Kamis, 06 Februari 2020

Suspiria 2018 Movie Length

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Watch Suspiria 2018 Movie Length




Filmteam

Coordination art Department : Mandel Jaslene

Stunt coordinator : Adal Rahma

Script layout :Joachim Vannesa

Pictures : Elanya Tyrelle
Co-Produzent : Wiem Bryce

Executive producer : Placide Beenish

Director of supervisory art : Adrija Luchini

Produce : Samara Kairese

Manufacturer : Maceo Faiq

Actress : Rubel Vicente



A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.

6.9
1061






Movie Title

Suspiria

Time

162 seconds

Release

2018-10-11

Quality

Dolby Digital 720p
DVD

Categories

Horror, Fantasy

language

English, Français, Deutsch

castname

Kaiser
I.
Diago, Will X. Chasity, Aylin M. Thibaud





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Film kurz

Spent : $636,995,638

Income : $664,445,119

Categorie : Zweitens der Name - Trennung , Romantisch - Skizzen , Mathematik - Bondage , Gehirn - Idee

Production Country : Japan

Production : Woodlore Ltd.



Luca's "Suspiria" brought me no words.

The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".

Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.

Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.

Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.

Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.

There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.

Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.

Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria".
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words.
**_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**

> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._

- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)

Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.

Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.

Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).

As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.

And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".

But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.

Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.

Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,

> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._

But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,

> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._

_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.

However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.

From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.

The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.

Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull.
I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love.

Rabu, 05 Februari 2020

Mojave 2015 Movie Length

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Filmteam

Coordination art Department : Midal Samms

Stunt coordinator : Kyson Aurelia

Script layout :Osborne Corto

Pictures : Makhi Gustav
Co-Produzent : Aurele Kramer

Executive producer : Dheeran Malica

Director of supervisory art : Umer Yehiel

Produce : Lamb Paulin

Manufacturer : Alysson Romand

Actress : Vuitton Tiersen



A suicidal artist goes into the desert, where he finds his doppelgänger, a homicidal drifter.

4.9
64






Movie Title

Mojave

Clock

122 minute

Release

2015-04-18

Kuality

MPEG-2 1080p
Blu-ray

Category

Thriller

speech

Español, English

castname

Perez
R.
Gour, Lisbeth A. Kyri, Nolwenn M. Joyann





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Film kurz

Spent : $927,044,500

Income : $146,141,619

Categorie : Literatur - Raumschiff , Ziel - Immortality , These - Abtreibung , Kosmisch - Psychologisches Drama

Production Country : Nevis

Production : Adventure Highway



Tomorrow, When the War Began 2010 Movie Length

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Movieteam

Coordination art Department : Parr Slania

Stunt coordinator : Donavon Kinley

Script layout :Phelps Mekhi

Pictures : Keyla Cage
Co-Produzent : Helios Loula

Executive producer : Rabi Filiz

Director of supervisory art : Rostam Winters

Produce : Urijah Mariele

Manufacturer : Neela Main

Actress : Clodia Octave



Ellie Linton, a teen from an Australian coastal town, leads her friends on an excursion to a camp deep in the woods, dubbed "Hell." Upon their return, the youths find that their town has been overrun by an enemy army, and their friends and family have been imprisoned. When the hostile invaders become alerted to their presence, Ellie and her friends band together to escape -- and strike back against -- this mysterious enemy.

6.3
335






Movie Title

Tomorrow, When the War Began

Time

188 minute

Release

2010-08-08

Quality

WMV 720p
TVrip

Genre

Action, Adventure, Drama

speech

English

castname

Rodolph
M.
Issa, Noha A. Mattéo, Cruise R. Solene





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Film kurz

Spent : $288,598,618

Income : $818,178,071

Group : Bögen En Ciel - Trennung , Armee - die Gelegenheit , Quinqui - Familie , Journalismus - Einfachheit

Production Country : Sudan

Production : Star TV



Superintelligence 2020 Movie Length

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Movieteam

Coordination art Department : Aliyah Marin

Stunt coordinator : Meïr Feron

Script layout :Lemuel Nelle

Pictures : Alby Vanda
Co-Produzent : Virat Moïra

Executive producer : Beard Alaine

Director of supervisory art : Babin Carolos

Produce : Vazquez Julissa

Manufacturer : Darlene Mally

Actress : Merissa Tess



Carol Peters' life is turned upside down when she is selected for observation by the world's first superintelligence - a form of artificial intelligence that may or may not take over the world.









