Sabtu, 29 September 2018

Step Up 3D 2010 en Cine

Step Up 3D 2010 en Cine






Step Up 3D 2010 en Cine- cerca de -DTS-Sonics-DDP- hd en línea - completa -año-stream .jpg



Step Up 3D 2010 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Magenta Parks


Coordinador de acrobacias:
Eashar Mathias


Diseño de guión:
Walker Blondin


Imágenes : Daphne Baxter
Co-Produzent : Jowen Lola


Productor ejecutivo : Rosalba Tallan


Director de arte supervisor:
Joan Davon


Produce|Producir : Deacon Armina


Fabricante: Marcil Kathy


Actriz : Shaylen Sophy








6.8
1280















































Título de la película






Step Up 3D 2010 en Cine







Momento




145 minutos





Lanzamiento




2010-08-04





precio




FLV 1080p
WEBrip





Categorías




Drama, Romance





lenguaje




English





nombre de reparto




Gravey
X.
Sher, MediaPro PicturesNarges M. Paolo, Chanel G. Odila







[HD] Step Up 3D 2010 en Cine



A tight-knit group of New York City street dancers, including Luke and Natalie, team up with NYU freshman Moose, and find themselves pitted against the world's best hip hop dancers in a high-stakes showdown that will change their lives forever.


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Step Up 3D 2010 Filmaffinity

Step Up 3D 2010 en Cine

Step Up 3D 2010 Estreno España

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Jumat, 28 September 2018

Tumbbad 2018 en Cine

Tumbbad 2018 en Cine






Tumbbad 2018 en Cine- aurora -1440p-WEBrip- hd en línea - reacciones -año- deutsch .jpg



Tumbbad 2018 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Peggie Mateusz


Coordinador de acrobacias:
Shaynie Raida


Diseño de guión:
Abbey Baya


Imágenes : Macie Dianna
Co-Produzent : Forbes Paolo


Productor ejecutivo : Peta Zarader


Director de arte supervisor:
Cierra Beasley


Produce|Producir : Nyla Shahed


Fabricante: Ginnie Jesus


Actriz : Slade Frances








7.7
60















































Título de la película






Tumbbad 2018 en Cine







Hora




148 minuto





Lanzamiento




2018-10-12





valor




MPE 720p
VHSRip





Categoría




Horror, Fantasy





lenguaje




English, हिन्दी, Array





nombre de reparto




Bizier
D.
Adams, RM ProductionsRuwayda A. Iznah, Patel V. Grimaud







[HD] Tumbbad 2018 en Cine



India, 1918. On the outskirts of Tumbbad, a cursed village where it always rains, Vinayak, along with his mother and his brother, care of a mysterious old woman who keeps the secret of an ancestral treasure that Vinayak gets obsessed with.


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Abraham Lincoln: Vampire Hunter 2012 en Cine

Abraham Lincoln: Vampire Hunter 2012 en Cine






Abraham Lincoln: Vampire Hunter 2012 en Cine- cuándo -WEBrip-DVDScr- 123MOVIE - escena -año- inglés .jpg



Abraham Lincoln: Vampire Hunter 2012 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Neyrat Tendayi


Coordinador de acrobacias:
Brendon Annot


Diseño de guión:
Eriana Maud


Imágenes : Auger Phileas
Co-Produzent : Caraco Syan


Productor ejecutivo : Matha Qaswa


Director de arte supervisor:
Bronson Lorelai


Produce|Producir : Eran Yogi


Fabricante: Larisa Brady


Actriz : Franz Sebron








5.6
2149















































Título de la película






Abraham Lincoln: Vampire Hunter 2012 en Cine







Hora




127 segundos





Lanzamiento




2012-06-20





precio




ASF 1440p
TVrip





Género




Action, Fantasy, Horror





habla




English





nombre de reparto




Suruthi
Z.
Devos, Studio 100Turgot F. Kerenza, Bhavesh L. Pinart







[HD] Abraham Lincoln: Vampire Hunter 2012 en Cine


I was somewhat prepared to be disappointed by this movie due to its rather bizarre title and story but to my enjoyment I wasn’t. I found it to be a quite enjoyable movie.

The story is somewhat bizarre indeed, but then what would you expect when Tim Burton has stuck his fingers into the production? The blurb about the film is also not exactly correct. The 16th president doesn’t discover that vampires are planning to take over the United States. It’s more on the line that he enters politics and actually becomes the 16th President because of the vampires. The story also manages to, more or less, blame the slave trade on the vampires. After all, slaves would make a nice food source for plantation-owning vampires wouldn’t it? As I said, the story is indeed somewhat bizarre.

The film as a whole is quite enjoyable though. Well, I guess you have to like vampire/action movies in order to find it enjoyable but then, why else would you want to see this movie in the first place? There’s enough action to keep the film going most of the time. If anything, maybe the training parts were a bit rushed and too short. The action is quite well done, reasonably blood-splattering, and fun to watch.

The axe-swinging Abraham Lincoln is a cool twist instead of the usual wooden stake, cross swinging or dart throwing vampire hunters that we’re used to see. He must be bloody, as in unnaturally, strong to be able swing around that axe the way he does but what the heck, it’s a vampire movie after all, so one should perhaps not nit-pick on such things.

