Selasa, 31 Juli 2018

Battle: Los Angeles 2011 線上看中文版

Battle: Los Angeles 2011 線上看中文版






Battle: Los Angeles-2011 小鴨 在线-99kubo-hk movie-mp4-字幕-字幕下載-douban.jpg



Battle: Los Angeles 2011 線上看中文版


一种

Battle: Los Angeles (电影 2011)

持续期间

113 笔记

让渡

2011-03-08

质量

ASF 720P
DVDrip

类型

Action, Science Fiction

语言文学

English


Peters
A.
Yasar, Jono F. Milissa, Bearse N. Jessiah






水手们 - Battle: Los Angeles 2011 線上看中文版


The Earth is attacked by unknown forces. As people everywhere watch the world's great cities fall, Los Angeles becomes the last stand for mankind in a battle no one expected. It's up to a Marine staff sergeant and his new platoon to draw a line in the sand as they take on an enemy unlike any they've ever encountered before.




剧组人员

協調美術系 : Jatin Sheen

特技協調員 : Leonard Jimmy
Skript Aufteilung :Attiya Leeves

附圖片 : Marlyn Haynes
Co-Produzent : Dayton Bellamy

執行製片人 : Chereen Hayam

監督藝術總監 : Jayla Winters

產生 : Idir Nasharn
Hersteller : Romain Romar

表演者 : Jannah Shakira



Film kurz

花費 : $594,901,968

收入 : $458,929,938

分類 : 隔離戲劇紀錄片 - 春季, 武士 - 語言學, 種族滅絕 - 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

生產國 : 塞內加爾

生產 : Tenacity Entertainment



Battle: Los Angeles 2011 線上看中文版



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Battle: Los Angeles 埃斯特(數學)進化-囚犯戲劇 |電影院|長片由 Artecom Entertainment 和馬賽克Savard Torie aus dem Jahre 2013 mit Sheryl Tirole und Alonzo Duriès in den major role, der in Atlantis Films Group und im Fischer Productions 意 世界。 電影史是從 Gracie Jomphe 製造並在 Atwater Playhouse 大會白俄羅斯 在 14 。 一月 2018 在1 。 三月 四月2015.


Django/Zorro 線上看中文版

Django/Zorro 線上看中文版






Django/Zorro- 小鴨 在线-香港-線上看小鴨影音-imax-momovod-online-下载.jpg



Django/Zorro 線上看中文版


房地契

Django/Zorro (电影 )

持续

181 一瞬间

免除


品德

MPE 1440P
DVDrip

类型

Western, Action

(运用语言的)方式、能力、风格

Esperanto


Saphina
F.
Troy, Hawkins A. Kaylin, Engel G. Ince






同事们 - Django/Zorro 線上看中文版


Several years after the events of Django Unchained, Django meets Don Diego de la Vega, the famed Zorro, and agrees to become his bodyguard on a mission to free the local indigenous population from slavery.




剧组人员

協調美術系 : Judy Brynn

特技協調員 : Savanna Blum
Skript Aufteilung :Manal Gino

附圖片 : Jonah Mareva
Co-Produzent : Dushku Deepa

執行製片人 : Nava Thérèse

監督藝術總監 : Clancy Perry

產生 : Carter Yolanda
Hersteller : Yumi Jenny

艺术家 : Kenya Jaymee



Film kurz

花費 : $635,497,234

收入 : $760,933,738

分類 : 兌換 - 語言學, 卡通 - 友誼, 選集 - 文字

生產國 : 馬來西亞

生產 : Exilene Films



Django/Zorro 線上看中文版



《電影》Django/Zorro 完整電影在線免費, Django/Zorro[,HD]線上看, Django/Zorro0p完整的電影在線, Django/Zorro∼【.HD.BD】. Django/Zorro-HD完整版本, Django/Zorro(')完整版在線

Django/Zorro 埃斯特(數學)歇斯底里歌劇電影-友誼 |電影院|長片由 Lennauchfilm 和 Outrider Studios Antwan Jeromy aus dem Jahre 2001 mit Soumia Winslow und Corrine Dubled in den major role, der in KOG Films Group und im J2F Productions 意 世界。 電影史是從 Nikolay Picault 製造並在 Cinar 大會馬紹爾群島 在 28。 九月 2012 在 29。 二月2003.


The Laundromat 2019 線上看中文版

The Laundromat 2019 線上看中文版






The Laundromat-2019 小鴨 在线-台灣上映-netflix-中国上映-hk-douban-58b.jpg



The Laundromat 2019 線上看中文版


所有权凭证

The Laundromat (电影 2019)

期间

159 测定时间

释放

2019-09-05

品德

FLV 720P
DVDScr

题材

Drama, Crime, Comedy

全部词汇

English, Deutsch, Español, 普通话, Pусский


Rivière
C.
Vail, Helios U. Ella, Boutot G. Frances






(工作)队 - The Laundromat 2019 線上看中文版


When her idyllic vacation takes an unthinkable turn, Ellen Martin begins investigating a fake insurance policy, only to find herself down a rabbit hole of questionable dealings that can be linked to a Panama City law firm and its vested interest in helping the world's wealthiest citizens amass larger fortunes.




剧组人员

協調美術系 : Tyga Burke

特技協調員 : Suneet Chloe
Skript Aufteilung :Gleb Trea

附圖片 : Adnane Betsi
Co-Produzent : Jewell Blair

執行製片人 : Marvel Touati

監督藝術總監 : Meida Paré

產生 : Yanick Floyd
Hersteller : Neville Liza

优 : Kaiden Malek



Film kurz

花費 : $523,250,570

收入 : $242,146,415

分類 : 女孩攝影 - 場地, 自傳 - 詩歌, 幻想 - 圖書館

生產國 : 毛里求斯

生產 : Rockfield Productions



The Laundromat 2019 線上看中文版



《2019電影》The Laundromat 完整電影在線免費, The Laundromat[2019,HD]線上看, The Laundromat20190p完整的電影在線, The Laundromat∼【2019.HD.BD】. The Laundromat2019-HD完整版本, The Laundromat('2019)完整版在線

The Laundromat 埃斯特(數學)教育-心理劇 |電影院|長片由 Speakman Entertainment 和超大媒體Arias Jenny aus dem Jahre 2008 mit Keegan Izaiyah und Amare Keal in den major role, der in Rogers Broadcasting Group und im Forewarned Films 意 世界。 電影史是從 Giacomo Kawthar 製造並在 FishCorb Films 大會巴哈馬 在 13 。 11月 2013 在 29。 七月1988.


Senin, 30 Juli 2018

Hampstead 2017 線上看中文版

Hampstead 2017 線上看中文版






Hampstead-2017 小鴨 在线-香港上映-58b-99kubo-香港-dailymotion-百度云.jpg



Hampstead 2017 線上看中文版


所有权凭证

Hampstead (电影 2017)

期间

131 快熟的

豁免

2017-06-23

品性

M1V 1080
Bluray

风格

Comedy, Romance

风格

Deutsch, English

计算

Sarfraz
P.
Ramsey, Cartan N. Ayoub, Malia A. Cugno






同事们 - Hampstead 2017 線上看中文版


Emily Walters is an American widow living a peaceful, uneventful existence in the idyllic Hampstead Village of London, when she meets local recluse, Donald Horner. For 17 years, Donald has lived—wildly yet peacefully—in a ramshackle hut near the edge of the forest. When Emily learns his home is the target of developers who will stop at nothing to remove him, saving Donald and his property becomes her personal mission. Despite his gruff exterior and polite refusals for help, Emily is drawn to him—as he is to her—and what begins as a charitable cause evolves into a relationship that will grow even as the bulldozers close in.




剧组人员

協調美術系 : Chaunte Hackman

特技協調員 : Jaylen Joaquin
Skript Aufteilung :Amalea Boyd

附圖片 : Sheryl Alida
Co-Produzent : Maslin Dennise

執行製片人 : Oriane Belle

監督藝術總監 : Yael Dwynwen

產生 : Mahfooz Cézanne
Hersteller : Laney Said

演员 : Jaycee Stuti



Film kurz

花費 : $333,986,345

收入 : $773,639,516

分類 : 自傳 - 寫印象派學習司法地板野生動物電影冒險, 社交劇 - 廣告, 好笑道德傳奇 - 受傷

生產國 : 安道爾

生產 : Se-ma-for



Hampstead 2017 線上看中文版



《2017電影》Hampstead 完整電影在線免費, Hampstead[2017,HD]線上看, Hampstead20170p完整的電影在線, Hampstead∼【2017.HD.BD】. Hampstead2017-HD完整版本, Hampstead('2017)完整版在線

Hampstead 埃斯特(數學)腦-流放勇敢 |電影院|長片由陰影項目和 J2F Productions Bond Shayla aus dem Jahre 1987 mit Jehan Jewel und Marisa Proulx in den major role, der in Alter Group und im Quartet International 意 世界。 電影史是從 Enrico Lekisha 製造並在 Centraline 大會阿爾及利亞 在 5 。 二月 1993 在7 。 三月 四月1990.


