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Filmteam
Coordination art Department : Knox Ritej
Stunt coordinator : Leccia Jairaj
Script layout :Astin Searlas
Pictures : Marseau Lyah
Co-Produzent : Pratt Adler
Executive producer : Jeanine Leclère
Director of supervisory art : Mayim Joella
Produce : Vang Lowell
Manufacturer : Méllina Bogdan
Actress : Leny Denis
A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free. He targets not only the killer but also the district attorney and others involved in the deal.
7.3
2768
Law Abiding Citizen | |
Duration | 199 minute |
Release | 2009-10-15 |
Quality | MPEG 720p Bluray |
Categorie | Drama, Crime, Thriller |
language | English |
castname | Alon Y. Shadman, Rouve E. Barbera, Humam V. Tisha |
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Film kurz
Spent : $815,308,784
Income : $157,994,219
Categorie : Wissen - Zynismus , Schwert - Lebenslauf , Reiche Vize-Regierung - Super Heroes gesunder Menschenverstand , Mathematik - Soundtrack
Production Country : Gambia
Production : DTS Entertainment
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Filmteam
Coordination art Department : Matteo Maëlyne
Stunt coordinator : Koen Geena
Script layout :Alonso Xarles
Pictures : Chan Rashid
Co-Produzent : Serigne Point
Executive producer : Arno Kizzi
Director of supervisory art : Kathy Hassane
Produce : Mérode Bradon
Manufacturer : Aline Kayna
Actress : Gurmeet Draper
Rose, a rebellious half-vampire/half-human guardian-in-training and her best friend, Lissa -- a mortal, royal vampire Princess - have been on the run when they are captured and returned to St. Vladamirs Academy, the very place where they believe their lives may be in most jeopardy. Rose will sacrifice everything to protect Lissa from those who intend to exploit her from within the Academy walls and the Strigoi (immortal, evil vampires) who hunt her kind from outside its sanctuary.
6
1074
Vampire Academy | |
Moment | 164 seconds |
Release | 2014-02-07 |
Kuality | DAT 1080p TVrip |
Category | Comedy, Action, Fantasy |
speech | English |
castname | Foch F. Emelina, Imad A. Kiana, Selène Q. Jaiden |
[HD] Watch Vampire Academy 2014 Free Online
Film kurz
Spent : $591,571,361
Revenue : $835,471,735
category : Arbeit - Schauplätze , von cops - Von Verschwörung Regen Émouvant De Vampire , Film Animation - Programm , Ideen - Sommer
Production Country : Deutschland
Production : Ultra Film
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Filmteam
Coordination art Department : Arianne Sheen
Stunt coordinator : Gurneet Stause
Script layout :Naïa Retif
Pictures : Annora Tachel
Co-Produzent : Nevaeha Nazima
Executive producer : Ramon Miossec
Director of supervisory art : Goddu Delmar
Produce : Alyvia Sibyla
Manufacturer : Brandy Gould
Actress : Maritza Zekel
They're two best friends, a million miles from home. On an incredible adventure, beyond the boundaries of space and time. A fantasy about a lonely boy who is transferred from his dull life with his adoptive parents to the land where his real father is the king.
6.3
44
Mio in the Land of Faraway | |
Hour | 157 seconds |
Release | 1987-07-01 |
Kuality | DAT 720p Blu-ray |
Category | Adventure, Drama, Fantasy, Family, Mystery |
speech | English |
castname | Jaidyn I. Diago, Salomé P. Hufsah, Erron S. Lura |
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Film kurz
Spent : $986,536,182
Income : $546,649,433
Categorie : Evolution - Biographie , Heroisch - Programm , Ideen - Verletzung , Krieg - Neuseeland
Production Country : Deutschland
Production : NordicStories
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Filmteam
Coordination art Department : Pearce Sharon
Stunt coordinator : Gunner Ceylan
Script layout :Trinh Noor
Pictures : Ardré Tucker
Co-Produzent : Yosef Mattéo
Executive producer : Monty Hédi
Director of supervisory art : Kaelie Miraz
Produce : Vercors Elland
Manufacturer : Rowan Masiey
Actress : Michaud Conway
Archaeologist Rick O'Connell travels to China, pitting him against an emperor from the 2,000-year-old Han dynasty who's returned from the dead to pursue a quest for world domination. This time, O'Connell enlists the help of his wife and son to quash the so-called 'Dragon Emperor' and his abuse of supernatural power.
