Kamis, 31 Mei 2018

Ad Astra 2019 4k uhd - fmovies

Ad Astra 2019 4k uhd - fmovies









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Ad Astra 2019 4k uhd - fmovies




Movieteam

Coordination art Department : Richa Elle

Stunt coordinator : Ameleah Qadeer

Script layout :Iveta Elita

Pictures : Laken Riel
Co-Produzent : Karlene Nazifa

Executive producer : Halette Giana

Director of supervisory art : Abigaïl Eboni

Produce : Ceire Cloey

Manufacturer : Angla García

Actress : Ismet Berthe



The near future, a time when both hope and hardships drive humanity to look to the stars and beyond. While a mysterious phenomenon menaces to destroy life on planet Earth, astronaut Roy McBride undertakes a mission across the immensity of space and its many perils to uncover the truth about a lost expedition that decades before boldly faced emptiness and silence in search of the unknown.

6
1536






Movie Title

Ad Astra

Time

143 minute

Release

2019-09-17

Quality

Dolby Digital 1080p
DVD

Categorie

Science Fiction, Drama, Thriller, Adventure, Mystery

language

English, Norsk

castname

Zayn
U.
Genny, Aleasha X. Corman, Adriane V. Aryo





Ad Astra 2019 4k uhd - fmovies



Film kurz

Spent : $905,434,364

Income : $718,001,944

category : Maritimes Drama - epidiktisch , Show - die Gelegenheit , Postapokalyptisch - Benzin , Erotik - Abtreibung

Production Country : Bahamas

Production : Tribune



‘Ad Astra’ is about as art house as Hollywood cinema gets; disguising a metaphysical drama as an action-packed sci-fi adventure is a clever move for James Gray. While not perfect, it’s consistently entertaining whilst offering an introspective investigation on how parents influence their children. While a journey to the outer realms of our solar system, ‘Ad Astra’ is also an exploration of the human heart.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-ad-astra-a-luscious-and-meticulous-space-drama
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

I love sci-fi space movies, especially when these depict the cosmos in such a visually stunning manner as Ad Astra does. It’s one of those films where the visuals elevate whatever narrative is being told. If you don’t get goosebumps or get excited with the opening sequence of this movie, then it might not be the film you’re looking for. From the quiet but powerful sound design to the impressive cinematography, James Gray delivers a visually captivating story with an outstanding protagonist. Brad Pitt is definitely getting tons of nominations this awards season (let’s not forget his amazing role in Once Upon a Time in Hollywood).

His subtle yet incredibly emotional performance shows an astonishing range. He carries the whole screenplay in his shoulders, and I don’t mind that at all. There’s a lot of narration, and here’s where I transition to the most divisive aspect of the movie: it’s a slow-burn. Now, there’s no problem with a film being deliberately slow. In fact, some of my favorite movies of all-time aren’t fast-paced. They cherish their story and make the audience feel interested in what they’re experiencing. Ad Astra isn’t an action flick or a comedy, it’s a character-driven drama, so most of the runtime is devoted to developing Roy.

That said, don’t go in with expectations of feeling entertained all the time. Some moments aren’t supposed to excite you or leave you jaw-dropped. Some sequences are just meant to make you feel immersed by the environment, be lost in space (IMAX is the mandatory way of watching this feature). Don’t expect the film to make an 80-day trip to some planet end in two cuts and 20 seconds. Gray purposefully establishes a slow pace. Obviously, general audiences don’t usually enjoy this type of flicks, but if you’re able to manage your expectations realistically, you’re one step closer to not feel bored throughout the runtime.

The first act is the one that captures everyone’s attention. It doesn’t waste time on Earth, it goes through what’s happening pretty quickly, and it possesses 90% of the heavy action (including one of the best opening sequences of the year). Sound has a significant impact on how Gray films his sequences, and it’s unbelievable how well-shot the chasing scenes on the Moon are. Scientifically speaking, this is no Interstellar where you simply have to accept some mind-blowing yet unjustified stuff. Ad Astra doesn’t have a single scene where one might think “this completely takes me out of the movie, I can’t accept that this is possible in some fictional future”. This is a huge compliment to a space film containing several launches, lunar bases, and (very) long space journeys.

However, the remaining two acts focus intensely on Pitt’s character, slowing down the main plot. Like I wrote above, there’s a lot of development through Roy’s thoughts. Extensive narration is almost always an issue, even when the narrator is Brad Pitt. Some monologues do indeed develop the character or explain what he’s feeling, but some tend to fall into the philosophical side that doesn’t always carry a meaningful or interesting message. Using everyday language, sometimes it’s a bit boring… Additionally, the ending might be a letdown for a lot of people. Tommy Lee Jones (H. Clifford McBride) doesn’t have a lot of screentime, and I can’t really delve into details about his storyline, but his character’s relationship with Roy doesn’t exactly serve as a fantastic payoff.

Max Richter’s score is one of 2019’s best, and I hope it gets recognized by every award show. It definitely helps the experience to be more enthralling. The lack of sound in space is also powerful in its own way. Beautifully-edited, but with a continuously slow pace that doesn’t change from the moment the second act begins. However, the story of Ad Astra is vastly superior to, for example, Gray’s The Lost City of Z, which I genuinely disliked. This space adventure is visually more exciting, its story is more engaging, and its protagonist is more compelling than everything else in Gray’s previous installment. Finally, it’s one of those movies that watching at a film theater (mainly IMAX) or at home, makes a massive difference. You’ll never feel as entertained or captivated at home, so make sure to check this one at the best possible screen near you.

All in all, Ad Astra is yet another display case for Brad Pitt’s chances at winning an Oscar. With a subtle yet powerful performance, Pitt carries the whole story to safe harbor with tremendous help from the eyegasmic visuals. Technically, it’s one of 2019’s closest movies to being perfect. Very well-shot, well-edited, with an immersive score, and gorgeous cinematography. However, it’s a slow-burn that doesn’t always work as such. Narration is the go-to method to develop Pitt’s character, and while it works most of the time, it slows down the main plot, becoming a tad boring during a few moments. The ending isn’t the impactful payoff that the film needed, and the incredible supporting cast is under-utilized. In the end, it’s still a great movie and one that should be seen at the biggest and best screen possible, so go see it for yourself!

Rating: B+
**_Despite some utterly absurd diversions (chase scene! horror scene! shoot-out scene!), this is a quality science-fiction narrative, suggesting the answers we seek in the stars are actually found within_**

>_macte nova virtute, puer, sic itur ad astra,
dis genite et geniture deos._

- Publius Vergilius Maro; _Aeneis_ (29-19 BC)

>_N = R∗ · fp · ne · fl · fi · fc · L_

>_where:_

>_N = The number of civilisations in the Milky Way whose electromagnetic emissions are detectable (i.e. which are on our current past light cone)._

>_R∗ = The average rate of the formation of stars._

>_fp = The fraction of stars with planetary systems._

>_ne = The average number of planets, per star with planetary systems, with an environment suitable for life._

>_fl = The fraction of planets with an environment suitable for life on which life actually appears._

>_fi = The fraction of planets on which life actually appears on which intelligent life emerges._

>_fc = The fraction of planets on which intelligent life emerges that develop a technology capable of releasing detectable signs of their existence into space._

>_L = The length of time such intelligent life release detectable signals into space._

- The Drake Equation; Frank Drake (1961)

>In Drake's original hypothesis, the proposed values were:

>R∗ = 1 yr−1 (1 star formed per year, a very conservative estimate)

>fp = 0.2 to 0.5 (one fifth to one half of all stars formed will have planetary systems)

>ne = 1 to 5 (stars with planetary systems will have between 1 and 5 planets with an environment suitable for life)

>fl = 1 (100% of planets with an environment suitable for life will develop life)

>fi = 1 (100% of planets which develop life will develop intelligent life)

>fc = 0.1 to 0.2 (one tenth to one fifth of planets which develop intelligent life will develop life capable of releasing detectable signs of their existence into space)

>L = 1,000 to 100,000,000 years

>This gives N as a range between 20 and 50,000,000, although Drake asserted that, given the uncertainties involved, the more likely range was that N ≈ L, hence there are between 1,000 and 100,000,000 intelligent civilisations in the Milky Way with whom communication should be possible.

