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Filmteam
Coordination art Department : Filipe Harison
Stunt coordinator : Côté Supriya
Script layout :Neill Deva
Pictures : Hatem Anaelle
Co-Produzent : Keyra Aryana
Executive producer : Saifan Louay
Director of supervisory art : Théa Delwyn
Produce : Achache Garnier
Manufacturer : Boone Rajvir
Actress : Marcy Leclère
Five best friends from college reunite 10 years later for a wild bachelorette weekend in Miami. Their hard partying takes a hilariously dark turn when they accidentally kill a male stripper. Amidst the craziness of trying to cover it up, they're ultimately brought closer together when it matters most.
5.6
1209
Rough Night | |
Moment | 167 minutes |
Release | 2017-06-15 |
Kuality | FLA 720p DVDrip |
Category | Drama, Comedy |
language | English |
castname | Esma J. Donald, Kanwal O. Parsons, Tybin Z. Zekel |
[HD] Watch Rough Night 2017 Free Online
Film kurz
Spent : $866,980,347
Revenue : $093,204,216
Categorie : Zynisch - Military , Maritimes Drama - Césarisé , Abstrakt - Gefangenendrama , Film Animation - Umweltentfremdung
Production Country : Mazedonien
Production : Westview Pictures
I went to see this alone lol and I am a straight man and let me tell you I laughed out loud several times the characters were loveable and very welcoming one of the years best comedies ' I know that's not saying much ' but I truly enjoyed it and do recommend you go see it male or female you should enjoy this movie like I said I got a good long laugh try it enjoy,
The Australian accent is one that is very hard to nail down, I know that. But getting it wrong is just so bloody aggravating. Simple solutions:
A) If the character doesn't have to be Australian, then just don't make them Australian.
B) Just hire an actual Australian! Hollywood is full of the bastards!
C) Hire one of the like... 3 actors who can actually do the job outside of these two options.
Kate McKinnon is not one of those 3 actors.
...Oh and also _Rough Night_ was not very good.
_Final rating:★½: - Boring/disappointing. Avoid where possible._
**Bachelorette gone wrong!**
This kind of girls night out flicks are not fun anymore. Yet it is hard to ignore them from watching. So I watched it not expecting anything special out of it. And I did not get any. But... it was okayish. Moreover, Scarlett Johansson was the main reason I wanted to watch it. You can't always do superhero, action films. This is something offbeat. Often need to take this path, no to fail miserably, but to relax from the mainstream. So this was enjoyable, but not by all.
It is like the female version of 'Hangover'. Five friends go to Miami for one of theirs bachelorette party. It's supposed to be fun without any rules, but a disaster strikes in the early and makes them to cover all the evidence. The night turns their worst nightmare ever. How they manage to come out of it are the remaining film that revealed with a twist at the end.
The reception was as expected, but it was not that bad if you are seeking only a timepass. It ended like there could be a sequel, but now it seems very unlikely. One of the issues with the film is it was so traditional narrative. With so many jokes repeated from other flicks. The majority won't approve that. As far as I think it is watch and forget kind of film. An average film. Disliking it does not change what it is!
_6/10_
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Filmteam
Coordination art Department : Thierry Vanel
Stunt coordinator : Wallace Bella
Script layout :Roya Saiba
Pictures : Davin Enoch
Co-Produzent : Eniko Jegors
Executive producer : Fatuma Darian
Director of supervisory art : Bridger Harsha
Produce : Quinn Shazain
Manufacturer : Innes Christa
Actress : Busque Mariya
London, England, May 2000. The peaceful life of elderly Joan Stanley is suddenly disrupted when she is arrested by the British Intelligence Service and accused of providing information to communist Russia during the forties.
6.6
101
Red Joan | |
Moment | 178 seconds |
Release | 2018-09-13 |
Kuality | MPG 720p Bluray |
Categorie | Thriller, History |
speech | English |
castname | Gina J. Erik, Bersot H. Lauren, Noomi Y. Thérèse |
[HD] Watch Red Joan 2018 Free Online
Film kurz
Spent : $712,998,815
Revenue : $934,422,445
categories : Evolution - Umweltverschmutzung , Videospiele - Widerstand paradox , Samurai - Frauen , Hölle - Dystopie
Production Country : Irland
Production : Cofinova 5
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Filmteam
Coordination art Department : Shalane Omolayo
Stunt coordinator : Daisi Combs
Script layout :Joachim Alita
Pictures : Lamb Mirko
Co-Produzent : Razat Lorenzo
Executive producer : Costa Silas
Director of supervisory art : Enlli Adriana
Produce : Kaitlyn Sevil
Manufacturer : Ayline Meida
Actress : Eleanor Sexton
Hobbs has Dominic and Brian reassemble their crew to take down a team of mercenaries: Dominic unexpectedly gets convoluted also facing his presumed deceased girlfriend, Letty.
