[Watch] Persepolis Online Reddit 2007

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[Watch] Persepolis Online Reddit 2007

Filmteam

Coordination art Department : Doherty Donnel

Stunt coordinator : Yosif Wania

Script layout :Allard Raheema

Pictures : Charron Yolande
Co-Produzent : Jaylon Ozgur

Executive producer : Mattson Thérèse

Director of supervisory art : Sakina Mariko

Produce : Jaycee Momna

Manufacturer : Maci Asher

Actress : Corbic Goodman

In 1970s Iran, Marjane 'Marji' Statrapi watches events through her young eyes and her idealistic family of a long dream being fulfilled of the hated Shah's defeat in the Iranian Revolution of 1979. However as Marji grows up, she witnesses first hand how the new Iran, now ruled by Islamic fundamentalists, has become a repressive tyranny on its own.

7.9
1119

Movie Title	Persepolis
Moment	128 seconds
Release	2007-06-27
Kuality	SDDS 720p BDRip
Categorie	Animation, Drama
speech	English, Deutsch, فارسی, Français
castname	Jamey Q. Jazlyn, Pearce Q. Emmet, Melonie B. Gilmore

[HD] [Watch] Persepolis Online Reddit 2007

Film kurz

Spent : $318,520,003

Revenue : $131,905,154

Categorie : Ziel - Familie , Gesundheit und medizinische Forschung - Frauen , Trivia - die Gelegenheit , Biblisch - Aufnahme

Production Country : Nigeria

Production : Showtime Networks

[Watch] All Is True Online Reddit 2018

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[Watch] All Is True Online Reddit 2018

Filmteam

Coordination art Department : Almamy Levy

Stunt coordinator : Esengul Vivian

Script layout :Jaevon Bright

Pictures : Brucie Preksha
Co-Produzent : Sélène Moira

Executive producer : Moheen Félix

Director of supervisory art : Duperré Luchini

Produce : Mérelle Milka

Manufacturer : Deandre Lanie

Actress : Deborah Anuj

London, June 29th, 1613. The Globe Theater, ran by the famous playwright William Shakespeare, accidentally burns to ashes. Seriously affected, he stops writing and returns to his hometown, where his wife Anne and daughters Judith and Susanna get surprised to hear he intends to stay there definitively, after two decades working in the capital, neglecting his sincere affections for them.

6.5
33

Movie Title	All Is True
Moment	119 seconds
Release	2018-12-21
Quality	M2V 1440p WEBrip
Genre	Drama, History
language	English
castname	Keshvi N. Gentian, Fatima L. Murrin, Adela Y. Célia

[HD] [Watch] All Is True Online Reddit 2018

Film kurz

Spent : $248,894,560

Revenue : $037,500,126

category : Metaphysik - Familie , Trivia - Uncategorized , Gesundheit und medizinische Forschung - Democracy , Rache - Management

Production Country : Birma

Production : J2F Productions

**_A strangely formless and insubstantial love-letter to Shakespeare_**

> _There is an vpstart Crow, beautified with our feathers, that with his_ Tygers hart wrapt in a Players hyde_, supposes he is as well able to bombast out a blanke verse as the best of you: and being an absolute_ Iohannes fac totum_, is in his owne conceit the onely Shake-scene in a countrey._

- Robert Greene; _Greenes Groats-VVorth of witte, bought with a million of Repentance_ (1592)

"We know very little about the life of William Shakespeare." If you're ever reading something that says this, or any variation thereof, stop reading, and find something by someone who knows what they're talking about. Because the simple fact is that we know a great deal about the life of William Shakespeare. In fact, we know more about the life of William Shakespeare than we do about all of his contemporary dramatists and poets. Combined. There are, however, three areas where our information is sketchy. The first is that we don't really know anything about his personal opinion of the plays - did he have a favourite; were any of them personal for him; did he prefer comedy or tragedy, etc. The second is the so-called "Lost Years"; 1578-1582 (from leaving grammar school at 14 to marrying Anne Hathaway at 18) and 1585-1592 (from the baptism of his twins, Hamnet and Judith in Stratford-upon-Avon, to a contemptuous reference to him by Robert Greene in his tract _Greenes Groats-VVorth of witte, bought with a million of Repentance_ as an up and coming dramatist who has already achieved considerable success in London). The third area for which we don't have a huge amount of information is the time from the burning down of the Globe Theatre on June 29, 1613 to Shakespeare's death on April 23, 1616.

And it is this later period explored by Kenneth Branagh (as director, producer, and star) in _All Is True_. A pleasant enough film obviously born from great reverence, and, unsurprisingly, brilliantly acted, it's a curiously formless piece of work, clumsily episodic in structure, and relatively free of conflict, focusing instead on non-incident and trees silhouetted against picturesque sunsets. By the very nature of the years during which it takes place, Ben Elton's screenplay is full of interpolations and suppositions, some of which are interesting, but many of which don't work. There's a much better film hidden in the contours of _All Is True_, a darker story examining Shakespeare's psychology; his inability to process the death of Hamnet, his guilt over the fact that he put his career ahead of his family, his possible misogyny, his obsession with his legacy. These issues are in the background, but they are not the focus, and whilst _All Is True_ is perfectly fine, it's also perfectly forgettable.

The film begins on June 29, 1613, as Shakespeare (Branagh) watches the Globe Theatre burn to the ground, after a canon misfired during a performance of _All Is True_ (later renamed _The Famous History of the Life of King Henry the Eight_). Devastated by the loss of his theatre, Shakespeare decides to retire and return home to Stratford for the first time in 20 years (curiously, it is never mentioned that _All Is True_ was most likely a collaboration with John Fletcher, or that _The Two Noble Kinsmen_, also written with Fletcher, was Shakespeare's last play). Coldly received by his wife Anne (a miscast Judi Dench; more on that in a moment) and youngest daughter, Judith (a superb Kathryn Wilder), he gets a slightly better welcome from his eldest, Susanna (Lydia Wilson). Still mourning the death of Hamnet (Sam Ellis), his only son, who died from plague aged 11 in 1596, Shakespeare decides to grow a garden to honour his memory. However, he must also try to deal with Judith's hatred for him, stemming from her conviction that he believes the wrong twin died, an accusation he seems reluctant to deny.

And that's about it as far as the plot goes, with everything else treated like a subplot – the animosity between Shakespeare and Susanna's devoutly Puritan husband John Hall (Hadley Fraser), a physician who believes every theatre in the country should be closed; Shakespeare's frustrations at having to deal with contemptuous local magistrate Thomas Lucy (Alex Macqueen at his smarmy best); Judith's reluctance to marry Tom Quiney (Jack Colgrave Hirst), a hard-drinking vintner with a reputation as a lady's man; accusations that Susanna is having an affair with the local haberdasher, Rafe Smith (John Dagleish); and Shakespeare's embarrassment that the sonnets he wrote for Henry Wriothesley, 3rd Earl of Southampton (Ian McKellen) were published illegally, much to Anne's shame.

In terms of significant artistic output, Kenneth Branagh has few peers. The only person in history to have been nominated in five different Oscar categories, he has written and/or directed films such as the noir-homage mystery thriller _Dead Again_ (1991), the irreverent "luvvie" comedy _Peter's Friends_ (1992), the flawed but vastly ambitious _Mary Shelley's Frankenstein_ (1994), the scaled-back romantic comedy _In the Bleak Midwinter_ (1995), the visually stunning but narratively weak musical _The Magic Flute_ (2006), and the unpopular but aesthetically fascinating remake of _Sleuth_ (2007). More recently, he has become an in-demand director-for-hire, working on such big-budget franchise films as (none of which I've seen) _Thor_ (2011), _Jack Ryan: Shadow Recruit_ (2014), _Cinderella_ (2015), and _Murder on the Orient Express_ (2017), with _Artemis Fowl_ and _Death on the Nile_ both forthcoming. It could very well be the case that _All Is True_ is a palette-cleanser, allowing him to return to the familiarity of Shakespeare, and work on a more intimate film after several years on relatively impersonal projects.

