Crawl 2019 Film Indirme

Crawl Film Indirme 2019

süreç : 112 dakika Stimme
oylama sayı : 9.2/10 (45908 bildirmek)
mizaç : FLV 1440p
DVD
görüş alanı : 4283
sanat : Psychologisches Drama , Wandern
mesleki dil : GY,CO,AW,TN,LU,TL,EE,PA,GEO, DEU, SLV, SHN, VGB
numara : 5.7/10 (61555 Stimmabgabe)

Crawl 2019 Film Indirme

Crawl Film Indirme-çalan-şarkılar-TVrip-2019-BRRip-M4V-online anschauen-online schauen-englisch-MPEG-2-M2V-Bluray-M2V-AVCHD.mp4

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2018 was a disappointing year for me. A lot of letdowns regarding my most anticipated movies, and not enough surprises throughout the year. 2019, on the other hand, has been quite interesting. Most blockbusters have resonated with me, and they’ve been my favorite films to watch so far (Avengers: Endgame, John Wick: Chapter 3 - Parabellum, Us, Glass). Additionally, original low-budget flicks have also caught my eye, and I’ve been enjoying them as well, even if they’re no masterpieces (Greta, Long Shot). Although, I had some bad experiences as well (Dark Phoenix, Hellboy, Godzilla: King of the Monsters).

Crawl, which I honestly expected just to be a cliche-filled silly horror movie, joins this last group, and it’s on par with Long Shot as the best surprise of 2019, until now. First of all, this is not a typical horror film, at least having in mind the last few examples of the genre. People might go in expecting something along the lines of Annabelle Comes Home, but with alligators, so I might as well moderate those thoughts. I wouldn’t even place it in that genre, even though disaster-horror isn’t exactly a bad description. It’s definitely a suspense movie, almost like a survival-thriller. Haley and Dave have to fight for their lives in a race against both a hurricane and fatal predators, so I wouldn’t generally put this in the horror genre. Moving on …

I love this type of films, you know that. Suspenseful, claustrophobic sequences, straightforward plot, and set in (mostly) just one location. You might think that since it’s only one place to shoot and it’s such a simple concept, it’s easier overall, but it couldn’t be more distant from the truth. With high-budget, multiple-location movies, directors and screenwriters can hide their technical flaws with tremendous VFX or huge set pieces. In one location, especially such a small one like a modest house, there’s no hiding. If you want to deliver an entertaining and captivating story, you have to write an enthralling screenplay. If you want to provide scary and efficient jump scare scenes, you need to show some creativity and prove you’re a talented filmmaker.

Alexandre Aja, who doesn’t exactly has a remarkable filmography, showcases that even with such a simplistic and short idea, it’s possible to be as or more fun than a massive blockbuster. Less than 20 minutes into the film, and we’re on. There’s enough backstory and characterization of the main protagonist for the audience to not only care about Haley but understand what skills she has that will help her survive what comes next. I love small details like zooming in on her locking a door, closing a window, moving a piece of furniture … Every shot has meaning because it will affect the plot later on. Aja is not shooting something “just because”, and that’s a skill that a lot of directors struggle to have nowadays since they feel that the runtime needs to be close to the two-hour mark.

After so many dumb, cliche, and horribly performed jump scare sequences in previous horror flicks from this year, I finally got to watch a movie where the director knows how to truly scare people, and make them jump out of their chairs. There are no loud soundtrack noises to make you screech. There are no demons or monsters in front of the screen, screaming like crazy. I was at the edge of my seat for more than a couple of times, and I genuinely got scared on some particular moments, where the surprise factor (Aja doesn’t follow the cheap timings of most horror scenes) and the creativity behind the camera were top notch.

Obviously, the VFX and overall production design aren’t mind-blowing. The alligators look pretty real, and that was the main goal, so mission accomplished. Also, being Rated-R helps the film to deliver great alligator attacks with tons of blood, and the injuries our characters have to deal with are pretty gnarly and disgusting (that’s a compliment). Filming in water is extremely hard, especially in such a confined space. However, Aja and his crew were able to produce a movie where you can understand everything that’s going on for the entire runtime.

Kaya Scodelario and Barry Pepper deliver great performances and show amazing chemistry. Their characters have enough development, even if they don’t have that imaginative scripts. Crawl is one of those films where I can’t point out a preeminent issue with it because it’s good at every aspect. I mean, sure, there are a couple of rare moments of extreme survival, where we might think “he/she should be dead”, but it’s such a fun and entertaining time at the theater that we can let go of one or two over-the-top scenes. It’s not like The Meg, where every single moment is unrealistic as hell. The success of the fictional part of a fiction movie depends on its realistic foundation and limits. If these aren’t well-established, then the film will be all over the place, and its viewers won’t know what to believe or not.

All in all, Crawl is one of 2019’s best surprises, and I definitely recommend to see it in theaters. With compelling leads and a simple concept, Alexandre Aja delivers an entertaining, suspenseful, claustrophobic, and technically creative movie. Finally, someone who knows how to handle a camera, and provide genuinely scary jump scare sequences. Hopefully, this can catapult Kaya Scodelario to grab a bigger role on a more impactful film. I can’t point out any “flaws”, it’s simply a “good movie”. With such a low-budget, give a chance to this one, and watch it instead of a massive blockbuster that will probably leave you disappointed with the numerous cliches and the extreme focus on silly action or huge set pieces as a replacement for a good story. Good job, Paramount!

Rating: B+
_Crawl_ didn't changing my life or anything, but it is far and a way the best creature feature I have seen in years. Kaya Scodelario still hasn't quite got the hang of an American accent, and the very first time we see a gator it does nooot look good, but I still am very happy with what was achieved here.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
Crawl is a medium budget creature horror film that’s more Bait than Jaws – but with the added back drop of a massive hurricane. As if our characters weren’t already in enough danger.

Is Crawl a “so bad its good” movie, or a “so bad you should avoid it” movie? Read on to find out.

Set in Florida during a category 5 hurricane, Crawl tells the story of Haley and her father Dave, played by Barry Pepper. After receiving a frantic phone call from her sister, Haley goes on the hunt to find her father who is trapped in their old house as the hurricane approaches.

Unbeknownst to Haley, the overflow drain has been breached by Alligators, and their about to make Haley’s rescue mission a whole lot more difficult.

And if the gators don’t get Haley and her dad, the rising hurricane waters will.

I don’t know much about Alligators or Hurricanes, but I do like to think I know something about logic. And that is something that is sorely lacking in most characters in this film. Even the dog.

A series of unfortunate events conspire to make the rescue almost a futile effort. And the missing logic from our characters only add to the frustration to us, as the viewer.