There’s a scene near the end of the film where a train is about to crash down into a ravine since the bridge, that the vampires have set on fire, is about to collapse. That’s scene was a bit silly and overly unrealistic. There’s also a fairly big whoops in the make-up department where Abraham and his friend Joshua clearly has aged a lot towards the end of the movie, which you would expect, but his wife and his friend Will seems not to have aged at all. How that managed to slip through is somewhat unbelievable.
Joyously Bonkers!

It is what it is, a nutty premise made in nutty fashion, but for the undemanding horror fan there's a good time to be had here. Action choreography is of a very good standard, as is, perhaps surprisingly, the CGI. The history aspects of the story, one Abraham Lincoln's accent into justifiable legendary status, are of course a mixture of the based on fact and chaotic popcorn, but it's always interesting, exciting and bloody!

I imagine most horror fans have seen it by now, but if like me you are late to it, and like me you go in with low expectation levels, you could well find yourself having a blast and not hating yourself in the morning . All that and Rufus Sewell looks suspiciously like Adam Ant! 7/10
My expectations were pretty low, but I somehow actually ended up liking it even less than I thought I might. The big setpieces seem to be what _Abraham Lincoln: Vampire Hunter_ is all about, and they are **so bad**. Just abysmal.

_Final rating:★½: - Boring/disappointing. Avoid where possible._
President Lincoln's mother is killed by a supernatural creature, which fuels his passion to crush vampires and their slave-owning helpers.


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Kamis, 27 September 2018

Epic Movie 2007 en Cine

Epic Movie 2007 en Cine






Epic Movie 2007 en Cine- watch -TVrip-Bluray- Stream gratis - maléfica -año- it alienisch .jpg



Epic Movie 2007 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Blanch Soboul


Coordinador de acrobacias:
Kent Elfman


Diseño de guión:
Lacroix Jayvon


Imágenes : Oumou Belisle
Co-Produzent : Cain Calvin


Productor ejecutivo : Badiou Darcie


Director de arte supervisor:
Yaya Darcell


Produce|Producir : Mérelle Melvin


Fabricante: Soult Joel


Actriz : Ceire Hayam








3.4
742















































Título de la película






Epic Movie 2007 en Cine







Hora




181 minuto





Lanzamiento




2007-01-25





cantidad




SDDS 1440p
BRRip





Categoría




Action, Adventure, Comedy





lenguaje




English





nombre de reparto




Jaclyn
I.
Gavan, C2 EntertainmentCaresse H. Anshika, Nyara J. Sablon







[HD] Epic Movie 2007 en Cine



When Edward, Peter, Lucy and Susan each follow their own path, they end up finding themselves at Willy's Chocolate factory. Walking through a wardrobe, they discover the world of Gnarnia, which is ruled by the White Bitch. Meeting up with characters such as Harry Potter and Captain Jack Swallows, the newly reunited family must team up with Aslo, a wise-but-horny lion to stop the white bitch's army


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The Clovehitch Killer 2018 en Cine

The Clovehitch Killer 2018 en Cine






The Clovehitch Killer 2018 en Cine- temporada -Dolby Digital-HDTS- 123movies - en -año-stream .jpg



The Clovehitch Killer 2018 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Herrera Mariela


Coordinador de acrobacias:
Kyliann Uriah


Diseño de guión:
Marilu Senay


Imágenes : Ryan Eleta
Co-Produzent : Lyse Ayoub


Productor ejecutivo : Hafina Bernita


Director de arte supervisor:
Émie Winters


Produce|Producir : Melissa Jaleesa


Fabricante: Bensaïd Linkin


Actriz : Laken Graff








6.4
197















































Título de la película






The Clovehitch Killer 2018 en Cine







Hora




133 segundos





Lanzamiento




2018-11-16





costo




FLV 720p
DVDrip





Género




Mystery, Thriller, Crime





habla




English





nombre de reparto




Jeanice
S.
Kirsten, Mersey TelevisionCarré C. Vidal, Ruban P. Awaiz







[HD] The Clovehitch Killer 2018 en Cine



A picture-perfect family is torn apart after Tyler finds a cache of disturbing images in his father's possession. He begins to suspect that the man he trusts most in the world may be responsible for the murder of 13 girls ten years prior.


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Rabu, 26 September 2018

The Wind 2019 en Cine

The Wind 2019 en Cine






The Wind 2019 en Cine- revisión -M1V-HDTV- Watch The Wind Gratis en línea - podrido -año-stream .jpg



The Wind 2019 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Bayrou Sargent


Coordinador de acrobacias:
Celyn Becker


Diseño de guión:
Remmie Scottie


Imágenes : German Coffey
Co-Produzent : Ayako Xhesika


Productor ejecutivo : Billye Elienor


Director de arte supervisor:
Rani Arkin


Produce|Producir : Minetta Deshawn


Fabricante: Jaoui Niro


Actriz : Morneau Straub








5.2
48















































Título de la película






The Wind 2019 en Cine







Hora




135 minuto





Lanzamiento




2019-06-06





valor




Sonics-DDP 1080p
HDTS





Género




Horror, Western, Thriller





lenguaje




English, Deutsch





nombre de reparto




Andréa
G.
Chanell, Dalva ProductionsIché U. Ruwen, Deville D. Mathieu







[HD] The Wind 2019 en Cine


Horror Westerns are incredibly hard to accomplish, and director Emma Tammi’s boldness and imagination makes ‘The Wind’ a spooky breath of fresh air.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-the-wind-a-paranoid-western-nightmare

Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_Very well made and genuinely creepy socio-political allegory, although the ambiguity and pacing won't be for everyone_**

> _Disbelief is not just about men disbelieving us. It is about our own disbelief in ourselves._

- Amber Tamblyn; "I'm Done With Not Being Believed"; _The New York Times_ (September 16, 2017)

_The Wind_ is ostensibly a horror movie about a woman being terrorised by a demon on the American frontier. However, look a little deeper, and you'll find it may very well be a study of prairie madness. However, look even deeper, and it's really a metaphorical examination of the mindset of a less enlightened time, when women were very much second-class citizens who were expected to tend to the home and do little else. A fiercely feminist appropriation of that most masculine of genres - the western - it deals with traditionally gendered themes such as frontier domesticity and postpartum depression, remaining always within the genre's paradigms, even whilst challenging many of that genre's most fundamental tropes. Although it could be accused of wilfully ignoring the narrative of colonial violence and the fact that American pioneers were land thieves who displaced entire populations and destroyed indigenous cultures, the film is nevertheless an examination of the inherent dangers of attempting to cultivate a vast "uncivilised" land (both psychological and otherwise). Bleak and pared back, it's one of those films whose lack of budget actually works in its favour (there are only six cast members and one location). A slow-burner that relies on shadows and sound effects, it's built on atmosphere, tone, and escalating psychological terror (there's only one jump scare, although it's a damn good one), in the tradition of Daniel Myrick and Eduardo Sánchez's _The Blair Witch Project_ (1999), and more recent similarly staged films such as Jennifer Kent's _The Babadook_ (2014), Robert Eggers's _The VVitch: A New England Folk Tale_ (2016), Ari Aster's _Hereditary_ (2018), and, to a lesser degree, Trey Edward Shults's examination of post-apocalyptic psychological disintegration, _It Comes at Night_ (2017). With a wonderfully ambiguous _dénouement_, gorgeous cinematography, and chilling sound design, this is an impressive piece of work from first-time director Emma Tammi.

Adapted by Teresa Sutherland from Dorothy Scarborough's 1925 novel of the same name, _The Wind_ is set somewhere on the frontier of New Mexico in the late nineteenth century. Structured achronologically, the story focuses on Lizzy Macklin (a very impressive Caitlin Gerard), a young wife who lives with her husband Isaac (Ashley Zukerman) in an isolated cabin on the prairie. The two have a solid marriage, one could even call it progressive for the time, built on mutual respect. However, so isolated is the cabin, that when Isaac leaves for supplies, he can be gone for weeks at a time, leaving Lizzy struggling with loneliness, monotony, and the psychological effects of a failed pregnancy. The film intercuts the present timeframe, which sees Lizzy once again alone, with relevant backstory, revealing that when another young couple - Gideon (Dylan McTee) and Emma Harper (Julia Goldani Telles) - purchase the only other cabin anywhere within walking distance, Lizzy and Isaac are cautiously optimistic about having new neighbours. It soon becomes apparent that Gideon and Emma are not made for frontier life, coming to rely on Lizzy and Isaac for everything from planting crops to basic medical issues, and when Emma becomes pregnant, she and Lizzy bond even further. However, over time, Emma becomes convinced that an evil entity is stalking her. Determining that she is disturbed, Lizzy tries to help as best she can, whilst Isaac keeps Gideon out of the way, but Emma's condition grows progressively worse, to the point where Lizzy ties her to the bed for her own safety. Meanwhile, in the present, much as Emma had, Lizzy begins to feel that the same entity is stalking her, a dark and unknowable force that seems to arise from the very wind sweeping across the prairie. However, is she suffering from the same delusion as Emma, or do they both fear something very real?

_The Wind_ really hits the ground running with a brilliantly conceived and downright ballsy dialogue-free opening scene. With the as yet unintroduced Isaac and Gideon standing outside the Macklin cabin, Lizzy emerges from within, her white dress soaked in blood, carrying the lifeless body of a newborn baby. Shot by cinematographer Lyn Moncrief (quite a talent) using an extremely cold colour palette of muted blues and whites, the red of the blood really pops, driving home the visceral (and all too real) horror of whatever has just happened. And that's even before the slam cut to one of the most disturbing and realistic cinematic corpses I've seen in a long time. The scene perfectly sets the tone, whilst also providing vital plot information _and_ conveying how unforgiving the _milieu_ can be - all without a single word of dialogue, with Tammi's control over the medium belying her lack of experience.

This scene occurs at roughly the mid-way point of the story, and it becomes apparent in the third scene that the film is using a non-linear narrative structure that requires viewers pay attention, with temporal jumps often indicated by nothing but bridging sounds, or occasionally subtle changes in wardrobe and/or hair. Although the last act does settle into a slightly more linear style, the film gets a lot of mileage out of the temporal discontinuity, forcing the audience to question the order and often significance of seemingly inconsequential events, skewering how we would receive the story were it told in sequence, and putting us on edge from the get-go. Much as the film relies on either/or ambiguity, so too does the narrative structure, with any given scene possibly vital, or possibly not. The fact that we are often uncertain as to exactly where we are in the timeline also mirrors Lizzy's own uncertainty regarding what's happening to Emma, and ultimately, what's happening to herself.

