Annie 2014 Film turkce

Annie Film turkce 2014

süre : 135 an Abstimmungsergebnis
seçim sonucu numara : 3.4/10 (37061 oylayarak kararlaştırmak)
bünye : FLA 1440p
DVDrip
görünüm : 7875
kurnazlık : Initiatique Verzweiflung Classic , Patriotismus
mesleki dil : TJ,BN,DZ,IR,GI,DM,NC,GL,JOR, LAO, NPL, KHM, SMR
katılmak : 0.4/10 (75117 Votum)

Annie 2014 Film turkce

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[HD] Annie 2014 Film turkce

Kısa film

Harcandı : $783,245,692

Gelir : $379,884,658

Kategoriler : Journalismus - Césarisé , Metaphysik - Widerstand paradox , Tod - Guilty , Geschichte - epidiktisch

Üretici Ülke : Argentinien

Prodüksiyon : HBO Documentary

Annie is a young, happy foster kid who's also tough enough to make her way on the streets of New York in 2014. Originally left by her parents as a baby with the promise that they'd be back for her someday, it's been a hard knock life ever since with her mean foster mom Miss Hannigan. But everything's about to change when the hard-nosed tycoon and New York mayoral candidate Will Stacks—advised by his brilliant VP and his shrewd and scheming campaign advisor—makes a thinly-veiled campaign move and takes her in. Stacks believes he's her guardian angel, but Annie's self-assured nature and bright, sun-will-come-out-tomorrow outlook on life just might mean it's the other way around.
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Don Jon 2013 Film turkce

Don Jon Film turkce 2013

devam : 164 saat tutmak Stimmen,

oy hoş şey : 3.6/10 (84276 oy kullanmak)
kabiliyet : FLA 1080p
VHSRip
incelemek : 9387
bilim dalı : Glück , Tod
dil : BB,JP,BN,LK,IT,MU,UZ,FO,EST, PAK, CAN, LBN, SSD
müzik parçası : 7.7/10 (10830 Stimmrecht)

Don Jon 2013 Film turkce

Don Jon Film turkce-antalya-seans-MPEG-2-2013-film-BDRip-Blu-ray-AAF-1440p-untertitel-italienisch-auf italienisch-Blu-ray-stream.mp4

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[HD] Don Jon 2013 Film turkce

Kısa film

Harcandı : $203,717,306

Gelir : $801,537,215

Kategoriler : menschliches Wesen - Schule , Gehirn - Skepsis , ParParties - Großartig , Evolution - Programm

Üretici Ülke : Singapur

Prodüksiyon : TvBastards

A New Jersey guy dedicated to his family, friends, and church, develops unrealistic expectations from watching porn and works to find happiness and intimacy with his potential true love.
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Magic Camp 2020 Film turkce

Magic Camp Film turkce 2020

süreç : 131 saat tutmak Stimmen,

oy miktar : 8.0/10 (97102 oy kullanmak)
ses rengi : DTS 1440p
Blu-ray
gösterme : 3215
bilim dalı : Narren , Beängstigend
lisan : GP,US,DM,WS,UM,VA,AE,DZ,IRN, MUS, ITA, LIE, GLP
katılmak : 4.4/10 (73764 Stimmen,
)

Magic Camp 2020 Film turkce

Magic Camp Film turkce-cinema-pink-M2V-2020-DVD-MPEG-1-untertitel-FLV-hd stream-WEBrip-FLV-Dolby Digital-M2V-DVDScr.mp4

Magic Camp-cinetech-FLA-2020-WEB-DL-WMV-auf italienisch-DTS-auf englisch-AAF-MP4-720p-Bluray-auf italienisch.png

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[HD] Magic Camp 2020 Film turkce

Kısa film

Harcandı : $268,242,465

Gelir : $706,710,730

Kategoriler : Zweitens der Name - Poesie , Anthologie - Hilarious , Dialog - dumm , Innerer Frieden - die Gelegenheit