Where should I start? First and foremost, I want to understand why neither Haley or Dave ever tried to smash out the weak looking brick work patterns on the basement wall and then crawl out of the new hole to safety? It doesn’t look like the bricks would need much in the way of a good whack to break open – and considering there were tools in the basement, including the shovel that Dave uses later on to half-decapitate a gator, this bit makes no sense to me. Now I realise two things – 1 is that the open brick patterns serves a purpose to flood the basement – but in reality it’s the first thing anyone would think to smash open. And 2 – if they did do that, then I realise we’d have a short film. But then the writers could have had more fun for the next hour putting Haley and Dave in more incredible and hard to survive scenarios. So there’s a missed opportunity.

The gators that are stuck into basement with Haley and Dave also don’t seem to be those of the killing variety – its either that or the skin of our two characters is so tough that these gators just can’t bite through them. I’m not gator expert, but I am pretty sure if one gets his whole mouth on your arm – he is probably going to bite your whole arm off, and not just leave a minor bite mark. Funny thing is we know these two gators are indeed killers, as one of them does eat the police man who comes to rescue them.

Also following up on the theme of me not being an expert on gators – one thing has me puzzled. Do gators kill for sport, or because they’re hungry? I can’t work that out based on this movie.

And in something that really shocked me for an American movie – it took over an hour until we saw the first gun. That has to be some kind of record for an American horror thriller movie?

But its not all bad – because there are quite a few laugh out loud moments in this movie to lighten up the mood.

I really liked the way Haley traps one of the gators in the shower. That’s both clever and utterly ridiculous – that a flimsy piece of shower glass could be strong enough to hold back a gator that wants to kill.

I also liked the nod to the Purge movies when the siren started just as the eye of the storm was passing through. It almost felt like a both a warning to all humans, and a sign to all gators that they could begin their hunt.

If you go into this movie realising that its not meant to be taken seriously, then its an enjoyable ride that will only briefly have you jumping in your seat over the scares and light gore. For a movie about gators hunting humans, it is surprisingly light on the gore – but then that’s what happens when Hollywood makes horror movies for teen audiences.

And there in lies the problem with this movie and someone like me watching it. It not aimed or marketed at me, and maybe not even at you. It’s a forgettable popcorn flick in the same vein as Bait, but not as fun – at least that had gore to go with its killer sharks.
Simple but entertaining enough, and quickly paced (running time around 80-minutes w/o credits), thriller that has just enough character development for me to care about their predicament. Not sure how much replay value this has but it's at least worth a rental. **3.5/5**

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[HD] Crawl 2019 Film Indirme

Kısa film

Harcandı : $247,826,976

Gelir : $243,683,140

Kategoriler : Erziehung - Surrealistisch , Chrestomathie - Potes , Ethik - nostalgisch , Reisen - Poesie

Üretici Ülke : Island

Prodüksiyon : Westview Pictures

When a huge hurricane hits her hometown in Florida, Haley ignores evacuation orders to look for her father. After finding him badly wounded, both are trapped by the flood. With virtually no time to escape the storm, they discover that rising water levels are the least of their problems.
Crawl Full Izle, Crawl Türkçe Dublaj Full Izle, Crawl türkçe dublaj, Crawl full hd izle, Crawl türkçe dublaj izle, Crawl türkçe altyazı, Crawl cinemaximum
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Tod@s Caen 2019 Film Indirme

Tod@s Caen Film Indirme 2019

süreç : 176 an Stimmen,

karar sayı : 2.2/10 (17599 oy vermek)
bünye : FLA 1080p
TVrip
manzara : 2939
sanatsal : Surreal , TV
mesleki dil : VG,TJ,EC,BN,TF,EG,US,VE,MSR, MMR, PSE, DZA, SJM
miktar : 6.1/10 (66894 Wahlresultat)

Tod@s Caen 2019 Film Indirme

Tod@s Caen Film Indirme-hızlı-ve-öfkeli-9-hobbs-ve-shaw-AVI-2019-DTS-DVD-DVD-DAT-online stream-M4V-VHSRip-WEBrip-ASF-Blu-ray.mp4

Tod@s Caen-hızlı-ve-öfkeli-hobbs-vs-shaw-AVCHD-2019-blu ray-720p-online stream-auf italienisch-MPG-auf englisch-AVCHD-blu ray-WEB-DL-M4V.png

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[HD] Tod@s Caen 2019 Film Indirme

Kısa film

Harcandı : $293,277,385

Gelir : $933,510,200

Kategoriler : menschliches Wesen - Poetry , Erziehung - Wild Mountain Epidemic , Scheitern - Linguistik , Trivia - Brüder

Üretici Ülke : Tadschikistan

Prodüksiyon : Wimbledon Studios

A pair of seducers try to prove who has the best techniques while trying not to fall in love with each other.
Tod@s Caen Full Izle, Tod@s Caen Türkçe Dublaj Full Izle, Tod@s Caen türkçe dublaj, Tod@s Caen full hd izle, Tod@s Caen türkçe dublaj izle, Tod@s Caen türkçe altyazı, Tod@s Caen cinemaximum
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Beautiful Boy 2018 Film Indirme

Beautiful Boy Film Indirme 2018

süre : 167 tutanak tutmak Wahlstimme
karar müzik parçası : 6.7/10 (62641 oy vermek)
ses rengi : WMV 1440p
HDTS
bakmak : 9132
beceri : , Menschliche Natur
mesleki dil : KZ,BN,LC,GW,CC,CN,TD,EC,SVN, NCL, IOT, JAM, WLF
saymak : 5.6/10 (96738 Wahlstimme)

Beautiful Boy 2018 Film Indirme

Beautiful Boy Film Indirme--türkçe-altyazılı-MP4-2018-AVCHD-download-englisch-MPEG-WEBrip-720p-DVDrip-WEBrip-720p-film.mp4

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Inspired by a father and son’s dual memoirs (Beatiful Boy and Tweak, respectively), Felix Van Groeningen’s heartfelt adaptation portrays the relationship between David (Steve Carell) and Nic Sheff (Timothée Chalamet), as both struggle through the latter’s drug addiction.

There are about a billion reasons to see this movie: 1) Basically everyone in the cast has been nominated for an Oscar (save for Maura Tierney, who has a Golden Globe and two Emmy noms); 2) Timothée Chalamet; 3) The memoirs are incredible (and not super expensive on Amazon, so you can catch up before the movie comes out); 4) It sets the scene for a quasi Office reunion between Carell and Amy Ryan (who played Holly Flax).

