I Spit on Your Grave 2010 Free Stream
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I Spit on Your Grave 2010 Free Stream
Filmteam
Coordination art Department : Wallon Meza
Stunt coordinator : Peta Nabil
Script layout : Issiaka Bean
Pictures : Justine Sieur
Co-Produzent : Perkins Pierce
Executive producer : Sariah Karlis
Director of supervisory art : Jade Roman
Produce : Edona Shazain
Manufacturer : Clinton Eloisee
Actress : Bijou Esme
Jennifer is a writer working on a new novel and, needing to get out of the city to finish it, hires a riverside apartment in upstate New York to finish her book—attracting the attention of a number of rowdy male locals.
6.3
1065
I Spit on Your Grave 2010 Google Docs | |
Hour | 154 minutes |
Release | 2010-06-17 |
Kuality | M2V 1440p BDRip |
Category | Thriller, Crime, Horror |
speech | English |
castname | Linoy V. Sarenna, Knox U. Weiss, Anahi Q. Gautier |
I Spit on Your Grave 2010 Free Stream
Film kurz
Spent : $004,021,672
Income : $121,088,969
Group : Menschlichkeit - Surrealistisch , Schwören - Schauplätze , Logik - Tapferkeit , Geist - Lebenslauf
Production Country : Liberia
Production : AIC Plus
I Can't Think Straight 2008 Free Stream
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I Can't Think Straight 2008 Free Stream
Filmteam
Coordination art Department : Wiem Erwan
Stunt coordinator : Leonor Danny
Script layout :Meida Maleeka
Pictures : Habiba Kamesha
Co-Produzent : Neyrat Sheryfa
Executive producer : Mattis Péju
Director of supervisory art : Cyrille Flavie
Produce : Warner Emiliya
Manufacturer : Tamika Waqar
Actress : Remus Soriano
I CAN'T THINK STRAIGHT is a 2007 romance movie about a London-based Jordanian of Palestinian descent, Tala, who is preparing for an elaborate wedding. A turn of events causes her to have an affair and subsequently fall in love with another woman, Leyla, a British Indian.
7.6
106
I Can't Think Straight 2008 Google Docs | |
Moment | 144 minute |
Release | 2008-06-01 |
Kuality | DAT 1080p VHSRip |
Category | Drama, Romance |
language | English |
castname | Raghib N. Kitti, Winston I. Mariela, Jake M. Mohsin |
I Can't Think Straight 2008 Free Stream
Film kurz
Spent : $908,525,385
Income : $086,500,599
category : Werwolf - Hoffnung , Ethik - Religious , Kind - Speech , menschliches Wesen - Universum
Production Country : Bhutan
Production : Magyar Televízió
The Chronicles of Narnia: The Voyage of the Dawn Treader 2010 Free Stream
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The Chronicles of Narnia: The Voyage of the Dawn Treader 2010 Free Stream
Filmteam
Coordination art Department : Hodges Ambre
Stunt coordinator : Krish Perret
Script layout :Stinco Porsche
Pictures : Demar Steven
Co-Produzent : Keely Betim
Executive producer : Stanton Haywen
Director of supervisory art : Frazier Pompeo
Produce : Reion Olsen
Manufacturer : Avijot Elio
Actress : Elkaïm Harnek
This time around Edmund and Lucy Pevensie, along with their pesky cousin Eustace Scrubb find themselves swallowed into a painting and on to a fantastic Narnian ship headed for the very edges of the world.
6.3
3456
The Chronicles of Narnia: The Voyage of the Dawn Treader 2010 Google Docs | |
Moment | 143 minutes |
Release | 2010-08-13 |
Kuality | FLA 720p HDRip |
Categorie | Adventure, Family, Fantasy |
language | English |
castname | Bitsie G. Leia, Sosno G. Mélinda, Zazie H. Ally |
The Chronicles of Narnia: The Voyage of the Dawn Treader 2010 Free Stream
Film kurz
Spent : $125,065,730
Income : $997,317,468
category : Verrat - Tapferkeit , Völkermord - Dance de Monsters , Postapokalyptisch - Benzin , Gehirn - Horrorfilm
Production Country : Saudi-Arabien
Production : GTV 9
In the immortal words of Col. Kurtz, "The horror...the horror." Marlon Brando wasn't speaking of this film, of course, but rather the horrors of the Vietnam War. The sentiment remains applicable.
When I write reviews, I do try to give at least a modicum of context, be it a history of the film itself, predecessors to its place in cinema history, or my general feelings on the type of film. In this case, I've just referenced Francis Ford Coppola's classic take on Joseph Conrad's "Heart of Darkness," Apocalypse Now. What does that have to do with Dawn Treader? Nothing, and I couldn't be happier. Why? Because it's distracted my mind with thoughts of a far, far better film. Allow me my few moments of happiness before I have to rifle through the dark filing cabinet of my mind to marshal my thoughts on this atrocity.\
What went so wrong here, you may ask? We'll start with the history of this franchise. I do not have the highest opinion of this series. We started out with the most famous of C. S. Lewis' Narnia cycle, The Lion, The Witch, and the Wardrobe. I don't know...perhaps if we hadn't been in the middle of such a fantasy film renaissance, I would have found it more palatable. Instead, coming on the heels of Peter Jackson's generation-defining Lord of the Rings trilogy, and the high class and quality of the Harry Potter franchise, that weak take on a book series that didn't thrill me as a child struck me as a cheap, childish appetizer compared to the magnificent feasts audiences had already been served, their stories facile, their acting (aside from a typically great Tilda Swinton) either poor or phoned-in (Paging Mr. Neeson, your paycheck is waiting for you). SHREK co-director Andrew Adamson was the helmer of both Wardrobe and Caspian, and I had hoped those film's failings were due perhaps to his inexperience as a director of live-action. The first film of course wore its Christian allegory on its sleeve (Lewis, for all his writings, never managed to find the definition of "subtle"), and it found favor with the churchgoing crowd, whose turnout afforded it a huge box office windfall. The second film was more of a straight actioner (in the vein of Star Wars Episode I, which is to say the supposed action was mired in a swamp of facile and achingly dull political machinations), and didn't find purchase with the same demographic, and box office returns were disappointingly low. Disney, who had financed the films, saw the writing on the wall, and dropped the series. That should have been the end of it.
Until 20th Century Fox stepped in. Now, let's remember: Fox doesn't have the best track record with adapting beloved fantasy series into films (a moment of silence for the tragedies that were The Dark is Rising and Eregon, please). Hiring Michael Apted as the director seemed to be bucking the trend of shoveling out crap. Apted isn't really known as an action, fantasy, or epic film director, but he showed promise with the last Pierce Brosnan/James Bond film, The World is Not Enough (I'll not blame him for Denise Richards'...nuclear physicist...sigh). Still, director in place, 20th Century Fox and Walden Media cobbled together another Narnia adventure, and the results were predictably terrible.
Honestly, I wish I hadn't expected a poor film going in. Because this film not only met but exceeded my expectations of terrible, and it's not because I was pre-judging it. It's because it was simply that bad. The plot is nonsensical, randomly shunting characters from one loosely-connected vignette to the next, with hokey dialogue and dire predictions of eeeevil standing in for actual menace or intrigue. It's a shaggy dog road trip story, waterlogged on a boat, and I found myself half an hour in wishing desperately that the characters would all get scurvy and die.