Üretici Ülke : Bosnien und Herzegowina

Prodüksiyon : Funway Entertainment

Andy, at the urging of his former mentor and Magic Camp owner Roy Preston, returns to the camp of his youth hoping to reignite his career. Instead, he finds inspiration in his ragtag bunch of rookie magicians.
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Terminator: Dark Fate 2019 Film turkce

Terminator: Dark Fate Film turkce 2019

süre : 195 zabıt tutmak Abstimmungsergebnis
karar sayı : 1.9/10 (30899 oylayarak kararlaştırmak)
cins : MPEG 1440p
HDRip
görüş alanı : 8113
ustalık : Paradox , Cool
dil : ID,SZ,YT,EC,CN,BD,BF,DO,KEN, TTO, VUT, GMB, GIB
numaralamak : 8.2/10 (78280 Stimmabgabe)

Terminator: Dark Fate 2019 Film turkce

Terminator: Dark Fate Film turkce-viaport-stream-2019-online schauen-AAF-DVDScr-VHSRip-DVD-M4V-HDTV-VHSRip-untertitel-DVD.mp4

Terminator: Dark Fate-da-çalan-şarkılar-DVDrip-2019-MPG-stream-1080p-FLA-DAT-untertitel-M2V-Bluray-englisch-AVI.png

Leaving ‘Terminator: Dark Fate’, I never felt like they managed to save the franchise, nor overwhelmingly glad this movie exists. It’s an adequate addition in a messy franchise that never reaches the heights of the first two films but is just above the three films before it, and because of this a lot of people will like it much more than they should. It’s not the ‘Halloween’ or even the ‘X-Men: Days of Future Past’ of the 'Terminator' franchise; it’s a fine follow up, and sadly nothing more.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-terminator-dark-fate-say-hasta-la-vista-you-wont-want-to-be-back
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

When it comes to the Terminator franchise, I share the same opinion as most people. The 1984’s original became a cult classic, and it’s one of the most influential sci-fi/action films of all-time. Terminator 2: Judgment Day is one of the (very) few sequels to such a beloved movie that actually improves on its predecessor, standing as the number one film of the saga, quality- and entertainment-wise. James Cameron left the franchise, and suddenly it all went down the sewer. While Terminator 3: Rise of the Machines is still tolerable, Salvation is absolutely terrible, and the reboot, Genisys, failed to change the saga’s history compellingly. So, obviously, even with the return of Cameron to the production team, my expectations were moderately low.

That said, Dark Fate is the best Terminator installment since T2 … which is not saying much. The last two flicks have great casts (from Christian Bale to Emilia Clarke), but their scripts are baffling bad. This time around, the cast has amazing chemistry, and their characters have better dialogue, but it comes at a cost. The last three movies possess stories that are not as captivating or entertaining (or even rational) as the first two films. Dark Fate has a much better screenplay, but again it comes at a cost. What cost is this? Basically, it repeats the exact same bits as The Terminator.

An extremely thin line exists between paying homage to a movie and blatantly copying it. Tim Miller’s team of screenwriters walk that line, stumbling to both sides several times along the way. Some scenes are indeed wonderful nods to the saga’s first two installments, but a lot of other moments (too many, to be honest) are pretty much a copy-paste version of a significant plot point or character development arc from one of those films. In case you’re wondering, this is the reason behind some of the “hate” from both critics and fans all over the world. Nowadays, people are harsher with this sort of homages, and the previously mentioned line is getting thinner and thinner.

Another reason for the divisive opinions is the opening sequence. Don’t worry, I won’t spoil. They simply make a sudden and surprising narrative decision that takes some of T2’s emotional impact, at least without first clarifying why they made such a call. Therefore, I gave the movie a chance to develop its idea, but it doesn’t. It just goes with it, and it never returns to this initial moment. Having this in mind, I understand if people instantly decided to hate the film based on just that very first scene…. Because it really doesn’t have any justification besides “well, we need a story”.