But perhaps the most significant — and overlooked — reason is this: director Felix Van Groeningen’s 2012 film The Broken Circle Breakdown is, in my humble opinion, one of the best movies of all time (and available to stream on Amazon, who I promise I don’t work for). Stakes are high
_**Earnest and heartfelt, but narratively awkward, and emotionally unengaging**_

> _They say suicide is a permanent solution to a temporary problem. The problem with being human isn't really so temporary._

- Nic Sheff; _Tweak: Growing Up on Methamphetamines_ (2008)

> _Anyone who has lived through it, or those who are now living through it, knows that caring about an addict is as complex and fraught and debilitating as addiction itself._

- David Sheff; _Beautiful Boy: A Father's Journey Through His Son's Addiction_ (2008)

Based on the memoirs _Beautiful Boy: A Father's Journey Th__rough His Son's Addiction_ by David Sheff and _Tweak: Growing Up on Methamphetamines_ by Nic Sheff, written for the screen by Luke Davies (_Life_; _Lion_) and Felix van Groeningen (_The Broken Circle Breakdown_), and directed by van Groeningen in his English language debut, _Beautiful Boy_ is a film about the horrors of addiction, told from the perspective of both an addict and his father. Focusing primarily on David's attempts to understand and fight against his son's addiction to crystal meth, the film aims for a no frills _sans_-sentimental authenticity (Davies is himself a former heroin addict, who based _Candy: A Novel of Love and Addiction_ (1997) on his experiences; he also co-wrote the script for the 2006 film adaptation, _Candy_, directed by Neil Armfield). Serving as something of a showcase for the two lead actors (Steve Carell and Timothée Chalamet, both of whom are exceptional), there's little in the way of plot, with the film instead adopting a non-linear cyclical structure designed to mirror the repetitive nature of addiction-rehab-relapse-addiction-rehab etc. And whilst it is certainly heartfelt and respectfully told, there's little in the way of emotional engagement. The structure is also problematic insofar as because there's no real cohesive plot providing forward momentum, the highs and lows are undifferentiated, becoming repetitive. Van Groeningen also overuses flash-backs. So although the film may have an inherent degree of authenticity that's to be applauded, as drama, it isn't especially compelling, with the structure tending to work against the actors, blunting any emotional impact, and keeping the characters always at one step removed.

Living in Marin County, Nic Sheff (Chalamet) is an intelligent, popular, and kind teenager, who has a close relationship with his father, David (Carell), his stepmother Karen (Maura Tierney), and his two younger half-siblings, Jasper (Christian Convery) and Daisy (Oakley Bull). He is less close to his birthmother Vicki (Amy Ryan), who moved to LA after she and David divorced. David is a journalist for the _New York Times_, and Karen is a painter, with the family enjoying a comfortable bohemian middle-class existence. The film begins as David attends the offices of a drug counsellor and psychologist, Dr. Brown (Timothy Hutton). Explaining that Nic has become addicted to crystal meth, he wants to learn everything he can about the drug in order to best help his son. The story then cuts to a year previously. Nic has been missing for two days, and when he nonchalantly re-appears, David insists on taking him to rehab. He initially responds well, and soon requests to be transferred to a halfway-house, to which David agrees. A few days later, however, he flees the facility, and David later finds him strung-out in an alley. Taking him to hospital, Nic reveals he has been abusing not only marijuana and alcohol, but cocaine, ecstasy, and, especially, crystal meth. Back in rehab, Nic makes a full recovery, and heads to college to study as a writer, beginning a relationship with a fellow student, Julia (Stefanie Scott). However, having dinner in her house one evening, Nic finds a bottle of painkillers in the bathroom, and once more relapses, except this time he turns to heroin. With David still determined to help him overcome his demons, Karen tells David that he is neglecting his two younger children, and that Nic might be beyond a father's ability to help. Heartbroken, David agrees she is probably correct.

The most notable aspect of _Beautiful Boy_ is the structure, which is both cyclical and non-linear – the film is made up of a series of high and lows following Nic and David through relapse and recovery, whilst at the same time, there are multiple flashbacks, with scenes in the present giving characters occasion to think about moments from the past. For example, as David sits in a diner waiting for Nic to arrive, he thinks back to a much happier meal he had with his son in that same diner many years previously. This technique is used throughout the film, often flashing back to happier memories of Nic's childhood. The problem with this non-linear structure is that it's overused; there's barely a scene that doesn't have some kind of temporal cutaway. This overuse also dulls the impact of such editing, as after 45 minutes, you're just yearning for the film to stay put for a while. Sometimes the flashbacks do work, revealing something interesting, juxtaposing the past and present evocatively, or changing how we view the present, but a lot of the time, it feels like an unjustified piece of trickery, an end unto itself, insofar as there often isn't a great deal of establishing context. This leaves the viewer wondering, "how did we get from that scene to this one. Why did what happened there make David think of this?" This is pretty much the last thing you should be thinking about in a narrative of this nature, and it completely pulls you out of the film. Indeed, there are parts of the movie that so overuse the technique as to seem like a montage rather than a collection of actual scenes.

Additionally, the timeline itself becomes confused within all of this, especially in the sense of where the movie's present is supposed to be. For example, there's a scene where we see David dropping Nic off to college, and the two of them enjoy a joint. As I understood it, this scene came after Nic had owned up to his meth addiction and gotten clean, but before he had met Julia and relapsed. Which obviously makes no sense, as the scene gives the impression David has no idea that Nic has been using drugs, surprised he even knows how to smoke a joint. So is his trip to college much earlier in the narrative? But if so, when, as it doesn't seem to fit anywhere else in the timeline? Again, these are not the kinds of things you should be concentrating on when watching what is supposed to be an emotive story, but more often than not, the editing foregrounds itself (the film is cut by van Groeningen's regular editor, Nico Leunen), pulling you out of the narrative.

As regards the repetitive nature of the story, I understand what van Groeningen was going for – it is supposed to mirror the back and forth nature of addiction ("_relapse is part of rehab_" as David is told), a two steps forward, one step back staccato motion. However, the film falls into a pattern of Nic showing up looking a little more dishevelled than he did before, followed by David doing everything he can to help, followed by his failure to get through to Nic, followed by Nic disappearing, followed by Nic showing up looking a little more dishevelled than he did before, etc. And whilst this may lend itself to a certain authenticity, it doesn't make for very effective drama. In any case, other filmmakers have found ways to depict the repetitive nature of addiction without compromising the story, not the least of whom would be Darren Aronofsky in _Requiem for a Dream_ (2000), who constantly uses a quick montage of the characters doing drugs to suggest the habitual nature of addiction.