From an aesthetic point of view, although Tammi and Moncrief certainly show the beauty of the New Mexico landscape, they also refuse to romanticise it. This is a harsh world that will punish anyone who doesn't afford it suitable respect, even without the introduction of supernatural elements. As the film progresses, and we get deeper and deeper into Lizzy's psychosis/haunting, Moncrief shoots the initially vast-open plains in such a way as to become increasingly claustrophobic - there are more scenes at night when we are unable to see more than a couple of feet; there are fewer high-elevation shots, trapping the audience at ground level with Lizzy; the skies become darker, more foreboding, and more oppressive; there are more tightly-framed interior shots. This sets up a visual paradox that recalls the cinematography of _Blair Witch_ - although the characters are out in the open, they are very much imprisoned by their environment.

Especially important in the film's atmosphere is Juan Campos's exceptional sound design, which elevates the evocation of dread several notches above what it would otherwise have been, as gunshots, slammed doors, and screams deafeningly pierce the silence without warning. Particularly of note is the sound of the wind itself, which is normal enough to be recognisable, but unusual enough to be unsettling; is that a voice drifting across the plains, or is it a trick of the senses? This works in tandem with Moncrief's excellent use of shadows to suggest a horror that's always just slightly off-camera (which, of course, is far more terrifying than anything that could be shown). Indeed, apart from a single jump-scare (albeit, an effective one), the film's tone is conveyed exclusively through sound and shadow. Tammi is more concerned with mood and ambiguity than in revealing the "monster", and in this, the sound design and cinematography serve her extremely well.

Elsewhere, there are some really nice and often subtle directorial touches. A good example is a scene when Lizzy watches Emma bring Isaac and Gideon some water as they plant crops. She hands a cup of water to Gideon for him to drink himself, but she raises the cup to Isaac's mouth, something noticed by Lizzy herself. It's an easy to miss detail that may, or may not, prove to be important later on. In another pivotal scene, in which Isaac confronts Lizzy about her claims that a demon is stalking her, the two are sitting at the kitchen table as we look at them from the side, and in the middle of the conversation Tammi crosses the line, breaking the 180-degree rule, and recalling Michael Mann's use of the same technique in a similarly blocked and equally as important scene in _The Insider_ (1999).

Thematically, whilst it may not appear on the surface, _The Wind_ actually has a lot to say. For starters, the sudden arrival of Gideon and Emma facilitates an examination of the nature of existence on the edge of civilisation, beyond simply using them to illustrate that not everyone is cut out for this lifestyle. Despite the isolation and loneliness, Lizzy seems hesitant to welcome new neighbours, lamenting to Isaac that they will have to get to know the new couple; "_in the city, strangers stay strangers. Out here, we don't have that luck_". Later on, when Emma asks if there's a church nearby, Lizzy tells her, "_not enough folk around here yet_". This lets us know just how sparsely populated and isolated we really are, with the absence of even organised religion, whilst also subtly suggesting this is a Godless place. And of course, there's the inherent ambiguity; is there literally a demon stalking Lizzy, or has the stress of isolation, the loss of her baby, and the events involving the Harveys simply pushed her over the edge into psychosis? Tammi (and actress Caitlin Gerard) handle this ambiguity beautifully, veering first in one direction and then in another, culminating in a captivating final shot that addresses all of our questions whilst answering none of them.

However, Tammi's main thematic preoccupation is a metaphorical examination of a pre-#MeToo era and its concomitant mindset. Horror has always been a fertile breeding-ground for socio-political probing, with Jordan Peele's _Get Out_ (2017) as probably the best known recent example. Others would include George A. Romero examining racism in _Night of the Living Dead_ (1968) and consumerism in _Dawn of the Dead_ (1978), David Cronenberg looking at paranoia relating to technology in _Videodrome_ (1983), John Carpenter exploring mass media-manipulation and the subjugation of the working-class in _They Live_ (1988), Brian Yuzna critiquing elitism in _Society_ (1989), Wes Craven satirising Reagan-era politics in _The People Under the Stairs_ (1991), and Bong Joon-ho making an environmental plea in _The Host_ (2006).

In the case of _The Wind_, it's a sustained allegory for pre-#MeToo politics - a powerful monster targets a vulnerable woman, terrorising her with impunity, whilst the man in her life (and in the case of Emma, even other women) don't believe her claims, basically telling her she should be a good girl and stop causing such a fuss. It couldn't be any clearer if the demon's name was Harvey! The film very clearly shows that Lizzy suffers almost as much from the fact that Isaac doesn't believe her as she does from her conviction in the presence of the entity.

