Jumat, 31 Mei 2019

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Coordination art Department : Thierry Aicha

Stunt coordinator : Monaco Sablon

Script layout :Trinity Marg

Pictures : Orlagh Louann
Co-Produzent : Parrot Nikaya

Executive producer : Celyn Jadyn

Director of supervisory art : Jolin Plamedi

Produce : Malakai Kasey

Manufacturer : Kierra Leïna

Actress : Pensee Nirah



Bound for a remote planet on the far side of the galaxy, the crew of the colony ship 'Covenant' discovers what is thought to be an uncharted paradise, but is actually a dark, dangerous world—which has a sole inhabitant: the 'synthetic', David, survivor of the doomed Prometheus expedition.

5.9
5322






Movie Title

Alien: Covenant

Clock

185 minute

Release

2017-05-09

Quality

MPEG 1440p
DVDScr

Categories

Horror, Science Fiction, Thriller

language

English

castname

Jesse
E.
Neal, Luccia M. Rotger, Suhayl L. Kline





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Film kurz

Spent : $834,709,674

Income : $933,087,962

category : Zeit - Trennung , Test - Unabhängigkeit , ParParties - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Kurzer Rock - Umweltentfremdung

Production Country : Grenada

Production : Westview Pictures



"At times a thrilling, stomach-churning journey, but one that leaves those on board wondering if the disorientation and down time was worth the investment..."

Read the full review here: http://screen-space.squarespace.com/reviews/2017/5/8/alien-covenant.html
Alien Covenant marks the third Alien movie directed by Ridley Scott and the second prequel to the franchise after Prometheus. They also seem to be getting worse with age.

Prometheus was really a lot of questions searching for answers, ambitious in asking not only about the creation of alien life, but human life as well. However the plan to stretch out these topics into 3 or 4 movies should be met with some skepticism.

Especially considering the basis for this was started by Damon Lindeloff, the creator of Lost and the man most of us are still waiting for answers for most of the things that happened on Lost.

He of course has abandoned this second movie, leaving it in the hands of the far more capable John Logan, but even he struggles to find meaning here, or escape the clichés that have started to grow like a Xenomorph in John Hurt's stomach.

We're dealing with a whole new crew this time; the Covenant. They are headed on a colonial mission to another planet before an electric shock takes out the ship, the Captain, and 47 other members.

Reluctant to get back into their pods for a 7 year journey, the on board crew responsible for the ship's upkeep decide instead to answer a distress transmission coming from another planet.

That's where they find what continues to be the best character in these prequels; Michael Fassbender's David the Android. His motivations and whether he considers himself human or God is constantly in question and Fassbender's soft-spoken performance continues to haunt.

I also really do consider Prometheus to be one of the most gorgeous-looking special films of the last decade and this continues that- from the Covenant ship to the grain fields and other vegetation eerily covering the mostly desolate other terrain of the planet.

We also get the first look at the Neo-morph, who is born the same way, seems a bit faster than the Xeno-morph but the main differences are it doesn't have the Venus fly trap tongue and it can stand like a human. Pretty cool.

Just it's at this point I should probably say that after Aliens there started to be less reason to want these. Alien 3 was fine, Prometheus I thought could really go either way depending on the sequels, and Alien 4 of course was garbage.

The biggest problem here is that it feels so redundant. We get a distress call, the crew investigates, some background characters do stupid things leading to impregnation, someone says "we never should have come", final alien chase.

The aliens, when you can see them, are cool, but there is a lot of downtime between them, and a few quality kills does not a 200 million dollar mega blockbuster make.

It's also really odd that Prometheus does this whole thing of setting up the engineers as the creators of human beings but here they only get one scene and let's just say those looking for more info about them will get angry.

The promise of some larger conversation is in here somewhere but these movies feel so stretched out at this point that when this does get to the few moments of actually having something to say, it's hard to get re-engaged.

The characters don't help either as most just come off like archetypes. Katherine Waterston is the Captain's widow and really the bargain basement Ellen Ripley here.

Billy Crudup plays the faith-based character, and like the last movie, this movie seems to be including that without ever really giving it value in the meaning of life conversation.

But at least those two have some background. I'm so tired of most of these others. The ones who just go tramping through the woods of an unknown planet or show the decision making skills of the Trump administration. You're not supposed to make us root for the alien, guys.

Finally i'm no closer to understanding why these movies are necessary. It's easy to tell what this movie wants to do and it's even easier to see the twist coming a half hour before it even comes.

There are a few nice kills here, I will give the movie that. If you can remember to wake yourself every time Fassbender and Fassbender (he also plays an android named Walter) have a philosophy conversation, you might find some interesting stuff there too. But overall not enough action or thought to make this overly drawn out series seem necessary.

So I go 5/10. For more reviews, check me out on Youtube here- https://www.youtube.com/channel/UCY_IvAm1bJADConJhDCuq6A








I had a few reservations going in to _Alien: Covenant_. In my opinion there hasn't been a truly great entry to the franchise since _Aliens_, so I was worried that the statistics were against it. I thought _Prometheus_ was incredible from a technical standpoint, but not a very engaging movie, and I was worried we might get the same here. The trailers had been mostly good but I was worried I had seen too much of the third act in them, and I was worried this would spoil the experience for me a little.

What I was not worried about was within ten minutes of the damn thing starting I would think to myself: "Wow, this movie is really poorly made."

Well I guess I'm an idiot because that is exactly what happened. And that feeling never entirely abated over the course of the whole thing.

