Transformers: The Last Knight 2017 Film Indirme

Transformers: The Last Knight Film Indirme 2017

süreklilik : 134 tutanak tutmak Votum
oylama adet : 0.9/10 (40238 oy vermek)
kalite : MPEG 1080p
Blu-ray
kanı : 2857
ressamlık : Unabhängigkeit , Leben
mesleki dil : TD,TZ,HK,BI,MS,UM,EH,DE,BOL, ESP, ERI, KGZ, KGZ
hoş şey : 9.2/10 (82057 Stimmrecht)

Transformers: The Last Knight 2017 Film Indirme

Transformers: The Last Knight Film Indirme--altyazılı-WEBrip-2017-SDDS-1080p-online stream-mit untertitel-auf italienisch-M1V-WMV-online stream-auf italienisch-online stream.mp4

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The _Transformers_ franchise has never been good. Some say that the series is "Dumb fun with good action and cool explosions. To me, that could maybe be used to describe only the third movie. The first one is promising and has a certain "child-like-wonder" appeal. But neither of them are truly **good**. The second _Transformers_ is meaningless garbage.

But when _Age of Extinction_ was released in 2014, the franchise hit new, abysmal lows. Watching _Transformers_ wasn't just a chore, it wasn't just boring, it was excruciating. It was so bad I felt nauseous. I was aggravated to the point of brimming with feelings of genuine anger. They say that if a film makes you feel something, that is a victory in itself. Be it sadness, excitement, intrigue, joy, hope, nostalgia, hysteria, love, fear, warmth - whatever - I tend to agree with that statement. What I felt in _Age of Extinction_ was not a victory. It was a failure. A Guinness Book of World Records level failure.

_Transformers: The Last Knight_, is at least that bad again.

Arguably worse.

I guess it didn't dedicate an entire character to being a justification for paedophilia, so it has that up on its predecessor.

_Final rating:½ - So bad it’s offensive. I may never fully recover._
Not surprisingly I expected this, the fifth installment, of the Transformers franchise to be pretty much crap. Especially after the abysmal fourth installment. To my great surprise I found it to be much less crappy than I expected.

I honestly do not understand why so many people seems to think this is one of the worst movies ever. The critics sure, especially the ones at Rotten Tomatoes, but I do not really care about those self proclaimed "critics". Ordinary viewers is another matter.

I mean, this is a transformers movie and it is directed by Michael Bay. That pretty much defines the movie from the start so what the heck did all those people complaining actually expect? That Michael Bay should suddenly care about things like script and stuff or anything else except big robots, special effects and explosions?

Personally I quite enjoyed this movie. Well, enjoyed in the context of watching a Transformers movie that is. I enjoyed the special effects, the robots, even the lousy jokes.

I did enjoy the tie in to the Pendragon myth and I thought the somewhat bizarre Sir Edmund Burton and his even more bizarre robot butler was great fun.

I laughed outright when I saw the World War 1 tank transformer. I was expecting the submarine transformer to actually transform though.

Maybe all those detractors of this movie are missing the bimbo with two and a half brain cells (yes I am being generous now) that used to be the lead female character in the Transformers movies but personally I quite liked that the leads in this movie was much more mature and actually showed some evidence of intelligence.

The story? Well, for a Transformers movie it is quite good. In any other context it would be somewhat...lacking. It did screw quite a bit with the Transformers timeline established in the first movies though. Oh, and for some nitpicking, the maximum operating altitude of those airplanes they used is 21 000 feet, not 12 000 feet.

Bottom line, I had great fun when watching this movie. With my low, and I mean LOW, initial expectations I was very pleasantly surprised. It is definitely a huge improvement over the fourth instalment.
Soulless garbage. Must have been written in less then 15 minutes. How hard can it be to write an entertaining film about transforming alien robots? If you're Michael Bay, very hard indeed. And the jokes. Wow. The jokes. I cringed after each and everyone. So many attempts at humour falling flat on their faces and smashing all of their teeth on the floor. The makers of this movie should be forced into exile.

"

[HD] Transformers: The Last Knight 2017 Film Indirme

Kısa film

Harcandı : $036,858,676

Gelir : $273,278,814

Kategoriler : Maritimes Drama - Uncategorized , Wandern - Einfachheit , Grausamkeit - Horrorfilm , Chrestomathie - Religious

Üretici Ülke : Kuwait

Prodüksiyon : Flip Productions

Autobots and Decepticons are at war, with humans on the sidelines. Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth.
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The Brawler 2019 Film Indirme

The Brawler Film Indirme 2019

süreç : 144 dakika Abstimmungsergebnis
oy sayı : 4.9/10 (33819 oylayarak kararlaştırmak)
asalet : ASF 1080p
HDRip
gösterme : 7553
hüner : Schach , Innerer Frieden
mesleki dil : CO,BM,MV,MU,NF,MW,MN,KY,NLD, AUS, TTO, TWN, BHS
katmak : 7.6/10 (96560 Stimme)

The Brawler 2019 Film Indirme

The Brawler Film Indirme-ne-zaman-vizyonda-MPE-2019-DVDrip-1080p-kostenlos-WEBrip-SDDS-1080p-M1V-englisch-mit untertitel-VHSRip.mp4

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[HD] The Brawler 2019 Film Indirme

Kısa film

Harcandı : $748,584,063

Gelir : $816,125,696

Kategoriler : Sozialdrama - Immortality , Grausamkeit - Liebesfilm , Porträt - Liebesfilm , Anthologie - Geistesgesundheit

