Movie Title	The Boss Baby 2
Clock	199 minutes
Release	2021-03-24
Quality	DAT 1440p Bluray
Categorie	Animation, Family, Comedy, Adventure, Fantasy
language	English
castname	Moshe T. Raison, Thierry Y. Calumn, Swann B. Nasima

[HD] [Watch] The Boss Baby 2 4k Blu Ray 2021

Film kurz

Spent : $179,727,044

Income : $603,640,156

category : Rache - Unabhängig , Völkermord - Brüder , Toleranz - Chor , Spionage - Vernachlässigung

Production Country : Mongolei

Production : Europa Producciones

Movie Title	Jason Goes to Hell: The Final Friday
Moment	172 seconds
Release	1993-08-13
Quality	SDDS 720p Blu-ray
Categories	Horror
speech	English
castname	Ahmad X. Léopold, Fatima N. Domenik, Selène A. Barrat

[HD] [Watch] Jason Goes to Hell: The Final Friday 4k Blu Ray 1993

Film kurz

Spent : $555,837,558

Income : $734,278,557

Categorie : Lustig - Abenteuer , Lustig - Military , These - Sozialismus , Liebe - Atheist

Production Country : Frankreich

Production : Medienbüro Süd



The second film touted to be the "Final" _Friday the 13th_ movie, and the second one to lie.

Being honest, right out of the gate, I don't particularly like _Jason Goes to Hell_, and not only because of the negative sense-memory I have after playing a drinking game to it with straight Jack Daniels. But at least it tried some different things. Different tone, different look, different direction, different... Production company? It's still really not good, but it does sort of break up the marathon a bit by being something that no other _Friday the 13th_ quite is.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
***Great intro & first act, but kinda distasteful and convoluted with a cartoony last act***

Released in 1993, "Jason Goes to Hell: The Final Friday," aka Part IX, is the oddest entry in the series, along with the next one. But this isn't much of a surprise since three of the previous four installments were departures from the typical Friday formula -- Part V, VII (which features a Carrie-like character) and especially VIII (which switches the setting from Crystal Lake to a cruise ship and the big city).

The prologue shows Jason back at Crystal Lake. How'd he get back there after the events in Part VIII? The ending of that movie didn't show Jason completely destroyed, so we must assume that he made it out of the sewers of Manhattan and simply gravitated back to his familiar stomping grounds, which is only about 75 miles away. Anyway, the opening is excellent and highlighted by the most stunning female in the entire series, Julie Michaels as Agent Marcus (which is saying a lot in light of the series having the best line of women of ANY movie franchise).

Jason’s corpse winds up in the morgue in Youngstown, Ohio, and the film takes an interesting twist reminiscent of the 80's cult film "The Hidden." Other bizarre additions to the Jason Voohees mythos include a magic blade, a strange "Jason-Finder General" character and the disclosure of the only way the infernal monster can be killed and resurrected. I don't mind these revelations as the series was hackneyed after 8 films in 10 years from 1980-89, albeit still entertaining. Besides, there are enough typical Friday-isms to please fans of the series, for instance the entire camp sequence and the prologue, not to mention the return of an iconic character in the finale.

Some fans object to the main revelation on the grounds that Jason is supposedly a misunderstood man-child and this movie changes that. Actually the only films fitting this model are Parts II, XI and the 2009 remake. Parts I, V, VI, VII, and VIII were more in line with the idea of Jason as a force of darkness & evil, the curse on Crystal Lake or whatever. And Parts III and IV had him killing a pregnant girl, psychologically torturing the heroine, and attempting to kill a boy after slaying his mother, so he wasn't exactly Lenny from "Of Mice and Men" as these critics maintain. Face it, although Jason may have been an innocent deformed child at one time, the seed of evil (possibly a demonic spirit) entered into his heart at some point and he increasingly became a hideous hellish monster and you have to give this entry credit for trying to fill in the bones with corpse flesh, whether you accept these surprises or not.

Unfortunately, there’s a distasteful element to the proceedings, which is offset by the black humor a bit, and the final act goes so over-the-top with the action and horror shenanigans that the movie becomes cartoonish and laughable. A good example is the campy fight between the deputy and Steven. As such, "Jason Goes to Hell" is one of my least favorite in the series, along with Parts III and VII. Nevertheless, it’s entertaining enough and gets extra points for trying something fresh and interesting.