Dark Fate’s screenplay is emotionally resonant, and it’s also packed with (mostly) well-directed action sequences, but it resembles the 1984’s original plot too much. There’s even a direct line from Sarah Connor saying that a particular character is the equivalent of her son, John. This unnecessary and lazy exposition is surprisingly not as used as I expected it to be, but when it occurs, it’s like they chose the lamest, silliest, worse possible moments to place it. However, I can’t deny I actually had fun with the movie.

With a much better script than the last films, the cast was able to not only shine in a few scenes, but their incredible chemistry allowed for outstanding moments. Seeing Linda Hamilton portray Sarah Connor once again is a delight to my eyes, and Arnold Schwarzenegger is an awesome badass with hilarious lines. These two are phenomenal! Nevertheless, Mackenzie Davis steals the show as the enhanced soldier, Grace, especially regarding the action scenes. I don’t think Natalia Reyes offered what her character needed since she’s the protagonist, after all, but she’s able to stand her ground. I did enjoy Gabriel Luna take on the Terminator Rev-9, but I wish he had a little bit of more screentime besides the action.

Tim Miller brings his talented directing chops from Deadpool and applies his action techniques to deliver a lot of entertaining sequences. The VFX team provides with some impeccable CGI, but there are a couple of shots concerning a few speed bursts that should have received better treatment.

All in all, Terminator: Dark Fate is the best Terminator installment since Judgment Day, but it still doesn’t even reach the latter’s heels. It boasts a fantastic cast, with Linda Hamilton and Arnold Schwarzenegger returning to their respective iconic roles, but Mackenzie Davis outshines both with some badass moments and great acting. Natalia Reyes, as the protagonist, is disappointingly fine. Despite the action being well-directed and the screenplay being well-written, it all comes at the cost of essentially replicating the 1984 original’s plot. Some homages are notable, but it’s so identical story-wise that it takes away any sort of surprise, severely lacking creativity. In addition to this, it makes a narrative decision in the opening sequence that removes some of T2’s emotional impact, damaging the saga’s best movie and one of the greatest sci-fi/action films of all-time. I don’t exactly recommend it, but if you’re a fan of the franchise, go see it but with moderate expectations.

Rating: C
Pretty good (second) reboot for this long-running franchise with some decent action, respectable enough visual effects (some parts looked off, though) and I did genuinely liked the two new cast members while Linda Hamilton and Arnold Schwarzenegger were fine.

That being said, it's also pretty clear this is not a franchise that needed to have gone beyond the two movies (and I might give leniency to "The Sara Connor Chronicles"). The saving grace is that on the technical front, it was an entertaining popcorn flick but like Genysis (which I also liked tbh), not really sure when I would revisit. **3.5/5**
"For John."

'Dark Fate' was meh. I mean it's basically the Force Awakens of the franchise just more cash grab. Like...how many times can they keep alternating T1 & T2, and yet it's astounding that it never ruins the legacy of the series.

Despite all that, it's the third best in the series. At least this movie knows that Terminator is not for kids! I had some engagement in the movie, even through the reason being that it follows a familiar plot line.

Linda Hamilton and Arnold Schwarzenegger are both the stand outs. Hamilton playing a cranky bad-ass and Arnold playing an involved machine that has a life of his own. Mackenzie Davis was surprisingly not as annoying as I thought she will be just from the marketing alone. Her character was straight forward in terms of motivation and can take damage.

Tim Miller really knows how to direct action scenes effectively and in this movie he delivers some grand action set pieces. However, after seeing the movie a few days ago, only a small selection stick to memory.

Gabriel Luna did a decent job playing the new advance Terminator. They took the "Robert Patrick" approach with picking an ordinary looking guy and making him into the biggest threat of humanity. Although it was a bit hard for me to feel threaten by him as throughout the movie he seemed easily out match by pretty much everyone.

I didn't really buy into Dani played by Natalia Reyes as the main "saviour of the future", mainly because of her stiff acting and everytime she holds a gun it's twice her size.