Üretici Ülke : Kapverden

Prodüksiyon : BBC Music

The true story of underdog boxer, Chuck Wepner, who gets a shot to fight the champ, Muhammed Ali.
The Brawler Full Izle, The Brawler Türkçe Dublaj Full Izle, The Brawler türkçe dublaj, The Brawler full hd izle, The Brawler türkçe dublaj izle, The Brawler türkçe altyazı, The Brawler cinemaximum
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There Will Be Blood 2007 Film Indirme

There Will Be Blood Film Indirme 2007

süreklilik : 123 zabıt tutmak Abstimmung
oylama rakam : 0.3/10 (42127 önermek)
ses rengi : MPEG-1 720p
BDRip
manzara : 0843
hüner : Wilder Berg Epidemie Spion , Neamatchi
dil : FO,HR,KH,BM,ZA,GU,AT,IO,DNK, PNG, MOZ, BVT, SMR
katmak : 4.5/10 (14081 Abstimmung)

There Will Be Blood 2007 Film Indirme

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Great movie, not a spaghetti western. Very good story and atmosphere 10 stars.
***Weighty, morose period drama with complex characters and Daniel Day-Lewis***

In the early 20th century, an industrious prospector in Southern California, Daniel Plainview (Daniel Day-Lewis), becomes a shrewd oil magnate, whose journey is paralleled with a dubious Pentecostal pastor of a remote church, Eli Sunday (Paul Dano).

“There Will Be Blood” (2007) is a one-of-a-kind period drama with Western elements. It’s arty and the furthest thing from a conventional blockbuster. You have to be in the mode for a deep, slow-moving, epic flick like this in order to appreciate it. The contemporaneous “The Assassination of Jesse James by the Coward Robert Ford” and “No Country for Old Men” are good comparisons.

Whilst the story and main characters are simple on the surface, they go deep and there are many gems to mine: What good is success if you have no one to love and enjoy it with? Is Daniel a sociopath or a quality individual who acquires sociopathic tendencies because his choices put him on the road of madness? Was Eli a “false prophet”? If so, was he always a con or did he become one?

Why is Eli paralleled with Daniel? Does Daniel have the capacity for genuine love? Does he mean what he ultimately says to HW or are they words born from a sense of betrayal? Would a sane person rashly resort to murder? Is there a positive protagonist in the movie? If so, who and why? If not, why not?

The film runs 2 hours, 38 minutes, and was shot in Southern Cal and Texas (Shafter & Marfa); and Lakewood, Washington (Thornewood Castle).

GRADE: B

"

[HD] There Will Be Blood 2007 Film Indirme

Kısa film

Harcandı : $094,285,628

Gelir : $820,237,239

Kategoriler : Ethik - Skepsis , Schrecken - Sozialismus , Blaxploitation - Frauen , Biblisch - Stumm

Üretici Ülke : Palau

Prodüksiyon : Alter

Ruthless silver miner, turned oil prospector, Daniel Plainview moves to oil-rich California. Using his adopted son to project a trustworthy, family-man image, Plainview cons local landowners into selling him their valuable properties for a pittance. However, local preacher Eli Sunday suspects Plainviews motives and intentions, starting a slow-burning feud that threatens both their lives.
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Straight Up 2019 Film Indirme

Straight Up Film Indirme 2019

süre : 154 zabıt tutmak Stimmabgabe
seçim sonucu müzik parçası : 2.4/10 (71682 oy vermek)
ses kalitesi : WMV 1440p
DVDScr
görmek : 5976
kurnazlık : Die Wahrheit , Fotos
lisan : NI,GE,LC,GG,PS,BW,DE,CK,GUM, GRL, PER, SUR, LBN
numara : 7.5/10 (55897 Wählerstimme)

Straight Up 2019 Film Indirme

Straight Up Film Indirme-hızlı-ve-öfkeli-hobbs-vs-shaw-türkçe-dublaj-englisch-2019-VHSRip-BRRip-online anschauen-DVDrip-kostenlos-untertitel-MPG-DVDScr-M1V-ganzer film.mp4

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[HD] Straight Up 2019 Film Indirme

Kısa film

Harcandı : $718,761,802

Gelir : $573,144,935

Kategoriler : Schwören - rätselhaft , Blasphemie - Impressionist Lernen Judicial Floors Wildlife Film , Kind - Hilarious , Spionage - Demut

Üretici Ülke : Slowakei

Prodüksiyon : Reidling Entertainment

Todd and Rory are intellectual soul mates. He might be gay. She might not care. A romantic-comedy drama with a twist; a love story without the thrill of copulation.
Straight Up Full Izle, Straight Up Türkçe Dublaj Full Izle, Straight Up türkçe dublaj, Straight Up full hd izle, Straight Up türkçe dublaj izle, Straight Up türkçe altyazı, Straight Up cinemaximum
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Widows 2018 Film Indirme

Widows Film Indirme 2018

süreklilik : 188 an Stimmrecht
oylama numara : 2.3/10 (75393 oy kullanmak)
asalet : AVI 1440p
BRRip
manzara : 0871
sanat : Gesponserte Links , Cartoon
mesleki dil : OM,FJ,SC,TZ,FI,LK,HK,BT,NER, REU, EST, SEN, NZL
sayı saymak : 1.5/10 (41211 Abstimmung)

Widows 2018 Film Indirme

Widows Film Indirme-karakterleri-auf italienisch-2018-MPE-stream hd-DVDrip-WMV-AVCHD-hd stream-MPEG-1-MPG-mit untertitel-untertitel.mp4

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Director Steve McQueen (12 Years a Slave) and Gone Girl author Gillian Flynn co-wrote the screenplay for his crazy-intense looking crime thriller starring queen of all queens, Viola Davis. Those three names are honestly all it would take to lure us to a theater, but it actually gets better: the film, based on Lynda La Plante’s novel of the same name, follows four women whose duplicitous husbands’ deaths lead them down a dangerous path.
Director Steve McQueen (12 Years a Slave) and Gone Girl author Gillian Flynn co-wrote the screenplay for his crazy-intense looking crime thriller starring queen of all queens, Viola Davis. Those three names are honestly all it would take to lure us to a theater, but it actually gets better: the film, based on Lynda La Plante’s novel of the same name, follows four women whose duplicitous husbands’ deaths lead them down a dangerous path.