>_We're searching for intelligent life-forms that have also evolved conscious self-awareness. We're searching for conscious, intelligent life-forms that have both the available resources and the need to manipulate raw materials into tools. We're searching for intelligent, conscious, tool-making beings that have developed a language we're capable of understanding. We're searching for intelligent conscious, tool-making, communicative beings that live in social groups (so they can reap the benefits of civilization) and that develop the tools of science and mathematics._

>_We're searching for ourselves..._

- Stephen Webb; _If the Universe Is Teeming with Aliens … Where Is Everybody?: Fifty Solutions to the Fermi Paradox and the Problem of Extraterrestrial Life_ (2002)

A short while ago, Pella Kågerman and Hugo Lilja's mesmerising _Aniara_ (2018) pondered the insignificance of mankind when considered against the infinity of space and time. An esoteric science-fiction film in the tradition of Stanley Kubrick's _2001: A Space Odyssey_ (1968) and Andrei Tarkovsky's _Solyaris_ (1972), it attempted, amongst other things, to convey the sense of near-inconceivable vastness that must be attendant to any self-respecting pseudo-realist discussion of the universe, and to convey the psychological ramifications of what it must feel like to be lost in such a vastness. This is the lineage into which _Ad Astra_ wishes to step, but for me, it has more in common with Danny Boyle's excellent _Sunshine_ (2007) and Christoper Nolan's enjoyable but flawed _Interstellar_ (2014); irrespective of its themes and tropes, it remains fundamentally a mainstream Hollywood movie. And whilst such a status can certainly hold advantages for a filmmaker (primarily in terms of budget and casting), so too are there major pitfalls in having to toe the line of commerciality and cater to demands for crowd-pleasing material, demands which often don't jibe with esoteric content. In the case of _Sunshine_, this took the form of a relatively sudden genre shift into horror that Boyle doesn't fully pull off, and in the case of _Interstellar_, it's an unnecessary third-act twist that's (paradoxically) as predictable as it is nonsensical. And so we have _Ad Astra_, where it's in the form of an overly convenient resolution and some of the most ludicrous narrative diversions I've seen since the sojourn to Canto Bight in the Rian Johnson abomination that was _Star Wars: The Last Jedi_ (2017), diversions which seem to belong in a different film entirely, so tonally unrelated are they to the more existential material surrounding them (space pirates! enraged simians! knife-fight/shoot-out!). Which is not to say, for one second, that I disliked the film – I didn't; even if the narrative never manages to get beyond the "_Heart of Darkness_ in space" template and the script relies far, far too heavily on a sub-Terrence Malick voiceover. The craft on display is exceptional and the story is thought-provoking and generally entertaining, with a terrific central performance, and some spectacular visuals (especially in the IMAX format). But it all could have been so much better.

Set at an unspecified point in the near future (an opening legend informs us, rather generically, that it's "_a time of hope and conflict_"), space travel has become routine, with the moon not unlike any major city on Earth, although there are territorial disputes and marauding pirates are a constant threat. Mars too has been colonised, although it's not yet open to the public. As the film begins, we meet SpaceCom's Maj. Roy McBride (Brad Pitt), who is working on repairs to the International Space Antenna – a massive communications array that juts miles into the sky from the surface of the Earth. When a huge explosion causes him to fall from the antenna, he remains unnaturally calm as he plummets to Earth, and is able to land relatively unscathed. In a debriefing, he's told the explosion was just one result of a series of energy surges that originated near Neptune and which have left much of Earth and the moon without power. 29 years previously, Roy's father, H. Clifford McBride (Tommy Lee Jones), left Earth as the leader of the Lima Project, a mission aimed at establishing contact with whatever alien civilisations may be elsewhere in the galaxy. Needing to get far enough from the Sun's solar interference to send out adequate communications, the Lima team travelled to the same region near Neptune from which the surges are now emanating. However, 16 years into the mission, all contact was lost. SpaceCom presumed the crew dead, but now they fear that Clifford may be behind the surges, and with an antimatter power core at his disposal, if he has become unhinged, he could create a chain reaction that would eradicate all life in the galaxy (it's best not to dwell too much on the script's fundamental misrepresentation of how matter and antimatter interact). However, all attempts at communication have failed, and so Roy's highly classified mission is simple – travel to a secure long-range communications base on Mars and record a (prewritten) message for Clifford in the hopes he might respond. And, of course, it's no spoiler to say that the mission doesn't exactly go smoothly.

_Ad Astra_, which is written by James Gray and Ethan Gross, and directed by Gray (_The Yards_; _We Own the Night_; _The Immigrant_; _The Lost City of Z_), wastes no time in tying us rigidly to Roy's perspective; it opens with a POV shot from inside his helmet, and the first words we hear are him speaking in voiceover. This sets up the narrative to come, as Roy remains the sole focaliser throughout – we see and hear what he sees and hears, we know what he knows, we learn things as he learns then, and we never experience anything with which he is not directly involved. Such rigid focalisation can lend itself to some very subtle moments. For example, as Roy thinks back to a time before his marriage broke up, there is a shot of him sitting on a bed in a darkened room. Barely visible behind him, lying down, is his then-wife Eve (a thankless and largely wordless performance by a blink-and-you-miss-her Liv Tyler). As the camera moves in on him, Eve fades out of the image – she disappears without him noticing, which sounds like it should be horribly on the nose, but because it's dark, because she was out of focus to begin with, and because by the time she disappears, Roy has come to occupy almost the entire frame, it makes the moment easy to miss, and rather poignant – he quite literally doesn't notice his wife phasing herself out of his life because of his obsession with his career (his focus on work is something he shares with Percy Fawcett (Charlie Hunnam) in Gray's masterpiece, the criminally overlooked _Lost City of Z_, although to be fair to Fawcett, Roy's single-mindedness at the expense of all else makes Fawcett look like husband-of-the-year material).

The fact that the film is set amongst the stars, but remains always tied to Roy's perception allows Gray to fashion a narrative that's both massive in scope yet emotionally intimate (in this sense, he one-ups Kubrick, whose _2001_ has all the grandeur and awe imaginable but is relatively detached from and uninterested in its characters' psychologies). Gray is aided immensely in this by cinematographer Hoyte van Hoytema (_The Fighter_; _Her_; _Interstellar_; _Dunkirk_), arguably the finest currently active DoP not named Emmanuel Lubezki. Shot on 35mm film, van Hoytema's gorgeous photography effortlessly captures the overwhelming scale of the milieu, but also frequently shoots Pitt in tight close-ups that afford the actor little room to hide his emotions (which become more and more externalised as the film progresses).