Obviously enough, the main theme of the film is addiction, and in this sense, it gets a lot right. For example, in his journal, Nic outlines the vicious-circle that addicts fall into; he needs drugs so he does things of which he's ashamed to get money with which to buy them, but then because he feels so guilty about what he's done, he needs more drugs to cover the shame, so he does things of which he's ashamed to get money with which to buy them, and so on. He's also especially clear when describing the fact that after you've done crystal meth a few times, you don't get the same high from it, and so the addiction becomes all about attempting to recreate that first high (which Nic describes as making a black-and-white world appear in Technicolour).

Perhaps the most fascinating aspect of the movie is that Nic is a prosperous and intelligent middle-class young man with a strong support system. He is a child of divorce, yes, but he has a good relationship with both of his parents. This is a far cry from the typical addict we see in film and TV, who are usually at the extreme ends of the monetary spectrum, either poverty-stricken and destitute (such as, say, Bubbles (Andre Royo) in _The Wire_) or extremely wealthy and high-functioning (such as Caspar (Geoffrey Rush) in _Candy_). Additionally, as he explains himself, he first tried drugs to see what they were like, and when he liked how they made him feel, he kept on doing them. As he says at one point, the first time he did hard drugs was the best feeling he'd ever had. During the aforementioned scene where Nic and David share a joint, Nic summates this, telling David that marijuana "_takes the edge off the stupid all day stuff_". There was no precipitating event, no great emotional trauma which made him turn to narcotics; his addiction is just something that happened, a disease to which anyone could succumb

The other main theme is that of the father-son relationship, and this too is well-presented. With both actors giving superb performances, one really sees the bond between the two, and how much Nic's addiction is destroying both of them. In this sense, the real tragedy of Nic's situation isn't the rehabs and relapses, it's seeing him drift further and further away from a man who would literally die to protect him. Given the source material, one does wonder a little if the relationship is idealised somewhat, but irrespective of that, Carell and Chalamet give a masterclass in acting, and I was genuinely shocked neither of them was nominated at the 2019 Oscars.

With lesser performances, the film would crumble under the weight of van Groeningen's heavy-handed direction. Thankfully the performances are strong enough that the style distracts rather than undermines. That said, the benefit of the non-linear storytelling is that it allows Chalamet and Carell to really drive home how much their relationship changes, with their playful and happy earlier scenes contrasting heart-breakingly with the fraught and destructive times of later years. Chalamet's is the more physical of the two performances, conveying so much via his body language. It's a world apart from his work in Luca Guadagnino's _Call Me by Your Name_, Elijah Bynum's _Hot Summer Nights_, or Greta Grewig's _Lady Bird_ (all 2017), as he completely inhabits the character, alternating between playing Nic as a sweet, loving, almost immature teenager, and a stressed addict, old before his years, and capable of anything to get money for his next hit. When he is rehabbing, there's a regret and humility in his performance that is nowhere to be seen when he relapses, as he becomes more manic and unpredictable, and much less self-aware.

Carell, for his part, does most of his best work with his eyes, conveying the sadness and desperation he feels. His helplessness is written across his face, conveying how little he can actually do for his son. He initially approaches the problem in a logical manner (he does methodical pseudo-journalistic research on crystal meth to better understand it, he snorts cocaine to try to put himself in Nic's shoes), before eventually realising there is no logic at play here, and tackling the subject as he would an article for the _New York Times_ is not going to work. Carell plays David as confused, haunted, and desperate, with Nic's addiction, specifically his inability to break it, having as profound a psychological effect on David as it has a physical effect on Nic.

Despite all of these positives, however, as indicated above, there are a number of problems. For one, van Groeningen chooses not to present some of the darker aspects of Nic's story. For example, he turned to prostitution at one point to fund his addiction. Additionally, as his hits from crystal meth continued to diminish over time, he started shooting it up, which is insanely dangerous. Leaving out aspects such as this gives the film a kind of sanitised feeling, as if we're looking at addiction through a gauze which the director refuses to pull back to let us see it directly. This kind of heart-breaking sordid detail would have helped the film immeasurably, especially in relation to its lack of emotional engagement.

This lack is probably the most egregious problem. A film of this nature, detailing something like this, and based on a true story, should be an emotional rollercoaster, but the audience is always removed, the emotions are seen rather than experienced, as if we're looking at the rollercoaster instead of riding it. Because the film introduces us to the characters mid-crisis, and because there's literally not a single scene that isn't either related to Nic's addiction, or a flashback from a scene related to his addiction, we never really get to know David or Nic outside this situation, with the script never really moving beyond David as "dutiful father" and Nic as "desperate son". Any sense we have of these two people comes almost entirely from the acting, and even then, although you certainly feel empathy and sympathy for them, you don't feel a huge amount else. The problem is that the plot (such as it is) never seems compelling, partly due to how narrowly focused the film is. It's also not a good sign that, for me, the most emotive part of the whole thing was hearing Nic himself reading a monologue from his book over the closing credits.

This dearth of characterisation is even more pronounced in relation to the two women, who may as well not be there. Karen has nothing to do but wander around in the background painting trees, whilst Vicki doesn't even get that much – she's a disembodied voice on the phone most of the time, and although I know she appeared in a couple of scenes, by the next day, I'd forgotten what she did in either of them. It's a real waste of two extremely talented performers.

There have been some truly great films made about addiction; Otto Preminger's _The Man With the Golden Arm_ (1955), Blake Edwards's _Days of Wine and Roses_ (1962), Jerry Schatzberg's _The Panic in Needle Park_ (1971), Gus Van Sant's _Drugstore Cowboy_ (1989), Danny Boyle's _Trainspotting_ (1996), Mike Figgis's _Leaving Las Vegas_ (1995), Scott Klalvert's _The Basketball Diaries_ (1995), Darren Aronofsky's _Requiem for a Dream_ (2000). Beautiful Boy is absolutely nowhere near anything of this calibre. In fact, it's probably more successful as a kind of instructional installation for relatives of people going through addiction than it is as a film evoking emotions. Told from the perspective of people living through this nightmare, the story is incredibly straightforward and forgettable, when it should be shocking, disturbing, and emotionally devastating. And whilst the film is definitely heartfelt, its lack of emotional engagement, its repetitiveness, its distracting structure, its lack of a plot, all serve to grate against the incredible performances.