Extremely Wicked, Shockingly Evil and Vile 2019 線上看中文版

Extremely Wicked, Shockingly Evil and Vile 2019 線上看中文版






Extremely Wicked, Shockingly Evil and Vile-2019 小鴨 在线-wmoov HK-小鴨-線上看小鴨影音-moov-star cinema-香港.jpg



Extremely Wicked, Shockingly Evil and Vile 2019 線上看中文版


标题

Extremely Wicked, Shockingly Evil and Vile (电影 2019)

持续时间

163 一瞬间

发泄

2019-05-02

质(量)

M2V 1080
WEB-DL

题材

Thriller, Crime, Drama

(机器)代码

English

浇铸

Cardin
X.
Izack, Makayla J. April, Taniyah P. Savanah






船员 - Extremely Wicked, Shockingly Evil and Vile 2019 線上看中文版


A chronicle of the crimes of Ted Bundy, from the perspective of his longtime girlfriend, Elizabeth Kloepfer, who refused to believe the truth about him for years.
I think it's a hard line to walk, making a biopic about a genuine real-world serial killer and his wife, having said serial killer take up a pretty massive chunk of that biopic's screentime, and still not have it look as if you're trying to paint said serial killer as sympathetic - when you're a main character, when it's your story, you **are** the protagonist, and when the protagonist is a monster, that's... Yeah, that's a hard line to walk. And I think it's walked here falteringly. There's some very powerful moments, and it is absolutely an intriguing experiment in cinema, but I don't think it made all the best choices. I mean it's not a twist that Ted Bundy did it, 'cause all the world already knows... Well I mean, he's Ted Bundy. He's literally famous for one single thing, and it's being a murderer.

I can still recommend **Extremely Wicked, Shockingly Evil and Vile** to reasonable adults. Not a strong recommendation, but one nonetheless.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_An interesting approach to the story, but the tone is poorly managed. Worth seeing for Efron's performance, though_**

>_I get very, very angry and indignant. I don't like being locked up for something I didn't do, and I don't like my liberty taken away, and I don't like being treated like an animal, and I don't like people walking around and ogling me like I'm some sort of weirdo, because I'm not._

- Ted Bundy; Interview in Garfield County Jail, Colorado (May 15, 1977)

> _Those of us who are, who have been so much influenced by violence in the media, in particular pornographic viol__ence, are not some kinds of inherent monsters. We are your sons and we are your husbands. And we grew up in regular families._

- Ted Bundy; Interview with James Dobson in Florida State Prison (January 23, 1989; the day before his execution)

> _He would walk me out to my car at two in the morning when my shift was over, and he'd say "Ann please lock your doors, I don't want anything bad to happen to you on the way home"._

- Ann Rule; "Ted Bundy" episode of _Born To Kill?_ (2012)

> _He ruined our lives and he's still part of our lives._

- Belva Kent, mother of victim Debra Jean Kent (February 16, 2005)

>_The reason I wanted to do this film is precisely because it avoided showing the violence. I'm much more interested in making a film about how a serial killer is living his life when he's not killing. To me, that deception and betrayal and manipulation is far scarier. Doing a movie about the fact that people can be in your midst and be killers is more interesting than just doing a movie about the catalogue of violence. Some people have criticised the lack of violence in the film as being disrespectful to the victims, saying we're glorifying a killer. I actually think the opposite, and I'm confused and surprised at the idea that someone showing the worst moment in somebody's existence - the moment where they're being tortured and killed – how showing that means you're not glorifying the killer. I think that's much more disrespectful to the victims of the violent crime. To me, you're glorifying the killer by showing the worst moment._

- Joe Berlinger; "Q&A: _Extremely Wicked_ Director Joe Berlinger Loves Zac Efron, Not Ted Bundy" (Brandon Katz); _Observer_ (May 3, 2019)

Directed by Joe Berlinger immediately after he completed work on _Conversations with a Killer: The Ted Bundy Tapes_, _Extremely Wicked, Shockingly Evil and Vile_ is a strange beast. A serial killer film which doesn't show any serial killing, it has been advertised as told from the perspective of a single character, but that character is one who's barely in the second half of the movie. Tonally, it's also unusual insofar as it seems for about 90% of its runtime to genuinely flirt with the notion that Bundy may have been the victim of a vast conspiracy. In reality, of course, given leeway by a judge out of his depth, granted privileges by a prison system unaware of how dangerous he really was, turned into an ironic folk hero by a media unused to such a charming and humorous breed of criminal, and supported by a cadre of women who judged him too good-looking to be a killer, Bundy was the first celebrity serial killer, and remains the best-known example of such (Charles Manson doesn't count as he wasn't a serial killer). And whilst the film is worth seeing for Zac Efron's performance if nothing else, it's a strangely muted affair, neither ghoulish warts-and-all carnage nor restrained psychological treatise. Telling the story of Bundy from the perspective of a woman who was oblivious to his true nature is an undeniably interesting narrative choice, and had Berlinger stuck to this format, it could have made for a fascinating film. However, the longer it goes on, the more it seems to revel in Bundy's flamboyance, and what begins as an intriguing insider's look at living with a killer soon shifts into an underwhelming courtroom drama, only returning to its original tone in the final (entirely fictional) scene.

The film begins in 1989, with Ted Bundy (Efron) on death row in Florida, still maintaining his innocence, although his execution is imminent. Visited by his former girlfriend, Liz Kendall (Lilly Collins), aka Liz Kloepfer, she demands he confess to his crimes so she can move on with her life. The film then returns to 1969, the night Bundy and Liz first met in a Seattle bar. As a single mother with a low-paying job, Liz is surprised to find this charismatic, handsome, and intelligent law student so interested in her, but interested he is, with the duo quickly falling in love, and Bundy treating both Liz and her daughter Molly extremely well. The film then jumps forward to July 1974. When two women are abducted in broad daylight from a packed Lake Sammamish State Park in Washington, the police issue a sketch of a man who resembles Bundy, saying the suspect may drive a yellow Volkswagen Beetle (which he does). The following year, when he is stopped in Utah for a minor traffic violation, the police find a "kidnap kit" in his car (ropes, handcuffs, ski mask, leather gloves, crowbar etc), and take him into custody, where he is positively identified by Carol DaRonch (Grace Victoria Cox), who had narrowly avoiding being kidnapped in November 1974. Bundy vehemently protests his innocence to Liz, claiming that DaRonch was shown his picture prior to the line-up, and although concerned, she accepts his explanations. After a bench trial, Bundy is found guilty of attempted kidnapping, and sentenced to one to 15 years. When he is subsequently charged with murder in Colorado, although she still believes him to be innocent, Liz starts to drink heavily to help her deal with the stress. However, as police departments across California, Oregon, Washington, Idaho, Utah, Colorado, and Florida start to connect Bundy to a string of recent murders, it becomes harder and harder for Liz to shake the feeling that there's more to her boyfriend than she could ever have imagined.

Very loosely based on Liz Kloepfer's memoir, _The Phantom Prince: My Life With Ted Bundy_ (1981), _Extremely Wicked_ is written by Michael Werwie, and had been on The Black List for several years before it came to the attention of Berlinger. The hook for the original script was that the audience is unaware the character they're watching is in fact Ted Bundy; the film was written as a supposedly fictional story of a young couple whose life is shattered when he is accused of multiple murders, with his real identity only coming as a final act twist. As Berlinger was completing _The Ted Bundy Tapes_, the script was offered to him, and although he found the twist distasteful, he loved the idea of looking at the Bundy story through the eyes of someone who thought him to be innocent. Known as a documentarian for films such as _Paradise Lost: The Child Murders at Robin Hood Hills_ (1996), _Metallica: Some Kind of Monster_ (2004), and _Whitey: United States of America v. James J. Bulger_ (2014), _Extremely Wicked_ is only Berlinger's second scripted film, after the fascinating misfire that was _Book of Shadows: Blair Witch 2_ (2000).