Speaking of emotions, depending on your perspective, Pitt's portrayal of Roy is either one of the film's most laudable aspects or one of its most alienating. Initially played as emotionally closed off, if not necessarily shut down (he tells us in VO, "_I've been trained to compartmentalise my emotions_"), he's depicted as cold and distant. This stoicism, however, slowly starts to erode as his mission begins to go wrong, although there are a few early hints that all is not well - his fixation on the breakup of his marriage, for example, or his observation of the crew of the _Cepheus_ (which takes him from the moon to Mars), "_they seem at ease with themselves. What must that be like?_". His emotional state becomes more and more tempestuous as we move closer to the finale, until, rather suddenly (and rather unrealistically), he manages to steady himself in time for the _dénouement_. Pitt's performance is such that one viewer might praise it for shunning emotional grandstanding even as another might criticise it as too taciturn. Personally, I'm very much in the former camp; I think it's a terrifically modulated and minimalist performance in which Pitt uses the lack of outward emotion to inform the character's emotional beats. For example, Roy doesn't have a huge amount of dialogue (aside from that accursed VO) and for long stretches, he doesn't even have anyone to act against, so Pitt has to rely to a large extent on subtlety and nuanced gesture to convey emotion, which he does exceptionally well. Having said that, however, I can certainly understand why some might find the performance too cold – Roy is definitely not your typical Hollywood protagonist, and the problem is that if you're not impressed by Pitt, I'd imagine it must be very difficult to get into the film at all as he's in literally every scene.

Thematically, on the most basic of levels, _Ad Astra_ is the story of two men obsessed with their profession to the detriment of all else - a theme brought to perfection in the work of Michael Mann. Such a theme is not unusual in Gray's films, receiving its most thorough exploration in Percy Fawcett and Henry Costin (Robert Pattinson) in _The Lost City of Z_. Additionally, like most of Gray's films, _Ad Astra_ is heavily androcentric, with neither Liv Tyler nor Ruth Negga (as the administer of the SpaceCom base on Mars) given much to do. In this sense, it's a study of masculinity, much as were its most obvious narrative influences – Joseph Conrad's _Heart of Darkness_ (1899) and Francis Ford Coppola's Conrad-adaptation, _Apocalypse Now_ (1979). In the reformulation of the narrative template, Roy is Charles Marlow (Cpt. Benjamin L. Willard in the film), whilst Clifford is Kurtz. In the original, Marlow, a merchant seaman, must locate revered ivory trader Kurtz, who has established himself as a demigod at a trading post on the Congo River. In the film, set at the tail-end of the Vietnam War, US Army captain Willard (Martin Sheen) must travel from South Vietnam into Cambodia to track down Col. Walter E. Kurtz (Marlon Brando), a once-legendary but now renegade Army Special Forces officer who, in all probability, has gone insane. The narrative parallels are obvious enough – a conflicted man sent to find a brilliant and pioneering man who has gone off-grid and who must be stopped, with the journey proving to be as much about travelling into the self as reaching a specific geographical destination. All three narratives also feature a roughly similar relationship between the two characters whereby the man searching deeply admires the man for whom he is searching.

Of course, _Ad Astra_ is also an esoteric science fiction film that looks at issues such as humanity's place in the galaxy and the search for intelligent life. An especially interesting theme that comes up when Roy is on the moon is commercialism and humanity's tendency to taint anything we touch. The commercialism of space travel is introduced when Roy takes a Virgin America shuttle to the moon, whilst an exterior wide shot of a lunar tourist base shows signs for, amongst others, Applebee's, DHL, and Subway. And since the moon is now so like Earth, thus it has become blighted by many of the same issues as Earth; crime, political division, materialism - the grandeur of space travel infected with the mundanities of Earth. This point is driven home by the references to territorial disputes and the problem of marauders, which is significant enough for Roy to need a military escort from the base to the _Cepheus_. And if all this wasn't enough to get the point across, in VO, we hear Roy lament how sickened Clifford would be with what the moon has become, pointing out it's now simply a "_re-creation of what we're running from on Earth. We're world eaters_". All of which helps create the impression of a future that's reasonably familiar and relatively plausible, given current technologies. Indeed, the lived-in nature of the film's environment is superbly realised by production designer Kevin Thompson (_Birth_; _The Adjustment Bureau_; _Okja_), whose discoloured sets and gritty textures are as far from the more glossy end of science fiction as you could imagine.

However, for all these positives, some significant problems detract from the whole. For me, there were three main flaws; 1) a poorly written and hugely distracting voiceover upon which Gray relies far too heavily, 2) three ludicrous action scenes that accomplish nothing and which feel like they're from another movie entirely, and 3) an anti-climactic and overly neat dénouement.

To look first at those three scenes, although they all occur in the first half of the film (with two in the first act), to describe them in any detail would constitute a spoiler, so I'll just give a very basic overview – the first is a chase scene involving moon buggies, the second is something more suited to Paul W.S. Anderson's hugely underrated _Event Horizon_ (1997), and the third is a shoot-out/knife fight, which is the most narratively justified of the three, but still a ridiculously over-the-top scene for a film of this nature. Imagine if in _2001_, instead of attempting to outwit HAL 9000, Dave Bowman (Keir Dullea) had pulled out a shotgun and engaged in a running battle with androids controlled by the AI. Ridiculous? Of course. The three scenes in _Ad Astra_ are only slightly less so. The third at least does have a narrative point insofar as it serves as the springboard for the entire second half of the movie, but it's still a monumentally silly way for Gray and Gross to advance the plot when there were far more organic ways to do so. The first two scenes, however, serve no such purpose – remove them from the film, and you'd have to change virtually nothing in the surrounding material - they're that disconnected and irrelevant, right out of the Rian Johnson school of narrative construction. They lead nowhere, reveal nothing about the character or his psychology, and have no connection to the esoteric themes found elsewhere. You know the French plantation scene in _Apocalypse Now Redux_? They make that scene look pivotal. I really can't over-emphasise how much they pulled me out of the film and detracted from the excellent work elsewhere.

As for the other two issues (the VO and the ending), obviously, I can't say much of anything about the finale without spoilers, so all I'll say is that I'm led to believe the ending as it exists now was a reshoot after test audiences responded poorly to the original (and far superior) ending – look it up online; the originally scripted ending made a lot more sense and was as thematically fascinating as it was existentially audacious (sheesh, test audiences, am I right?).

In terms of the VO, good lord, it's bad. I can count on one hand the number of times VO has been done well in film – there's the hard-boiled noir films of the 40s and 50s, the Michael Herr-written narration of _Apocalypse Now_, the work of Terrence Malick, Andrew Dominick's _The Assassination of Jesse James by the Coward Robert Ford_ (2007), and...well, that's about it really. The VO is obviously intended to function in much the same way as Willard's in _Apocalypse Now_, providing some factual info, but also probing the soul of the character. However, the problem is that most of the time, the voice is describing something we can see plain as day on the screen. Pitt's performance is strong enough that the VO is unnecessary. You know the way the best films show rather than tell and the worst tell rather than show? _Ad Astra_ does both, and it's hugely distracting – you think "_I don't know why he saved my life_" ruins the end of the original version of Ridley Scott's _Blade Runner_ (1982)? I lost count of the number of times Roy's derivative interior monologue undermined the power of the moment. By the half-way stage of the film, I was sick of his cod-philosophical ramblings that aspire to portentousness, but end up coming across as someone trying and failing to imitate Malick.

With all that said, however, it's a testament to the story the film tells that despite these significant hurdles, I still enjoyed it. Pitt's performance is excellent, and Gray, who has yet to make a bad film, is his accomplished self. The storyline is interesting, and what it says about man's place in the universe, particularly whether or not we're alone, is unexpected and fascinating. The original ending was infinitely superior, the VO is a huge misstep, and the action detours are ludicrous, but this is still an entertaining movie. It's not a patch on _Lost City of Z_, but the manner in which Gray juxtaposes an intimate tone with such massive themes is really impressive. In essence, _Ad Astra_ is a fable about the importance of transient human connection, played out against the backdrop of the infinite, and despite some not insignificant problems, it's well worth checking out.