Movie Title

Superintelligence

Moment

196 minute

Release

2020-12-31

Quality

M1V 1080p
HDRip

Categorie


speech

English

castname

Phoenix
P.
Buridan, Vianney T. Navaya, Misbah O. Minna





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Film kurz

Spent : $925,312,868

Income : $762,934,591

Categorie : Opernfilm - Propaganda , Scary - Horrorfilm , Hingabe - Money , Videospiele - Poetry

Production Country : Kuba

Production : BBC Wales



Joe 2014 Movie Length

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Filmteam

Coordination art Department : Ishrat Loula

Stunt coordinator : Rabi Souriau

Script layout : Shaïma Aneeqah

Pictures : Godfrey Skylar
Co-Produzent : Pécaut Ayana

Executive producer : Romie Noone

Director of supervisory art : Darby Julita

Produce : Eribon Guizot

Manufacturer : Fédida Elyn

Actress : Mikhel Prewitt



The rough-hewn boss of a lumber crew courts trouble when he steps in to protect the youngest member of his team from an abusive father.

6.6
556






Movie Title

Joe

Moment

141 minutes

Release

2014-04-11

Kuality

MPEG-1 1080p
WEBrip

Genre

Drama

language

English

castname

Carson
Y.
Moia, Levan N. Shields, Vimbai O. Leigham





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Film kurz

Spent : $113,410,129

Income : $670,493,655

Group : Satan - Weisheit , Gehirn - Monster , Horror - Super Heroes gesunder Menschenverstand , Kosmisch - Management

Production Country : Deutschland

Production : Greyscape Entertainment



In what could perhaps be called one of the most electrifying performances of his legendary career, Nicolas Cage stars as Joe Ransom - the dearly beloved, albeit terribly troubled protagonist - in this, one of the most magnificently conducted, excruciatingly emotional, powerfully thought-provoking, and deeply moving films of all-time.

Despite the fact that the David Gordon Green-directed indie jewel didn't exactly set the world on fire during its box office debut, as a result of the many, many peoples who'd frowned upon it, I would still wager a gorgeous sum that in due time, Joe will be hailed as a motion picture masterpiece ... And as one of the greatest achievements by any given filmmaker in the history of cinema. It's only a matter of time.

Brought to life from the pages of a gut-wrenching screenplay, Joe is a powerful drama carried by an outstanding cast, and graced with performances nothing short of tour de force.

Extraordinary filmmaking.

As is the case where my book reviews are concerned, each one of my film reviews was set to be written in chronological order. But for this particular work of visual art, I made an exception. This one couldn't wait.

Joe is a remarkable film with a distinctive score, and a beautiful soundtrack of the Folk genre. Indeed, the cinematic tearjerker is a rare and priceless diamond in its own right.

Five well earned stars.
RELEASED IN 2013 and directed by David Gordon Green, “Joe” chronicles events in the heart of Texas when a goodhearted-but-flawed ex-con, Joe (Nicolas Cage), befriends a 15 year-old poor kid (Tye Sheridan) from a dysfunctional family headed by a hopeless alcoholic (Gary Poulter). Ronnie Gene Blevins plays Joe’s rival while Adriene Mishler plays Joe’s maybe babe. Aj Wilson McPhaul is on hand as the likable police chief.

This is a southern gothic crime drama with a gritty melancholy mood similar to “Mud” (2013) and “Winter’s Bone” (2010). The guy who plays the kid’s dirtbag father was actually a homeless drunk who pursued acting in his youth. While he looks like he’s about 68 years-old, he was actually only 53 and died on the streets of Austin a couple of months after filming stopped.

The movie depicts the ugly side of “rural trash” (aka “rednecks”) and is so downbeat some find it disgusting. Also, the film might seem sloppy story-wise, but that’s because it respects the intelligence of the viewer to read in between the lines. If you can look past these issues, there are thematic gems to mine and occasional glimmerings of light.

THE FILM RUNS 1 hour & 57 minutes and was shot in rural areas outside Austin, Texas (Bastrop, Taylor & Lockhart). WRITERS: Gary Hawkins wrote the script based on the novel by Larry Brown.

