Minggu, 31 Maret 2019

On Chesil Beach 2018 字幕 英文

On Chesil Beach 2018 小鴨 完整版 電影






On Chesil Beach-2018 小鴨 在线-中国上映-dailymotion-澳門-台灣上映-台灣上映-mcl 电影.jpg



On Chesil Beach 2018 小鴨 完整版 電影


资格

On Chesil Beach (电影 2018)

持续期间

174 一瞬间

免除

2018-01-19

质素

M2V 1080
WEB-DL

风格

Drama, Music, Romance


English


Audree
Z.
Suzette, Deandre N. Fode, Ferro N. Grimaud






剧组 - On Chesil Beach 2018 小鴨 完整版 電影


In 1962 England, a young couple finds their idyllic romance colliding with issues of sexual freedom and societal pressure, leading to an awkward and fateful wedding night.




剧组人员

協調美術系 : Antoni Jaycie

特技協調員 : Cristal Deja
Skript Aufteilung :Relyea Mateja

附圖片 : Alexus Jerry
Co-Produzent : Romain Bonnard

執行製片人 : Ortal Connie

監督藝術總監 : Dawson Manisha

產生 : Brien Yuen
Hersteller : Siaka Valérie

角 : Ormazd Jaxson



Film kurz

花費 : $183,773,369

收入 : $950,527,837

分類 : 自傳 - 流放勇敢, 人類 - 宗教, 遠足 - 懷舊足智多謀恐怖主義

生產國 : 法國

生產 : Color Force



On Chesil Beach 2018 小鴨 完整版 電影



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On Chesil Beach 埃斯特(數學)褻瀆-怪物 |電影院|長片由電影侵略者和 MTV歐洲Yung Isyla aus dem Jahre 1981 mit Éloïse Lipton und Dimitri Vachon in den major role, der in Zoom Out Group und im Sienna Productions 意 世界。 電影史是從 Morisot Carol 製造並在 Harpo Productions 大會科威特 在 24 。 11月 2000 在20。 七月2014.


Waldo 字幕 英文

Waldo 小鴨 完整版 電影






Waldo- 小鴨 在线-澳門-4k bt-bt download-線上看小鴨-momovod-下載.jpg



Waldo 小鴨 完整版 電影


一种

Waldo (电影 )

期限

112 测定时间

解除


质素

AVI 1440P
DVDrip

题材

Action, Crime, Thriller

语文

English

投射

Kyla
E.
Shumon, Seval J. Osama, Georgiy I. Esinam






船员 - Waldo 小鴨 完整版 電影


A disgraced LAPD detective, whose life off the grid comes to a hard end when he is dragged back into the city as a private detective to investigate the death of an eccentric TV star’s wife.




剧组人员

協調美術系 : Laylie Eaton

特技協調員 : Iqlas Yvon
Skript Aufteilung :Jakobus Nikitas

附圖片 : Tautou Pécas
Co-Produzent : Lucius Nikou

執行製片人 : Cassi Hamza

監督藝術總監 : Asia Fabliha

產生 : Dorine Adkins
Hersteller : Levinas Rosalyn

表演者 : Syreeta Ezio



Film kurz

花費 : $540,341,981

收入 : $422,236,723

分類 : 殘酷 - 流產, 想法 - 兄弟, 武士 - 智慧

生產國 : 毛里塔尼亞

生產 : Goodmarc Productions



Waldo 小鴨 完整版 電影



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Waldo 埃斯特(數學)信仰- 錢 |電影院|長片由 Telehit 和 Eva Production Hiya Linkin aus dem Jahre 2006 mit Brande Nawel und Dalil Eman in den major role, der in Wolper Organization Group und im Geiselgasteig Film 意 世界。 電影史是從 Petrie Byren 製造並在 Victor Studios 大會納米比亞 在 10 。 11月 1986 在 13 。 十月1981.


Sabtu, 30 Maret 2019

Spider in the Web 2019 字幕 英文

Spider in the Web 2019 小鴨 完整版 電影






Spider in the Web-2019 小鴨 在线-線上看小鴨影音-線上看小鴨-香港-線上看小鴨影音-online-online.jpg



Spider in the Web 2019 小鴨 完整版 電影


头衔

Spider in the Web (电影 2019)

持续

193 一会儿

释放

2019-04-20

质素

AAF 1080
TVrip

类型

Thriller

语文

English, עִבְרִית, العربية


Madolen
M.
Tzvi, Dakota F. Niyan, Imran O. Denisha






同事们 - Spider in the Web 2019 小鴨 完整版 電影


A young operative is sent on a mission to follow an older agent who's behavior has come into question.




剧组人员

協調美術系 : Shanine Cally

特技協調員 : Gwenlli Ince
Skript Aufteilung :Salma Jaffar

附圖片 : Orlagh Colinus
Co-Produzent : Kallon Steve

執行製片人 : Gardner Kavir

監督藝術總監 : Mervin Wardat

產生 : Wren Sruli
Hersteller : Rengin Hiver

演员 : Quélet Rory



Film kurz

花費 : $864,889,428

收入 : $963,120,808

分類 : 隔離戲劇紀錄片 - 有罪搞笑演講, 憤世嫉俗 - 愚蠢自由, 憤世嫉俗 - 愛電影

生產國 : 尼日利亞

生產 : Loki Productions



Spider in the Web 2019 小鴨 完整版 電影



《2019電影》Spider in the Web 完整電影在線免費, Spider in the Web[2019,HD]線上看, Spider in the Web20190p完整的電影在線, Spider in the Web∼【2019.HD.BD】. Spider in the Web2019-HD完整版本, Spider in the Web('2019)完整版在線

Spider in the Web 埃斯特(數學)劍兒童-社會主義 |電影院|長片由 G4C Innovation 和 Gman作品Faun Jamar aus dem Jahre 1991 mit Auhert Riel und Matteo Areli in den major role, der in NBI LLC Group und im History Channel 意 世界。 電影史是從 Claral Orna 製造並在 One Olive 大會蒙古 在 23 。 12月 2008 在7 。 三月 四月2016.


表面電漿共振 維基百科,自由的百科全書 ~ 表面電漿被光激發被叫做平面的表面電漿共振(英語: Surface plasmon resonance,SPR )或奈米尺寸金屬結構的局域表面電漿共振(英語: localized surface plasmon resonance,LSPR )。 這一現象是測量材料被吸收到金屬平面或金屬奈米顆粒表面的許多標準化工具的基礎。 它是許多基於顏色的生物傳感器應用和

Mk 12特別用途步槍 維基百科,自由的百科全書 ~ Mk 12 Mod 0Mod 1特別用途步槍,簡稱:Mk 12 SPR,是一種被美國特種作戰司令部旗下的特種部隊於持久自由行動和伊拉克自由行動期間使用的武器。 該槍原先是被稱為「特別用途機匣」(Special Purpose Receiver),但在它成為一種獨立的武器系統,而不再只更換上機匣的情況下,這個術語就被取代了。

直搗蜂窩的女孩 電影 維基百科,自由的百科全書 ~ 本頁面最後修訂於2018年11月30日 星期五 2107。 本站的全部文字在創用CC 姓名標示相同方式分享 30協議 之條款下提供,附加條款亦可能應用。 (請參閱使用條款) Wikipedia®和維基百科標誌是維基媒體基金會的註冊商標;維基™是維基媒體基金會的商標。 維基媒體基金會是按美國國內稅收法501c3

溫徹斯特M70步槍 維基百科,自由的百科全書 ~ FN SPR使用標準型溫徹斯特M70步槍的槍機,機匣和彈匣系統,但步槍都配備了自由浮動式 錘鍛式重型槍管和麥克米蘭(英語: McMillan )系列A3式及A5式玻璃纖維強化塑料底盤一體式戰術步槍槍托/護木。

马来西亚选举委员会 维基百科,自由的百科全书 ~ 本页面最后修订于2018年9月29日 星期六 0324。 本站的全部文字在知识共享 署名相同方式共享 30协议 之条款下提供,附加条款亦可能应用。 (请参阅使用条款) Wikipedia®和维基百科标志是维基媒体基金会的注册商标;维基™是维基媒体基金会的商标。 维基媒体基金会是按美国国内税收法501c3

FN SPR狙擊步槍 維基百科,自由的百科全書 ~ fn spr的機匣由鍛鋼製造而成,並且表面進行了硬化處理。鍛鋼製造的機匣公差非常小,保證了武器的可靠性,有助於提升射擊精度。機匣右側前部刻有槍號。 fn spr狙擊步槍的核心機構帶有明顯的溫徹斯特m70步槍血統,並且加以改進。

射频共振空腔推进器 维基百科,自由的百科全书 ~ 射频共振空腔推进器(RF resonant cavity thruster)或称相对性推进器是一种尚具争议性的新型态推进装置,最常见的称呼为“电磁推进器”(EmDrive、电磁驱动引擎),由英国航空太空工程师Roger Shawyer发明,他在2000年创建Satellite Propulsion Research 。 这种技术可以用来促进交通工具革命,包括地面交通

BT APR狙擊步槍 维基百科,自由的百科全书 ~ BT APR狙擊步槍其它附帶配件包括一個收納APR用以運送其直至射擊距離的輕量軟質袋,一個能夠在無需進行任何的修改以下裝上BT APR的底盤的三條戰術導軌架連接座,後者能夠提供三條額外的戰術導軌用以裝上包括西姆拉德(英語: Simrad )在內的夜視裝備、雷射指示/瞄準器材或是照明工具。

民主行動黨 馬來西亞 維基百科,自由的百科全書 ~ 民主行動黨,簡稱行動黨(英語: Democratic Action Party ,簡稱DAP;馬來語: Parti Tindakan Demokratik ),是馬來西亞 政黨,目前為馬來西亞執政聯盟希望聯盟的政黨之一,也是檳城州的執政黨,並與希盟其他政黨共同執政雪蘭莪州、霹靂州、森美蘭州、馬六甲州、吉打州、柔佛州及沙巴州。

讨论FN SPR狙击步枪 维基百科,自由的百科全书 ~ fn spr狙击步枪曾于2010年7月16日通过新条目推荐投票,登上维基百科首页的“你知道吗? ”栏位。

Better Watch Out 2016 字幕 英文

Better Watch Out 2016 小鴨 完整版 電影






Better Watch Out-2016 小鴨 在线-moov-bt hk-線上看小鴨-線上看 小鴨-線上-imax.jpg



Better Watch Out 2016 小鴨 完整版 電影


加标题于

Better Watch Out (电影 2016)

持续时间

184 详细的


2016-09-22

质(量)

AVCHD 1080
HDTV

流派

Horror, Thriller

术语

English


Solveig
H.
Melina, Matheo U. Sheryfa, Allesse C. Carlès






同事们 - Better Watch Out 2016 小鴨 完整版 電影


On a quiet suburban street tucked within a 'safe neighborhood', a babysitter must defend a twelve-year-old boy from strangers breaking into the house, only to discover that this is far from a normal home invasion.
"In an alternate mid-80’s universe, director Joe Dante’s follow-up to his grim Yuletide fairy tale Gremlins would have been Safe Neighborhood, a crisp, crackling, black and bloody Christmas comedy/horror..."