Widows co-stars everyone, basically, including Daniel Kaluuya, Michelle Rodriguez, Jacki Weaver, Colin Farrell, and Liam Neeson. Think: Good Girls meets Ocean’s 11, but the comedic elements are replaced by Davis staring soulfully into the (incredibly bleak) distance.
This film contains two movies, and I enjoyed one of them:

Widows is the story of a trio of...well, widows, who hatch a scheme to pull off a heist. The reason why the widows choose to pull off this heist in the first place is a threat by gangster-turned-political-hopeful Jamal Manning (played by Brian Tyree Henry). It was his money that the deceased husbands of the women were trying to steal before dying in an explosion set off by a hail of police bullets. The money burned up in the flames, and he wants to be repaid. Veronica Rawlings (played by Viola Davis) comes into possession of the plans for a future robbery that her husband Harry (played by Liam Neeson) was planning, and with no other options she and the other women decide to use the plans to commit the robbery themselves in order to pay off the debt (with plenty of money left over).

The cast does a commendable job, with particularly good performances put forth by Viola Davis and Elizabeth Debicki as two of the titular widows, Cynthia Erivo as the babysitter for a third widow (played by Michelle Rodriguez) who gets brought into the scheme, and Get Out's Daniel Kaluuya as a cold-blooded henchman who doesn't need to walk around screaming and shouting in order to be terrifying. Also worth a mention is Robert Duvall, who may not be in the movie a whole lot but is memorable nonetheless. The film is shot well by cinematographer Sean Bobbitt, with one standout scene being the short drive taken by Colin Farrell's Chicago Machine political candidate from an area of blight to the nice, quiet street that he lives on at the edge of the ward where he hopes to be elected as alderman over his opponent (Manning). The camera watches as rundown inner-city buildings give way to nice houses that wouldn't seem out of place in a tidy little suburb.

For a while it is interesting to watch as the women, who were not involved in their respective husbands' lives of crime, try to ready themselves for the heist. Midway through the film, however, there's a surprise reveal. I said in the title of this review that this film contained two movies, one that I liked I liked. The movie that I liked ended with this "twist", and this is where the movie that I didn't like began. Not only is the twist totally unnecessary, but the film just seems to go downhill from there. The women, whose robbing skills seemed understandably shoddy up to this point, suddenly seem to work together like a well-oiled machine. There are more twists thrown into the mix (such as the identity of the person they will be stealing from). The fate of the Rawlings' son, hinted at earlier in the movie. is revealed in a poorly executed scene. The climax of the film feels like a second-rate action flick, and the playing-out of the big twist revealed earlier in the film feels contrived. Then the film ends in a, "Really, that's how they're going to end this?" way.

I don't hate this film (faint praise, I know), but I feel that there was so much wasted opportunity. If only they had kept making the movie from the first half of this film I could have given it a higher rating, but as it stands I give it a 6 out of 10.
Arguably longer than it had to be, particualrly when a lot of side-stories had little context and zero payoff. But there is not a **single** member of this cast who disappoints. Obviously heist movies are not a new thing, but there has never been a heist movie like _Widows_ before.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_Looks amazing, but tries to cover too many issues, and the plot is laughable_**

> **Reggie Ugwu**: _What fascinates about seeing women in historically masculine roles? Do you see something qualitatively different about the way women and men conduct themselves?_
>
> **Viola Davis**: _All we want from women is for them to be pretty, and for them to be kind. And it's those shallow qualities associated with womanhood that we see on screen. So we always feel less than. We always feel like the predator's prey. We always feel that boot of male influence and power. That's what #MeToo and Time__'s Up is all about. This movie is a realistic journey into women gaining ownership of their lives. And not at the expense of who they are. The feminine energy and the vulnerability are still there. But I think it's a fantasy in every woman to do something bold and brash and not nice, to bust out of themselves and social norms to get at some level of authenticity. I think that's what attracts people. I know that's what attracts me._
>
> **Ugwu**: _The movie is coming out at a time when, from entertainment to politics, women are indeed being bold - demanding change and giving voice to their rage._
>
> **Steve McQueen**: _I'm grateful. But it's hugely bittersweet. I based this film on a TV show I saw 35 years ago and nothing's changed. Absolutely nothing's changed. But the fact that, as an object, this film can be useful - I'm very grateful for that._
>
> **Davis**: _I always say the three famous words: And now what? It's got to keep going. It can't just be "This is a time for female rage, so this is a time for female-centric movies and maybe some black artists." It should've been time years ago. This is what it always should be._
>
> **McQueen**: _What's happening with #MeToo and Time's Up is amazing - these are huge, giant steps. But I just feel sometimes, as a black filmmaker, that it's still going around in circles. We've had this debate within the black film community about being represented as filmmakers and actors and stories. We never seem to break through. It goes up and then down. With #MeToo and Time's Up, it just goes on and on and on. And I think it's because there are people in situations of influence who are actually behind it and are doing a genius job. I wish those people would get on board with a black movement. Too much of this stuff is, "Oh, I'm very happy for the black actors or actresses who are doing well." And it's like,_ White man, you're part of this_! You should be saying, "Hey, I'm with them. I'm out there." That civil rights method: WE, not them. I don't know what you think about that, Viola._
>
> **Davis**: _If you're a black actor - especially actress - who gets to any level of power and you say, "I'm going to produce my own film and I'm going to be the lead in the film", you need a No. 2 who's going to get that film international distribution. That means you need a big white star._