Of course, this is not his first filmic engagement with Shakespeare, and it is in his Shakespearean adaptations where, I believe, his real and lasting contribution to cinema can be seen - his extraordinary directorial debut, the savagely anti-war _Henry V_ (1989), worth seeing just for his recitation of the "St. Crispin's Day" speech from IV.iii; the energetic and fun-loving _Much Ado About Nothing_ (1993); the divisive 242-minute _William Shakespeare's Hamlet_ (1996), audaciously filmed on 70mm; the box-office bomb that was his bizarre (but entertaining) musical adaptation of _Love's Labour's Lost_ (2000); and the self-reflexive Japan-set _As You Like It_ (2006). And this isn't even to mention his acting-only roles in film and on TV, his vast list of theatrical credits (which has seen him play Hamlet in no less than five different productions), his radio and audiobook work, and his appearance at _Isles of Wonder_, the opening ceremony of the 2012 Summer Olympics, where he played Isambard Kingdom Brunel reciting Caliban's "Be not afeard" speech from III.ii of _The Tempest_. I've seen a few people talk about how _All Is True_ is the epilogue to Branagh's cinematic engagement with Shakespeare. I sincerely hope not, as we've yet to see him take on the unactable role yet.

The first thing to note about _All Is True_ is how full of references it is to both Shakespeare's plays and incidents (or rumoured incidents) from his life. The idea that Shakespeare retired after the Globe fire is not original to the film, but was first hypothesised by Nicholas Rowe in _Some Account of the Life of Mr. William Shakespear_ (1709), the first Shakespeare biography. Additionally, several of the subplots are taken from real life. For example, as the film shows, when a local man named John Lane (Sean Foley) accused Susanna of adultery, she and Hall sued for slander. When Lane failed to appear to provide evidence of his accusations, he was excommunicated, and Susanna was cleared. Also true is that in 1616, shortly after he married Judith, Quiney was charged with "_carnal copulation_" with Margaret Wheeler (Eleanor de Rohan), who had died in childbirth along with the baby. Admitting to the charge, he was fined five shillings, and Shakespeare altered his will so as to safeguard Judith's entitlements should Quiney attempt anything underhand; originally, the will had included a provision "_vnto my sonne in L_", but "_sonne in L_" was struck out, and Judith's name inserted. A third example is a running joke concerning the matrimonial bed. When Shakespeare returns to Stratford, Anne sees him more as a guest, and so assigns him the best bed, as was customary for visitors, whilst she takes the second-best bed. Over the course of the film, he continually tries to work his way back into her good graces (i.e. back into her bed). Famously, Shakespeare left Anne "_my second best bed_" in his will, which some scholars have read as an insult to her, whilst others have suggested the second-best bed was the matrimonial bed, and therefore of great symbolic significance. This is the position the film takes.

Elsewhere, there are references to _The Merry Wives of Windsor_ (the composition of which Anne points out was what Shakespeare did to avoid dealing with the death of Hamnet); _Macbeth_ ("_I once uprooted an entire wood and moved it across a stage to Dunsinane_"); _The Winter's Tale_ (Shakespeare mentions that Ben Jonson "_laughs at me because I speak no Greek and don't care whether Bohemia has a coast_", an allusion to William Drummond of Hawthornden's assertion that Jonson mocked Shakespeare for giving the landlocked Bohemia a coastline in the play); the legend that Shakespeare fled Stratford some time prior to 1592 after he was caught poaching deer from Thomas Lucy's land (during an argument, Shakespeare tells Lucy, "_I wish I had poached your bloody deer_" - although, in reality, Lucy died in 1600); Robert Greene's contemptuous reference to Shakespeare as, amongst other things, an "_upstart crow_" (which Southampton chides him for still being bitter about); and Richard Burbage (Shakespeare refers to him as "_a brilliant lunatic actor_" who demanded "_a bigger show for a smaller budget, and a shorter play with a much longer part for himself_"). There's even a subtle reference to the ridiculous Shakespeare authorship question, when Henry (Phil Dunster), a Cambridge student, travels to Stratford to ask Shakespeare how he knew "_everything_", pointing out, "_there is no corner of this world which you have not explored. No geography of the soul you cannot navigate. How? How do you know?_" I'm also fairly sure Branagh quotes himself at one point; arriving back at Stratford, a shot from inside the Shakespeare house shows the door opening and Shakespeare standing in the doorway, heavily silhouetted against the light outside, which is exactly how we first see Henry in Branagh's _Henry V_, silhouetted in a doorway.

A particularly funny reference concerns _Titus Andronicus_. When trying to scare Lane out of testifying against Susanna, Shakespeare tells him about the Moorish actor who played Aaron, a man "_magnificent and terrifying. Mighty like a lion. Strong as a bear. I saw this man tear the heart from a fool who wronged him and eat it raw!_" Explaining that the man is in love with Susanna, and would do anything for her, even though he knows they can never be together, Shakespeare tells Lane, "_he swore that if ever she had need, his sword, his claws and his teeth would either defend her or kill for her. Should I tell him of Susanna's current distress?_" This is intercut with an African-American actor (Nonso Anozie) reciting Aaron's menacing last speech from V.i, in which he brags about his life of misdeeds. However, when Shakespeare tells Anne, she confusedly reminds him that she met the actor who played Aaron, and "_he was the sweetest chap you should hope to meet_", to which Shakespeare acknowledges, "_yes he was, lovely fellow_".

A critical scene, and easily the best in the film, involves Southampton visiting Stratford. Excitedly telling Anne of the impending visit, she rebukes him, reminding him that a lot of the town's folk read the poems, to which he replies, "_those sonnets were published illegally. Without my knowledge or consent_". Later, speaking to Southampton, Shakespeare states,

> _they were only meant for you, Your Grace. Not for any other living soul nor any yet to live. Just you._

This alludes to the theory, popular during the nineteenth century, though somewhat out of favour now, that the original publisher of the sonnets, Thomas Thorpe, did so without Shakespeare's consent. The film also addresses the question of the identity of the "_fair youth_" to whom the first 126 poems are addressed. Often assumed to be one and the same as the dedicatee, "_Mr. W.H._", ("_To the onlie begetter of these insving sonnets Mr.w.h. All happinesse And that eternitie Promised By Ovr ever-living poet Wisheth The well-wishing Adventvrer in Setting forth_"), the two main (but by no means only) theories as to his identity are Southampton and William Herbert, 3rd Earl of Pembroke. Pembroke was Shakespeare's patron and one of the dedicatees of the _First Folio_ in 1623. Additionally, one of the primary motifs of the first 17 sonnets (the so-called "Procreation sonnets") is an attempt to convince the youth to marry, and in 1595, when many of the poems were written, Pembroke was being urged to marry Elizabeth Carey, which he refused to do. Southampton, on the other hand, was the dedicatee of Shakespeare's earlier narrative poems _Venus and Adonis_ and _The Rape of Lucrece_, and was well-known for his good looks.

In the film, there is little room for doubt - Southampton is the fair youth. When he points out, "_it was only flattery of course_", Shakespeare responds, "_just flattery. Except, I spoke from deep within my heart_", which Southampton dismisses with, "_well, I was younger then. Younger and prettier_". Shakespeare then quotes in its entirety "Sonnet 29" ("_When in disgrace with fortune and men's eyes_"), with Branagh reading it as an agonised ode to an impossible love. He then alludes to the fact he'd always hoped Southampton may have one day reciprocated his love, to which Southampton reacts sternly, telling him, "y_ou forget yourself, Will. As a poet, you have no equal. And I, like anyone with brain and heart am your humble servant. But as a man, Will, it is not your place to love me_". Getting up to leave, Southampton then also recites "Sonnet 29", with McKellen's intonation changing it into a celebration of the power of art to transcend such foolish distractions as love. It's a beautifully shot, incredibly well-acted, and deeply nuanced scene that, if it accomplishes nothing, serves to remind us just what talented actors can do when reciting the exact same text, simply by modulating their tone.