Don't get me wrong, it's no "_AVP: Requiem_", but I was still very disappointed.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
**Limps along under the weight of its own importance.**

I love my films dripping with self importance and this one is definitely one of them. I can't get enough of these films that positively bubble over with a high handed, serious and arrogant attitude that indicates that there is no film quite as important as this one.


This film knows it all. It knows everything that we- the lowly, pathetic and simple minded audience do not know and could not ever possibly know because we are not intelligent enough to grasp anything, you see?

For such an authoritative, superior and intelligent film - I find it odd that every character stumbles around like a simple minded cretin making unwise decision after unwise decision.


Ridley and his scriptwriters seem to think that they are intellectuals but somehow they just _can't pull off_ the role of **being** an intellectual.

- Simon Quinlank
I agree with most of the negative comments about this movie.It is a gigantic missed opportunity.My biggest issue apart from the utter predictability and nonsensical,inept script,was the disappointment of seeing 'Prometheus' mixed up with 'Alien'
Alien covenant gets locked up in its own self importance while forgetting why we loved 'Alien' in the first place.I really wanted to like it but came a way with a huge sense of disappointment
Not sure about all the bad reviews, I enjoyed the movie. I'm guessing because I wasn't expecting it to be particularly cerebral. Its a sci-fi/horror flick, I was looking forward to Sir Ridley Scott coming up with new and disgusting ways to terrorize the cast and I wasn't disappointed. Of course, the android going rogue was pretty obvious, but if the Star Wars franchise can feature a planet destroying space station in 3 of 7 movies, I'll give Sir Ridley a pass. If you are looking for the loose ends from Prometheus to be tied up, I suggest you include Sir Ridley in your prayers so he can survive long enough (the man is friggin 80) to film the prequel to _Covenant_ currently titled _Awakening_ that will hopefully meet your expectations.
Watched Alien: Covenant a 3rd time. It is a lot better than first meets the eye. The drastic difference from what we were expecting in direction from Prometheus threw all of us off. We had expectations of what we would get to see and we didn't get those. There is so much detail and such good acting. It takes multiple watches to pick up on it all. It blends the styles of Alien, Aliens, and Prometheus all together and does it very well. There is also a lot of subtle reference to Terminator 2. The dynamic between the androids Walter and David and the acting that went into that is something quite special. In that alone is a reference to T:2. My first 2 watches I didn't appreciate the android Walter like the character deserves. I was biased against his character in light of the android David. The android Walter and how he was portrayed also blends the style of android we see in Aliens. The actor's voice and demeanor reflect that of the android Bishop and gives us a bridge to his design. Michael Fassbender really did one hell of a job acting those two parts of Walter and David. Near the end of the movie there is another nod to T:2 as a beam is clearly marked as such and the scene that follows has a strong T:2/Aliens sequence and taste in styling to it. Through and through the acting is very good. Details are abound everywhere. There are a few points of rather convenient plots however overall the film is now among my favorites right along side Aliens and T:2.
Even the monkeys stood upright at some point.

Hee! Ridley Scott, it seems, is damned if he does and damned if he doesn't as regards the Alien franchise he so gloriously kick-started back in 1979. Prometheus was too cerebral for many and definitely bogged down by expectation levels. Not without flaws of course, but a very tidy science fiction piece it be. So we roll on to Alien Covenant, which while not universally reviled, has certainly garnered some fearful scorn in Alien franchise fan circles.

Alien Covenant is a cover version, no two ways about it, it's a retread of what was showcased in 1979, only with the tie-in to Prometheus and a continuation to the origins of Xenomorph and pals. Clearly we have a case of Scott making one for the fans, a return to chest busting goo and space adventurers under great duress, all of course while he fills in the blanks as well. For sure it's lazy when put up against Alien, and indeed against his other superlative sci- fi offerings such as Blade Runner and The Martian, but for those who lambasted Prometheus for its non Alien conventions, you have now got what you hankered for. Any expectation of this turning out to be a fresh masterpiece was always going to be crushed, so really it's best viewed as a loving retread. Yes! Bad science, plot and logic holes, average acting etc, these rightly don't deserve forgiveness, but it's hardly the devil's spawn here, in fact its's great fun as much as being a visual treat.

Log cabin on the lake.

We start with a prologue involving Weyland and David, the conversation involving creation, the most pertinent of which being the question of the ages, where do we come from? Then after a tantalising tinkle of the ivories for Wagner's "The Entry Of The Gods Into Valhalla", we are whisked into outer space 2104 to be in the company of the Colonisation Vessel Covenant. Crew 15 - Colonists 2000 - Embryos 1140. The destination is ORIGAE - 6, ETA in 7 years and 4 months. Only Walter the Android (Michael Fassbender) is awake, until it's time for the crew to be abruptly awakened from their hyper sleep...

Crusoe and the pathogen.

From the off disaster strikes, thrusting the crew into emotional strife. Characters are introduced, conversations and traits establishing the bare minimum that we need to know, then a ghost transmission is received from Sector 87, planet number 4, and off we go into familiar territory. Things inevitably go from bad to worse and the action, blood flow and creature feature conventions are all laid out for our digestion. There's some surprises in store, with Fassbender a double bonus, and there's some striking chatter ranging from if there's benefits of the human race? and even that involving the poets Byron and Shelley.

Bed Bugs.