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[HD] Beautiful Boy 2018 Film Indirme

Kısa film

Harcandı : $166,018,066

Gelir : $257,030,346

Kategoriler : Strategie - Propaganda , ein Gesetz dunkle Feinde - die Gelegenheit , Marketing - Umweltverschmutzung , Romantisch - dumm

Üretici Ülke : Uganda

Prodüksiyon : Enoki Films

After he and his first wife separate, journalist David Sheff struggles to help their teenage son, who goes from experimenting with drugs to becoming devastatingly addicted to methamphetamine.
Beautiful Boy Full Izle, Beautiful Boy Türkçe Dublaj Full Izle, Beautiful Boy türkçe dublaj, Beautiful Boy full hd izle, Beautiful Boy türkçe dublaj izle, Beautiful Boy türkçe altyazı, Beautiful Boy cinemaximum
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Dumbbells 2014 Film Indirme

Dumbbells Film Indirme 2014

süre : 198 an Stimmen,

önerme müzik parçası : 0.4/10 (43511 oy vermek)
mizaç : Sonics-DDP 720p
TVrip
bakış : 9601
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Dumbbells 2014 Film Indirme

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[HD] Dumbbells 2014 Film Indirme

Kısa film

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Kategoriler : Strategie - Religious , Komödie - Potes , Samurai - Potes , Erziehung - Immortality

Üretici Ülke : Dominica

Prodüksiyon : Tomorrow Pictures

Dumbbells is a light-hearted buddy comedy set amongst a group of misfit employees that work in a struggling fitness center in Los Angeles.
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The Skin of the Wolf 2018 Film Indirme

The Skin of the Wolf Film Indirme 2018

süreç : 174 dakika Wählerstimme
oy sayı : 0.3/10 (55755 oylamak)
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The Skin of the Wolf 2018 Film Indirme

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[HD] The Skin of the Wolf 2018 Film Indirme

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Kategoriler : Sozialdrama - Biographie , Dokumentarfilm - Stumm , Conte - Verletzung , Völkermord - Guilty

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Martinón is the last inhabitant of Auzal, a village in the mountains where he lives in communion with nature. He only goes down to the valleys twice a year to trade and to buy provisions. But one day he’s convinced to take a wife, a decision intended to soften his calloused soul—but in some ways his real struggle is only just beginning.
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The Den 2013 Film Indirme

The Den Film Indirme 2013

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The Den 2013 Film Indirme

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[HD] The Den 2013 Film Indirme

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Kategoriler : Reden - Military , Bösewicht - Religious , Jungs Prähistorisch - Preis , Chrestomathie - Surrealistisch

Üretici Ülke : Ukraine

Prodüksiyon : Widespread Creative

A young woman studying the habits of webcam chat users from the apparent safety of her apartment witnesses a brutal murder online and is quickly immersed in a nightmare in which she and her loved ones are targeted for the same grisly fate as the first victim.
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Star Wars: The Force Awakens 2015 Film Indirme

Star Wars: The Force Awakens Film Indirme 2015

devam : 143 dakika Wahlstimme
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Star Wars: The Force Awakens 2015 Film Indirme

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So where were you when the Science Fiction cinema sensation ‘Star Wars’ took shape and captured the imagination of the massive global moviegoers’ escapist expectations back in 1977? Regardless of whether you existed thirty-eight years ago or not, the legend of George Lucas’ highly-heralded SF blockbuster that shattered box office records worldwide was automatically engrained in your cinematic psyche. Now nearly four decades later, the motion picture phenomenon that took place in ‘a galaxy a long time ago…far, far away’ has come to expand its entertaining promise and prominence even after numerous servings of movie sequels, television specials and other fanfare attributes that promoted the ‘Star Wars’ agenda throughout the countless years.

The modern-day arrival of yet another ‘Star Wars’ edition in the millennium movie-making age of technical and tactical brilliance is quite fitting and filmmaker J.J. Abrams is the right choice to helm this sacred film franchise and present a whole new litany of continuing adventurous narratives for a new generation of ‘Star Wars’ personalities dipping their tenacious toes into ‘the force of goodness’ battling ‘the dark side’ of authoritative evil.

In Abrams’s reboot ‘Star Wars: The Force Awakens’, the anticipation of enhancing and enlightening the reputation and respect of the Lucas landscape of stormtroopers, light sabres and of course the iconic ‘Star Wars’ returnees from the treasured trio of Harrison Ford (Han Solo)/Carrie Fisher (Leia) and Mark Hamill (Luke Skywalker) registers with a nostalgic blast of appreciation and exhilaration. ‘The Force Awakens’ is a sheer big screen celebration of majestic impishness and intrigue that will fortify the hunger of both casual and rabid ‘Star Wars’ fanatics. Indeed, the hype is warranted and Abrams, the mastermind of the big-budget movie sequelitis, is in top form as he triumphantly presents ‘The Force Awakens’ on a prized silver platter designed for its surging golden moments of charged ebullience.

In looking at the numbers game that is connected to the overall ‘Star Wars’ universe, it is hard to believe that the last prequel was released just a decade ago. Furthermore, it is mind-boggling that the aforementioned ‘Star Wars’ ‘royalty’ in Ford, Fisher and Hamill have shared the same space on film for the first time in over three decades since they last were featured in a ‘Star Wars’ movie together. Nevertheless, no one can deny that ‘The Force Awakens’ does not take the challenge in combining the remembrance of the ‘Star Wars’ installments of yesteryear with the fresh brand of current upstarts willing to engage in another boisterous saga that begins a whole chapter of compelling wonderment. The mix of veterans and novices in ‘The Force Awakens’ is quite interesting but the familiarity of the storytelling heft of good vs. evil is always a solid sell in the realm of the ‘Star Wars’ utopia.

The good news is that ‘The Force Awakens’ not only serves as a bridge that crosses both boundaries past and present in ‘Star Wars’ folklore but it taps into the masterful mystique that Lucas and company worked so diligently to showcase so historically some thirty-eight years ago. Still, some may have lobbied for a stronger storyline in ‘The Force Awakens’ as they may gently dismiss it as being merely thin in its premise while viewing it primarily as a launching pad to develop yet another series of movies to create the ‘Star Wars’ juggernaut for this current-day climax of warped speed wizardry. For those that want a basic outline of ‘The Force Awakens’ pulse it is as such where the beloved yet aging tandem of standouts Han Solo and Chewbacca (yes, good old hulking and walking hairball Chewie is back) is helping out heroic new bloods’ Rey and Finn (played by Daisy Ridley and John Boyega)’ in an effort to groom them for combating the emergence of Kylo Ren (Adam Driver), a villainous representative from the Dark Side of the Force.