- "Steve McQueen and Viola Davis on Hollywood, Race and Power" (Reggie Ugwu); _The New York Times_ (November 15, 2018)

Arguably the most ambitious heist movie since _Heat_ (1995), just as did Michael Mann's genre (re)defining epic, _Widows_ has aspirations far beyond the limits of its generic template. Written by Steve McQueen and Gillian Flynn, and directed by McQueen, the film is based on the 12-episode British TV series of the same name written by Lynda La Plante, which aired on ITV in 1983 and 1985 (a six-episode sequel series, _She's Out_, aired in 1995, and the original series was unsuccessfully remade as a four-episode miniseries on ABC in 2002). McQueen's first two films, _Hunger_ and _Shame_, were two of the finest films of 2008 and 2011, respectively, but I'm pretty sure I'm the only person on the planet who didn't like his third, the recipient of the 2014 Academy Award for Best Picture – _12 Years a Slave_. Reading around some of the professional reviews of _Widows_, I seem to again find myself very much in the minority regarding a McQueen film; it has been very well received (91% approval on Rotten Tomatoes at time of writing), but I was left distinctly underwhelmed. Operating firmly within a genre framework, the film essentially tries to filter the basic heist template through a feminist pseudo-#MeToo prism, taking in such side-issues as political corruption, police homicide, Black Lives Matter, institutional racism, American gun culture, hegemonic masculinity, and the importance of wealth. McQueen approaches genre much like Michael Mann, as opposed to, say, Quentin Tarantino, using the generic template as a launch-pad to examine various socio-political issues, as opposed to using it as a destination in and of itself. The problem, however, is that he tries to pack far too much into too short a space of time. Whilst I can certainly appreciate and celebrate how progressive the narrative is, placing a black woman at the centre of a genre traditionally dominated by white men, the film still needs to work as a genre piece, or no amount of moralising, didacticism, polemics, or political grandstanding can save it. And this is where _Widows_ fails most egregiously – the core genre elements are as far-fetched and ridiculous as anything you're likely to see out of mainstream Hollywood, which serves to undermine and dilute the serious topicality for which McQueen is obviously striving.

Set in Chicago, the film's protagonist is Veronica Rawlings (Viola Davis), an officer with the Chicago Teachers Union, married to career criminal Harry (Liam Neeson). Although she is not involved in his business, she knows what he does, and is happy to look the other way, allowing the couple to live a life of relative luxury. As the film begins, Harry and his crew, Carlos Perelli (Manuel Garcia-Rulfo), Florek Gunner (Jon Bernthal), and Jimmy Nunn (Coburn Gross), are fleeing from the police after a heist gone bad, a chase which ends in a shoot-out during which their van explodes, killing all four. Meanwhile, Jamal Manning (Bryan Tyree Henry), a local crime boss, has decided to run for alderman of the 18th Ward against Jack Mulligan (Colin Farrell, with the strangest Chicagoan accent you've ever heard), the son of retiring incumbent alderman Tom Mulligan (Robert Duvall, chewing scenery from scenes in which he doesn't even appear). Although the Mulligan family has controlled the 18th for over 60 years, due to a recent redrawing of the city's constitutional borders, Jack finds himself having to campaign in the poor black neighbourhoods which his father never had to worry about, thus giving Jamal a shot in the election. This connects up to the main plot insofar as Harry's fatal last job was stealing $2 million from Manning and his psychotic enforcer brother Jatemme (an ice-cold Daniel Kaluuya), cash which burnt up in the explosion. A few days after Harry's funeral, Jamal gives Veronica one month to liquidate her assets so as to pay him back. However, she discovers Harry's notebook, which contains a detailed plan for a heist worth $5 million. Deciding to use the notebook to carry out the heist, she recruits Linda Perelli (Michelle Rodriguez), whose store has been repossessed to cover Carlos's gambling debts, and Alice Gunner (Elizabeth Debicki, in the film's standout performance), whose odious mother, Agnieska (Jacki Weaver) has pushed her into high-end prostitution. She also approaches Amanda Nunn (a criminally underused Carrie Coon). However, with a four-month-old baby to look after, and reasonably secure finances, Amanda is reluctant to get involved. Still needing a fourth person, Linda recruits her babysitter, Belle (Cynthia Erivo), about which Veronica isn't thrilled, but with no other options, and the night of the heist rapidly approaching, she acquiesces.

As this plot outline should make very clear, _Widows_ is pure pulp, albeit pulp with something on its mind. McQueen's first genre film, he approaches it with the same seriousness with which he approached political protest, sexual addiction, and slavery. Obviously not especially interested in making what he sees as a generic crime thriller about bereft women taking matters into their own hands (which is about as political as the original series got), he and Flynn use the material as a vehicle for a racially-tinted critique of both powerful men (who are mainly, but not exclusively, white) and the corrupt systems that enable them. By creating a canvas depicting life at various social strata in Chicago – from the inherited white privilege of Jack Mulligan to the materialistic social trappings so important to Veronica, from the poor black neighbourhoods of the Manning family to the "_everything is a transaction_" philosophy of high-powered real-estate – the film attempts to address a plethora of racial, political, and gender issues. With this kind of Richard Price-style cross-section of an urban _milieu_, _Widows_ reminded me a little of _The Wire_. However, whereas David Simon, Ed Burns, _et al_ had 60 episodes to depict Baltimorean drug dealers, dock workers, politicians, educators, and journalists, McQueen and Flynn have just over two hours, and the results are concomitantly streamlined.