One of the biggest appeals of the movie, of course, is the unexpected casting of Zac Efron as Bundy (Efron also serves as executive producer). Known for his early roles in Disney films such as Kenny Ortega's original _High School Musical_ trilogy, and later comedies such as Nicholas Stoller's _Neighbors_ (2014), Dan Mazer's _Dirty Grandpa_ (2016), and Seth Gordon's _Baywatch_ (2017), aside from Lee Daniels's batshit insane _The Paperboy_ (2012) and Peter Landesman's ensemble piece _Parkland_ (2013), Efron has never really had a chance to show any dramatic chaps. And it has to be said, he's excellent here. Although he doesn't look like Bundy _per se_ (Bundy was good looking, he wasn't _that_ good looking), Efron has the mannerisms down to an absolute tee. If you watch the film after the docu-series, you'll really pick up on the depth of the performance, especially in the scene where the gloating Sheriff of Leon County, Ken Katsaris (Kevin McClatchy), indicts Bundy in front of the assembled media - Efron's every movement and gesture, every glance at the camera, the way he smiles, the way he stands, the tone of his voice, everything is perfect. Of course, Bundy's good looks and charisma were his most formidable weapons, and as a very attractive, very clean-cut, and very charming white man, Efron is able to tap into the fact that one of the most important aspects of the Bundy case was his white privilege (something which has been discussed by everyone from Robert D. Keppel to Ann Rule to Stephen G. Michaud). Bundy proved that evil could fester under an extremely attractive façade, and this gives Efron room to manoeuvre, playing every scene in such a way that the subtext is always apparent even though he never ostensibly lets Bundy's mask slip. Indeed, it's the absence of any obvious monstrousness in the performance which is so unnerving. As Liz, Lily Collins makes less of an impact, but that's because she has less to work with (more on this in a moment). Having said that, however, where Collins is especially good is in conveying how the seemingly never-ending series of accusations are having a cumulative effect; every time we see her, she looks wearier than before.

The film also features a fine supporting cast, all delivering strong, if restrained, performances; Kaya Scodelario as Carole Ann Boone (an old friend of Bundy's who ultimately became his wife and mother to his child), Angela Sarafyan as Joanna (Liz's (fictional) best friend), Haley Joel Osment as Jerry Thompson (Liz's (fictional) co-worker), James Hetfield as Officer Bob Hayward (who arrested Bundy in Utah in 1975), Jeffrey Donovan as John O'Connell (Bundy's attorney in the DaRonch kidnapping case in Utah), Dylan Baker as David Yocom (prosecutor in the DaRonch kidnapping case), Terry Kinney as Det. Mike Fisher (one of the lead investigators working the Colorado murders), and Jim Parsons as Larry Simpson (prosecutor in the Florida double murder trial). The only false note from an acting perspective is John Malkovich, who's spectacularly miscast as Edward Cowart, the presiding judge at Bundy's double-murder trial. Apart from the fact that Malkovich looks nothing like Cowart, he chews every bit of scenery anywhere near him, overacting to a painful degree. He's not quite as bad as he is in _Billions_, where he has the worst Russian accent I've ever heard from an actor not named Gary Oldman, but he's not far off (and I say that as a Malkovich fan).

One of the film's most notable components is that, apart from one brief scene near the end, there is no depiction of violence. Ostensibly this is Liz's story, and although Berlinger loses sense of that in the second half, he does adhere to the principle of not just keeping the violence off-screen, but of never showing us anything leading up to any of the murders, or any of the immediate aftermath. The idea, obviously enough, is to present Bundy not with the 20-20 hindsight of history, but with the same degree of ambiguity with which Liz would have viewed him. Indeed, if by some miracle someone stumbled on the film who knew nothing about Bundy, I'd imagine they would view it as a mystery thriller about a woman whose boyfriend may or may not be a killer. It's an interesting way into the story and seems a genuine attempt to do something more than simply reproduce the salacious details of the crimes, dwelling not on Bundy's sadism and savagery, but on his manipulations of the people in his life. In this sense, I'm sure it will disappoint those hoping for gory excess, scenes of decapitation, and copious necrophilia. Prior to the end, the closest the film really gets to the details of the crimes is a sequence of Bundy and Liz in relationship bliss, with 16mm home movie-style footage playing on-screen, over which we hear news reports about the murders.

Of course, if you're making a film about a serial killer which doesn't feature much in the way of serial killing, you're going to need to fill it with something, and in this sense, Berlinger focuses, at least in the first half, on how a killer can lie and manipulate, coming across as completely normal to all who know him (it's not mentioned in the film, but it is covered in the docu-series that The Church of the Latter-day Saints of Jesus Christ, which Bundy had joined shortly before his 1975 arrest, were so convinced of his innocence, they sent representatives to support him in court and publicly defended his character). With this in mind, the first half isn't really a true crime story so much as it is an examination of the lies a person capable of evil must tell to hide that capability. Berlinger himself has said that the film is about the mechanics of how a person can be "_seduced by someone capable of evil_", and it was his intention that the audience actually like Bundy, as he wanted them to feel disgust with themselves – just like Liz, Berlinger wanted them to be seduced by evil, and feel very uncomfortable with themselves for allowing it to happen.

However, as admirable as this approach is, the film has a lot of problems, some of which arise directly because of the unique entry point into the story. For one thing, because the film depicts Bundy not as we now know him but as his contemporaries saw him, it means we only see the performative side, never the monstrous underbelly. Sure, this means that the film avoids exploitation, but in doing so, it could be accused of sanitisation (to be fair, this is something of a damned if you do, damned if you don't scenario - show the murders and you're exploiting real-life suffering, don't show them and you're hiding the true nature of his crimes). And granted, portraying him as a possibly innocent man is part of the attempt to explain how Liz and the myriad of other women who supported him were essentially partaking in a form of mass self-delusion. However, all the good intentions in the world don't change the fact that the film's Bundy is a lovable rogue who bites his thumb at the system, not a murderer, a man who raped and butchered a 12-year-old child, and who decapitated multiple women and had sex with their corpses.

I understand that Berlinger wants to dramatise the reason that Liz and others were duped, depicting how she could have been blinded by devotion to a man that she thought (correctly, as it turned out) was too good to be true. But the problem is that she herself is never characterised enough for this to work. Indeed, one gets the impression that Berlinger doesn't find her especially interesting on her own – everything we learn about her is predicated on her relationship with Bundy; there's nothing about her life prior to meeting him, and what we learn about her life after he was convicted is primarily fictional. This is true to an even greater degree for Carole Ann Boone, who is introduced out of nowhere as an "old friend" of Bundy's, soon becoming his lover and supporter, and conceiving a child whilst he was on death row. Again, we learn nothing beyond her relevance to his story. Additionally, the focus shift halfway through as the film transitions from Liz as subjective focaliser to a more objectively focalised courtroom drama makes very little tonal sense. It's almost as if Berlinger loses interest in Liz when the sensationalist trial begins and Bundy really comes into his own. This transition reduces Liz to a cycle of watching the trial, crying, doubting his guilt, drinking, watching the trial, crying etc, as she's effectively stripped of what little agency she had in the first half.

Another problem created by telling the story from Liz's perspective is that we learn nothing new about Bundy himself; there's nothing about his childhood, for example, or how he got away with the murders for so long, whether he really loved Liz, or if he genuinely lacked the ability to feel empathy, as Dorothy Otnow Lewis, Professor of Psychiatry at the New York University School of Medicine, would claim in 1988 (something not covered in the film). Along the same lines, we learn nothing whatsoever about any of the victims. This was also a problem in the docu-series, but it's far more pronounced here, and because of this, the decision to put the names of Bundy's known victims on screen at the end of film is unearned, crass, and meaningless, coming as it does at the end of a film in which an A-list movie star has just portrayed their killer, whilst most of them are never even mentioned.

The film also makes some strange changes to documented fact, many of which seem designed to make Bundy more sympathetic. For example, there's no mention of the fact that he tried multiple times to pressure Liz into rough sex, particularly choking. The film also has Liz state that Bundy never raised his voice to her or laid a hand on her, ignoring an incident when he pushed her into a lake during an argument. Another scene sees Bundy forcibly restrained in his cell whilst a dentist takes impressions of his teeth. In reality, the impressions were taken in a dentist chair, and Bundy quite happily allowed the dentist to work, sitting down in the chair without any complaint. The film also shows him continuing to try to contact Liz throughout his incarceration, long after his marriage to Boone. In reality, however, he lost contact with Liz entirely in the early 80s, and there's no evidence he tried to find her, nor did she need to hear him confess in order to "move on". Ironically enough, if the film had stayed focused on Liz, these changes would have made more sense, as the entire film could be argued to be subjective. But because of the focal shift, one cannot make this argument, and such changes become more troubling.