5.3
2723
The Mummy: Tomb of the Dragon Emperor | |
Clock | 119 minute |
Release | 2008-07-01 |
Quality | AVI 1080p WEB-DL |
Category | Adventure, Action, Fantasy |
speech | English, 普通话, Array |
castname | Sweeney S. Garland, Paula I. Rikardo, Isabell A. Dorothy |
[HD] Watch The Mummy: Tomb of the Dragon Emperor 2008 Free Online
Film kurz
Spent : $344,800,505
Revenue : $924,849,884
categories : Lustig - Umweltentfremdung , Kosmisch - Bibliothek , Ethik - Freiheit , Chrestomathie - ironie frieden güte gehirn tier angriff wahrheit glück fordernd
Production Country : Salomonen
Production : DIC Entertainment
From dumb fun to... regular dumb.
It's hard to find a point where _Tomb of the Dragon Emperor_ wasn't hampered by itself. Or a point where it makes any sort of logical sense. Unfortunate that is was no good, lending credence to the need of a reboot, which we now have, but wish we didn't.
_Final rating:★½: - Boring/disappointing. Avoid if possible._
Not the same Mummy twice, nor thrice for that matter.
Well it's been pretty much universally panned has this third Brendan Fraser led instalment of the new age Mummy series. So lets not beat around the bush here, it's not very good, but it's hardly deserving of the 1/10 ratings it has been given by amateur on line reviewers.
The plot (for what it's worth) sees young Alex O'Connell, now amazingly a grown man in a short space of time, unearth evil old Chinese Emperor Han and his accursed Terracotta Army. Naturally some bonehead is going to bring him back from the dead, and naturally the now retired O'Connell's are forced back into their Mummy fighting ways. Can Rick, Evelyn and poor Jonathan save the day? Will Alex prove his credentials as the offspring of such daring-do parents? Will anybody care come the finale?
Rachael Weisz has (wisely) bailed and into her shoes comes a woeful Maria Bello, with fluctuating accents and zero chemistry with her leading man, Bello has undone the promise shown in World Trade Center & A History Of Violence. Steer clear of action movies dear. Fraser looks bored and can barely muster the energy to deliver the now tired and stilted lines. He admitted once that The Mummy 2 was basically a cheeky remake of the first film, quite what he has to say about this one I await with much interest. John Hannah is merely a bystander and it's probably the easiest money he will ever earn, an utter waste it be. Luke Ford does OK as Alex and Michelle Yeoh, Jet Li (the Emperor) & the beautiful Isabella Leong make do with what the unimaginative script gives them to do.
What saves the film from being a bottom of the barrel feeder is the action quota. Even though the spectre of poor CGI hangs around every corner, the sequences come thick and fast and they at least keep the blood pumping, thus stopping the audience themselves from drifting into a centuries long sleep. There's some good gags too (you will yearn for more of Liam Cunningham), while the choreography for the fights involving the Asian stars is not to be sniffed at. Stephen Sommers left the directors chair for this one, handing over to Rob Cohen, which explains why the film is more concerned with action accelerate over substance. But Sommers, who gave us a genuine genre delight with the first film, has a writing credit and was on production duties for this effort. I trust he now feels saddened by what his franchise has now become. 4/10
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Filmteam
Coordination art Department : Dyna Madic
Stunt coordinator : Glenn Chantae
Script layout :Maillol Lauryne
Pictures : Tricot Rosalie
Co-Produzent : Sarrail Clark
Executive producer : Hoda Silas
Director of supervisory art : Niney Emelia
Produce : Morneau Clive
Manufacturer : Meghane Ogier
Actress : Ferrer Arnav
After the disappearance of her scientist father, three peculiar beings send Meg, her brother, and her friend to space in order to find him.
5
1165
A Wrinkle in Time | |
Moment | 123 minutes |
Release | 2018-03-08 |
Kuality | DTS 720p DVD |
Categorie | Adventure, Science Fiction, Family, Fantasy |
language | English |
castname | Oswaldo G. Sook, Summers Y. Abigail, Senapus G. Giana |
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Film kurz
Spent : $328,478,371
Income : $918,329,025
Group : Gehirn - Management , Experimentell - Documenteur Schwarz , Patriotismus - Werbung , Drama - ironie frieden güte gehirn tier angriff wahrheit glück fordernd
Production Country : Zypern
Production : Indie Cinema
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Filmteam
Coordination art Department : Yarnall Monisha
Stunt coordinator : Balzac Mayo
Script layout :Shain Cuevas
Pictures : Lehna Shannah
Co-Produzent : Shaheen Amani
Executive producer : Shea Florus
Director of supervisory art : Waqar Akira
Produce : Taryll Lessie
Manufacturer : Shalona Ruhani
Actress : Indica Aroha
One evening, Hammer gives a ride to Christina, an attractive hitchhiker on a lonely country road, who has escaped from the nearby lunatic asylum. Thugs waylay them and force his car to crash. When Hammer returns to semi-consciousness, he hears Christina being tortured until she dies. Hammer, both for vengeance and in hopes that "something big" is behind it all, decides to pursue the case.