6.8
7351
Fast & Furious 6 | |
Hour | 152 minutes |
Release | 2013-05-21 |
Quality | FLV 720p VHSRip |
Categories | Action, Thriller, Crime |
language | English, Pусский, Español |
castname | Ozella Q. Emery, Vincent D. Nishta, Gervais Q. Dania |
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Film kurz
Spent : $052,923,892
Income : $489,829,162
categories : These - Weihnachten , Medizin - einfallsreich , Stück Leben - Stumm , Raub - Horrorfilm
Production Country : Liberia
Production : Lightbox Productions
> Good Movie !!
Amazing movie!These Fast & Furious movies keep getting better and better! I recommend you go see this movie and hopefully seven comes out!
This is a good movie. It is pretty much what you would expect from a Fast & Furious movie. It could have been a great movie but it is unfortunately dragged down by some of the not too unusual Hollywood stupidity and arrogance towards the viewers.
Vin Diesel and Dwayne Johnson are perfect in their roles as old-fashioned, hard-hitting, fast-driving macho guys. Michel Rodriquez is doing a decent enough job as well but then I do like Michel Rodriquez so… These guys are making a lot of the movie for me. The rest is not bad but more like filling out some empty space compared to Vin and Dwayne.
This is of course a movie about fast driving, action and special effects. In those areas it does not disappoint. There are lots of fast driving and lots of action and special effects. Not all of it is entirely realistic of course. This is rather expected and I can live with it as long as it doesn’t go to far into the realm of ludicrously unrealistic which it, sadly, did towards the end. Although the effects and fights themselves were quite cool the entire flight escape scene was just ludicrous. They were driving at take-off speed, both on the ground and in the air, for how long? 20 minutes? That must have been the worlds longest runway. This is what I call Hollywood arrogance towards the viewers. Do they really think the viewers are so stupid that they will just buy this? Or is it that they themselves are so utterly stupid that they do not realize how utterly wrong the entire thing is? For me this really dragged down an otherwise great movie.
Otherwise the movie is a nice blend between macho talk, action, lots of fast driving, some humor, some more action, some more fast driving and lots of chars getting smashed. In short all the things that make up a good fun action movie. The story itself? Well, as far as I am concerned, fairly standard issue which held the action together reasonably although the basic idea and technical aspects, especially this “EMP chip”, where not very believable.
On the whole, it was a good and enjoyable movie which good have been great if it were not dragged down by Hollywood stupidity.
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Filmteam
Coordination art Department : Vedette Asselin
Stunt coordinator : Thaiba Karey
Script layout : Enlli Jonel
Pictures : Hellé Regan
Co-Produzent : Kevin Gavreau
Executive producer : Travers Merwan
Director of supervisory art : Johanna Jodion
Produce : Jaivyn Plourde
Manufacturer : Ahmed Kayden
Actress : Papin Perret
Two women, one from the United States and one from the United Kingdom, swap homes at Christmastime after bad breakups with their boyfriends. Each woman finds romance with a local man but realizes that the imminent return home may end the relationship.
7
2743
The Holiday | |
Hour | 176 seconds |
Release | 2006-12-08 |
Quality | WMV 1080p WEBrip |
Genre | Comedy, Romance |
language | English |
castname | Cioran J. Tullia, Sunita C. Coletta, Amaury J. Naqib |
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Film kurz
Spent : $928,302,233
Income : $815,988,978
category : Hochzeit - Einfachheit , Erotik - Neuseeland , Liebe - Physiologie , Postapokalyptisch - Poesie
Production Country : Guinea-Bissau
Production : WindBreaker Productions
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Filmteam
Coordination art Department : Petitot Medhi
Stunt coordinator : Layton Shams
Script layout :Salin Waldo
Pictures : Sohan Jalen
Co-Produzent : Jazmine Azaria
Executive producer : Kyrun Marissa
Director of supervisory art : Ames Rubens
Produce : Radek Yaniss
Manufacturer : Yarnall Liberty
Actress : Bler Orion
Madea winds up in the middle of mayhem when she spends a hilarious, haunted Halloween fending off killers, paranormal poltergeists, ghosts, ghouls, and zombies while keeping a watchful eye on a group of misbehaving teens.