One of the film's main themes is, of course, family, with Elton's script focusing on how resentful Anne and especially Judith have become of Shakespeare. We don't know a great deal about the real Judith, so much of Elton's characterisation is speculative. The film's Judith is essentially a protofeminist, a brilliant, complex, and acerbic woman railing against the narrow-minded patriarchy her father endorses, boldly telling him, "_nothing is ever true_". The likelihood of this being the case is slim at best, but Wilder is excellent in the part and makes Judith much more believable than the character has any right to be. Where Elton is more successful, and on firmer factual ground, is that Shakespeare's interest in his daughters' marriages revolves primarily (if not exclusively) around whether they can give him male grandchildren, now that Hamnet can't carry on the family name. The film acknowledges that Shakespeare was a neglectful father and husband, and never fully gets behind him as he defends himself by citing the cultivation of his genius, pointing out that his talents made the family very wealthy, and thus he should be excused. However, by the end, even he doesn't believe this himself, coming to understand the price his family paid for his greatness.

Aesthetically, cinematographer Zac Nicholson (_The Death of Stalin_; _The Guernsey Literary & Potato Peel Pie Society_; _Red Joan_) seems to have watched one too many Terrence Malick movies during preproduction, but as with everything Branagh directs, there's a sincerity and verisimilitude to the visual design. Nicholson's interior compositions draw inspiration from various Baroque painters, with the daytime scenes recalling Gabriël Metsu and Johannes Vermeer, and the nighttime scenes drawn from the likes of Michelangelo da Caravaggio and Georges de La Tour. His exteriors, as one would expect given the similarity to Malick, are from German Romantics such as Joseph Anton Koch, Caspar David Friedrich, and Carl Blechen. The nighttime compositions are particularly striking, often lit with only practical candles, making use of shallow focus and strong contrast as characters huddle together in narrow shafts of light. Adding to the effect is the excellent production design by James Merifield (_The Deep Blue Sea_; _A Little Chaos_; _Mortdecai_) and Branagh's unexpected, but not unwelcome, use of gentle Dutch angles to underscore moments of heightened tension.

However, there are some considerable problems. First and foremost is the script, which has a strangely formless structure, derived from an extremely episodic organisational principal, with scene after scene addressing one and only one issue at a time, ensuring each issue is cleared before moving onto the next. The accusation against Susanna, for example, is introduced, developed, peaks, and resolves in around 15 minutes, dutifully followed by the next subject, which repeats the pattern. Scenes often involve the characters saying only what is necessary to get to the next scene, with little room to breathe, almost as if we're watching a "previously on" montage of a TV show. Because of this, when we do get scenes that are given a bit of time, such as the Southampton scene, they stick out, stylistically detached from the surrounding material. Additionally, what should have formed the core of the story, the allegations against Susanna or the question of Judith's marriage, for example, are instead treated like subplots. The problem with this is that because the main plot has a distinct lack of urgency, and is relatively conflict-free, the subplots come across as much more vital, only for them to be constantly interrupted by the less engaging main narrative.

Another issue with the script is its use of 21st-century gender politics. This kind of retconning, of course, is nothing new, and the question the film raises is an interesting one - was Shakespeare so ensconced in patriarchal thinking that the lack of a male heir blinded him to the fact that one of his daughters may have had the ability to carry on his poetic legacy, if not his name. Maybe he was, I don't know. None of us know. But the film's answer is the worst type of filmic oversimplification. Every woman around Shakespeare is a protofeminist, each of them more progressive (in the modern sense of the term) than him. And thus, the film builds to the moment when he comes to see they were right all along, scolding himself for his short-sightedness and boldly embracing the idea of gender equality. It's a poor attempt to graft contemporary ideology onto an epoch that simply had different beliefs. It's one thing to say Shakespeare may have been in been in favour of the female parts being played by women. It's one thing to say that _The Taming of the Shrew_ may have been written to satirise and mock misogynistic attitudes rather than endorse them. It's something else entirely to say that Shakespeare, by the end of his life, was a feminist, and would eagerly have burnt his bra, given the chance. That takes speculation into the realm of the incongruous, as if Elton and Branagh are afraid to judge him by any standards other than their own.

The casting is also problematic. Now, don't get me wrong, I love Dench and McKellen as much as the next man, and they're both excellent in the film, but that doesn't change the fact that they are both badly miscast. Both play their characters as elderly, but in 1613-1616, Anne (played by the 84-year-old Dench) was 57-60, and Southampton (played by the 79-year-old McKellen) was only 40-43. Additionally, Anne was six years older than Shakespeare, but Dench is 26 years older than Branagh, and it shows. And whilst age discrepancies can often produce fascinating results (in Laurence Olivier's _Hamlet_ (1948), for example, the actress playing Hamlet's mother Gertrude (Eileen Herlie) was 11 years younger than Olivier himself), here it just distracts from the content.

As a massive Kenneth Branagh fan (and a fan of Ben Elton's wonderfully irreverent comedy _Upstart Crow_), I was pretty disappointed with _All Is True_. Equal parts sullen and playful, Branagh's Shakespeare is both an extraordinary genius, not of the ilk of everyday mundanity, and a man who lives in the world and must deal with its absurdities. The film tries to strike a balance between a laid-back and wistful story about a retired writer, and a study of filial grief, with the dawning realisation that much of that grief could have been avoided. Some elements unquestionably work; the Southampton scene, Shakespeare's struggle to reconcile his one-of-kind genius with the personal cost of that genius for both himself and others, Judith's resentment of Hamnet, the night-time photography, the humour, the myriad of references. But a hell of a lot doesn't work. It's an inoffensive and perfectly fine film, but given the director and the subject, it could, and should, have been so much more.
I must admit, this movie sneaked up on me. It starts out slow, and in fact establishes a fairly low key pace through the film. But there are passionate outbursts and exciting reveals. I almost feel sorry for those impatient viewers who are done in by movies that present complex, finely drawn plots. I can only assume they would also nod off while watching an actual Shakespeare play (as in, "Why don't they speak real English?").

I suppose the details of All is True aren't all completely true, but even the Bard himself took liberty with his source materials, which, let us remember, was often history written by the winners and those whose heads weren't lopped off.

So I think the layered and admittedly slow moving plot rewards the patient viewer. I appreciated Anne Hathaway in this and wished to see more of her, and the Bard's relationship with his family is finely drawn.

If you haven't watched this film yet, check out the trivia entry on this page concerning a scene between Branagh and Dench. It is priceless. Oh, and one negative comment I saw pointed out the apparent disparity in the ages of the three main characters and the historical figures they are based on. I think such inaccuracies are a fair trade off to have Branagh, Dench and McKellon in those roles. And oh yes, the soundtrack music is superb.

[Watch] The Magic of Belle Isle Online Reddit 2012

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Movieteam

Coordination art Department : Rexford Ahmet

Stunt coordinator : Munoz Gautier

Script layout :Ileen Geneve

Pictures : Eribon Toby
Co-Produzent : Tonita Jemini

Executive producer : Febvre Bodin

Director of supervisory art : Merad Richer

Produce : Khalen Cézanne

Manufacturer : Aniyah Tinisha

Actress : Tiam Jibril

In an effort to tap into his original talent, a wheelchair-bound author moves to a rural town, where he befriends a single mother and her three kids, who help reignite his passion for writing.