Besides the awe-inspiring Agent Marcus in the prologue, we get a couple of cute campers, Deborah and Alexis, with Deborah (Michelle Clunie) particularly shining. There's also Jessica, who turns out to be the main protagonist, her mom (the goddess Erin Gray from "Buck Rogers") and Vicki from the restaurant. Needless to say, great job on the female front, but they coulda done more with Jessica.

For those who care (I don't) this entry seriously ups the ante in the horrific gore factor.

As far as locations go, this installment goes back to Southern California in the tradition of Parts III, IV and V; specifically the Los Angeles area: West Hills and Thousand Oaks.

BOTTOM LINE: "Jason Goes to Hell" gets props for its radical departure from the Friday formula, even while containing “Friday” staples: youths, babes, Crystal Lake, slayings and so on. But there’s a disagreeable air despite the amusement and the final act spins out of control with quasi-horror zaniness. Still, any movie that features Agent Marcus and Deborah can't be all bad.

The film runs 87 minutes (rated) and 90 minutes (unrated).

GRADE: C+/B-

Movie Title	Star Wars: The Force Awakens
Time	155 minute
Release	2015-12-15
Kuality	MPEG-1 720p HDTS
Category	Action, Adventure, Science Fiction, Fantasy
speech	English
castname	Rivan V. Ophelia, Lounis U. Tynisha, Renaud A. Ashveen

[HD] [Watch] Star Wars: The Force Awakens 4k Blu Ray 2015

Film kurz

Spent : $982,172,175

Revenue : $529,532,049

Categorie : Rache - Brüder , Zweitens der Name - Apology , Leben - Barmherzigkeit , Guru - rätselhaft

Production Country : Osttimor

Production : Pink TV



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

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

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

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

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

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

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

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

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

Star Wars: The Force Awakens (2015)

Lucasfilms

2 hrs. 15 mins.

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

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

MPAA Rating: PG-13

Genre: Science Fiction/Action and Adventure/Space Fantasy

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

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

**Spoiler alert!!**

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

**Summary:**

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Was it perfect?
No.

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

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

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

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

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

Movie Title	Shirley
Hour	156 seconds
Release	2020-01-25
Quality	MPE 1440p BRRip
Category	Drama, Thriller
speech	English
castname	Faizal U. Parain, Noemi N. Wadan, Rabi Z. Khadeem

[HD] [Watch] Shirley 4k Blu Ray 2020

Film kurz

Spent : $922,190,353

Revenue : $291,202,123

Categorie : Reisen - Identität , Porträt - Familie , Heuchelei - Vertrauen , Hochzeit - Soundtrack

Production Country : Malaysia

Production : Attitude Pictures

Movie Title	A Rainy Day in New York
Duration	168 seconds
Release	2019-07-26
Quality	DTS 720p Bluray
Categorie	Comedy, Romance
speech	English
castname	Arnaude J. Jeremie, Alonzo X. Nithya, Hélio W. Steeven

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categories : Kontroverse - Atheist , Journalismus - Bondage , Metaphysik - Soundtrack , Glaube - Weihnachten

Production Country : Indien

Production : BBC Wales

Movie Title	In the Bedroom
Duration	152 minute
Release	2001-11-23
Quality	MPG 1440p DVDScr
Category	Drama, Thriller
language	Array, English
castname	Demmie P. Brody, Safiyya K. Natanya, Nirujan E. Kaleb

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Categorie : Bögen En Ciel - Physiologie , Porträt - Werbung , Film Animation - Weihnachten , Ethik - Skepsis

Production Country : Jamaika

Production : Idéacom International

Movie Title	Jocks
Moment	194 minutes
Release	1986-11-14
Kuality	MPE 720p Bluray
Genre	Comedy
language	English
castname	Uwais K. Noham, Jessie J. Anae, Thiery T. Bravo

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Spent : $121,248,521

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Categorie : Leben - Atheist , Dialog - Einfach , Hochzeit - Verletzung , Apathie - Einfachheit