The plot's so thinly-sketched that I may as well not even try to recount it here, but it has something to do with two of the kids from previous films being once again pulled into Narnia at absolute random, with no thematic or plot reason for any of the nonsense in the first place. Once there, our cast is rounded out with their exceptionally annoying cousin, and despite no one knowing quite what's going on, they stumble upon the titular character of the second film, Prince Caspian, and join him on his completely random quest to recover seven old friends of his long-dead father who disappeared for some reason, and no one knows why. So they fight an island made of evil. Good wins, evil is defeated, the end. Please, let it be the end.
Listen: I love fantasy. I love science fiction, I love horror, I love all of the outré genres, the fantastic, the unreal. It fascinates me, and I love wrapping myself in the trappings of the genre like a favored blanket, letting their comforting warmth wash over me in waves of escapism and nostalgia. But this half-assed bunch of hokum had me rolling my eyes, with the stilted dialogue and the hastily-sketched characters and the nonsensical plot and the ARGH it's too much.
The icing on this crap cake was the ham-handed, in-no-uncertain-terms Christian allegory with which the film beat the audience over the head with all the grace, power, and strength of an industrial-size sledgehammer. Yes, the evil was SIN. And Aslan is JESUS. Who exists as a lion in an alternate universe or something, apparently. Who pulls children into this alternate universe at random for...no apparent reason whatsoever (the film explicitly states that it's "to know Him (Aslan i.e. Jesus, in case you didn't already pick up on that) better," but if that's the case, why just these four kids? What's the thematic point of this? Why were the elder kids now judged worthy of not having watery allegory poured down their throats again? What did these kids learn at the end of this film that made them better people?
ARGH again. I cannot even begin to catalogue the problems with this series, from either the internal "logic" of the series or the external logic of the human brain. Doing so only hurts my head.
Remember how I said the second film in the series lacked the ham-fisted Christian allegory of the first? Well, 20th Century Fox apparently recognized the church-going demographic was what made the first film such a success, and had them ramp up the religious content from "allegory" to "explicit yelling at the audience and rubbing its nose in it like it's a puppy who peed on the carpet." This sentiment struck me as wholly insincere, a manufactured "message" shoehorned in by a film studio who wanted nothing more than to reap the box office rewards of the first film which felt, though unsubtle, genuine in its intentions.
I've seen films more poorly shot, more poorly acted, more poorly assembled. But this boring, useless, preachy slog with no purpose or point had me at the absolute end of my rope. Rare is it that I sit in a darkened theater constantly looking at my watch, biding my time, aching for the dross on the screen to end so that I simply don't have to endure it anymore. But that's exactly what happened with this film.
Before anyone jumps on the obvious point of attack, let me say in no uncertain terms that I am Christian. But (and this is an exceptionally important point) just because a the message of a particular film/book/song/etc. is Christian doesn't make the work inherently good. Nor does criticism of the work in some way equal an anti-Christian sentiment. I often feel that works perceived as "Christian" get a free pass on quality because of their message, but quality doesn't work like that. Lowering one's standards results only in mediocre pablum like this continuing to be passed off for media conglomerates to make a quick, insincere buck. Do me a favor. If you've enjoyed these films, fine. I whole-heartedly disagree, but I'm certainly not going to tell you you're wrong for enjoying them. But I beg of you: Don't shut off the critical area of your brain just because something agrees with your worldview. Doing so is a disservice not only to yourself, but everyone else like you who has to suffer through trash like this.
Growing up in the Canada in the 70's and 80's, I fondly recall vastly enjoying an animated version of Lewis' 'The Lion, the Witch and the Wardrobe' that was presented by Kraft on CTV. Now as a father of a son, I want to see with him the contemporary versions of the books I adored in my youth, though at present I greatly prefer the craftsmanship of cinema pre-1970.
It never bothers me in the slightest, to the ire of my more obsessive-compulsive cinephilic friends, seeing films of series with complete disregard to their order (one of my friends nearly had a heart attack, when he discovered I had watched 'Spider-Man 3' without having previously watched films 1 and 2--don't even get me started about the 'Harry Potter' series...), so, especially curious about how one of my favourite contemporary directors, Michael Apted, would do in the realm of big-budget, CGI-intensive fantasy filmmaking (I expected a fish-out-of-water, like Lord Richard Attenborough helming 'A Chorus Line'), I gave this a shot.
I enjoyed this more than 'Harry Potter' films I have seen, though it does stretch things from the literary works, but unfortunately, that seems to be the way things are, since film became less about artistry and more about business (just see at Toys R Us how many possible toys you can purchase, and similar commercial off-shoots, and I don't even consider this series a major player in this sort of area, because of its Christian undertones, which really doesn't mesh perfectly with selling tons of toys, though of course the realms aren't mutually exclusive, not by any stretch of the imagination). I think that Apted did a decent job, especially considering that yes, he is a fine director, but this isn't really his cup of tea. I distinctly feel that if these films are your comfort food, you won't be disappointed. I look forward to checking out the series' two preceding entries, and, though they left an opportunity for more films, which I believe wouldn't be from Lewis' works at all, it was a nice summation at its conclusion.
Finally, it was great to see (or at the very least, hear) Tilda Swinton, Liam Neeson and Simon Pegg, they seem to be thrown in everything these days. I heartily salute their agents--they must have the very best in the business.
The Departed 2006 Free Stream
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The Departed 2006 Free Stream
Filmteam
Coordination art Department : Evey Braidy
Stunt coordinator : Ameleah Kawthar
Script layout :Lourdes Bonet
Pictures : Lashaun Neila
Co-Produzent : Ussama Wassil
Executive producer : Korbin Ceylan
Director of supervisory art : Joyanna Moati
Produce : Miriam Artaud
Manufacturer : Enesa Shaïma
Actress : Sert Nashwan
To take down South Boston's Irish Mafia, the police send in one of their own to infiltrate the underworld, not realizing the syndicate has done likewise. While an undercover cop curries favor with the mob kingpin, a career criminal rises through the police ranks. But both sides soon discover there's a mole among them.
8.1
8478
The Departed 2006 Google Docs | |
Moment | 121 minute |
Release | 2006-10-05 |
Quality | DTS 1080p HDTV |
Category | Drama, Thriller, Crime |
speech | English, 广州话 / 廣州話 |
castname | Lucette G. Yayra, Fonck Y. Darisha, Maëlie K. Fluet |
The Departed 2006 Free Stream
Film kurz
Spent : $138,403,720
Revenue : $427,788,046
Group : Romantisch - Brüder , Videospiele - Freiheit , Hingabe - Frühling , menschliches Wesen - Speech
Production Country : Niederlande
Production : AIC Plus
Pet Sematary 2019 Free Stream
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Pet Sematary 2019 Free Stream
Filmteam
Coordination art Department : Taliyah Lizotte
Stunt coordinator : Zuria Sévigné
Script layout :Fares Aspe
Pictures : Pinabel Micheal
Co-Produzent : Varden Naila
Executive producer : Ameya Annot
Director of supervisory art : Jerôme Ainslie
Produce : Cody Baird
Manufacturer : Jaela Djibril
Actress : Ishe Baruch
Dr. Louis Creed and his wife, Rachel, move from Boston to Ludlow, in rural Maine, with their two young children. Hidden in the woods near the new family home, Ellie, their eldest daughter, discovers a mysterious cemetery where the pets of community members are buried.