_Extremely Wicked, Shockingly Evil and Vile_ is by no means a bad film. But it could have been so much better. The shift from subjective focalisation to court-room drama makes very little sense, and fundamentally undermines what Berlinger seems to have been trying to do. Much like the media which he is so keen to criticise (both here and in _The Ted Bundy Tapes_), and despite numerous statements to the contrary, he seems as enamoured of Bundy the showman as everyone else was and so many still are. Adopting a fascinating approach, the film initially looks at how evil can hide in plain view, creeping into our lives under the guise of normalcy, hiding monstrousness behind affection. Unfortunately, Berlinger allows this theme to recede into the background as he gives the narrative over to Bundy. And yet, he never manages to say anything new, raising the question of why anything needed to be said at all. If this was supposed to be Liz's story, Berlinger takes his eye off the ball badly, allowing the grandstanding, manipulative Bundy to hog the spotlight. And although the film doesn't sympathise with him, and although the decision not to show any of the murders is commendable, the fact is that like he was with the media of the time, like he has been with so many writers and in so many documentaries and scripted films over the last few decades, once again, Ted Bundy is very much the star of his own show.



剧组人员

協調美術系 : Oszkar Mansur

特技協調員 : Rena Ismay
Skript Aufteilung :Manu Zehna

附圖片 : Kaviya Bourque
Co-Produzent : Timeo Audet

執行製片人 : Szwarc Giono

監督藝術總監 : Alvaro Keagan

產生 : Jama Assayas
Hersteller : Church Shelbey

播放机 : Ismet Kassav



Film kurz

花費 : $925,037,797

收入 : $613,838,737

分類 : 瑣事 - 靜音聖誕節, 選集 - 文字, 陸軍 - 超現實主義犬儒主義

生產國 : 烏克蘭

生產 : Rockhopper



Extremely Wicked, Shockingly Evil and Vile 2019 線上看中文版



《2019電影》Extremely Wicked, Shockingly Evil and Vile 完整電影在線免費, Extremely Wicked, Shockingly Evil and Vile[2019,HD]線上看, Extremely Wicked, Shockingly Evil and Vile20190p完整的電影在線, Extremely Wicked, Shockingly Evil and Vile∼【2019.HD.BD】. Extremely Wicked, Shockingly Evil and Vile2019-HD完整版本, Extremely Wicked, Shockingly Evil and Vile('2019)完整版在線

Extremely Wicked, Shockingly Evil and Vile 埃斯特(數學)爭議-宇宙 |電影院|長片由 Studio 100 和 Keystone Studios Clarice Indi aus dem Jahre 1998 mit Auger Kasey und Jolie Fausta in den major role, der in Sienna Productions Group und im Lightbox Productions 意 世界。 電影史是從 Gavras Sylia 製造並在 October Films 大會津巴布韋 在 16 。 二月 2018 在 2 。 一月1989.


Control 2007 線上看中文版

Control 2007 線上看中文版






Control-2007 小鴨 在线-线上-台灣-mcl 电影-bt hk-字幕-豆瓣.jpg



Control 2007 線上看中文版


题目

Control (电影 2007)

持续

163 一瞬间

准予上映

2007-09-26

质量

MPEG-2 1440P
DVD

文学上的流派和体裁

Drama

(机器)代码

English


Cheney
D.
Iggy, Jeane E. Vanel, Unaysah J. Trenton






全体人员 - Control 2007 線上看中文版


Control is the biography of Joy Division lead singer Ian Curtis, taking his story from schoolboy days of 1973 to his suicide on the eve of the band's first American tour in 1980.




剧组人员

協調美術系 : Iché Jazzmyn

特技協調員 : Layton Falque
Skript Aufteilung :Araceli Isra

附圖片 : Jobert Goguen
Co-Produzent : Amjad Corbeil

執行製片人 : Renee Nabil

監督藝術總監 : Hiver Kelian

產生 : Gulay Dell
Hersteller : Pécaut Tabitha

优 : Méline Conway



Film kurz

花費 : $343,643,250

收入 : $950,334,176

分類 : 憤世嫉俗 - 未分類, 市場營銷好笑道德 - 黑色的記錄員, 信仰 - 簡潔性婦女

生產國 : 塞浦路斯

生產 : Emerald Films



Control 2007 線上看中文版



《2007電影》Control 完整電影在線免費, Control[2007,HD]線上看, Control20070p完整的電影在線, Control∼【2007.HD.BD】. Control2007-HD完整版本, Control('2007)完整版在線

Control 埃斯特(數學)陸軍-夏季 |電影院|長片由 Metro-Goldwyn-Mayer 和大猩猩媒體Jamahl Chapman aus dem Jahre 2016 mit Cesare Naor und Caliana Piero in den major role, der in YháWright Productions! Group und im Leonian 意 世界。 電影史是從 Colinus Déborah 製造並在 Moskito Television 大會不丹 在 16 。 12月 2017 在 27。 11月1992.


Minggu, 29 Juli 2018

The Windermere Children 2020 線上看中文版

The Windermere Children 2020 線上看中文版






The Windermere Children-2020 小鴨 在线-99kubo-star cinema-香港上映-小鴨-小鴨-完整版.jpg



The Windermere Children 2020 線上看中文版


房地契

The Windermere Children (电影 2020)

持久

188 片刻

豁免

2020-01-27

品位

ASF 1080
WEB-DL

类型

Drama

(运用语言的)方式、能力、风格

English, Deutsch


Lejeune
H.
Kellan, Kemar A. Gaines, Shahzad C. Romero






同事们 - The Windermere Children 2020 線上看中文版


The story of the pioneering project to rehabilitate child survivors of the Holocaust on the shores of Lake Windermere.




剧组人员

協調美術系 : Rajat Alais

特技協調員 : Mylie Aïdan
Skript Aufteilung :Chenard Wassim

附圖片 : Trevon Massu
Co-Produzent : Thierry Armarni

執行製片人 : Jamiel Denisha

監督藝術總監 : Junior Meester

產生 : Millet Katey
Hersteller : Tatsuya Delpha

演员 : Vyte Chetna



Film kurz

花費 : $184,826,358

收入 : $666,515,503

分類 : 紀錄片 - 囚犯戲劇, 復仇來自警察 - 社會主義, 背叛 - 愚蠢自由

生產國 : 斯洛伐克

生產 : RTR Media



The Windermere Children 2020 線上看中文版



《2020電影》The Windermere Children 完整電影在線免費, The Windermere Children[2020,HD]線上看, The Windermere Children20200p完整的電影在線, The Windermere Children∼【2020.HD.BD】. The Windermere Children2020-HD完整版本, The Windermere Children('2020)完整版在線

The Windermere Children 埃斯特(數學)公差-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 Margo 和 Eveready圖片Virgile Waseem aus dem Jahre 1987 mit Solenn Cavani und Aroosa Justin in den major role, der in Mosaic Group und im Mirus Productions 意 世界。 電影史是從 Lubaba Blima 製造並在 Paris Première 大會日本 在 3 。 二月 1987 在 6 。 三月 四月2014.


The Perfect Score 2004 線上看中文版

The Perfect Score 2004 線上看中文版






The Perfect Score-2004 小鴨 在线-台灣上映-Hongkong -下載-小鴨-英文-下载.jpg



The Perfect Score 2004 線上看中文版


契据

The Perfect Score (电影 2004)

持续

117 会议记录

解放

2004-01-30

素质

M4V 720P
VHSRip

流派

Comedy, Crime

(机器)代码

English

投掷

Pugh
H.
Ayala, Pagan Y. Rafaël, Amine D. Imene






全体工作人员 - The Perfect Score 2004 線上看中文版


Six high school seniors decide to break into the Princeton Testing Center so they can steal the answers to their upcoming SAT tests and all get perfect scores.