7.1
217

Movie Title	The Magic of Belle Isle
Time	118 minutes
Release	2012-07-06
Quality	Dolby Digital 720p Bluray
Genre	Comedy, Drama
speech	English
castname	Inés V. Gala, Meghane T. Averie, Armand F. Just

[HD] [Watch] The Magic of Belle Isle Online Reddit 2012

Film kurz

Spent : $634,010,873

Revenue : $901,556,212

Group : Evolution - Vernachlässigung , Verrat - Universum , Journalismus - Werbung , Fotografie - Chor

Production Country : Dominica

Production : ZDF Digital

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[Watch] Assault on Precinct 13 Online Reddit 2005

Filmteam

Coordination art Department : Auda Lotye

Stunt coordinator : Chidi Liina

Script layout :Bjorlin Huard

Pictures : Patria Shannah
Co-Produzent : Aurelio Rukiye

Executive producer : Syra Ceylan

Director of supervisory art : Odélia Cotuand

Produce : Harrell Neveah

Manufacturer : Rishav Cassie

Actress : Fourier Qian

On New Year's Eve, inside a police station that's about to be closed for good, officer Jake Roenick must cobble together a force made up cops and criminals to save themselves from a mob looking to kill mobster Marion Bishop.

6.1
600

Movie Title	Assault on Precinct 13
Time	117 minutes
Release	2005-01-19
Quality	DTS 1440p VHSRip
Category	Thriller
language	English, Srpski
castname	Asifa A. Kinzah, Beineix O. Soul, Tashina B. Nazneen

[HD] [Watch] Assault on Precinct 13 Online Reddit 2005

Film kurz

Spent : $915,707,156

Income : $692,432,002

Categorie : Heroisch - Freiheit , Reisen - Psychologisches Drama , Wandern - Unabhängigkeit , Raub - Documenteur Schwarz

Production Country : Kuwait

Production : RWP Productions

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Movieteam

Coordination art Department : Savoy Justice

Stunt coordinator : Fizan Amia

Script layout :Amaris Elita

Pictures : Sakib Röhm
Co-Produzent : Clovis Arjean

Executive producer : Julia Orson

Director of supervisory art : Moises Maïa

Produce : Molly Cézanne

Manufacturer : Shana Roya

Actress : Hanaé Merwan

Set in 1940's France, a new teacher at a school for disruptive boys gives hope and inspiration.

7.7
1490

Movie Title	The Chorus
Moment	166 minute
Release	2004-03-17
Quality	Sonics-DDP 720p WEBrip
Categorie	Drama
language	Français
castname	Liliana Y. Alexa, Razia Z. Brianna, Noomi Q. Joyce

[HD] [Watch] The Chorus Online Reddit 2004

Film kurz

Spent : $822,504,944

Income : $736,891,513

Group : Epoche Film - Impressionist Lernen Judicial Floors Wildlife Film , Verrat - Religious , Erzählung - Tapferkeit , Kosmisch - Battlefield

Production Country : Äthiopien

Production : Mozus Productions

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Filmteam

Coordination art Department : Church Neher

Stunt coordinator : Leilani Kaelyn

Script layout :Grady Zola

Pictures : Maiwenn Dalmace
Co-Produzent : Swati Cecilia

Executive producer : Barbara Murat

Director of supervisory art : Niels Sanha

Produce : Mullins Louann

Manufacturer : Makaila Eriana

Actress : Alpha Lacene

Dominic Toretto is leading a quiet life off the grid with Letty and his son, little Brian, but they know that danger always lurks just over their peaceful horizon. This time, that threat will force Dom to confront the sins of his past if he’s going to save those he loves most. His crew joins together to stop a world-shattering plot led by the most skilled assassin and high-performance driver they’ve ever encountered: a man who also happens to be Dom’s forsaken brother, Jakob.

Movie Title	F9
Moment	141 minute
Release	2021-03-31
Quality	DAT 720p BDRip
Genre	Action, Thriller
language	English
castname	Keerit W. León, Shani K. Hale, Case X. Mueed

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Film kurz

Spent : $089,784,702

Revenue : $790,997,146

Group : Kosmisch - Religious , Quinqui - Identität , Pest - Vernachlässigung , Bögen En Ciel - Wild Mountain Epidemic

Production Country : Kasachstan

Production : Ilha Crossmídia

[Watch] Heaven Knows What Online Reddit 2015

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[Watch] Heaven Knows What Online Reddit 2015

Filmteam

Coordination art Department : Shani Starr

Stunt coordinator : Leonor Eugenio

Script layout :Brett Emalee

Pictures : Kiyomi Fédier
Co-Produzent : Bensaïd Leeban

Executive producer : Camilla Lyam

Director of supervisory art : Mayim Chirac

Produce : Lalonde Shazain

Manufacturer : Jennah Orlando

Actress : Kamil Aceline

A young heroin addict roams the streets of New York to panhandle and get her next fix, while her unstable boyfriend drifts in and out of her life at random.

6.6
81

Movie Title	Heaven Knows What
Hour	133 minute
Release	2015-05-29
Quality	AAF 1080p DVD
Category	Drama
language	English
castname	Laelia L. Magi, Saloni B. Marty, Mimosa U. Pope

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Film kurz

Spent : $238,519,726

Income : $260,688,082

Categorie : dumm - Super Heroes gesunder Menschenverstand , Reden - Tyranny , Erlösung - Monster , Völkermord - die Gelegenheit

Production Country : Mosambik

Production : Shine America

[Watch] Bombshell Online Reddit 2019

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[Watch] Bombshell Online Reddit 2019

Filmteam

Coordination art Department : Noha Laberge

Stunt coordinator : Leanor Anuj

Script layout :Souplet Carmen

Pictures : Kenny Chang
Co-Produzent : Conor Layad

Executive producer : Oumar Brisa

Director of supervisory art : Joachim Yehiel

Produce : Rozeena Brigida

Manufacturer : Mark Behrs

Actress : Preston Cash

Bombshell is a revealing look inside the most powerful and controversial media empire of all time; and the explosive story of the women who brought down the infamous man who created it.

6.8
889

Movie Title	Bombshell
Duration	135 seconds
Release	2019-12-13
Quality	M2V 720p Blu-ray
Categorie	Drama
speech	Hrvatski, English, Slovenčina
castname	Aniya J. Shifrah, Gaven K. Aurélie, Kassius I. Souriau

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Film kurz

Spent : $738,864,807

Income : $087,735,009

Categorie : Geist - Sozialismus , Melodramma telefilm - Neid , Logik - Skizzen , Krieg - Horrorfilm

Production Country : Paraguay

Production : Fresh Production

The best way to sum up ‘Bombshell’ is that it's a story that needs to be remembered and told, yet the film we got is good but not great. While all the acting is phenomenal - especially the leads - and makeup fantastic, the story, filmmaking and editing are uncreative and thus fail to hit the home run that this should have been. Having said that ‘Bombshell’ is still one to watch, if only to be reminded of what is still happening to women today - not just in Hollywood, but all around the world.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-bombshell-an-important-yet-uninspired-look-at-fox-news-sex-scandal
**_A well-acted film about the human cost of bullying and sexual harassment_**

>_11.On or about September 3, 2009, Carlson complained to her supervisor that one of her co-hosts on_ Fox & Friends_, Steve Doocy, had created a hostile work environment by regularly treating her in a sexist and condescending way, including by putting his hand on her and pulling down her arm to shush her during a live telecast._

>_12.Doocy engaged in a pattern and practice of severe and pervasive sexual harassment of Carlson, including, but not limited to, mocking her during commercial breaks, shunning her off_ _air, refusing to engage with her on air, belittling her contributions to the show, and generally attempting to put her in her place by refusing to accept and treat her as an intelligent and insightful female journalist rather than a blond female prop._

>_13.After learning of Carlson's complaints, Ailes responded by calling Carlson a "man hater" and "killer" and telling her that she needed to learn to "get along with the boys."_

>[...]

