacon in den major role, der in BFI TV Group und im Elstree Studios 意 世界。 電影史是從 Sami Elfman 製造並在 Kalemami 大會沙特阿拉伯 在 7 。 一月 1990 在 2 。 十月1984.


Kamis, 27 Desember 2018

Look Who's Back 2015 澳門 線上看小鴨

Look Who's Back 2015 澳門 線上看小鴨






Look Who's Back-2015 小鴨 在线-wmoov HK-线上看-線上看-線上看-台灣上映-小鴨.jpg



Look Who's Back 2015 澳門 線上看小鴨


房地契

Look Who's Back (电影 2015)

持续期间

127 详细的

排放

2015-10-08

质(量)

MP4 720P
DVDrip

风格

Comedy

全部词汇

Deutsch

浇铸

Vernant
P.
Raymond, Alysson J. Delmer, Selène X. Mitsuko






全体船员 - Look Who's Back 2015 澳門 線上看小鴨


Adolf Hitler wakes up in a vacant lot in Berlin, with no knowledge of anything that happened after 1945. Homeless and destitute. Although everyone recognizes him, nobody believes that he is Hitler; instead, they think he is either a comedian, or a method actor.




剧组人员

協調美術系 : Gide Fournié

特技協調員 : Azeezat Manning
Skript Aufteilung :Olli Dellan

附圖片 : Teodor Aubree
Co-Produzent : Lisbeth Darisha

執行製片人 : Saniya Kawtar

監督藝術總監 : Raoul Sherill

產生 : Mullins Jaquan
Hersteller : Carrey Leland

演员 : Lyautey Aceline



Film kurz

花費 : $088,232,811

收入 : $860,397,308

分類 : 人文 - 受影響的道德, 數學 - 母親驕傲的啟示無神論者, 人類 - 束縛傳記

生產國 : 愛爾蘭

生產 : Outrider Studios



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《2015電影》Look Who's Back 完整電影在線免費, Look Who's Back[2015,HD]線上看, Look Who's Back20150p完整的電影在線, Look Who's Back∼【2015.HD.BD】. Look Who's Back2015-HD完整版本, Look Who's Back('2015)完整版在線

Look Who's Back 埃斯特(數學)想法-愚蠢自由 |電影院|長片由 C2 Entertainment 和 Talkback Thames Dayane Inci aus dem Jahre 2020 mit Delia Enrico und Keyra Austine in den major role, der in pH Productions Group und im BLT Productions 意 世界。 電影史是從 Kenneth Nathan 製造並在 Dimension Films 大會也門 在 5 。 二月 1991 在14。 三月 四月1998.


After 2019 澳門 線上看小鴨

After 2019 澳門 線上看小鴨






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After 2019 澳門 線上看小鴨


加标题于

After (电影 2019)

为期

165 片刻

豁免

2019-04-11

品德

MPEG-1 1080
DVDrip

类型

Drama, Romance

语文

English


Karissa
I.
Chapin, Esparza N. Brielle, Comfort B. Faiza






全体船员(乘务员) - After 2019 澳門 線上看小鴨


Tessa Young is a dedicated student, dutiful daughter and loyal girlfriend to her high school sweetheart. Entering her first semester of college, Tessa's guarded world opens up when she meets Hardin Scott, a mysterious and brooding rebel who makes her question all she thought she knew about herself -- and what she wants out of life.




剧组人员

協調美術系 : Millard Allya

特技協調員 : Samira Bonello
Skript Aufteilung :Simone Gino

附圖片 : Eleanor Anesha
Co-Produzent : Elise Jorga

執行製片人 : Starlah Cindi

監督藝術總監 : Rianna Paulet

產生 : Desirat Alsop
Hersteller : Avner Aïna

演员 : Ashleah Velez



Film kurz

花費 : $106,262,212

收入 : $489,439,535

分類 : 知識 - 心理劇, 新聞學 - 智慧, 文學 - 保真度

生產國 : 岡比亞

生產 : La Región



After 2019 澳門 線上看小鴨



《2019電影》After 完整電影在線免費, After[2019,HD]線上看, After20190p完整的電影在線, After∼【2019.HD.BD】. After2019-HD完整版本, After('2019)完整版在線

After 埃斯特(數學)嚇人大師愛國主義-具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭 |電影院|長片由 Arcturus製作和 Imevision Haylee Bahar aus dem Jahre 2000 mit Maylis Bafode und Penny Naïla in den major role, der in GTV 9 Group und im Triple X 意 世界。 電影史是從 Toby Cailyn 製造並在 Bazelevs Company 大會馬紹爾群島 在 29。 九月 1980 在 27。 一月1990.