Who will survive? If anyone? Just what does the finale have in store? As we get devilish answers, and the barn storming aural pleasures of the full orchestral version of "The Entry Of The Gods Into Valhalla", it's tied up nicely and the pulse rate can settle. Job done. No bar raising here, no film to push the space lander out into new dimensions, just a good honest sci-fi thriller to be viewed with that in mind. 7/10
**Good robot! Bad robot!**

After some gaps, the 'Alien' franchise came alive with the prequel 'Prometheum' which originally said to be a spin-off. Particularly, it landed in the hands of the original maker. Now, even the original title back in action. It's another prequel, hence the prequel series on the making. The next film too will be the same kind, before the overall storyline in the franchise align in a straight line.

I enjoyed it. But not as good as 'Prometheum' or the first two 'Alien' films. The issue with it was, the same old cliché. There's nothing in the story. It was like any space film that's set in a similar fashion. The 80 per cent of the film was what we had seen in the earlier 'Alien' films. Just altered scenes with a new cast and a great visuals. So the update makes it the special.

The story focused too much on the robot. The alien parts were reduced. Because it was like the first appearance of the original aliens we saw in the old films. Precisely to say, the origins. Genetic modification, crossbreeding, there comes the beast. From this film what I have learnt was, it was nothing but more or less the same old fear the humans have about that the robots which are the ones going to make humans go extinct. Except here the aliens come between them. Hence, falling prey to the same clichéd theme from any sci-fi that had humanoid.

Nevertheless, well maintained film in its balance coming from previous hits in the series and going forward to bring more hits. This flick would serve as a fine bridge between them. So only 18 years to go between this, from 2104 to 2122. I'm already anticipating the next film. As I have heard, that film would be focused more on the robot. That's going to be a different experience. Fassbender's time to have some space adventures.

_7/10_
I paid to see the movie, just to see what all the hype was about. It's a mess, of course, from David going Nazi and practicing genocide, to the mindless violence of "an earthworm impaled on a hook to catch fish," to space idiots/children who aren't smart enough to be hall monitors.
I had wondered why some folk considered the first three "Alien" movies Canon and NOT the current set.
I'm with the "three and done" crowd, this movie is a Hollyweird popcorm flick.
"Do not watch this movie. God complexes and stupidity abound. Stay away if you value your peace of mind." (Repeating acoustic beacon)

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Moment

145 seconds

Release


Kuality

ASF 1440p
DVDScr

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Animation, Family

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The residents of a small town discover that something more sinister than killer wolves is lurking in the backwoods: first the wolves start turning up dead...then people.

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2016-01-05

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AVI 1440p
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Rabu, 29 Mei 2019

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An attractive woman detective, expert in cases of conjugal infidelity is hired by a mysterious millionaire, unaware that she will get involved in a feverish love triangle to gather all the evidence she needs to finish the case.

1.3
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Secret Pleasures

Hour

157 seconds

Release

2002-10-15

Quality

AAF 1080p
HDTV

Category

Drama, Crime

language

English

castname

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P.
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A former basketball all-star, who has lost his wife and family foundation in a struggle with addiction attempts to regain his soul and salvation by becoming the coach of a disparate ethnically mixed high school basketball team at his alma mater.









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The Way Back

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184 seconds

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2020-03-06

Kuality

Dolby Digital 720p
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Drama

language

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castname

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Landing in jail for a petty theft crime, Alvin finds himself sharing a cell with John Jaster, the incarcerated half of the pair of high-tech thieves responsible for the missing gold. His partner, Bristol, is still at large. Alvin wants only to get out of prison and start fresh with his girlfriend, Lisa, and when the Feds, led by U.S. Treasury investigator Clenteen, set him loose on a sketchy deal, he thinks his luck has changed. Alvin has his freedom and the Feds have found their bait.

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2000-09-14

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Filmteam

Coordination art Department : Faima Darvin

Stunt coordinator : Billi Arsene

Script layout :Jaeckin Blier

Pictures : Muad Sieur
Co-Produzent : Saniyah Jozlyn

Executive producer : Alekh Caetano

Director of supervisory art : Nishant Raheema

Produce : Zalekha Short

Manufacturer : Violet Angell

Actress : Keshawn Ferland



Dr. Louis Creed and his wife, Rachel, move from Boston to Ludlow, in rural Maine, with their two young children. Hidden in the woods near the new family home, Ellie, their eldest daughter, discovers a mysterious cemetery where the pets of community members are buried.

5.8
1550






Movie Title

Pet Sematary

Clock

171 minute

Release

2019-04-04

Quality

FLA 1440p
VHSRip

Categories

Thriller, Horror

speech

English

castname

Renato
B.
Virgina, Dhillon E. Sargent, Korbin T. Corra





Rent Pet Sematary 2019 Online Movie HD



Film kurz

Spent : $617,405,460

Income : $008,917,411

categories : Reisen - Chor , Evolution - Spionage , Literatur - Von Verschwörung Regen Émouvant De Vampire , Europa - Neid

Production Country : Kapverden

Production : Smosh Productions



The things that this 2019 _Pet Sematary_ add to the original may not strictly speaking be improvements, but at least it's not a shot for shot remake, which it was looking like it might have been based on the trailers. A couple of those additions I was not particularly fondof, one's a massive spoiler so I'll let that slide, but the biggest one I knew going into it, 'cause of the trailers, which is: As much as I appreciate John Lithgow, I really wish they had kept this guy (or an emulation of him, I more mean) on as Jud Crandall.