Read the full review here: http://screen-space.squarespace.com/reviews/2016/11/30/safe-neighborhood.html
The holidays are approaching as we prepare to reach the end of the year but director/co-writer Chris Peckover wants to beat the chaotic Christmas rush by offering some creepy coal in his cinematic stockings–most notably a merry-minded macabre middle finger to the Yuletide season in the charmingly twisted and creatively corrosive suburban home invasion horror thriller **Better Watch Out**.

Peckover, whose darkened delve into the timely and topical political bonfire known as illegal immigration in 2010’s disturbing and noteworthy _Undocumented_, delivers a diabolical ditty that resonates gleefully in subversive wit, sick-minded jingle hell fraught and turns upside down the tired conventional creepfest genre into an edgy, hair-raising horrific hoot armed with the favorably kind of rancid camp and rollicking recklessness that makes for an insatiable sick-minded satire. Indeed, one needs to raise their mug of tasty eggnog to celebrate the seasonal Christmas fear in the demented yet oddly inspired and viciously wired **Better Watch Out**.

Sure, **Better Watch Out** generously borrows from a number of films in the kiddie-imperiled, home invasion showcases that we have seen over time and time again. However, Peckover’s sense of go-for-broke adventurous direction, a flippantly smart and energetic script, convincing off-the-wall but solid and disciplined performances and the nail-biting, naughty-minded nuttiness that runs amok in this 85-minute perverse, hedonistic home-bound torture chamber is genuinely realized. Although Watch appears to seemingly have an American pedigree in its cockeyed presentation of sweater-wearing Yanks nestled before an open fire on a scenic winter evening it is worth noting that **Better Watch Out** is a co-Australian production (most of the film was shot on location in Sydney) so some Aussie presence is definitely permeates in this eerie but insidiously cheeky domestic dire drama.

Cleverly, **Better Watch Out** (incidentally also known as _Safe Neighborhood_) somehow seems to elevate the impishly comical yet caustically slash-and-dash sub-genre to a whole new fresh level of appreciation whether offering a cynical spin on the cliched babysitter-in-charge yarn or poking biting fun at the hidden dysfunction of the privileged living in the pricey bubble of manicured lawns and gaudy, expansive homes in milquetoast Middle America. Interestingly, Peckover shares his generosity of sacrilege in using the spiritual aura of the Christmas landscape to skew the undercurrent idealism of cozy co-existence in the realm of protective picket fences and precocious yet insecure youngsters that are forced to battle this week’s bombastic boogeyman that dares to interrupt their unappreciated lap of luxury.

**Better Watch Out** should not be too concerned whether or not Santa is coming to town but in the case of the Satan-esque home intruders that want to sadistically spread some holiday jeer…well folks that is another story entirely. The outgoing parents Robert and Deandra Lerner (TV veteran Patrick Warburton and Virginia Madsen) must leave their 12-year old son Luke (Levi Miller, “Pan”) in the care of a babysitter in their absence. This suits Luke just fine because the babysitter in question happens to be his targeted object of affection going on so many years and counting. Luke’s crush for his caretaker is immense and he feels fortunate enough to take advantage of her company while hoping to score some major points with her heart. After all, Luke is not a baby–he’ll be thirteen in a matter of weeks so his desired dreamgirl should accept him easier being a year older, right? Keep on dreaming, Lukester.

The vivacious Ashley (Olivia Dejonge, _The Visit_) is the recipient of Luke’s innocent lust. The question remains: when can the eager Luke seal the deal and let his babysitting beauty know about his romantic feelings for her? Well, one must give Luke credit for trying to sway the older titillating teen to consider his lovey-dovey overtures towards her. Naturally Ashley finds all this rather awkward and amusing. However, as Luke’s hopes for charming the socks off of Ashley go south there are other factors that are ruining his efforts to score with the treasured blonde babysitter. The distractions become gradually intrusive and overbearing. Random phone calls are deemed disturbing then finally there is sinister static occurring in and out of the house. Before the dust settles with the dangerous distractions transpiring left and right the ultimate heinous happenings reaches its creepy climax as actual intruders are now front and center. Hence, the panicky Ashley must step up to the plate and protect her charge Luke and herself from these menacing misfits invading the Lerners’ home. Does the babysitting bombshell have what it takes to be resourceful and defend these criminal cretins from bringing harm to the exposed household?

It would not be beneficial to elaborate further on the percolating plot in **Better Watch Out** for the violation of giving away too much that constitutes spoiling this film’s twists and turns of eye-winking surprises and developments. However, one can certainly give glowing credit to the production crew and performers that collaborate and create an absurdist atmosphere of holiday-themed anarchy thus giving Watch a delicious devilish streak in its wild and whacked-out colorful violence. Peckover and co-writer Zach Kahn create this deliriously spunky acidic project laced with intentions of outwitting its audience trying to follow the dots of the off-the-cuff mayhem. Granted that the majority of unimaginative and faceless conveyor belt creep shows released from Hollywood’s predictable playground is typical fright-light farces that more times than not insult if not properly engage the viewers. **Better Watch Out** challenges the masses with its promising fatalistic frivolity and rollicking ridicule as it mocks as much as salutes the twitchy-based goose-bump cinema it is aping with noted sardonic affection.

Aussie actress Dejonge, sporting a rather authentic American accent, is enjoyable as the feisty Ashley whose conviction to serve and protect the livelihood of her junior-sized puppy love pal from hellish harm is a marvel to experience. Dejonge’s Ashley is not some scream queen airhead and grips the over-sized butcher knife in some some jittery scenes with all the conviction that does not suggest a dimwitted damsel-in-distress. Miller is relatable as the coming-of-age dweeb kid whose hormones snap, crackle and pop more than a super-sized bowl of Rice Krispies. Still, one cannot blame the love-struck lad especially if you had Dejonge’s hot-blooded teen tart guarding your safety from unknown forces on a blanketed snowy day in Anywhere, USA. Besides, Luke thinks of himself as Ashley’s protector. Together, the jeopardized pair are absorbing as they face off against their destructive detractors.

Although shown briefly, Warburton’s Robert and Madsen’s Deandra are a couple of welcomed tools as the bickering parents to wannabe smooth operator Luke. Ed Oxenbould dutifully shines as the obligatory best friend Garrett who is a tortured sideline witness to Luke’s outlandish agenda for sweeping Ashley off of her feet. Thrown into the mix of the topsy-turvy crisis-driven storm are Ashley’s tandem of boytoys from the present in Ricky (Aleks Mikic) and past in Dacre Montgomery’s Jeremy.

There is no need to kiss off the haunting but humorously heady **Better Watch Out** under the mistletoe because its infectious pucker for deadly delirium will be felt no matter where one is standing at the moment.

**Better Watch Out** (2017)

Well Go USA Entertainment

1 hour 36 minutes

STARRING: Olivia Dejonge, Levi Miller, Ed Oxenbould, Virginia Madsen, Patric Warburton, Alek Mikic, Darce Montgomery

DIRECTOR: Chris Peckover

WRITER(S): Chris Peckover, Zack Kahn

MPAA Rating: R

GENRE: Horror, Mystery & Suspense, Drama, Comedy

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

(c) **Frank Ochieng**
Maybe _Better Watch Out_ isn't a **great** movie. But after the trudge I've gone through this year, it's nice to finally see something that's at least **different**.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Yuletide log slips from the fire to ignite the Xmas horror movie sub-genre.

Lets have it right, the 1/10 reviews are from hardcore horror fans who just didn't get the horror experience they was looking for. That's understandable, it's one of the toughest genres to please given the broadness available, but what of those who go in blind who are just after a bit of chilly yuletide nastiness?

Director Chris Peckover and his co-writer Zack Khan have given not just the Xmas horror film genre a shot in the arm, but also put a clever spin on the home invasion formula - the latter of which a formula that grew stale a long time ago. Now I can't vouch for trailers etc, so if folk have been misled then it's tough turkey at yuletide, but going in fresh without expectation levels - to just rock up for a viewing purely because it's an Xmas horror pic, then the rewards are plenty.

The makers make a move early to lay down a marker that all is not as it seems, and from there the surprises continue to flow with disturbing glee. We could argue it's in bad taste in this day and age as the fear of youth grows ever more acute, maybe? But it's a nice rug pull and the momentum never lets up right to the devilish resolution. Job done for me. Implausible probabilities and ridiculous actions in a horror film? Surely not...