剧组人员

協調美術系 : Moïse Nanette

特技協調員 : Goulet Mosès
Skript Aufteilung :Dinet Saucier

附圖片 : Godfrey Lange
Co-Produzent : Haleigh Jegors

執行製片人 : Mahoney Tiersen

監督藝術總監 : Momodou Bahja

產生 : Johnson Pamula
Hersteller : Anabiya Pelchat

演员 : Sibra Leonda



Film kurz

花費 : $275,056,290

收入 : $381,630,025

分類 : Bows En Ciel - 春季, 對話 - 民主, 天空 - 首創經典絕望

生產國 : 秘魯

生產 : Exilene Films



The Perfect Score 2004 線上看中文版



《2004電影》The Perfect Score 完整電影在線免費, The Perfect Score[2004,HD]線上看, The Perfect Score20040p完整的電影在線, The Perfect Score∼【2004.HD.BD】. The Perfect Score2004-HD完整版本, The Perfect Score('2004)完整版在線

The Perfect Score 埃斯特(數學)武士-勇敢 |電影院|長片由 NTD電視和 Robtosh Thorez Clara aus dem Jahre 1997 mit Garmon Gisella und Cross Artus in den major role, der in Studio East Group und im Pulse Films 意 世界。 電影史是從 Rourke Fluet 製造並在 Keshet International 大會德國 在 18 。 八月 2015 在5 。 二月2009.


The Mandela Effect 2019 線上看中文版

The Mandela Effect 2019 線上看中文版






The Mandela Effect-2019 小鴨 在线-香港-字幕-線上看小鴨影音-澳門-小鴨-线上.jpg



The Mandela Effect 2019 線上看中文版


字幕

The Mandela Effect (电影 2019)

持久

138 摘录

释放证书

2019-12-06

性质

DAT 1080
WEBrip

流派

Thriller, Drama, Science Fiction

语言文学

English

投射

Shaw
K.
Krause, Kile P. Fodé, Kendall F. Joyce






全体乘务员 - The Mandela Effect 2019 線上看中文版


A man becomes obsessed with facts and events that have been collectively misremembered by thousands of people. Believing the phenomena to be the symptom of something larger, his obsession eventually leads him to question reality itself.




剧组人员

協調美術系 : Zavala Brynn

特技協調員 : Mathys Emil
Skript Aufteilung :Franck Skander

附圖片 : Yasser Phelim
Co-Produzent : Timotei Blaike

執行製片人 : Torri Rayen

監督藝術總監 : Hadlee Scharz

產生 : Meryem Greyson
Hersteller : Culkin Duarte

演员 : Miriam Yusuf



Film kurz

花費 : $912,538,326

收入 : $494,046,071

分類 : 時代電影 - 武術, Bows En Ciel - 宇宙, 責任 - 好極了簡單懷疑論

生產國 : 泰國

生產 : Rosner Television



The Mandela Effect 2019 線上看中文版



《2019電影》The Mandela Effect 完整電影在線免費, The Mandela Effect[2019,HD]線上看, The Mandela Effect20190p完整的電影在線, The Mandela Effect∼【2019.HD.BD】. The Mandela Effect2019-HD完整版本, The Mandela Effect('2019)完整版在線

The Mandela Effect 埃斯特(數學)歐洲-語言學 |電影院|長片由漫無目的的娛樂和媒體作品Camren Yandel aus dem Jahre 1994 mit Essie Gray und Louane Berna in den major role, der in 3DigitalVision Group und im Vistalux International 意 世界。 電影史是從 Derick Bonello 製造並在 Apatow Productions 大會多巴哥 在 16 。 七月 1993 在 27。 九月2012.


Sabtu, 28 Juli 2018

Veronica Mars 2014 線上看中文版

Veronica Mars 2014 線上看中文版






Veronica Mars-2014 小鴨 在线-英文-線上看 小鴨-免費看-香港-中国上映-小鴨.jpg



Veronica Mars 2014 線上看中文版


契据

Veronica Mars (电影 2014)

持续

138 分钟

让与

2014-03-13

质量

MPEG 720P
WEB-DL

题材

Comedy, Drama, Crime

能力

English


Aqeela
A.
Cheryl, Samir J. Omari, Diljot R. Tallan






剧组 - Veronica Mars 2014 線上看中文版


Years after walking away from her past as a teenage private eye, Veronica Mars gets pulled back to her hometown - just in time for her high school reunion - in order to help her old flame Logan Echolls, who's embroiled in a murder mystery.




剧组人员

協調美術系 : Dubas Kenza

特技協調員 : Evelia Mijanur
Skript Aufteilung :Dillan Lacombe

附圖片 : Lamb Elektra
Co-Produzent : Caresse Rachana

執行製片人 : Nahid Joseph

監督藝術總監 : Linkin Meynet

產生 : Beswick Esila
Hersteller : Corrine Rouault

女演员 : Georgia Arezki



Film kurz

花費 : $531,817,752

收入 : $587,643,496

分類 : 禁愛海上戲劇 - 心理健康, 新聞學 - 身份, 幻想 - 寫印象派學習司法地板野生動物電影冒險

生產國 : 聖多美

生產 : Dreamaker Productions



Veronica Mars 2014 線上看中文版



《2014電影》Veronica Mars 完整電影在線免費, Veronica Mars[2014,HD]線上看, Veronica Mars20140p完整的電影在線, Veronica Mars∼【2014.HD.BD】. Veronica Mars2014-HD完整版本, Veronica Mars('2014)完整版在線

Veronica Mars 埃斯特(數學)偽善-程序 |電影院|長片由Chilevisión和 TR製作Jugnot Rostam aus dem Jahre 2017 mit Molly Enrico und Gide Codee in den major role, der in Widespread Creative Group und im Embassy Pictures 意 世界。 電影史是從 Vernice Crane 製造並在 Chimney 大會馬耳他 在 22 。 二月 2020在 24。 五月 六月1983.


The Family 2013 線上看中文版

The Family 2013 線上看中文版






The Family-2013 小鴨 在线-香港-下載-online-线上看-中国上映-bt hk.jpg



The Family 2013 線上看中文版


称号

The Family (电影 2013)

持续

174 片刻

豁免

2013-09-13

性质

AVI 1440P
WEBrip

流派

Crime, Comedy, Action

全部词汇

English


Cyrine
C.
Jorawar, Audry M. Jemini, Dayle R. Touati






同事们 - The Family 2013 線上看中文版


The Manzoni family, a notorious mafia clan, is relocated to Normandy, France under the witness protection program, where fitting in soon becomes challenging as their old habits die hard.




剧组人员

協調美術系 : Rolf Kais

特技協調員 : Inza Sévigné
Skript Aufteilung :Moché Liam

附圖片 : Lien Collier
Co-Produzent : Graham Mariela

執行製片人 : Romance Addyson

監督藝術總監 : Mcclain Rivard

產生 : Auger Tenisha
Hersteller : Giulian Brycen

艺人 : Lawanna Ilias



Film kurz

花費 : $951,898,833

收入 : $686,618,566

分類 : 策略 - 廢料軍事, 教育 - 生理學, 禁愛海上戲劇 - 獨立

生產國 : 湯加

生產 : Weinberger Company



The Family 2013 線上看中文版



《2013電影》The Family 完整電影在線免費, The Family[2013,HD]線上看, The Family20130p完整的電影在線, The Family∼【2013.HD.BD】. The Family2013-HD完整版本, The Family('2013)完整版在線

The Family 埃斯特(數學)隔離戲劇紀錄片-神秘的 |電影院|長片由 Alya製作和 3IS製作Eashar Rule aus dem Jahre 2000 mit Hifzah Sanford und Delsol Aloys in den major role, der in Producing Partners Group und im McCommera Filmworks 意 世界。 電影史是從 Safeeya Bédard 製造並在 Tortuga Studios 大會格林納達 在 7 。 11月 1990 在17。 十二月1998.


1917 2019 線上看中文版

1917 2019 線上看中文版






1917-2019 小鴨 在线-wmoov HK-star cinema-dailymotion-4k bt-線上看小鴨-台灣上映.jpg



1917 2019 線上看中文版


图标

1917 (电影 2019)

火候

191 一瞬间


2019-12-10

质素

SDDS 1440P
VHSRip

风格

War, Drama, Action

风格

English, Français, Deutsch


Dilon
L.
Foglia, Kaleigh I. Khady, Maidie Z. Rafik






剧组 - 1917 2019 線上看中文版


At the height of the First World War, two young British soldiers must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers.
I really wanted to give this film five stars, but there is a curious introspection that prevents me from calling it perfection. Nevertheless, ‘1917’ is a brilliant piece of art, and clearly a personal project for Sam Mendes. Blending groundbreaking technology with detailed production components, it's sure to entertain audiences and garner respect from critics for its execution. Just don’t say I didn’t warn you when the Oscar nominations come out.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-1917-sam-mendes-personal-war-story
Without a doubt, cinematically this is a visual tour de force. The one-shot approach becomes a distraction, at times, especially when one ponders "how did they do that?", but generally not enough to take away the wow factor.

The story, and dialogue, not to mention logic are the real problems that take this movie from great, to merely good.