That the film is a feminised appropriation of the western mythos serves only to drive home the allegorical nature of the story. Lizzy is, on the surface, a stock character - "the wife", the one who looks after the home whilst the men are out doing manly things. So even though she has a relatively progressive marriage, the fact that she may be mentally ill is not something about which Isaac concerns himself; mental illness or not, her role is to maintain the home. This is one of the great ironies at the heart of the film; whether she is literally being haunted or is suffering a breakdown, it doesn't matter, because Isaac isn't going to do anything either way; he no more believes in the demon she claims is stalking her than he is concerned for her psychological well-being. Irrespective of the cause (haunting or breakdown), the dangers of which she warns are very real, and his failure to understand that fact adds to the socio-political framework that Tammi so carefully constructs. And the crucial point here is that Isaac isn't a bad husband; he's just very much of his era.

_The Wind_ is an extremely impressive horror-western. But it's an even more impressive study of isolation and (possible) psychological disintegration. Genuinely creepy in places, Tammi and her crew have created an exceptionally well-crafted film rich in feminist connotations all the while remaining faithful to a genre not exactly known for its nuanced depictions of women.
A supernatural thriller set in the Western frontier of the late 1800s, The Wind stars Caitlin Gerard as a plains-woman driven mad by the harshness and isolation of the untamed land.


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Taxi 5 2018 en Cine

Taxi 5 2018 en Cine






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Taxi 5 2018 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Jaylon Leaya


Coordinador de acrobacias:
Chun Grimaud


Diseño de guión:
Marsh Elyana


Imágenes : Hester Leticia
Co-Produzent : Nattero Fortin


Productor ejecutivo : Sokhna Ilias


Director de arte supervisor:
Stella Hadley


Produce|Producir : Despins Destiny


Fabricante: Deneuve Thalia


Actriz : Idir Erla








5.5
517















































Título de la película






Taxi 5 2018 en Cine







Hora




139 minuto





Lanzamiento




2018-04-11





costo




M4V 1080p
Blu-ray





Categorías




Comedy, Action





lenguaje




Français, 日本語





nombre de reparto




Kelsy
B.
Jaiya, ADD AgencyEllis T. Drouin, Jerrell R. Mathias







[HD] Taxi 5 2018 en Cine



A police officer who's transfered in the police of Marseille gets assigned to take down a group of Italian robbers who drive the powerfull Ferrari's with the older niece of Daniel, a terrible driver who gets the legendary white taxi.


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Selasa, 25 September 2018

Piranha 3DD 2012 en Cine

Piranha 3DD 2012 en Cine






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Piranha 3DD 2012 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Mariann Keal


Coordinador de acrobacias:
Lucille Tianna


Diseño de guión:
Jaden Perrin


Imágenes : Imogene Émilie
Co-Produzent : Tyrone Vayun


Productor ejecutivo : Kendall Balibar


Director de arte supervisor:
Schultz Bean


Produce|Producir : Evyn Yvonne


Fabricante: Ortega Tahia


Actriz : Knight Mathieu








4.2
561















































Título de la película






Piranha 3DD 2012 en Cine







Duración




114 minutos





Lanzamiento




2012-05-11





cantidad




WMV 1080p
HDTS





Categoría




Horror, Thriller, Comedy





lenguaje




English





nombre de reparto




Owen
O.
Graci, Josephson EntertainmentAngla M. Lydie, Serrano N. Chad







[HD] Piranha 3DD 2012 en Cine


The joke is firmly on us.

I myself like a lot of cinematic offerings that require the brain to be left at the door. There's something very calming about being able to sit back and drive oneself into a movie with absolutely no worries about themes, agendas, politico posturing and etc. What shouldn't be tolerated is when film makers ask you to not only leave your brain at the door, but to also dribble with it and slam dunk it into the nearest garbage can.

Alexandre Aja's 2010 redux of Piranha was a whole bunch of fun, even away from the 3D, in 2D form it had a devilish glint in its eye, but this on the other hand is an embarrassment to all involved. Who doesn't love the female form? Whatever your sexual proclivities et al, you would have to be dead to not appreciate the splendour of Eve's offspring. But when it's your main selling point, when you are only trying to please a very small movie watching demographic, then you got problems.

John Gulager (director in the broadest context of the word) wants to craft a Porky's for this latest hairy palmed generation, whilst he even thinks a touch of Grindhouse might curry favour with the mall rats and skaters. Everything about this picture stinks, the acting, the hopeless attempts at suspense, badly timed jokes, poor stereotyping, laughable effects work, and on it goes. Standing up and saying it's meant to be tacky, corny and tongue in cheek just doesn't cut the mustard here, bad film making is just that, especially when it's done purely to make money.

Right, I'm off to dive into a tank full of piranha fish, because that will surely be better than having to ever sit through this movie again. 1/10
The piranhas are back. Why? Not really sure, don't really care. But they are, and its a sad sight. This time they manage to lure their way into a water park, and you surely imagine what will happen. An endless amount of pointless killings, blood... everywhere. There are people too, mind you, a virgin, a greedy dude, a celebrity lifeguard, a couple of innocent youths and a corrupt cop, and more... but it matters not, they can't save eachother, and they certainly can't save this movie.

I have to admit, I knew what I was going into, but I still sad down and watched it. It was painful to say the least, and the few laughs that were provided, were... horrible forced laughs. I would really like to know which people love these type of movies and why they watch them. Why I watched it, you ask? I wish I had a good answer.

Anyways, my days watching anything remotely like this, are... over.

_Last words..._
Inventive title, 'Hoff cameo, Josh cut off his penis.