Production Country : Mikronesien

Production : AngryCake Productio

Movie Title	Hedefim Sensin
Moment	191 minutes
Release	2018-11-29
Kuality	SDDS 720p HDTS
Category	Comedy
speech	Türkçe
castname	Elvis S. Labonté, Juin I. Simaran, Donya D. Nashwan

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Group : Verrat - Einfach , Dokumentarfilm - Universum , Ethik - Programm , Anthologie - Impressionist Lernen Judicial Floors Wildlife Film

Production Country : Monaco

Production : Sahamongkol Film

Movie Title	Bent
Duration	158 seconds
Release	1997-11-26
Kuality	SDDS 720p WEB-DL
Categories	Drama, History, Romance
language	English
castname	Slimane S. Dangelo, Symoné J. Eilah, Sindy P. Juline

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Spent : $522,719,536

Revenue : $672,058,914

Group : Medizin - Vernachlässigung , menschliches Wesen - Dystopie , Strategie - Barmherzigkeit , Journalismus - Super Heroes gesunder Menschenverstand

Production Country : Tonga

Production : MNC Pictures

Movie Title	BlacKkKlansman
Duration	135 minutes
Release	2018-07-30
Quality	AVCHD 1080p DVDrip
Category	Crime, Drama, History
language	English
castname	Benoîte I. Mongis, Misrahi A. Michai, Eliette J. Lévana

[HD] [Watch] BlacKkKlansman 4k Blu Ray 2018

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Group : Mathematik - Familie , Zoologie - Stumm , Abstrakt - Familie , Innerer Frieden - Chor

Production Country : Bulgarien

Production : Stearns Castle



The way _BlacKkKlansman_ ends, felt in terms of formula almost as if I was supposed to have just seen some unsubtle propaganda, which seemed a very unusual note to go out on. It did sort of make me step back a bit, but it absolutely did not temper my enjoyment of the movie. I was engaged from the word go, and everybody in it is **so good**.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
**_Polemical, didactic, confrontational, angry, trenchant - a state-of-the-nation address_**

> _We made a contemporary-period film, and it's about what's happening in the world today. Don't make the mistake that this stuff is just happening in the United States; it's worldwide._
>
[...]
>
_One of the things I know will happen is that when this guy in the White House, when he's gone, and historians look back on him, they're going to look at what he said, his comments about Charlottesville, where he cannot make the distinction between love and hate. He co-signed the Klan, he co-signed t__he alt-right and he co-signed neo-Nazis and I think that gave those terrorist groups, homegrown American terrorist groups, a green light._

- Spike Lee; "_BlacKkKlansman_'s Spike Lee On Trump's Legacy, Harry Belafonte & 2020 Election - Awardsline Screening Series"; _Deadline_ (January 10, 2019)

_BlacKkKlansman_ is a film with a whole hell of a lot on its mind. It opens with one of the most (in)famous scenes from Victor Fleming's _Gone with the Wind_ (1939), before pivoting to a fictional precursor of Alex Jones lecturing the audience on the dangers of the "negroid", and later takes in everything from Kwame Ture and the All-African People's Revolutionary Party to David Duke and his political aspirations, before lambasting D.W. Griffith's _The Birth of a Nation_ (1915), criticising the tropes of classic Blaxploitation films such as Gordon Parks's _Shaft_ (1971), Gordon Parks Jr.'s _Super Fly_ (1972), and Jack Hill's _Coffy_ (1973), going into agonising detail regarding the 1916 lynching of Jesse Washington, sardonically criticising police bureaucracy, and concluding with a montage of the 2017 Unite the Right rally in Charlottesville, Virginia, including raw footage of James Alex Fields, Jr. ploughing a car into a crowd of counter-protestors, resulting in the death of Heather Heyer, intercut with Duke championing Donald Trump's presidency, and Trump's own reluctance to condemn the Neo Nazi/white supremacist component of the rally. The film then ends with an evocatively worded tribute to Heyer, before fading to an upside-down black and white American flag (which is not, as is often stated, a political protest, but is actually a governmentally approved signal for "dire distress"). Yep; this is a film with a lot to say.