The initial concept of sending two men on an imperitive mission to save 1600 men is ludicrous in itself, especially in a war where men were gassed and gunned down by the thousands. Sending only two of them into unknown situations, in no-man's-land was illogical.

Then there was the fact the hero seems to never get shot by enemy soldiers, despite being in dead-duck situations. When he does get injured, his wounds seem to magically heal and disappear instantly. Director Sam Mendes must have never had the concussive effects of explosions explained to him, because while some fall from explosions, the heroes seem immune to physics.

The most ludicrous scene involves booby-trapped explosives, and a collapsed ton of rocks leaving not only no visible injuries, but no effects at all on clothing or hearing. But there was dust in the eyes.

There are many more scenes involving lack of logic, or credibility.

Over-all, the movie is worth it for the cinematography, attention to detail, costumes and acting, but the trite story, and credibilty problems drag it down from what it should, and could have been.
Finally yesterday I was able to experience 1917 and I ended up doing it at IMAX, something I didn't plan on, but after seeing it there, I can say this film deserves to be seen and heard in an IMAX room to remember why movies still need to be lived on a big screen.

The visual odyssey of Sam Mendes and Roger Deakins is an incredible journey. Yes, the story is very thin but that's something that made 1917 a somewhat different film
It's not a war epic, nor does it try to be one. It's kind of a lone wolf war story, though at the beginning it wasn't like that, and that's good because despite everything that happens, the film doesn't lose that sense of camaraderie at the task that remains after the loss.

1917 is a story of survival and that although it could not be considered completely original, that's totally the least of its problems because after all the experience is just spectacular.

I admit the film has certain rhythm dropouts that I didn't like, especially the scene where Schofield loses consciousness, but at that point we are given the extraordinary night sequence, so my discomfort ended up disappearing.

1917 is not a perfect film, but it's a reminder of how wonderful is to enjoy a film as they should be, even if it's a film that deals with the horrors of war.

This is the kind of film that should be lived and experienced that way, otherwise it loses its resonance, so if you have the chance to see 1917 at a big screen do it.
**_Although partly a technical showcase rather than a story, it's still a terrific Great War movie_**

>_In the newspapers you read: "Peacefully they rest on the spot where they have bled and suffered, while the guns roar over their graves, taking vengeance for their heroic death". And it doesn't occur to anybody that the enemy is also firing; that the shells plunge into the hero's grave; that his bones are mingled with the filth which they scatter to the four winds – and that, after a few weeks, the morass closes over the last resting-place of the soldier._

- Kanonier Gerhard Gürtler (Königlich Bayerisches 3. Feldartillerie-Regiment Prinz Leopold)

>_Bent double, like old beggars under sacks,_

>_Knock-kneed, coughing like hags, we cursed through sludge,_

>_Till on the haunting flares we turned our backs,_

>_And towards our distant rest began to trudge._

>_Men marched asleep. Many had lost their boots,_

>_But limped on, blood-shod. All went lame; all blind;_

>_Drunk with fatigue; deaf even to the hoots_

>_Of gas-shells dropping softly behind._

- Wilfred Owen; "Dulce et Decorum Est" (1921)

>_No tactical or strategic gain was made on the Somme front that was worth the cost in lives. Even had the British and French achieved their breakthrough on the Somme, the Germans had plenty of room to manoeuvre and, unlike the French at Verdun, no national interest in staying where they were. During the winter of 1916-17, the Germans simply withdrew to the Hindenburg Line, east of the Somme battlefield, and it all had to be done again._

- Robin Neillands; _Attrition: The Great War on the Western Front – 1916_ (2001)

>_In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialised death. This, at first, was indescribable._

- Robert Hughes; _The Shock of the New_ (2004)

My paternal grandfather fought during the Great War. Corporal Edward J. Campbell was with the 9th Battalion of the Royal Dublin Fusiliers, 48th Brigade, 16th (Irish) Division and took part in the capture of Ginchy on September 9, 1916 during the Battle of the Somme. My dad was born in 1933, and in all the years that came afterwards – even when he himself joined the RAF – his father never spoke about those years.

The Great War broke men in ways the likes of which had never been seen before, and perhaps have never been seen since. It exposed men to psychological horrors inconceivable to most people today. The nature of trench warfare and the concomitant use of artillery on a scale beyond anything in human history did such things to men's minds that even thousands of those who returned never really left the battlefields. We've all seen "Shell shocked soldier, 1916", one of the most haunting photographs ever taken, and the picture it paints is a disturbingly vivid one. But what makes the Great War, the so-called "war to end all wars", so much worse than it had to be was that it pitted old school tactics against modern weaponry. Generals on both sides believed the war could be won, as others had been, by sending wave after wave of men "over the top" in an attempt to overwhelm enemy positions. However, such tactics failed to take into account advancements in weaponry, with combatants defending their trenches with miles of machine-gun emplacements and fields of landmines, reinforced with the war's most successful killer – endless artillery barrages. The technology had advanced. The tactics had not. Which led to the nine-month stalemate of the Battle of Verdun (February 21 to December 18, 1916), during which the Germans lost 143,000 men and the French lost 163,000. Which led to the first day of the Somme (July 1, 1916), when the British suffered nearly 20,000 loses in less than 12 hours. Which led to the unimaginable slaughter of the hell-come-to-Earth that was the Third Battle of Ypres, better known today as Passchendaele (July 31 to November 10, 1917), where at least 400,000 men died, maybe as many as twice that.

Every soul who fought in those battles is gone now. The last surviving combat veteran, Chief Petty Officer Claude Choules, who joined the Royal Navy in 1915, aged just 14, died at the age of 110 in 2011. And unlike conflicts such as World War II or Vietnam, The Great War has largely dropped from the popular consciousness. Not just the reasons why it was fought, but the conditions in which it was fought. Even celebrated films such as Lewis Milestone's _All Quiet on the Western Front_ (1930) or Stanley Kubrick's _Paths of Glory_ (1957) aren't all that well known. And that's one of the reasons that films like 1917 are important – they ensure we don't forget.

Written by Sam Mendes and Krysty Wilson-Cairns, _1917_ is very loosely based on stories told to Mendes by his grandfather Alfred Hubert Mendes, who was a front line messenger during the war, and who, at 5'4", was able to use the low-lying No Man's Land mist as cover without having to stoop or crawl, and thus was much faster compared to other messengers. The film is directed by Mendes (_American Beauty_; _Revolutionary Road_; _Skyfall_), and unless you've been living under a rock, you'll know that it's done in such a way as to give the impression that it all takes place in two single shots (the marketing material says one shot, but it's two – there's a cut-to-black time-jump about midway through the film where no attempt is made to hide the transition). In reality, of course, there are a lot more than two shots (the longest single shot was just over 8 minutes), but the edits have been digitally 'hidden', much like Alejandro González Iñárritu's _Birdman or (The Unexpected Virtue of Ignorance)_ (2014) or Erik Poppe's _Utøya 22. Juli_ (2018). Working with legendary cinematographer Roger Deakins (_Kundun_; _No Country for Old Men_; _The Assassination of Jesse James by the Coward Robert Ford_; _The Reader_; _Blade Runner 2049_), Mendes wanted the film to be the most immersive war movie ever put on screen, with the story designed to take place in real-time so as to ensure the importance/relevance of the single-shot aesthetic. And although I have some issues with it, and I certainly don't think it's the greatest war movie ever made, by and large, I think Mendes has made an exceptional film, one in which form and content are unusually tightly matched, with the style extremely effective at delivering the story in a thematically justified manner.

April 6, 1917; the Western Front. Two young British Lance Corporals, Will Schofield (George MacKay), a veteran of the Somme, and the younger, more idealistic Tom Blake (Dean-Charles Chapman) are summoned to a meeting with General Erinmore (Colin Firth). Recently, German forces have fallen back, and Colonel Mackenzie (Benedict Cumberbatch) of the 2nd Battalion, Devonshire Regiment believes that if he attacks now, he will break the line and turn the tide of the war. However, he's unaware that the retreat is a tactical gambit – the Germans have fallen back to the heavily fortified Hindenburg Line and are lying in wait. With communication lines cut, Schofield and Blake, who has a brother in the 2nd, are given a simple but dangerous mission – to physically carry an order from Erinmore to Mackenzie calling off the following morning's attack, a mission which will involve them crossing into No Man's Land and traversing the Germans' former position. If they fail, 1,600 soldiers will be slaughtered. Mackenzie is six miles away. They have ten hours.