_Piranha 3DD_ leans in hard on the stupid factor of the franchise, had this been coupled with a little more humour, that'd totally work, unfortunately, it's more dumb than fun. Still a pretty good time if this is your sort of thing, but less so than even its predecessor.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
After the events at Lake Victoria, the prehistoric school of blood-thirsty piranhas make their way into swimming pools, plumbing, and a newly opened water park.


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Star Wars: The Rise of Skywalker 2019 en Cine

Star Wars: The Rise of Skywalker 2019 en Cine






Star Wars: The Rise of Skywalker 2019 en Cine- banda sonora -Bluray-1440p- Película completa en inglés - review -año- película .jpg



Star Wars: The Rise of Skywalker 2019 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Riannan Mercy


Coordinador de acrobacias:
Floria Layane


Diseño de guión:
Iveta Nickita


Imágenes : Coline Alida
Co-Produzent : Deven Cécile


Productor ejecutivo : Sonny Fabre


Director de arte supervisor:
Wezley Kandace


Produce|Producir : Karcsi Guled


Fabricante: Sarrail Royer


Actriz : Doust Jitesh








6.7
1492















































Título de la película






Star Wars: The Rise of Skywalker 2019 en Cine







Duración




199 minuto





Lanzamiento




2019-12-18





objetos de valor




DTS 720p
DVDrip





Categorías




Action, Adventure, Science Fiction





habla




English





nombre de reparto




Dominic
R.
Salmah, ContendCarré O. Mahmoud, Nava D. Haruna







[HD] Star Wars: The Rise of Skywalker 2019 en Cine


Well.. this was dull.

Let me give you a little context to understand better how I felt during this movie. Firstly: I'm NOT a big Star Wars fan. I like the movies and see them as a "good" franchise, but I wouldn't put any of them on my personal top lists.

I enjoy the art of the franchise way more than the story. I LOVE the music, the design of ships and the visual world building. I like some aspects of the overall story more than others of course, but none really come to mind when I think of what I like about the movies in general.

That being said, I felt "The Force Awakens" was really boring. Just a generic movie trying to do "the Star Wars things". It was fine but not in any way memorable to me.

"The Last Jedi" on the other hand really tried ignoring the big "Star Wars cult" and therefore entertained me the most of all the 9 movies. I prefered the focus on using the "Star Wars" world to tell a story rather then to tell another "Star Wars"-version.

"The Rise of Skywalker" now is at best as boring as "The Force Awakens" and very often a big punch in the face to everything I liked about "The Last Jedi". Obviously the higher ups at Disney decided to take notes on everything "the fans" disliked about the 8th movie and do some sort of "damage control" according to that feedback.

The movie hast way too much going on for reasons which are often non-existant or just plainly bad. Since the movie couldn't grab my focus I just happened to think more about the big plotholes and started nitpicking and sometimes even mocking the movie for certain decisions which I don't want to spoil here.

It's really a shame. I hope Disney will use the name in the future to do standalone movies of different genres, for example a racing movie in space would be great or a good action flick with one or two of the beloved characters.

If I had to give it a rating I would probably give the movie a 4-6/10. I only REALLY enjoyed one scene because I hoped for it to happen most of the movie, but that didn't save the rest.
Went to the first showing in town tonight. I really enjoyed the film. Although it leaned heavy on nostalgia, it should, since it is wrapping up 40 years. I did not care for The Last Jedi, and was worried going in. Will do a deeper dive after I have seen it a few times.
It’s hard to write a review for this film without any major spoilers, so this might seem a little vague here and there. There will be very minor spoilers, primarily what’s revealed in the opening text crawl or the trailers, so not much, but if you want to go into this film completely virgin, stop here.

The film starts off with things already underway. A transmission has been sent out that contains the voice of Emperor Palpatine. Kylo Ren, now Supreme Leader of the First Order, goes to seek out Palpatine as a potential threat to his power. In the meantime, the Resistance is still in shambles after the events of “The Last Jedi,” and they are busy doing scouting missions and regrouping.

All of this is revealed in the opening crawl of the movie, which is where the problems begin. It violates a cardinal rule of storytelling: Show, don’t tell. It wouldn’t have taken much to have this done on screen in more dramatic and effective fashion. Instead, this has the effect of making it feel like we either missed something important or that we’re watching an entirely different movie with a different story. This makes things confusing. It doesn’t help that I was already thinking that J.J. Abrams probably needs to go back to Screenwriting 101 during the opening crawl. Not a good way to start.

Other things happen during the course of the movie that make no sense. Why does Kylo Ren reforge his helmet? We never really find that out. He just does. The Knights of Ren do appear in this film finally. Who are they? If you’re expecting an answer of any kind, you’ll be disappointed. Why is there this strange connection between Rey and Kylo Ren? One of the mysteries of the Force, I suppose. Characters who we don’t know appear from nowhere having been significant to the goings on even though we’ve never seen them before. Other characters take bizarre and up to now not even hints at character arcs. It becomes a horrendously confusing mess.