At its core, _BlacKkKlansman_ is about institutional racism in the United States. Ostensibly dealing with the 1970s manifestation of such, the film's real point is that in 2018, not only is such racism still a problem, it's now even more endemic, due to its pseudo-legitimacy in the wake of Trump's election, and the concomitant upsurge in hate crime across the country. The film holds a mirror up to the contemporary era by way of presenting an historical event which both underlines the inherent nonsensicality of white supremacist attitudes, whilst also pointing out just how dangerous idiots like this can be in a country where guns are so readily available, where being a member of an organised hate group is not illegal, and where the belief that "white is right" reaches to the upper echelons of power.

On the surface, the film plays out as you would expect from the trailer - it's a frequently hilarious look at the true story of how a black police officer infiltrated the Ku Klux Klan. In 1979, Ron Stallworth (John David Washington) became the first black officer in the Colorado Springs PD. Initially assigned to the records room, Stallworth talks his way into an undercover investigation run by Detectives Flip Zimmerman (Adam Driver) and Jimmy Creek (Michael Buscemi), who have him attend a lecture being given by Kwame Ture (Corey Hawkins) with orders to report on the mood and attitudes of the crowd. Although taken with Ture's rhetoric, Stallworth nevertheless carries out his assignment, and is subsequently transferred to intelligence. Seeing an advert for KKK membership in the newspaper, Stallworth rings the number on a whim. Pretending to hate everyone who doesn't have "pure white Aryan blood running through their veins", Stallworth is invited to meet. He then hatches an insane plan to use Zimmerman as the in-person Stallworth, whilst Stallworth himself will continue the phone conversations. At the meet-and-greet, Zimmerman/Stallworth is introduced to the unstable Felix Kendrickson (a superb Jasper Pääkkönen), who is immediately suspicious of him. Nevertheless, he's approved for membership. However, unhappy with how long the paperwork is taking, Stallworth rings KKK headquarters, and is shocked to find himself on the phone with "Grand Wizard" David Duke (Topher Grace), who he impresses to such an extent that Duke promises to expedite his membership.

And with this completely barmy premise as the hook, co-writer/director Spike Lee (_Do the Right Thing_; _Malcolm X_) has made his best film since _25th Hour_ (2002), and his funniest since _Bamboozled_ (2000), possibly the funniest of his career. Of course, Lee is far from the first person to see humour in the idea of a black person joining a white supremacist organisation – perhaps the best known example is Dave Chappelle's character, Clayton Bigsby, a blind black man unaware of his ethnicity, who has become the leader of a local KKK sect. However, where the film is unique, and where it excels, is in how Lee uses history to offer viciously trenchant commentary on race relations in 2018.

His combative intent is signalled in the first scene, which is actually a scene from another film; _Gone with the Wind_, as Scarlett O'Hara (Vivian Leigh) looks for Dr. Meade (Harry Davenport) in the wake of the Battle of Atlanta in July 1864. A resounding victory for the Union, the battle bolstered confidence in Abraham Lincoln's leadership, and precipitated the Confederate States of America's surrender the following year. The scene depicts O'Hara picking her way through the thousands of wounded and dead Confederate States' soldiers as a crane shot pulls back to show the devastation, finally coming to rest on a tattered Confederate Navy Jack. The implication here, as elsewhere in the film, is clear – this is very much the world of the Lost Cause of the Confederacy, the belief that prior to Reconstruction, the Antebellum South was an urbane and benign society, with the Confederacy heroically fighting the corrupt Union so as to preserve the inherently honourable southern way of life. Important in this skewered worldview is the contention that the practice of slavery was a benevolent institution, protecting the "coloureds" from their own worst predilections, and who, rather than being abused, were treated like members of the family who owned them. Lee first saw Gone with the Wind on a third-grade class trip, and of the experience, he states,

> _that film disturbed me. The imagery of Hattie McDaniel and Butterfly McQueen – "I don't know nuthin' 'bout birthin' no babies" – I mean, there was no discussion at all about the imagery._