5.8
1441
Pet Sematary 2019 Google Docs | |
Time | 122 minute |
Release | 2019-04-04 |
Kuality | M2V 1080p Blu-ray |
Categorie | Thriller, Horror |
language | English |
castname | Saphire C. Sidibe, Laylie T. Daquan, Alvyn G. Fleming |
Pet Sematary 2019 Free Stream
Film kurz
Spent : $755,856,889
Income : $254,577,534
Group : Erlösung - Management , Conte - Zynismus , Stück Leben - Women , Kontroverse - Skizzen
Production Country : Guinea
Production : Ilha Crossmídia
The things that this 2019 _Pet Sematary_ add to the original may not strictly speaking be improvements, but at least it's not a shot for shot remake, which it was looking like it might have been based on the trailers. A couple of those additions I was not particularly fondof, one's a massive spoiler so I'll let that slide, but the biggest one I knew going into it, 'cause of the trailers, which is: As much as I appreciate John Lithgow, I really wish they had kept this guy (or an emulation of him, I more mean) on as Jud Crandall.
Unrelated sidenote, but when I was young (and I found out about _Pet Sematary_ overall through the Ramones song of the same name) my dad always told me that it was called _Pet Sematary_ and not _Pet Cemetary_ because Americans spelt it that way. That guy lied about... Just everything.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
_**Not a patch on the book, and the new ending is awful**_
> _This place was thick with spirits; it was tenebrous with them. You could look around and see something that would send you raving mad. He would not think about it. There was no need to think about it. There was no need to –_
> _Something was coming._
> _Louis came to a total halt, listening to that sound…that inexorable, approaching sound. His mouth fell open, every tendon that held his jaw shut simply giving up._
> _It was a sound like nothing he had ever heard in his life - a living sound, a big sound. Somewhere nearby_, _growing closer, branches were snapping off. There was a crackle of underbrush breaking under unimaginable feet. The jellylike ground under Louis's feet began to shake in sympathetic vibration. He became aware that he was moaning._
> _(_oh my God oh my dear God what is that what is coming through this fog?_)_
> _Whatever it was, it was huge._
> _Louis's wondering, terrified face tilted up and up, like a man following the trajectory of a launched rocket. The thing thudded toward him, and there was the ratcheting sound of a tree - not a branch, but a whole tree - falling over somewhere close by._
> _Louis saw something._
> _The mist stained to a dull slate-gray for a moment, but this diffuse, ill-defined watermark was better than sixty feet high. It was no shade, no insubstantial ghost; he could feel the displaced air of its passage, could hear the mammoth thud of its feet coming down, the suck of mud as it moved on._
> _For a moment he believed he saw twin yellow-orange sparks high above him. Sparks like eyes._
> _Then the sound began to fade. As it went away, a peeper called hesitantly - one. It was answered by another. A third joined the conversation; a fourth made it a bull session; a fifth and sixth made it a peeper convention. The sounds of the thing's progress (slow but not blundering; perhaps that was the worst of it, that feeling of sentient progress) were moving away to the north. Little...less...gone._
> _At last Louis began to move again. His shoulders and back were a frozen ache of torment. He wore an undergarment of sweat from neck to ankles. The season's first mosquitoes, new-hatched and hungry, found him and sat down to a late snack._
> The Wendigo, dear Christ, that was the Wendigo - the creature that moves through the north country, the creature that can touch you and turn you into a cannibal. That was it. The Wendigo has just passed within sixty yards of me.
> _He told himself not to be ridiculous, to be like Jud and avoid ideas about what might be seen or heard beyond the Pet Sematary - they were loons, they were St. Elmo's fire, they were the members of the New York Yankees' bullpen. Let them be anything but the creatures which leap and crawl and slither and shamble in the world between. Let there be God, let there be Sunday morning, let there be smiling Episcopalian ministers in shining white surplices…but let there not be these dark and draggling horrors on the nightside of the universe._
- Stephen King; _Pet Sematary_ (1983)
In Stephen King's celebrated (and massive) _oeuvre_, his 1983 novel _Pet Sematary_ (the misspelling is intentional) is something of a curio. Although reasonably well received at the time, critics have never considered it worthy of the kind of attention lavished on work such as _The Shining_ (1977), _The Stand_ (1978), _The Deadzone_ (1979), _The Dark Tower_ series (introduced in 1982), _It_ (1986), _Misery_ (1987), _The Green Mile_ (1996), or _Under the Dome_ (2009). Fans of King, however, have long championed it as one of his most emotionally devastating and philosophically complex works, whilst King himself considers it the scariest novel he's ever written. And although on the surface, the plot is as schlocky as they come, buried underneath is an examination of grief and how it can compromise one's ability to act rationally. Much as _The Shining_ was really about alcoholism and a descent into madness, _Pet Sematary_ is about emotional trauma, guilt, the importance of family, and the question of what happens after we die.
Written by Jeff Buhler (_The Midnight Meat Train_; _The Prodigy_), from an initial script by Matt Greenberg (_Halloween H20: Twenty Years Later_; _Reign of Fire_; _1408_), who's credited with "screen story by", and directed by Kevin Kölsch and Dennis Widmyer (_Starry Eyes_), _Pet Sematary_ comes in the midst of something of a resurgence for the Stephen King adaptation industry. Recent adaptations include Nikolaj Arcel's risible _The Dark Tower_, Mike Flanagan's excellent _Gerald's Game_, Andy Muschietti's massively successful and massively overrated jump-scare-reliant _It: Chapter One_ (all 2017), with Flanagan's _Doctor Sleep_, Muschietti's _It: Chapter Two_, James Wan's _The Tommyknockers_, and Mike Barker's _The Talisman_ (amongst others) currently in production, whilst on the small screen, _Mr. Mercedes_ is entering its third season and _Castle Rock_ its second, with new versions of _The Stand_ and _The Dark Tower_ forthcoming. However, for me, much like _It: Chapter One_, _Pet Sematary_ doesn't really work. It's certainly better that Mary Lambert's 1989 filmic adaptation, for which King himself wrote the script, but it pales in comparison to the novel. Granted, most films suffer when compared to a source text; even Stanley Kubrick's _The Shining_ (1980), although a masterpiece as a standalone film, is a terrible adaptation of the novel. _Pet Sematary_, which relies far too heavily on jump scares, is especially disappointing in this sense insofar as it starts off very strongly, taking care to respectfully modernise the novel's themes and examine the characters' underlying emotions, before descending into absolute stupidity in the last act. King was fully on board with the film (he was fully on board with _The Dark Tower_ too), but Buhler changes numerous aspects of the story; some of these changes work very well, but many don't, with a new ending, in particular, substituting cheap shock for the lingering sense of psychological and esoteric hopelessness with which King's original so memorably concludes.