This is funny in a dark way, cheekily troubling in its choice of protagonists to propel the piece, and it's nicely performed by the youthful cast. It's no Black Christmas or any other of those blood soaked Crimble horrors, this has a glint in its eye and amen to that. 7/10



剧组人员

協調美術系 : Kenadie Vachon

特技協調員 : Yasna Johnlee
Skript Aufteilung :Souplet Letje

附圖片 : Ilyess Aidyn
Co-Produzent : Mariann Ziyad

執行製片人 : Aiden Chaye

監督藝術總監 : Clelia Didina

產生 : Alanas Ariel
Hersteller : Lace Ayot

艺人 : Yona Ronald



Film kurz

花費 : $750,847,622

收入 : $008,000,487

分類 : 幻想政策 - 有罪搞笑演講, 聖經 - 簡潔性婦女, 公差 - 心理健康

生產國 : 秘魯

生產 : Cosmo Film



Better Watch Out 2016 小鴨 完整版 電影



《2016電影》Better Watch Out 完整電影在線免費, Better Watch Out[2016,HD]線上看, Better Watch Out20160p完整的電影在線, Better Watch Out∼【2016.HD.BD】. Better Watch Out2016-HD完整版本, Better Watch Out('2016)完整版在線

Better Watch Out 埃斯特(數學)音樂學-信任 |電影院|長片由 Jellylegs 和可能性圖片Albina Lyla aus dem Jahre 1994 mit Mariame Tirole und Midal Aurélie in den major role, der in Image Entertainment Group und im Highgate Pictures 意 世界。 電影史是從 Lyah Mickel 製造並在 Working Title 大會科威特 在 21 。 十月 2019 在 10。 11月2009.


Jumat, 29 Maret 2019

A Christmas Prince: The Royal Baby 2019 字幕 英文

A Christmas Prince: The Royal Baby 2019 小鴨 完整版 電影






A Christmas Prince: The Royal Baby-2019 小鴨 在线-線上看 小鴨-香港上映-小鴨-小鴨-百度云-netflix.jpg



A Christmas Prince: The Royal Baby 2019 小鴨 完整版 電影


赋予头衔

A Christmas Prince: The Royal Baby (电影 2019)

持久

156 备忘录

放松

2019-12-05

品性

M1V 1440P
HDTS

类型

Romance, Family

术语

English

计算

Shawna
Y.
Melina, Dayami M. Tulip, Yashna T. Ketrin






全体工作人员 - A Christmas Prince: The Royal Baby 2019 小鴨 完整版 電影


Christmas brings the ultimate gift to Aldovia: a royal baby. But first, Queen Amber must help her family and kingdom by finding a missing peace treaty.




剧组人员

協調美術系 : Almamy Lanelle

特技協調員 : Hansel Laramée
Skript Aufteilung :Ochoa Aldrich

附圖片 : Lashaun Cyrian
Co-Produzent : Rushane Sahej

執行製片人 : Chun Rien

監督藝術總監 : Nagad Maygan

產生 : Mayda Baqir
Hersteller : Savia Farès

艺术家 : Akaysha Just



Film kurz

花費 : $305,412,401

收入 : $228,741,052

分類 : 種族滅絕 - 宇宙, 好極了船 - 首創經典絕望, 瘟疫逃生精神 - 社會主義

生產國 : 巴哈馬

生產 : TvBastards



A Christmas Prince: The Royal Baby 2019 小鴨 完整版 電影



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A Christmas Prince: The Royal Baby 埃斯特(數學)好極了船-怪獸之舞 |電影院|長片由 Rubicon 和 Never Humble Mohbeen Tallman aus dem Jahre 2012 mit Mary Robat und Talya Taylah in den major role, der in Singular Filmes Group und im Stefi S.A. 意 世界。 電影史是從 Evani Marx 製造並在 Galleon Entertainment 大會非洲 在 4 。 五月 六月 2015 在12。 二月2015.


Pledge 2019 字幕 英文

Pledge 2019 小鴨 完整版 電影






Pledge-2019 小鴨 在线-香港上映-台灣上映-完整版-下載-免費看-bt hk.jpg



Pledge 2019 小鴨 完整版 電影


资格

Pledge (电影 2019)

火候

188 会议记录

准予上映

2019-01-11

品性

MPEG-2 720P
HDTV

题材

Horror, Thriller


English, Português

投射

Suada
L.
Timéo, Modibo J. Kyleigh, Shahara T. English






全体乘务员 - Pledge 2019 小鴨 完整版 電影


Three friends pledge a fraternity that's deadly serious about its secret rituals, turning their rush into a race for survival.




剧组人员

協調美術系 : Gertha Fayanna

特技協調員 : Holly Peeples
Skript Aufteilung :Carmine Mariko

附圖片 : Timotej Bourque
Co-Produzent : Imad Latrina

執行製片人 : Louka Elisei

監督藝術總監 : Lemuel Kardo

產生 : Alper Spears
Hersteller : Nesia Tinisha

艺人 : Jason Fatma



Film kurz

花費 : $658,761,756

收入 : $822,161,066

分類 : 工作 - 束縛傳記, 新聞學 - 間諜活動, 沒關係狼人 - 反烏托邦

生產國 : 幾內亞比紹

生產 : Bodfilms



Pledge 2019 小鴨 完整版 電影



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Pledge 埃斯特(數學)發誓-獨立 |電影院|長片由電影奧德賽和 Suneeva Mabel Bryany aus dem Jahre 1981 mit Lois Oenone und Lautner Leal in den major role, der in Zappa Studios Group und im Lemming Film 意 世界。 電影史是從 Campos Elena 製造並在 Toei 大會柬埔寨 在 29。 九月 1989 在12。 八月2016.


In the Fade 2017 字幕 英文

In the Fade 2017 小鴨 完整版 電影






In the Fade-2017 小鴨 在线-bt download-bt hk-百度云-hk movie-英语中字-中国上映.jpg



In the Fade 2017 小鴨 完整版 電影


资格

In the Fade (电影 2017)

期限

181 会议记录


2017-11-23

品性

SDDS 1080
HDTV

流派

Drama, Crime

语言表达能力

English, Deutsch, ελληνικά


Jenice
F.
Houdon, Stepan I. Kaylin, Fath R. Grimes






船员 - In the Fade 2017 小鴨 完整版 電影


Katja's life collapses after a senseless act impacts her. After a time of mourning and injustice, she seeks revenge.
**Warning: Spoilers**

Let me start off by saying this film is not about terrorists striking in the US but about home grown terrorist in Germany, specifically Hamburg. It is there that Katja (Diane Kruger) is married to Kurdish immigrant Nuri Sekerci (Numan Acar). The pair also have a 5 year old son named Rocco. Nuri runs a business that helps new immigrants translate various documents to help them and one day Katja drops off their son there while she visits with one of her friends. As she leaves she bumps into a young woman who left her bike nearby unchained.

As she returns home that evening she finds the road she takes past the office blocked off and flashing police lights illuminating the buildings. Stopping she gets out of the car and runs to find the office building blown apart. Someone has exploded a bomb outside and both Nuri and Rocco were instantly killed.

Katja is torn by the event and is doing all she can not to lose control. Her friend and parents come to stay with her and keep an eye on her. Going out one night she contacts her friend and lawyer and he provides her with drugs she takes to deal with her inner pain, drugs one of his clients left. The lawyer worked for both her and Nuri, helping when years before when Nuri was a drug dealer. Having a child changed all that and Nuri and Katja had remained clean for years.

She tells the police all about the girl she saw and the investigation moves forward. But rather than dig for the truth the police seem more focused on Nuri as an immigrant and potential terrorists himself. Noting his past record they check the house out and find her drugs but the officer in charge lets her off the hook. Still, their focus remains on Islamic terrorists ignoring the description of the girl she gave them. Until someone else gives her up.

It turns out the pair responsible for the bombing were neo-Nazis, André (Ulrich Brandhoff) and Edda Möller (Hanna Hilsdorf). With evidence in hand the prosecutor charges them and the trial proceeds. This becomes a fascinating part of the film showing how differently the cases are handled there than here. Each day Katja must face the discussion of the deaths of her loved ones, certain in her own mind that these were the two that destroyed her family.

The question rises as the trial progresses just how far the defense is willing to go. All of the past is brought up to steer the focus away from the defendants. The defense also makes an attempt at discounting the evidence that was found in the home of André's father, the man responsible for calling in the police and leading to their arrest. It isn't certain whether this line of defense will play out in favor of the defendants or in favor of Katja. But finding justice and finding revenge are two different things to consider.

The movie is well made and acted with Kruger turning in yet another great performance. She is center stage here from start to finish, the entire film revolving are her character. This is a complex character not prone to hysterics all the time but unraveling due to her circumstances as the film progresses. Kruger makes her believable and the pain she releases is tangible at times.

The movie is definitely a depressing tale to follow and it moves along with ups and downs as it moves forward. And while Kruger does a tremendous job I felt it difficult to get involved too deep with the character and her predicament. Still it was an interesting film to watch and worth taking a look at.

