Movie Title	Star Trek
Moment	118 seconds
Release	2009-05-06
Quality	MPE 1080p DVD
Categorie	Science Fiction, Action, Adventure
language	English
castname	Banita H. Mirna, Ibarra H. Cherie, Robles G. Louay

[HD] [Watch] Star Trek 4k Blu Ray 2009

Film kurz

Spent : $129,334,205

Income : $843,993,866

Group : ParParties - Spionage , Glaube - Propaganda , Gesundheit und medizinische Forschung - Polizei , Heroisch - Vernachlässigung

Production Country : Sudan

Production : Samson Films



**The following is a long form review that I originally wrote in 2013**

I did like _Star Trek_. I did not, however, appear to like it as much as the rest of the whole damn planet.

I appreciate the decent helping of Australian actors in the mix (like personal favourite Chris Hemsworth, above). I can get behind the colourful and impressive special effects spectacle. Most of all I dig the reboot angle they pulled. The whole time travel/tangent universe thing is the perfect breeding of remaining true to the original, while still not constricting themselves to the old canon. Fantastic idea.

But I didn’t love it. I’m a big fan of origin stories, but I personally feel that _Star Trek_ never really breached past that point. The first half was brilliant, getting to know the characters, the world, the ideals, everything. But in the latter half it seems they just sort of went “Well, we spent a bunch of time doing stuff good, but now we don’t have enough time left to make an actual movie out of this… Oh well, just chuck an hour of lasers in there and we’ll worry about that next film!” which just isn’t good enough. When _Into Darkness_ comes out later this year, the format will probably pay off, but looking at the merits of Star Trek alone, I think it fell short.

Simon Pegg (_Hot Fuzz, Shaun of the Dead_) as the new Scotty and Zachary Quinto (_American Horror Story, Heroes_) as the new Spock were both solid choices, but other casting decisions like Winona Ryder (_Black Swan, Alien: Resurrection_) as Spock’s mother were an off-shot in the worst possible way.

I suppose though, in science fiction, it’s often safety first and little steps. As a member of what is probably the most frowned upon of the genres, I wish this Star Trek reboot all the best in its inevitable future, and it seems it will make good use of it. But for now, the solo film itself didn’t reach as far as I felt it could have with a little harder work towards the end.

62%

_-Gimly_
A franchise re-energised-big time!

It's not an understatement to say that the news of a new Star Trek movie was met in equal measure by suspicion and pretty low expectations. Step forward J.J. Abrams to direct it, and many wondered while the guy behind TV series "Lost" and "Mission Impossible III" would want to dabble on hallowed sci-fi turf?. Things were further eyebrow raising when Abrams openly admitted to not having been a fan of the original show so cherished by a legion of Trekkies. Then news came of the film being a prequel, based around the Starfleet Academy and the coming together of what we know as the U.S.S. Enterprise crew. "Ooh that will be a tough one to carry off" said many, "Kirk & Spock as young spunkers - surely not" they said. Well not only did Abrams pull it off as it were, he simultaneously appeased most Trekkies whilst garnering a whole new generation of sci-fi observers. Budgeted at $140,000,000, Abrams Star Trek went on to gross Worldwide $384,953,778. Figures that, even allowing for the huge fan-base that the franchise has, show that many first timers not only went to see it - but also that they enjoyed it so much they went back for second helpings. I know I did.

The success of the film isn't hard to fathom, because although Abrams upped the action quota (with a number of breath taking and eye appealing sequences) he also dispensed with much of the sci-fi psycho babble that has blighted some of the previous filmic instalments in this most up and down of franchise's. Sure there's stuff in there for the discerning fan, with a time travelling revenge plot at its axis, how could there not be?, But Abrams and his writers (Roberto Orci /Alex Kurtzman) keep it simple, savvy and sexy. They smartly link to Trek lore with a crucial plot and character development featuring the Kobayashi Maru, while pain, emotional conflict and personal crisis all feature heavily. This is, one can "logically" say, a spiky post 9/11 Trek movie. There's even room for a romantic strand, a strand that is tender and fits the whole make-up of the piece perfectly. All of which only works because the cast are, in the main, producing great work.

Getting Leonard Nimoy to appear in a small, but crucial role, is nothing short of being a master-stroke. His presence keeps the all important essence of Star Trek within what is ultimately a reboot. It's like a father figure watching over proceedings, making not only the cast feel safe, but also us the viewers. The youngsters in the cast are impressive, Chris Pine (Kirk), Zachary Quinto (Spock) and Zoe Saldaña (Uhura) lead from the fresh faced front. While Karl Urban (Bones McCoy) and Simon Pegg (Scotty) impact with comic relief that aids instead of hinders the plot developments. Villain duties falls to Eric Bana as Romulan Captain Nero, he's a touch miffed is Nero, and Bana brings the character's vengeful pain vividly to life. While Bruce Greenwood as Captain Christopher Pike adds a touch of class that he almost always seems to do.

This U.S.S. Enterprise has launched itself in another direction, and yes, it's boldly going where no-one has boldly gone before. It is, all told, a bona fide blockbuster with brains and balls. The like of which has sadly been missing from many a modern era summer release. Yes it's not all perfect, the odd scene could quite easily have been jettisoned, and some accents need a bit of fine tuning, but they are very minor complaints. A triumph from Abrams and his team - note the Stardate in the ships log, for this is a noteworthy moment in modern sci-fi cinema. Now comes perhaps a bigger challenge, the notoriously difficult second film... 10/10

Movie Title	Like Water for Chocolate
Hour	188 minutes
Release	1992-04-16
Kuality	MPEG-2 720p WEBrip
Category	Drama, Romance
speech	English, Español
castname	Marvela X. Kamile, Berie U. Ashwyn, Senapus I. Scubla

[HD] [Watch] Like Water for Chocolate 4k Blu Ray 1992

Film kurz

Spent : $659,066,051

Revenue : $307,748,216

categories : Mädchen - Freiheit , Reden - Universum , Europa - Universum , Heroisch - Lebenslauf

Production Country : Araber

Production : Rockfield Productions

Movie Title	Bleeding Steel
Duration	138 seconds
Release	2017-12-18
Quality	Dolby Digital 720p TVrip
Categorie	Action, Science Fiction, Thriller
speech	English, 普通话, Italiano
castname	Dewey T. Emery, Naly V. Slania, Plum C. Jeyda