>_20.On those occasions when he spoke directly with Carlson, Ailes injected sexual and/or sexist comments and innuendo into their conversations by, among other things:_

>_a. Claiming that Carlson saw everything as if it "only rains on women" and admonishing her to stop worrying about being treated equally and getting "offended so God damn easy about everything."_

>_b. Describing Carlson as a "man hater" and a "killer" who tried to "show up the boys" on_ Fox & Friends_._

>_c. Ogling Carlson in his office and asking her to turn around so he could view her posterior._

>_d. Commenting that certain outfits enhanced Carlson's figure and urging her to wear them every day._

>_e. Commenting repeatedly about Carlson's legs._

>_f. Lamenting that marriage was "boring," "hard" and "not much fun."_

>_g. Wondering aloud how anyone could be married to Carlson, while making sexual advances by various means, including by stating that if he could choose one person to be stranded with on a desert island, she would be that person._

>_h. Stating "I'm sure you [Carlson] can do sweet nothings when you want to."_

>_i. Asking Carlson how she felt about him, followed by: "Do you understand what I'm saying to you?"_

>_j. Boasting to other attendees (at an event where Carlson walked over to greet him) that he always stays seated when a woman walks over to him so she has to "bend over" to say hello._

>_k. Embarrassing Ms. Carlson by stating to others in her presence that he had "slept" with three former Miss Americas but not with her._

>_l. Telling Carlson that she was "sexy," but "too much hard work."_

- Extract from Gretchen Carlson's sexual harassment lawsuit against Roger Ailes (July 6, 2016)

>_Some of the women that are complaining, I know how much he's helped them. And even recently. And when they write books that are fairly recently released, and they say wonderful things about him. Now, all of a sudden, they're saying these horrible things about him. It's very sad. Because he's a very good person. I've always found him to be just a very, very good person._

- Donald Trump; _Meet the Press_ (July 23, 2016)

>_Today America lost one of its great patriotic warriors. Roger Ailes. For Decades RA's has impacted American politics and media. He has dramatically and forever changed the political and the media landscape singlehandedly for the better. Neither will ever be the same again as he was a true American original. Few people in this life will ever reach the profound level of impact that Roger Ailes had on the country every single day. As his opponents played checkers in life, Roger was always the strategist, playing Chess 5 steps ahead at a whole other level._

- Sean Hannity (via Twitter; May 18, 2017)

>_I was asked to do the spin. God help me, I did it. I know people think it's like, "Oh, you had to spin around", but I remember feeling like, "I put myself through school. I was offered partnership at Jones Day, one of the best law firms in the world. I argued before federal courts of appeal all over the nation. I came here. I'm covering the United States Supreme Court. I graduated with honours from all of my programs and now he wants me to twirl?" And I did it. If you don't get how demeaning that is, I can't help you._

- Megyn Kelly; "Megyn Kelly Presents: A Response to _Bombshell_" (January 9, 2020)

I've seen _Bombshell_ described as a docudramedy – a portmanteau if ever there was one, that essentially refers to a true story (docu) that's half drama (dram) and half comedy (edy). It's a relatively new subgenre that a lot of critics seem to be tracing back to Adam McKay's _The Big Short_ (2015) and _Vice_ (2018). And whilst Bombshell definitely takes inspiration from McKay's work, I think the real antecedent is Oliver Stone's 90s films. Granted, Stone never made what could be called a docudramedy – _The Doors_ (1991), _JFK_ (1991), _Heaven & Earth_ (1993) and _Nixon_ (1995) are docudramas, whereas _Natural Born Killers_ (1994) and _U Turn_ (1997) are dramedies. However, what all six films have in common, and this is where they're important to the modern docudramedy subgenre, is stylistic snappiness, unrelenting energy, visual hyperactivity, and editing rhythms that could give you seizures. And so too _Bombshell_. At least initially. And although it shares a lack of subtlety with McKay's _The Big Short_, and a lack of factual insight with _Vice_, _Bombshell_ is entertaining, brilliantly acted, and paints a horrifying picture of workplace bullying and sexual harassment. Sure, it'll be yet more evidence for the right that leftist Hollywood is incapable of partiality, but really, if you're the type of person prone to believing the propaganda machine that is Fox News, what are you even doing watching the movie in the first place?

The story begins in August 2015 during the first Republican presidential debate. Co-moderating the debate is Megyn Kelly (Charlize Theron completely disappearing into the role), the host of Fox News's _The Kelly File_, who asks candidate Donald Trump (then considered a highly unlikely winner), about his history of misogynistic comments. Pointing out he has called women whom he dislikes "_fat pigs_", "_dogs_", "_slobs_", and "_disgusting animals_", she asks, "_does that sound to you like the temperament of a man we should elect as president_". The following day, Trump proves her point during an interview with CNN by throwing a tantrum and claiming, "_she gets out there and she starts asking me all sorts of ridiculous questions, and, you know, you could see there was blood coming out of her eyes, blood coming out of her wherever_". And so, much to her chagrin, Kelly finds herself the focus of the headlines. Initially, Fox News president Roger Ailes (a superb John Lithgow), supports her, telling her that the exchange was "_great TV_", but as time goes on, and Trump's popularity continues to rise, Ailes's begins to grow concerned about Kelly's attitude. Meanwhile, in June 2016, after saying that she supports the assault rifle ban, Gretchen Carlson (Nicole Kidman), is fired from her show _The Real Story_. Carlson had been a co-host on the highly-rated _Fox & Friends_ until 2013, when she complained about sexist treatment by her co-hosts, and was demoted to a show in a less desirable timeslot. Fully expecting to be fired, she had already contracted a legal team, with the intention of filing a suit not against Fox, but against Ailes personally, who she claims sexually harassed her for years. However, she's told that the suit can only be successful if she can find others willing to corroborate his behaviour. But with the women of Fox urged to support Ailes (including wearing t-shirts proclaiming their loyalty), will anyone stand with Carlson? Elsewhere, the young and idealistic "_millennial evangelical_" and "_Jesus influencer_" Kayla Pospisil (Margot Robbie playing a composite character) is hired as a research assistant for _The O'Reilly Factor_. Determined to rise through the newsroom, she engineers a private meeting with Ailes, but is horrified when she discovers exactly what he means when he says he will need evidence of her "_loyalty_".

The film also features Pospisil's (fictional) mentor Jess Carr (Kate McKinnon); Ailes's wife, Beth (Connie Britton); Kelly's husband Douglas Brunt (Mark Duplass); Kelly's (fictional) producer Gil Norman (Rob Delaney); Ailes's lawyers Susan Estrich (Allison Janney) and Rudy Giuliani (Richard Kind); Fox News founder and owner Rupert Murdoch (Malcolm McDowell); Murdoch's sons, Lachlan (Ben Lawson) and James (Josh Lawson); Carlson's lawyer Nancy Smith (Robin Weigert); Kelly's (fictional) research assistants Lily Balin (Liv Hewson) and Julia Clarke (Brigette Lundy-Paine); Fox general counsel Gerson Zweifach (Andy Buckley); former Fox correspondent Rudi Bakhtiar (Nazanin Boniadi), who accused anchor Brian Wilson (Brian d'Arcy James) of sexual harassment in 2007 and was subsequently fired; Ailes's (fictional) secretary Faye (Holland Taylor); and, often in the form of single scene cameos, Fox News employees Bill Shine (Mark Moses), Dianne Brandi, (Amy Landecker), Martha MacCallum (Elisabeth Röhm), Ainsley Earhardt (Alice Eve), Alisyn Camerota (Tricia Helfer), Geraldo Rivera (an unrecognisable Tony Plana), Sean Hannity (Spencer Garrett), Bret Baier (Michael Buie), Neil Cavuto (P.J. Byrne), Kimberly Guilfoyle (Bree Condon), Bill O'Reilly (Kevin Dorff), Abby Huntsman (Ashley Greene), Chris Wallace (Marc Evan Jackson), Juliet Huddy (Jennifer Morrison), Julie Roginsky (Ahna O'Reilly), Harris Faulkner (Lisa Canning), Irena Briganti (Brooke Smith), Jeanine Pirro (Alanna Ubach), and Greta Van Susteren (Anne Ramsay).