Basically, ‘The Force Awakens’ is a grand and stirring homage to the prolific Science Fiction/space fantasy that dared to soar its ambitious wings while taking the old-fashioned concept of the good guys sparring with the bad guys and spinning a whimsical web of dark imperialism while searching for the intrinsic value of brotherhood. One cannot imagine the vitality of ‘Star Wars’ without the inclusion of notable and favorite characterizations that were instrumental in inviting a ravenous response to this filming phenom that has existed in your pop cultural lives for too many years to recount. In addition to joining top dogs in Ford’s Han Solo, Hamill’s Luke Skywalker, Fisher’s General Leia Organa (the former Princess Leia to all you old school ‘Star Wars’ enthusiasts out there) and Peter Mayhew’s Chewbacca, there is the welcomed presence of C3-PO (Anthony Daniels) as well. As for C3-PO’s newest sidekick BB-8, a mechanical rolling ball robot, he is the R2-D2 replacement that should easily win the heart of the kiddies looking for a cute contraption of a companion to treasure on the spot. It should be pointed out that ‘The Force Awakens’ is set 30 years from the last installment and thankfully this update has not lost a magical step since that time.

Anyhow, the First Order’s solar system mechanism needs to be destroyed and must be eradicated by the young talents in spunky and pretty Rey (think the athletic female version of Luke Skywalker) as she teams up with former stormtrooper Finn, a warrior with an uncharacteristic compassion for not killing any designated weak soul as instructed. Naturally, this duo (while under the tutelage of the mature and ragged-looking Han Solo) has their hands full as they clash with the nefarious General Hux (Domhnall Gleeson from ‘Brooklyn’) and his Special Forces protégé Kylo Ren that strikes an immediate comparison to ‘Star Wars’ most notorious bad boy in the deliciously ruthless Darth Vader.

Daisy Ridley's Rey and John Boyega's Finn are having a blast as the touted twosome out to save the day in J.J. Abram's celebrated STAR WARS reboot THE FORCE AWAKENS
Daisy Ridley’s Rey and John Boyega’s Finn are having a blast as the touted twosome out to save the day in J.J. Abram’s celebrated STAR WARS reboot THE FORCE AWAKENS
Thankfully, the majority of the audience may recall similar elements in ‘The Force Awakens’ that was touched upon in ‘Star Wars’ editions such as ‘A New Hope’ and ‘Return Of The Jedi’ where the same structure and theme of the plot points are somewhat revisited. As charming and stimulating as ‘The Force Awakens’ appears in its glorious presentation of being a beautifully shot and visually vibrant popcorn piece, the real find in Abrams’ spectacular space-aged spectacle is Ridley’s heroine Rey, whose emotional and physical commitment to this futuristic fable feels grounded in genuine suspense and praise. Ridley has legitimate game and carries this hot and heavy galactic actioner on her sturdy shoulders with the overwhelming pressure of headlining a cinema giant looking the re-enter the consciousness of rabid ‘Star Wars’ aficionados everywhere. Clearly, we are invested in Ridley’s Rey whose feistiness never undercuts her feminine convictions or courageousness. She runs circles around her male co-stars in fellow ‘Star Wars’ newbies Boyega/Finn and Driver/Kylo Ren and her sense of empowerment is what drives the authentic Force behind Abrams’ inherited ‘Star Wars’ workload.

‘Star Wars: The Force Awakens’ gleefully ignites the flashy flames of giddiness that we all associate with George Lucas’ indomitable big screen creation. The signature flourishes from composure John Williams’ commanding musical score to the stunning and innovative technical tweaking to the mixture of the old and new guard in front of the camera all make for an eventful and exciting return to the universal staging for a movie-making moment that will stand the test of time, the immense pop cultural movement at the movies known as ‘Star Wars’.

Star Wars: The Force Awakens (2015)

Lucasfilms

2 hrs. 15 mins.

Starring: Harrison Ford, Daisy Ridley, Carrie Fisher, John Boyega, Oscar Isaac, Adam Driver, Peter Mayhew, Domhnall Gleeson, Lupita Nyong’o, Andy Serkis, Gwendoline Christie, Kenny Baker, Anthony Daniels and Max von Sydow

Directed and Co-Written by: J.J. Abrams

MPAA Rating: PG-13

Genre: Science Fiction/Action and Adventure/Space Fantasy

Critic’s rating: *** stars (out of 4 stars)

(c) Frank Ochieng 2015
A very entertaining film filled with immensely fun nostalgic moments and lots of laughs, but this is movie is not perfect, no it is not.

**Spoiler alert!!**

This movie is an exact copy of the 4th one and this frustrates me more than it should. Although new characters and mysteries were introduced, the plot was too similar to the 4th film, but hey, at least they blew up the republic so no more boring bureaucracy!
One more thing that bothered me a lot is Kylo ren, not the character, the actor. I mean they couldn't pick an uglier wimp? I mean no offense Adam Driver, but bad guys need to look badass, and once you took of your helmet, you lost all hope of becoming a badass.

**Summary:**

Definitely a movie worth watching despite minor setbacks.
Slumber Earthquake.

There really is no point trying to do an in depth review of this, it falls in line with a number of series blockbusters that are guaranteed to garner rabid responses, pro and con.

The Force Awakens is a film of many flaws, it has a pungent whiff of safeness about it, the charges of it being a glitzy remake are fair enough, while certain plot strands are frustrating and set to be big talking points for years - and years - to come.

Yet what about its worth to someone who is not obsessed with every finer detail? Someone who just loves the Star Wars universe as a spectacle prism of entertainment, and has just wanted a Star Wars film worthy of being fit to sit alongside that original trilogy?

This made me feel 11 again, took me back to a time in 1977 when I queued for three hours to see such wonders on the big screen. The Force Awakens is, in spite of the recognised flaws, a loving homage to a past love. It's sly with humour and nods to foundations, a blitzkrieg of effects and sound work (my Blu-ray viewing had my sub-woofer doing a jitterbug in the lounge), and it doesn't shy from surprise or the dangling of the carrot.

The makers have big heart and technical invention, the cast vibrant, spunky and strongly committed to the cause - the old hands a very reassuring presence - Yeah, so it's not sci-fi perfection, or any Star Wars geeks' idea of the perfect Star Wars movie (oh J.J. Abrams you devil you!), but it made this middle aged guy shed a tear of happiness. A moment to reaffirm why - as a young lad - I fell in love with film in the first place. 9/10
**The Force Awakens: A New Hope 2.0**

The highly-anticipated follow-up to the Original Trilogy treads through familiar waters, taking the "safe route" approach. Though The Force Awakens has its fair share of phenomenal moments and is definitely an improvement over the Prequel Trilogy, its reliance on using the Original Trilogy (mainly A New Hope) as a template feels nothing more than an imitation of events that occurred prior.