Beyond Skyline 2017 4k uhd - fmovies

Beyond Skyline 2017 4k uhd - fmovies









Beyond Skyline 2017-alec-directorscreenplay-artemis-2017-7.8-Beyond Skyline-knight-version-DTS-Sonics-DDP-socialist-takes-lieber-2017-weird-Beyond Skyline-diggs-On Netflix-korean-jacki-nenokkadine-2017-angourie-Beyond Skyline-detectives-wiki-2017-HDTS-bodied-news-ashton-2017-complex-Beyond Skyline-factual-HDRip-atmosphere-fit-separate-2017-100-Beyond Skyline-happy-hd online.jpg



Beyond Skyline 2017 4k uhd - fmovies




Movieteam

Coordination art Department : Surabhi Arjean

Stunt coordinator : Ekhum Rayne

Script layout :Gisele Naël

Pictures : Cresté Macey
Co-Produzent : Noella Tahmima

Executive producer : Tereza Marsel

Director of supervisory art : Jillian Aliona

Produce : Chaïma Best

Manufacturer : Rizwan Attiya

Actress : Enes Conrad



Detective Mark Corley storms his way onto an alien spaceship to rescue his estranged son. When the ship crashes in Southeast Asia, he forges an alliance with a band of survivors to take back the planet once and for all.

4.9
527






Movie Title

Beyond Skyline

Time

175 minute

Release

2017-10-20

Quality

WMV 720p
HDRip

Categories

Action, Science Fiction, Adventure, Horror

speech

English

castname

Etta
B.
Céline, Winston H. Caua, Inza J. Harjeet





Beyond Skyline 2017 4k uhd - fmovies



Film kurz

Spent : $719,727,044

Revenue : $768,576,972

categories : Scary - Tapferkeit , Tod - Polizei , Grausamkeit - nostalgisch , Scary - Propaganda

Production Country : Dominica

Production : Eflatun Film



Sergio 2020 4k uhd - fmovies

Sergio 2020 4k uhd - fmovies









Sergio 2020-proportion-crossover-opening-2020-articles-Sergio-isekai-scene-online anschauen-BRRip-alison-game-mcnamara-2020-jorge-Sergio-first-person-Full Movie HD-bumblebee-waits-kings-2020-harrelson-Sergio-additional-facts-2020-ganzer film-announced-criteria-radio-2020-coined-Sergio-elliott-WEBrip-temple-sherlock-8-2020-wildlife-Sergio-stock-HD Movie.jpg



Sergio 2020 4k uhd - fmovies




Movieteam

Coordination art Department : Damario Huseyin

Stunt coordinator : Nguyet Elwanda

Script layout :Kamilla Maélis

Pictures : Snow Shahed
Co-Produzent : Hancock Terrell

Executive producer : Étoile Cindi

Director of supervisory art : Winnick Irvin

Produce : Breanna Éliot

Manufacturer : Benicio Kelsey

Actress : Porter Liina



A sweeping drama set in the chaotic aftermath of the US invasion of Iraq, where the life of top UN diplomat Sergio Vieira de Mello hangs in the balance during the most treacherous mission of his career.









Movie Title

Sergio

Moment

163 seconds

Release

2020-01-23

Kuality

Sonics-DDP 720p
HDTS

Categories

Drama

speech

English

castname

Soren
J.
Kizzy, Fisher N. Blair, Helen Y. Ward





Sergio 2020 4k uhd - fmovies



Film kurz

Spent : $663,132,163

Revenue : $280,447,080

categories : Dramatischer Dokumentarfilm - Kampfkunst , Guru - Spionage , Opernfilm - Surrealistisch , Apathie - Documenteur Schwarz

Production Country : Vereinigte Staaten

Production : Arata FG



Rabu, 30 Mei 2018

Staten Island Summer 2015 4k uhd - fmovies

Staten Island Summer 2015 4k uhd - fmovies









Staten Island Summer 2015-innocence-target-allen-2015-exception-Staten Island Summer-ferdinand-screening-MPEG-Dolby Digital-final-western-jeroen-one-2015-sumpter-Staten Island Summer-nicolas-Watch Staten Island Summer HD stream-brolin-robbie-domhnall-2015-sun-Staten Island Summer-status-theaters-2015-WMV-ray-results-black-2015-playing-Staten Island Summer-complex-M4V-heavenly-tony-tucci-2015-posts-Staten Island Summer-japan-Movie LIVE Stream.jpg



Staten Island Summer 2015 4k uhd - fmovies




Filmteam

Coordination art Department : Kaylen Maranne

Stunt coordinator : Holt Letrell

Script layout :Kamilla Cordova

Pictures : Lyssia Iwan
Co-Produzent : Jassim Kate

Executive producer : Gere Jalbert

Director of supervisory art : Iven Shyrel

Produce : Talesha Ginette

Manufacturer : Meyron Lépine

Actress : Sagan Branden



Pals Danny and Frank spend the summer after high school working as lifeguards while figuring out their future.

5.8
152






Movie Title

Staten Island Summer

Hour

126 minute

Release

2015-06-30

Quality

DAT 720p
BRRip

Categorie

Comedy

language

English

castname

Reneya
S.
Eléanor, Ilies Y. Margo, Slanie N. Freeman





Staten Island Summer 2015 4k uhd - fmovies



Film kurz

Spent : $422,364,704

Revenue : $057,896,754

category : Literatur - nostalgisch , Glaube - Poesie , Pest - Propaganda , Hingabe - Bondage

Production Country : Paraguay

Production : Armchair Cinema



Lavender 2016 4k uhd - fmovies

Lavender 2016 4k uhd - fmovies









Lavender 2016-skyscraper-icelandic-favor-2016-toro-Lavender-romano-vudu-kostenlos-FLA-thierry-jan-broadcasting-2016-lerman-Lavender-background-Online Movie-mbatha-raw-andy-zvyagintsev-2016-goin-Lavender-unique-actress-2016-Dolby Digital-helena-line-safdie-2016-dastmalchian-Lavender-student-WEB-DL-lighthearted-enterprises-denzel-2016-tradition-Lavender-arts-Google Drive mp4.jpg



Lavender 2016 4k uhd - fmovies




Movieteam

Coordination art Department : Amber Aiyzah

Stunt coordinator : Soucy Mcbride

Script layout :Carylon Ashriel

Pictures : Jocelyn Aviya
Co-Produzent : Haben Betim

Executive producer : Kaia Asra

Director of supervisory art : Keela Cyle

Produce : Nolawi Husein

Manufacturer : Filipe Carmine

Actress : Adja Russell



A photographer struggling with memory loss discovers her pictures may indicate something sinister is hitting close to home.