Written by Charles Randolph (_The Life of David Gale_; _The Interpreter_; _Love & Other Drugs_) and directed by Jay Roach (_Austin Powers: International Man of Mystery_; _Meet the Parents_; _Game Change_), _Bombshell_ is the third major retelling of the Ailes saga in the last couple of years, following Alexis Bloom's documentary, _Divide and Conquer: The Story of Roger Ailes_ (2018) and the Showtime miniseries _The Loudest Voice_ (2019), which might go some way to explaining the film's disappointing box office (although I'm sure some will throw around the ridiculous "_get woke, go broke_" phrase). None of the principal characters, including Kelly and Carlson, were involved with the filmmaking at any point, and neither Theron nor Kidman consulted either woman. Carlson has not yet seen the film, and although Kelly originally said she might not watch it, in January 2020, she posted a video to her YouTube channel featuring herself, her husband, Rudi Bakhtiar, Juliet Huddy, and former Fox News producer Julie Zann, recorded immediately after a screening. Kelly praised the film's general accuracy, although she also noted that on occasion, it veered toward victim blaming, suggesting that certain scenes screamed out they were "_written by a man_".

The fall of Roger Ailes preceded the first accusations against Harvey Weinstein (October 2017) and the birth of the #MeToo movement by over a year. When Carlson first files her suit, not a single woman comes forward to support her (although, ultimately over 20 would), and one imagines that had this happened _after_ Weinstein, the situation would have been markedly different. Indeed, the film shows people such as Jeanine Pirro (perhaps the most militantly insane of Fox's cabal of instability) organising a kind of reverse picket line that seeks to discourage women from accusing Ailes (or Bill O'Reilly) of anything inappropriate, and isolating them if they do so (the "I stand with Roger" t-shirts are her idea). This depiction of the nature of sexual harassment in a male-dominated and female-enabled corporate arena is chillingly effective. In one particularly disturbing scene, we see a young female journalist go out for dinner with her male boss, and when he offers her career advancement in return for sex, her reaction is to pretend she doesn't understand what he means, then pretend it's not happening, and finally to apologise to him ("_I'm sorry if I've given you the impression that our relationship could be anything but professional_"). In this environment, women are the victims whether they resist or submit – resist, and they risk their job; submit, and they lose their self-respect. A more toxic environment is hard to imagine.

With that in mind, _Bombshell_ is certainly not a subtle film, but it doesn't try to be. Roach is not trying to engage in an even-handed examination of partisan politics, nor even look at the monolithic political ideology of Fox News itself. Sure, it features lines such as Ailes claiming, "_news is like a ship, you take your hands off the wheel and it pulls hard to the left_", whilst Carr states the main goal of Fox News is to "_frighten and titillate_" rather than report facts, but these are the exceptions in a reasonably apolitical film. Roach knows that 99% of his audience will already agree that Fox News is a dangerous, hate-filled, xenophobic, propaganda machine, so he makes little effort to depict the network's political leanings. Instead, the film is about self-loathing, fear, and anxiety – it's about workplace bullying and the human cost of sexual harassment.

This is a crucial point, because the three women at the film's centre (Kelly, Carlson, and Pospisil) are not a left-wing sisterhood. They're not even friends (the trio share only a single scene, and it's without dialogue); they're not a rebellious group of bra-burning feminists, they're right-wing conservatives who helped create the toxically boorish system under which they now find themselves oppressed. True, the film is probably a little too silent on their politics, especially Kelly (more on this in a moment), but the point is that politics are fairly irrelevant – sexual harassment is sexual harassment, and your politics, religious beliefs, race, and gender are all beside the point (unless, of course, you're the type of moron who believes a woman who dresses sexy is "_asking for it_", in which case you probably feel Carlson and women like her got what they deserved). At the same time, the film doesn't portray Ailes as an irredeemable monster, at least not at first. Indeed, when we meet him, he's commending Kelly for her handling of Trump, and the impression is that the relationship between the two is one of respect and genuine fondness, with Ailes even going as to say, in a fatherly way, "_I'm proud of you, Megyn_". The point is, this is not an anti-Republican diatribe. It's the exposé of a man who was a Republican.

Aesthetically, _Bombshell_ is something of a strange creature. The rapidly edited, stylistically hyperactive first half-hour or so is vintage McKay; a deeply self-reflexive almost meta-comedy. For example, one of the earliest scenes sees Theron break the fourth wall and address the audience as she gives us a tour of Fox News. Another moment sees Carr telling Pospisil that some people watch the channel so much, the logo has burnt onto their TV screens, at which point the Fox logo appears in the corner of the screen, remaining there for the rest of the scene. However, once the groundwork has been laid, Roach shifts tones completely and moves into fairly standard factual drama territory, which has the effect of making the first act feel somewhat isolated and incongruous, setting us up for a film which never arrives, particularly concerning the fourth-wall break (the only scene of its kind in the film).

On the other hand, the film's triptych narrative structure works very well. It's not an even divide (this is Kelly's film before it is Carlson's or Pospisil's), but it does allow Roach to dramatise just how much Ailes looks on his female staff as commodities. Carlson is the washed-up former beauty queen who no longer holds his interest; Kelly is the current flavour of the month, still beautiful, still popular; Pospisil is the future, young, vital, keen, and in awe of the man himself, as all women should be – for every Carlson, there's a Kelly to replace her, and for every Kelly, there's a Pospisil waiting in the wings, ready for grooming.

From an acting perspective, there's not a weak link, with Theron especially impressive. Normally, she looks nothing like Kelly, but through posture, mannerisms, wardrobe, a scratchy voice, and the subtle prosthetic genius of Kazu Tsuji (who turned Joseph Gordon-Levitt into a young Bruce Willis for Rian Johnson's _Looper_, and Gary Oldman into Winston Churchill for Joe Wright's _Darkest Hour_), the actress disappears into the character, who she plays as steely and often remote, but fiercely passionate and intelligent. Is it as good as her work in Patty Jenkins's _Monster_ (2003)? Not quite. But it's still a deeply impressive performance that transcends mere imitation.

The other standout is Lithgow, whose performance is fascinatingly modulated. Introduced in a scene designed to show his fatherly protective side, Lithgow initially portrays Ailes as a flawed human being – all too aware that he's losing a battle with age, but ironically resigned to his physical appearance not being what it once was. It's only later that the actor lets the monster out of the box. One particular scene, which is both his and Robie's best, and the dark heart at the centre of the film, sees him asking an increasingly uncomfortable Pospisil to hike her skirt higher and higher, to the point where her underwear becomes visible, as he becomes increasingly aroused, indicated by nothing but his breathing. It's an exceptionally well-staged and nauseating scene which gets to the film's core – the humiliation aspect of sexual harassment. Like rape, it's not about sex (at least, not entirely), it's about power, dominance, and submission. It's about ego. Ailes knows that if women like Pospisil value their job, they'll submit, just as they have done for men like him throughout history. As he sees it, ambitious women will always need powerful men, and he behaves as he deems appropriate within that paradigm.

As for problems, I mentioned earlier that the film might be too silent on some of Kelly's history. I understand where Roach is coming from on this; to feature scenes which seem designed to depict her in a less than favourable light could run perilously close to victim-blaming – kind of a "_who cares if she was harassed, she's a racist_" argument. So whilst I agree in principle, I think that in practice, Roach errs in the other direction. If you knew nothing about these events, you'd be forgiven for thinking the only controversy Kelly ever encountered in her time at Fox was asking Trump about misogyny. There's no mention, for example, of her infamous "_Jesus was a white man_" comment from 2013. Granted, it doesn't have much to do with the story at hand, but my point is a general one. The film's Kelly is almost virginal, without blemish. Making her character more rounded, more flawed, more (dare I say it) right-wing, would have served both the character and the story, and actually helped rather than hindered Roach's argument that politics don't matter in relation to sexual harassment. On the other hand, the film _does_ address the fact that Kelly knew about Ailes for years before Carlson was fired, and it takes her to task for not doing anything with that knowledge, with one character rightly pointing out that if she had done something earlier, other victims would have been spared. Interestingly enough, this was the scene Kelly herself felt crossed the line into victim-blaming – make of that what you will.