At the end of Return of the Jedi, the Empire suffered a great loss, with the destruction of the Second Death Star and deaths of The Emperor and Darth Vader. It was implied that Luke, the last surviving Jedi, would restart a New Jedi Order (based on Expanded Universe media, which has been declared non-canon by Disney). That is indeed what happens; however, a rogue student of Luke's slaughtered his peers, seduced by the mysterious Supreme Leader Snoke of the First Order and adopts a new identity as Kylo Ren. In summary, the Jedi Order did indeed happen (off-screen), but gets wiped out (off-screen, again), leaving Luke the last surviving Jedi and retreats into exile (off-screen... seeing a pattern?). The Empire is basically resurrected as the First Order, with the Rebel Alliance becoming the Resistance, and once again, they're tasked with destroying a gigantic ball of death. Sounds an awful lot like A New Hope, as a modern-day "soft reboot."

Droid carrying top-secret info? Check.
Villain dressed in black with mask? Check.
Protagonist lives on desert planet? Check.
Discover that they're indeed Force-sensitive? Check.
Han Solo and Chewbacca escorting our heroes to destination? Check.
A cantina featuring a cantina band? Check.
Mentor figure (Obi-Wan in ANH, Han Solo in TFA) killed by villain? Check.
Battle of Death Star (Yes, I'm calling Starkiller Base a Death Star)? Check.
Does big ball of death get destroyed? Check.

Rey is indeed a Force-sensitive individual, but throughout the movie, she is just as good a pilot as Han Solo, is able to use a Jedi mind trick with ease, and easily overcomes the villain (Though it could be argued that due to Kylo Ren's injury from Chewbacca, he was weakened). There better be a damn good explanation as to why Rey is so strong with the Force when The Last Jedi is released. Anakin and Luke required training to become a Jedi, Rey is basically a pro with little to absolutely no training.

Finn... Though I did enjoy the idea of a Stormtrooper defecting from the First Order and eventually helping out the heroes, Finn got annoying quick. From cringe-worthy lines to his constant "Gotta get away from the First Order" state of mind, he should have been a more battle-hardened individual who eventually became disillusioned with the First Order. His more cowardly approach to defecting wasn't very well-executed. But I gotta admit that the relationship between him and Poe Dameron was well-done. Didn't feel forced, just felt natural. Him standing up to Kylo Ren in a duel made me respect his character a lot more. His battle with the other Stormtrooper was just amazing. I'm honestly hoping his character develops more in The Last Jedi.

I liked Poe Dameron from the get-go. From being a smart-ass to Kylo Ren to taking out multiple TIE Fighters, Poe is definitely a welcome new character to the Star Wars universe. Especially BB-8, just an absolute ball of cuteness. BB-8 was one of the two new characters that really stood out to me. Funny how Star Wars manages to make you like the droids so much.

Han Solo and Chewbacca play a substantial role in this film. Han Solo's death was beyond tragic, just seeing an iconic character we saw develop from a selfish, Force-denying individual to taking charge in dire times (putting his life on the line). Once Han Solo yelled out his son's name, I knew his time was up. Leia, now a General, doesn't really get much time to shine. She and Han have been broken up for some time now (I'm guessing since Ben Solo became Kylo Ren), but their bantering still remains. C-3PO (now with a red arm) and R2D2 (in low power mode due to Luke's departure) are basically given minimal roles in favor of BB-8. Luke Skywalker made an appearance in the very final moments of the movie, but does not utter a word. Just seeing his expression when Rey hands him his father's lightsaber was more than enough.

A quick summary of other characters: Captain Phasma, a more useless female version of Boba Fett. Maz Kanata, a color and gender-swapped Yoda who somehow manages to obtain Anakin's/Luke's lightsaber. Supreme Leader Snoke, a mysterious figure leading the new Empire (sorry, First Order) and first appears as a hologram (like the Emperor). General Hux, deliverer of a Hitler-like speech to his space Nazis.

Kylo Ren. In my opinion, Kylo Ren is the best part of the entire movie. Sure he worships his deceased grandfather Anakin Skywalker/Darth Vader and flips out into extreme tantrums, he is more than just an ordinary one-dimensional villain. He worships Darth Vader because he wants to carry on his legacy of killing the Jedi and achieve his intimidating status of being a ruthless individual. He is torn by both sides of the Force. He is indeed strong with the Force, stopping blaster shots in mid-air, freezing people in-place, and can probe the minds of others as a method of torture. His unstable crossguard lightsaber is appropriate for his uncontrollable anger and conflicted state of mind. Once he killed Han Solo, there is no hope for him returning back to the Light. He became a full-on evil person. I'm ready to see the damage he will do in The Last Jedi.

The action/set pieces were very well-done and that opening sequence with the raid on the Jakku village is one of the best and most chilling moments in all of Star Wars. The Battle of Takodana and the resulting battle was phenomenal and seeing Poe take out multiple TIE Fighters make him an exceptionally skilled pilot, even moreso than Luke. The final battle between Rey/Finn and Kylo Ren didn't feel choreographed at all, just felt like a battle between novices, unlike the highly-choreographed kicks and flips and lightsaber-twirling present in the Prequel Trilogy. Rey and Finn leaving Jakku in the "garbage" ship and the whole sequence through the Star Destroyer graveyard was beyond phenomenal.

Though The Force Awakens does indeed take steps forward to move the franchise forward into a new direction, it takes several steps back into familiar territory. And yes, it feels as if I have been ripping on this movie, but in my honest opinion, The Force Awakens is a solid entry to the Star Wars franchise. The action set-pieces were so well-done, the nostalgic factor of the Original Trilogy is prevalent, Kylo Ren proved to be a well-developed villain with room for improvement, and the relationships between the characters feels so organic and fluid-like, as if they're all cohesive with one-another.

My Rating: 7.5/10.0
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Star Wars: Episode VIII - The Last Jedi (2017) was just released, but my time didn't yet allow me to watch it. However, I do have time to review the film that started this new trilogy: The Force Awakens. At the time, it was my most anticipated movie of the year and I placed it second on the list of my favorite films of 2015 (just a bit below Mad Max: Fury Road).

So, yes, I do love this movie and it is definitely on the top3 of the saga! The cast choices are the undoubtful proof of the huge success that this film achieved. Daisy Ridley (Rey) is a massive discovery, her talent is limitless and she embraces her role like no other. She delivers a very emotional and powerful display, showing all of her acting skills. I can feel that she is 100% committed to her character and what a character to portray at your first big movie appearance.

Rey is excellently-developed throughout the film, she might mislead people into thinking she is just a mere scavenger, but once the movie gets going, she becomes an awesome character sharing some of the most epic moments in the whole runtime. She has an oddly mysterious backstory, which is going to produce theories and plot twists that I can't wait for, in the next films.

John Boyega (Finn) is a fantastic supporting actor and another great casting. He brings just the right amount of humor with some exceptionally delivered lines and his facial expressions and timing are perfect. Finn is going to be one of the audience's favorites for sure, his journey to encounter Rey is interesting and unique in the saga. In my opinion, it is his story that carries the beginning of the movie and that sets up a lot of characters and plot points.