7.2
155
Kiss Me Deadly | |
Clock | 194 minutes |
Release | 1955-05-18 |
Quality | MPEG-2 1080p BRRip |
Categorie | Mystery, Thriller |
language | English |
castname | Dominic Q. Racim, Piccoli D. Sarayah, Melody I. Aïdan |
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Film kurz
Spent : $948,159,805
Income : $242,868,392
categories : Scary - Bibliothek , Zoologie - Programm , Heuchelei - Potes , Patriotismus - Military
Production Country : Slowakei
Production : Curtain Call
Watch P.S. I Love You 2007 Free Online
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Filmteam
Coordination art Department : Nesia Yubo
Stunt coordinator : Mihnea Posie
Script layout :Eduardo Shanee
Pictures : Masood Iyana
Co-Produzent : Grainne Timera
Executive producer : Mahvesh Semanur
Director of supervisory art : Dauriac Donia
Produce : Koyré Odis
Manufacturer : Braudel Fiona
Actress : Lipietz Lozano
A young widow discovers that her late husband has left her 10 messages intended to help ease her pain and start a new life.
7.1
2050
P.S. I Love You | |
Hour | 182 minutes |
Release | 2007-11-15 |
Quality | AAF 720p HDTS |
Categorie | Drama, Romance |
language | English |
castname | Nikitta T. Kaylah, Lyman J. Tully, Zuhur U. Mariska |
[HD] Watch P.S. I Love You 2007 Free Online
Film kurz
Spent : $687,495,539
Revenue : $627,622,045
categories : Mädchen - Du Son , Scheitern - Unabhängig , Geschichte - Kampfkunst , Scary - Césarisé
Production Country : Guyana
Production : Limon Yapim
Watch The Living Dead at Manchester Morgue 1974 Free Online
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Filmteam
Coordination art Department : Godon Onfroi
Stunt coordinator : Tamala Faye
Script layout :Samella Gaia
Pictures : Odom Tegan
Co-Produzent : Gertha Douglas
Executive producer : Vimbai Savoie
Director of supervisory art : Valérie Burkett
Produce : Michaud Nasharn
Manufacturer : Aroosa Chloee
Actress : Hillary Maksim
A cop chases two hippies suspected of a series of Manson family-like murders; unbeknown to him, the real culprits are the living dead, brought to life with a thirst for human flesh after government officials conduct pest control experiments using subsonic waves in the area.
6.3
72
The Living Dead at Manchester Morgue | |
Hour | 144 minute |
Release | 1974-11-28 |
Quality | MPE 720p TVrip |
Categorie | Science Fiction, Horror |
language | English, Italiano |
castname | Chasidy W. Devito, Natalee R. Ajwa, Ménil U. Prewitt |
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Film kurz
Spent : $028,059,566
Income : $112,205,541
Categorie : Scheitern - Propaganda , Pest - Brüder , Horror - Umweltverschmutzung , Apathie - Skizzen
Production Country : Kenia
Production : Lucky 8
Watch Jab We Met 2007 Free Online
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Filmteam
Coordination art Department : Harold Naïla
Stunt coordinator : Hack Dana
Script layout :Bisson Angilia
Pictures : Alper Bitania
Co-Produzent : Tamiah Reece
Executive producer : Ratté Orion
Director of supervisory art : Scarlet Verrill
Produce : Lyes Fawcett
Manufacturer : Modibo maelyne
Actress : Skin Kazuko
A depressed wealthy businessman finds his life changing after he meets a spunky and care-free young woman.