[HD] [Watch] Bleeding Steel 4k Blu Ray 2017

Film kurz

Spent : $988,213,812

Revenue : $198,054,783

Categorie : Biblisch - einfallsreich , Scary - Unabhängig , Schwören - Waste , Bögen En Ciel - Ethnografisch

Production Country : Schweiz

Production : thinkfilm

Movie Title	Baywatch
Moment	137 minutes
Release	2017-05-12
Kuality	M4V 720p Blu-ray
Category	Action, Comedy
language	English
castname	Ansam Q. Jessy, Vincent J. Riggs, Dargent O. Nasifah

[HD] [Watch] Baywatch 4k Blu Ray 2017

Film kurz

Spent : $387,696,567

Income : $501,549,621

Categorie : Liebe - die Gelegenheit , Maritimes Drama - Lebenslauf , Sozialdrama - Schreiben , menschliches Wesen - Biographie

Production Country : Monaco

Production : Lexerot Entertainment



Baywatch is a movie based off the popular TV show of the same name which launched the careers of such acting talents as Yasmine Bleeth and Pam Anderson. And then those quickly died right afterwards but hey, the show ran like 11 years and…little known fact, Jason Mamoa was on spin-off show Baywatch: Hawaii.

The movie is very much like the show; as in if you walk in expecting to take it seriously you're already watching it wrong. The situations people need to be rescued from are just as ridiculous and far-fetched and the main plot here gets far more convoluted and hackneyed than the average day of any real lifeguard.

And like 21 Jump Street and a bunch of lesser TV to movie adaptations, this seeks to make fun of all of it, plus all the slo-mo beach running. Does it come off as good as Jump Street? No. Do we need this? God no. I mean didn't the show basically already make fun of itself enough as it is?

But all I can say here, and I guess the only thing anyone interested in this might want to know is, it could have been so much worse. I'm not saying this is the best movie of the summer so far. I don't really even know if i'm saying this is a good movie. But it's easy enough to sit through and the laughs, while not great, are consistent.

Where the script sucks, the cast knows how to make fun of itself. The Rock is the head honcho who takes the job very seriously. Zac Efron is the selfish, cool pretty boy new trainee who clashes with him. Both have a plethora of jokes for one another that work with varying degrees of success.

There's a fat lifeguard and the movie takes the shots you would expect it to take but actor Jon Bass also does have some comedic talent here in the Josh Gadd sense of the word. Actually he may even be funnier than Josh Gadd. Point is he works the best here from a comedic perspective.

The movie gives us quite a few dick jokes but this dude actually has one embarrassing moment that may rank up there with "There's Something About Mary", just with not as good a payoff.

Hannibal Burress also gets a couple scenes for a cameo and I love when he gets those. It's time for Burress to headline a movie though.

The women aren't as funny but I guess you can say they add some nice support to that and the action. Alexandra Daddario has shown a few times she's a pretty decent actress, and the others don't just seem like stiffs there to just show off a hot body. Priyanka Chopra is also here as the villain, and she's fine.

The whole movie can really be described as fine. It's funny and doesn't take itself too seriously and the cast all seems game for it. You don't have to see, but if you do, know it's already planning on sequels.

So I go 6 out of 10 on this one. For more reviews, check me out on Youtube at- https://www.youtube.com/channel/UCY_IvAm1bJADConJhDCuq6A






Yes, you're all very, very attractive, can we have something else too please?

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
**When lifeguards turned homicides!**

In the 90s, when the original television series was aired, I was just a kid. Then it was too sexy, that I was not allowed to watch. The world has changed so much all these years. I always wanted to see that, but never had a chance. Now a film, possibly a new franchise if it all goes well. There were lots of expectations on it, but the film did not deliver that. Yet they have already announced a sequel.

The bay security team is now recruiting new members. Three joins as the trainee after the tryout. Within a few days, a couple of suspicious deaths happen in the bay. The cops are not worried to solve it, but the Baywatch team jumps in and starts their own investigation. That leads them to a dangerous territory. From there, how they deal with it was revealed with some action-thriller.

Pumped up body, starring alongside a current top star, nothing is working for Zac Efron. He's just an accidental actor, won't survive long, unless he turns it all his way like Ben Afflect did. On the other hand, Dwayne was awesome. All the other actors too. Priyanka was not ideal for such role. Because an Indian in a negative role for an American film, nah, it does not work. India keeps all the thugs and sends only engineers, doctors, scientist et cetera to the foreign lands. A Chinese or a Russian villain works better.

No suspense. Everything was open from the beginning itself. Some of the comedies were good, but some were most absurd. Especially, I did not like the storyline. The Bay security force not doing their job, but police work. It goes completely out of the frame. It's okay doing same within their enclosure, but the film entered beyond that. Thus, the film missed to cover the beach events as what the title had promised. I hope the sequel would fall in line.

_3/10_

Movie Title	The Air I Breathe
Time	116 minutes
Release	2007-02-07
Kuality	AAF 720p HDTV
Category	Thriller, Crime
language	English, Français
castname	Godwin R. Courau, Howell M. Perse, Zikrah C. Umrah

[HD] [Watch] The Air I Breathe 4k Blu Ray 2007

Film kurz

Spent : $598,655,822

Revenue : $618,663,906

Group : Ethik Legende - Gefangenendrama , Kind - Poesie , Kannibale - initiativ Klassische Verzweiflung , Evolution - Apology

Production Country : San Marino

Production : Vivatoon

Movie Title	Queen
Moment	174 minute
Release	2013-09-27
Kuality	Sonics-DDP 1080p DVDrip
Categories	Comedy, Drama
language	हिन्दी
castname	Jamey R. Britton, Thahira P. Kaylynn, Lyvia N. Cobie

[HD] [Watch] Queen 4k Blu Ray 2013

Film kurz

Spent : $781,853,412

Revenue : $434,076,538

category : Kontroverse - Betroffene Ethik , Mathematik - Money , Great - Abtreibung , Grausamkeit - Demut

Production Country : Grenada

Production : Widespread Creative

Movie Title	Skyfall
Duration	112 minute
Release	2012-10-25
Quality	ASF 1080p DVDrip
Genre	Action, Adventure, Thriller
speech	English
castname	Huon T. Mengue, Ryann O. Ahmet, Rutvi H. Nimrah

[HD] [Watch] Skyfall 4k Blu Ray 2012

Film kurz

Spent : $271,367,133

Income : $534,139,995

Categorie : Wirtschaft - Terrorismus , Strategie - Guilty , Hingabe - Battlefield , Metaphysik - Worte

Production Country : Mexiko

Production : Sugar Films



Skyfall was a solid movie in its own right but as a Bond movie, it was one of my all time favourites. Unlike Quantum of Solace, I felt like they actually took the time to tell this story and the pay off was worth it.