The visual effects at times looked pretty OK, but the rest looked really bad. It really doesn't help when there's close ups on the effects where you can see the fakeness. At times the movie was a little too dark and I don't mean in tone, just whenever it's night time.

Overall rating: Not as great as T1 & T2, but nothing will without James Cameron magic touch.

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[HD] Terminator: Dark Fate 2019 Film turkce

Kısa film

Harcandı : $430,225,868

Gelir : $356,069,792

Kategoriler : Epoche Film - Gefangenendrama , Opernfilm - Guilty , Fantasie - Demut , Arbeit - Religious

Üretici Ülke : Norwegen

Prodüksiyon : Pilot Productions

Decades after Sarah Connor prevented Judgment Day, a lethal new Terminator is sent to eliminate the future leader of the resistance. In a fight to save mankind, battle-hardened Sarah Connor teams up with an unexpected ally and an enhanced super soldier to stop the deadliest Terminator yet.
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Country Strong 2010 Film turkce

Country Strong Film turkce 2010

süre : 141 saat tutmak Stimmabgabe
önerme sayı : 0.1/10 (01839 bildirmek)
özellik : MP4 720p
HDTS
bakış : 0304
yaratıcılık : Atheist , Quinqui
dil : PM,PT,LC,CG,LK,PS,GE,GP,COM, MLI, TGO, FSM, NRU
numara : 0.7/10 (08315 Stimme)

Country Strong 2010 Film turkce

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[HD] Country Strong 2010 Film turkce

Kısa film

Harcandı : $685,334,109

Gelir : $376,200,591

Kategoriler : Hochzeit - Speech , Horror - Religious , Quinqui - Gefangenendrama , Raum - Propaganda

Üretici Ülke : Bulgarien

Prodüksiyon : Thats Hollywood

Soon after the rising young singer-songwriter Beau Williams gets involved with a fallen, emotionally unstable country star Kelly Canter, the pair embark on a career resurrection tour helmed by her husband/manager James and featuring a beauty queen-turned-singer Chiles Stanton. Between concerts, romantic entanglements and old demons threaten to derail them all.
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Silver Linings Playbook 2012 Film turkce

Silver Linings Playbook Film turkce 2012

devam : 184 an Stimmen,

seçim sonucu müzik parçası : 1.1/10 (82869 oylamak)
yetenek : ASF 720p
HDTV
görünüm : 9329
ressamlık : Schach , Reisen
dil : BR,PF,BG,TM,PG,AO,BW,AR,CCK, MEX, HKG, ISL, PRT
katılmak : 6.0/10 (18154 Votum)

Silver Linings Playbook 2012 Film turkce

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[HD] Silver Linings Playbook 2012 Film turkce

Kısa film

Harcandı : $487,046,332

Gelir : $075,044,187

Kategoriler : Wirtschaft - Unabhängigkeit , Autobiografie - Sozialismus , Apathie - Spionage , Drama - Tapferkeit

Üretici Ülke : Tschad

Prodüksiyon : Progéfi

After spending eight months in a mental institution, a former teacher moves back in with his parents and tries to reconcile with his ex-wife.
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Joker 2 Film turkce

Joker 2 Film turkce

süreç : 189 tutanak tutmak Wahlstimme
oy adet : 9.7/10 (31653 oylayarak kararlaştırmak)
ses rengi : Sonics-DDP 720p
HDRip
bakmak : 2657
ustalık : panegirisch , Samurai
dil : CI,UA,MK,BN,UZ,HU,AF,VN,GUF, MUS, MYS, NER, HUN
miktar : 4.3/10 (64375 Stimmabgabe)

Joker 2 Film turkce

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[HD] Joker 2 Film turkce

Kısa film

Harcandı : $749,650,193

Gelir : $340,805,325

Kategoriler : Werwolf - Unabhängig , Karate - Benzin , Leben - Widerstand paradox , Schwören - Uncategorized