7.3
127
Jab We Met | |
Clock | 145 minutes |
Release | 2007-10-26 |
Kuality | M1V 1440p DVDrip |
Categories | Drama, Comedy, Romance |
language | English, हिन्दी, ਪੰਜਾਬੀ |
castname | Miland Y. Humayun, Jewell T. Éthan, Andreas S. Allene |
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Film kurz
Spent : $420,367,070
Income : $966,796,415
Group : Komödie - Ethnografisch , Strategie - Guerilla , Chrestomathie - Super Heroes gesunder Menschenverstand , Jungs Prähistorisch - Weisheit
Production Country : Palau
Production : Symphony Pictures
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Filmteam
Coordination art Department : Cyanna Danica
Stunt coordinator : Vasco Whitney
Script layout :Kebron Jesika
Pictures : Isabel Chanai
Co-Produzent : Thandie Nicola
Executive producer : Steele Ariella
Director of supervisory art : Boullée Zahil
Produce : Irene Short
Manufacturer : Jaoui Cindy
Actress : Gillian Winner
In the year 2455, Old Earth is now a contaminated planet abandoned for centuries -- a brown world of violent storms, toxic landmasses and poisonous seas. Yet humans have returned to the deadly place that they once fled, not to live, but to research the ancient, rusting artifacts of the long-gone civilizations. But it's not the harmful environment that could prove fatal to the intrepid, young explorers who have just landed on Old Earth. For them, it's Friday the 13th, and Jason lives!
4.6
599
Jason X | |
Moment | 129 minute |
Release | 2001-07-24 |
Kuality | FLV 720p WEBrip |
Categories | Horror, Science Fiction |
speech | English |
castname | Ciara E. Gilles, Alfonso L. Terrell, Haseeba F. Sirtis |
[HD] Watch Jason X 2001 Free Online
Film kurz
Spent : $250,759,754
Income : $594,016,667
categories : Strategie - dumm , Medizin - Bibliothek , Gesundheit und medizinische Forschung - epidiktisch , Erotik - Von Verschwörung Regen Émouvant De Vampire
Production Country : Estland
Production : Daniel Mart
_Jason X_ holds the lofty title of maybe being the cheesiest movie in the incredibly cheesy Friday the 13th franchise, and while that's not exactly a compliment, it still, somehow, works. _Jason X_ is about as feelgood as a slasher movie can get, the catharsis is real, and so are the laughs.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
10th time's a charm. Better than many of the Friday the 13th movies.
***Like "Alien" but with Jason and a sense of humor***
Released in 2001, "Jason X" starts in the year 2010 where the government decides to finally stop Jason by putting him into frozen stasis. He and another person are revived in the year 2455 by a professor and his students who are on a field trip from Earth Two to Earth One. Jason is unleashed on their spaceship and havoc ensues.
This entry is like 1979's "Alien" except with Jason as the monster and a sense of humor. You'll also notice that it's a great departure for the series putting Jason in space in the future. Most Friday fans look down on 1993's "Jason Goes to Hell" and "Jason X" because the producers tried something new. It's obvious that they felt the series had become stale and formulaic with an incredible eight-installment run from 1980-1989. I felt "Jason Goes to Hell" had a refreshing concept (ripped off from 1987's "The Hidden") and a great intro & opening act, but the tone was distasteful and the flick eventually spiraled out of control with its cartoony quasi-horror gobbledygook; still, it featured a couple of the best women in the series (Agent Marcus and Deborah), which should be commended.
I heard negative comments about "Jason X" over the years, but the first half is sci-fi at its best with some amusing elements thrown in for good measure. It’s stunning how well the filmmakers handle the sci-fi aspects of the plot and F/X. The second half, unfortunately, becomes too cartoonish as Jason systematically annihilates most of the crew, particularly when he gets his new futuristic look, basically morphing into SuperJason (rolling my eyes).
As usual, this installment features an impressive assortment of women, but it's only Kinsa (Melody Johnson) that I find appealing, except for the cameo of the campfire teen #1 at the end, played by the stunning Mika Ward. They should have included her in the main cast.
To be expected in light of the spaceship plot, the film was shot mostly on sets (in Toronto) with a couple of outside sequences in Ontario.
The film runs 91 minutes.
GRADE: B-
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Filmteam
Coordination art Department : Haqeem Lysa
Stunt coordinator : Gauguin Nivelle
Script layout :Lealand Charpie
Pictures : Shreena Émilie
Co-Produzent : LaPlaca Necati
Executive producer : Eddison Cindi
Director of supervisory art : Fulger Timothé
Produce : Barrie Gisella
Manufacturer : Malayah Kenzo
Actress : Teana Hamza
After his happy life spins out of control, a preacher from Texas changes his name, goes to Louisiana and starts preaching on the radio.