Something I found interesting is the idea about Bond getting old and how the job of an MI6 agent is not something you can do forever. It makes me wonder if they might explore some of these themes in the next movie.

It's true that the last 1/3 of Skyfall didn't feel like a Bond movie at all and I think that's why I loved it. The Daniel Craig Bond movies have always taken a different look at James Bond and Skyfall was no exception.

Like I said, great movie. Execution on all accounts were solid like you'd expect. I hope Mendes gets a chance to do the next film.
Skyfall is a great movie. In my opinion the best proformas by Daniel Craig I have see in all his Bond movies. The title song was not to my taste like in previous movies. The story line is one of the most compelling I have seen in a while. Silva, played by Javier Bardem was excellent and he played him very well. All in all a very good movie.
Bond (Daniel Craig) is on another (important) mission somewhere in the big world, this time on the heels of someone who has stolen a hard drive with all the names of the British agents who work for MI6. On the mission, Mr. Bond is shot by one of his own (an agent named Eve, played by Naomie Harris) and presumed dead. However, Bond is not dead, and when he resurfaces, he jumps right into the game in the pursuit of an old agent called Silva (Javier Bardem), an old favorite of M (Judi Dench).

While Bond is out in the world, M discovers that someone, presumably Silva, has hacked their computers and threats to expose the true names of the British agents. However, it is also clear that the enemy has other plans, plans of terrorism. Bond is now in a race against time before more agents are revealed, or worse yet, before M is killed by their mysterious enemy. Fortunately, everything works out perfectly for 007, who finds the mysterious Silva with little effort.

OK, admittedly, this was a very short summary of the plot in Skyfall, but in all honesty, there isn't a big plot in this movie. I could have given some spoilers about the ending, and maybe added a bit about Mallory (Ralph fiennes), but really, this is an extremely simple plot. Not at all worthy of a big iconic character like James Bond.

It is classic 007, with everything thats part of such an adventure, like product placement (not a favorite of mine, in fact I get rather annoyed when its as obvious as the watch in the opening of the movie), car chases (in this case, more like a motorcycle chase across the roofs of some unknown city), beautiful women (which are exactly as shallow and pointless as you would expect), and lastly a total lack of emotions and realism.

I am not a big Bond fan, and haven't seen all of the movies in the series, so I am probably not the right person to review this movie. I do not understand what it is that draws people into the cinema time after time, to watch yet another Bond movie… when they can watch something original with a real plot and real characters. Perhaps these people like the shallow characters, who care little for the safety of the innocent people in the world, yes, I said it. Look carefully in the opening sequence, how the female agent cares little for the people on the bridge, as she shoots after the enemy. Later in that scene, she finds it really hard to shoot the enemy, because what if she hit Bond instead. I may be wrong in this assumption, but isn't MI6 here to protect the innocent people? Perhaps these people like the almost infinite number of one-liners that made my ears bleed at one point. Why are we treated this way? Do the people who makes these movies really think we are so stupid?

Before I actually say something nice about Skyfall, because I can do that, I just want to give a small piece of advice to future Bond villains, because who are we kidding, there will be more Bond movies in the future… my advice is this: Always remember to close the door behind you, whether its an actual door, or maybe a manhole (cover). If you don't do this, Bond will surely find you. But of course, perhaps you are dying to have him on your tail, in which case, you are doing it exactly right!

OK, something positive. Skyfall is a beautiful movie, in a very obvious (and superficial) way. The colors are just stunning, especially when we follow Bond swimming through the night of Shanghai, high above the streets. There is no denying the imagery and action of the movie, in every possible way, this is some of the best the world has to offer. I'd also like to give a shout out to Albert Finney, whose character (Kincade) raises the quality of the movie, and actually give it some human emotion.

The very last thing I want to say is this… why hire Sam Mendes for this movie? Why hire him when he is not allowed to use the powers that God have given him? Where are the human emotions, where are the dark humor, where are the personal stories that capture our hearts as much as our minds? If you want to watch a real Sam Mendes movie, I suggest the following American Beauty, Jarhead and even, Revolutionary Road.

_Last words... only watch this movie if you have nothing to do… at all… and if you are a hardcore fan of 007 and feel forced to watch every movie in the franchise. This movie reminds me why I only rarely watch big Hollywood blockbusters._
How safe do you feel?

Bond 23 and 007 has to literally come back from the dead when a stolen hard-drive makes M (Dench) look bad at a time when a face from her past comes homing into blood thirsty view.

There is one sure fire fact in cinema that nobody can dispute, that of there never ever being a James Bond film that all Bondphiles will agree on. From each corner of the spectrum will come arguments that said Bond film is not gritty enough, not fun enough, not enough sex, not enough action, not enough fantastical stunts and etc etc etc. Well that's fine of course, we all have our peccadilloes we prefer in our Bond movies, but we do live in different times now, the world has changed, and so has Bond. You may not get the ultimate Bond you want, but this is a 21st Century Bond and a new era of 007 is upon us, something which makes Skyfall even the more bolder and braver because it marks the 50th anniversary by blending the old with the new and mostly achieving brilliant results.

Skyfall allows us to bathe in nostalgia whilst also forcing us to re- evaluate just where we are at in terms of our beloved super secret agent. One of the great things about this Bond is that there is a bubbling under current of time's importance delicately perched on each side of James Bond's shoulders. Is he (and M etc) outdated? Or is the future still in need of such operatives/organisations? Director Mendes and his team don't take any of the easy options that were clearly available to them to answer the question, they instead build a film around Bond and M as characters, embrace the traditions of the series and hit us hard in head and heart.