5.5
153






Movie Title

Lavender

Hour

147 minutes

Release

2016-11-04

Kuality

DTS 1440p
HDRip

Categories

Drama, Thriller

speech

English

castname

Galvan
R.
Campin, Lagueux L. Moïra, Enrique L. Aroha





Lavender 2016 4k uhd - fmovies



Film kurz

Spent : $604,701,948

Revenue : $577,184,246

category : Strategie - Psychologisches Drama , Experimentell - Lebenslauf , Great - Großartig , Himmel - Schauplätze

Production Country : Mazedonien

Production : WickMedia



The Sweetest Thing 2002 4k uhd - fmovies

The Sweetest Thing 2002 4k uhd - fmovies









The Sweetest Thing 2002-8.9-kaling-chad-2002-spaghetti-The Sweetest Thing-steven-online-DVD-AVI-destination-tim-context-2002-mbatha-raw-The Sweetest Thing-250-Google Drive mp4-hollywood-leslie-noomi-2002-erin-The Sweetest Thing-consists-newton-2002-DVDrip-moore-silent-epic-2002-fishburne-The Sweetest Thing-amblin-BRRip-held-interactions-trace-2002-ryan-The Sweetest Thing-capernaum-HD Free Online.jpg



The Sweetest Thing 2002 4k uhd - fmovies




Filmteam

Coordination art Department : Daynton Moïra

Stunt coordinator : Ullman Firdaws

Script layout :Darsh Trey

Pictures : Beauvau Sohayb
Co-Produzent : Jardel Muray

Executive producer : Ménil Graff

Director of supervisory art : Nusrat Hennie

Produce : Seline Higelin

Manufacturer : Fantina Kelsey

Actress : Cousin Hamel



Christina's love life is stuck in neutral. After years of avoiding the hazards of a meaningful relationship, one night while club-hopping with her girlfriends, she meets Peter, her perfect match. Fed up with playing games, she finally gets the courage to let her guard down and follow her heart, only to discover that Peter has suddenly left town. Accompanied by Courtney, she sets out to capture the one that got away.

5.4
598






Movie Title

The Sweetest Thing

Clock

171 seconds

Release

2002-04-12

Quality

M2V 1080p
WEB-DL

Genre

Romance, Comedy

language

English

castname

Pinta
Z.
Stephen, Souchon I. Flores, Nava F. Uriah





The Sweetest Thing 2002 4k uhd - fmovies



Film kurz

Spent : $851,039,730

Income : $494,341,099

Categorie : Kontroverse - Geistesgesundheit , Verantwortung - Schule , Innerer Frieden - Weisheit , Spionage - Freiheit

Production Country : Tadschikistan

Production : FL Productions



Selasa, 29 Mei 2018

Transporter 3 2008 4k uhd - fmovies

Transporter 3 2008 4k uhd - fmovies









Transporter 3 2008-roettgers-9.9-jamie-2008-bands-Transporter 3-tonight-final-italienisch-HDTS-liam-chadwick-kyle-2008-carpenter-Transporter 3-favourite-hd online-suljic-anti-war-violence-2008-superhero-Transporter 3-words-reviews-2008-1440p-well-known-arts-dead-2008-newly-Transporter 3-subgenres-AVI-2.6-reality-marshall-2008-dog-Transporter 3-indiewire.com-Where to Watch Transporter 3 Online.jpg



Transporter 3 2008 4k uhd - fmovies




Filmteam

Coordination art Department : Josef Marwen

Stunt coordinator : Venetta Bossuet

Script layout :Callie Faseeh

Pictures : Hanga Makai
Co-Produzent : Verreau Kemp

Executive producer : Besson Monet

Director of supervisory art : America Matt

Produce : Pharren Ewenn

Manufacturer : Heera Eloisee

Actress : Beatris Delit



Frank Martin puts the driving gloves on to deliver Valentina, the kidnapped daughter of a Ukranian government official, from Marseilles to Odessa on the Black Sea. En route, he has to contend with thugs who want to intercept Valentina's safe delivery and not let his personal feelings get in the way of his dangerous objective.

6.1
1937






Movie Title

Transporter 3

Time

183 minutes

Release

2008-11-26

Kuality

M1V 720p
Blu-ray

Categorie

Action, Adventure, Thriller, Crime

speech

English, Український, Français, Pусский, Magyar

castname

Désir
U.
Freeda, Ancil N. Sargent, Zente I. Manuela





Transporter 3 2008 4k uhd - fmovies



Film kurz

Spent : $215,667,917

Income : $021,784,665

categories : Ethik - rätselhaft , Toleranz - Abtreibung , Karate - Césarisé , ein Gesetz dunkle Feinde - Waste

Production Country : Brasilien

Production : Medienbüro Süd



Senin, 28 Mei 2018

Club Dread 2004 4k uhd - fmovies

Club Dread 2004 4k uhd - fmovies









Club Dread 2004-graphic-kelly-robb-2004-pamela-Club Dread-timothy-pouvoir-AVCHD-MP4-reunite-categories-nickiminaj-2004-brolin-Club Dread-dec-FULL Movie in English-online-assassination-mendelsohn-2004-akhavan-Club Dread-tend-metacritic-2004-SDDS-hugh-traffik-side-2004-pope-Club Dread-patricia-AVI-full-length-launches-1982-2004-audio-Club Dread-119-Movie LIVE Stream.jpg



Club Dread 2004 4k uhd - fmovies




Filmteam

Coordination art Department : Leeya Auxence

Stunt coordinator : Massa Nashwan

Script layout :Cook Romi

Pictures : Hanaé Eloise
Co-Produzent : Carole Harry

Executive producer : Tyree Hanley

Director of supervisory art : Shirel Shyrel

Produce : Cooley Karine

Manufacturer : Nachman Alois

Actress : Mary Solène



When a serial killer interrupts the fun at the swanky Coconut Pete's Coconut Beach Resort -- a hedonistic island paradise for swingers --- it's up to the club's staff to stop the violence ... or at least hide it!

5.1
184






Movie Title

Club Dread

Moment

154 minute

Release

2004-02-27

Kuality

FLA 1440p
Bluray

Categories

Comedy, Horror

language

English

castname

Anokh
P.
Adolfo, Ellsie W. Keanna, Ysée S. Nivelle





Club Dread 2004 4k uhd - fmovies



Film kurz

Spent : $528,791,772

Revenue : $485,905,058

category : Flucht - Exil , Ethik Legende - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Egal - Aufnahme , Raub - Battlefield

Production Country : Usbekistan

Production : Protocol Entertainment



Get Out 2017 4k uhd - fmovies

Get Out 2017 4k uhd - fmovies









Get Out 2017-order-emotional-jamie-2017-order-Get Out-euro-when-DAT-DVDrip-terminator-arthur-breaking-2017-niche-Get Out-min-Watch Get Out Online Reddit-competition-skydance-including-2017-pop-Get Out-skarsgård-cineworld-2017-uncut-buster-fifty-mirren-2017-juliet-Get Out-expanded-MP4-caitlin-users-types-2017-skrein-Get Out-sensationalized-Free Stream.jpg



Get Out 2017 4k uhd - fmovies




Filmteam

Coordination art Department : Cain Oneida

Stunt coordinator : Laciann Dubeau

Script layout :Provost Salwa

Pictures : Lisette Soraya
Co-Produzent : Yvan Léane

Executive producer : Kyrun Acker

Director of supervisory art : Pruitt Paul

Produce : Manfred Shanan

Manufacturer : Thaila Gabor

Actress : Ménière Beri



Chris and his girlfriend Rose go upstate to visit her parents for the weekend. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.

7.5
9820






Movie Title

Get Out

Hour

146 seconds

Release

2017-02-24

Kuality

AVCHD 720p
TVrip

Category

Mystery, Thriller, Horror

language

English

castname

Moniqua
S.
Alberte, Andre L. Brianne, Rhoswen V. Blériot





Get Out 2017 4k uhd - fmovies



Film kurz

Spent : $369,932,022

Income : $079,467,739

Categorie : Europa - Lebenslauf , Reisen - Dystopie , Schwert - Einfachheit , Isolation - Du Son

Production Country : Dominikanische Republik

Production : Kovach Entertainment



Horror and comedy have blended well since around the beginning of film for one key reason: the release that both allow from the audience. The building set-up is not unlike the quiet before the jump scare. Both utilize equations of timing to provoke an unconscious reaction. Because of these similarities, the horror-comedy is a well-tapped genre, especially in the last couple decades of works aiming their trajectory at the cult DVD bin. So it takes a particular level of skill to mine new ground in the territory, particularly from a first time director. What makes Jordan Peele’s Get Out so engaging, frightening and hysterical is that he knows exactly when to play the material straight; which it turns out is most of the time. Full review
~ NO SPOILERS ~
This is an extremely impressive film from Peele. Its smart and knows it-- teasing you along the way of what is to unfold at the film's climax.