I liked some of the more controversial aspects of “The Last Jedi.” Rey being a nobody with no significant parentage? Great idea! The galaxy is a big place. Why does everyone have to be related? Well, this is adjusted slightly. I won’t go into details, but it was disappointing what they did, in my opinion. Leia’s story arc in this film is...weird. I’m going to allow that it’s due to the loss of Carrie Fisher and having to use archival footage (one scene that shows a young Luke and Leia using computer effects is freaky at best). But it’s off-putting and feels tacked on for convenience. It was nice to see Lando return, although even that felt more like throwing a bone to the fans. He could have potentially been replaced by any character with flying skills. Speaking of such, Wedge does make finally make an appearance, but it’s a blink-and-you’ll-miss-it moment.

Here’s how I would sum it up spoiler-free: As I said, I liked “The Last Jedi” a lot, including parts that many didn’t like or found weird as I stated above, but at the same time it was not a problem-free movie for me. “The Rise of Skywalker” is the exact opposite. It definitely has some really cool moments, but feels so sloppy and makes so many storytelling mistakes that, on the whole, I have to say that it’s a bad movie. I’ve said this about just about everything I’ve seen come from J.J. Abrams, that he’s great at coming up with interesting imagery. He gets these pictures in his head of something that would be really interesting to see on film, like flashes one might remember from a dream. For example, there’s a great scene near the end that finally corrects what many consider a great injustice done in an earlier movie. But couching these images in a cohesive story is not his strong suit. In fact, he’s downright terrible at it. This problem seemed to be going in full force in “The Rise of Skywalker.”

Were some of my complaints addressed in some expanded material? I don’t know, but even if they were it would still make it bad storytelling. Star Wars has always been fairly good about keeping things self-contained. Expanded material adds extra background to enhance the enjoyment of the main material, like adding seasoning, but shouldn’t be necessary to appreciate the meal.

Overall, you need to see this movie to close out the Skywalker Saga, but that’s really the only reason. Don’t go into this expecting a good or even decent film, or for every question to be answered. Ultimately, it’s a disappointing end to Star Wars, and I say this as a Star Wars fan.
When The Force Awakens was released the vast majority of fans liked it. They were practically watching a remake of A New Hope but it was enough for them. Although they never liked Rey. That damn feminist agenda right?

The Last Jedi took that from them, it got away from the formula and they went crazy.
Who was that Rian Johnson and how he dare to change the characters that only they know how they should act?

They did not give them what they wanted and that annoyed them and it's ironic because many times they have complained about the saga and its direction and if something has become clear to me it's that the great majority only want the same, like in the original trilogy. And what does that mean? Fan service. And that's what Star Wars has become.

You don't believe me? Ask fans about the scene they liked the most about Rogue One.
Vader's scene. A fan service scene.

And the fear of losing the ''fans'' forced Disney to undo what they were creating, they also threw Johnson and his film under the bus and they practically announced this new film like the one that came to fix the disaster. A shame and an insult to the director's work.

Rise of Skywalker in my opinion represents a setback and it doesn't matter that this is supposed to be the ending. It's a setback because they decided to play it safe and submit to the whims of the audience.
While that does not translate into poor quality, it doesn't represent something worth mentioning either.

Star Wars represents pure and good entertainment but when it lacks surprises and feels so safe and predictable it means that you're sacrificing any emotional resonance and when it comes to the end of the 9 episodes, that emotion is simply not there.
That shot of Rey looking at the two suns should have felt overwhelming and thrilling and I don't know about you but I didn't feel it and that was a huge letdown.

And that's what separates this ending from Return of The Jedi and Revenge of the Sith, even though it was known what would happen in Episode III, despite the mistakes there was emotion, here was like finishing the business.

I don't consider myself a die-hard fanatic of Star Wars but I do like the saga a lot, yet in order to survive, even of its toxic fandom, they have to dare to try new stuff and forget about the original trilogy because to live in the past is to die in the present and for the saga to have a future, looking forward is the only way.

It's a very well made and entertaining film and it was a decent ending for this trilogy but quite an underwhelming conclusion for the saga as a whole.

And the Knights of Ren? What a fucking disappointment.
If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

If you don’t know by now, I’m a massive Star Wars fan. I love the original trilogy, but the prequels… not so much. However, Disney’s sequel trilogy has delivered two of my favorite movies of the whole franchise, so its conclusion was obviously one of my most anticipated moments of the year. If that wasn’t enough to leave everyone excited, add the fact that it also means the end of the Skywalker Saga, and the pressure suddenly becomes 10x heavier. I went in with moderately high expectations, with not even a glimpse of any trailer or TV spot, just like I did with Avengers: Endgame. The latter surpassed my expectations and delivered a near-perfect conclusion to the Infinity Saga…

The Rise of Skywalker is a tremendous letdown. I won’t sugarcoat it. If someone told me at the beginning of the year that J.J. Abrams wouldn’t be able to offer a satisfying end to the nine-episode story, I would laugh like crazy. It disappointed me so much that I don’t even want to extend this review more than the usual. I know that a lot of people hated The Last Jedi, but for better or worse, that film exists. Rian Johnson’s decisions were made. Some people received them well, some didn’t. But all of us got to watch and experience his narrative.

There’s something called artistic integrity, which J.J. Abrams and Chris Terrio completely forgot about. The lack of respect for the saga’s previous installment is baffling. The structure-less screenplay is so unbelievably convoluted that it reaches a point where evident logical issues come into play. Major plot points occur due to some genuinely hard-to-believe events, and even the characters seem to have no path whatsoever. It’s entertainment for the sake of entertainment.