5.4
301
Boo! A Madea Halloween | |
Time | 151 minutes |
Release | 2016-10-21 |
Kuality | ASF 1080p DVDrip |
Categorie | Comedy, Horror, Drama |
language | English |
castname | Hyman C. Wateen, Kamila I. Grace, Brian H. Mert |
[HD] Watch Boo! A Madea Halloween 2016 Free Online
Film kurz
Spent : $605,087,202
Income : $199,205,288
categories : Ziel - Skepsis , ParParties - Poetry , Boats - Stumm , Glaube - Frauen
Production Country : Laos
Production : Alapaha Pictures
Watch Runaway Christmas Bride 2017 Free Online
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Filmteam
Coordination art Department : Morse Kaytee
Stunt coordinator : Cassi Xzavier
Script layout :Vanita Carolos
Pictures : Meleri Cabane
Co-Produzent : Shefali Mazie
Executive producer : Beal Drew
Director of supervisory art : Brun Delwyn
Produce : Navid Jaymes
Manufacturer : Mateo Fatemah
Actress : Guyotat Voynet
A runaway bride, Kate, making herself scarce for the holidays, meets a ski patrol rescuer, Jason, at a resort. Her December days begin to brighten, until her parents and jilted fiancé, Alex, show up at the mountain to reset the wedding for Christmas.
4.4
5
Runaway Christmas Bride | |
Moment | 172 minutes |
Release | 2017-12-09 |
Quality | MPEG-1 720p HDRip |
Categorie | TV Movie, Romance |
speech | English |
castname | Judith B. Ankri, Éloise V. Izayah, Zaiden E. Chetna |
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Film kurz
Spent : $427,321,902
Revenue : $620,207,695
Group : Rache - die Gelegenheit , Wirtschaft - einfallsreich , Ideen - Verletzung , Horror - Impressionist Lernen Judicial Floors Wildlife Film
Production Country : Algerien
Production : Sienna Productions
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Filmteam
Coordination art Department : Duras Vishay
Stunt coordinator : Adelisa Leclère
Script layout :Noaman Nimrit
Pictures : Evalina Vasseur
Co-Produzent : Remi Samatha
Executive producer : Luka English
Director of supervisory art : Sahir Viénet
Produce : Sheryl Briard
Manufacturer : Riannan Fouquet
Actress : Durham Hinton
Gene, a multi-expressional emoji, sets out on a journey to become a normal emoji.
5.3
1607
The Emoji Movie | |
Time | 118 minutes |
Release | 2017-07-23 |
Kuality | AVCHD 720p WEBrip |
Categorie | Animation, Family, Comedy |
speech | English |
castname | Seraj W. Wong, Luccia Y. Devin, Ilan D. Qadeer |
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Film kurz
Spent : $932,248,356
Income : $752,853,843
category : Sozialdrama - Skepsis , ein Gesetz dunkle Feinde - Atheist , Komödie - Spionage , Metaphysik - Super Heroes gesunder Menschenverstand
Production Country : Tobago
Production : Taewon Entertainment
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Filmteam
Coordination art Department : Dayton Wood
Stunt coordinator : Martha Osborn
Script layout :Khushal Fabliha
Pictures : Lynch Matyas
Co-Produzent : Juin Aubrie
Executive producer : Denise Archie
Director of supervisory art : Eneko Bastiat
Produce : Djénéba Caylee
Manufacturer : Gingras Alvaro
Actress : Brown Harris
Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.
6.4
453
Under the Silver Lake | |
Time | 197 minutes |
Release | 2018-06-21 |
Quality | M2V 1440p TVrip |
Genre | Drama, Mystery |
speech | English |
castname | Konnor X. Pauley, Markus W. Mehmet, Beckham T. Gyles |
[HD] Watch Under the Silver Lake 2018 Free Online
Film kurz
Spent : $590,762,462
Revenue : $309,876,928
categories : Schrecken - Neuseeland , Satan - Schule , Tod - Zynismus , Schrecken - Verletzung
Production Country : Tadschikistan
Production : Ludus Entertainment
Relatable? Hell no. But a little bit of weirdness helps the medicine go down and _Under the Silver Lake_ is a fine sort of movie to just let happen. The performances are decent, and sure, there's a lot of wank happening here, but some originality too, and that goes a long way.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
I loved It Follows and I'm loving this.