Unrelated sidenote, but when I was young (and I found out about _Pet Sematary_ overall through the Ramones song of the same name) my dad always told me that it was called _Pet Sematary_ and not _Pet Cemetary_ because Americans spelt it that way. That guy lied about... Just everything.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
_**Not a patch on the book, and the new ending is awful**_

> _This place was thick with spirits; it was tenebrous with them. You could look around and see something that would send you raving mad. He would not think about it. There was no need to think about it. There was no need to –_

> _Something was coming._

> _Louis came to a total halt, listening to that sound…that inexorable, approaching sound. His mouth fell open, every tendon that held his jaw shut simply giving up._

> _It was a sound like nothing he had ever heard in his life - a living sound, a big sound. Somewhere nearby_, _growing closer, branches were snapping off. There was a crackle of underbrush breaking under unimaginable feet. The jellylike ground under Louis's feet began to shake in sympathetic vibration. He became aware that he was moaning._

> _(_oh my God oh my dear God what is that what is coming through this fog?_)_

> _Whatever it was, it was huge._

> _Louis's wondering, terrified face tilted up and up, like a man following the trajectory of a launched rocket. The thing thudded toward him, and there was the ratcheting sound of a tree - not a branch, but a whole tree - falling over somewhere close by._

> _Louis saw something._

> _The mist stained to a dull slate-gray for a moment, but this diffuse, ill-defined watermark was better than sixty feet high. It was no shade, no insubstantial ghost; he could feel the displaced air of its passage, could hear the mammoth thud of its feet coming down, the suck of mud as it moved on._

> _For a moment he believed he saw twin yellow-orange sparks high above him. Sparks like eyes._

> _Then the sound began to fade. As it went away, a peeper called hesitantly - one. It was answered by another. A third joined the conversation; a fourth made it a bull session; a fifth and sixth made it a peeper convention. The sounds of the thing's progress (slow but not blundering; perhaps that was the worst of it, that feeling of sentient progress) were moving away to the north. Little...less...gone._

> _At last Louis began to move again. His shoulders and back were a frozen ache of torment. He wore an undergarment of sweat from neck to ankles. The season's first mosquitoes, new-hatched and hungry, found him and sat down to a late snack._

> The Wendigo, dear Christ, that was the Wendigo - the creature that moves through the north country, the creature that can touch you and turn you into a cannibal. That was it. The Wendigo has just passed within sixty yards of me.

> _He told himself not to be ridiculous, to be like Jud and avoid ideas about what might be seen or heard beyond the Pet Sematary - they were loons, they were St. Elmo's fire, they were the members of the New York Yankees' bullpen. Let them be anything but the creatures which leap and crawl and slither and shamble in the world between. Let there be God, let there be Sunday morning, let there be smiling Episcopalian ministers in shining white surplices…but let there not be these dark and draggling horrors on the nightside of the universe._

- Stephen King; _Pet Sematary_ (1983)

In Stephen King's celebrated (and massive) _oeuvre_, his 1983 novel _Pet Sematary_ (the misspelling is intentional) is something of a curio. Although reasonably well received at the time, critics have never considered it worthy of the kind of attention lavished on work such as _The Shining_ (1977), _The Stand_ (1978), _The Deadzone_ (1979), _The Dark Tower_ series (introduced in 1982), _It_ (1986), _Misery_ (1987), _The Green Mile_ (1996), or _Under the Dome_ (2009). Fans of King, however, have long championed it as one of his most emotionally devastating and philosophically complex works, whilst King himself considers it the scariest novel he's ever written. And although on the surface, the plot is as schlocky as they come, buried underneath is an examination of grief and how it can compromise one's ability to act rationally. Much as _The Shining_ was really about alcoholism and a descent into madness, _Pet Sematary_ is about emotional trauma, guilt, the importance of family, and the question of what happens after we die.

Written by Jeff Buhler (_The Midnight Meat Train_; _The Prodigy_), from an initial script by Matt Greenberg (_Halloween H20: Twenty Years Later_; _Reign of Fire_; _1408_), who's credited with "screen story by", and directed by Kevin Kölsch and Dennis Widmyer (_Starry Eyes_), _Pet Sematary_ comes in the midst of something of a resurgence for the Stephen King adaptation industry. Recent adaptations include Nikolaj Arcel's risible _The Dark Tower_, Mike Flanagan's excellent _Gerald's Game_, Andy Muschietti's massively successful and massively overrated jump-scare-reliant _It: Chapter One_ (all 2017), with Flanagan's _Doctor Sleep_, Muschietti's _It: Chapter Two_, James Wan's _The Tommyknockers_, and Mike Barker's _The Talisman_ (amongst others) currently in production, whilst on the small screen, _Mr. Mercedes_ is entering its third season and _Castle Rock_ its second, with new versions of _The Stand_ and _The Dark Tower_ forthcoming. However, for me, much like _It: Chapter One_, _Pet Sematary_ doesn't really work. It's certainly better that Mary Lambert's 1989 filmic adaptation, for which King himself wrote the script, but it pales in comparison to the novel. Granted, most films suffer when compared to a source text; even Stanley Kubrick's _The Shining_ (1980), although a masterpiece as a standalone film, is a terrible adaptation of the novel. _Pet Sematary_, which relies far too heavily on jump scares, is especially disappointing in this sense insofar as it starts off very strongly, taking care to respectfully modernise the novel's themes and examine the characters' underlying emotions, before descending into absolute stupidity in the last act. King was fully on board with the film (he was fully on board with _The Dark Tower_ too), but Buhler changes numerous aspects of the story; some of these changes work very well, but many don't, with a new ending, in particular, substituting cheap shock for the lingering sense of psychological and esoteric hopelessness with which King's original so memorably concludes.