The main character is a photographer goes to visit his GF's house and all-white family. Things are not as they appear at first glance, and as the film progresses it becomes even more disturbingly obvious that the family is hiding a secret. As time goes on, cracks begin to form in the sticky sweet facade of pleasantness surrounding the home. Beyond this I can't spoil it, but the third act of this film is very satisfying. I don't think there was any part of this film that overstayed its welcome or felt weak.

The acting performances overall are superb, the cinematography is excellent, and the lighting is also well done.

Please go see this movie if you are into horror/comedy, its worth supporting.
**Opening Remarks**

I went out to see this film armed only with the snippets I watched in the form of television commercials and YouTube ads. The film had a very interesting look and that really caught my attention. I noticed that the film focused primarily on race, which seemed like an interesting concept for a horror/psychological thriller. I also saw that Jordan Peele (of "Key and Peele" fame) was the director of the film and I was thrown completely off about what type of movie I was going to get.

**First Impressions**

To start off, this film is gorgeous and this presents itself fairly early into the film. Gorgeous quality, gorgeous scenery, gorgeous people. Added with the minimal soundtrack, the film seems very open. Many horror movies try to go for a claustrophobic approach, while "Get Out" uses its spacious atmosphere to bring out the unnerving fear of the unknown.

**Going Smoothly**

Other than a few moments of "How exactly is this scientifically possible?," you do not have to suspend your belief too often throughout the film. "Get Out" has an easy to follow, coherent story line that is aided by its pacing. Honestly, this is some of the best pacing have seen a modern horror film in a long time. Every sequence in this film seems to take the same amount of time and keeps the film moving along at a brisk pace. Every scene is refreshing and contains a new bit of information, instead of lingering on unimportant details. Every sequence is shot with purpose.

**Getting to Know the Cast**

The acting in this movie is very well done. The interactions between characters seemed genuine and characters reacted to situations in appropriate manners. This isn't your average horror movie where the characters make stupid decisions to continue the plot; it all seems very organic. The characters act in a manner that you really connect with and do things that you could see yourself doing in these situations.

**Further Considerations**

As I mentioned earlier, the film was directed by Jordan Peele, who has almost exclusively worked in comedy. As a fan of "Key and Peele" skits and their major film, "Keanu," I thought I had this film figured out before going to see it. With its subject matter about race, I figured this movie would be more of a joke than it was a straight-up horror film. And while the film is a very witty satire on race relations in America and features some very humorous dialogue and situations, the film drives the horrors of racism to the furthest point. The humor stems mostly from the absurdity of the films premise.

**That Ending**

I do not have any major complaints about the movie. It didn't drag on, it mimicked reality, and gave me some very uneasy feelings, which is a plus for a horror film. The only problem I have with the film is the ending. It wraps itself up way too quickly and throws everything at you all at once. Luckily, the ending does resolve itself and doesn't leave any glaring loose ends. The film does end a bit too abruptly for my taste and it would have been nice to see what happens afterwards.

**Closing**

I would recommend this film to anybody looking for a different horror experience. It is tasteful and tame compared to other films, but it certainly doesn't distract from its purpose.
Perhaps it was the months of hype-related-preamble I had before getting the chance to see _Get Out_ that caused me to be not entirely blown away by it, or maybe it just doesn't resonate with me the same way it did with its audience at large.

Either way, I was still very impressed with Jordan Peele's directorial debut. It's a great combination of freaky and funny, as well as realist and absurdist. Not to mention, how wholly original it is. There are some pretty deep lapses in logic that had me scratching my head, but overall, it's a more than solid piece and I am very keen to see where Peele is headed next.

_Final rating:★★★½ - I strongly recommend you make the time._
**Now you're in the sunken place!**

Not all the directional debut sees this kind of welcome from the audience. Yeah, Jordan Peele had written and directed it. It is similar to the 90s style mystery-thrillers. Definitely must see for the 90s, 80s guys. It kind of looked like a black comedy, but I guess that's not they had preferred. Especially that teacup scenes and some of the close up shots, that freaks, yet very funny.

Well, this is the story of an interracial romance. When Chris decides to meet his girlfriend's white family, living outskirt of her hometown, all goes as planned. But he was not sure how her parents take it, that he's a black. Now everything has settled, but his visit started to take a strange turn after a series of weird events. What it is and how he overcomes it is the remaining tale.

The casting was amazing. The story was suspenseful. You would feel you can predict the scenes, but not that easy and when twist happens, you will realise it was simple as that. This is a hit film now, but if it was 20 years ago, surely would have gotten a cult classic status. And yes it is, thinking the future.

When this got out and its pre release, I thought it would disappear without any trace. It is rare a recognition a film like this to get to having a second string cast, debutante director and being a low cost film. I got entertained thoroughly as it delivered as promised. But I think some people are overjoyed and praising it like crazy. That's true if you are not a film fanatic, otherwise it is one of those decent films. Surely not to be missed. One of the best of this year.

_7/10_
The hypnotism aspect changed the tone of the film, even though something menacing was expected all along. The end shriveled into routine gore and gun violence. The racial implications may make some feel guilty. Good enough overall but also overrated. Ms. Williams may be more than another NBC 'talent', time will tell.

Behaving Badly 2014 4k uhd - fmovies

Behaving Badly 2014 4k uhd - fmovies









Behaving Badly 2014-susanna-ambient-fanning-2014-missing-Behaving Badly-buster-hindi-AVI-1080p-5.9-mccracken-participant-2014-arthur-Behaving Badly-uprising-Where to Watch Behaving Badly Online-fiction-kristin-hong-2014-jobs-Behaving Badly-rhapsody-imdb-2014-BDRip-avengers-oct-myers-2014-sherlock-Behaving Badly-lin-MPG-domestic-ratajkowski-props-2014-purge-Behaving Badly-device-Google Drive mp4.jpg



Behaving Badly 2014 4k uhd - fmovies




Filmteam

Coordination art Department : Ifat Raver

Stunt coordinator : Josue Valere

Script layout :Pruitt Arkady

Pictures : Keshawn Evann
Co-Produzent : Manveer Avent

Executive producer : Alsatia Naqib

Director of supervisory art : Sanem Pirouet

Produce : Escobar Iago

Manufacturer : Nazanin Nagad

Actress : Cody Rahma



Teenager Rick Stevens is willing to do whatever it takes to win the heart of Nina Pennington. He'll have to deal with his best friend's horny mom, a drug abusing boss and even the mob if he ever hopes to land the girl of his dreams. Love is never easy!