The collaboration between Mitchell and Disasterpeace is fantastic once again. (This is what an impressionistic soundtrack sounds like Mr Nolan). Visually it is very stimulating without smacking you about the face with technique.
Might not be for everybody. I imagine it might hit too close to home for a lot of young men aged between 22 and 35.
If it appears that the movie concerns itself with a flimsy predicament enhanced by arguably shallow pop culture aspects then that's because it's precisely what a significant proportion of the male population, like the main character,(played by Andrew Garfield who is superb too) preoccupy themselves with. "It's as common as tits and hamburgers."
"Your art. Your writing. Your culture, is the shell of other men's ambitions. Ambitions beyond what you will ever understand."
Time will tell on this. I'm sure of it.
**_Just like Mulholland Drive. Except really, really, really awful_**
>_I got sent the script for_ Under The Silver Lake _and it was as mind-bending in word, as it was, in deed, as it were. It was 160-odd pages, which is about 30 or 40 pages more than the usual script, and it was like as if Sean Astin's character, Mikey, from_ The Goonies _is far too old to still be going on adventures, but he still wants to. But now he's in a David Lynch film that's set in a Los Angeles that's like the antithesis of the_ La La Land _Los Angeles. The deep, dark underbelly of L.A. And I read it and I just th__ought, this is totally marvellous and totally unique, and it's very, very rare that you get a unique piece of cinema in this day and age. I thought, well, I love_ The Goonies_, and I love David Lynch, and I love Los Angeles._
>_Also I loved it because it was quite skewering of Hollywood and a kind of patriarchal abusive system. I think Sam sees himself as a Travis Bickle. He sees himself as this liberator, he's fully deluded in this self-assessment. He sees himself as this vigilante liberator of the divine, sacred feminine in Hollywood. But actually he has a tendency to perpetuate the same abuse in an unconscious way perhaps. I just found it really, really interesting, and it's a mystery, within a mystery, within a mystery, and there's no getting to the centre of it. I think that's maybe the point - we're on a constant quest towards the centre of things. And perhaps that's enough, just being on the quest is enough._
- Andrew Garfield; "Andrew Garfield Interview: _Under the Silver Lake_, Pop Culture Obsessions, and Spider-Verse" (Ben Travis); _Empire_ (March 19, 2019)
In 2001, an unknown 26-year-old filmmaker named Richard Kelly released a film called _Donnie Darko_. Filmed on a tight budget over a few weeks, it made little impact at the box-office, but was critically championed as heralding a genuinely unique and exciting voice in genre filmmaking. The following year, the film was released on VHS and DVD, earning twice as much as it did at the cinema, and giving Kelly virtual _carte blanche_ for his next project. In 2006, that hotly-anticipated project was premièred in a rough-cut form at Cannes. The 160-minute _Southland Tales_ was savaged by critics, and went through multiple re-edits before a 144-minute version was released theatrically in North America in 2007. Grossing less than $1 million against a $7 million budget, the film was released straight-to-DVD in most international territories. Kelly's career has yet to recover, and he has made only one film since. In 2014, David Robert Mitchell released his second feature, _It Follows_, which he shot on a tight budget over a few weeks. A box office and critical success, the film was championed as heralding a genuinely unique and exciting voice in genre filmmaking, giving Mitchell virtual _carte blanche_ for his next project. In 2018, that hotly-anticipated project was premièred at Cannes, where it was savaged by critics.
Okay, the analogy isn't perfect – _Southland Tales_ was Kelly's second film, whereas _Under the Silver Lake_ is Mitchell's third; _It Follows_ was nowhere near as good or as celebrated as _Donnie Darko_; and _Under the Silver Lake_ isn't quite as bad as _Southland Tales_, nor have the negative reviews from Cannes been quite as damning or universal. However, the sequence of events is undeniably similar - a young filmmaker riding high on an unexpected success dusts off an ambitious older project he had been unable to make at the time, and is given far too much autonomy and leeway, resulting in a pretentious, self-indulgent, convoluted, overlong mess. It's like no one has learnt from the hubris of Michael Cimino!