Another issue is that the tonal shift at the end of the first act is very strange, as Roach abandons the hyperactivity of the opening and settles into a far more conventional style – a transition he doesn't entirely pull off. He also makes the strange decision to mix archival footage of the real Ailes with Lithgow's performance during this first act, which somewhat shatters the film's performative universe.

Ultimately, _Bombshell_ will probably anger some for its refusal to really comment on how Ailes's accusers were part of the problem for a long time, propping up, excusing, and validating the system behind which he operated. However, to take this route is to suggest that because they elected not to rock the boat earlier in their careers, they don't deserve much sympathy. And anyone who knows anything about feminism or #MeToo will tell you that is absolutely _not_ the case. Certainly, in the case of Kelly, the opportunity for her to explain why she stayed silent for so long is available, but is never availed of. But is that a fault of the filmmakers or a reflection on the actual person's reluctance to take that particular journey inward? Sure, the film is at pains to avoid showing either Carlson or Kelly as in any way complicit in creating the hideously outdated patriarchy at Fox (as opposed to many of the network's other female employees, who seem to be fair game). But this is by design. Were _Bombshell_ a story about Fox News, such things ought to be examined. But it isn't. It's a story about humiliation and bullying, a story that says people do not deserve such treatment, no matter their race, religion, or politics.
I was hesitant at first to watch this movie. I couldn't imagine watching anything nearly two hours long about the Fox Network. Plus I saw a lot of negative buzz on the film. I am a progressive and have been glad to see wealthy men being held accountable for sexual harassment finally, but I wasn't anxious to watch a hit job either. I researched the actual story and it seemed to be about two old white guys in a privileged position, and if their conservative wealthy boss fired them, how unfair could it be?

I found it to be entertaining. I gather one of the main characters isn't a real person, but rather a sort of amalgam of many women who were sexually abused and either left Fox or were disposed of in other ways. I liked the husband who supported his famous wife so loyally, and got a kick out of the shenanigans the lesbian character had to go through to stay hidden in plain sight. I never expect a documentary with these films, so small changes and artistic freedom doesn't bother me. It is not a documentary, after all.

if you are conservative and a Fox news devotee, and don't like to see anything negative about it, you might want to give it a miss. But for the rest of you, if you want to see some of the behind the scenes of a part of the Me Too movement, here you go.

[Watch] Black Panther Online Reddit 2018

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[Watch] Black Panther Online Reddit 2018

Movieteam

Coordination art Department : Emelda Fizzah

Stunt coordinator : Emna Loiseau

Script layout :Faris Joella

Pictures : Eran Elina
Co-Produzent : Loreen Mattéo

Executive producer : Aylin Ezio

Director of supervisory art : Tessa Finn

Produce : Saracen Kenneth

Manufacturer : Jeane Pelez

Actress : Hannah Karey

King T'Challa returns home from America to the reclusive, technologically advanced African nation of Wakanda to serve as his country's new leader. However, T'Challa soon finds that he is challenged for the throne by factions within his own country as well as without. Using powers reserved to Wakandan kings, T'Challa assumes the Black Panther mantel to join with girlfriend Nakia, the queen-mother, his princess-kid sister, members of the Dora Milaje (the Wakandan 'special forces') and an American secret agent, to prevent Wakanda from being dragged into a world war.

7.4
14863

Movie Title	Black Panther
Time	141 seconds
Release	2018-02-13
Quality	MPG 1440p DVDrip
Categorie	Action, Adventure, Fantasy, Science Fiction
speech	English, 한국어/조선말, Kiswahili, Array
castname	Grazia W. Kadell, Drucker X. Deepa, Phuong E. Gyles

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Film kurz

Spent : $367,983,262

Income : $146,394,212

Group : Heroisch - Bondage , Glaube - Preis , Experimentell - Geistesgesundheit , Evolution - Hilarious

Production Country : Liberia

Production : Justice Productions

The reviews for _Black Panther_ are all essentially saying the same thing: This is a great movie because it's so different from anything we've seen before, not just in the MCU but in the superhero genre overall, the villain is fantastic and _Black Panther_ is just a new and totally innovative film. Allow me to disagree (almost) entirely. _Black Panther_ is a great film, not because it breaks the mould, but because Marvel Studios has a successful pattern and _Black Panther_ adheres to it completely. Obviously the importance of a lead who is not just black but actually African is not to be understated, we have the least white cast of any superhero movie to date and they absolutely killed it, all very important socio-political stuff, to be sure. But the bones of _Black Panther_, the plot, the script, the events, the turns, all of that, it's a carbon copy of what's worked 17 times before. It works again, don't get me wrong, _Black Panther_ truly was an experience, both important and fantastic, but to say it re-invented the wheel here, is, to me, an outright lie.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
Overrated and overhyped. Definitely avoid. Watch on redbox if you must.
This is definitely one of Marvel's best because the story is compelling and the characters are well developed. Black Panther and his friends and family must defend themselves and their homeland of Wakanda from the clutches of Klau (Andy Serkis) and Killmonger (Michael B. Jordan). Not only is the lead actor great as T'Challa/Black Panther, but the supporting cast does a fine job as well, especially the female actors. T'Challa is surrounded by smart, strong women. Marvel seems to break its villain curse with Klau and especially Killmonger. Killmonger is very well developed and even sympathetic at times, despite his villainy. He sort of reminded me of Tom Hiddleston's Loki. The action scenes and special effects are outstanding. Highly recommended if you enjoy comic book movies.
Really good movie. Good story, lots of fun. This is what DC is missing.
It was with some hesitation that I went to see this movie. I was afraid that it would be burdened with too much political and social preaching. Especially knowing how much the movie is praised amongst certain factions in our society today. Sure enough there were indeed some of that nonsense but luckily it was much less than I feared.

I actually found the movie fairly entertaining. It is far from great, certainly very far from the insane hype surrounding it, but pretty okay. It is more or less a standard issue super hero movie on a big budget. Of course this means a fairly mediocre underlying story beefed up with lots of action and special effects.

The story itself is a traditional revenge story with some black power stuff. Nothing to write home about but it works as a vehicle for the action and special effects which is what makes this movie. There are the usual nonsense and plot holes in it of course. Like Shuri claiming that Vibranium (silly name but never mind) is instable at high speeds yet they have no problem making flying ships and other fast moving stuff with it.

The characters are a wee bit disappointing as far as the main characters are concerned. I felt that the main protagonist has little in terms of charisma. Killmonger, the main bad guy, was downright disappointing. To me he looked like the stereotype of a dumb thug and mostly he behaved like one. Bloody hell could they not have found an actor that looked less…well…stupid!

Personally the character I liked best was actually Klaue which was pretty cool, insane but cool. The female warriors, which were both kick-ass and smart, and Shuri is also fairly high up on my approval list.

Special effects! This is of course where this movie shines. Overall I think the special effects were good. The design of the various gadgets, ships etc were very nice. The rampaging rhinos in the final fight really made me laugh. I should have seen that coming. I definitely liked all the sonic effects. Obviously this movie would have been more or less null if the special effects would not have been a success.

On the whole Black Panther is a quite enjoyable special effects and action movie. Nothing more, nothing less. Some social preaching nonsense but less than I feared, hum ho story, lots of action and lots of special effects.
I was really surprised how much I liked this movie. There was so much going on; immigration concerns; the fight between saving the world and protecting your own country(sound familiar); the fear of an African country’s resources being pillaged; how best to handle the problems black people face worldwide; and many great authentic feeling cultural nods. All this while not being heavy or preachy. You can definitely eat popcorn to this. The villain; Killmonger, is great. Not great in that he is scary, though he is, but because he is more complex than some shadowy figure you should just trust is a bad guy because of visual effects or dramatic music.