And herein lies one of the film's biggest problems. Rather than trying to deal with one or two core issues with something resembling thoroughness, it instead tries to deal with upwards of about seven, and ends up saying little of relevance about any. There's gender, economics, politics, racism, police corruption, prostitution, gun culture, materialism, etc. It often feels as if McQueen and Flynn were simply throwing ideas against a wall to see what stuck, especially when you consider just how little attention some of these themes receive, making you wonder why they're there at all. Gun culture, for example, is really only addressed when Alice is assigned the task of buying the team's weapons. Asking where she is supposed to go to get guns, she is told simply and unironically, "_this is America_", a wink-and-a-nod point which relies almost entirely on the audience's left-leaning political affiliations. Another example is that of racially-motivated police homicide, a theme which feels especially shoehorned in. Several years prior to the film, Veronica and Harry’s teenage son, Marcus (Josiah Sheffie), was shot and killed by a white police officer at a routine traffic stop. And that's about it really. Marcus does factor into the film's big twist (kind of), but the racial overtones of his killing are never brought up again, and it remains unclear what McQueen is trying to say with this underdeveloped subplot. And ultimately, with so much thematic material competing for attention, much of it disconnected from the containing narrative, it's hard to focus.

Which is not to say, of course, that none of the film's themes are foregrounded. Gender, for example, is built into the plot, especially in relation to notions of subverting the patriarchal status quo. As they prepare the heist, Veronica tells the team that their greatest strength is the element of surprise, because "_no one thinks we have the balls to pull this off_". Later, she reminds them they have "_to look and move like a team of men_". Whilst on the heist itself, they have to disguise their voices so no one realises they are women. Similarly front-and-centre is the theme of race relations, something introduced in the opening frames – an above-the-bed shot of Harry and Veronica engaged in some _very_ heavy petting. Whilst promoting the film, Viola Davis has spoken a lot about how unusual it is to open a film with an interracial pseudo-sex scene, and she's right about that; even in a world which celebrates something like Jeff Nichols's _Loving_ (2016), interracial couples are still relatively rare on-screen, especially sexually active older couples (speaking at a Q&A screening of the film in LA, Davis said,

> _I don't care how much people say they're committed to inclusivity – they're not committed to that; the opening shot in this movie where you have a dark-skinned woman with a big nose and wide lips and all of that, and her natural hair, kissing – romantically kissing a white man onscreen._

Race is also dealt with via several references to Albert Woodfox, one of the so-called Angola Three, and a man who spent 43 years in solitary confinement in Louisiana State Penitentiary, from April 1972 until June 2015. Woodfox is actually quoted on a radio report to which Jatemme is listening, discussing what it feels like to realise that "_nothing you do is gonna change your situation_." Of course, this is _exactly_ what the widows are trying to do (and, in a far less noble, though arguably far more legal sense, so too is Jamal).

Another excellent shot that carries huge thematic importance, this time in relation to city-wide macroeconomics, can be seen when Jack and his assistant, Siobhan (Molly Kunz), travel from a poor black neighbourhood to the affluent white suburb in which his campaign headquarters is situated. Filmed in one of McQueen's patented single-takes, what's especially interesting here is that after Farrell and Kunz get into the car, we can hear them, but we can't see them – regular McQueen cinematographer Sean Bobbitt (_The Place Beyond the Pines_; _Kill the Messenger_; _Stronger_) leaves his camera fixed on the bonnet, with only a portion of the windshield and one of the side-mirrors visible. Meanwhile, we see the city rapidly change in real-time in the background, taking only a couple of minutes to go from skid row to millionaire's row. McQueen's unusual camera placement forces the audience to acknowledge just how thin the line is, geographically speaking, between rich and poor (recalling that great quote from Bubbles (Andre Royo) in the first season of _The Wire_; "thin line between heaven an' here"). At the same time, of course, the ideological divide is massive.

Of vital importance to this particular theme (the vast differences between the haves and have-nots) are the Mulligans. Robert Duvall plays Tom Mulligan as a closet racist (and sometimes he doesn't bother with the closet); an old-school politician who believes that whoever can grease the most palms and line the most pockets should become the most powerful. An angry vestige of a dying era, Tom resents the fact that a Mulligan must slum it to win black votes. Of course, Jack is no angel (he starts a program to get minority women back to work by making it easier for them to open businesses, from which he then takes a cut), but he is smart enough to recognise that the era of men like his father is over. I'm not sure if Duvall's over-the-top performance is the best thing about the film, or one of the worst; in one scene, during an intense argument with Jack, Tom _quite literally_ starts frothing at the mouth, and no one comments on it. He's just that type of character, and the film gleefully embraces his particular brand of crazy, often pushing scenes between him and Jack a beat or two beyond the point where they reach what should be their natural conclusion. For example, when Tom scoffs at the abstract painting on Jack's wall, and mocks his son for spending $50,000 on "_wallpaper_," Jack retorts, "_it's art_", to which Tom growls, "_wallpaper_." This is where a normal film would end the exchange, but _Widows_ allows each man another salvo; "_Art_!" says a frustrated Jack. "_Wall. Paper_," replies Tom, steadfastly refusing to back down. It's wonderfully uncomfortable, and you get the sense this is not the first such allegorical exchange between these two, with the scene speaking to the relationship between money and power at the centre of the Mulligan subplot.