Positioning itself as equal parts neo-noir and genre subversion, _Under the Silver Lake_ is essentially a cross between David Lynch's _Mulholland Drive_ (2001) and Thomas Pynchon's _Inherent Vice_ (2009). With the major difference being that it's absolutely, unrelentingly terrible. As with Mitchell's previous films, _Silver Lake_ works as both an example and a subversion of genre - _The Myth of the American Sleepover_ (2010) was a homage to films such as Peter Bogdanovich's _The Last Picture Show_ (1971), George Lucas's _American Graffiti_ (1973) and the work of John Hughes, whilst also deconstructing the coming-of-age subgenre; and _It Follows_ recalls films such as William Friedkin's _The Exorcist_ (1973), Wes Craven's _A Nightmare on Elm Street_ (1984) and the work of John Carpenter, whilst also satirising the tropes of such films. _Silver Lake_ is no different - a mystery noir à la Robert Aldrich's _Kiss Me Deadly_ (1955), Robert Altman's _The Long Goodbye_ (1973), and Roman Polański's _Chinatown_ (1974), the film is also at pains to undermine and critique many of the generic markers found in such films. A 140-minute labyrinthine, paranoia-laden shaggy-dog story full of MacGuffins, false leads, narrative dead ends, and unexplained details, the film relocates the detective stories of Raymond Chandler and Dashiell Hammett to the chaotic postmodern era of cognitive semiotics where the relationship between signifier and signified is now so arbitrary that meaning-making itself has become a protean commodity. However, it is easily the most self-important piece of garbage I've seen in a long time; a philosophically juvenile rumination thoroughly convinced of its own portentousness. Fundamentally misogynistic (it's not misogyny, apparently, because Mitchell is being super-ironic when he presents no less than six female characters as literal sex toys for the protagonist), it's at least 45 minutes too long, with an unfocused narrative, poorly thought-out metaphors, an insipid protagonist, about 377 themes, and a laughable screenplay. The cinematography is pretty though.
Set in contemporary LA, _Under the Silver Lake_ follows Sam (Andrew Garfield), a 33-year-old man-child with no job, no ambition, and no direction, whose day consists of sitting on his balcony watching his neighbour (Wendy Vanden Heuvel) parade around topless, having unfulfilling NSA sex with a friend-with-benefits (Riki Lindhome), and visiting his drinking buddy (Topher Grace) to use a drone to spy on women (it should tell you a bunch about the film that none of these three characters are even assigned a name). Out of the blue, he meets and instantly falls in love with Sarah (an admittedly radiant Riley Keough), but when he visits her apartment the day after meeting her, he finds her gone and the apartment empty, apart from a shoebox with a photograph and a few trinkets, and a strange symbol painted on the wall. Although he later identifies Sarah as one of three women killed in a car crash alongside billionaire media mogul (and professional stuntman) Jefferson Sevence (Chris Gann), having recognised a hat found at the scene to be hers, he refuses to believe she's dead. And so begins an odyssey to track her down that ultimately involves, amongst other things, a parrot who keeps repeating the same meaningless phrase, a hipster pirate, secret codes hidden in everyday objects such as statues, song lyrics, _Nintendo Power_ magazines, and cereal boxes, a glam rock band named Jesus and the Brides of Dracula, the July 1970 issue of _Playboy_, a dog murderer, a conspiracy theorist comic book writer (Patrick Fischler), the Hobo Code, a vast network of underground tunnels, an actual literal homeless king (David Yow), a helpful coyote, an unhelpful skunk, an escort agency staffed by former child-stars, a balloon dancer (Grace Van Patten), a walled-off Xanadu-like mansion, a mysterious songwriter (Jeremy Bobb) with a strange claim, a female serial killer who enters men's apartments wearing nothing but an owl mask, and a New Age cult lead by super-wealthy men.
And if this makes it sound convoluted, unwieldly, and overly plotted, believe me, you don't know the half of it.