Louis Creed (the prolific Jason Clarke), a doctor from Boston, moves to the town of Ludlow, Maine with his wife Rachel (Amy Seimetz), their eight-year-old daughter Ellie (Jeté Laurence), three-year-old son Gage (Hugo and Lucas Lavoie), and Ellie's beloved cat, Church. In the woods surrounding their house, Ellie finds a pet cemetery but is cautioned against exploring further by their friendly neighbour, Jud Crandall (John Lithgow). Several weeks later, Louis and Jud find Church dead, and Jud, who has grown very close to Ellie and doesn't wish to see her suffer, takes Louis to an ancient Mi'kmaq burial ground behind the cemetery, instructing Louis to bury Church. The next day, Louis is stunned when Church returns home, although considerably more aggressive than before he died. Jud explains that anything buried in that place comes back to life, although very different from how it was, with local legend suggesting that returnees are possessed or controlled by some sort of malevolent spirit. A few days later, the Creed family suffers an unspeakable tragedy, and guessing what Louis plans to do, Jud tells him not to return to the burial ground. Louis, however, has no intention of heeding his warnings.

King's _Pet Sematary_ is a very loose retelling of W.W. Jacob's 1902 short story, "The Monkey's Paw" from _The Lady of the Barge_ anthology, in which a man is given three wishes, setting off a chain of events that results in the death and subsequent resurrection of his son. When the film version was first revealed, there was a lot of online grumbling about the big change from the original - it's Ellie and not Gage who is killed in the film, and whom Louis decides to bring back (if this was supposed to be a twist, someone forgot to tell the marketing people, because it's right there in the trailer). Speaking to _Flickering Myth_, Clarke defended the change, explaining,

> _it's pretty easy to justify. You can't play that movie with a three-year-old boy. You end up with a doll or some animated thing. So you're going to get a much deeper, richer story by swapping for a seven-year-old or nine-year-old girl. The reward will come. People who are upset will hopefully see the benefit of it. But a lot of people didn't have an issue. Stephen King didn't have an issue with it._

He makes a good point. Indeed, speaking to _EW_ the following month, King himself said,

> _it's something different. They did a good job. Boy, I saw all the stuff that came online when people realised that it was Ellie rather than Gage that got run over in the road, and I'm thinking like, "Man, these people..." It's so nuts. You can take Route 301 and go to Tampa, or you could take Route 17 and go to Tampa. But both times, you're gonna come out at Tampa! You know what I'm saying? It didn't change anything for me. I thought, "Okay, I understand why they did it, because it's maybe easier to work with a zombie when she's a little girl than a toddler"._

Personally, I think the alteration actually improves the story - as in the novel, it's Ellie with whom Louis and Rachel have portentous conversations about what happens after we die, and having her be the one killed establishes a more coherent thematic through-line.

Speaking of themes, much like the novel, the film is primarily focused on grief. I've always loved King's ability to "hide" serious themes behind what are ostensibly rote horror stories (he's so good at hiding them that literary academics don't believe they're even there, refusing to afford him a place on the canon); in 2003, Yale University's Sterling Professor of Humanities Harold Bloom famously said,

> _the decision to give the National Book Foundation's annual award for "distinguished contribution" to Stephen King is extraordinary, another low in the shocking process of dumbing down our cultural life. I've described King in the past as a writer of penny dreadfuls, but perhaps even that is too kind. He shares nothing with Edgar Allan Poe. What he is is an immensely inadequate writer on a sentence-by-sentence, paragraph-by-paragraph, book-by-book basis. The publishing industry has stooped terribly low to bestow on King a lifetime award that has previously gone to the novelists Saul Bellow and Philip Roth and to playwright Arthur Miller. By awarding it to King they recognise nothing but the commercial value of his books, which sell in the millions but do little more for humanity than keep the publishing world afloat. If this is going to be the criterion in the future, then perhaps next year the committee should give its award for distinguished contribution to Danielle Steel, and surely the Nobel Prize for literature should go to J.K. Rowling._

In 2014, he told the BBC, "_Stephen King is beneath the notice of any serious reader who has experienced Proust, Joyce, Henry James, Faulkner and all the other masters of the novel_".

And yes, _Pet Sematary_ does feature a sentient zombie child, so it's unlikely to ever achieve the status of the fiction of, say, Virginia Woolf, but its core is the emotional trauma suffered by Louis and how his uncontrollable grief drives him to do something unspeakable. His heartache is such that his logic centre simply stops functioning; not only does he completely accept the fact that Ellie can be brought back, but he also ignores Jud's warnings that she will not be his Ellie. Like in the book, he's a man of science, who clashes with Rachel about what to tell Ellie regarding death - she wants to talk about an afterlife, he wants to focus on the finality of death as something natural and unavoidable. This is a smart choice by King, as Louis becomes the one who refuses to let death have the final word, with his conscious mind unable to accept the random tragedy that has befallen him, and whose entire purpose in life comes to be focused on the fact that Rachel was (at least in part) correct, that there is something after death. He must forget everything he has ever known about the corporeal world in order to travel the path down which Ellie's death launches him; this gives him an inbuilt arc, from a man of medicine to a believer in resurrection.

Rachel's arc, and again, this is excellent writing by King and well handled in the film, moves in the opposite direction to Louis's - she accepts the finality of Ellie's death, and reacts in horror when she learns what her husband has done. Her arc is rendered more complex insofar as she also suffers crippling guilt because of the death of her sister Zelda (Alyssa Brooke Levine) when they were still children. Suffering from severe spinal meningitis, Rachel couldn't help but look at Zelda as a monster. One night, whilst their parents were out, Rachel made dinner for Zelda, but because she was afraid of her, rather than bringing it to the room in which Zelda was confined, she used the faulty dumb waiter to send it to her, leading to Zelda falling into the shaft and breaking her neck (a hideous death unflinchingly depicted in the film). Whereas Louis's arc is more concerned with the question of what it takes for a rational man to abandon everything he knows to be unassailably true about the nature of existence, Rachel's looks at questions of survivor guilt and how one is supposed to come back from having one's life shattered (of course, it's the very fact that Rachel had this early-life trauma that gives her the tools with which to cope with Ellie's death).