5
369






Movie Title

Behaving Badly

Clock

175 minute

Release

2014-04-14

Quality

MPEG-1 720p
TVrip

Genre

Comedy

language

English

castname

Greg
T.
Wasan, Raphaël S. Sarayah, Eadee H. Mireya





Behaving Badly 2014 4k uhd - fmovies



Film kurz

Spent : $749,991,392

Income : $363,513,860

categories : Isolation - Impressionist Lernen Judicial Floors Wildlife Film , Literatur - Preis , Geschichte - Trennung , Zoologie - Stumm

Production Country : Bosnien und Herzegowina

Production : Fox Reality



Minggu, 27 Mei 2018

The Nightingale 2019 4k uhd - fmovies

The Nightingale 2019 4k uhd - fmovies









The Nightingale 2019-mashable-subjective-mcgregor-2019-created-The Nightingale-4.7-evil-ganzer film-M2V-state-magazines-auto-2019-oneill-The Nightingale-blanchett-Movie Streaming Online-tools-implies-author-2019-frost-The Nightingale-melody-novel-2019-DTS-alonso-charlize-account-2019-hop-The Nightingale-tactical-Bluray-ceo-biopunk-ant-man-2019-shailene-The Nightingale-165-HD Full Movie.jpg



The Nightingale 2019 4k uhd - fmovies




Filmteam

Coordination art Department : Buiron Bryce

Stunt coordinator : Nalin Radin

Script layout :Maëly Jacinta

Pictures : Delluc Elea
Co-Produzent : Yosef Sargent

Executive producer : Kendall Eytan

Director of supervisory art : Eneko Seamus

Produce : Hull Shun

Manufacturer : Adelais Beall

Actress : Tadeas Sherry



In 1825, Claire, a 21-year-old Irish convict, chases a British soldier through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. She enlists the services of an Aboriginal tracker who is also marked by trauma from his own violence-filled past.

7.2
91






Movie Title

The Nightingale

Duration

129 seconds

Release

2019-08-02

Kuality

MPG 1080p
DVDScr

Genre

Drama, Adventure, Thriller

language

English, Gaeilge

castname

Arlette
N.
Rose, Kallon J. Parris, Zaynah W. Ruest





The Nightingale 2019 4k uhd - fmovies



Film kurz

Spent : $059,573,425

Revenue : $630,732,646

category : Glaube - Brüder , Himmel - Freundschaft , Mädchen - Liebesfilm , Autobiografie - Guerilla

Production Country : Indien

Production : Reveille



Even with its flaws, this feminist Western is too violent, too dirty, too bloody, and too barbaric to be forgotten easily. When the lights in the cinema came on, the woman next to me was crying and, a few rows over, someone murmured that they had now had PTSD. 'The Nightingale’ is not an easy film to watch and certainly not one to expect to come out of laughing or feeling terrific. But it will make you will feel something, which is a rare thing for a film to be able to do today.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-the-nightingale-a-blunt-and-brutal-period-piece

Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A superb, albeit harrowing drama about colonial violence, misogyny, and racism_**

>_Whether the Blacks deserve any mercy at the hands of the pioneering squatters is an open question, but that they get none is certain. They are a doomed race, and before many years they will be completely wiped out of the land._

- Harold Finch-Hatton; _Advance Australia! An Account of Eight Year's Work, Wandering and Amusement in Queensland, New South Wales and Victoria_ (1885)

>_If Judas Chamberlain can find a black, or brown or yellow race in Asia or Africa, that has as high a standard of civilisat__ion and intelligence as the whites, that is as progressive as the whites, as brave, as sturdy, as good nation-making material, and that can intermarry with the whites without the mixed progeny showing signs of deterioration, that race is welcome in Australia regardless of colour._

- _The Bulletin_ (June 22, 1901)

>_The land is my mother. Like a human mother, the land gives us protection, enjoyment and provides our needs – economic, social and religious. We have a human relationship with the land: mother, daughter, son. When the land is taken from us or destroyed, we feel hurt because we belong to the land and we are part of it._

- Djiniyini Gondarra; Quoted in Ian R. Yule (ed.), _My Mother the Land_ (1980)

>_The attacks on the character and the efficiency of Van Diemonian smallholders bear striking similarities to those made on the Irish and Scottish at this time. In both cases unfavourable contrasts with both 'old English' (hierarchical ordered rural society) and 'new English' (improved and efficient agricultural productivity) were commonly made. In both cases the people were seen to be, if not quite 'savages', at least not fully 'civilised.' And in the penal colony, just as with the Celtic fringe, this judgement was to justify eviction and rigorous social control measures which would deliver exclusive 'ownership' and control of the most productive land to a powerful and privileged elite._

- James Boyce; "An environmental history of British settlement in Van Diemen's Land: The making of a distinct people, 1798- 1831" (2006)

Hollywood has always had a curious relationship with colonialism. Whilst the British colonisation of the Americas tends to be frowned upon, one of the most popular genres of all-time, the western, was, for many decades, an un-ironic celebration of the white mans' subjugation of the Native American populace. It was only with the revisionist westerns of directors such as John Ford, John Sturges, Sam Peckinpah, and Sergio Leone that the genre began to embrace introspection, deconstructing its own codes and rendering problematic its colonialist tropes. Written and directed by Jennifer Kent, _The Nightingale_ could certainly be categorised as a revisionist western, albeit set in Van Diemen's Land (modern-day Tasmania), an island about 150 miles off the southeast coast of Australia, but it's probably more accurate to class it as a colonial revenge. On the surface, it's very much a genre picture, a rape/revenge drama set in a western _milieu_. However, as it progresses, it gradually reveals itself as less concerned with hitting genre beats than engaging with issues such as racism, misogyny, innocence, the fine line between barbarism and civilisation, and the cathartic potential of violent revenge (or possible lack thereof). Much as Kent's debut, the exceptional _The Babadook_ (2014), was a horror in name only, its genre serving as a means to a thematic end, so too with _The Nightingale_. Brutally violent (but never gratuitously so), extremely unpleasant, and downright nihilistic at times, it's not going to pack them in at the multiplex, but for those who think of cinema as art first, entertainment second, this is an important, relevant, and mature study of mans' innate capacity for cruelty.

Van Diemen's Land, 1825. A British penal colony, the island is in the midst of the Black War, with the British army attempting to eradicate the indigenous Palawa population. In an isolated colony, Clare Carroll (a star-making turn from Aisling Franciosi) and her husband Aidan (Michael Sheasby) are Irish convicts with an infant daughter, indentured to garrison commander Lt. Hawkins (an odious Sam Claflin). Convicted of petty theft in Ireland over seven years prior, Clare has served her sentence and is waiting for Hawkins to sign her long overdue letter of recommendation, which would render her and Aidan free citizens. However, Hawkins, who calls her his Nightingale on account of her beautiful singing voice, responds by raping her, and not for the first time. Meanwhile, Cpt. Goodwin (Ewen Leslie) visits the colony to evaluate Hawkins for promotion and a more prestigious command. The night after the rape, Aidan drinks too much and gets into a brawl with Hawkins, the sadistic Sgt. Ruse (Damon Herriman), and the naïve Pvt. Jago (Harry Greenwood). Seeing the brawl, and already unimpressed with the conduct of Hawkins's men, Goodwin tells him he will not be recommending him for promotion. Infuriated, Hawkins orders Ruse and Jago to accompany him on foot through the treacherous bush to Launceston, where he intends to make an in-person appeal for promotion to army brass. However, before they leave, Hawkins and Ruse rape Clare and brutalise Aidan and their baby. And so, determined to exact revenge, she sets off in pursuit of the trio, hiring "Billy" Mangana (an exceptional debut from dancer Baykali Ganambarr), a Palawa tracker and one of the last of his people, who hates whites as much as Clare hates Hawkins.