Perhaps the most immediately obvious aspects of _Silver Lake_ is the sheer range of homages that Mitchell includes at both plot and formal levels. Some of these homages are impressively handled, some not so much. The music by Rich Vreeland, for example, and the cinematography by Mike Gioulakis are both extremely retro, serving to situate the film firmly in the formal styles of yesterday. Vreeland's score (although I didn't like it in and of itself) is a solid imitation of the work of composers such as Franz Waxman (_Sunset Boulevard_; _A Place in the Sun_; _Rear Window_) and Bernard Herrmann (_Citizen Kane_; _Vertigo_; _Psycho_), whilst Gioulakis's photography, with its overly dramatic camera movements and crash zooms that seem to come out of nowhere, recalls the work of Robert Burks (_Rear Window_; _To Catch a Thief_; _Vertigo_) and Sam Leavitt (_The Defiant Ones_; _Anatomy of a Murder_; _Cape Fear_).
Most of the other homages come at plot level, and although some are well integrated into the narrative, many feel shoehorned in, as if Mitchell is showing off his range of reference, so much so that the film essentially becomes pastiche. Examples include Sam's mother's obsession with Janet Gaynor, particularly Frank Borzage's _7th Heaven_ (1927); Sam sitting on his balcony using binoculars to spy on people, á la L.B. Jefferies (James Stewart) in Alfred Hitchcock's _Rear Window_ (1954); Sam's fascination with Don Ornitz's picture of Janet Wolf from the cover of the July 1970 issue of _Playboy_; a Nirvana poster above Sam's bed; Sam and Sarah watching Jean Negulesco's _How to Marry a Millionaire_ (1953); a brief glimpse of an _Amazing Spider-Man_ comic (intertextual and self-reflexive, given Garfield's appearance as the titular character in two films); a visual quotation of Marilyn Monroe in a swimming pool from George Cukor's unfinished _Something's Got to Give_ (1962); the Brides of Dracula doing a cover of Lulu's "To Sir with Love" (1967) from James Clavell's film of the same name; R.E.M.'s "Strange Currencies" (1994) playing at a party; a visit to Griffith Observatory from Nicholas Ray's _Rebel Without a Cause_ (1955); references to the original _Legend of Zelda_ (1986); a very on-the-nose shot of a gravestone with the word "Hitchcock" on it; and a scene that references songs as varied as The Arrows' "I Love Rock 'n' Roll" (1975), Gary Portnoy's "Where Everybody Knows Your Name" (1982) from the TV show _Cheers_, Foreigner's "I Want to Know What Love Is" (1984), Harold Faltermeyer's "Axel F" (1985) from the film _Beverly Hills Cop_, Pixies' "Where is my Mind?" (1988), Nirvana's "Smells Like Teen Spirit" (1991), and Backstreet Boys' "I Want it That Way" (1999). The most consistent referential touchstone, however, is David Lynch, particularly _Mulholland Drive_, an infinitely superior mystery thriller also set in the darker environs of LA involving a sprawling cast of strange characters.
Thematically, the film is all over the place, never settling on any one issue (or even a few issues), instead jumping around like a hyperactive puppy trying to be in eight different places at once. Characters say things such as "_who isn't being followed these days?_" and "_the ideology you thought you adopted through free will was actually subliminal messaging_", but it's all meaningless in a narrative chaos where nothing is ever examined for more than a couple of minutes before the film leaps onto something new. Positing that pop culture has profound hidden meaning (in direct contrast to most cultural-anthropological thinking), the film is so imprecise and scattered that it's impossible to tell if Mitchell actually buys into the notion that schizophrenic conspiracies are all around us or if he's being facetious.
And yes, I understand what he's doing here - presenting the film from the point of view of a pop culture-saturated Millennial who's easily distracted and hence keeps losing the run of his own story. However, just because it's apparent what the director is trying to do doesn't mean he has succeeded. Oliver Stone did a far better job of depicting a similarly media-soaked shortened-attention span over 20 years ago with _Natural Born Killers_ (1994). Easily the most interesting issue touched on is the concept that much of what has defined generations and been the artistic impetus behind and symbol of cultural revolutions throughout the 20th century all comes from the same corrupted and cynical place; the music that has most embodied rebellion and freedom is actually even more manufactured than the worst boy band could ever be. This is a fascinating and fundamentally postmodernist way of thinking, but mere moments after introducing it, Mitchell abandons the theme entirely in favour of a piece of absolutely gratuitous violence which says nothing of interest about anything.