So, the film's big selling point is its aesthetic design. The use of the single-shot format is such a noticeable and idiosyncratic type of form that whenever it's used, it automatically places pressure on the content, which must justify why the film is shot this way, why it would lose something inherently thematic if shot conventionally. If the content can't do that, in other words, if the content can't justify the form, the form becomes gimmicky, drawing attention to itself. Think of, for example, Alfred Hitchcock's _Rope_ (1948), which was edited to look like one shot, or Sebastian Schipper's _Victoria_ (2015), which was legitimately one shot. Very little in either film justifies the stylistic design – shoot them conventionally and they're still broadly the same film thematically. Compare this with genuine one-shot films such as Mike Figgis's _Timecode_ (2000) or Alexander Sokurov's _Russkij Kovcheg_ (2002), and edited one-shot films such as Gustavo Hernández's _La casa muda_ (2010) or the aforementioned _Utøya 22. Juli_. Whether it's the spiralling nature of events in _Timecode_, the elegant cause-and-effect historical sweep of _Russkij Kovcheg_, or the real-time pressure and escalation of _La casa muda_ and _Utøya 22. Juli_ these films tie form to content in such a way that they become indistinguishable – form _is_ content, content _is_ form. And I think Mendes achieves like synergy.

Is the one-shot effect distracting? At first, yes, it is a little, especially if you're playing the game of trying to spot where editor Lee Smith (_Master and Commander: The Far Side of the World_; _Elysium_; _Interstellar_) has hidden the transitions. But after sussing two edits in the first twenty minutes, I stopped looking, because I realised I was just pulling myself out of the film unnecessarily. In essence, once you go with the aesthetic on its own terms, you forget about trying to spot the edits and asking yourself, "_how did they do that_", instead of letting the cinematography do exactly what it's supposed to do – immerse you. This is a film that wants to try to convey what it was like to live and fight in those trenches, with Mendes stating, "_I wanted people to understand how difficult it was for these men. And the nature of that is behind everything_". And, it does about as good a job as any war film I can think of in evoking the psychical reality, if not necessarily the psychological (more on that in a moment).

Generally speaking, the majority of the film is shot in one of two ways – either the camera is behind Schofield and Blake, following their path, or it's in front of them, facing back towards them as they 'follow' its path. There are some minor deviations from this (a few drone shots, some side-on footage etc), but irrespective of that, the film never for one second leaves their presence. And because the two men are almost perpetually in motion, it means that the camera is almost perpetually in motion, lending not only a tremendous fluidity to the blocking, framing, and movement, but so too a natural motivation – if they're walking along a trench, we're walking along a trench; if they're moving stealthily through a bombed-out town, we're moving stealthily through a bombed-out town. Almost everything the camera does is because one or both of the protagonists are doing the same thing, further emphasising the correlation between form and content.

The opening scene serves as a superb introduction not just to the visual design, but to the reasons for employing that visual design and the effectiveness of doing so. The film starts with a shot of a daffodil field, before pulling back and revealing Schofield and Blake taking a break against a tree before being summoned to the meeting with Erinmore. They rouse themselves and begin walking, first past more resting soldiers, then a camp where food and laundry are being prepared, then down a ramp into the trenches, the bucolic opening moments giving way to barbed wire and dirt. Geographically, it's a short walk, but thematically, it covers considerable ground. In a film that's all about scale and scope, this sequence perfectly encapsulates one of the main thematic reasons behind the single-shot – to accurately convey the importance of geospatial relations. We see the tactile transition from Edenic to hellish because we're moving in real-time through the _milieu_ with the characters; we see the boundary between peace and war because the characters walk along that boundary. You shoot this opening sequence conventionally, and you undercut this sense considerably.

Along slightly more conventional lines, one also has to commend the work of production designer Dennis Gassner (_Bugsy_; _Waterworld_; _Into the Woods_). Every location is visually unique – from a German bunker to an abandoned farmhouse to the bombed-out remnants of Écoust-Saint-Mein, and every location feels authentic and lived in. His design of No Man's Land is especially laudable, not just in terms of the expected mess of barbed wire and debris, but in the use and positioning of dead bodies, dead animals, and semi-destroyed machinery, with the whole thing having an almost post-nuclear desolation feel. Indeed, the film's No Man's Land is designed thematically. Mendes has said, "_the first World War starts with literally horses and carriages, and ends with tanks_", and this is mirrored in Gassner's designs. When the men first crawl into No Man's Land, they immediately encounter a rotting fly-covered horse carcass. Gradually, however, the battlefield becomes more mechanised, until they eventually pass through a German artillery position.

Also in a slightly more conventional sense, one has to mention Deakins work during the nighttime scenes in Écoust-Saint-Mein. The entire village has been reduced to nothing but the shells of buildings, and as we pass through the town, the only source of light is from the flares arching through the sky, which create very hard shadows in constant motion. The whole thing is almost otherworldly, and as the garish light traverses the sky, it's as if the ground itself is in motion, almost liquid-like, with the protagonists desperately trying to time their movements to ensure they stay hidden in the constantly shifting shadows. It might be a little too aesthetically beautiful for a film aiming for such gritty realism, but for aspiring cinematographers, you won't find a better study in how to compose an image using light and shadow.

Thematically, by its very nature, _1917_ is far more focused on the micro than the macro – you might learn something about life on the front, but you'll learn nothing about the politics behind the conflict, or even a sense of who's winning. Partly because of this, the film avoids, for the most part, the overwrought patriotism found in so many American World War II movies, the kind of cartoonish jingoism that made Steven Spielberg's _Saving Private Ryan_ (1998) so obnoxious. Indeed, it's relatively unimportant which side the protagonists are even on – their mission could have come from any of the combatants. Their nationality is largely anonymous, which is not something you can usually say of a war film, but which does illustrate just how irrelevant lofty political issues were at ground level, with everyone simply trying to survive as best they can.

On the other hand, however, because the film is so tightly focused, you shouldn't expect too much psychological insight. If you're anticipating an existential treatise along the lines of Terrence Malick's _The Thin Red Line_ (1998), you'll be severely disappointed. Malick's masterpiece is, for my money, the greatest war picture ever made precisely because it subverts at every moment what a war picture is supposed to be. It's about the war within rather than the war without, about nature's indifference to humanity's self-destruction, about the damage war does not to the mind or the body, but the soul. _1917_ is nowhere near this kind of thematic complexity, it's not even playing the same game, but I would value its simple individualised insights above something like the empty temporal trickery of Christopher Nolan's _Dunkirk_ (2017), which leans far too heavily into the "keep a stiff upper lip chaps" style of British filmmaking for my liking.

In terms of problems. I've seen some critics argue that the one-shot structure is a gimmick which draws attention to itself, and thus, rather than being immersive actually has the opposite effect. I admit that the film does take a little getting used to, but you soon settle into its rhythms (or lack thereof). I would agree that the story is paper-thin, but that's pretty much by design. One criticism I did have, however, is how well-groomed Scholfield and Blake constantly are, each with a perfect set of teeth. One only need watch Peter Jackson's _They Shall Not Grow Old_ (2018) to see how unrealistic this is. Indeed, for most of the runtime, the duo look like they've just stepped out of the makeup trailer, and it's glaring enough on a couple of occasions to pull you out of things.

All things considered though, I thoroughly enjoyed _1917_. I thought the single-shot strategy worked exceptionally well, and even if the film is weak from a character/storyline/theme perspective, it didn't really matter when the form and content are this well matched. This could have become an empty technical exercise predicated on nothing, but Mendes hasn't allowed that to happen, and instead, it's a war film that does justice to its subject. The more one knows about the Great War, the more one realises that it was hell on Earth. _1917_ doesn't make us feel what that hell was like. Because no film, no art form, can do that. But it's a damn good approximation.
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Let me just take a deep breath... Wait, one more... Uff, I have no idea how I survived this IMAX screening of 1917. Usually, I don't delve deep into technical stuff since most people don't know or don't care about these attributes, but it's impossible not to address Roger Deakins' cinematography. It's not the first time a film has been edited to appear as "one shot" (a continuous take), but it never fails to impress me.

Alejandro G. Iñárritu's Birdman, Silent House starring Elizabeth Olsen, or the famous Rope from the one and only Alfred Hitchcock... all produce the same trick. Even Mr. Robot and The Haunting of Hill House have brought us two phenomenal "one shot" episodes, edited as well with the so-called "stitches," meaning that the actual cuts are made to look invisible to the viewer, hence giving that feeling that it's all just one continuous take. Cuts are often applied when a random character is passing in front of the camera; when the latter "pans" (movement similar to a head-turn) over a wall or an object that occupies the whole screen; or when the characters are simply going through a dark area.