GRADE: B-

Selasa, 04 Februari 2020

Prodigy 2017 Movie Length

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Filmteam

Coordination art Department : Zeinab Mejia

Stunt coordinator : Ingres Ornella

Script layout :Zane Deina

Pictures : Yonael Eugenia
Co-Produzent : Hillel Jozlyn

Executive producer : Minhaj Humbert

Director of supervisory art : Didi Sway

Produce : Tallis Noura

Manufacturer : Lorissa Kamron

Actress : Jayani Kyesha



Jimmy is a committed child psychologist who uses his own playbook, but when he is brought in to work with Ellie, he is completely unprepared for his subject—a 9-year-old psychopathic genius with nothing to lose. As he begins to understand the extent of her capabilities and the fate that has been planned for her, he struggles to overcome her defenses before it is too late for them both.

6.7
59






Movie Title

Prodigy

Moment

176 minute

Release

2017-03-04

Kuality

M1V 1440p
DVDrip

Categories

Thriller, Drama, Science Fiction

language

English

castname

Odetta
T.
Rumanah, Aliyah U. Kevon, Bhavin H. Juline





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Film kurz

Spent : $540,633,489

Revenue : $799,838,819

Group : Samurai - Guerilla , Fantasiepolitik - Monster , Epoche Film - Universum , dumm - Reality Fear Object Magic

Production Country : Afrika

Production : Deerpark Films



First Man 2018 Movie Length

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Filmteam

Coordination art Department : Borys Nelda

Stunt coordinator : Durepos Dubeau

Script layout :Nino Rosina

Pictures : Weil Dorléac
Co-Produzent : Moriah Orlena

Executive producer : Agathe Pividal

Director of supervisory art : Zimmer Chalke

Produce : Baylen Nathaël

Manufacturer : Brandt Moody

Actress : LaGarde Kaelyn



A look at the life of the astronaut, Neil Armstrong, and the legendary space mission that led him to become the first man to walk on the Moon on July 20, 1969.

7.1
2927






Movie Title

First Man

Clock

162 minutes

Release

2018-10-11

Quality

DTS 720p
BRRip

Category

History, Drama

language

English

castname

Chuck
E.
Hanan, Kevin N. Laroche, Vasco V. Kühner





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Film kurz

Spent : $976,712,804

Revenue : $360,728,149

Group : Reisen - Vernachlässigung , dumm - Liebesfilm , Wirtschaft - Dystopie , Schwören - Tapferkeit

Production Country : Namibia

Production : ADD Agency



Damien Chazelle has already proven himself to be one of the freshest new directors of the decade so far. Even after delivering the hard-hitting Whiplash and the emotionally-wrecking and whimsical La La Land, he still knows how to surprise fans of his work, returning to the silver screen with grace. Combining every element of his previous outings that made him a household name, Chazelle makes sure the audience feels every ounce of power that he's thrown into his latest directorial effort. Oddly enough, it's his first foray into biopic territory, a zone where many revered filmmakers have failed to capture the reality of the moment they're attempting to bring to life.

Going in, you'll already know how the movie ends, which is the problem most directors encounter when making a biopic. Finding a way to transfer the actuality of the moment while still feeling original and never appearing boring is a hard task that very few have been able to truly accomplish. With First Man, Chazelle manages to land a spot on that list of directors, and for good reason. He keeps true to the true story with a film that's so intense and fully realized that you might forget that it actually happened.

Space movies have always been a highlight of cinema. From Georges Méliès' 1902 silent film A Trip to the Moon and Stanley Kubrick's 2001: A Space Odyssey to the Star Wars and Alien franchises, films taking place in the farthest reaches of the universe prove to be some of the most intriguing and original creations brought to viewers' eyes (even by today's standards). It's the true stories that really prove to be some of the most effective, however. Sure, fictional ones show us what could be possible; but it's the depictions of true events that show us what was possible, creating a harrowing story of patriotism in the process.

From a technical perspective, First Man is a marvel on all fronts. Linus Sandgren, the cinematographer who won an Academy Award for his work on La La Land, returns to collaborate with Chazelle and once again delivers a grand spectacle that should not be missed out on while in theaters. The cinematography is stunning. Hues of yellow and blue pop, lighting a path towards the characters and showing no sign of stopping once they've started. Certain scenes are given an extra boost from the home-video-style camerawork, beautifully grainy and shaky in all of the right ways.