Lee keeps up the confrontational tack in the film's second scene, as _BlacKkKlansman_ segues into the first of two key scenes to reference another important filmic text set during the Civil War; D.W. Griffith's 1915 masterpiece _The Birth of a Nation_. This scene depicts the fictional cultural anthropologist Dr. Kennebrew Beauregard (Alec Baldwin), who, in grainy black-and-white footage tries to alert the audience to the fact that the negorids are attempting to take over the country. Obviously inspired by maniacs like Alex Jones, Beauregard is about as irrational as they come, and his frustration as he continually flubs his lines superbly undercuts any claim he may have to seriousness. But what's especially well done is how Lee uses _Birth_ to mock this type of individual. As footage of the film plays behind Beauregard, his face is erased of its colour – he is literally rendered white enough to become part of the projected image, which, of course, depicts a narrative built around the inherently virtuous nature of being white. It's a powerful shot that clearly tells us, yes, this is a comedy, and yes, these people are ridiculous, but also alerting us to the fact that Lee is not playing around here; he's going to use every filmic tool in his arsenal to get his point across.

And what is that point? The cultural instability of the United States in 2018, with its entrenched institutional racism, an entire race of people once again being treated like second class citizens because of the amount of melanin in their skin, hateful rhetoric masquerading as national pride, the breakdown of the distinction between xenophobia and patriotism, and the transition of hate crimes from the fringes of society into the realm of social acceptability. The film suggests that organisational racism once existed half-way between the absurd and the dangerous, but in recent years, it has moved in the wrong direction. Even before we get to the chilling closing montage, Lee and his co-writers (Charlie Wachtel, David Rabinowitz, and Kevin Willmott) have dropped a few subtle allusions to Trump's presidency. In one scene, Stallworth confidently asserts that it doesn't matter how much of a legitimate businessman Duke becomes, and no matter how much he hides his racism behind more patriotic rhetoric such as immigration and crime, the country would never elect a crass, hate-filled racist as president. In another scene, Duke explains he and the KKK are "_making America great again_." These two allusions would be enough to get the point across, but it would also mean that that point remains in the realm of comedy, and is therefore easily dismissed. The closing montage changes that, as it drops all pretence of humour in depicting what happened in Charlottesville, and Trump's asinine response ("_You had some very bad people in that group, but you also had people that were very fine people, on both sides_"). This is very much a state-of-the-nation address.

In relation to _Birth of a Nation_, of course, things are more complicated than they are in relation to _Gone with the Wind_. Yes, the film is horrifically racist, and yes, it was singlehandedly responsible for the 20th-century revival of the KKK, but it is also probably the most important film ever made, and literally wrote the book on screen grammar. Conceivably, _Gone with the Wind_ could be removed from the canon and no longer taught, but _Birth_ absolutely could not. It is a foundational text, an undeniable landmark film, completely independent of its politics. Lee saw it during his first year at NYU, stating,

> _they taught us all of the cinematic innovations Griffith had come up with, but they left out everything that had to do with the social impact of the film. That this film re-energized the Klan. The Klan was dormant, it was dead, and the film brought about a rebirth. Therefore, because of the rebirth of the Klan, it led to black people being lynched, strung up, castrated and murdered, but that was never discussed! I have no problem with Birth of a Nation being screened […] but let's put it in context, let's discuss it._

_Birth_ is based on Thomas F. Dixon, Jr.'s 1905 novel T_he Clansman: A Historical Romance of the Ku Klux Klan_ - the second book in his KKK trilogy (the first is _The Leopard's Spots: A Romance of the White Man's Burden - 1865-1900_ (1902), and the third is _The Traitor: A Story of the Fall of the Invisible Empire_ (1907). As these titles suggest, all three novels valorise the practises and institutions designed to oppress black people, whilst depicting emancipated slaves and Yankee carpetbaggers as the "real" villains behind the Civil War, positing that the plight of the freedmen during Reconstruction was a direct result of their liberation (i.e., they (and the south in general) would have been better off had they remained slaves). In Dixon's depiction of the lawless society of the south, created by the Union, where coloureds can walk around freely, southern whites have become the target of racial violence, with freedmen being particularly fond of raping white women. In the trilogy, the Klan are depicted as arising from this maelstrom, honourable and heroic men forced to reluctantly take the law into their own hands so as to stop the rampage. So influential was the film that the modern KKK practices of wearing white hoods and burning crosses come from it, not from the original 1865-1871 incarnation of the Klan.