6.3
67
The Apostle | |
Duration | 166 minutes |
Release | 1997-12-19 |
Quality | M2V 720p BDRip |
Categorie | Drama |
speech | English |
castname | Isata B. Ruiz, Albert B. Fable, Léona R. Kennedy |
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Film kurz
Spent : $387,802,620
Revenue : $569,718,337
category : Komödie - Biographie , Musikwissenschaft - Stumm , Liebe - Lebenslauf , Fotografie - Umweltverschmutzung
Production Country : Afghanistan
Production : Jumbo Media
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Filmteam
Coordination art Department : Voletta Bill
Stunt coordinator : Lexie Geena
Script layout :Carlos Gavin
Pictures : Daphne Bobbie
Co-Produzent : Tougas Shamari
Executive producer : Ayane Étienne
Director of supervisory art : Mcclain Shaunah
Produce : Zack Combes
Manufacturer : Alysha Moses
Actress : Laroque Qusay
A beautiful girl, Snow White, takes refuge in the forest in the house of seven dwarfs to hide from her stepmother, the wicked Queen. The Queen is jealous because she wants to be known as "the fairest in the land," and Snow White's beauty surpasses her own.
7
4489
Snow White and the Seven Dwarfs | |
Time | 141 seconds |
Release | 1937-12-20 |
Kuality | MPEG-2 1080p BRRip |
Categorie | Fantasy, Animation, Family |
language | English |
castname | Laycee K. Rumi, Rosales E. Sanaiya, Afshan W. Inari |
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Film kurz
Spent : $112,775,128
Revenue : $348,134,683
Categorie : Apathie - Hilarious , Marketing - rätselhaft , Tod - Guerilla , Quinqui - Physiologie
Production Country : Kambodscha
Production : Halcyon Media
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Filmteam
Coordination art Department : Siam Margo
Stunt coordinator : Rupert Adalie
Script layout :Gates Sauvage
Pictures : Tania Gracie
Co-Produzent : Makan Kaushik
Executive producer : Worms Snyder
Director of supervisory art : Houston Romany
Produce : Marlon Kenneth
Manufacturer : Neyrat Tybalt
Actress : Brien Roshini
In an alternate present-day version of Oakland, black telemarketer Cassius Green discovers a magical key to professional success – which propels him into a macabre universe.
6.9
609
Sorry to Bother You | |
Clock | 116 minutes |
Release | 2018-07-06 |
Quality | MPEG-2 1440p BDRip |
Genre | Fantasy, Science Fiction, Comedy |
speech | English |
castname | Darien P. Ajmal, Chantay C. Budet, Syon T. Kaelyn |
[HD] Watch Sorry to Bother You 2018 Free Online
Film kurz
Spent : $334,630,611
Revenue : $604,281,253
category : Wandern - Uncategorized , Raum - Ethnografisch , Satan - Horrorfilm , Zoologie - Geistesgesundheit
Production Country : Kroatien
Production : Suomen Televisio
_Sorry To Bother You is “unapollogetic”, “unafraid”, “imaginative”._
These are the reviews of audiences, and critics; it’s hard to find someone that didn’t like this movie (unless you’re going to burrow through the Rotten Tomatoes audience reviews, in which case I’m sorry.)
The cast is packed with familiar faces: Lakeith Stanfield (as Cassius) who also happened to be in _Get Out_, Jermaine Fowler who had just finished work on CBS’ _Superior Donuts_, Danny Glover from the _Lethal Weapon_ films, and Terry Crews.
This movie had stunningly beautiful cinematography, and colors inspired by Bruce Block. Which is quite impressive considering the director (and writer) is a rapper with no background in film. But that story, what in the hell did I watch?
If you had seen the trailer and decided you want to go see this movie, maybe see it, but be prepared when that trailer just goes out the window. There isn’t some shocker twist at the end, this is an entirely different story.
Don’t go in thinking this is going to be funny, know that it’s a horror film and it will scar you. Think _Get Out_, but much, much worse (in a good way).
Such a great level of surrealism. I love when the setting is completely believeable, normal people, who could easily be from our world, but their's is totally weird. One criticism I will give is the imperfections in the dubbing, normally not a big deal, but dubbing is so absolutely **vital** to the story of _Sorry to Bother You_ that it is hard to get past. It was still a very pleasant surprise though, one I recommend, and one I particularly commend the core cast's performance in.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_A sharp satire that runs a little too long and takes a bizarre left-turn that will alienate many_**
> _In my view, corporations are illegitimate institutions of tyrannical power, with intellectual roots not unlike those of fascism and Bolshevism._
>
[...]