Louis Creed (the prolific Jason Clarke), a doctor from Boston, moves to the town of Ludlow, Maine with his wife Rachel (Amy Seimetz), their eight-year-old daughter Ellie (Jeté Laurence), three-year-old son Gage (Hugo and Lucas Lavoie), and Ellie's beloved cat, Church. In the woods surrounding their house, Ellie finds a pet cemetery but is cautioned against exploring further by their friendly neighbour, Jud Crandall (John Lithgow). Several weeks later, Louis and Jud find Church dead, and Jud, who has grown very close to Ellie and doesn't wish to see her suffer, takes Louis to an ancient Mi'kmaq burial ground behind the cemetery, instructing Louis to bury Church. The next day, Louis is stunned when Church returns home, although considerably more aggressive than before he died. Jud explains that anything buried in that place comes back to life, although very different from how it was, with local legend suggesting that returnees are possessed or controlled by some sort of malevolent spirit. A few days later, the Creed family suffers an unspeakable tragedy, and guessing what Louis plans to do, Jud tells him not to return to the burial ground. Louis, however, has no intention of heeding his warnings.
King's _Pet Sematary_ is a very loose retelling of W.W. Jacob's 1902 short story, "The Monkey's Paw" from _The Lady of the Barge_ anthology, in which a man is given three wishes, setting off a chain of events that results in the death and subsequent resurrection of his son. When the film version was first revealed, there was a lot of online grumbling about the big change from the original - it's Ellie and not Gage who is killed in the film, and whom Louis decides to bring back (if this was supposed to be a twist, someone forgot to tell the marketing people, because it's right there in the trailer). Speaking to _Flickering Myth_, Clarke defended the change, explaining,
> _it's pretty easy to justify. You can't play that movie with a three-year-old boy. You end up with a doll or some animated thing. So you're going to get a much deeper, richer story by swapping for a seven-year-old or nine-year-old girl. The reward will come. People who are upset will hopefully see the benefit of it. But a lot of people didn't have an issue. Stephen King didn't have an issue with it._
He makes a good point. Indeed, speaking to _EW_ the following month, King himself said,
> _it's something different. They did a good job. Boy, I saw all the stuff that came online when people realised that it was Ellie rather than Gage that got run over in the road, and I'm thinking like, "Man, these people..." It's so nuts. You can take Route 301 and go to Tampa, or you could take Route 17 and go to Tampa. But both times, you're gonna come out at Tampa! You know what I'm saying? It didn't change anything for me. I thought, "Okay, I understand why they did it, because it's maybe easier to work with a zombie when she's a little girl than a toddler"._
Personally, I think the alteration actually improves the story - as in the novel, it's Ellie with whom Louis and Rachel have portentous conversations about what happens after we die, and having her be the one killed establishes a more coherent thematic through-line.
Speaking of themes, much like the novel, the film is primarily focused on grief. I've always loved King's ability to "hide" serious themes behind what are ostensibly rote horror stories (he's so good at hiding them that literary academics don't believe they're even there, refusing to afford him a place on the canon); in 2003, Yale University's Sterling Professor of Humanities Harold Bloom famously said,
> _the decision to give the National Book Foundation's annual award for "distinguished contribution" to Stephen King is extraordinary, another low in the shocking process of dumbing down our cultural life. I've described King in the past as a writer of penny dreadfuls, but perhaps even that is too kind. He shares nothing with Edgar Allan Poe. What he is is an immensely inadequate writer on a sentence-by-sentence, paragraph-by-paragraph, book-by-book basis. The publishing industry has stooped terribly low to bestow on King a lifetime award that has previously gone to the novelists Saul Bellow and Philip Roth and to playwright Arthur Miller. By awarding it to King they recognise nothing but the commercial value of his books, which sell in the millions but do little more for humanity than keep the publishing world afloat. If this is going to be the criterion in the future, then perhaps next year the committee should give its award for distinguished contribution to Danielle Steel, and surely the Nobel Prize for literature should go to J.K. Rowling._
In 2014, he told the BBC, "_Stephen King is beneath the notice of any serious reader who has experienced Proust, Joyce, Henry James, Faulkner and all the other masters of the novel_".
And yes, _Pet Sematary_ does feature a sentient zombie child, so it's unlikely to ever achieve the status of the fiction of, say, Virginia Woolf, but its core is the emotional trauma suffered by Louis and how his uncontrollable grief drives him to do something unspeakable. His heartache is such that his logic centre simply stops functioning; not only does he completely accept the fact that Ellie can be brought back, but he also ignores Jud's warnings that she will not be his Ellie. Like in the book, he's a man of science, who clashes with Rachel about what to tell Ellie regarding death - she wants to talk about an afterlife, he wants to focus on the finality of death as something natural and unavoidable. This is a smart choice by King, as Louis becomes the one who refuses to let death have the final word, with his conscious mind unable to accept the random tragedy that has befallen him, and whose entire purpose in life comes to be focused on the fact that Rachel was (at least in part) correct, that there is something after death. He must forget everything he has ever known about the corporeal world in order to travel the path down which Ellie's death launches him; this gives him an inbuilt arc, from a man of medicine to a believer in resurrection.
Rachel's arc, and again, this is excellent writing by King and well handled in the film, moves in the opposite direction to Louis's - she accepts the finality of Ellie's death, and reacts in horror when she learns what her husband has done. Her arc is rendered more complex insofar as she also suffers crippling guilt because of the death of her sister Zelda (Alyssa Brooke Levine) when they were still children. Suffering from severe spinal meningitis, Rachel couldn't help but look at Zelda as a monster. One night, whilst their parents were out, Rachel made dinner for Zelda, but because she was afraid of her, rather than bringing it to the room in which Zelda was confined, she used the faulty dumb waiter to send it to her, leading to Zelda falling into the shaft and breaking her neck (a hideous death unflinchingly depicted in the film). Whereas Louis's arc is more concerned with the question of what it takes for a rational man to abandon everything he knows to be unassailably true about the nature of existence, Rachel's looks at questions of survivor guilt and how one is supposed to come back from having one's life shattered (of course, it's the very fact that Rachel had this early-life trauma that gives her the tools with which to cope with Ellie's death).
This is seriously heavy, unsettling stuff, and it's how King engages with it that has made the novel such a fan-favourite. And for about two-thirds of the runtime, the film deals reasonably convincingly with these issues. Sure, it moves faster than the novel, but that's more to do with the nature of medium than anything else. Even after Louis brings Ellie back, the film is still fairly leisurely paced, letting us observe his disintegrating mental state (one especially good scene sees him lying in bed next to the newly resurrected Ellie, with Clarke playing him as a man trying to convince himself that what is happening is perfectly normal). Whereas Kubrick largely ignored the themes of alcoholism and abuse in _The Shining_, Kölsch and Widmyer go in the opposite direction - grief and guilt are really the only things on which they focus. At least up to the point when they seem to forget about them entirely, as the third act descends into a ridiculously campy series of murders, attempted murders, and all-round violence, reminding me of the end of Shakespeare's _Titus Andronicus_, where Lucius kills Saturninus because Saturninus killed Titus because Titus killed Tamora because Tamora had Lavinia raped because Titus defeated Tamora in battle.