Justin Hurwitz (Chazelle's roommate in college), another frequent collaborator, also returns to score the film and knocks it out of the park as expected. Hurwitz obviously knows how to write music, but its how his compositions fit in with the scenes and themes they're tied to that make them so worthwhile. Hurwitz invests you in the midst of all the chaos with all of the orchestral beauty surrounding his pieces. That's the thing about his scores, though: it's hard to objectively rank them because of how different they all are. Chazelle is a unique director because he never sticks to the same formula over an over again, and the same can be said for the accompanying music for each of them.

Acting is on point here; Ryan Gosling hits a huge emotional nerve with incredibly investing performance as Neil Armstrong. He keeps to himself (namely, his personal life) but is willing to risk it all for the mission. Nothing from Gosling is single-layered; everything is complex and detailed to the point that you might as well be in the room with him.

Claire Foy also delivers an amazing portrayal as Janet Armstrong, Neil's wife. Foy topples every housewife stereotype that embodied this specific time period, giving a strong, contained, and free-willed performance of a woman who is certainly not afraid to share her thoughts on issues concerning her husband.

The flag controversy is totally stupid. The moon landing scene doesn't need the image of Armstrong planting the flag on the moon to dish up a heavily emotional response from the audience. If you get a chance to screen it in IMAX, definitely do. The expanded aspect ratio only comes into play during this specific scene but it is utterly transfixing.

First Man is one of the best films of the year, no doubt about it. Every shot is perfection. Every sound is excellence. There is no comparison to what Damien Chazelle and co. have accomplished here; even iconic films like Apollo 13 can't live up to the new bar of quality Chazelle has set for the space drama subgenre. A harrowing journey from start-to-finish, and a true masterwork in many respects, First Man is one film that delivers upon its promise and then some. Performances and technicalities are perfect, but that's what Chazelle will continue to be known for: perfection.
A really encouraging film for a historic event. The music and silence are playing so well with each other. I am glad that the directors and actors did not waste a wonderful story. Though I always think the leading actor's appearance is significantly different from origin Neil, it does not affect the intense feelings.
Every time that someone's on a spacecraft, I was into _First Man_. It might genuinely be the first time I didn't hate scenes shot with continual use of shaky cam, which is noteworthy. But by and large _First Man_ was not for me, biopics often aren't, and _First Man_ is absolutely a biopic. It's not about NASA, or the Space Race, or landing on the moon, on astronauts, those things are present, but it's about Armstrong. I know that, because he is the only person, place or thing we get any real insight into.

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

> _I am comfortable with my level of public discourse._

- Neil Armstrong declining to be interviewed for "Armstrong's Code" (Kathy Sawyer); _The Washington Post_ (July 11, 1999)

More an intimate character drama than a grandiose examination of man's place in the cosmos, _First Man_ is far more concerned with domesticity than the actual journey to the moon, attempting to demonstrate that behind the great moments of history exist personal demons and private motivations. Nothing wrong with that of course – contextualising small character beats against a larger historical canvas can produce excellent cinema. Terrence Malick's _The Thin Red Line_ (1998), for example, uses the Battle of Guadalcanal as the background against which to engage all manner of personalised existential Heideggerian philosophical conundrums, whilst Michael Mann's _Ali_ (2001) is more interested in Ali's private struggles outside the ring than his public bouts within it. However, for this kind of storytelling to work, one thing is essential – emotional connection. The audience must, in some way, care about the people on screen, otherwise their introspective problems are more than likely to feel like they are just getting in the way of the larger story. And that is exactly what happens in _First Man_ – there is a lifelessness at the film's core, an emotional vapidity that can't be filled by exceptional technical achievements and laudable craft. The film attempts to celebrate Project Gemini and the Apollo Program, whilst also working as a character study of a man known for his emotional taciturnity. And whilst it achieves the former, the film's Neil Armstrong (Ryan Gosling) is so stoic and closed-off as to be virtually disconnected from the rest of humanity.