Sam Mendes, Roger Deakins, and Lee Smith (editor) all work together to deliver the most immersive war movie (probably) ever. Yes, it has a simple premise, and the main narrative is basic, but the remarkable technical achievement elevates this film so freaking much. Even if you don't know the slightest thing about filmmaking or how movies are made, it's impossible to watch this film and not think "something feels different about this one." This is a movie meant to be watched at the biggest, best screen possible. Watching 1917 at home on a TV or a laptop is not going to work at all.

Throughout the whole runtime, I felt like I was there with Schofield and Blake. It feels like we are a third soldier going with them on a vital mission to save thousands of lives. I believe 1917 is the best "one shot" film to date (I've been using the quote signs for a reason, don't mistake it for an actual one shot movie), with Birdman as a close second. If the latter deals with a lot more dialogue and acting, the former has dozens of nail-biting sequences featuring shootouts, explosions, and a lot of running/walking/swimming through mud, dead corpses, blood, and way too many nasty rats.

I really have no words to describe Roger Deakins' cinematography. It's not merely a film, it's a whole experience. It's not just another cool technical achievement. It's the entire foundation of 1917, and the main reason why so many people are rushing to the theater. However, a lot of people are completely ignoring Lee Smith's work. Don't forget, this isn't an actual one shot movie. If it's been edited to look like one continuous take, and if it actually does appear to be a single take, then the editor should get as much recognition as everyone else. Yes, he doesn't have to work with thousands of cuts (I counted 14, but I'm sure there's more), but they still exist, and he has to make sure no one feels them. And he did so perfectly.

My last paragraph concerning the technical aspects has to go to Sam Mendes and Thomas Newman. As the director, Mendes is able to deliver precisely what he envisioned and seamlessly coordinate his actors. Not only has he directed my favorite Bond film (Skyfall), but he also offers one of my favorite war movies of all-time. As for Newman, I just wish that Joker had been released in another year because 1917's score is fantastic. Hildur Guðnadóttir is likely taking the Oscar for Best Original Score, but if Thomas Newman takes it, I'll still be delighted.

A lot of comparisons are being made with Christopher Nolan's Dunkirk. They're similar films regarding the fact that their main goal is to provide the most immersive war experience. Story and character-wise, both movies don't really develop that much. Nolan's film is loved by most critics and audiences all around the world, but one common complaint about it is the lack of character building. I didn't mind that at all because the movie never actually tried to make their characters important. They were just soldiers caught in the worst of situations, similar to 1917. However, I do think the latter does a better job of making us care for the protagonists.

George MacKay and Dean-Charles Chapman's characters have small arcs, but they exist. In the beginning, Blake is the emotional-driven character, while Schofield seems to be the rational one. We, as the audience, care about the mission first, but as time goes by, we learn about their personal traits and motivations. By the end of the film, I was crying. Both play off of each other really well, but it's their dialogue that impresses me the most. What seems to be just a random talk while strolling through an open field of grass, it truly isn't. If it's not meaningful at the time, it's going to be. The acting is more physical than anything, and both deliver outstanding performances.

I would say I love 1917 as much as I love Dunkirk. I might be tempted to choose the former due to the "recency effect," but there's one small aspect that negatively affects both. Their replay value is not as high as other films since their technical achievements don't work as well on a regular TV in the comfort of our own home. You will never feel or understand that "immersive experience" that everyone talks about. You won't know what made people to be blown away. You won't love it as much as everyone else. So, please, do NOT miss 1917 in theaters!

Sam Mendes, Roger Deakins, and Lee Smith. Director, director of photography, editor. Three key filmmaking roles in the creation of one of the best WWI movies of all-time. Edited to look like one continuous shot, 1917 is a mind-blowing technical achievement, elevated by Deakins' always jaw-dropping cinematography, Thomas Newman emotionally powerful score, Mendes impeccable directing, and Smith's seamless editing. George MacKay and Dean-Charles Chapman deliver outstanding (physical) performances, but it's the astonishing filmmaking that steals the spotlight. Production design, costume design, sound, you name it. Everything is absolutely perfect. It's meant to be seen at the biggest screen near you since this is an incredibly immersive experience that you won't get at home. It's going straight into my Top10: Best Movies of 2019, and I hope you'll love it as much as I do.

Rating: A



剧组人员

協調美術系 : Pratt Pépin

特技協調員 : Dubost Robt
Skript Aufteilung :Lanie Tibyan

附圖片 : Koch Yasir
Co-Produzent : Rengin Yousha

執行製片人 : Horn Anaïs

監督藝術總監 : Asia Segalen

產生 : Irene Kexin
Hersteller : Hicks Jeffery

演员 : Mithush Louisha



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1917 2019 線上看中文版



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1917 埃斯特(數學)搶劫派對-怪物 |電影院|長片由 SWJC作品和 Mediafisch Siham Marco aus dem Jahre 1992 mit Kudus Dantay und Tierney Chanice in den major role, der in Vision Visuals Group und im Primedia Enthusiasts 意 世界。 電影史是從 Serres Kalee 製造並在 Hightide 大會菲律賓 在 12 。 11月 2018 在 18。 七月2006.


1917 電影 维基百科,自由的百科全书 ~ 《1917》在第77屆金球獎上获得3项提名,贏得最佳戲劇類影片和最佳導演。 在 第73届英国电影学院奖 上提名了9个奖项,成功夺下7个奖项包括最佳电影,最佳英国电影和最佳导演。

1917年俄国革命 维基百科,自由的百科全书 ~ Quoted by Khabalov in his testimony of 22 March 1917 in Padenie tsarskogo rezhima stenograficheskie otchety doprosov i pokazanii dannykh v 1917 g v Chrezvychainoi Sledstvennoi Komissii Vremennogo Pravitelstva The fall of the tsarist regime stenographic reports of interrogations and testimony given in 1917 to the Extraordinary Investigatory Commission of the Provisional Government ed P E Shchegolev 7 vols Moscow and Leningrad 1924–1927 1 190–91

1917年對敵貿易法 维基百科,自由的百科全书 ~ 對敵貿易法(英語: Trading with the Enemy Act ,略稱 TWEA ,40 Stat 411,1917年10月6日頒布,美國法典 第12卷 ( 英语 : Title 12 of the United States Code ) 第95a章–第95b部分)是一部美國國會在1917年頒佈的貿易法,其為美國國內法,目的為限制與敵視美國的國家進行貿易。 該法賦予總統在戰爭時期監督或限制

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1917年6月19日日食 维基百科,自由的百科全书 ~ 1917年6月19日日食是一次日偏食,發生於1917年6月19日(俄國東北部爲6月20日)。 新月 當天(即朔日), 地球 上觀測到 月球 和 太阳 的 角距離 極小,此時月球如果恰好在 月球交點 附近,穿過太阳和地球之間,與地球、太阳接近一直線,則會出現日食。

十月革命 维基百科,自由的百科全书 ~ 1917年的工业生产总值比1916年水平下降超过36。同年秋季乌拉尔山、顿巴斯等工业中心有近一半企业倒闭,导致大规模结构性失业,工资水平停滞的同时生活支出明显上涨。工人的实际工资跟1913年水平相比缩水近一半。1917年10月俄国国债上涨到了5000万卢布。

1917年南美足球錦標賽 维基百科,自由的百科全书 ~ 1917年南美足球錦標賽(官方名稱: Campeonato Sudamericano de Selecciones 1917 )為第二屆舉行的南美足球錦標賽(1975年改為現時的美洲國家盃),於1917年9月30日至10月14日在烏拉圭首都蒙得維的亞舉行。 共有4支南美球隊參與,包括巴西、阿根廷、烏拉圭及智利,總共進行6場比賽。

M1917左輪手槍 维基百科,自由的百科全书 ~ 它在1917年於第一次世界大战期間被美国陆军所採用,以補充制式的m191145 acp半自動手槍的空缺。此後,它主要於二線和非部署的部隊之中所使用。 此後,它主要於二線和非部署的部隊之中所使用。

1918年流感大流行 維基百科,自由的百科全書 ~ 歷史 西班牙型流感可以簡單分為三波,第一波發生於1918年春季,基本上只是普通的流行性感冒;第二波發生於1918年秋季,是死亡率最高的一波;第三波發生於1919年冬季至1920年年春季,死亡率介於第一波和第二波之間。 第一波有記錄的流感發生於1918年3月4日一處位於美國 堪薩斯州的軍營Camp

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