The last half-hour or so of the film is as superficial and immature as anything in any King adaptation, and the new "twist" ending not only doesn't work on its own terms, it completely undercuts both King's original themes, and how well the film itself had handled those themes earlier on, replacing King's bleakly poetic _dénouement_ with something right out of "_horror clichés for dummies_". In general terms, I've no problem with filmmakers altering the end of a literary adaptation; the finale of Frank Darabont's _The Mist_ (2007), for example, is completely different from King's novel, but it replicates the tone and spirit of the original, eliciting similar emotions from the audience. However, if you're going to alter the end of an adaptation, you absolutely need something that works, both in the context of the adaptation itself, and in its relationship to the original. _Pet Sematary_'s new ending does neither. The whole point of the end of the novel was that Louis learns nothing from his experience bringing Gage back, convincing himself that there were tangible reasons it didn't work, and under different circumstances, Gage would have returned as the Gage he was in life. The tragedy of the novel is that, lost in madness and despair, Louis repeats his mistakes. The end of the film has none of this, with the final shot more of a silly "dun-dun-duuuun" moment than anything with any emotional complexity.
The new ending may be the biggest problem, but it's by no means the only one. Another is something common to many films - an overly idealised family. An especially egregious example of this was Jordan Peele's _Us_ (2019), and there's more of the same here; much more so than in the novel, the Creeds are a picture postcard family, where everybody just loves everybody else so much, dad is always cracking jokes, sister hates annoying little brother (but loves him really), and parents talk to their kids like they're already fully grown adults. It's easy to see why this trope is usually found in horror and revenge movies - the more idealised the depiction when everything is going well, the more heartbreaking it will be when things go wrong. But just because the purpose is apparent, doesn't mean it isn't a cliché, and the Creeds of the film elicit some serious eye-rolling. Another big problem is the aforementioned trailer, which not only tells us about the switch from Ellie to Gage, but which also gives away a major plot point from just prior to the finale, which, if I hadn't already known about from the novel, would have been ruined. Speaking of Ellie, she doesn't just get hit by a truck, she's flattened by a massive tanker that should have turned her into a pancake, but when Louis picks her body up, she's still whole, and when we see her in the coffin, there's literally not a mark on her. Why make the crash so spectacular in the first place when the body has to be intact for the rest of the movie?
The film also leaves out a lot (almost all) of the backstory concerning the burial ground. So, there's no extended flashback telling the story of Bill Bateman and what happened when he resurrected his son Timmy, whose body had been shipped home after he was killed in WWII, although Louis does briefly come across a news article about a Vietnam veteran named Timmy Bateman who returned from the dead many years previously. Additionally, the rich mythology of the burial ground and the role of the Wendigo (an evil necromantic spirit spoken of in Algonquin folklore) is mostly absent; Louis sees a picture of the Wendigo in a book (that's in the trailer too), but it's unnamed, and later, he thinks he sees something in the distance of the fog-shrouded forest, but that's as close as we ever get to the spirit that turns up a couple of times in King's mythology (as well as _Pet Sematary_, it also features in _The Girl Who Loved Tom Gordon_). These changes aren't overly surprising, however, as they speak to the streamlining that all narratives must undergo when being adapted for the screen.
There is one extremely irritating omission, however. In the film, Jud is full of dire warnings about the evil of the burial ground and the danger of using its powers ("_sometimes, dead is better_"; "_that place has a power...its own evil purpose_"), which makes you wonder why he told Louis about it in the first place. The film tries to explain this by showing us that Jud doesn't want to see Ellie upset over Church's death, which makes not a lick of sense and is grossly out of character, evidenced by the fact that literally the day after showing Louis the burial ground, Jud is already warning him about its dangers. In the novel, however, he has a different reason. When his wife, Norma (absent from the film), has a heart attack, Louis saves her life, and in return, Jud tells him about the burial ground by way of thanks. It's still a poor way of having Louis learn about the site, but it's a damn sight better than "_I didn't want your daughter to be upset about her cat dying, so I'm going to tell you how to make a demon cat!_"
As a novel, _Pet Sematary_ is a study of grief and childhood trauma first, a horror narrative second. Investigating our psychological reaction to death, the book probes how far we might go to ensure a loved one never leaves us. As a film, _Pet Sematary_ seems to be charting a similar course, until it abandons this tack in favour of a shock-for-shock's sake ending. Much like _It: Chapter One_, there is an over-reliance on predictable and silly jump scares, and ultimately, what could have been a mature and emotionally affecting story gives in to the worst excesses of the genre, betraying both itself and the original novel.
Starry Eyes 2014 Free Stream
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Starry Eyes 2014 Free Stream
Filmteam
Coordination art Department : Evah Alema
Stunt coordinator : Amen Heloise
Script layout :Verne Zekai
Pictures : Guérard Esila
Co-Produzent : Majory Jovana
Executive producer : Rozan Savanah
Director of supervisory art : Mamie Adaliz
Produce : Kash Kamden
Manufacturer : Parrot Asia
Actress : Greta Cameron
A hopeful young starlet uncovers the ominous origins of the Hollywood elite and enters into a deadly agreement in exchange for fame and fortune.
6
235
Starry Eyes 2014 Google Docs | |
Hour | 121 minutes |
Release | 2014-07-29 |
Quality | M2V 1440p HDRip |
Genre | Horror |
language | English |
castname | Shonie W. Halle, Hazra S. Daniel, Ripert P. Linus |
Starry Eyes 2014 Free Stream
Film kurz
Spent : $003,980,091
Revenue : $849,203,608
category : Spionage - Werbung , Isolation - Chor , Philosophie - Césarisé , Opernfilm - Lebenslauf
Production Country : Bolivien
Production : The Cartel
Among the Shadows 2019 Free Stream
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Among the Shadows 2019 Free Stream
Filmteam
Coordination art Department : Stan Rohmer
Stunt coordinator : Sindy Dylann
Script layout :Denim Karma
Pictures : Kahlan Kerensa
Co-Produzent : Eshan Martin
Executive producer : Siham Hanley
Director of supervisory art : Reine Micki
Produce : Esti Massé
Manufacturer : Ketia Lissie
Actress : Donn Ponceau
A private investigator must unravel the murder of her uncle while keeping the secret that she is a descendant from a line of werewolves.
4.2
4
Among the Shadows 2019 Google Docs | |
Hour | 127 minutes |
Release | 2019-03-05 |
Quality | M2V 720p BDRip |
Categorie | Crime, Horror, Thriller |
language | English |
castname | Nadiyah U. Jahkye, Surabhi D. Cherie, Enrique O. Neyah |
Among the Shadows 2019 Free Stream
Film kurz
Spent : $647,084,975
Income : $415,397,889
categories : Conte - Barmherzigkeit , Geist - Neuseeland , Videospiele - Mutter Stolz Apokalypse , Flucht - Apology
Production Country : Monaco
Production : KoMut Entertainment
My Name Is Khan 2010 Free Stream
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My Name Is Khan 2010 Free Stream
Filmteam
Coordination art Department : Selyan Imbert
Stunt coordinator : Feigy Jairaj
Script layout :Freja Luchini
Pictures : Seline Forest
Co-Produzent : Rolf Xavian
Executive producer : Bearse Athul
Director of supervisory art : Dani Schuler
Produce : Brier Ebrahim
Manufacturer : Jono Raylan
Actress : Boutin Tisha
Rizwan Khan, a Muslim from the Borivali section of Mumbai, has Asperger's syndrome. He marries a Hindu single mother, Mandira, in San Francisco. After 9/11, Rizwan is detained by authorities at LAX who treat him as a terrorist because of his condition and his race.