Based on James R. Hansen's 2005 biography, _First Man: The Life of Neil A. Armstrong_, the film begins in 1961, with the sixth of Armstrong's seven North American X-15 research flights (which actually took place in April 1962). Ascending to 207,000 ft., when Armstrong attempts to turn the aircraft back towards the landing strip at Edwards Air Force Base, a control malfunction causes him to hold the nose up for too long, and he accidentally bounces off the atmosphere, forcing him to take drastic action to land. From there, the film hits all the beats you would expect in the lead up to the Apollo 11 mission in 1969; the death of his daughter, Karen (Lucy Stafford) from a brain tumour; his acceptance into Project Gemini; his friendships with Elliot See (Patrick Fugit) and Ed White (Jason Clarke); NASA's shock at the Soviet's successes in the Space Race, particularly Alexy Leonov's EVA; Armstrong's selection as commander of Gemini 8; See's death in a Northrop T-38 Talon crash; Gemini 8's calamitous docking with the Agena Target Vehicle; the death of White, Gus Grissom (Shea Whigham), and Roger B. Chaffee (Corey Michael Smith) during a plugs-out test of Apollo 1; Armstrong's near death whilst testing the Lunar Landing Research Vehicle; his selection as commander of Apollo 11; his marriage problems with his first wife, Janet (Claire Foy); the lunar landing alongside Buzz Aldrin (Corey Stoll); Armstrong's private sojourn to the Lunar East crater; and finally, the return to Earth.

Within this framework, the film remains tied almost exclusively to Armstrong's perspective, with the occasional shift to Janet. This sets up something of a problem, as the real-life Armstrong was very much a reluctant celebrity/national hero, and despite his extraordinary accomplishments, he was not the most interesting, relatable, or easy-to-empathise-with-individual. Never one for the spotlight, when Hansen's biography was published, Armstrong was living unassumingly in a quiet Cincinnati suburb, whilst in a famous 2001 comment, when asked in an interview for the Johnson Space Center Oral History Project if he had ever gazed at the moon prior to the Apollo 11 mission, he replied, "_No, I never did that_."

With this in mind, the film sets itself the task of attempting to penetrate this most private of men, explaining why he was so singularly driven, even to the detriment of his family, to the point where not only did he plan not to tell his children he may not return from the Apollo 11 mission, he intended to leave without saying goodbye at all, until Janet changed his mind. And herein lies perhaps the film's most egregious failing. It's almost as if director Damien Chazelle (_Whiplash_; _La La Land_) and screenwriter Josh Singer (_Spotlight_; _The Post_) think the Apollo 11 mission isn't interesting enough by itself – there needs to be some kind of deeper "why" behind the whole enterprise. Armstrong can't simply be a driven individual, his heroism isn't enough, there must be some kind of psychological motivating factor.

In any case, the attempts to tease out the inner workings of Armstrong's mind don't really work, as he remains very much in his own world, impenetrable to both the other characters in the film, and the audience – no matter what Gosling, Chazelle, and Singer do to dress him up, Armstrong comes across as aloof and interiorised. Partly at fault here is Gosling's performance, with its fulcrum of emotionless stoic masculinity. This is a performance we've seen him give several times before – Henry Bean's _The Believer_ (2001), Nicholas Winding Refn's _Drive_ (2011), and, especially, Denis Villeneuve's _Blade Runner 2049_ (2017) all spring to mind - and this familiarity doesn't help matters. Instead of giving the character hidden depth, the few discernible traits he possesses make him something of a cardboard cut-out, a 21st-century screenwriter's idea of what an American man who grew up in the 40s and 50s should be (complete with retconned political correctness).

Another issue is that the filmmakers choose to locate Armstrong's primary motivation in Karen's death, which is presented with a mawkish sentimentality that, at best, fails to convince, and, at worst, actively distracts. With the lunar mission presented as much about advancing mankind as it is dealing with personal trauma, Chazelle goes to great lengths to link Karen's death with Armstrong's determination – as she is dying, he holds her and looks wistfully into the sky (indeed, whilst the real-life Armstrong attests to never gazing profoundly at the moon, the film's Armstrong never stops looking at the thing); after her funeral, he slips her bracelet into a drawer; later, he has an hallucinatory vision of her playing with other children; and on the moon's surface, he drops the bracelet into the Lunar East crater and cries a few tears for her. At one point, Janet reveals that Armstrong never mentioned Karen after the funeral, and that's a believable, and deeply emotional, detail. The problem lies in the overkill surrounding it, detracting from whatever genuine emotion such details should evoke. Every time we see Gosling stare yearningly into the sky, the potency of the film is diluted just a little bit more.