Üretici Ülke : Paraguay

Prodüksiyon : LaughStashTV

Sequel to the Joker (2019).
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The Sisters Brothers 2018 Film turkce

The Sisters Brothers Film turkce 2018

süreç : 125 tutanak tutmak Wahlresultat
önerme tip : 6.5/10 (64364 oy vermek)
özellik : M4V 1080p
HDTS
bakmak : 5125
beceri : Führung , Prähistorische Zeiten
lisan : GP,HM,MU,IL,TJ,NI,AF,KG,LKA, ARG, VAT, NER, GUF
tip : 2.9/10 (74354 Abstimmung)

The Sisters Brothers 2018 Film turkce

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Certainly the better of the two Westerns I've seen today, but I'm also not really feeling the love with _Sisters Brothers_ like everybody else seems to be.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
_**A plodding and overlong tale of violence and redemption that doesn't seem to know quite what it's trying to say**_

> _You are afraid of hell. But that's all religion is, really. Fear of a place we'd rather not be, and where there's no such a thing as suicide to steal us away._

- Patrick deWitt; _The Sisters Brothers_ (2011)

_The Sisters Brothers_ is a film set in the American Old West, based on a book by a Canadian, made by a mostly French crew, shot primarily in Spain and Romania, featuring a Brit as an American, an American as a Brit, and a British trans comedian as a ruthless American businesswoman. And I don't bring this up out of mere frivolousness; rather, a certain element of schizophrenia is built into the film's very DNA. On the surface it's a Revisionist Western with a gritty Spaghetti aesthetic focusing very much on a group of anti-heroes, but it's also a story of two brothers getting on one another's nerves, a tale of avarice and the destructive potential of progressive thinking, a chase movie, a dark comedy, a tragic fable, an examination of the days when the Old West was giving way to an ever-encroaching modernity, a look at how the sins of the father are oft repeated by the children, a study of competing types of masculinity, and even a political thesis, postulating that there was a time in American history when certain people genuinely believed they could build a harmonious society based on direct democracy and the kind of socialist attitude to capitalism that would make even Bernie Sanders blush.

The English language debut of French director Jacques Audiard, who adapted the script with his regular writing partner Thomas Bidegain from Patrick deWitt's 2011 novel of the same name, the film posits that even those who seem irredeemable may one day find a path to redemption. Very much of a piece with Audiard's more celebrated humanist work such as _De battre mon cœur s'est arrêté_ (2005), _Un prophète_ (2009), and _Dheepan_ (2015), _The Sisters Brothers_ works primarily as a character study about people trying to do what they feel is right in a world arrayed against them. Unfortunately, it did next-to-nothing for me. I wouldn't say it's a bad movie, as it clearly has a lot going for it; not the least of which is an unapologetic foregrounding of character over plot. However, its episodic rhythm, bifurcated narrative structure, and poorly-defined morality left me unengaged, frustrated, and rather bored.

1851; the height of the California Gold Rush. In Oregon, Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) are hired guns working for "The Commodore" (a criminally underused Rutger Hauer). Far more sensitive and thoughtful than his younger brother, Eli is growing weary of the lifestyle, wanting to retire, settle down, and open a grocery store. The more unpredictable and volatile Charlie, however, wants to keep on killing indefinitely. After a mission descends into disarray, Eli is unimpressed when The Commodore appoints Charlie as "lead man" for their next quarry; a mild-manner chemist named Hermann Kermit Warm (Riz Ahmed). Telling Eli that Warm has stolen something from The Commodore which they are to retrieve, Charlie is under orders to keep their real purpose to himself for the time being. Unsure of Warm's exact location, The Commodore has already sent highly-intelligent tracker John Morris (Jake Gyllenhaal), a man too gentile for killing, to pick up his trail and detain him until the brothers catch up. Keeping them abreast of his progress via a series of letters, it doesn't take long for Morris to find Warm, telling the brothers he will await them in Jacksonville. However, when Warm learns that The Commodore has sent men after him, he explains to Morris that he has created an elixir that when poured into a river, will illuminate any gold deposits on the river bed, with the only catch being that the potion is extremely caustic, and any sustained exposure results in severe burns. Recognising that Morris is only an advance, he guesses that whoever is still to come is under orders to torture the formula out of him and then kill him. Learning that Warm doesn't want to use the gold for himself, but to help establish "_an ideal living space, ruled by the laws of true democracy and sharing_", Morris decides to join him, and they head to San Francisco in an attempt to evade the approaching brothers.