The plot of Skyfall as written is simple, absolutely nailed on it is straight and true to Hollywood conventions, but what fills out the simple plot is a series of Bondian delights, thrills spills and emotionally splintered kills. The stunning pre-credits sequence sees Bond traverse the rooftops of Istanbul on a motorcycle and then fight on top of a speeding train. Only to then find himself expendable. Which leads to Daniel Kleinman's title credits sequence that is filled with ominous portents of death and blood, in turn backed by the wonderfully Bondian of old title song warbled by Adele. It's clear at this point that this Bond movie is nodding to traditional values whilst promising to deliver some emotional pain. And so it proves.

A washed up Bond enters the fray, and he convinces, he's dishevelled, unshaven and unfit, but he's still a tough bastard who can drink hard and stare a scorpion down. He'll be back soon, we know this, and he will be in wonderful physical shape, and loyal to his surrogate mother for sure. Ah, but there's the adversary on the scene now, a villain to finally give Craig's Bond something to fret about. It's Javier Bardem's (perfect) Silva, a cyber terrorist with a shock of blonde hair, a nasty dental trick and a devilish sexiness that unnerves during an interrogation scene; to which Bond cheekily opens up some wink wink possibilities. There is other sexual tension in the film as well, not just a steamy shower scene, but the ongoing banter with Naomie Harris' (excellent) Eve that positively fizzes with smirking innuendo.

But ultimately this comes down to the love between a man and a woman, the kind that is so different to the type that has so often underpinned a Bond movie. Bond will kill or be killed for M, and how marvellous to see a director really able to give Judi Dench the direction she so deserves, and Bond, in Craig's magnetic and gritty hands, responds in kind to deliver a last half hour as good as any in the 50 years of Bond on film. As we know, all turf is Bond's turf, but this time it really is HIS turf, and as a little back story comes seeping out, Bond gets to exorcise some demons whilst kicking considerable ass. Get ready Bondphiles, this has the emotional wallop only seen in the best Bond movies of old.

All the Bondian trappings are still here, exotic locales, gorgeous women, speeding vehicles, fights, stupendous stunts, bizarre lairs and balls out machismo. It's also funny! I myself commented when reviewing Quantum of Solace that it was pretty ace as an action film, but for many it's not Bondian enough, and the truth of the matter is Bond still needs to have a degree of fun, no matter how grim and gritty the story line is. Thankfully Skyfall is often a blast, with Craig (surely convincing even the most stubborn of dissenters how good a Bond he is) having the confidence and skill to lace his Bond's macho broody instinct with a desert dry wit and shrug of the shoulders nonchalance. Other side of the camera the tech credits are high, with Deakins proving to be one of the aces in the pack. His capturing of vistas, be it a neon city scape or a mountainous valley, are eye delights, his colour tones are beautiful, I promise you, nobody these days does golden browns like Deakins.

It's not the masterpiece that I or gazillions of others hoped for, and it does have flaws (new Q a bit too geeky safe, finale lacks a substantial battle with the villain) and it remains simple in plot, but it's Bond's birthday and the birthday boy has been done proud by the makers. It's a new era Bond for sure, but that most definitely isn't a bad thing, it knows its past and it now knows its future, and without doubt we all still know the name. 9/10
Me and my oldest son have been doing a bit of pseudo binge watching of James Bond. Every weekend we have been watching two of the movies starting with Dr. No quite a few weekends ago. Last weekend we arrived at the Daniel Craig ones. I had actually not watched those ones before. I have to, grudgingly (I am a Sean Connery fan), admit that the first two we watched were not at all bad.

However, today we watched Skyfall. What the f…? This is not a James Bond movie! If it had been just some other movie I would probably have thought it would not be a too bad one. However, it pretends to be a James Bond movie and as such it is utter crap. It is a bloody Hollywood drama written by someone with a total lack of respect for the Franchise, not to mention the old Bond fans.

James Bond should be out hunting international villains. Villains with a good chunk of bad guy charisma I might add. What we got however was some loathsome prick having a grudge because M didn’t come to his rescue when he fucked up.

The British Secret service should also be just that, a powerful organisation protecting Britain (and the rest of the civilized world) from communists, terrorists, criminal superorganisations like Spectre or whatever. Having scenes with M more or less on trial and having to defend herself in front of a bunch of clueless political asshats is just crap and it is definitely not the kind of crap that should be in a James Bond movie.

The whole movie is just full of sensationalist shit, politically correct crap, killing of popular characters, sentimental bullshit and other nonsens of the kind you would expect in a bloody Hollywood soap opera. And what about the new Q? A boring brat with a over-inflated ego. Not fun at all.

Even the special effects are debatable. For example, if you make a subway train crash by blowing a hole in it’s path then for Christ sake put some crash test dummies or something in it to at least make some pretense of it not being an empty mock-up!

This is undoubtedly the worst Bond movie ever. My disappointment with this movie cannot be overstated.
Great theme song and a much more balanced movie compared to Quantum of Solace, and the story is well written, revealing Bond's background and the motherly relationship with M (contrast with a more antagonistic portrayal in the Brosnan series). Javier Bardem as the villain was fantastic, almost Joker like in his planning. The only setback is the finale, sure some nice action and explosions but not quite as thrilling versus Casino Royale. Still, one of the better in the Bond series overall. **4.0/5**

Movie Title	4 latas
Moment	132 minute
Release	2019-03-01
Kuality	Dolby Digital 1080p BDRip
Category	Comedy, Drama
speech	Français, Español
castname	Kyler K. Anays, Aleasha R. Jaslene, Ayane V. Manesh

[HD] [Watch] 4 latas 4k Blu Ray 2019

Film kurz

Spent : $772,769,201

Income : $160,997,164

categories : Romantisch - rätselhaft , Reisen - Du Son , Erziehung - Einfachheit , Scheitern - Wild Mountain Epidemic

Production Country : Marshallinseln

Production : WindBreaker Productions

Movie Title	Southbound
Time	179 seconds
Release	2015-09-17
Kuality	MPEG-1 720p DVDrip
Genre	Fantasy, Thriller, Horror, Science Fiction
language	English
castname	Bonny W. Chung, Ibarra C. Foix, Minhaj G. Holy

[HD] [Watch] Southbound 4k Blu Ray 2015

Film kurz

Spent : $501,260,932

Income : $166,236,858

Categorie : Krieg - Uncategorized , Bögen En Ciel - Dance de Monsters , Epoche Film - Horrorfilm , Erziehung - Skepsis