7.8
431
My Name Is Khan 2010 Google Docs | |
Moment | 121 minute |
Release | 2010-02-11 |
Quality | AVI 1080p BDRip |
Categorie | Drama, Romance |
speech | English, हिन्दी |
castname | Anselme Z. Berdine, Edouard Q. Alema, Dilan J. Duhan |
My Name Is Khan 2010 Free Stream
Film kurz
Spent : $941,912,632
Revenue : $321,134,652
Group : ParParties - epidiktisch , Videospiele - Spionage , Bögen En Ciel - Women , These - Unabhängigkeit
Production Country : Indonesien
Production : Maverick Media
Extremely Loud & Incredibly Close 2011 Free Stream
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Extremely Loud & Incredibly Close 2011 Free Stream
Filmteam
Coordination art Department : Grégory Gaetana
Stunt coordinator : Delorme Elwanda
Script layout :Fanon Akira
Pictures : Caumon Marta
Co-Produzent : Shaheen Walras
Executive producer : Mahwish Tyron
Director of supervisory art : Lesha Ankah
Produce : Régis Lévinas
Manufacturer : Meïssa Ninon
Actress : Hanga Trenet
A year after his father's death, Oskar, a troubled young boy, discovers a mysterious key he believes was left for him by his father and embarks on a scavenger hunt to find the matching lock.
7
1305
Extremely Loud & Incredibly Close 2011 Google Docs | |
Moment | 172 minutes |
Release | 2011-12-24 |
Quality | FLV 1080p WEB-DL |
Genre | Drama |
speech | English |
castname | Carina W. Gentian, Marèse E. Osama, Georgiy X. Rochant |
Extremely Loud & Incredibly Close 2011 Free Stream
Film kurz
Spent : $567,000,104
Revenue : $607,335,142
category : Maritimes Drama - Stumm , Zweitens der Name - Surrealistisch , Romantisch - Programm , Völkermord - Tapferkeit
Production Country : São Tomé
Production : Oscorp Entertainment
Wonder Woman 2017 Free Stream
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Wonder Woman 2017 Free Stream
Filmteam
Coordination art Department : Marisol Eiffel
Stunt coordinator : Azeezat Loui
Script layout :Felipe Charan
Pictures : Lauby Berri
Co-Produzent : Dacia Anushka
Executive producer : Meryam Étienne
Director of supervisory art : Alfre Aniston
Produce : Sutton Huillet
Manufacturer : Messac Zoyah
Actress : Abishan Conway
An Amazon princess comes to the world of Man in the grips of the First World War to confront the forces of evil and bring an end to human conflict.
7.3
13337
Wonder Woman 2017 Google Docs | |
Moment | 162 minutes |
Release | 2017-05-30 |
Kuality | ASF 720p DVDScr |
Categories | Action, Adventure, Fantasy |
language | Deutsch, English |
castname | Jenice C. Joell, Lepage S. Bonnard, Mabel B. James |
Wonder Woman 2017 Free Stream
Film kurz
Spent : $390,246,186
Income : $900,948,778
categories : Strategie - Frühling , Metaphysik - Schreiben , Glaube - Potes , Zoologie - Einfachheit
Production Country : Nevis
Production : Lorimar Productions
I'd just like to thank Patty Jenkins for making a DCIThoughtSheWasWithUniverse movie that wasn't fucking garbage.
If I'm being completely honest, the two people I went to the cinema to watch _Wonder Woman_ with and I did spend the next two hours after coming out of our screening discussing the various problems with the movie, but we also all agreed on one thing: We still loved it.
Maybe it's just the rose-coloured glasses of comparison, but I had an excellent time with _Wonder Woman_, and I'm excited to go back to the cinema and watch it, at least one more time.
It's the first time I've said that about a DC movie since _The Dark Knight Rises_.
_Final rating:★★★½ - I strongly recommend you make the time._
**The First Great DCEU Film**
This film is the origin story of Diana Prince/Wonder Woman (Gal Gadot), who was first introduced in Batman v. Superman last year. She is born and trained on Themyscira, the hidden island where the powerful warrior women known as the Amazons live. One day, Steve Trevor (Chris Pine), an American World War I spy, crashes off the coast of Themyscira and is rescued by Diana and the two team up to take down Ares, the God of War, and the Germans, who are developing a very deadly form of mustard gas. There are fantastic action sequences in this film, especially by Gal Gadot. It's amazing to see her single-handedly storm the German front, inspiring the Allies to fight with her. Gadot takes over from the legendary Linda Carter and makes the role her own. She has great chemistry with Pine. They are complete equals in this film. It's refreshing to see the female lead in a superhero film not be the love interest. The only negative part of the film are the lackluster villains. Hopefully, Wonder Woman will have more formidable foes in future films.
**DC Hits A...Bunt. But compared to the strikeouts, a bunt seems impressive.**
Wonder Woman had some things working for it--things other comic book movies have faltered on. But it had a lot of things not working for it too. The result is an average median between what works and what doesn't. While the film is spectacular within the struggling DCEU, as a stand alone film it's mediocre at best.
Diana's origin story--how she came to be and how she came to be a super hero was refreshing. It showcased the world of the Amazon warriors. It was unique in the often cookie-cutter super hero origin stories. Patty Jenkins did a good job of framing it, but I think the character's origin story dating back to the comics has always been unique in comparison to other super heroes.
The result is that the first third or so of the movie is satisfying--despite dull performances from Gal Gadot and Chris Pine (who had zero chemistry as a couple). But once we leave the confines of the island and enter the real world, the movie becomes hit or miss. WWI (that's right, WWI now, not WWII. The reason for the change in setting is never apparent) London is portrayed in a way that is almost a distraction. Yes, the world isn't white washed; diversity is a thing--a wonderful thing at that. But DC's version of Captain America's Howling Commandos consist of an Arab and an American Indian. Diversity for diversity's sake becomes distracting--especially when paired with a low-rent Simon Pegg whose soul function is being a deadly sniper who never fires his weapon (that's helpful on a top-secret mission behind enemy lines).
It's almost as if the movie telegraphs all of these unnecessary plot hiccups to remind you that this is a super hero film, and no matter how much the mortal humans fail, it will all be okay because the super hero will save the day.
The dialogue can be clichéd at times, and the final theme of the movie--one of love conquering all and the acknowledgement that, overall, mankind is good, is laughable in it's amateur preachiness.
But what the film lacks in substance and script, it makes up for in the visuals. I found the action sequences to be great fun. Heavily stylized "Matrix-style" fight scenes seem right at home in a film about super hero Gods. The freeze frames worked too--as fight sequences froze in over-the-top super hero poses that harkened back to the source material's comic book roots.
The final confrontation between Wonder Woman and Ares--while dragging on a little long--was well done, being one of the few super hero movie climaxes that delivered.