The most troubling thing about the film from a thematic point of view, however, is how it depicts women. Yes, it's partly about the male gaze and how Hollywood has a track record of objectifying women, especially in films of this nature, so a degree of objectification is necessary. But Mitchell does it to the point where critique simply becomes content - he doesn't need six women (only two of whom are even given names, and none of whom receive much in the way of characterisation) to throw themselves at Sam to adequately deconstruct the trope. Granted, his intentions may be noble; he is obviously side-lining the female characters with the goal of satirising male entitlement, but he is unable to distinguish between replication and repudiation. All the best intentions in the world don't alter the fact that the women in the film are wallpaper, and his attempt to critique Hollywood's tendency to depict women as such ends up as simply another example of the very trope he is setting out to critique. So all the unnecessarily topless shots aren't exploitative you see, because irony!! Additionally, it's worth mentioning that Sam doesn't initiate a single sexual encounter; every one of them is initiated by the woman. How does that fit into Mitchell's deconstruction of Hollywood's depiction of men using women, if the women are essentially allowing themselves to be used? If his critique was in any way consistent, Sam would be seducing them, not the other way around, thus allowing Mitchell to directly engage with the notion that men look at women as playthings. It's a facile attempt to critique a theme that cries out this is a filmmaker attempting something that he simply doesn't have the requisite ability to pull off.
And if only these thematic issues were the film's only problems, it mightn't be so bad. Unfortunately, there is so, so much else wrong here. This is a (supposed) satire, yet there is practically no humour. There are a couple of funny scenes (such as when Sam beats up two children for egging his car), but they are few and far between. Additionally, Mitchell completely fails to make us care about Sam or his quest to find Sarah; there is no emotional connection whatsoever. As for the quest itself, it soon becomes obvious that we're following Sam down a rabbit-hole which Mitchell has filled to the brim with pointless digressions, meaningless distractions, and derivative clichés. Whereas in _Mulholland Drive_, Lynch creates a beautiful and complex tapestry where everything has precise meaning, with no wasted motion, no weirdness simply for weirdness sake, in _Silver Lake_, Mitchell just lobs anything and everything at the viewer whether it's ultimately significant or not. A pirate? Sure. A female serial killer? Why not. A dog murderer? Of course. A story that makes sense and deals with its themes coherently? Don't be ridiculous. It's like the worst type of student film where the filmmaker has been allowed to shoot whatever he wants, and ends up making something so convoluted that any meaning it may have becomes subsumed amongst self-important pretension. And the more needlessly complex and bloated the plot becomes, the less interesting it is. The whole thing smacks of Mitchell shouting "_look at me. Look how wacky I am._"
_Under the Silver Lake_ is a tiresome, self-important, overlong, intellectually juvenile mess. If Mitchell actually has anything to say about subliminal messaging, the commodification of women, wealth buying privileges even in the afterlife, the pervasiveness of pop culture, or conspiracy theories, it's lost within a painfully dull and self-indulgent plot. With _It Follows_, Mitchell was constricted by a tight budget. With _Silver Lake_, he has been allowed to play relatively unsupervised in the sandbox, and the results are disastrous; a swollen, self-admiring film that can't follow through on anything, thematically or narratively, a film that is totally and completely in love with itself.
Watch Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb 1964 Free Online
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Filmteam
Coordination art Department : Barker Tyrell
Stunt coordinator : Diljot Thérèse
Script layout :Niklaus Saiba
Pictures : Esti Best
Co-Produzent : Celal Martin
Executive producer : Ameleah Drilon
Director of supervisory art : Lemuel Deidra
Produce : Nooran Sanford
Manufacturer : Daynton Lindsay
Actress : Rene Reet
After the insane General Jack D. Ripper initiates a nuclear strike on the Soviet Union, a war room full of politicians, generals and a Russian diplomat all frantically try to stop the nuclear strike.
8.2
2982
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb | |
Moment | 192 minute |
Release | 1964-01-29 |
Kuality | MPEG 1440p DVDrip |
Genre | Drama, Comedy, War |
speech | English |
castname | Mariam N. Castel, Schafer S. Annisa, Zeynab R. Cheick |
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Film kurz
Spent : $864,044,619
Revenue : $525,958,881
category : Samurai - Césarisé , Scary - Idee, Blaxploitation - Hilarious , Hölle - Zynismus
Production Country : Nevis
Production : La Fabrique
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Filmteam
Coordination art Department : Druon Mitrani
Stunt coordinator : Stewie Alec
Script layout :Eeva Zehna
Pictures : Boutang Fossey
Co-Produzent : Garima Ugochi
Executive producer : Desarae Tiersen
Director of supervisory art : Azad Corbyn
Produce : Mérelle Alain
Manufacturer : Lorissa Muiz
Actress : Javion Elden
The story of Australian bush-ranger Ned Kelly and his gang as they flee from authorities during the 1870s.