Production Country : Mazedonien

Production : Aardman Animations



If you are looking for a good thriller, with minimal special effects that calls upon the skills of the filmmaker and cast to make you feel the moment, this is a must see. Southbound, created by the independent group radio silence take the genres of thriller and horror to a new level, intertwining five stories that will have you turning on the lights and questioning the sanity of the cast. All five sequences take place in a nondescript desert town and call upon one's own fear to set the scene. As the story progresses, you see how each story leads into the next with connections that are tangential yet produce the notion that the setting for the stories is the source of danger rather than individual and unique experiences of each player. To this effect, the filmmakers do a superb job of capturing the essence of fear as you follow the lives of the players from story to story as the flow one into the next in an semi-seamless flow that keep the movie going. Of particular joy to this reviewer is, as one would assume (at least this viewer), are minimal special effects. The ones that do exist feel so real that you do not realize that they are there without reflection (or rewinding).

The acting, while not Oscar worthy, is well done. You can feel the fear and terror in their dialogue, their actions as they venture through the tale. Shockingly, gratuitous nudity that is usually prevalent in the horror genre is missing or at least so minimal I do not recall a single scene. There are plenty of moments that will stay with you and are sure to be topics around the water cooler. The 'frights' are memorable enough to make this production worth watching.

The filmmakers remind this reviewer of early thriller producer/director M. Night Shyamalan works with their own twist on storytelling. I recommend renting this feature as it s a must see with potential to be a cult classic in years to come.
Modern Day Southern Gothic Highway-Based is a very specific theme for a Horror Anthology to tackle, and while none of the segments are bad, none of them stand out as particularly good either.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**The neverending tale(s)!**

Five tales, written and directed by four directors. It was a horror anthology that takes place in just one day and night. Firstly, this film was not bad as it looks. Each tale and its interlocking with one another was very nicely done. The layers are not arranged in a column or a row or a circle. It was just like what you see on the poster, a star. Especially one character from each tale, how they become a victim in another was the highlight. The genre mixing was so good, I mean it was not out and out a horror. Mystery, thriller, crime, all was put together and presented smartly on the screen, particularly the loop was very fascinating.

I have seen some similar kind, but this one was slightly different from those and a better one in some way. Not all the tales were awesome, though there's nothing wrong with them. For every 15 minutes, it keeps developing without giving rest to us and events in the film. So it was a non-stop entertainment, particularly if you like horror, thriller. If you pay close attention, you could find more hidden meanings or messages. So this film can be watched once, but not everyone going to enjoy it. Especially if you are okay with B movie, then there's nothing stops you.

_6/10_

Movie Title	Red Dragon
Moment	184 minutes
Release	2002-09-29
Kuality	Sonics-DDP 1440p BDRip
Category	Crime, Horror, Thriller, Drama
speech	English
castname	Jolanda P. Maÿlis, Miren B. Nikou, Lamia O. Mujibur

[HD] [Watch] Red Dragon 4k Blu Ray 2002

Film kurz

Spent : $950,071,342

Income : $356,033,797

categories : Gehirn - Du Son , Schwert - Atheist , Muss Depression Katastrophenrat - Kampfkunst , Kannibale - Widerstand paradox

Production Country : Algerien

Production : Sentinel Productions

Movie Title	Midsommar
Clock	158 minute
Release	2019-07-03
Quality	M1V 1440p DVD
Categorie	Horror, Drama, Mystery
speech	English, svenska
castname	Maureen Q. Bintu, Rhyse Y. Gandon, Sanai O. Mosès

[HD] [Watch] Midsommar 4k Blu Ray 2019

Film kurz

Spent : $506,203,746

Income : $639,733,883

categories : Horror - Universum , Romantisch - Stumm , Unheimlich - Liebesfilm , Great - Dystopie

Production Country : Simbabwe

Production : Frantel Productions



Although it has an elegant way of building suspense and one absolutely stunning opening scene, I think Midsommar fails for me in the execution of its sequences. The whole movie is slowly building up the dread of the pagan cult, but fails to deliver when it comes to showcasing the brutality toward the end, and after two hours of build up it's baffling how minute the payoff is. The performances are fantastic, though! And I love watching Swedish people scream.
Although arthouse horror movies really aren’t my thing for the most part, ‘Midsommar’ falls into a strange middle ground where I wasn’t bored but I wasn’t invested either. I feel no need to “finding the mean“ to read theories online, because I simply don’t care. The only saving grace is the visuals, which are breathtaking and wildly creative at times, but it’s not a trip I want to take again.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-midsommar-ari-aster-brings-the-gore-but-lacks-the-emotion

8/08/2019
3 stars
_**Very poorly advertised as something it isn't; will be sure to frustrate and impress in equal measure**_

> _Methought I was enamoured of an ass._

- William Shakespeare; _A Midsummer Night's Dream_ (1595)

>_Sometimes at pagan shrines they vowed_

>_offerings to idols, swore oaths_

>_that the killer of souls might come to their aid_

>_and save the people. That was their way,_

>_their heathenish hope; deep in their hearts_

>_they remembered hell._

- Seamus Heaney; _Beowulf: A Verse Translation_ (1999)

Much like his feature debut, the excellent _Hereditary_ (2018), writer/director Ari Aster's _Midsommar_ has divided audiences much more than critics. Whereas _Hereditary_ had an 89% critical approval rating on Rotten Tomatoes, with an average score of 8.26/10, it managed only a 65% audience approval rating, with an average score of 3.43/5, whilst also famously garnering a pitiful D+ CinemaScore. _Midsommar_ currently has an 82% critical approval with a 7.51/10 average, against a 61% audience approval, with a 3.36/5 average and a C+ CinemaScore. This recalls recent films such as Robert Eggers's _The VVitch: A New England Folktale_ (90% with a 7.77/10 average vs 58% with a 3.22/5 average and a C- CinemaScore) and Trey Edward Shults's superb _It Comes At Night_ (87% with a 7.36/10 average vs 44% with a 2.75/5 average and a D CinemaScore). The reason for the discrepancies? In large part it's because all four films were promoted as something they weren't, drawing in audiences who were disappointed that they didn't get what they were expecting; all four were heavily promoted as horrors, when none in fact are (and in the case of _It Comes At Night_, not even remotely close). As for _Midsommar_, it is, at best, a thriller, and I would argue that even that's pushing it. Whereas _Hereditary_ was a study of grief and familial breakdown, it undeniably had horror elements (the floating self-decapitation scene is one of the most haunting images put on screen in decades). In the case of _Midsommar_, however, apart from one very brief moment involving somebody wearing somebody else's skin (don't ask), there's nothing remotely resembling a horror trope, and very little that's thrilling. Which is not necessarily a criticism; I enjoyed the film very much, I simply think the marketing people have once again set the movie up to fail with a lot of the people who will see it.