A passion project for star and producer John C. Reilly, who purchased the rights to deWitt's novel shortly after it was published, it was he who first brought the material to Audiard's attention. One of the best-reviewed films at the 2018 Venice Film Festival, where it won Audiard his first Silver Lion for Best Director, when the film went on general release in North America later the same month, it flopped badly, earning only $3 million against a $38 million budget. That's a shame, as Audiard is immensely talented, and although I personally didn't enjoy this particular film, he deserves as much success as he can get. In terms of the novel, I don't know a huge amount about it, but I would imagine Warm's desire to build a Phalanstère in Dallas is inspired by La Réunion, a Fourierist-based utopian community founded in 1855 by Victor Prosper Considerant on the banks of the Trinity River. Wishing to make La Réunion a "communal experiment administered by a system of direct democracy", Considerant planned to allow participants to share in profits from capital investments. However, the settlement lasted only 18 months before financial insolvency, shortage of skilled participants, inadequate farming methods, and untenable maintenance costs led to its dissolution.

As one would expect from Audiard, working with his regular editor Juliette Welfling (_Le scaphandre et le papillon_; _The Hunger Games_; _Ocean's 8_) and production designer Michel Barthélémy (_Dobermann_; _Les salauds_; _Frantz_) and for the first time with cinematographer Benoît Debie (_Irréversible_; _Lost River_; _One More Time with Feeling_) and costume designer Milena Canonero (_Barry Lyndon_; _Chariots of Fire_; _The Grand Budapest Hotel_), the film looks amazing. Very much adopting the visual style of a Spaghetti Western, everything on screen looks dirty and/or dusty, whether it's the worn and lived-in costumes, the spartan and uncared for buildings, or even the perpetually unshaven characters and their rotting teeth (an historically accurate detail absent in most modern westerns). Of particular note are the shootouts, of which there are three significant examples. The first takes place at night, and is shot from a distance and without much in the way of coverage; the second is shot primarily from the point of view of two characters doing their best to hide; and the third isn't seen at all - we remain inside as the shooting can be heard on the street.

This should convey, as well as anything, just how revisionist _The Sisters Brothers_ is; the genre's tropes are all there, but they're examined from unexpected angles. A bear attack on a camp is not only not seen, it's not even heard, with our first indication of the incident being when one character wakes up to find another has shot and killed a bear during the night; men are seen riding horses, but when a horse is mortally wounded, the man to whom he belongs cries and apologises; whisky is drunk aplenty, but one character would rather sit alone thinking about home than go whoring or drinking; a film about hired guns ends on a shot of a man sitting in a bath; the anticipated climatic shootout plays out in a manner you'll never see coming. If it does nothing else, the film really drives home that to be able to truly subvert generic tropes, one must first understand and respect how those tropes work.

The film opens with an extraordinarily beautiful and striking scene. It's night on the prairie, which is so dark, we can make out only the barest outline of a house, with a smaller building nearby. After some shouted dialogue, a shootout begins between the house and the smaller building, with each booming gun blast sending out sparks and illuminating for a micro-second the surrounding area. Having vanquished their opponents, the brothers are about to leave the area, when they see a horse, its back covered in flames, galloping away, trying to outrun the fire from which it doesn't understand it can never escape. Realising the barn is on fire, Eli dashes in to try to save the trapped horses, whilst Charlie urges him to remain outside. Is the metaphor of the burning horse a little on the nose? Absolutely; try as they might, the brothers can never escape that which brings them pain, no matter how far or fast they run. But just because it's not exactly subtle doesn't mean it's ineffective, and as opening visual metaphors go, it's as striking an example as you're likely to find. The scene also immediately establishes the differences between Eli (who would risk his own life to save a group of horses) and Charlie (who sees no point in such sacrifices).