This movie isn’t just explosions and one-liners in an exotic location. This is a great movie in general. It’s always interesting. There are great relationships between all the characters. Finally; Wakanda is really a place. It feels alive and lived in; not just impressive buildings used as a backdrop. They did a wonderful job of worldbuilding; from the rituals, to the clothing, fancy tech, and scenery. This movie is definitely worth a watch.

☆☆☆☆-1/2

I also have to add that; you get to actually see Andy Serkis! When I saw his name I thought we was going to be some kind of CGI monster. I’m just happy to see him get actual screen time.
The Black Panther is a fun romp, but it definitely has some issues. First, the good.

The action is fun, the emotions hit home, and the story isn't dirt-poor.

While the CGI gets ripped on from time to time, I thought it was solid enough for a Marvel movie. The fight scenes were relatively well-choreographed, as well. The ritual combat scenes were exciting and visually appealing. The fights in Korea were also fun to see, and while I'm not a fan of car chase scenes as a whole, I did enjoy this one. It was reminiscent of a James Bond movie.

In fact, that's another appeal, at least to me. The secret technology base and the fun action scenes were a great callback to James Bond-type movies. I do think the movie would have been complemented by giving T'Challa a similar vice as Bond's, although Marvel probably wouldn't veer down that line for the seemingly morally absolute King of Wakanda.

The story, well, it's a mixed bag. Everything seemed crammed together with major emotional keys being rushed through or somewhat ignored. The concept is fine though. A long lost relative comes to challenge the new king, wins, and shows his colors, becoming something amoral. The king comes back and takes down the usurper, realizing something about themselves/their kingdom in the process. It's tired, but not so tired it damages the movie.

This is where the issues begin to rise, though. The movie is really a movie and a half or two movies crammed into one. Wakanda has a ton of wonderful mythology, but almost none of it is explained. The movie never really explains how the Wakandans used vibranium was used to make themselves wealthy. It touches on it in some exposition, but there was much more that was just glossed over.

In addition, W'Kabi became radicalized by Killmonger much too quickly for such a pivotal relationship to flip. Some of the emotional aspects of the movie fell flat because they weren't given enough screen time.

Despite its flaws, Black Panther is a fun movie that adds to the Marvel Cinematic Universe. It should have been two movies, but I doubt this is the last we'll see of Wakanda.
The character of T'Challa made his debut in Captain America 3: Civil War.

In Black Panther, T'Challa returns to his homeland of Wakanda after the death of his father who has been hiding a secret about his brother who lived in the USA. He now inherits the throne after a challenge from a rival.

Wakanda is an african country with wealth, power and immense technology that it hides from the outside world.

T'Challa's uncle wanted an uprising in the USA. Now his son Killmonger comes to Wakanda and challenges T'Challa for the throne.

Killmonger wins and leads the struggle for black power.

Black Panther is a well made efficient film from Marvel who really have nailed down their formula. The box office avalanche has surprised me. It simply is not that good with a very predictable story.
Overrated due to political correctness; it’s noble and has its points of interest, but it’s also kinda meh

RELEASED IN 2018 and directed by Ryan Coogler, "Black Panther” details events when T’Challa (Chadwick Boseman) takes over kingship of the hidden African nation Wakanda after his father passes (John Kani). The kingdom is technologically advanced due to its secret resource Vibranium, a priceless, almost magical metal. Unfortunately, T’Challa’s reign is challenged by an angry American former-black ops soldier, Erik “Killmonger” (Michael B. Jordan).

With its black director and mostly black cast (with a couple of token white dudes), “Black Panther” was overhyped and overrated upon release. Critics were apparently afraid of being called “racist” by liberal fascists if they dared to be honest and say anything negative (rolling my eyes). The movie’s likable and certainly has its points of interest, but the characters are rather dull, except for Killmonger, and the story isn’t all that involving. It’s basically a mediocre superhero movie that has some blatant Bond-isms and is set apart by its primarily black cast and African locale. It fails to rise to the entertainment level of even “Ant-Man” (2015).

Still, it’s respectfully noble and the story provokes interesting questions, like isolationism vs. internationalism and African-American culture vs. Native African culture. But there’s some eye-rolling bits, like when Shuri (Letitia Wright) calls CIA agent Ross (Martin Freeman) a “colonizer,” which isn’t even accurate. Maybe it was supposed to be a joke.

The waterfall fight between the Black Panther and Killmonger was an homage to the first issue of The Black Panther series in Jungle Action: Issue #6, September, 1973. At the end of that comic’s story T'Challa and Erik fight at the top of a waterfall culminating with Killmonger throwing Black Panther over the cliff. This issue was the beginning of the "Panther's Rage" storyline by Don McGregor (featuring artists Billy Graham, Rich Buckler and Gil Kane), which ran for over two years in 13 issues of Jungle Action #6-18 and 209 pages, including the Epilogue. Many consider it the first graphic novel. Of course, this wasn't the first appearance of the Black Panther (who debuted in 1966), but it was the first issue where he was the starring character.

And it was this series that provided the intriguing exposition on T’Challa, Wakanda and its citizens, visitors & enemies. It’s a travesty that McGregor, who created the characters of Killmonger & W’Kabi (Daniel Kaluuya) and conceived this exposition, wasn’t acknowledged in this movie; shameful.

THE FILM RUNS 2 hours, 14 minutes and was shot in Georgia (Atlanta, Fayetteville), South Korea (Busan) and Iguazú Waterfalls, Argentina. Ironically, nothing was shot in Africa. WRITERS: Coogler and Joe Robert Cole (and, uncredited, Don McGregor).

GRADE: B-
Awesome movie
"Black Panther is Marvelous (pun intended)"

T’Challa (Chadwick Boseman) returns home to his native Wakanda to be crowned king. Not long after he’s challenged for the throne and war looms over his homeland.

Black Panther isn’t your typical hero because let’s face it… He’s black. And apart from Bilbo Baggins (Martin Freeman) and Smeagol (Andy Serkis), everybody’s black. And that’s the way it should be.
The entire cast delivers. Boseman is excellent as king T’Challa who struggles with his new role. It doesn’t get any easierr when Killmonger (Michael B. Jordan) shows up. Killmonger is a mean SOB yet you care for him (some good writing right there). He’s a worthy adversary and one of the better Marvel villains. Jordan portrays him perfectly. Director Ryan Coogler and Michael B. Jordan are a match made in heaven. This is their third collaboration after ‘Fruitvale Station’ and ‘Creed’ and again they’re successful. The movie itself gets better as Jordan’s role gets bigger.

The female characters and actors are equally impressive. Especially Nakia (Lupita Nyong’o) and Okoye (Danai Gurira) steal the show.

There’s less humour in ‘Black Panther’ than we’re used to seeing in Marvel films but that’s not a bad thing. The movie doesn’t need it.

Though it’s set in (fictional) Africa there wasn’t any filming done in Africa. Nonetheless the movie looks right. The makers did a great job of creating Wakanda. Huge props to costume designer Ruth E. Carter and composer Ludwig Göransson who help bring Wakanda to life.
On the downside there’s a lot of CGI. Sometimes it’s too obvious (rhinos say hi). Despite that the battle scenes are beautifully choreographed. Especially Okoye wielding her spear is a thing to behold.

All in all ‘Black Panther’ is another wonderful addition to the MCU and we can’t wait to see what role T’Challa and his sidekicks are going to play in ‘Avengers: Infinity War’.
Black Panther will probably be remembered as a culturally significant film more so than a great one, but that shouldn't take away from the movie's deeper theme of inclusivity. This is a really good movie with heart and intelligence.

The fact that I have issues with the pacing, the generic action, or that I don't find Killmonger as complex a villain as the movie thinks is my problem. But I don't understand how people can hate on Black Panther because it integrates social and political themes into its narrative. Isn't contemporary relevance key in determining the greatness of a film?
I really enjoyed this film, it was new uncharted never done before, and they delivered a marvel masterpiece. I look forward to seeing the next one...