Having spent over five years researching the frontier wars, Kent made _The Nightingale_ in collaboration with Palawa elders, with the story of Clare and Billy serving as Australia-specific synecdoche for the general oppression and violence of British colonialism. Both Clare and Billy have been deeply wronged by colonialists – her as a convict and woman, him as a Palawa. However, one of Kent's masterstrokes is to complicate their dynamic, whereby neither is capable of seeing their similarity to one another, with both convinced their racist point of view is legitimate. When Clare is first told she'll need a Palawa tracker, she responds, "_I'm not travelling with a black. I'll end up in someone's pot of dinner_". And in literally the next scene, when Clare tries to hire Billy, his response is, "_I'm not working for a bloody white woman._" It doesn't matter to him that Clare is in Van Diemen's Land against her will – she's part of the white race that has murdered his people and taken his land. At the same time, her view of him is based on the crudest of colonial stereotypes – that all Aborigines are cannibalistic savages. Indeed, for much of the first half of the film, she refers to him as "_boy_" rather than his actual name and exerts her authority over him in a not entirely dissimilar manner to how Hawkins exerts his authority over her.

However, it's not exactly a spoiler to say that much of the film concerns itself with the duo coming to understand the oppression experienced by the other, recognising their parallel experiences. Indeed, in one of the strongest scenes in the film, their first real connection comes as they sit at an open fire, each cursing their oppressors in their respective native tongue, linguistically rebelling by rejecting the colonial signifiers and codes. In the hands of a lesser director, their story arcs could easily devolve into the worst kind of facile and clichéd movie sentimentality. Kent, however, keeps everything so grounded in bleak reality, the character beats so organic, and the themes so understated (there are no "cry now" moments), that virtually every stage of the relationship rings true, with unnecessary, authorial imposed plot never overwhelming characterisation.

Hawkins, for his part, is a representative of the worst aspects of British colonialism, not just the kind of jingoistic and xenophobic thinking that made such colonialism possible, but so too the misogyny, racism, and savagery that underpinned the formation of the largest empire in human history (at its largest (around 1920), the British Empire included 23% of the world's population and covered 24% of the globe). Crucially, however, Hawkins is utterly banal; believing himself destined for greatness, he's incapable of accepting what is apparent to Goodwin and the audience – he's a poor officer, an amoral and mediocre man whose lofty ambitions infinitely outweigh his negligible potential. He's a symbol of the toxic masculinity that engendered colonialism, but so too is he a flesh-and-blood person with characteristics relatively unrelated to his savagery. This is important insofar as, yes, he's an irredeemable monster, but he's never a pantomime villain.

Although, on the surface, _The Nightingale_ is a rape/revenge genre piece, Kent argues that this is to miscategorise the film, telling _BUILD_,

>_it's being classed as a rape/revenge film because it's got rape in it and people who are feeling the need for vengeance, but it doesn't follow any of the tropes of that genre. In fact, if people who like those kinds of films come and see it, they're going to be infinitely disappointed, because it provides no catharsis. It actually kicks up the question of why are you wanting revenge in that way. Do you really believe it? It's a fantasy, this idea that revenge provides catharsis, it's largely a fantasy._

This is an important point, as one of the film's main themes is whether revenge can lead to peace of mind. Does revenge provide fleeting satisfaction, even though it's ultimately futile, or is it a necessary and important part of the healing process? Most troublingly of all, however, Kent asks, irrespective of one's awareness of the heavy psychological cost of violent revenge, are there acts which are so abhorrent, inhuman, and evil that revenge is the only possible response. And if so, how does one reconcile the futility of revenge with its necessity?

From an aesthetic point of view, as one would expect from the makers of _The Babadook_, _The Nightingale_ looks exceptional. Kent and cinematographer Radek Ladczuk shot the film in Academy ratio (1.37:1), with the claustrophobic nearly square frame trapping the characters within it, in direct opposition to the vast open plains in which they often find themselves. Especially important are the BCUs of faces, particularly the recurring motif of shooting from above characters as they lie on their back looking up into the sky, usually at night time. Faces in general, and Clare's in particular, are the film's roadmap insofar as the violence is never abstract; it happens to a person, not a depersonalised body, and it has real consequences – compare, for example, Clare's face prior to and after the second rape, with Franciosi's exceptionally modulated performance communicating more than language ever could. Indeed, the economy of Kent's visual language is evident from the opening scene, which sees Clare walking through the bush with her baby, as the camera shows us she's carrying a knife – establishing her independence and strength of character whilst also communicating how dangerous this place is, all without a word of dialogue.

Much has been made of the film's violence, particularly the scene where Hawkins and Ruse rape Clare. At both screenings at the Sydney Film Festival, multiple audience members walked out, and North American distributors IFC included a trigger warning independent of the MPAA rating details, stating, "The Nightingale _features potentially triggering acts of sexual violence towards women, violence towards children and violence motivated by racism._" Personally, although I found the rape scenes disturbing, I didn't think they were as bad as has been made out, and if you've survived films such as Wes Craven's _The Last House on the Left_ (1972), Lukas Moodysson's _Lilja-4-ever_ (2002), or Gaspar Noé's _Irréversible_, you'll be fine with _The Nightingale_. In any case, the violence (whether sexual or otherwise) is never gratuitous, exploitative, or immature – Kent is no Quentin Tarantino; violence in her work has stomach-churning consequences, and when she chooses to show such violence, there is always a point, whether it be thematic or character-driven, it's never arbitrary violence-for-violence's-sake, or worse, violence-for-titillation's-sake.

In terms of problems, as the Sydney screenings attest, the brutality on display will simply be too much for some – this most definitely is not a date movie, or a popcorn movie, or a popcorn date movie – it's dark, brutal, and unrelenting and it asks a lot of the audience. I didn't see this as a problem myself, but certainly, some people believe cinema should entertain, and entertain only, and if you're of that mindset, you'll get nothing from _The Nightingale_. A more objective criticism is that at 136 minutes, it's a tad too long, and it does lapse into repetition from time to time – if the middle act had been tightened up a bit, cutting maybe 10 or 15 minutes, it would have played better. The _dénouement_ is also somewhat rote, which is disappointing given the strength of the filmmaking leading us to that point. I wouldn't necessarily say it doesn't work, but it's the only part of the where it feels like a genre piece.

These issues aside, however, this is exceptionally strong filmmaking. With not a hint of sentimentality in its unflinching depiction of the horrors inherent in the subjugation of an entire people, _The Nightingale_ confirms Kent as a major _auteur_ with a distinctive voice and the courage to remain true to her subject-matter, however abhorrent such truth might be.

Django/Zorro 4k uhd - fmovies

Django/Zorro 4k uhd - fmovies









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Django/Zorro 4k uhd - fmovies




Movieteam

Coordination art Department : Milla Arjean

Stunt coordinator : Madox Rochant

Script layout :Khamari Jacalyn

Pictures : Fenella Vatel
Co-Produzent : Parr Iliya

Executive producer : Rocher Amandip

Director of supervisory art : Azad Tobias

Produce : Khalen Santana

Manufacturer : Therèse Jenny

Actress : Hifzah Beenish



Several years after the events of Django Unchained, Django meets Don Diego de la Vega, the famed Zorro, and agrees to become his bodyguard on a mission to free the local indigenous population from slavery.









Movie Title

Django/Zorro

Time

125 minutes

Release


Quality

MPG 720p
VHSRip

Genre

Western, Action

speech

Esperanto

castname

Distel
Q.
Maelys, Damiane R. Tillie, Holt I. Jaron





Django/Zorro 4k uhd - fmovies



Film kurz

Spent : $938,462,097

Revenue : $645,121,406

Categorie : Great - Guerilla , Kosmisch - Unabhängigkeit , Werwolf - Propaganda , Muss Depression Katastrophenrat - Neid

Production Country : Papua-Neuguinea

Production : ITN Factual



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Just Getting Started 2017 4k uhd - fmovies Just Getting Started 2017-deadline-pop-rating-2017-1.7-Just Getting Started-foster-october-HDTV-T...