What _Midsommar_ does have in abundance, however, is dread, which is, of course, very different to horror. More unsettling than frightening, as with _Hereditary_, _Midsommar_ is primarily an allegory built on a foundation of generic tropes – both films begin with paralysing tragedies that almost cripple the protagonist, with the subsequent narrative analysing the psychological reaction to such tragedies by way of various spooky goings-on. And whereas _Hereditary_ dealt with the lengths one may go to shut off deep emotional pain, _Midsommar_ is more interested in what happens when the initial pain of bereavement starts to wear off, especially when the only person one feels one can turn to isn't exactly sympathetic to one's situation. Aster himself has called it a "_breakup movie_", and it's hard to argue against this categorisation, as the story begins and ends with very specific relationship drama. And whilst the characters are grossly underwritten, and the film is painfully predictable (if you're familiar with Robin Hardy's _The Wicker Man_ (1973), chances are that everything you think is going to happen in _Midsommar_ does happen), it's beautifully crafted, brilliantly shot almost entirely in glaring sunlight, and vastly ambitious in scope (it runs 147 minutes). Indeed, it's the type of film where you can tell the director was given an unusual amount of freedom to fulfil their vision. And whilst that can often result in unmitigated disaster (think filmmakers such as Michael Cimino, Richard Kelly, and David Robert Mitchell), much like Jordan Peele's _Us_ (2019), _Midsommar_ avoids the dreaded sophomore slump without necessarily knocking it out of the park.

The film begins as Dani Ardor (a superb Florence Pugh) is hit with the kind of tragedy from which many would find it impossible to recover - her bipolar sister has killed their parents and subsequently committed suicide. Already emotionally fragile and prone to anxiety attacks even before their deaths, the incident sends Dani spiralling into despair, turning for support to her boyfriend Christian (Jack Reynor), an anthropology student struggling to find a topic for his PhD thesis. Unfortunately, for some time, Christian has wanted to break things off with Dani, as he finds her overly needy, and he had been trying to work up to ending the relationship when her family died. The following summer, Dani learns that Christian and fellow students Josh (William Jackson Harper) and Mark (Will Poulter) have been invited by Swedish student Pelle (Vilhelm Blomgren) to his ancestral pagan commune in Hårga, where a midsummer celebration that only occurs once every ninety years will be taking place, with Josh planning to write his PhD thesis on the festival, and Mark planning to have sex with as many Swedish girls as he can. Dani is upset that Christian didn't tell her about the trip, and to placate her, he invites her to come, never imagining she will say yes. But she does, much to Mark's disgust, and so the foursome accompany Pelle to Sweden, meeting the disturbingly polite and welcoming members of the commune, as well as English students Connie (Ellora Torchia) and Simon (Archie Madekwe), who were invited by Pelle's brother Ingemar (Hampus Hallberg). It doesn't take long, however, for the visitors to learn that things aren't exactly kosher in the commune - whether it's the elderly couple who fling themselves from the top of a cliff, the pies with pubic hair in them, the "oracle" child specifically bred through incest, the caged bear who seems to have no function in the festival, the strange yellow pyramid building which they are forbidden from entering, the elaborate murals depicting violence and torture, or the communal wailing.

_Midsommar_ originally began life as a slasher movie set in a Swedish commune, until Aster revised the script to focus on a toxic relationship after going through a particularly bad breakup himself. Christian is your garden variety manipulator, who uses Dani's emotional vulnerability against her. For example, in a brilliantly written early scene, after she has learned about the trip, she's understandably upset that he didn't tell her about it, but in the space of just a couple of minutes he manipulates her into apologising to _him_. The core of the story is Dani slowly coming to realise that Christian isn't the man she thought he was, and in a weird way, it's a variation on the female revenge genre. However, whereas usually it's revenge for rape or assault, here it's revenge for being a complete and utter dick. In this sense, the film is primarily an allegory for the process of a young woman's emotional/spiritual awakening independent of the man on whom she thought she had to rely. Indeed, one could take this even further if one reads the character names as symbolic; Dani's surname is Ardor, but she is denied love and passion, and in the paganism of the commune, she's offered something she can't get from a self-serving Christian(ity). Whether _Midsommar_ works for you or not will depend largely on how you respond to this element of the story - if you buy into the notion that Christian is the _de facto_ villain, and that Dani is an emotionally scarred young woman looking for support, you'll get a lot more out of it than if you think Dani is a needy whinger and Christian would do well to be rid of her.

Aesthetically, the film looks terrific, with Henrik Svensson's production designer, Andrea Flesch's costume designer, and Pawel Pogorzelski's cinematography especially praiseworthy. Whereas the US scenes are dark and confined, taking place in small poorly lit rooms with the characters wearing drab costumes, once the film shifts to Sweden, the visual design changes completely. The production design emphasises an open-plan vastness with unlimited space to move, but few places to hide; the cinematography drenches everything in glaring sunlight, which, again, makes it hard to hide; and the costume design focuses on brilliant white, with a smattering of colour. Unlike the vast majority of horror movies, there are few shadows or dark corners, but the film is shot in such a way that the very lack of such is itself disconcerting. The same is true for the always pristine costumes, which suggest that something is just not quite right underneath the veneer of cleanliness and insincere sense of perfection. Indeed, the attention to detail in the presentation of the commune is immensely impressive; the long middle act doesn't really feature much in the way of narrative incident, but it sure does a fine job of creating a _milieu_ that feels completely authentic and lived-in.