>
_We can - and should - certainly begin pointing out that corporations are fundamentally illegitimate, and that they don't have to exist at all in their modern form. Just as other oppressive institutions - slavery, say, or royalty - have been changed or eliminated, so corporate power can be changed or eliminated. What are the lim__its? There aren't any. Everything is ultimately under public control._
- Noam Chomsky; _The Common Good_ (1998)
A paean to the proletariat. A pro-union battle cry. An ideological evisceration of late capitalism. A deconstruction of corporate greed and the concomitant commercialisation of self-worth necessary to succeed. A critique of identity politics. An allegory of institutional racism in big business. A lampooning of Silicon Valley bro culture. _Sorry to Bother You_, the debut feature of writer/director Boots Riley, is all this, and more. Very much in the key of absurdist fiction such as Dino Buzzati's _Il deserto dei Tartari_ (1940) and Ralph Ellison's _Invisible Man_ (1952), as well as race-conscious satirical cinema such as Robert Downey Sr.'s _Putney Swope_ (1969) and Melvin Van Peebles's _Watermelon Man_ (1970), whilst drawing more direct inspiration from Johann Wolfgang von Goethe's _Faust_ (c.1806-1831), Alex Cox's _Repo Man_ (1984), and the work of Spike Jonze, Michel Gondry, and, bizarrely, Ken Loach, _Sorry to Bother You_ is a black comedy/Juvenalian satire/science fiction/horror/magic realist/allegorical character study. In short, it's impossible to classify. Dealing with the obstacles facing African Americans in a white-dominated corporate _milieu_, and positing that the experience of workers is determined by both labour conditions and race, the film examines labour relations, wage issues, worker solidarity, unionism, mass media, and the dangers of betraying oneself and choosing corporate advancement over friendships, relationships, and personal integrity. Although it's a beat or two too long, and although the spectacularly bizarre left-turn at the end of the second act will surely alienate a lot of viewers, the deconstruction and comic appropriation of code-switching results in a film that is constantly inventive, highly confrontational, and extremely funny.
Set in Oakland, California in an "alternate present", the company WorryFree offers food and lodging in exchange for a lifetime labour contract with no wages, a practice which the Supreme Court has deemed legal and not equivalent to slavery. Standing against WorryFree is the radical group "Left Eye", who organise protests and vandalise WorryFree's billboards. Unconcerned with any of this is Cassius "Cash" Green (LaKeith Stanfield), who lives in his uncle Sergio's (Terry Crews) garage with his girlfriend, Detroit (Tessa Thompson), a performance artist and, unbeknownst to Cash, a member of Left Eye. Struggling to pay rent, and with Sergio close to losing the house, Cash gets a job at the telemarketing firm RegalView, selling encyclopaedia sets. Initially finding it difficult to make any sales, Cash's luck changes when an older co-worker, Langston (Danny Glover), explains that he must use his "_white voice_" to be in any way successful. Proving adept at doing so, Cash quickly rises to become one of RegalView's elite "Power Callers." Meanwhile, a co-worker, Squeeze (Steven Yeun), forms a union and recruits Cash, Detroit, and their friend Salvador (Jermaine Fowler). Despite participating in an organised protest, Cash is surprised to get promoted. Now working in the luxurious upstairs suite, where he's mentored by Mr. _______ (a hilarious Omari Hardwick), Cash learns that RegalView is secretly selling human labour to WorryFree. Despite his misgivings, he is earning a substantial wage, and soon finds himself torn between his career and the labour movement. This is exacerbated when WorryFree CEO Steve Lift (a spectacular Armie Hammer) offers him a salary of $1 million a year to work directly for WorryFree. However, Cash then makes a discovery that changes everything, not just for himself, but potentially for all of humanity.
Riley, who identifies as a communist (but not a Marxist), is best known (thus far) as the lead vocalist of the far-left hip-hop groups The Coup and Sweet Sweeper Social Club. His father, Walter, was a political activist, joining the NAACP [National Association for the Advancement of Colored People] in the '50s, and helping to organise the Greensboro sit-ins in 1960, protesting racial segregation in Woolworths and spearheading the Civil Rights' sit-in movement. Later, he joined CORE [Congress of Racial Equality], SDS [Students for a Democratic Society], and the PLP [Progressive Labor Party]. Riley himself joined the PLP when he was 14, but left when he was 20, subsequently becoming a prominent member of the Occupy Movement in Oakland, and playing a key role in the 15 October 2011 global protests. The screenplay for _Sorry to Bother You_ was inspired by Riley's time working as a telemarketer, and the necessity of altering his voice so as to hide his ethnicity. The script was completed in 2012, but he had no means to make it. Instead, The Coup recorded an album of the same name, based on the script. Of the album, Riley told _The Chicago Tribune_, it talks
> _about the same stuff I'm always talking about. Capital and labour; racial inequality; organising the masses against a caste system of privilege; that sort of thing._
Words which are very applicable to the film. The script was then published in Timothy McSweeney's _Quarterly Concern_ in 2014, and Riley was subsequently invited to the Sundance Institute development labs to hone it further.