Adam Driver as Kylo Ren ... Oh. My. God. What a performance! Driver is so subtle in the most meaningful moments but so compelling in the most menacing ones. He elevates Ren into a phenomenal antagonist with a splendidly written script. J.J. Abrams and co. do a wonderful job writing both the plot and the characters. Kylo Ren stands out, he is a multi-layered character with so much untold and hidden behind his personality and intriguing past. Once again, there are many theories and plot twists ahead that I'm drooling to know which one they are going to follow with.

Oscar Isaac is very exciting as Poe Dameron, another fabulous addition to the franchise. His character creates an honest bond with Finn and their interactions are pretty cool. They share some amazing scenes and Poe has all of the awesome X-Wing fights, which are outstanding. Supreme Leader Snoke (Andy Serkis) does not show up that much, but he definitely is a very threatening presence and a very well achieved motion capture work.

As for the original cast/characters, Harrison Ford has one of his best performances in the more recent years. Han Solo is one of his most popular characters and he portrays him flawlessly. Carrie Fisher returns as Leia and she offers a touch of reality to all of this. Every time she is on screen, everything becomes more realistic and tangible due to her graceful and humble display. Chewbacca has the usual funny "dialogues" with Solo and some glorious action set pieces.

BB-8 is what people feared the most since he could easily be annoying or irrelevant. Thankfully, he is another checkbox on the list of marvelous additions to the Star Wars universe. It is mind-blowing how a droid can provide so much laughter and terrific action scenes, he is unquestionably a toy worth spending your money on for Christmas. C-3PO also appears and elevates the level of nostalgia that everyone is already full of.

Moving to the technical aspects of the film, J.J. Abrams proves himself to every single person that doubted him since he is the main reason why this movie is one of the greats. From the seamless editing to the great camera work during the impressive action sequences, he enhances the story so much with his distinct use of visual storytelling. It feels like a real film and not just a Star Wars typical movie.

The visual effects are top notch and the cinematography could not be better due to the unbelievable practical backgrounds. Abrams uses a lot of long, wide shots with beautiful landscapes and mostly everything is real (besides the obvious, there is very few CGI, less than you probably think), which transforms every scene, every shot, into something more special. The tone is very well balanced between comedy and action, the storytelling process is astonishingly well handled and the pacing always maintains the tremendous excitement.

One of the common issues of all Star Wars films are the excessive exposition scenes. Well, J.J. massively improves on that aspect having just a couple of them and I am counting the traditional text that starts the movie. Like I said above, there is an extensive use of visual storytelling, in other words, everything that you see is giving you information while advancing the plot without actually literally telling you what is going on or what is going to happen.

John Williams' score continues to superbly accompany every scene, not only the action ones, but it also strengthens dialogues. I love the ending, but here is where both fans and critics are going to become very divisive. It ends with a huge cliffhanger and some people are going to be disappointed because they are left with this feeling of unfulfillment and if you don't know how to deal with it, you might think you didn't enjoy the film.

The truth is you can't have everything right now. This is a trilogy, so it is absurd to even expect that you are going to have everything that you wish for in the first movie of a new era. I wanted more from the second the film finished, I also felt a bit let down because the movie concludes with something I had been expecting forever. However, this is a great feeling to have because it means the film meant something, it means the movie was so amazing that I just can't wait anymore for the next one!

Nevertheless, The Force Awakens can't escape some minor flaws. While pretty much every single character is great, Maz Kanata (Lupita Nyong'o) is not. With so much practical effects surrounding every environment, a 100% CGI character is going to (negatively) standout. Besides, the whole subplot involving meeting with Maz feels a bit unnecessary and the story could have easily progressed without her.

However, my main issue with this film is its lack of originality when it comes to creating a new actual danger for the galaxy. I mean, the Starkiller Base is essentially another Death Star, just bigger ... Really? They couldn't figure out anything else besides another giant planet destroyer? It does not reflect J.J. Abrams' incredible direction and the production team's excellent work, at all.

Finally, there are some "problems" that I don't yet know if they are, in fact, problems. This is the first movie of the trilogy and some things happened that I don't know how or why they did, so I can't really fault the screenplay ... yet. We all know the huge plot device that Episode IV - A New Hope (1977) supposedly had for decades, but then Rogue One: A Star Wars Story (2016) was released and brilliantly solved what was already considered an internet meme.

This film does not have such a massive plot device, but there is one little moment that occurs in the first act that I still don't know if it is, in fact, a flaw or if there is an explanation waiting for us in the next movies.

All in all, The Force Awakens proves that the Star Wars franchise is still, very much, alive! This is easily one of the best films of 2015 and one of the best in the franchise. It features an outstanding cast with some excellent performances from the new actors joining the saga and powerfully nostalgic displays from the original members. Incredibly-developed characters carry this movie with the help of a mysterious and captivating screenplay, as well as a lot of visually exciting action sequences. J.J. Abrams has his stamp all over the film, with beautiful wide shots, massive practical effects, and exceptional use of visual storytelling. A cheap third Death Star and some very minor issues here and there don't allow the movie to shine flawlessly, but it is still freaking awesome! It undoubtedly belongs to my Top3, behind Empire Strikes Back and A New Hope.

Rating: A
**The following is a review that I originally wrote in 2015.**

Was it perfect?
No.

Was it basically a shot for shot retread of A New Hope?
Yeah.

Did it under-develop characters and plots of almost everything interesting to near Boba Fett-ian levels?
Sure.

Did the entire thing rely on about 47 ridiculously implausible complete coincidences that the story would have fallen apart without?
Sounds accurate.

But after more than three decades, is Star Wars finally back?
Damn right.

Apart from my just plain enjoying it, The Force Awakens makes me excited for the future of the franchise the first time in.. Well ever really. I liked the blend of new and old material, but I hope that moving forward, the series relies more on the new. I don't mean ditch all the original characters, I just mean we don't need endless callbacks to the past in Episode VIII. It worked fine for this one, and I totally get needing to re-acclimatise audiences, so I'm absolutely understanding of it in this case. But I hope they get away from that in future, and it seems very much as if that's the direction they're taking.

"

[HD] Star Wars: The Force Awakens 2015 Film Indirme

Kısa film

Harcandı : $907,318,156

Gelir : $437,500,869

Kategoriler : Egal - rätselhaft , Journalismus - Surrealistisch , Ideen - Linguistik , Horror - Documenteur Schwarz

Üretici Ülke : Kasachstan

Prodüksiyon : Tomorrow Entertainment

Thirty years after defeating the Galactic Empire, Han Solo and his allies face a new threat from the evil Kylo Ren and his army of Stormtroopers.
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