There are also some nice individual moments. For example, the choral singing with which the film begins is harshly interrupted by a telephone ringing, suggesting the clash between tradition and modernity that will play out throughout; Dani's hysterical crying upon learning of her family's deaths blends seamlessly with Bobby Krlic's wonderfully discordant music; a superb single-take shot takes Dani from heading to her apartment bathroom to entering the bathroom of an airplane; a high altitude shot showing a car travelling along a country road is imbued with malevolent undercurrent as the car passes under the camera, but rather than turning around to pick the vehicle up on the reverse angle, the camera follows the car by turning downwards, ending up upside-down, signalling to the viewer that things have changed irrevocably for the characters, as if they have crossed a barrier of some kind.

In terms of the narrative design, somewhat unusually, the film wears its predictability on its sleeve, with many of the major narrative beats not only foreshadowed but literally shown to the audience prior to occurring in the story, whether it be the mural that opens the film or the illustrations seen on the walls all over the commune – the _dénouement_ isn't simply hinted at, it's all-but presented to us from the outset. With that in mind, anyone who has seen any folk horror will be able to predict much of what happens. Even if you're only familiar with _The Wicker Man_, you'll still be able to take a decent stab at how things are going to turn out. Of course, this allows the audience to roundly mock the characters' utter obliviousness to what's coming, which is presumably the point. You know that scene in most horror films where you think to yourself "how can they not realise something nasty is going to happen"? _Midsommar_ is like a 147-minute version of that one scene.

As for the acting, much as _Hereditary_ was Toni Collette's, _Midsommar_ belongs entirely to Florence Pugh, who's going from strength-to-strength at the moment. For most of the film, she's on the precipice of a nervous breakdown, with her performance redolent of Shelley Duval in Stanley Kubrick's _The Shining_ (1980). Pugh has already impressed in films as varied as Carol Morley's _The Falling_ (2014), William Oldroyd's _Lady Macbeth_ (2016), Richard Eyre's _King Lear_ (2018) and Stephen Merchant's _Fighting With My Family_ (2019), but _Midsommar_ is easily her best and most layered performance thus far, especially the gamut of contradictory emotions she runs in the batshit insane last 20 minutes. Elsewhere, the performances are all fine, but the actors aren't helped by the script. As Christian, Jack Reynor plays, well, Jack Reynor. There's nothing really wrong with the performance (although he is the least convincing academic ever put on screen), and he does do a decent job of getting the audience to loathe his passive-aggressive persona, but there isn't a huge amount of depth. The same is true of Will Poulter, who plays Mark as the kind of ignorant sex-crazed loudmouth that seems to only exist in the movies and who is never characterised beyond this caricature. As Josh, William Jackson Harper, although a far more believable academic than Reynor, barely registers, whilst Vilhelm Blomgren's Pelle is so one-note and obviously untrustworthy that it pushes suspension of disbelief to breaking point.

As this might suggest, one of the biggest problems with the film is the underwritten characters. This is especially true of Christian, a boyfriend so selfish and uncaring, one wonders how he ever wooed Dani in the first place. Additionally, their relationship is demarcated along painfully stereotypical lines – the emotional female whose need for support becomes overwhelming and the thoughtless bro who is more interested in hanging out with the boys than comforting his girlfriend. Another issue is that even aside from the character of Pelle, the film pushes the suspension of disbelief too far. There are multiple moments when the goings-on in the commune should prompt the visitors to leave immediately, but apart from a few weak attempts by Dani to persuade the others to go, they repeatedly accept the most ridiculous of situations based upon the most tenuous of explanations. Indeed, in a lot of ways, they're no different from the horny idiots who get picked off one by one in so many cheap slasher films. Furthermore, it doesn't help that initially Josh is depicted as an expert on paganism, and is familiar with many aspects of the festival, but later on, the script conveniently forgets about this when necessary.

Thematically, things are also quite jumbled. Whilst the core theme of a toxic relationship is present to one degree or another throughout, and Aster actually has some interesting things to say about complicity in such relationships, a lot of other ideas are thrown into the mix without really going anywhere – death, renewal, paganism itself, the nature of grief (and given the strong opening, that Aster allows this theme to drop off is especially disappointing). Additionally, as already mentioned, there are few surprises here. Aster is obviously a big fan of the subgenre of folk horror, but he allows reverence to the tropes supersede any kind of narrative inventiveness, leading to predictability, and as insane as the last 20 minutes are, nothing really happens that surprised me. Also, as in _Hereditary_, the explanation for what's going on isn't anywhere near as interesting as the ambiguity preceding it, making explicit something which was so deeply unsettling when implicit.

That all said, however, I did enjoy _Midsommar_. Not as disturbing as _Herditary_, it finds Aster again working with dread rather than quintessential horror tropes. Aesthetically impressive, and built on a terrific central performance, it could be accused of style over substance or cited as an example of a filmmaker whose ambitions outweigh his abilities, but ultimately, Aster's mastery of tone sees him through. The script could use some work, no doubt, but the ominous sense of dread is palpable throughout and is brilliantly handled, with the most mundane of objects imbued with haunting portentousness. The _dénouement_ is more rote than I expected, and although Aster tries to tackle too many issues, his depiction of the death throes of a toxic relationship is as penetrating and emotionally honest as any ostensible relationship drama. Unnerving and audacious, _Midsommar_ is, ultimately, an exceptionally confident piece of filmmaking, if not necessarily an exceptional piece of filmmaking.
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This was easily one of my most anticipated movies of the year. Hereditary was my favorite film of 2018, so obviously, Ari Aster's second feature grabbed my full attention from the very first announcement. Fortunately, even though Midsommar is only being released now in my country, I was able to stay away from spoilers, as well as from any sort of images or clips. As you might expect, this is not a typical horror movie, even though it's being marketed as belonging to the genre. Sure, it has some horror stuff that indisputably connects it to the genre, but it definitely doesn't play out to scare audiences or make you have nightmares at night.

Hereditary was quite divisive among audiences due to the lack of traditional jump scares and generic entertainment, besides it being too excessive regarding spiritualism for the general public. Midsommar is undoubtedly going to be even more divisive. First of all, it drags. There's no denying it. The first weird cult scene only occurs about one hour in, which in a 140-minute runtime is a bit too far ahead. Granted, it's one of the most shocking and horrific sequences in the daylight I've ever seen, but its build-up (extremely well-done) takes a big part of the second act, slowing down the pacing too much.