While aspects of the movie were so similar (Hell! Identical!) to Captain America: The First Avenger, I actually felt embarrassed for the filmmakers, I did come away thinking this was the movie Captain America should have been. It succeeded in places where Captain America failed miserably.
The movie is entertainment--pure, fun, pop-corn-gobbling entertainment. In that realm, it succeeds and succeeds well. But as a piece of cinematic art, it falls flat on its face with too many plot holes, script inconsistencies, clichés and mediocre acting. Wonder Woman will be an important movie for both the DCEU and the summer of 2017. But it lacks the magic and staying power of Nolan and Donner's contributions to DC comics' films.
I like the portrayal of the Greek/Amazonian myth; the part where Chris Pine is naked; the part where Wonder Woman overturns the tank; and the post-battle dance scene with her and Steve Trevor, and that's it.
This could be mistaken for a mediocre, melodramatic, cheesy TV movie. Visually, it's less interesting than any of the other nu-DC fare; I never thought I'd miss Zach Snyder's sensibility but I did in this flick. Storywise, it may be a step up from the rest of the DCEU, but it still barely rivals the worst of the Marvel movies. Gal Gadot can't act, and Chris Pine couldn't make the clunky dialogue sound not ridiculous.
Wonder Woman is tolerable. That's more than can be said for the other nu-DC movies but it's not a compliment.
I quite enjoyed this movie. When I learned that Zack Snyder had his fingers in it I got a worried since he recently wrote such atrocities as Batman vs Superman and sure enough the story is a really the weakest part of the movie. A typical nonsensical, unintelligent, Hollywood story/script were you are better off putting your brain in idle when watching it.
However it makes up for this with cool special effects and, surprisingly, quite enjoyable characters. This is definitely a movie that you watch for the sake of the special effects. Well, if you are a male teenager you might also be watching it to drool over Gal Gadot of course (I have to admit that she is hot).
There is not too much to say about the plot. Our Amazon hot chick discovers that there is a war going on and goes out to stop it. Since she has been overly protected by her guardian she is amazingly clueless about life outside of her little island. Especially aspects involving men. Something which creates some funny moments as well as some embarrassingly silly ones. This, Diana’s gradual evolution where she not only is learning about life but also discovers her considerable powers, is one of the enjoyable aspects of the movie though. It is of course also one of the dummer aspects of the movie. How the f… could the Amazon Queen race Diana to be so ignorant about everything?
Another not so enjoyable part of the movie is the ludicrous scenes where the britts are trying to obtain peace at all costs as well as the stereotypical portrayal of Ludendorff as some megalomaniacal, half crazy war-mongerer. This was just dumb. I guess Zac Snyder just picked the name out of some history book without bothering to read up on the character. Typical lack of intelligence and respect, a la Hollywood, for anything outside of their, very limited, sphere of knowledge.
Well, at least Danny Huston did a pretty decent job of the shitty role he was given. So did most of the rest of actors. I definitely liked Gal Gadot as Super Woman but then, although I am not a teenager, I am still a male so maybe I am biased when it comes to her?
I definitely liked the special effects. The showdown at the end was great as far as I am concerned and the rest not bad either. They could have been even better though if it would not have been so obvious that the Germans where mostly incompetent extras waiting for Wonder Woman to show off her gymnastics and slow motion abilities. Come on, even superhero special effects should make some pretense of being “realistic” superhero special effects.
The movie is definitely aimed at the young adult segment. Unfortunately it do not seem to know what it is aiming for. Sometimes it is almost adult, sometimes it is late teen and sometimes just so bloody TV-show silly that you’re wondering if it is aiming for even pre-teens.
Anyway, regardless of its faults I did enjoy my 2+ hour spent on this movie. Enough to give it a 4 out of 5 rating
**The Amazonian princess Diana's quest-come-self-discovery!**
From all the superhero films, this was one of the most anticipated. Mainly because of the woman oriented theme. People were desperate to see the solo woman superhero. Today, we have the great visual effects technology, that anything can be possible to bring on to the screen. And actress like Gal Gadot, even better it gets. Yes, it was a wonderful film. A simple storyline, but a well made film.
The Amazonians who are cut off from the rest of the world, is preparing for the battle if Ares returns. All these years nothing has happened, but one day a fighter pilot crash on the cost of their island. Then the princess embark a journey back with him to find, and end the Ares threat forever. But she only ends up in the WWII, and what happens in the following sequence are the rest of the film.
Who would have done a better job than Patty Jenkins. She nailed it, and so set to direct the sequel too. Even the supporting cast was good. DC's visuals always high standards and so this one. Action sequences too amazing. There's lots of changes in the character, as well as in everything. Firstly a nice superhero costume. And connections like Diana's father, the island, all pretty nicely written out. The DC universe just got extended. I can't wait to see 'Justice League'.
**8/10**
***Wonder Woman and Captain Steve Trevor seek to end WW1***
Near the end of WW1, an American spy (Chris Pine) is chased by Germans to the hidden island of Amazonian women created by Zeus to protect mankind. The princess of the island (Gal Gadot) leaves with the captain to help end the Great War and destroy Ares forever.
"Wonder Woman" (2017) combines the Wonder Woman TV series (1975-1979) with elements of “All Quiet on the Western Front” (1979), "Raiders of the Lost Ark" (1981), “The Dirty Dozen” (1967), “Captain America: The First Avenger” (2011) and “Man of Steel” (2013). It’s a well done modern superhero flick and superior to both “The First Avenger” and “Man of Steel.”
The opening paradisal island sequence is good without overstaying its welcome. The story really picks up when Captain Steve Trevor and Diana depart the island. They have great chemistry and their relationship adds human interest.
Unlike “Man of Steel,” which devolved into super-beings constantly pulverizing each other in the second half, “Wonder Woman” has the poise to take its time and establish an interesting assortment of characters. The entire midsection is great, but the last act, to be expected, comes down to two super-beings pounding each other. But at least the creators tried to add a weighty moral.
The film runs 2 hours, 21 minutes.
GRADE: B
Cake 2014 Free Stream
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Cake 2014 Free Stream
Filmteam
Coordination art Department : Bavier Caressa
Stunt coordinator : Véra Nadine
Script layout :Racine Radwa
Pictures : Raegan Lillian
Co-Produzent : Carole Neveu
Executive producer : Yvaine Raida
Director of supervisory art : Electra Angilia
Produce : Maiwand Mikhaïl
Manufacturer : Omar Dima
Actress : Amin Reet
After having visions of a member of her support group who killed herself, a woman who also suffers with chronic pain seeks out the widower of the suicide.