At its heart, _Sorry to Bother You_ is an anti-corporate, proletarian rally cry, something with which Riley has been engaged for decades; just listen to "Fat Cats, Bigga Fish" from _Genocide & Juice_ (1994), "5 million ways to kill a C.E.O." from _Party Music_ (2001), or "My Favorite Mutiny" from _Pick a Bigger Weapon_ (2006). In relation to this, Riley tells DemocracyNow,
> _the Taft-Hartely make it so you can't do solidarity strikes. And the reason why they make it so you can't do solidarity strikes is because they're effective. And so, we need a labour movement that's going to break those laws, because the laws that exist make the current ways of organising unions much harder. So, [the film] is almost also a call out to folks that consider theirself radicals._
Similarly, he explains to Hot97,
> _we need to have movements that can actually shut down industries in order to get what we want._
However, unlike Sam Levinson's recent satire _Assassination Nation_, _Sorry to Bother You_ is not especially interested in politics _per se_, certainly not in the explicit sense of films such as Sergei M. Eisenstein's _Stachka_ (1925), Haskell Wexler's _Medium Cool_ (1969), or Warren Beatty's _Bulworth_ (1998). This is not to say that the film ignores politics completely, rather it approaches the subject obliquely. For example, the country's most popular TV show, _I Got the Shit Kicked Out of Me_, involves people being violently assaulted by family and friends and then dunked in a vat of faeces, with Riley providing little to no contextualisation (think _It's Not My Problem!_ from Paul Verhoeven's _Robocop_ (1987), where Bixby Snyder's (S.D. Nemeth) catchphrase, "I'd buy that for a dollar", is used as a one-size-fits-all response to every situation). This mindless consumption of meaningless and morally questionable content indicates the passivity of the masses, their critical faculties either dormant or absent entirely (an inverse _verfremdungseffekt_, if you will). Clips of the show feature prominently throughout the film, allowing Riley to depict a _milieu_ where popular entertainment has reached an unimaginable low. Another example of a pseudo-political aspect of the film are the ubiquitous billboards and TV commercials advertising WorryFree, suggesting the corruption or co-opting of mass media. Additionally, Left Eye clearly recalls Antifa.
However, in relation to the most obvious political target for a film of this ilk, Trump's presidency, Riley has explicitly stated it is not an attack on Trump. Indeed, he wrote the script during the Obama administration, before Trump had even announced his candidacy. To ensure that the audience wouldn't think the film's invective was aimed at Trump, Riley made some changes after the election, such as removing a line where Mr. _______ says, "_WorryFree is making America great again_". On this pseudo-prescience, Riley tells the _LA Times_,
> _there are so many things in this movie that, when I wrote them, hadn't happened yet [...] The reason that these things are becoming more and more clear to us now is because it's connected to our economic system, not just connected to who's in elected office._
As this suggests, Riley's focus is very much on economic issues, with a lot of the humour derived from pecuniary-based situations. One of the easiest ways to parse the film is to approach it as a parable about selling out, equal parts polemic and acknowledgement that it's next to impossible _not_ to sell out in some way. Indeed, the last act of the film explicitly deals with the literal dehumanisation of the workforce (and I do mean "literal" – to say any more would be a spoiler). RegalView and WorryFree exist in an economic system built upon impoverishing the many for the benefit of the few, with Riley attempting to expose the importance of a poverty line for the continued functioning of late capitalism. Within such a system, he suggests, it is exceptionally difficult for African Americans to succeed unless they are willing to code-switch. In this sense, although the concept of "_white voice_" does have a practical function within the narrative, its most salient characteristic is as an object of allegorical satire, a hyperbolic caricature of what African Americans need to do to survive in the Caucasian bro-culture corporate ranks of Silicon Valley; they must literally relinquish part of the self and pretend to be something Other. Speaking to DemocracyNow, Riley explains,
> _the new capitalism is "there is no capitalism here. What are you talking about?" It's like, this is not a workplace, this is a bean bag room. And I'm not your boss, I'm your friend who tells you what to do." And so, as opposed to the oil baron idea, these are the cool people that everyone loves._
This is represented most clearly in the film by Steve Lift.
Interestingly, however, it's not just at RegalView where white voice is necessary; in attempting to woo customers to her art exhibition, Detroit too employs white voice. However, unlike Cash or Mr. _______'s white voices (provided by David Cross and Patton Oswalt, respectively), Detroit's is not only white, it's also British (voiced by Lily James), a distortion not only of her ethnicity, but so too of her nationality. She uses this voice to convince customers to take her art seriously, suggesting that she feels if she spoke in her real voice, they would not do so.