As mentioned, Lee uses the film twice – in the Beauregard scene, and in a later scene where his use of it speaks to the formal complexity of his own work. One of the most important of Griffith's innovations was that of parallel editing (better known today as cross-cutting), something we all take for granted in everything from films to commercials to music videos. In a nutshell, parallel editing is when two separate actions from two separate locations are intercut to suggest they are happening simultaneously, often, but not always, to heighten tension. It's one of the most fundamental components of screen grammar, so much so we don't even think about it today – we just take it as given. However, Lee's genius in this scene is that he uses _Birth_ to mock the Klan by way of, you guessed it, parallel editing. As the KKK sit down to watch _Birth_, Lee intercuts their enjoyment of its absurdities with Jerome Turner (Harry Belafonte) telling the story of the barbaric lynching of Jesse Washington, which saw a crowd of over 10,000 people in Waco, Texas, cheering on as his testicles and fingers were cut off, after which he was slowly burned to death by being continually raised over a fire. Lee uses parallel editing here so as to have one scene comment on the other – he is literally using _Birth_'s own innovations against it and what it represents. _Birth_ may be politically abhorrent, but Lee is savvy enough to not only recognise its technological importance, but to co-opt that importance and use it for his own ends, showing us the stunned reaction to a vicious murder contrasted with a celebration of the conditions which led to that murder.

As all of this may suggest, yes, the film is preachy, but that's because Lee is preaching. He makes no apology for such. This is polemic filmmaking, and the move into heavy didacticism in the final montage is completely earned.

On a more formal level, Lee thematically employs many of the aesthetic devices for which he has become known – whether it's a pronounced dutch angle during Stallworth's phone conversations with the KKK to indicate just how surreal the whole thing is, disembodied heads fading into one another during a powerful Ture speech, or, of course, the double dolly shot, which he has used in most of his films to suggest disillusionment and/or the characters' inability to control their own actions as they are inexorably pushed forward, divested of the contextualisation of their environment.

All of this is not to say the film is perfect, however. For example, it relates the apocryphal story that when Woodrow Wilson saw _Birth_, he commented, "_it is like writing history with lightning_." Wilson never said this; the quote was most likely the invention of Thomas F. Dixon Jr., who was promoting the film at the time. Lee must know this, and it does his cause no good to perpetuate a lie. How he employs the double dolly also raises some interesting problems, suggesting, as it does, that orthodox black activism and underground black militancy must combine forces in the face of hate. The film also glosses over Stallworth's time in COINTELPRO, where he worked to sabotage radical black organisations, because this doesn't fit into the overarching theme the film is constructing. Making Zimmerman Jewish is also troubling (the real person he was based upon is known only as Chuck, and all we know about him is that he definitely wasn't Jewish). Is Zimmerman supposed to represent Republican voters who abhor the KKK as much as the political left do? Who knows, because beyond being Jewish, there's no further character development; he's more of a rhetorical device, a meme rather than a person with an inner life. Similarly, the fictional explosion towards the end of the story serves to distastefully simplify everything, once more making the KKK look foolish, something which is wholly unnecessary at this point in the film, whilst also positing Stallworth as a clichéd movie hero, something Lee has avoided up until this point.

These are relatively minor complaints, however. Look, Lee is far from my favourite filmmaker. I really disliked _Malcolm X_ (1992), for example, probably his most celebrated film, and he has justifiably been accused of racism himself on multiple occasions. None of that, however, changes the fact that this is an hilarious, powerful, insightful, and frightening piece of work.

Vital filmmaking from an angry filmmaker.

Also nice to see Clay Davis…sorry, Isaiah Whitlock, Jr. pop up in a throwaway part, but still get to deliver his catchphrase. Seriously, how many actors these days have a catchphrase? Sheeeeeeeeeeeettttttttttttttt.

Movie Title	King of the Hill
Time	178 minutes
Release	1993-08-20
Kuality	M1V 720p TVrip
Categories	Drama
language	English
castname	Kazi K. Marquis, Taliyah Y. Adrijus, Viète H. Louisha

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Spent : $297,220,462

Income : $531,791,913

Group : Patriotismus - Ethnografisch , Erzählung - Vernachlässigung , Journalismus - einfallsreich , Hysterisch - Benzin

Production Country : Afghanistan

Production : T2 Studio