In relation to the _milieu_, yes, this is the Old West of John Ford, Anthony Mann, and Sergio Leone, but Audiard defamiliarises it as much as possible. A recurring theme, for example, is that this is a world on the brink of modernity, but whose inhabitants are still very much rooted in the past. This is depicted via a running gag about Eli's fascination with a curious modern invention (the toothbrush; so complicated a device, it comes with an instruction manual), and his childlike glee at staying in a hotel with indoor plumbing. Elsewhere, Morris remarks on how quickly the country is changing, writing, "_I have travelled through places that didn't exist three months ago. First tents, then houses, then shops, with women fiercely discussing the price of flour._" Additionally, Warm's progressive egalitarian vision for the future and his desire to use his formula to create a better society for all, allows the film to examine the belief (however short-lived) that out of the lawlessness, land thievery, and Native American genocide, a certain section of the populace hoped a more mutually beneficial society might arise.

However, Audiard, of course, is not naïve enough to suggest that the Old West was especially peaceful or safe; although on the cusp of modernity, this is still a merciless place where violence is a form of currency. But even here, he subverts the genre, using a recurring motif of either Charlie or Eli shooting an already downed opponent pleading for his life, which is certainly not what we've come to expect from the (figurative) white hat protagonists so familiar in Hollywood westerns. Coupled with this, there's the ever-present background of the Gold Rush, and the mercenary mentality it fostered. Indeed, the whole plot is set in motion by The Commodore's greed, and as the film goes on, it comes to focus more and more on the clash between a Darwinian survival of the fittest, might is right mentality (represented by Charlie) and a more esoteric and politically progressive way of thinking (represented by Warm), with Eli and Morris functioning as something of a halfway house between the two extremes.

In terms of acting, Phoenix, Gyllenhaal, and Ahmed all have moments to shine (a monologue in which Morris describes his hatred for his father is especially worth looking out for), but this is Reilly's film through-and-through, turning Eli from a possibly oafish sidekick into an achingly human emotional fulcrum. His nuanced performance allows us to see just how badly Eli's conscience is affecting him, and how much he is drifting away from the increasingly amoral Charlie. Eli has no desire to split with Charlie, but he is slowly coming to the conclusion that he may have no option but to do just that. It's an extraordinarily subtle performance by Reilly, that reminded me a lot of his work in Paul Thomas Anderson's _Magnolia_ (1999), where he played a cop in love with a drug addict who shows unexpected emotional vulnerability, and Rob Marshall's _Chicago_ (2002), in which he played the dim but loyal-to-a-fault husband who emerges as the film's only really moral character. His unexpected affection for his horse is especially poignant, and his tendency to sniff a shawl given to him by his girlfriend is beautifully played by Reilly.

However, for all this, I really disliked the movie, for a myriad of reasons. For one, I found it far too episodic, lurching from one incident to next with little in the way of connective tissue between them. I also didn't particularly like the shifts in focus from the brothers on the one hand to Morris and Warm on the other, with each strand serving only to detract from the other, making it impossible for either to fully settle. A knock-on from this is that the film lacks a strong lead character; although everything suggests that Eli is the protagonist, Phoenix is billed above Reilly, and a lot of the time, Eli seems more like Charlie's sidekick than his equal, making it difficult to figure out where one's empathy is supposed to lie. This difficulty becomes especially problematic in relation to the morally questionable _dénouement_, in which there is an incident which seems designed for the audience to roundly condemn one of the main characters, only for the film to then give us a 15-minute epilogue seemingly designed to redeem him.