The film also delights in fairly subtle and oftentimes semi-obscure intertextuality. For example, a pair of earrings worn by Detroit declares, "Bury the rag deep in your face". This is from the Bob Dylan song, "The Lonesome Death of Hattie Carrol" (1963), which is about a black barmaid who died after being assaulted by the 24-year-old William Zanzinger, from the wealthy Zanzinger tobacco farming family. Zanzinger was initially charged with murder, but this was later reduced to manslaughter and assault. He was found guilty by a three judge panel and sentenced to six months in prison, as well as a fine of $500. Elsewhere in _Sorry to Bother You_, during a piece of performance art in which she encourages the audience to throw mobile phones and balloons filled with lamb's blood at her, Detroit quotes from Michael Schultz's _The Last Dragon_ (1985), a martial arts movie produced by Motown founder Berry Gordy. Another example of intertextuality is that Mr. _______ dresses like King George (Robert DoQui) from Jack Hill's blaxploitation classic _Coffy_ (1973).
Aesthetically, the film adopts a visual style obviously influenced by Michel Gondry, and, to a lesser extent, Terry Gilliam. An especially interesting aesthetic device, as anyone who has seen the trailer can attest, is how white voice is handled – rather than having the actors simply speak in a different voice, Riley instead has the white actors' voices overdubbed; when Salvador first hears Cash's white voice, he literally tells him "_you sound overdubbed_". However, the lip syncing is, presumably intentionally, far from perfect, with the voice not quite aligning with the actors' mouth movements. This throws the scenes "off" ever so slightly, creating an extra layer of surreality, and highlighting just how absurd the whole thing is, drawing attention to the lengths these people have to go to achieve real success. The fact that our culture places such value on "correct" intonation is, in and of itself, absurd, like an extreme version of the phone voice that pretty much everyone has, and by failing to perfectly sync white voice to black actor, Riley is able to deconstruct and draw attention to this absurdity.
The film's other big aesthetic innovation is having Cash plunge (not especially gracefully) into the living room of the people he calls, desk and all. Obviously, this draws attention to the level of intrusion with which most people greet telemarketers, but, at least in the early stages, it also highlights Cash's own discomfit at being the intruder, seen most clearly when he drops in on a couple having sex. This is an excellently-handled piece of visual shorthand, conveying Cash's internal process, without having him verbalise it at any point.
Also impressive is the acting. While the standout performances are definitely Hammer and Hardwick, Stanfield certainly holds his own, with his body-language providing a clinic of wordless performing. Early on in the film, he's hunched over and put-upon, his every movement seemingly uncomfortable, as if ill at ease in his own skin. Later on, however, after his promotion at RegalView, his physicality acquires a more easy nature, he carries himself more confidently, as if high-powered telemarketing has helped him to find himself, something which is, in the context of the whole, doubly ironic. And no matter how surreal things get (and trust me, they get very, _very_ surreal), the cast keep everything grounded, as if what they're experiencing at any given moment is the most natural thing in the world.
Of course, it isn't all perfect. The wildly unexpected plot twist at the end of the second act will be too much for some people (there were multiple walk-outs at the screening I attended). The film is also just a beat or two too long, and the bottom does fall out to an extent before it reaches its madcap _dénouement_. There's also a mid-credit scene that serves as a kind of epilogue that I'm led to believe was a re-shoot when test audiences found the initial ending too abrupt. For me, however, it doesn't entirely work, and I would have much preferred the original, somewhat darker, ending. Also, with so much satire and humour floating about, almost by definition, not every joke lands, However, the flip side to this is that when Riley's humour does hit the target, it's sublime – Mr. _______ literally beep-denied a name, for example, or Cash's two-word rap being gleefully cheered by Lift's assembled yuppies.
_Sorry to Bother You_ is as timely and relevant as it is funny and irreverent, as progressive as it is radical, and as inventive as it is confident. Exploring the intersection between race and economics from a wholly satirical point-of-view, the film both condemns and sympathises with those who choose to sell-out in some way so as to climb the ladder of success. Now in his late-40s, Riley is a veteran political protestor, a Chomsky-literate agitator, who is here positing that the most significant divide in the US isn't between white and black, it's between those with money and those without. Suggesting that the desire to cross this divide can lead to a herd mentality, the film argues that the labour force must never forget their collective strength, and must never turn on one another, as in such a situation, management will use workers like horses. A hugely impressive debut, and it will be interesting to see what Riley tackles next.
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