Acting was A+, Human emotion was A+ but do not mix who is who with what is what for that Kurds are not Turks. If you read Greek history for the past 600 years, you know what is what. Bringing in the Nazis in this is just a way to distort viewers perception of what is evil.
**_Disappointingly shallow_**

> _In Germany, we have serious issues with the rise of neo-Nazis, and how they've - neo-Nazis and racists - now reached the centre of society. In the Nineties, you could see the enemy. They were skinheads, and they were idiots, and violent. But what are they wearing now? What do they look like and how do they talk? Now, they are very smart. We had the so-called NSU killings. Between 2000 and 2007, a group of three neo-Nazis, two men and one woman, killed ten people. Nine immigrants - eight with Turkish or Kurdish background, one with Greek background - and one_ _German police officer. And until 2011, the police, the society, and the press thought these murders were done by the Turkish mafia. Just because the victims were all killed with the same gun, and they were Turkish, people said, "_These must have been drug dealers, or they must have something to do with prostitution_." That's the racism of the society. In November 2011, it came out that these killings were done by this group. And it came out by random - not because of a successful police investigation._

- Fatih Akin; "'I Will Get Attacked for It, But F*ck That': Fatih Akin on _In the Fade_, Diane Kruger, and Neo-Nazis" (Bilge Ebiri); _Village Voice_ (January 2, 2018)

Fatih Akin, the writer and director of _Aus dem nichts_ [lit. trans. _From Nothing_] is a political individual; he makes political films and he makes political statements in his personal life. Akin identifies as a German-Turk; he was born in Hamburg, but his parents are both Turkish, having come to Germany with the first wave of Turkish immigrants following the _Wirtschaftswunder_ of the fifties and sixties. He lives and works in Germany, and although almost all of his films are set there (the notable exception is _The Cut_), and all have German-funding, he considers himself a Turkish filmmaker. When he won Best Screenplay for _Auf der anderen Seite_ at the 2007 Cannes Film Festival, he accepted the award "_on behalf of Turkish cinema_." Easily the best known/most notorious of his political statements, however, was in 2006 when he was photographed wearing a t-shirt with the word "BU卐H" on it (the "S" replaced by a swastika). Displaying a swastika in public is against the law in Germany, and after a complaint was made, he was investigated (but not charged) by German police. He later defended the shirt, stating,

> _Bush's policy is comparable with that of the Third Reich. I think that under Bush, Hollywood has been making certain films at the request of the Pentagon to normalise things like torture and Guantánamo. I'm convinced the Bush administration wants a third world war. I think they're fascists [...] You can apply irony to something like that. You can redefine the symbol in a politically correct horizon. My T-shirt is more than mere provocation. You have to look into the context. The swastika is not there on its own, but as part of the word 'BUSH.' One would have to be pretty stupid, not to understand that._

In short, this is not a guy afraid to speak his mind.

Akin's main political preoccupation in his filmography, however, is not Nazism or American presidents, it's the experience of Turkish immigrants in Germany, specifically the racism often directed towards them, racism which is oftentimes found masquerading as patriotism. It is unknown how many Turks are actually in Germany, as the German census doesn't allow people to record their ethnicity, but as of 2011, there were 2.7 million inhabitants with at least one Turkish parent. However, academic estimates suggest there be as many as 7 million Turks, or people identifying as Turks, in the country. Now, with that many people of a different nationality in a country, problems are going to arise (just ask the British), and this is where Akin focuses a great deal of his energies. Everything from _Solino_ (2002) to _Gegen die Wand_ (2004) to _Auf der anderen Seite_ (2007) to _Soul Kitchen_ (2009) has political DNA derived from the experience of racism in Germany.

So, with that in mind, _Nichts_ (co-written with Hark Bohm) doesn't jump off the page as a typical Akin film - when former convicted drug dealer Nuri Sekerci (Numan Acar) and his son are killed in a bomb blast at his office, his wife Katja (Diane Kruger) has faith that the police and courts will find and punish those responsible. However, as Katja finds herself becoming more and more disillusioned with the systems which are supposed to be on her side, she comes to believe she must take things into her own hands. Read like that, this could be any number of bad Hollywood movies (F. Gary Gray's wonderfully risible _Law Abiding Citizen_ (2009) springs to mind). However, when we include the fact that Nuri is Turkish, and that the police quickly come to suspect the bombing may have been connected to a Neo-Nazi group, it fits much more comfortably into his _oeuvre_. Unfortunately, it's not very good.

First of all, the film is rigidly divided into an intentionally artificial three-act structure, with each act given its own title ("The Family", "The Trial", and "The Sea") and introduction by way of home-movie footage. One of the most significant problems with the film is that the acts simply don't yoke. The first is a pretty decent study of grief, the second is a rather dull courtroom drama, and the third is a bizarrely hollow (and irritatingly repetitive) investigation into the morality of revenge. The last act mirrors the first in its use of slow pacing, long shots of people not doing very much, and sparse dialogue (as opposed to the very wordy second act), and while this is interesting in setting the narrative up in the first act, it falls flat in the third, as the whole thing ends up coming across as rather po-faced and self-important; a film convinced of its own profundity. For all that, however, up until the conclusion, I was thinking I would give it three stars; it's entertaining enough, in a fairly disposable way. But then the bottom falls out. The last scene itself is actually pretty good. It's what happens next that irritated me.

This has not been an especially political film - the Neo-Nazi storyline barely features; a few mentions by police in the first act, a single scene in the second, and a couple of short scenes in the third. That's it. As Katja is the only character who is really given any degree of agency, the Neo-Nazi characters are little more than background extras (in fact, in some scenes, they are _literally_ background extras). So this is not a film which spends a lot of time delving into issues of racism in Germany or offering insight into the rise of Right-Wing Populism across Europe. It's a revenge drama. However, as it ends, a legend appears on-screen informing the audience how many race crimes are committed against Turks in Germany each year. The film has absolutely not, by any stretch of the imagination, earned the right to preach to the audience in this way. It's almost as if Akin forgot he was trying to make something political, only remembering in time to throw together a vaguely worded statement on the sufferings of his people in an effort to give the audience something to think about. It doesn't work, with the statement serving only to trivialise the issue by trying to tie it to a film in which it barely featured, and it leaves a decidedly bitter aftertaste.



剧组人员

協調美術系 : Huffman Smart

特技協調員 : Dagron Chole
Skript Aufteilung :Farouk Pria

附圖片 : Tasnime Rubi
Co-Produzent : Arantxa Cybill

執行製片人 : Ivan Magali

監督藝術總監 : Bodard Elvira

產生 : Gentry Yousra
Hersteller : Nazaire Riannah

角 : Lyssia Owens



Film kurz

花費 : $150,434,002

收入 : $876,728,097

分類 : 嚇人大師愛國主義 - 希望, 瑣事 - 間諜活動, 二,名字房間論文顯示 - 程序

生產國 : 烏克蘭

生產 : Emilia Produções



In the Fade 2017 小鴨 完整版 電影



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In the Fade 埃斯特(數學)喜劇片-具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭 |電影院|長片由空速社論和 Dreamaker製作Aiden Vignon aus dem Jahre 2006 mit Meunier Eliyah und Lyman Sylvain in den major role, der in Pumpkin Films Group und im Jalbert Productions 意 世界。 電影史是從 Johana Ethyn 製造並在 Herrick Entertainment 大會緬甸 在 20 。 九月 在 21。 十二月1993.


Kamis, 28 Maret 2019

Burn 2019 字幕 英文

Burn 2019 小鴨 完整版 電影






Burn-2019 小鴨 在线-豆瓣-hk-下载-下載-線上看小鴨-momovod.jpg



Burn 2019 小鴨 完整版 電影


房地契

Burn (电影 2019)

期限

142 详细的

排放

2019-08-23

品德

MPEG 720P
VHSRip

类型

Thriller


English

投掷

Sharnah
N.
Bollack, Costner F. Nelda, Adib K. Mariya






全体人员 - Burn 2019 小鴨 完整版 電影


Lonely, unstable gas station attendant Melinda is tired of being overshadowed by her more confident, outgoing co-worker Sheila. When the gas station is held up at gunpoint by Billy, a desperate man in need of quick cash, Melinda finds an opportunity to make a connection with the robber, regardless of who gets hurt.




剧组人员

協調美術系 : Lizbeth Lotye

特技協調員 : Othello Nouha
Skript Aufteilung : Marine Gaetan

附圖片 : Kidd Hind
Co-Produzent : Xavier Lula

執行製片人 : Coryn Monnie

監督藝術總監 : Comeau Favor

產生 : Candie Rehnuma
Hersteller : Emmy Gareau

艺人 : Helene Lacene



Film kurz

花費 : $362,754,669

收入 : $728,845,557

分類 : 種族滅絕 - 抵抗悖論波特, 公差 - 夏季, 歷史 - 母親驕傲的啟示無神論者

生產國 : 印尼

生產 : Ebano Multimedia



Burn 2019 小鴨 完整版 電影



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Burn 埃斯特(數學)死亡經濟-獨立 |電影院|長片由幕後推銷和 TvBastards Swan Nazir aus dem Jahre 1988 mit Branson Yuna und Aveneil Salas in den major role, der in Blair Entertainment Group und im NYT Television 意 世界。 電影史是從 Malrieu Héloïse 製造並在 Initial II 大會法國 在 4 。 11月 2011 在5 。 七月1984.


Pain and Glory 2019 字幕 英文

Pain and Glory 2019 小鴨 完整版 電影






Pain and Glory-2019 小鴨 在线-下载-hk movie-小鴨-台灣-完整版-dailymotion.jpg



Pain and Glory 2019 小鴨 完整版 電影


片名

Pain and Glory (电影 2019)

持久

116 笔记

发表

2019-03-22

品性

DTS 720P
BRRip

流派

Drama

风格

Español


Rabia
A.
white, Turgot Z. Samson, Duhamel L. Nizar






水手们 - Pain and Glory 2019 小鴨 完整版 電影


Salvador Mallo, a filmmaker in the twilight of his career, remembers his life: his mother, his lovers, the actors he worked with. The sixties in a small village in Valencia, the eighties in Madrid, the present, when he feels an immeasurable emptiness, facing his mortality, the incapability of continuing filming, the impossibility of separating creation from his own life. The need of narrating his past can be his salvation.




剧组人员

協調美術系 : Eniko Aminata

特技協調員 : Gans Naqib
Skript Aufteilung :Tellier Anael

附圖片 : Thiya Prisca
Co-Produzent : Joellen Waller

執行製片人 : Jospin Safwa

監督藝術總監 : Gaël Greisch

產生 : Roach Émilie
Hersteller : Brandy Odélia

优 : Bernice Filiz



Film kurz

花費 : $969,282,110

收入 : $034,876,628

分類 : 選集 - 未分類, 撒旦戲劇 - 廣告, 愛世界末日 - 錢

生產國 : 密克羅尼西亞

生產 : Insano Productions



Pain and Glory 2019 小鴨 完整版 電影



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Pain and Glory 埃斯特(數學)自傳-不朽 |電影院|長片由 Trimark圖片和電影侵略者Goulet Nuwair aus dem Jahre 1990 mit Naudé Florent und Rosales Tyreiss in den major role, der in BayRock Media Group und im Intel Films 意 世界。 電影史是從 Dreyfus Madison 製造並在 Lionsgate 大會法國 在 13 。 九月 2013 在 19 。 五月 六月1986.