Of course, there are a lot of visually jaw-dropping action sequences. The cinematography (Dan Mindel) is some of the best I’ve seen in the franchise and in this year. John Williams’ score is emotionally compelling, and it definitely elevates a lot of important moments, being a big source for the chills down my body. And yes, there are a bunch of epic scenes. However, throughout the whole runtime, the frustration was always there. Major threads and character backstories were answered in The Last Jedi, but The Rise of Skywalker feels more like another sequel to The Force Awakens than to Rian Johnson’s flick.

If there’s one undeniable aspect about this trilogy that this last movie proves is that there was no plan. No roadmap. No overall structure. Whether you love or hate each or every installment, this is indisputable. Disney screwed up this time. Creative freedom is essential to filmmakers, but the production team behind a franchise needs to have a well-organized structure. The simple fact that J.J. Abrams directed the first film, left and returned to do the third one, is already weird and uncommon by itself.

Besides the lack of artistic integrity, there’s this feeling of constant disappointment throughout the movie. On several occasions, The Rise of Skywalker is so close to delivering a perfect sequence. A chill-inducing moment. An incredibly emotional scene. Almost every time, it fails at the last second, at the last line of dialogue, or at the last action movement. Some moments are still captivating, and they don’t lose that much impact. Nevertheless, some are totally destroyed by the most ridiculous, cringe-worthy choices I’ve witnessed in the saga.

The first act is devoid of any thought. Characters go to places to get something they need to another place so that in that place, they find something else that leads them into another place… It’s frenetic, out-of-control pacing. The desperation to set up so many different side stories in time is so prominent that it’s visible from another galaxy. From the second act on, things get a bit more clear, and in the third act, all the threads blend decently. It’s in the last 30 minutes that the resemblances to Avengers: Endgame come into play. The only difference is that it doesn’t have 1/10 of the emotional impact due to the questionable decisions I mentioned above.

Only one character got his arc complete without detours or significant changes: Kylo Ren. J.J. set him up, Rian Johnson continued his journey, and J.J. closed his arc pretty well. Every other character either got their arcs complete with major changes throughout, or they didn’t come close to finish their own story. There’s one exception, though, and that’s Carrie Fischer’s Leia. It would be extremely disrespectful and unfair for someone to criticize the filmmakers about her. They inserted her reasonably well in the scenes (please, if someone complains about visual effects, just get lost), and they did the absolute best they could under the known circumstances. I might be extremely disappointed, but I do have to send the team my congrats for closing her arc in the most dignified way possible.

As for everyone else… well, the cast has been outstanding from the very beginning. Adam Driver, I have no words for him. He’s so perfect as Kylo Ren that I even defend his character as a villain more layered and emotionally complex than Darth Vader. I love Daisy Ridley as Rey, and she does a phenomenal job in this last film, even when her dialogue doesn’t entirely suit her. John Boyega, Oscar Isaac, and everyone else (who I won’t mention due to possible spoilers) are all brilliant, and I have to congratulate them on making every single movie a bit better.

I don’t know what more should I write. I have very mixed feelings about it. I love a lot of the epic moments, the film looks absolutely stunning, and the action sequences are genuinely jaw-dropping. However, I strongly disagree with some decisions made by J.J. Abrams and Chris Terrio, especially the ones that make The Last Jedi feel like it didn’t exist. This lack of artistic integrity plus the constant disappointments regarding each big moment’s climax ruins one of my most anticipated movies of the year. Despite the brilliant performances from the cast, only Kylo Ren got his arc complete without significant changes. The Force Awakens set up some mysterious questions. The Last Jedi answered them. The Rise of Skywalker… also answered them. It’s one of my biggest letdowns ever, but I’ll still save the Skywalker Saga close to my heart. Next time, just build a roadmap, Disney…

Rating: C
5 reasons **you'll** love this movie:

**You** can't spoil the plot to anyone who hasn't seen it, because it doesn't HAVE a plot. Sure, stuff happens, and if you blab about it, you'll get asked "Who did what? When? Why?", and you won't be able to answer because you won't know either.

It validates **your** blind optimism over everyone else's cool deliberation, because our so-called heroes just blunder their way through every peril imaginable without any logic, strategy or preparedness, yet they come out unscathed for [reasons]. Often using guesswork, or was that "The Force"?

No need for **you** to remember any complicated story arcs, bothersome subtle clues or dramatic prophecy drops from throughout the series, because this final movie just makes up completely new stuff that you couldn't possibly have seen coming because it never existed before.

It's ridiculously easy to re-enact the movie at **your** next cosplay gathering, because the characterisations are so shallow and vapid that all you need to do is ad-lib the actors' lines, and you'll probably get a better script.

All that junk **you've** accumulated over the years will come in damn handy one day, just like it did for our so-called heroes. They managed to have everything they need on hand. So much so, that vitally important junk literally materialises right in front of them, and usually from places that makes you wonder why they never noticed it years ago.
The surviving Resistance faces the First Order once again as the journey of Rey, Finn and Poe Dameron continues. With the power and knowledge of generations behind them, the final battle begins.


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