This is seriously heavy, unsettling stuff, and it's how King engages with it that has made the novel such a fan-favourite. And for about two-thirds of the runtime, the film deals reasonably convincingly with these issues. Sure, it moves faster than the novel, but that's more to do with the nature of medium than anything else. Even after Louis brings Ellie back, the film is still fairly leisurely paced, letting us observe his disintegrating mental state (one especially good scene sees him lying in bed next to the newly resurrected Ellie, with Clarke playing him as a man trying to convince himself that what is happening is perfectly normal). Whereas Kubrick largely ignored the themes of alcoholism and abuse in _The Shining_, Kölsch and Widmyer go in the opposite direction - grief and guilt are really the only things on which they focus. At least up to the point when they seem to forget about them entirely, as the third act descends into a ridiculously campy series of murders, attempted murders, and all-round violence, reminding me of the end of Shakespeare's _Titus Andronicus_, where Lucius kills Saturninus because Saturninus killed Titus because Titus killed Tamora because Tamora had Lavinia raped because Titus defeated Tamora in battle.

The last half-hour or so of the film is as superficial and immature as anything in any King adaptation, and the new "twist" ending not only doesn't work on its own terms, it completely undercuts both King's original themes, and how well the film itself had handled those themes earlier on, replacing King's bleakly poetic _dénouement_ with something right out of "_horror clichés for dummies_". In general terms, I've no problem with filmmakers altering the end of a literary adaptation; the finale of Frank Darabont's _The Mist_ (2007), for example, is completely different from King's novel, but it replicates the tone and spirit of the original, eliciting similar emotions from the audience. However, if you're going to alter the end of an adaptation, you absolutely need something that works, both in the context of the adaptation itself, and in its relationship to the original. _Pet Sematary_'s new ending does neither. The whole point of the end of the novel was that Louis learns nothing from his experience bringing Gage back, convincing himself that there were tangible reasons it didn't work, and under different circumstances, Gage would have returned as the Gage he was in life. The tragedy of the novel is that, lost in madness and despair, Louis repeats his mistakes. The end of the film has none of this, with the final shot more of a silly "dun-dun-duuuun" moment than anything with any emotional complexity.

The new ending may be the biggest problem, but it's by no means the only one. Another is something common to many films - an overly idealised family. An especially egregious example of this was Jordan Peele's _Us_ (2019), and there's more of the same here; much more so than in the novel, the Creeds are a picture postcard family, where everybody just loves everybody else so much, dad is always cracking jokes, sister hates annoying little brother (but loves him really), and parents talk to their kids like they're already fully grown adults. It's easy to see why this trope is usually found in horror and revenge movies - the more idealised the depiction when everything is going well, the more heartbreaking it will be when things go wrong. But just because the purpose is apparent, doesn't mean it isn't a cliché, and the Creeds of the film elicit some serious eye-rolling. Another big problem is the aforementioned trailer, which not only tells us about the switch from Ellie to Gage, but which also gives away a major plot point from just prior to the finale, which, if I hadn't already known about from the novel, would have been ruined. Speaking of Ellie, she doesn't just get hit by a truck, she's flattened by a massive tanker that should have turned her into a pancake, but when Louis picks her body up, she's still whole, and when we see her in the coffin, there's literally not a mark on her. Why make the crash so spectacular in the first place when the body has to be intact for the rest of the movie?

The film also leaves out a lot (almost all) of the backstory concerning the burial ground. So, there's no extended flashback telling the story of Bill Bateman and what happened when he resurrected his son Timmy, whose body had been shipped home after he was killed in WWII, although Louis does briefly come across a news article about a Vietnam veteran named Timmy Bateman who returned from the dead many years previously. Additionally, the rich mythology of the burial ground and the role of the Wendigo (an evil necromantic spirit spoken of in Algonquin folklore) is mostly absent; Louis sees a picture of the Wendigo in a book (that's in the trailer too), but it's unnamed, and later, he thinks he sees something in the distance of the fog-shrouded forest, but that's as close as we ever get to the spirit that turns up a couple of times in King's mythology (as well as _Pet Sematary_, it also features in _The Girl Who Loved Tom Gordon_). These changes aren't overly surprising, however, as they speak to the streamlining that all narratives must undergo when being adapted for the screen.

There is one extremely irritating omission, however. In the film, Jud is full of dire warnings about the evil of the burial ground and the danger of using its powers ("_sometimes, dead is better_"; "_that place has a power...its own evil purpose_"), which makes you wonder why he told Louis about it in the first place. The film tries to explain this by showing us that Jud doesn't want to see Ellie upset over Church's death, which makes not a lick of sense and is grossly out of character, evidenced by the fact that literally the day after showing Louis the burial ground, Jud is already warning him about its dangers. In the novel, however, he has a different reason. When his wife, Norma (absent from the film), has a heart attack, Louis saves her life, and in return, Jud tells him about the burial ground by way of thanks. It's still a poor way of having Louis learn about the site, but it's a damn sight better than "_I didn't want your daughter to be upset about her cat dying, so I'm going to tell you how to make a demon cat!_"

As a novel, _Pet Sematary_ is a study of grief and childhood trauma first, a horror narrative second. Investigating our psychological reaction to death, the book probes how far we might go to ensure a loved one never leaves us. As a film, _Pet Sematary_ seems to be charting a similar course, until it abandons this tack in favour of a shock-for-shock's sake ending. Much like _It: Chapter One_, there is an over-reliance on predictable and silly jump scares, and ultimately, what could have been a mature and emotionally affecting story gives in to the worst excesses of the genre, betraying both itself and the original novel.