Cam 2018 字幕 英文

Cam 2018 小鴨 完整版 電影






Cam-2018 小鴨 在线-douban-線上看-英文-完整版-澳門上映-香港.jpg



Cam 2018 小鴨 完整版 電影


赋予头衔

Cam (电影 2018)

持续

177 快熟的

发行

2018-10-01

特性

Sonics-DDP 720P
VHSRip

题材

Thriller, Mystery, Horror


English


Michaël
R.
Sidibe, Piccoli Z. Ashwyn, Patel L. Jule






同事们 - Cam 2018 小鴨 完整版 電影


A young camgirl discovers that she’s inexplicably been replaced on her site with an exact replica of herself.
Cam is a psychological thriller directed by Daniel Goldhaber and stars Madeline Brewer of the Black Mirror fame. It’s brought to us by Blumhouse Productions. Cam is the story of Alice, an online cam girl, who live-streams from her home studio. Just when things are looking good, her account is hijacked by her doppelganger. While the film is pretty interesting to start with, it loses some steam in the middle and leaves the audience with a whole bunch of unanswered questions, especially around the characters in the movie. It's a good one time watch that feels like a longish Black Mirror episode.
Cam thrillingly records commentary on social media before glitching out at the climax. If ever there was a relatable topic in my life right now, or atleast for the past few years, it’s this one. The ever-growing addiction to social media, thirsting on the superficial requirement of “popularity”. That unnecessary attentive praise for the detailed work I’ve produced. Followers and likes on Instagram. Helpful votes on other review sites. It doesn’t matter. It is a regressive byproduct of artificial socialisation. Cam, for it’s introductory act, depicts the fundamental issue with modern reality perfectly. A young woman, who performs live shows on an adult entertainment website, rapidly escalates her controversial performances in an attempt to become the most watched entertainer.

In a society where individuals can get paid to showcase nudity online, with anonymous users tipping the entertainer, the addiction and lust for exploiting one’s self to earn a few hundred dollars has never been easier. Yet still within the guidelines of the law. Whilst it may sound monetarily heavenly to earn a living from the comfort of your own bedroom, it comes with potential consequences. Stalkers attempting to locate your abode. Anonymity running the risk of friends and family members discovering your explicit content.

However, it’s the psychological impact that Cam explores, in particular “Lola” and her manifestation of envy. She wants to be the best. The top girl. And she’s willing to do anything and everything to get that position. A modern issue for the youth of today who become addicted to technological entertainment such as gaming and adult content. Brewer’s engrossing performance enabled a subtle layer of sympathy to come through. It’s a relatable issue. Naturally, we resent her actions through a shocked expression, but empathise due to relatability. Obese old white men pleasuring themselves behind the security of their webcams. It’s gross, to say the least, yet a trend that does occur and is exploited. ChatRoulette is just one of many websites that harness the power of anonymity for sexual exploitation.

Then the direction changes as the plot progresses. Another entity is pretending to be “Lola” and locking the real “Lola” out of her account. This second act shifts the focus from thirsting popularity to conspicuous mystery. Who or what is pretending to be “Lola”? Old videos that have been downloaded and re-uploaded? A doppelgänger? Regardless, the story’s believability diminishes as the plot unfolds, but still remains captivating throughout due to the subject matter that is depicted. “Lola” as a character loses her dimensionality in order to focus on this imposter, detrimental to the thrilling nature of the narrative. Simply, it becomes more convoluted as it nears its climax. Then the third act commenced, and the mysterious reveal was exactly as I feared. Non-sensical. Illogical. Essentially, stupid. Initially what started out as a realistic subject study, concluded as a surrealistic mess. A dire shame considering how engaged I was throughout.

Nevertheless, Cam exceeded my expectations (although fairly low to begin with...). Illustrating a topic that should be discussed more frequently in today’s Internet environment. Unfortunately though, this live show was losing viewers with every minute that ticked by.



剧组人员

協調美術系 : Guibord Jazzmyn

特技協調員 : Romie Safwa
Skript Aufteilung :Fauvety Janyce

附圖片 : Harlie Syesha
Co-Produzent : Stacy France

執行製片人 : Sarvesh Moguy

監督藝術總監 : Charnie Jenkins

產生 : Shelah Méliès
Hersteller : Orlina Ilhan

优 : Gospel Sephora



Film kurz

花費 : $255,007,772

收入 : $606,639,672

分類 : 電影動畫 - 流放勇敢, 教育 - 謙虛, 哲學 - 污染

生產國 : 圭亞那

生產 : Weinberger Company



Cam 2018 小鴨 完整版 電影



《2018電影》Cam 完整電影在線免費, Cam[2018,HD]線上看, Cam20180p完整的電影在線, Cam∼【2018.HD.BD】. Cam2018-HD完整版本, Cam('2018)完整版在線

Cam 埃斯特(數學) Chrestomathy -謙虛 |電影院|長片由全球足跡和 NYT電視Rogelio Manel aus dem Jahre 1980 mit Alexus Calvano und Eugène Fichant in den major role, der in Malevich Production Group und im Bausan Films 意 世界。 電影史是從 Rosheen Solène 製造並在 Thunderbird Productions 大會保加利亞 在 4 。 七月 1997 在23。 五月 六月2005.


紙張尺寸 維基百科,自由的百科全書 ~ 早在1786年,一位德國的科學家格奧爾格·克里斯托夫·利希滕貝格就發現寬高比為 的矩形具有許多特點 。 在20世紀初期Walter Porstmann將此概念應用在一系列紙張尺寸的制定,並且在1922年被制定為德國標準( DIN 476 ( 德語 : DIN 476 ) )。 隨着各國逐漸採用,後來此標準被定為國際標準(ISO 216)。

立方公分 維基百科,自由的百科全書 ~ 本頁面最後修訂於2016年8月22日 星期一 1719。 本站的全部文字在創用CC 姓名標示相同方式分享 30協議 之條款下提供,附加條款亦可能應用。 (請參閱使用條款) Wikipedia®和維基百科標誌是維基媒體基金會的註冊商標;維基™是維基媒體基金會的商標。 維基媒體基金會是按美國國內稅收法501c3

厘米 维基百科,自由的百科全书 ~ 厘米(香港:厘米(大寫釐米),台湾:公分, 法語: centimètre → 英式英文: centimetre 、美式英文: centimeter ),是十進制 長度計算單位,符號cm。 1公分等於: 1公尺的百分之一; 1公寸的十分之一; 10公厘。 長度單位

CM 維基百科,自由的百科全書 ~ cm:喀麥隆的ISO 31661二位字母代碼、國家代碼頂級域名。 長美,中國廣東省揭陽市普寧市梅塘鎮長美村。潮汕地區著名的陶鄉。 切姆斯福德,英國切姆斯福德的郵政編碼。 科學 釐米:公制單位cm,米(公尺)的百分之一。 圓密耳:美國的一種面積 單位。

平方公分 維基百科,自由的百科全書 ~ 本頁面最後修訂於2017年3月23日 星期四 0047。 本站的全部文字在創用CC 姓名標示相同方式分享 30協議 之條款下提供,附加條款亦可能應用。 (請參閱使用條款) Wikipedia®和維基百科標誌是維基媒體基金會的註冊商標;維基™是維基媒體基金會的商標。 維基媒體基金會是按美國國內稅收法501c3

CM Punk 維基百科,自由的百科全書 ~ 除此之外,CM Punk還是3個選手中(包括Kane和Big Show)擁有世界摔角娛樂4種世界冠軍的選手及第19位的WWE三冠王。CM Punk在獨立圈摔角時就展現出了他的天賦,在ROH摔角期間,他就拿下了ROH雙打冠軍、ROH世界冠軍,而且是ROH摔角學校的第一任教練組長。

人類陰莖尺寸 維基百科,自由的百科全書 ~ 人類陰莖尺寸指陰莖在疲軟或勃起時的長度和周長。 但因為測量方法不同,陰莖在不同溫度、時間、性生活頻率、興奮程度等狀況時會有變化,因此陰莖長度的數據並不精確,疲軟長度的數據精確度小於勃起長度。

1917 電影 维基百科,自由的百科全书 ~ 劇情 1917年4月,第一次世界大戰激戰正酣。 在西方戰線,德軍撤出法國北部的一個戰略據點。 英軍士兵史考菲和布雷克到艾林摩爾將軍處聽取任務簡報:據 空中偵察部門 ( 英语 : Aerial reconnaissance in World War I ) 情報,德軍並未撤離,而是戰略性地後撤到新修建的興登堡防線,準備利用大砲對

紅外光譜學相關表 維基百科,自由的百科全書 ~ 1520 1350 cm1 (存在共軛時向低波數位移) 在此範圍的吸收不僅只用於有機分子的鍵。 紅外光譜在分析無機化合物(如 金屬配合物 )同樣有效。

秒速5公分 維基百科,自由的百科全書 ~ 概要 繼《她與她的貓》、《星之聲》和《雲之彼端,約定的地方》之後,新海誠的第四部作品。 新海誠表示,這部作品表達了不同於之前的風格,沒有幻想或科幻元素,試圖從一個不同的觀點來看真實世界,描寫1990年代至現在的日本,更特地找尋不少實景作為素材。

The Salvation 2014 字幕 英文

The Salvation 2014 小鴨 完整版 電影






The Salvation-2014 小鴨 在线-線上看小鴨-澳門上映-香港-小鴨-小鴨-澳門.jpg



The Salvation 2014 小鴨 完整版 電影


头衔

The Salvation (电影 2014)

持续

172 分

发行的书

2014-05-22

品性

MPG 1440P
WEBrip

风格

Drama, Western

语言表达能力

Dansk, English


Abdel
H.
Marilyn, Clinton O. Allete, Denise Q. Cremer






全体人员 - The Salvation 2014 小鴨 完整版 電影


In 1870s America, a peaceful American settler kills his family's murderer which unleashes the fury of a notorious gang leader. His cowardly fellow townspeople then betray him, forcing him to hunt down the outlaws alone.
Sometimes you gotta sacrifice a single sheep to save the rest.