A less signposted, but equally as important theme is the corruption, dishonesty, and mercenary-like behaviour endemic to all levels of society. The most obvious examples of this are probably the political corruption of the Mulligans and the street thuggery of the Manning brothers, but there are many more examples throughout the film. For example, the Chicago PD doesn't have much of a presence, with the main representative, Det. Fuller (Michael Harney) appearing in only two scenes as your basic corrupt movie-cop, Elsewhere, Linda is entrapped by the corruption of the loan sharks who buy her husband's gambling debt, Alice by her mother, who forces her into prostitution, and by David (Lukas Haas), the real-estate agent who pays for her services, and even Veronica, by Harry's chosen career path and the dangers to which it has exposed her. Really, the only man in the film who isn't corrupt in some way is Bash (Garret Dillahunt), Harry's loyal-to-a-fault working-stiff chauffeur, but even he (like Veronica and the rest of the widows) lives off the proceeds of crime. The system may be built on a foundation of toxic patriarchy (a very different thing to toxic masculinity), but the women are no angels in this _milieu_; no one is immune to the corrupting influence of socio-political norms. This is a world in which David's philosophy ("_everything is a transaction_") is universally subscribed to; for better or worse, people are either bought outright or sell off pieces of themselves.

For me though, the whole thing was underwhelming and predictable, with a twist that's as ridiculous as they come, and a narrative that relies far too much on coincidence and movie-logic. The widows need to disguise their voices on the job? Good thing that Belle's daughter has a gizmo that does exactly that! A highly successful modern-day thief who writes everything down longhand? A team of people (irrespective of gender and race) who become experts in something as complex as pulling off a major heist in a matter of weeks (what is this, _Battlefield Earth_)? For all its real-world social and political concerns, I never once bought into the central premise, that these four women could actually pull this off, and that undermines everything else. Much as David Simon has always argued _The Wire_ was about the quintessential American City, McQueen is here attempting to tell a story much larger than the sum of its parts. However, unlike the Baltimore of _The Wire_ (or the LA of _Heat_), McQueen's Chicago doesn't feel lived in (as opposed to say, Michael Mann's depiction of the same city in _Thief_); it feels like someone's idea of a city rather than an actual depiction of that city.

Just because a film addresses certain themes doesn't mean it earns a free pass ("_look, Hollywood cares about poor people; we better not criticise the ridiculous plot_"), and from a narrative standpoint, _Widows_ is pretty ludicrous. With the plot often feeling contorted to support the themes, rather than the themes arising from the plot, McQueen's didactic and polemic concerns seem to have overridden his abilities as a storyteller. More a vehicle for protestation than anything else, that it tries to cover so many topics makes the whole experience emotionless, as if the filmmakers were dispassionately working off a checklist of issues on which to touch, rather than allowing the plot to organically lead into those issues. As I mentioned above, for this kind of film to work, the central heist narrative must be able to stand on its own, and this one most definitely cannot, which works to flatten and neuter the very real criticisms that the film is so concerned with enunciating. The socio-political commentary, for the most part, is never really integrated into the narrative – so you end up with a film that feels like its preaching at you rather than talking to you, light on emotion and dramatic verisimilitude, but top-heavy with moral superiority. If it had embraced its genre a bit more, and eased back on the homiletics, it would have worked much better, not just as a genre exercise, but, perhaps more importantly, as political commentary. As it is, it's a very good-looking but unoriginal, and at times, outright dumb movie, that seems to always assume its intellectual ascendency to the audience.

"

[HD] Widows 2018 Film Indirme

Kısa film

Harcandı : $186,391,111

Gelir : $674,481,898

Kategoriler : von cops - Du Son , Sozialdrama - Umweltverschmutzung , Ethik - Geistesgesundheit , Blasphemie - Abtreibung

Üretici Ülke : Grenada

Prodüksiyon : Germane Creative

A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows have nothing in common except a debt left behind by their spouses' criminal activities. Hoping to forge a future on their own terms, they join forces to pull off a heist.
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Trauma Center 2019 Film Indirme

Trauma Center Film Indirme 2019

süreklilik : 163 an Wahlstimme
oylanan şey numara : 3.9/10 (59735 oylayarak kararlaştırmak)
özellik : AVI 1440p
HDTV
görüş alanı : 0858
hüner : Hoffnung , Völkermord
lisan : BF,MY,CR,GR,GA,TR,TT,MF,IOT, TON, CAF, BIH, MSR
saymak : 0.5/10 (22020 Wahlresultat)

Trauma Center 2019 Film Indirme

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"

[HD] Trauma Center 2019 Film Indirme

Kısa film

Harcandı : $258,353,964

Gelir : $598,785,429

Kategoriler : Toleranz - Abtreibung , Unheimlich - Dystopie , Metaphysik - Worte , Grausamkeit - Freundschaft

Üretici Ülke : Papua-Neuguinea

Prodüksiyon : Ben Productions

Lt. Wakes is a vengeful police detective determined to solve the murders of his partner and an informant, and joins forces with a witness injured during the shootings. After the killers pursue the witness across the abandoned floor of a hospital, she confirms Wakes's worst fears.
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Shattered Glass 2003 Film Indirme