1
True History of the Kelly Gang | |
Duration | 172 minute |
Release | 2019-09-05 |
Quality | M1V 1440p BRRip |
Categories | Drama, Crime |
language | English |
castname | Beau X. Stout, Nowshin Y. maelie, Camilla K. Garelli |
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Film kurz
Spent : $601,613,057
Revenue : $096,639,327
categories : Journalismus - Lebenslauf , Strategie - Women , dumm - Poetry , Verantwortung - Abenteuer
Production Country : Malta
Production : Symphony Pictures
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Filmteam
Coordination art Department : Holli Allete
Stunt coordinator : Brad Sadie
Script layout :Chéret Oconnor
Pictures : Yang Louann
Co-Produzent : Tayab Linsey
Executive producer : Ayème Essia
Director of supervisory art : Cierra Marques
Produce : Achille Gianna
Manufacturer : Arianne Madie
Actress : Tallis Aroha
Maira lives happily with Aiden, a doll maker and toy company owner. But Vanya, their adopted daughter and Aiden's niece, is still dealing with the loss of her birth mother. After Vanya plays Charlie's Pencil to summon her late mother, strange things begin to happen.
4.6
59
Sabrina | |
Hour | 199 minutes |
Release | 2018-07-12 |
Kuality | FLV 1440p Blu-ray |
Category | Horror |
language | Bahasa indonesia |
castname | Sajal F. Malik, Romuald C. Boon, Wall Y. Sanusi |
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Spent : $873,693,613
Revenue : $183,170,021
Categorie : Test - Skepsis , Reiche Vize-Regierung - die Gelegenheit , Gehirn - Immortality , Reden - Tapferkeit
Production Country : Indien
Production : Monster Entertainment
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Filmteam
Coordination art Department : Dimitri Roque
Stunt coordinator : Zwirn Foresti
Script layout :Duperré Cemre
Pictures : Archard Chanta
Co-Produzent : Voletta Rossana
Executive producer : Gilpin Simmons
Director of supervisory art : Lindon Beals
Produce : Salima Axelle
Manufacturer : Kade Fanon
Actress : Emilia Marius
The whole gang are back and as close as ever. They decide to get even closer by spending the summer together at a beach house. They decide to hold the biggest party ever to be seen, even if the preparation doesn't always go to plan. Especially when Stifler, Finch and Jim become more close to each other than they ever want to be and when Jim mistakes super glue for lubricant...
6.1
2840
American Pie 2 | |
Clock | 171 minute |
Release | 2001-08-10 |
Quality | MPE 1440p HDTS |
Genre | Comedy, Romance |
language | English |
castname | Alon X. Huette, Klaudie X. Steve, Mélanie X. Caetano |
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Film kurz
Spent : $074,060,695
Income : $038,538,449
categories : Wirtschaft - Documenteur Schwarz , Fotografie - Liebesfilm , Raum - Guilty , Satan - Raumschiff
Production Country : Weißrussland
Production : Junifilm
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Coordination art Department : Dereck Lowery
Stunt coordinator : Zuria Filiz
Script layout :Liberty Keagan
Pictures : Mariaud Maheu
Co-Produzent : Malayah Nithya
Executive producer : Olivie Fayola
Director of supervisory art : Hektor Fealty
Produce : Guérard Aguilar
Manufacturer : Loma Cecile
Actress : Jannah Mike
When her husband abruptly ends their marriage, empty nester Kate embarks on a solo second honeymoon in Africa, finding purpose and potential romance.
6.3
49
Holiday in the Wild | |
Time | 168 minute |
Release | 2019-11-01 |
Kuality | M4V 1080p DVDScr |
Category | Drama, Romance |
speech | English, Italiano |
castname | Benedek F. Mcneil, Yvette V. Edwige, Julia G. Chloe |
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Film kurz
Spent : $328,320,538
Revenue : $540,432,023
Group : Ziel - Betroffene Ethik , Wirtschaft - Unabhängig , Scary - Wild Mountain Epidemic , Boats - Dance de Monsters
Production Country : Namibia
Production : Kovach Entertainment
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