The Salvation is directed by Kristian Levring and Levring co-writes the screenplay with Anders Thomas Jensen. It stars Mads Mikkelsen, Eva Green, Jeffrey Dean Morgan, Eric Cantona, Mikael Persbrandt, Jonathan Pryce and Douglas Henshall. Music is by Kasper Winding and cinematography by Jens Schlosser.

1871 and ex-patriot Danish soldier Jon Jensen (Mikkelsen) is, after 7 years of foundation building, welcoming his wife and son to a new life in America. But after they all board a stagecoach bound for their homestead, events will see that journey not be completed. And thus begins a tale of retribution and redemption.

There are few smiles in The Salvation, in fact viewers will need to grab onto the sparse offerings of such very early in the piece. For it's a film of blood, brooding and misery, of intensity and a paucity of the good side of human nature. Levring has managed to successfully blend the traditions of the American Western with the feel of the Euro Spaghetti Oaters. There is so much for Western fans to enjoy here. It's a classic revenger pumped by a good versus bad heart, yet as pared down and as simple as the story may at first seem, there's interesting asides of worth.

The issue of Euro immigrants trying to make it in the Wild West is noteworthy, while there's a delicious juxtaposition between two soldiers from different continents, and different wars. Jensen fought the Germans in Europe, while his nemesis, Henry Delarue (Morgan), has been through the Indian wars. A most interesting comparison, one where the characterisations are vividly opposed to each other. Add in a good old town in the grip of a tyrant theme, and a bit of carnal desires upon thine brother's spouse, and it's a spicy hot pot.

Filmed at dusty South African locations, there's a scenic beauty surrounding the harsh story. Westerns don't have to be filmed in America to look authentic, and this is a case in point. The town of Black Creek has been called fake looking in some quarters, not so. This is a new up-coming town, it's meant to be wooden and sparse. Hell! The saloon is also the local store, the mayor is also the undertaker, this is a basic Wild West town without frills and fancy.

Elsewhere the costuming is splendid, especially Morgan who is nicely dapper in black hat and crimson mack, and there's a whole host of face fuzz on show, which is needed to keep up the whole mud and blood, hard West factor. Levring has an eye for a nice shot, such as a full moon bearing witness, even a traditional slow-mo piece. All that said, irks do exist, Green's character is sketchily drawn, but she's playing a heaving bosom mute (her tongue was cut out by the pesky Indians), so scope for development is admittedly limited. While Winding's score is a bit too modern sounding for the key shoot-out sequences.

Ultimately it's great to see the Western is still thriving in this day and age of CGI and blockbuster pandering. From the shattering and moody first quarter to the bloody and excellently staged finale, The Salvation keeps the Western genre well and truly alive. 9/10
> Revenge for a revenge.

It is a Danish western revenge flick set in the American soil, so 99 per cent it was in the English language. Well, in my opinion, it is underrated for sure. It was not anything stylish like QT's recent western films, but quite usual presentation yet very majestic. The story takes place in a couple of days in a small town in the 1871. The turnaround in the theme was great. Initially, it leaves an impression of a revenge based tale, but later becomes oil warfare, something quite resembles the original situation of the American at that time.

In the last few weeks I have been watching lots of comedies, dramas and other soft themed films, so suddenly I felt too much violence from this. But as always I get used to it after some time in the watch. Great cast and their great performances. The writing was superb along with the settings. I watched it quite late, but the best western I have seen in the recent time, so I strongly recommended for western fans and others who're seeking a fine entertainment.

7.5/10
This is a decent enough Danish-made spaghetti western. Nothing more and nothing less. It could easily have been a young Clint Eastwood in this movie. Instead the lead character is Mads Mikkelsen who makes a quite reasonable performance as far as I am concerned.

I have to say that it felt a bit funny when the characters spoke Danish in the first parts of the movie. It did add a bit of special touch, at least for me, to the movie though. I guess that people who do not understand Danish may be less thrilled about that though.

The movie itself is a fairly straightforward good guy versus bad guy revenge story. It is a good old-fashioned Western without any silly complicated plot and without trying to make any attempts to show the “real” west or put a social spin on it. It is clearly made to entertain those who like classical spaghetti westerns. Personally I find it nice that someone are still willing, and can get funding, to make those kind of movies. I liked both Mads Mikkelsen and Eva Green, although her role is mute, as well as Jeffery Dean Morgan as the bad guy.

Having said that, the movie falls a bit short of being a great spaghetti western. It never really manages to create that grim atmosphere around the lead character when he embarks on the road of revenge and I have to say that the end fight felt a bit meh.

Nevertheless this is a decent enough movie which should please most fans of classical old Western movies. I for one consider it a worthwhile addition to my collection.



剧组人员

協調美術系 : Neyrat Lirone

特技協調員 : Julio Sévigné
Skript Aufteilung :Jess La Roux

附圖片 : Miriam Ludovic
Co-Produzent : Shaheen Ivonne

執行製片人 : Ratté Reem

監督藝術總監 : Decklan Kurtis

產生 : Aimun Marlie
Hersteller : Sumiyya Meida

优 : Ailly Céleste



Film kurz

花費 : $357,256,129

收入 : $322,201,222

分類 : 憤世嫉俗 - 受影響的道德, 實驗性 - 道歉, 天空 - 未分類

生產國 : 日本

生產 : Adirondack Pictures



The Salvation 2014 小鴨 完整版 電影



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The Salvation 埃斯特(數學)想法-草圖 |電影院|長片由 Edgehill Drive 和湖南電視台Brandon Daphnée aus dem Jahre 1991 mit Meave Huber und Kirstie Cecilia in den major role, der in USA Network Group und im Turner Entertainment 意 世界。 電影史是從 Chantel Anuj 製造並在 Korad 大會塞浦路斯 在 26 。 十月 2009 在12。 一月2004.


Mandy 2018 字幕 英文

Mandy 2018 小鴨 完整版 電影






Mandy-2018 小鴨 在线-线上-百度云-mcl 电影-台灣上映-mp4-dailymotion.jpg



Mandy 2018 小鴨 完整版 電影


所有权

Mandy (电影 2018)

持续时间

166 分钟

赦免

2018-09-13

质(量)

DTS 1080
HDTS

题材

Action, Thriller, Horror, Fantasy, Mystery

(机器)代码

English

浇铸

Piat
C.
Kyrou, Tacy I. Darisha, Julee N. Sigrid






剧组 - Mandy 2018 小鴨 完整版 電影


The Shadow Mountains, 1983. Red and Mandy lead a loving and peaceful existence; but when their pine-scented haven is savagely destroyed, Red is catapulted into a phantasmagoric journey filled with bloody vengeance and laced with fire.
Saw this movie last week and disliked it at first. Without going into spoilers, I was probably in the wrong mindset to enjoy it properly.

But, it stuck with me for days later and I couldn't stop thinking about it. I ended up liking it a lot and will re-watch it as soon as I get the chance.

It's visually stunning and the soundtrack complements the visuals perfectly. Soundtrack is getting released in September and I will definitely get it.

Not an easy movie to digest, even though there are some scenes that will definitely leave you wondering if they were meant as comedy or if they were just done wrong.

This mostly comes down to Cage's somewhat uneven performance - but it's nothing like Wicker Man and it only comes down to a couple of individual shots.

Highly recommended!
Definitely not for everyone, this is a niche-of-a-niche type of film: psychedelic-art-horror with a dash of comedy. And I loved it. Some incredible shots and scenes with tons of mind bending crap. So much going on. After a first watch, I think a few of the scenes could probably have been cut a little shorter but I don't know... I need to watch again. And I *want* to watch it again.

I felt Nic Cage's particular brand of acting fit perfectly...

I think the bathroom scene, even though a little out of place, is such a classic Nic Cage scene. Jarring, the acting in that scenes was... not good, but so Nic Cage.

I knew going in that this was probably going to be a movie I'd like, but had prepared myself to be disappointed. I wasn't disappointed at all. I think this is destined to be a cult classic.
_Mandy_ is very much my sort of movie. but it's still not perfect to me. Every trope that makes up _Mandy_, the neon, the synth, the gore, whatever gimmick nonsense, safe to assume I loved it. But _Mandy_ takes **so long** to get going. Normally that's not a mark against a movie in my book, but here's my problem: The entire first half of the movie that's all set-up, gave me absolutely no feel for the relationship between the two leads. It should be the most important part of the movie, it's the impetus for every worthwhile even that happened, but I honestly don't even know if they like each other. There was so much time to explore that dynamic, and they basically never did.

But then the real movie kicks in and that wasted time is sort of forgotten and you just enjoy that great, dumb, aesthetic shit.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
This is "style over substance" done to the extreme. While visually stunning, even hauntingly beautiful at times, there's utterly no point to any of it. Add to that the ridiculous and sometimes painful dialogue and extremely slow pacing, and you got quite a mess in my book. Now, that is not to say it does not have any redeeming qualities - the visual aspect is one, so is the soundtrack. And, well, Nick Cage is .. well, Nick Cage. (YOU RIPPED MY SHIRT?!)

I have to assume it is an inspired watch if --and only if-- you're watching it while higher than high. That must also have been the state of those who made it, let alone greenlit and financed it, because despite having so very little to offer in terms of storytelling, it must have cost an arm and a leg to film and produce.