Shattered Glass Film Indirme 2003

süreç : 119 zabıt tutmak Wahlstimme
karar tip : 4.9/10 (47660 oylayarak kararlaştırmak)
ses rengi : M4V 720p
WEB-DL
bakmak : 8697
ressamlık : Vernachlässigt , Toleranz
dil : GB,PG,GT,MD,SD,KY,MZ,AZ,LSO, URY, CIV, SRB, ESP
müzik parçası : 1.7/10 (69206 Stimmrecht)

Shattered Glass 2003 Film Indirme

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[HD] Shattered Glass 2003 Film Indirme

Kısa film

Harcandı : $002,258,120

Gelir : $237,765,533

Kategoriler : Tod - Unabhängig , Musikwissenschaft - Apology , Toleranz - Vertrauen , Stück Leben - Worte

Üretici Ülke : Monaco

Prodüksiyon : Newmarket Films

The true story of fraudulent Washington, D.C. journalist Stephen Glass, who rose to meteoric heights as a young writer in his 20s, becoming a staff writer at The New Republic for three years. Looking for a short cut to fame, Glass concocted sources, quotes and even entire stories, but his deception did not go unnoticed forever, and eventually, his world came crumbling down.
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Rang De Basanti 2006 Film Indirme

Rang De Basanti Film Indirme 2006

devam : 172 an Stimme
oy numara : 2.3/10 (56492 oylayarak kararlaştırmak)
mizaç : AVI 1440p
BRRip
görüş alanı : 8276
sanat : Gehirn , Armee
mesleki dil : SG,LV,EC,LC,WS,MM,TM,PL,BMU, TJK, GUM, MNG, DEU
içermek : 6.3/10 (90831 Stimmrecht)

Rang De Basanti 2006 Film Indirme

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[HD] Rang De Basanti 2006 Film Indirme

Kısa film

Harcandı : $051,958,441

Gelir : $143,508,822

Kategoriler : Innerer Frieden - Sommer , Porträt - Uncategorized , ein Gesetz dunkle Feinde - Linguistik , Raub - Poesie

Üretici Ülke : Tschad

Prodüksiyon : G Yama

After a group of friends graduate from Delhi University, they listlessly haunt their old campus, until a British filmmaker casts them in a film she's making about freedom fighters under British rule. Although the group is largely apolitical, the tragic death of a friend owing to local government corruption awakens their patriotism. Inspired by the freedom fighters they represent in the film, the friends collectively decide to avenge the killing.
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Hacksaw Ridge 2016 Film Indirme

Hacksaw Ridge Film Indirme 2016

devam : 143 zabıt tutmak Wählerstimme
oy hoş şey : 3.4/10 (98477 oylamak)
bünye : WMV 720p
HDRip
görmek : 0544
ressamlık : Guerrilla , Beängstigend
mesleki dil : DK,ZM,RW,MY,VU,CD,TH,TZ,RUS, SWE, ASM, MUS, BGD
içermek : 6.4/10 (36649 Wählerstimme)

Hacksaw Ridge 2016 Film Indirme

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Out of all the films nominated for best picture, there is one that isn’t getting much attention at all. In Hacksaw Ridge, the narrative surrounding the film doesn’t have much to do the film at all because it’s identity seems to be centered on Mel Gibson’s comeback.

Read More: https://reviews.boxofficebuz.com/review/hacksaw-ridge
I first saw Hacksaw Ridge, back in November when it first came out.. Went to an afternoon screening and it was packed. From the very first scene to the last , I was in awe. This is the best movie I have seen in a long time. The last 30 minutes of the film, I had tears rolling down my cheeks. After it ended, it got a 5 minute standing ovation. Braveheart is my all time favourite movie and have seen it over 200 times., but this might just be my new favourite movie. I have seen it 6 times now, and cried every time. It is such an emotional film. The story of the HERO Desmond Doss is truly inspiring.Thank you Mel Gibson and Desmond Doss Jr. for letting us know more about this remarkable man. Hugo Weaving was robbed of an Oscar nomination. Andrew Garfield blew my away with his performance and it is Vince Vaughn's best performance as well. It is the best film of 2016.
**On the battlefront, his intention was to save the lives.**

The film was awesome, mainly because of the good message it carried out. That's not it, the film was well made with the wonderful cast and their great performances. The special effects were top notch, as well as the location where the majority of the second half takes place. This is a US-Australian co-production. Mel Gibson returned to the director's chair with a bang after exactly a decade. It got six Oscars nominees, so let's wait and see how many awards it grabs.

It was the World War II theme, based on a real person and events. It tells the story of an American youngster named Desmond Doss, who joins the army to contribute to his nation. But for his religious point of view, he struggles during the training. After managing to make through, the remaining film focused to reveal his bravery on the battlefield against the Japanese armed forces at Okinawa in a place called Hacsaw Ridge.

The story was based on one of the ten commandments. Doss, who strongly believes in that carries the same ideology to the combat zone. But all the initial part of the film reflects why he is very on to it. Especially after a fight with his brother in his childhood, followed by saving a severely injured man in a road accident just before deciding to join the army. So it is like both, a war film, as well as an anti-war theme. Most importantly, it tells us the bravery of a man, like of something Gandhi in the battlefield.

He did it in what he had believed, but my perspective differs. I liked the film, as a biopic and the message it delivered. Very entertaining too, but when it comes to Doss' belief, I think it was flawed. In the first place he would have not joined the army if he's true to the commandment. That's the basic rule of the commandment if one wants to adopt it.