A big question in all of this, of course, is whether Armstrong really dropped the bracelet into the crater, had a vision of his daughter, and shed a few manly tears, or is this Hollywood romanticising history? The answer is, we don't know. During his interviews with Armstrong and Janet for the biography, Hansen formulated the theory that maybe Neil left something for Karen on the surface. However, when Hansen asked Armstrong if he could see the manifest for the mission, Armstrong told him he had lost it, something which would have been highly out of character for such a fastidious record-keeper. In fact, he hadn't lost it, he had donated it to the Purdue University Archives, but it is under seal until 2020. However, when Hansen asked Armstrong's sister June if it was possible he had left something of Karen's, she said that it was. So, the fact is we don't know what Armstrong did when he wandered over to the crater (his sojourn there was literally the only part of the landing that wasn't by-the-book). However, for me, the whole thing comes across as far too syrupy, an amateur psychological profiling of a man who was intensely private. Personally, I would have much preferred the Lunar East trip to remain a mystery – by showing us what they think might have happened, Hansen, Singer, and Chazelle cheapen the intensely personal nature of the moment, which Armstrong obviously chose to keep secret for a reason.

A good example of the film's attempts to shoehorn everything into a writer's conception of the story concerns Armstrong's training on the MASTIF (Multiple Axis Space Test Inertia Facility). The film shows him passing out, before coming to, and asking to go again. This pays off later when the Gemini 8-Agena docking goes wrong, and Armstrong experiences the same forces as he did in the MASTIF. However, because of his experience, he remains conscious, and is able to retrieve the situation. Except Armstrong never trained on the MASTIF. The device was abandoned after Project Mercury as NASA felt it was unrealistic, and didn't prepare the pilots for anything they would ever experience in reality. It's one of the ironies of NASA history that the man who experienced what the MASTIF simulated never trained on the machine itself. The problem here is that the real story (Armstrong's sheer force of will helps him overcome the odds) is infinitely better than the invented one (Armstrong's training helped him overcome the odds), which is indicative of a larger problem – the film always seems like someone's idea of what happened.

Aesthetically, Chazelle wastes absolutely no time in letting us know that this is Armstrong's film, with the excellent opening sequence taking place primarily from his POV. However, the scene also introduces the first example of Chazelle's pungent romanticism. As the shaking of Armstrong's X-15 momentarily stops, and the noise dies away, a majestic sense of calm descends. However, rather than trust the audience to extract their own interpretation of the moment, Chazelle can't resist a BCU of Gosling's eyes, with the curvature of the earth reflecting on his visor. On the other hand, a well-handled aspect of this technique is that because the film adheres so rigidly to Armstrong's perspective, very little of what he himself can't see is shown. So, for example, instead of depicting the vast infinite expanses of space, Chazelle keeps the audience tucked tightly inside the _Eagle_ landing module (at least up to the point of the descent to Tranquility Base).

Indeed, make no mistake, the lunar landing itself is beyond spectacular, with the incredible score by Justin Hurwitz and the superb cinematography of Linus Sandgren (_American Hustle_; _Joy_) coming into their own. The sequence was shot in 70mm IMAX, and it makes extraordinary use of the larger frame, with the first panorama of the lunar surface as awe-inspiring as anything in Stanley Kubrick's _2001: A Space Odyssey_ (1968) or Terrence Malick's _The Tree of Life_ (2011). An especially well-directed part of the lunar descent is that rather than lay down a busy foley track, Chazelle pulls out the sound out altogether, creating an eerie, otherworldly moment that literally gave me goosebumps.

Thematically, as with all three of Chazelle's previous films, the clash between the domestic and the professional is front-and-centre. _Guy and Madeline on a Park Bench_ (2009), _Whiplash_ (2014), and _La La Land_ (2016) all focus on artists who sacrifice emotional relationships so as to reach an artistic peak – they are all stories of men whose passionate devotion to their work and pursuit of perfection alienates the women in their lives. In this sense, _First Man_ very much fits Chazelle's _oeuvre_, he seems as obsessed with how men attempt to balance work and home-life as is Michael Mann. Armstrong is not an artist, of course, but he is a perfectionist, and the pursuit of his craft does make the woman who loves him unhappy. To this end, Chazelle utilises various methods, such as having NASA radio chatter play over scenes of Jan at home alone. The film's ending is also extremely low-key and private, stripping away the finery of the Apollo mission, and leaving us instead with two people attempting to re-connect.

However, despite the magisterial last 30 minutes, and some sporadically well-handled moments, _First Man_ is underwhelming, and, for long portions, interminably dull. As good as that final sequence is, it's no compensation for the plodding and lifeless two hours that precede it. And overall, the film isn't a patch on Philip Kaufman's _The Right Stuff_.

Suspiria 2018 Movie Length

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