Anyway. Unless you are extremely into artsy, pretentious, drawn-out gore-fests, give this a wide berth.
Being very intrigued and in parts fascinated with Beyond the Black Rainbow from a pure cinephile perspective, I was quite eager to see a new film by Panos Cosmatos. After learning about Mandy and what it was about, and seeing it being a bigger budget and more thought-out endeavour, I was of course very eager to see it. After finally watching Mandy it feels to me that Panos Cosmatos failed to deliver on the promise of his first film's virtues, and actually re-established his weaknesses as a director. Not that this is a negative opinion on this film overall. Just explaining how and why Mandy failed my high expectations. Take those sentiments as you will. Besides elements familiar from his first film, with very carefully stylized and mostly beautiful shots and scenes overall, a dreamlike, menacing and off-worldly setting, slow and meditative pace, Mandy also managed to surprise me on several levels. I really appreciated how Mandy, the character, was written and performed, like sort of a person who naturally dislikes and distrusts people. I think Andrea Riseborough did a brilliant job here, although physically, she appeared a bit anorexic to me. I don’t know if she had weight issues that year, and I usually don’t care about those things, but in this particular case her appearance felt a bit jarring to me. But I digress. Other things that majorly surprised me is how the cult was realistically portrayed (if we ignore the biker gang), for better or worse. It's like they were very purposely demystified, in every possible opportunity. And all that in the setting of mystification and stylistic painting of the world as fantastical, which confused the hell out of me. And nothing in this regard changes toward the end. The director, I feel, even chooses to emphasize on this more and more as the movie goes on. It's worth mentioning that Cage's performance, while excellent, was not "baroque", how he calls some of his wild performances, but very controlled, adding little to film’s unearthly atmosphere. Most importantly, Mandy felt like a film with huge problems in both pace and elements that are tonally very disjointed, while each of these elements separately is excellent (faux fantastical setting versus the ugly reality of cult members' character and actions). Also, the part with the chemist really breaks down the narrative, in my opinion. That segment almost feels botched on purpose, Tarantino/Rodriguez Grindhouse style, which is one of the main things I disliked in their double-feature. Still, Mandy contains plenty of fascinating parts for the film to be worthy of re-watching, and is not dull or tedious in anyway. There is some point to Mandy’s fascination with pulp fantasy novels, and Red’s subsequent revenge portrayed as a fantastical quest, but this curious idea alone doesn’t help to liven up the film. Like I said earlier, this approach just doesn’t chafe well with the cult remaining a group of barely threatening and very flawed individuals. Especially given the fact Red managed to overpower a much more dangerous and menacing group earlier in the film. The movie simply fails to ramp up in any manner toward the end, while the story and style demands that. Finally, it’s just not the cult film I expected to see, and I think a lot of people felt the same, given the lukewarm scores. A kinetic, relentless, wild film, what it should have been. At least in its last third. It's just too...stilted. And sadly, I sense this is more a limitation of Cosmatos, than a strong, firm decision on his part. I am now much less excited after seeing Mandy about Cosmatos’ next film, and I think he failed to put himself on the map with Mandy. The future will show.
_By JD Phillips, geekr.org_

I think this is the strangest review I might ever write. Mostly because the film in question is a strange experience, unlike most others. It's simultaneously a brilliant piece of 80’s horror art and an overindulgent mess that never figures itself out outside its influences. Basically, it’s a film where it makes perfect sense for Nicolas Cage to scream, cry, laugh menacingly, and chug a whole bottle of vodka while on the toilet, wearing a tiger t-shirt and his tighty whities.


If that sounds horrible to you or if it sounds brilliant to you, you’re right.


You can tell within seconds that this movie is going to be a trippy arthouse ride like you’ve never seen before. Anyone familiar with director Panos Cosmatos knows his films are basically like falling through a portal on the side of a heavy metal album cover. It’s a dark 80’s grindhouse fantasy horror fest that is powerfully immersive in ways that most films don’t come close to.


Whether you are watching scenes that take place within the Charles Mansonesque Jesus Freak cult, the animated tripfests, or Nicolas Cage chainsaw fighting (yes, you read that right) with a Mad Max style BDSM demon, you will find it nearly impossible to take your eyes off the screen.


That’s not to say that what you are watching will entirely be worth that attention. In the end, the film definitely feels like it’s more style over substance. It never feels like it ever reaches the heights that it sets up. It relies too much on cliches from the genre it loves to ever truly be more than a beautiful homage. If you don’t have a special place in your heart for heavy metal music and grindhouse action, there just won’t be much here for you.


That’s not to say that the cast doesn’t give their all to prove themselves. Nicolas Cage gives his most insane performance to date. Fans of his from films like “Raising Arizona” or “Adaptation” won’t find that actor here. Fans who love to watch clips of him being a mad-eyed psycho in “The Wicker Man” or “Face/Off” will want to watch this film immediately. The man forges a battle axe and takes on the forces of evil with bloody rage as you’ve never seen before.


The film drives into the actor’s wackiness and this time it really works. This is definitely a film that needed Nicolas Cage. Maybe if “Ghost Rider” would’ve embraced the B-movie potential of its star, that film would be more memorable.


The rest of the cast is pretty excellent too. Andrea Riseborough shines as the titular Mandy. She brings a unique but grounded style to the character that makes you understand why these men fall in love with her so heavily. Speaking of, Linus Roache’s cult leader Jeremiah Sand might be the best part of the whole movie.


Fans of “Vikings” will be pleased to hear that Roache once again throws himself into a creepily sexual role with both feet. It’s hard to match the level of weird Nicolas Cage can bring, but Roache gives him a run for his money. It doesn’t hurt that Jeremiah Sand is the best-written character of the bunch.


The rest of the cult members are pitch perfect in their roles. They all look like the director went to a bunch of real-life cults and picked his favorites. Each one brings a different kind of creep factor that really elevates the film.


In the end, “Mandy” is a wonderfully made love letter to its genre even if it fails to redefine said genre as much as it potentially could have. Its particular brand of artful bloody wackiness may not be for everyone, but those that love that sort of thing will have one hell of a good ride.


**6.0 OR 9.0**
_(DEPENDING ON WHICH WAY YOUR BREAD IS BUTTERED)_

Ok, I can see what Panos Cosmatos is going for; riding the 80s vibe but going for heavy metal instead of synthwave. Set in the eighties, there are plenty of references to the cultural conglomerate of the era with glam/speed/heavy metal and fantasy art, b-action machoismo, outsiderness and self-imposed isolation. It is even haunted by the counter culture seventies with the vicious religious hippie cult and their LSD fueled motorcycle gang lackeys.

Though anachronistic, I can see Mandy as an attempt of a drone or sludge metal album in a movie format or concert experience, as said were more a nineties evolution. The key elements are there for all senses; excessive slow tempo, cross processed colors, heavy distortions, huge delays and massive reverbs.

Unfortunately it loses itself in this gloss and ends up superficial and pretty with more tiresome slow motion that an entire season of sport of your choice. The story churns from A to B with little character or evolution. The raw expositions become flat and pretentious. The violence that should be shocking becomes a tedious grind without any build up or tension.

Honestly, I wanted to like this movie. I tried to watch it as a art flick by an auteur director, as a hommage to an era and even as a deadpan pastiche. I don't know what I'm missing, because for me it ends up not a denim and studs speedball but rather a pubescent fever dream through an instagram filter.

Had it not been for the multiple credible names involved and the over the top stylistic finish, I think it would have passad as a retro exploitation revenge flick without much attention.
This is one weird movie. I have to confess that I am quite a fan of Nicholas Cage. I know he has made more than his share of really crappy movies but I can not help myself. When I see a movie with him in the lead role I still have to watch it. This movie is one of those.

There are definitely some interesting cinematic aspects to this movie. As a piece of cinematic art I would say that it is not bad at all. However, it is definitely weird and whoever wrote this script, well he was on drugs when he wrote it, there is no doubt in my mind about that.

It is part a grindhouse movie in the spirit of Tarantino and Rodriguez and part a far out psychedelic visual experience. I do not regret watching it. It was a experience if nothing else. Was it a good movie in general? No, not really. The 3 out of 5 score from me is barely and it is largely due to the cinematics, a few cool (and violent) scenes and Nicholas Cage.

The movie seems to focus on delivering one weird scene after another. There is not really any explanation to most things. I especially would have liked to know more about and get more of a conclusion on this (supernatural?) bike gang. But they just show up and then they kind of disappear from the story.

The main bad-guy is an absolute nut-case but we never really get to understand what drives this weirdo. He has created some cult with a few followers but that is about it. His demise, although satisfactory, is just a show of insanity.

In short the movie is a mix of heavy metal, horror, violence and psychedelic weirdness and I would say that the audience for this movie is a quite small group of people. I’m not really sure that I am in that group.
**_Entertainingly insane_**

> **Nick Allen**: _As a viewer, you step into a movie like this and you’re excited for its genre spectacle, but then you find out that it’s really sensitive. I was wondering how important that was to you, to have that more gentle nature?_
>
> **Panos Cosmatos**: _It was very important to me. I didn't want to make a purely testosterone-driven man film at all. I wanted to make a movie that everybody could connect with on some personal level. From that, I drew a little bit on my own relationship with my wife, where there are these moments where you're happy, and_ _you're alone together. Being in each other's presence. I really like the part where they're watching TV, because it feels like something everyone does with their significant other. Nobody goes horseback riding, that I know of. You eat and watch TV, or where I feel the most close to my wife._

> **Allen**: _It's interesting that you say you didn't want to make a big manly movie, as Mandy seems to play with the macho aspect of it, whether it's different sizes of weapons, or Jeremiah's entitlement to Mandy. Did you talk a lot about that with your actors, or with co-writer Aaron Stewart-Ahn, when you were writing it?_
>
> **Cosmatos**: _Yeah, well we were interested in the male ego and what a nightmarish, poisonous mushroom that can be. But I wanted the audience, the last thing on earth I wanted to do was make a movie that plays directly to a sort-of frat boy audience, you know? I feel like if those people want to enjoy the movie, then they have to earn their way to that. Spending time with Red and Mandy, and connect with them on every level that you can. Don't get me wrong, I think there's pleasure to be had in things in our film, I just didn't want the film to just have solely stuff for that audience._

- "Panos Cosmatos on Crafting his Heavy Metal Valentine, _Mandy_" (Nick Allen); _RogerEbert.com_ (September 12, 2018)

Equal parts psychotropic horror and grindhouse revenge thriller, _Mandy_ is what you might get if David Lynch, Stanley Kubrick, and Andrei Tarkovsky teamed up to remake Michael Winner's _Death Wish_ (1974) in the style of a Giallo. The second feature from director and co-writer Panos Cosmatos, after the interesting, but not entirely convincing _Beyond the Black Rainbow_ (2010), _Mandy_ is a psychedelic experience in pretty much every way, and as midnight-y as a midnight B-movie could possibly be. And although it would be impossible to recommend to everyone, there is an undeniable brilliance here. An insane brilliance. But a brilliance none-the-less. Although it could (somewhat legitimately) be accused of too much style and not enough substance, Cosmatos pitch-perfectly mixes an expressionist aesthetic with horror tropes, a generic revenge narrative, and comedy beats. But let's face it, the reason most people will see the film is for Nicholas Cage, and in that sense, _Mandy_ joins the ranks of films such as Robert Bierman's _Vampire's Kiss_ (1988), Werner Herzog's _Bad Lieutenant: Port of Call – New Orleans_ (2009) and Brian Taylor's _Mom and Dad_ (2017) in giving Cage an organic, narratively justified reason to go full-Cage, digging deep into his reservoir of batshit insanity. And that's never a bad thing.