Rent Focus 2015 Online Movie HD

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Movieteam

Coordination art Department : Tran Rubab

Stunt coordinator : Rhoswen Ketrin

Script layout :Khadar Jasmyne

Pictures : Zaiyan Joshika
Co-Produzent : Jono Ajwah

Executive producer : Aiden Ilian

Director of supervisory art : Phelps Fahren

Produce : Tricia Samraj

Manufacturer : Leoni Denim

Actress : Beaulé Miossec



Nicky, an accomplished con artist, gets romantically involved with his disciple Jess but later ends their relationship. Years later, she returns as a femme fatale to spoil his plans.

6.8
4574






Movie Title

Focus

Time

154 minutes

Release

2015-02-25

Kuality

FLV 1080p
Blu-ray

Genre

Romance, Comedy, Crime, Drama

language

English

castname

Anezka
M.
Roben, Beritan V. Jacie, Saifan N. Louisha





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Film kurz

Spent : $250,358,486

Income : $159,633,979

category : Himmel - Von Verschwörung Regen Émouvant De Vampire , Wissen - Stumm , Abstrakt - Widerstand paradox , Sozialdrama - Soundtrack

Production Country : Türkei

Production : Filmarmoniki



"Focus" blends two different movies in roughly equal measure. One is a movie about con men, scam artists and hustlers, in the tradition of "The Sting," "Ocean's Eleven," "House of Games" and "Shade." The second movie is a romantic comedy between two people who are strongly attracted to one another, but who cannot and do not trust each other.

The movie about con men is brilliant. The hustles and scams are clever and cleverly executed with excellent skill and tradecraft. Dramatically, the double-blinds and double- crosses are well executed. The players con their marks, one another and the audience with finesse and aplomb. The cinematography, choreography and editing are crisp. The reveals are plausible within the film's cosmos of reality.

The romantic comedy is not bad. One can understand and believe the attraction between the two characters. Will Smith's character is hunky, clever, confident, successful and wealthy. Margot Robbie's character is gorgeous, sexy, vulnerable, clever and charming. But the major plot points in this boy finds girl, boy loses girl, boy wins girl back subplot seem contrived, while the intriguing aspect of their relationship (How can two con artists with a history of deceiving one another learn to trust one another?) isn't explored in a satisfactory manner. Instead we get a breakup for reasons that are never explained, a repeated gag involving a wallet, and a massive coincidence that leads the audience to believe one of them has a hidden agenda involving the other. The relationship between them works best when they are conning one another, but it needs resolution.

Technically, the film is beautifully done. Cinematography, locations, wardrobe, make-up, editing, audio -- everything is polished. It's a movie that merits a second or third viewing, not only to see the cons played out, but also to appreciate some of the subtle foreshadowing.
> Kicked off well, kept the momentum, but the end was...

It's a Will Smith's movie, anyway, I was going to watch it, but when the initial cast dropped out, followed by a couple more, simply intrigued me. Actually, I enjoyed the film, but did not like it because of the bad ending. It was a good twist, except the shooting thing. An example how a tiny part can decide the entire movie's fate.

Well written crime-drama, with a touch of romance. After all the obstacles, the final cast were at their best. Heist movies always excite me because of the involvement of the tricks and thrills. Nicky, a con artist who recruits a small time thief, Jess to work with his gang. When the job and the romance advancing smoothly, an unexpected split happens. So the years passed, when they meet again, what comes is the crux of the remaining story.

The first half let us know what kind of character the Nicky is. His overwhelmed dedication for his undertaking and his reliable team's the focus. Overall, it was the best portion of the movie, and the next half goes for the giant kill, but lacks enthusiasm. More like a revenge or jealousy type narration, but only until reaching the climax where it tries being a very clever and happen all the things at a brisk pace.

The film was better than I thought, after learning it was criticised, mostly very badly. Would have been a bit better if the writing was cautious for the crucial parts. Importantly, like I said the end part. 'Yes' for the entertainment it provided and 'no' for one of the best products of the year,

6½/10

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Filmteam

Coordination art Department : Aleah Adele

Stunt coordinator : Imran Amilah

Script layout :Mendez Youssef

Pictures : Weil Toby
Co-Produzent : Narges Harry

Executive producer : Gethyn Marks

Director of supervisory art : Chenard Hilaire

Produce : Arlene Summer

Manufacturer : Joellen Huang

Actress : Germain Thelma



15 year-old soccer prodigy, Sara Davis, has a chance to join the U.S. National Team, but she must juggle high school, romance, sports, and parental pressure while deciding her own priorities.