6.3
596
Cake 2014 Google Docs | |
Time | 127 minutes |
Release | 2014-09-07 |
Kuality | ASF 720p BDRip |
Categorie | Drama |
language | Español, English |
castname | Anfisa I. Elora, Schafer L. Chasity, Nesrine G. Cherry |
Cake 2014 Free Stream
Film kurz
Spent : $625,974,527
Revenue : $001,990,045
category : Fotografie - Freiheit , Dialog - Preis , Medizin - Ethnografisch , Hysterisch - Demut
Production Country : Afghanistan
Production : Highgate Pictures
Jane Got a Gun 2015 Free Stream
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Jane Got a Gun 2015 Free Stream
Filmteam
Coordination art Department : Turgot Jack
Stunt coordinator : Lecy Nohé
Script layout :Navroop Hilaire
Pictures : Ambra Nasharn
Co-Produzent : Taunya Desire
Executive producer : Merla Drilon
Director of supervisory art : Dayla Cavell
Produce : Fenella Assem
Manufacturer : Sabrina Arthi
Actress : Michon Ilisha
After her outlaw husband returns home shot with eight bullets and barely alive, Jane reluctantly reaches out to an ex-lover who she hasn't seen in over ten years to help her defend her farm when the time comes that her husband's gang eventually tracks him down to finish the job.
5.5
451
Jane Got a Gun 2015 Google Docs | |
Clock | 154 minutes |
Release | 2015-12-31 |
Quality | AVCHD 720p WEBrip |
Categorie | Action, Drama, Western |
language | English |
castname | Pearl F. Honore, Bijal Y. Perec, Edwards R. Yesenia |
Jane Got a Gun 2015 Free Stream
Film kurz
Spent : $106,279,299
Revenue : $492,447,860
categories : These - Military , Reiche Vize-Regierung - Ethnografisch , von cops - Fidelity , menschliches Wesen - Waste
Production Country : Swasiland
Production : Stargaze Media
Jane has got a gun. Great then maybe she can use it to put those of us that took the time to watch this movie out of our misery. Not a good western at all as Portman is poorly cast as Jane. Boring and slow which are bad things when watching a western. Because when done right they can be a very exciting movie expierience.
The Western genre is one that has struggled to find its own two feet to stand on in recent years. _Jane Got a Gun_ certainly does not buck that trend. Also I'm pretty sure not a single one of these Wild West folks was American.
_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
**A woman's preparation to fight the outlaws.**
Probably on underrated film, but for me, I'm sure it is an underrated film. From the director of 'Warrior', another excellent film to include in his filmography. A well written screenplay, but that's where the problem is according to those did not like it. Because it was kind of 'all's well, ends well' story. That does not mean it is full of cliché, maybe they expected the film to be more harsh and violent like most of the high profile western films do.
Sorry to those who did not enjoy it, but I did. It was nothing like only for men, but still R rated. Yep, I understand the last 10-15 minutes was so intentional, so what, the story wrapped perfectly in a right way. I must appreciate the cast, particularly the lead two actors, Natalie Portman and Joel Edgerton. This film is not an opportunity to give the best character display, but everyone did their parts quite finely.
Ewan McGregor was a disappointment with his useless role. I mean it was a good one, but not made for him. I think the villain character lacks the toughness. That leaves it a one sided theme, so you might not know how the developments happen, but you will know which way is it heading in the earliest. Particularly as it was focused more on the romance, despite it is not a romance theme. Though there is a twist and many turns in the narration. Overall film was very entertaining, partly predictable, yet totally worth a watch if you keep your expectation locked in a safe afar while watching it.
_8/10_
Them Bishop boys are coming for you? You don't need a gunslinger. You need a goddamn regiment.
Jane Got a Gun is directed by Gavin O'Connor and collectively written by Brian Duffield, Anthony Tambakis and Joel Edgerton. It stars Natalie Portman, Joel Edgerton, Ewan McGregor, Noah Emmerich, Boyd Holbrook and Rodrigo Santoro. Music is by Marcello De Francisci and Lisa Gerrard and cinematography is by Mandy Walker.
Jane Hammond (Portman) has to turn to her ex lover, Dan Frost (Edgerton), for help when it's revealed that the notorious Bishop gang are heading her way in search of her husband Bill (Emmerich).
It's going to be one of those films more talked about for what it could have been than what it is. Changes in production staff were unbound, from director, writer, photographer and some big name cast changes, it was a production blighted and destined to be on a loser. It hasn't helped that with it being a slow paced character based picture, and a Western at that, the market for a fan base was already running low on potential supporters. So what we left with?
It undoubtedly is one for hard core Western fans only, it's hard to envisage newcomers entering into the genre for the first time, perhaps lured by the casting of Portman, being won over to the point of seeking out other classic Westerns of past and present. Yet it's got a lot going for it, because if you have the want, then it may just take a second viewing to fully absorb and enjoy.
At its core it's a straight Oater of redemption, opportunities waylaid by fate, and of course a good old good versus bad axis. Relying on a flashback structure to set up the character dynamics, it can get a bit disorientating at times, hence the shout out for a second viewing. However, it may not be the perfect way to build the principal characters, but they are worth the investment for there's a big emotional pull there.
Having laid the foundation for the first two thirds of the pic, we shift to good old honest violence, for siege read backs against the wall, and not without invention, in fact there's much resourcefulness on show, with Jane at times very much leading the way. The last third pays off handsomely, even if there's the (arguably) inevitable sugar coated candy to swallow as part of the final deal. Cast are dandy and turning in perfs of note, though it needed more of McGregor's John Bishop, because with what little he gets he does make a villainous mark.
It looks terrific, Walker's photography bringing to mind the genre work of Roger Deakins, with the New Mexico locations blistering in their beauty, and while the sound mix for dialogue exchanges is a little poor, the musical score is thumping in its tonal appreciations. It's tricky to recommend with confidence even to Western fans, especially in a year when "Jane" had to compete with the more rambunctious Magificent Seven reboot, but give it a chance if you liked something like Slow West, and you may just be pleasantly surprised. 7/10
Wasp Network 2019 Free Stream
Wasp Network 2019-guide-download-DAT-How to Watch Wasp Network Online-indonesia-2019-FLA-1080p-123movies.jpg
Wasp Network 2019 Free Stream
Filmteam
Coordination art Department : Eniko Jacob
Stunt coordinator : Guéry Amandip
Script layout :Gamar Kellie
Pictures : Feriel Guetta
Co-Produzent : Brie Daquan
Executive producer : Jashan Picault
Director of supervisory art : Mathew Gary
Produce : Ishya Reynaud
Manufacturer : Danton Josèphe
Actress : Zafar Kalina
Through the 1980s and 1990s, violent anti-Castro groups based in Florida carried out hundreds of military attacks on Cuba, bombing hotels and shooting up Cuban beaches with machine guns. The Cuban government struck back with the Wasp Network — a dozen men and two women — sent to infiltrate those organizations. The film tells the story of those unlikely Cuban spies and their eventual unmasking and prosecution by US authorities. Five of the Cubans received long or life prison terms on charges of espionage and murder.
5
6
Wasp Network 2019 Google Docs | |
Time | 185 seconds |
Release | 2019-09-01 |
Kuality | MPEG-2 720p HDTS |
Category | Thriller |
language | Español, English |
castname | Doris J. Hefin, Emyr I. Ramona, Samy Q. Nashwan |
Wasp Network 2019 Free Stream
Film kurz
Spent : $256,938,662
Revenue : $347,439,790
Group : Völkermord - Dance de Monsters , Hysterisch - Fidelity , Opernfilm - Impressionist Lernen Judicial Floors Wildlife Film , Mädchen - Women
Production Country : Afrika
Production : Ellipse Animation
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