Additionally, it's a film that entirely relies its entertainment value on the feeling of shock instead of fear. If you didn't enjoy Aster's first feature because it didn't have enough scary sequences, Midsommar isn't going to convert you to being a fan of his work. Similarly to Ad Astra (just released last week), it's a story that requires the audience to care about more than only superficial aspects. If you go in expecting to leave your brain outside just so you can be uncloudedly entertained, then you might want to think again. I can't stress this enough: you need to pay attention to what you're watching!

Hints to what the story holds for us are everywhere, especially in the walls. Through paintings, runes, and hand-drawings, Ari Aster spreads basically all the information you need to better understand where the movie is going. It's a film about two key themes: how to deal with grief, and how to handle a complicated relationship. These are the issues that people should be able to acknowledge and understand how they're being developed. I love how Aster addresses the latter topic (he wrote this screenplay after he ended a relationship of his own), but I'm disappointed by the way he put the former into the "background".

The first 15-20 minutes deal with what happens to Dani's life, and it's never approached again, even though there's a vague idea of what could have actually happened, by the end of the movie. Regarding the other point, it isn't exactly a "toxic" relationship that we've seen in previous films, but one where each person is waiting for an excuse to leave the other. Hence, some actions feel forced in the hope that they can trigger something. It's a strangely realistic yet uncomfortable take on something a lot of people go through. Technically, this is one of 2019's most fascinating productions.

From the colorful cinematography to the impeccable editing, from the stunningly impressive production design (again, the WALLS!) to the immersive score … Ari Aster is no joke. The way he handles dialogues is a treat to someone like me, who cares so much about engagement through characters speaking. There are so many long takes with Florence Pugh giving her all, just raw and powerful emotions. It's her career-best performance, no doubt about it. Her character's storyline is partially what brings the "horror" to the narrative. Just like Toni Colette on Hereditary, Pugh is probably going to be ignored during the awards season, as well as the movie's technical achievements since the horror genre still didn't convince enough people to give a shot.

Regarding the other characters, they're my main issue. They simply felt like plot devices. Will Poulter (Mark) is funny as the comic-relief guy, but his character, like every other one besides Dani, doesn't do much to make me care about or feel invested in their own subplots (if there are any). They barely have any backstory, and their purpose is basically to help move the plot forward by giving Aster opportunities to show some pagan rituals of some kind. There are incredibly shocking, bloody, and jaw-dropping scenes, some might make you feel uncomfortable, others might make you laugh. But they're all meant to shock you in some shape or form.

Whether you love it or hate it, Midsommar is memorable. If you didn't enjoy Hereditary due to the lack of jump scares, the former isn't for you then. Midsommar requires full attention, patience, and an open-minded mentality. It's not a generic horror flick, so don't go in expecting to be constantly entertained by silly scares. Expectations are everything, so moderate them in the best way possible. It has one of the most abstract ways of addressing a difficult relationship and how to deal with grief, but if you LOOK AT THE WALLS, you'll be able to (maybe) follow the story a bit better.

Technically, Ari Aster delivers a masterful work, with exceptional production design and gorgeous cinematography, plus seamless editing. Florence Pugh carries the story on her shoulders with an astonishingly compelling performance, but her supporting cast didn't do much with their under-developed characters. The film drags a lot, and it can become tedious at some point, but in the end, it's one of those movies that sticks with you. A second viewing may be necessary, and it will probably be a better experience. Can't wait to find out. Go see it!

Rating: B
_Midsommar_ might genuinely be my big disappointment for 2019. I'm not saying it's bad. But coming into this on the back of not only the crazy good _Hereditary_ from last year, but also the **gushing** praise from the online horror community, I guess my expectations were a little high. It doesn't make me feel good to say it, but honestly I'm glad I didn't see this in the cinema. Firstly because I think I might've been a little mad if I had forked out $25 to see this, based on the experience I ended up happening, but also secondly, because I don't much feel like going blind in the theatre from the sheer white exposure that takes up 97% of _Midsommar's_ runtime.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
An impressive work, “Midsommar” is Ari Aster’s follow-up to “Herditary,” a decent if flawed horror film.

“Midsommar” follows Dani, who, after the tragic loss of her parents and sister, decides to follow her increasingly distant boyfriend and his friends on a trip to Sweden to visit the pagan cult commune their roommate, Pelle, grew up in. While seemingly open and friendly, it becomes obvious fairly quickly that something else is going on here. The obvious comparisons to “The Wicker Man” are not uncalled for.

First, in the interest of full disclosure, this review is based on the nearly three-hour Director’s Cut of the film rather than the theatrical release. I haven’t even seen the theatrical release, so I can’t attest as to what was added in the nearly 30 new minutes. I will say that the Director’s Cut is pretty seamless and doesn’t seem to have any superfluous scenes.

Second, we need to start with the elephant in the room and address how this compares to “Hereditary,” which as I stated was okay but flawed. The major flaw in that film is that it has its own internal consistency, but doesn’t have consistency from an audience standpoint. There’s only the most minor of hints as to the truth, and it’s clear that in that world, such things were possible, but the audience isn’t really let in on the answer until the end. The audience has to think about it to get that internal logic. I’m usually the type that doesn’t like spoonfeeding information to the audience, but this withheld a little too much.

Okay, that was “Hereditary.” So how does “Midsommar” compare? Well, it’s far better in terms of letting the audience in on the secret and revealing its internal logic. But, sometimes it’s too good at it. There’s not much of a secret. You know what’s ultimately coming.

However, interestingly this is where the brilliance of the movie actually comes in. Much like life and sex, it’s about the journey, not the destination. We know where we’re going, but the fun is in seeing how we get there. And it’s a fun and colorful journey. This is bright daytime horror, taking place in Sweden at Midsommar when there is very little darkness at night, which itself could be a metaphor in that we can see the end and know where we’re going.

So, why only 4 stars? The film is great, but definitely not perfect and has a couple deep flaws. I could give the film a little more credit if it did conceal the end a little more, giving a less obvious “twist.” The other is that it sticks pretty close to traditional character archetypes for horror films. If you don’t know what I mean, this was very well addressed in “Cabin in the Woods.” A little more variety and a little added creativity could have elevated “Midsommar’s” score. While it’s still great, don’t expect a perfect film.