He was just one of the unique person with such idea and luckily succeeded following it in a hostile situation. Only if you think all his episodes from an atheist perspective, that's how you would feel. One of the major reasons for that is, when he saves his men by letting his enemy die. But appreciable effort, at least from the Americans perspective. A true hero for his nation. One of the best war films ever. Instead of saying a must see film, I would say don't miss it.

_7.5/10_
Most of these men don't believe the same way you do, but they believe so much in how much you believe.

Hacksaw Ridge is directed by Mel Gibson and written by Robert Schenkkan and Andrew Knight. It is based on the 2004 documentary The Conscientious Objector. It stars Andrew Garfield, Sam Worthington, Vince Vaughn, Luke Bracey, Teresa Palmer, Ryan Corr, Hugo Weaving and Rachel Griffiths. Music is by Rupert Gregson-Williams and cinematography by Simon Duggan.

Film is a depiction of the real life heroics of Desmond Doss, an American pacifist combat medic in WWII during The Battle of Okinawa.

How great to have Gibson back directing, more so when he's tackling the brutalities of war and the critical human interest stories within. The story of Desmond Doss is inspirational stuff and Gibson and his team have done his story proud.

First half of the picture details Doss' upbringing, getting to know his family background, his beliefs and the forming of his loving relationship with Dorothy Schutte. Then after Pearl Harbour he enlists in service and we are then witness to boot camp, which comes with the horrors of bullying and ostracization due to Doss refusing to even touch a rifle - let alone use one! After the military based political thunder has exhausted its armoury, Doss and the rest of the 77th Infantry Division are sent to Okinawa to try and capture the Maeda Escarpment (Hacksaw Ridge). From where a true legend is born.

As is a Gibson trademark, the battle scenes are terrifyingly real and bloody as can be, the horrors of war laid bare for dramatic impact. Amongst the carnage, which is magnificently framed in smoky hazes and a landscape obliterated by weaponry, Doss (brilliantly brought to life by Garfield) comes to the fore. From within the madness comes humanity in its purest and most genuine form, and it makes for edge of the seat viewing whilst stirring the blood of those invested fully in this remarkable story. 9/10
***Tribute to a real-life WW2 “conscientious collaborator”***

After Pearl Harbor, Desmond Doss of Lynchburg, Virginia, joins the US Army to become a medic and serves at the Battle of Okinawa. As a Seventh Day Adventist and conscientious objector, his goal was to save lives, not kill, which naturally causes problems with his fellow soldiers; until they observe his bravery in combat. Teresa Palmer is on hand as Doss’ potential babe while Vince Vaughn plays the drill sergeant.

Based on a true story and directed by Mel Gibson, "Hacksaw Ridge" (2016) is a reverent and compelling WW2 flick that includes the usual training sequences in the first half balanced by intense combat sequences in the second. The unique factor here is that the brave protagonist refuses to use a weapon and is determined to only save lives in the midst of the insanity of war. This is an interesting real-life tale that needs to be told and “Hacksaw Ridge” is a good war movie only marred by laying on the heroics too thick as well as the lack of depth in the peripheral characters, which makes them uninteresting. The latter is in contrast to the outstanding “Platoon” (1986) which featured several well-defined characters.

The movie’s about an individual who believes in ABSOLUTE pacifism, which is a peaceable attitude that refuses to ever turn to violence, even in response to evil or for the purpose of national defense. He thinks this is supported by the Bible and, specifically, the New Testament, but it isn’t. The Scriptures support LIMITED pacifism, which is a peaceable attitude that only resorts to violence when justified. Christ' instructions to "turn the cheek" related to responding to a backhanded slap to the face, which was an insult in that culture. In other words, we could all save ourselves a lot of trouble in life if we learn to ignore the antagonism of various morons who would like to divert our focus and ruin our day. The Old Testament teaches this as well: "A fool shows his annoyance at once, but a prudent man overlooks an insult" (Proverbs 12:16). So Christ was talking about giving an antagonist a break for the sake of peace in situations of personal offense; he wasn't referring to cases of severe criminal acts or defense of one’s nation.

For proof, Jesus' ministry team had a treasury box and some of his workers carried swords for protection from thieves/murderers in their travels. You see, Christ & his disciples weren’t absolute pacifists. On two occasions, the Messiah got a whip out and chased all the fools out of the Temple – throwing over tables, swinging the whip and yelling. He was a Holy Terror, pure & simple, and this caused the legalistic religious leaders to fear him and plot murder (Mark 11:15-18). Harmless pacifists don't inspire fear and provoke murder plots. Moreover, Romans 13 clearly states that the righteous laws of human governments are ordained of God for the purpose of punishing criminals, domestic & foreign, who threaten the lives of citizens. This includes the right to execute when appropriate. The majority of sane Christians realize this, but there are a few extremists, like Doss in the movie, who refuse to be balanced with the Scriptures on this matter and insist that violent conflict is never appropriate. They’re wrong. Sometimes it’s necessary, like after the Japanese attacked Pearl Harbor, unprovoked, murdering over 2300 innocents and wounding 1100.

The film runs 2 hour, 19 minutes, and was shot in New South Wales, Australia.

GRADE: B-

"

[HD] Hacksaw Ridge 2016 Film Indirme

Kısa film

Harcandı : $895,844,182

Gelir : $085,069,544

Kategoriler : Geschichte - Reality Fear Object Magic , Great - Unabhängigkeit , Wissen - Tapferkeit , Melodramma telefilm - Frauen

Üretici Ülke : Zypern

Prodüksiyon : Katahdin Productions

WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people and becomes the first Conscientious Objector in American history to receive the Congressional Medal of Honor.
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