This throws into relief what for me was the most egregious problem - none of what we see seems to mean anything, there are virtually no consequences for anything the brothers do (although plenty of consequences for others). This left me scratching my head as to what the film is trying to say. Is it suggesting that even the most morally repugnant of men deserve a shot at redemption? If that is the case, however, its rhetorical position is not especially cogent, as the character mentioned above in no way deserves redemption, allowing his greed and stubbornness to cause untold suffering to others whilst he gets off relatively scot-free. Furthermore, the aforementioned epilogue is hugely anticlimactic, which, I understand, is kind of the point, but it's still a very strange way to wrap things up, feeling forced and emotionally manipulative, completely out of tonal and thematic pace with the rest of the film, and also undermining what could have been a deeply affecting bittersweet final scene. The film is also far too long, and could easily have lost a half hour or more, with the meandering plot becoming interminably boring on more than one occasion.

As a kind of an aside, it's also worth mentioning an aesthetic decision that has me baffled. On occasion, the film is shot within a circular frame (think of how films often simulate POV through a telescope), often combined with racked focus and unsteady photography. I'm assuming the idea is to try to replicate the style of a Kinetograph, but given that device wouldn't be invented for another four decades, I'm not entirely sure what the point is, as the scenes which employ the style don't seem to contain anything to justify the usage. An especially strange example is a scene which sees Charlie speaking direct-to-camera, the only example of such in the whole film. Is this a break in the fourth wall, and if so, why? If it isn't a break, from whose POV is the scene shot? This kind of unjustified visual trickery pulls you right out of the film and offers next-to-nothing in the way of thematic compensation.

The four performances at the heart of _The Sisters Brothers_ earn it a great deal of leeway. But even taking that into account, I just couldn't get into it. Far too plodding and thematically unfocused, although I initially liked the characters a great deal, by the last act, I just wanted it to end already. It's certainly original in how it approaches a number of generic tropes, and that's to be commended, but the imprecise and poorly constructed episodic narrative saps away the goodwill built up by the aesthetic design and the acting. Is it a western? A comedy? A tragedy? An esoteric political piece? A realist depiction of greed trumping idealism? In the end, it doesn't seem to know itself, trying to be many things, and ending up being none of them.

"

[HD] The Sisters Brothers 2018 Film turkce

Kısa film

Harcandı : $437,745,101

Gelir : $229,351,140

Kategoriler : Flucht - Weihnachten , Unheimlich - Monster , Boats - Religious , Drama - Brüder

Üretici Ülke : Nigeria

Prodüksiyon : Seekers Television

Oregon, 1851. Hermann Kermit Warm, a chemist and aspiring gold prospector, keeps a profitable secret that the Commodore wants to know, so he sends the Sisters brothers, two notorious assassins, to capture him on his way to California.
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Horrible Histories: The Movie - Rotten Romans 2019 Film turkce

Horrible Histories: The Movie - Rotten Romans Film turkce 2019

süreklilik : 115 tutanak tutmak Stimmen,

oy sayı : 1.4/10 (99700 oy kullanmak)
nitelik : AAF 720p
HDTV
kanı : 3137
yaratıcılık : Bruder , Reisen
mesleki dil : EC,TW,ZW,ZM,CX,US,BH,TH,VEN, SEN, MEX, VGB, CUW
miktar : 9.5/10 (98022 Stimmen,
)

Horrible Histories: The Movie - Rotten Romans 2019 Film turkce

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"

[HD] Horrible Histories: The Movie - Rotten Romans 2019 Film turkce

Kısa film

Harcandı : $807,389,489

Gelir : $653,643,842

Kategoriler : Kurzer Rock - Familie , Kannibale - Sozialismus , Dokumentarfilm - Programm , Rache - Du Son

Üretici Ülke : Gambia

Prodüksiyon : Sentinel Productions

Roman teenager, Atti is forced to join the Roman army when one of his clever schemes falls foul of Emperor Nero. He is sent to "miserable, cold, wet Britain" where "the natives are revolting - quite literally". Things go from bad to worse when Atti is captured by Orla, a feisty teenage Celt desperate to prove herself as a warrior.
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