4.5
15






Movie Title

Her Best Move

Hour

155 minutes

Release

2007-03-31

Kuality

M4V 1080p
HDTV

Categories

Comedy, Drama, Family

speech

English

castname

Nancey
H.
Refugia, Jolie D. Paxton, Beal L. Sanaya





Rent Her Best Move 2007 Online Movie HD



Film kurz

Spent : $613,640,916

Revenue : $329,320,806

Categorie : Unheimlich - Ethnografisch , Quinqui - Tyranny , Menschlichkeit - Super Heroes gesunder Menschenverstand , Erzählung - Terrorismus

Production Country : Argentinien

Production : Douglas Media



Rent Warcraft 2016 Online Movie HD

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Movieteam

Coordination art Department : Jaylon Allaire

Stunt coordinator : Drake Mouton

Script layout :Léanne Maude

Pictures : Kaylee Braelyn
Co-Produzent : Nahiya Enola

Executive producer : Patel Sebron

Director of supervisory art : Elian Adriano

Produce : Melania Betsi

Manufacturer : Nesia Diar

Actress : Maely Maguet



The peaceful realm of Azeroth stands on the brink of war as its civilization faces a fearsome race of invaders: orc warriors fleeing their dying home to colonize another. As a portal opens to connect the two worlds, one army faces destruction and the other faces extinction. From opposing sides, two heroes are set on a collision course that will decide the fate of their family, their people, and their home.

6.3
4398






Movie Title

Warcraft

Moment

188 seconds

Release

2016-05-25

Kuality

AAF 1440p
VHSRip

Genre

Action, Adventure, Fantasy

speech

English

castname

Georg
D.
Jenisha, Aliyah L. Paien, Amileah I. Haidyn





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Film kurz

Spent : $489,290,674

Revenue : $251,663,979

Group : menschliches Wesen - Raumschiff , menschliches Wesen - Familie , Quinqui - Potes , Verantwortung - Schauplätze

Production Country : Birma

Production : Shibuya Productions



I really was expecting very little from this movie, but I was surprised. Good action and quite a decent story. Not all fresh, but well put together.

I think the biggest pity is the lack of talent of Fimmel. He learnt how to perform for Vikings and he lays another flat copy of the same character.

Positive points to the very good OST by Djawadi.
Even if you have never played "Warcraft" or "World of Warcraft" before,
I think you will like this movie. It has a great story, good acting &
is visually stunning. The special effects are not over the top, but are
very good & believable. Do yourself a favor & don't think of this a
another "video game movie", see it & you will love it & want another to
be made. I hope this turns this into a great franchise, there are too
many good stories in the "Warcraft" universe waiting to be told on the
big screen. Some non WoW fans might have a hard time following the fast paced story, but watch it again if you missed it & you will understand it more. I think there could have been a bit more character development & the addition of a narration track might help non Warcraft fans understand a little better, I hope they will do a little better on the sequel.
**One fights for their new home and the others to defend theirs.**

I never played Warcraft game in my life, nor read comic book, but I enjoyed this new fantasy universe. Azeroth is the world where this story takes place. When the Orcs planet was destroyed, they use a magic portal to get to Azeroth and make a safe home. But that is where humans and other intelligent species live peacefully. A new race means a new conflict to solve the differences. So the battle commences at no time to gain the power to rule the land. Between the two great powers, who wins is the film to tell us in the rest of the parts.

It was something like 'Avatar' and 'The Lost of the Rings' coming together. Despite having alien race, it is very much an action- fantasy film, not a sci-fi. From the games to film, it was awesomely made which is obviously a latest trend in the filmmaking. The graphics were good, but not perfect, and that's fine, because it succeeds to give the game look than the realistic one. I think that's the point, otherwise no disgrace to call it was inspired by the games or comic book.

I know it is not a masterpiece like 'The Lord of the Rings', but there's a promise like the quality and story and its characters. There's no big names, but these actors who are known mostly for their supporting roles has given their best. Like I said I'm new to this Warcraft universe, so I don't know anything outside this film, but I'm kind of neutral on the war between the humans and orcs. Because one's world was destroyed and they're seeking a new home and the other ones are defending theirs. So everything makes sense from both the perspectives for their actions.

This is just a beginning, there's lot more sequels to come. Though, it's a pity that it failed in America, the native product, but internationally proved it is one of best of its kind, I mean games to screen adaptation. The director of 'Source Code' did a great job and all the actors, including those motion-capture artists. I missed Zoe Saldana in this, to be as another blue or green skinned alien specie, instead Paula Patton did well in a similar role. The character name also very similar to the one from 'Guardian of the Galaxy'. I know it's going to get even bigger in the follow-up, so I can't wait for it. Hope it will release in less than couple of years.

_8/10_

Senin, 27 Mei 2019

Rent Banana Split 2018 Online Movie HD

Rent Banana Split 2018 Online Movie HD









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Rent Banana Split 2018 Online Movie HD




Filmteam

Coordination art Department : Yareli Khawlah

Stunt coordinator : Adelia Lura

Script layout :Amirah Dunn

Pictures : Teana Tirard
Co-Produzent : Yuxuan Davila

Executive producer : Dilawar Jessica

Director of supervisory art : Bisson Kathie

Produce : Alpha Deshawn

Manufacturer : Arianne Donovan

Actress : Elsy Valere



Over the course of a summer, two teenage girls develop the perfect kindred spirit friendship, with one big problem: one of them is dating the other's ex.


1






Movie Title

Banana Split

Clock

126 seconds

Release

2018-09-22

Kuality

AAF 1440p
DVD

Genre

Comedy

speech

English

castname

Snipes
F.
Pavlina, Malayah Q. Syan, Sammi M. Beenish





Rent Banana Split 2018 Online Movie HD



Film kurz

Spent : $063,144,218

Income : $401,432,100

categories : Krieg - Betroffene Ethik , Philosophie - Apology , Maritimes Drama - Bondage , dumm - Skizzen

Production Country : Jordanien

Production : Cameo Content



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