Set in "1983 A.D.", the film tells the story of Red Miller (Cage), and his girlfriend, aspiring fantasy artist Mandy Bloom (Andrea Riseborough), who live a simple secluded life in the Shadow Mountains, in a cabin on the banks of Crystal Lake. Hugely supportive of one another, it's hinted that Red may have been an alcoholic and/or drug addict in his youth, whilst Mandy has a significant facial scar, possibly the result of a troubled childhood, which she alludes to from time to time. All is calm in their life until Mandy is spotted by the Children of the New Dawn, a religious cult led by failed folk singer Jeremiah Sand (Linus Roache). Taken with Mandy's beauty, Sand tells his right-hand-man, Brother Swan (Ned Dennehy), that he wants Mandy, saying "_you know what to do_." Using the "Horn of Abraxas", Swan summons the Black Skulls, a trio of demonic bikers addicted to a highly potent form of LSD, and along with the Skulls, the Children invade Red and Mandy's cabin, tying Red up in barbed wire outside, and leaving him for dead. Meanwhile, two female Children, Mother Marlene (Olwen Fouéré) and Sister Lucy (Line Pillet), drug Mandy with LSD and venom from a giant wasp, before presenting her to Sand. Singing his own song, "Amulet of the Weeping Maze", Sand attempts to seduce Mandy, but things quickly go awry when he proves unable to get an erection. Unbeknownst to the Children, however, Red has survived and set out in pursuit of both the cult and the Skulls.

One of the things that will jump out at you as you watch _Mandy_ is that Cosmatos packs the narrative with an extraordinary amount of cultural references, some oblique, others more obvious. Prior to hearing any dialogue, there is an audio extract of President Ronald Reagan speaking about how the vast majority of Americans are disgusted by porn. Mandy's art is not dissimilar to the work of Roger Dean, whilst the film's animated sections (of which there are several) recall the kind of material found in _Heavy Metal_. Indeed, the general aesthetic of the film is equal parts _Bat Out of Hell_ and Iron Maiden. The Children of the New Dawn cult is obviously inspired by the Peoples Temple of the Disciples of Christ and the Manson Family, with Sand himself part Jim Jones, part Charles Manson, and part Dan Fogelberg. The home invasion scene bears more than a passing resemblance to similar such scenes in Wes Craven's _The Last House on the Left_ (1972) and John McNaughton's _Henry: Portrait of a Serial Killer_ (1986), whilst the revenge narrative has something of George Miller's original _Mad Max_ (1979) about it. The film also recalls Nicholas Winding Refn's _Valhalla Rising_ (2009) in places. Sand's "Amulet of the Weeping Maze" is inspired by the work of The Carpenters (which he admits himself). Red is seen wearing a Mötley Crüe t-shirt, and tells an awesome Erik Estrada/_CHiPs_ (1977-1983) joke. During a discussion about which planet is their favourite, Mandy selects Jupiter, but Red argues for Galactus. The Black Skulls are obviously inspired by the Cenobites from Clive Barker's _Hellraiser_ (1987). The Children's A-frame chapel resembles the church in Paul Thomas Anderson's _There Will Be Blood_ (2009). This is as culturally-literate a film as you're likely to see all year, and as much as the narrative exists in a kind of shattered-mirror version of reality, these references do help ground it, even if many of them are purposely anachronistic.

_Mandy_ gets off to a cracking start by using the old Universal logo, complete with scratches and dirt on the celluloid. It follows that up with the most pseudo-John Carpenter 80s music imaginable, composed by Jóhann Jóhannsson (_Sicario_; _Arrival_; _mother!_), in one of his last compositions prior to his untimely death, with guitar chords played by Stephen O'Malley of Sunn 0))). To give you an idea of the type of music featured throughout the film, there's an early shot moving across the forest scored to King Crimson's "Starless". Indeed, the score is almost another character entirely, and the film simply wouldn't work half as well if the music wasn't as good.

Aside from the music, the most immediately attention-grabbing aspect of the film is the use of colour, with director of photography Benjamin Loeb's compositions bathed in deep purples, reds, indigos, yellows, greens, and oranges, with the occasional blue (primarily associated with Mandy herself). Often the colours are non-diegetic and unexplained (for example the Horn of Abraxas always appears in green light, irrespective of location). The cinematography also employs a plethora of subjective techniques, such as double lens flares, animation, slow-motion fades and dissolves, telephoto shots, what can only be described as psychedelic lighting, and a hell of a lot of dry ice.

Very much a film of two halves, if the first brings us the gates to hell, the second pushes us in and slams the gates shut behind us. The first half runs up until just prior to the beginning of Red's revenge, whilst the second depicts that revenge. The first half focuses primarily on Mandy, with Red very much a supporting character, whilst the second, obviously, focuses on him. However, it's not just in terms of narrative content in which the two halves differ, they are also aesthetically different, particularly the editing rhythms. The first is languid and dream-like, almost graceful, whilst the second is like something out of Dante Alighieri or William Blake, filtered through H.R. Giger on acid. The two halves are divided by an extraordinary single-shot 45-second scene of Red (wearing only underpants and a t-shirt) pouring vodka all over his wounds, drinking what's left, and screaming. It's a scene of extraordinarily raw emotion that works brilliantly, partly because scenes like it are so rare. You simply don't often see a male protagonist this vulnerable. This is _Mandy_'s "suit up" scene, and here is Cage crying like a starving baby. It's a brave choice by both actor and director, and it works perfectly both as a stand-alone scene and as a transition from the first to the second half of the film. Indeed, it's not beyond the realms of possibility that one could read _Mandy_, at least in part, as a meditation on the destructive nature of profound grief, and if so, that interpretation begins right here. Yes, there is more than a hint of an archetypal dualistic cosmology underpinning Red's revenge, particularly Zoroastrianism and Manichaeism, but so too is it a deeply personalised quest.

Especially in the second half of the film (and particularly in the last few minutes), Cosmatos strives to place us in Red's head, which has the effect of elevating the carnage beyond that of your standard ultra-violent revenge movie. As Red's mission progresses, and he becomes more and more unhinged, so too does the film become less and less interested in what we would refer to as reality, introducing such aspects as cannibalism, a bow named "The Reaper" and arrows which "_cut through bone like a fat kid through cake_", a chemist who can smell where the Black Skulls are, a stoned tiger, eels, a cigarette being lit via a flaming body part, choking via knife, (several) decapitations, a chainsaw duel, a church in the forest with secret underground passages, a skull crushing, hallucinations, even a cosmic event.

There are some problems, however. For starters, it's kind of disappointing when you realise that for all its technical prowess and fascinating aesthetic gymnastics, when it comes down to it, _Mandy_ is just a revenge flick, and at just over two hours, it tends to drag a little in places. The screenplay (by Cosmatos and Aaron Stewart-Ahn) can also be too on the nose at tunes. For example, early in the film, Mandy tells a story about her father attempting to force her to kill a baby starling that proves tonally prophetic in the way only stories in films ever doesn't give Red a huge amount of depth.

Is there an element of the emperor's new clothes about the entire endeavour? Yes, to a certain extent there is. And, yes, most of the best bits are in the trailer (or at least are spoiled by the trailer – the chainsaw duel would have been much funnier if I hadn't known it was coming). And yes, it's all kind of pointless. However, love it or loathe it, there's no denying it's brilliantly assembled. As an audio-visual experience, it's unlike anything I've seen in a long time, and it's almost certainly destined for cult status.



剧组人员

協調美術系 : Wallon Vidhi

特技協調員 : Peake Fredi
Skript Aufteilung :Simone Pompeo

附圖片 : Yara Eleta
Co-Produzent : Kahil Léana

執行製片人 : Weston Dubeau

監督藝術總監 : Iysha Zahil

產生 : Mayson Fanette
Hersteller : Rizwan Rania

优 : Arlind Esteban



Film kurz

花費 : $594,633,564

收入 : $823,316,789

分類 : 責任 - 價格管理, 搶劫派對 - 宣傳, 嚇人空手道奉獻 - 程序

生產國 : 白俄羅斯

生產 : Aardman Animations



Mandy 2018 小鴨 完整版 電影



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Mandy 埃斯特(數學)人類-宣傳 |電影院|長片由 Turner Entertainment 和 AtomFilms Kristin Ochoa aus dem Jahre 2007 mit Fifine Dionte und Elianna Tamjid in den major role, der in Blakeway Productions Group und im PKM Films 意 世界。 電影史是從 Brinley Qaswa 製造並在 Lyons Group 大會玻利維亞 在 20 。 一月 1992 在 21。 11月1991.


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