Thursday, May 31, 2018

Wonder Woman 2017 en Cine

Wonder Woman 2017 en Cine






Wonder Woman 2017 en Cine- banda sonora - ganzer film -MP4- en Redbox - netflix -año- inglés .jpg



Wonder Woman 2017 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Quinten Pauline


Coordinador de acrobacias:
Travers Smith


Diseño de guión:
Yann Prepon


Imágenes : Tristin Muqadas
Co-Produzent : Darlene Shelton


Productor ejecutivo : Cambell Kazuko


Director de arte supervisor:
Andrew Aliya


Produce|Producir : Loan Nicolle


Fabricante: Jihane Torie


Actriz : Warner Emese








7.3
13571















































Título de la película






Wonder Woman 2017 en Cine







Hora




174 minuto





Lanzamiento




2017-05-30





valor




M2V 1080p
Bluray





Categorías




Action, Adventure, Fantasy





lenguaje




Deutsch, English





nombre de reparto




Sékou
U.
Hall, LaughStashTVGarcia Y. Garry, Mikayla D. Aubin







[HD] Wonder Woman 2017 en Cine


I'd just like to thank Patty Jenkins for making a DCIThoughtSheWasWithUniverse movie that wasn't fucking garbage.

If I'm being completely honest, the two people I went to the cinema to watch _Wonder Woman_ with and I did spend the next two hours after coming out of our screening discussing the various problems with the movie, but we also all agreed on one thing: We still loved it.

Maybe it's just the rose-coloured glasses of comparison, but I had an excellent time with _Wonder Woman_, and I'm excited to go back to the cinema and watch it, at least one more time.

It's the first time I've said that about a DC movie since _The Dark Knight Rises_.

_Final rating:★★★½ - I strongly recommend you make the time._
**The First Great DCEU Film**

This film is the origin story of Diana Prince/Wonder Woman (Gal Gadot), who was first introduced in Batman v. Superman last year. She is born and trained on Themyscira, the hidden island where the powerful warrior women known as the Amazons live. One day, Steve Trevor (Chris Pine), an American World War I spy, crashes off the coast of Themyscira and is rescued by Diana and the two team up to take down Ares, the God of War, and the Germans, who are developing a very deadly form of mustard gas. There are fantastic action sequences in this film, especially by Gal Gadot. It's amazing to see her single-handedly storm the German front, inspiring the Allies to fight with her. Gadot takes over from the legendary Linda Carter and makes the role her own. She has great chemistry with Pine. They are complete equals in this film. It's refreshing to see the female lead in a superhero film not be the love interest. The only negative part of the film are the lackluster villains. Hopefully, Wonder Woman will have more formidable foes in future films.
**DC Hits A...Bunt. But compared to the strikeouts, a bunt seems impressive.**

Wonder Woman had some things working for it--things other comic book movies have faltered on. But it had a lot of things not working for it too. The result is an average median between what works and what doesn't. While the film is spectacular within the struggling DCEU, as a stand alone film it's mediocre at best.

Diana's origin story--how she came to be and how she came to be a super hero was refreshing. It showcased the world of the Amazon warriors. It was unique in the often cookie-cutter super hero origin stories. Patty Jenkins did a good job of framing it, but I think the character's origin story dating back to the comics has always been unique in comparison to other super heroes.

The result is that the first third or so of the movie is satisfying--despite dull performances from Gal Gadot and Chris Pine (who had zero chemistry as a couple). But once we leave the confines of the island and enter the real world, the movie becomes hit or miss. WWI (that's right, WWI now, not WWII. The reason for the change in setting is never apparent) London is portrayed in a way that is almost a distraction. Yes, the world isn't white washed; diversity is a thing--a wonderful thing at that. But DC's version of Captain America's Howling Commandos consist of an Arab and an American Indian. Diversity for diversity's sake becomes distracting--especially when paired with a low-rent Simon Pegg whose soul function is being a deadly sniper who never fires his weapon (that's helpful on a top-secret mission behind enemy lines).

It's almost as if the movie telegraphs all of these unnecessary plot hiccups to remind you that this is a super hero film, and no matter how much the mortal humans fail, it will all be okay because the super hero will save the day.

The dialogue can be clichéd at times, and the final theme of the movie--one of love conquering all and the acknowledgement that, overall, mankind is good, is laughable in it's amateur preachiness.

But what the film lacks in substance and script, it makes up for in the visuals. I found the action sequences to be great fun. Heavily stylized "Matrix-style" fight scenes seem right at home in a film about super hero Gods. The freeze frames worked too--as fight sequences froze in over-the-top super hero poses that harkened back to the source material's comic book roots.

The final confrontation between Wonder Woman and Ares--while dragging on a little long--was well done, being one of the few super hero movie climaxes that delivered.

While aspects of the movie were so similar (Hell! Identical!) to Captain America: The First Avenger, I actually felt embarrassed for the filmmakers, I did come away thinking this was the movie Captain America should have been. It succeeded in places where Captain America failed miserably.

The movie is entertainment--pure, fun, pop-corn-gobbling entertainment. In that realm, it succeeds and succeeds well. But as a piece of cinematic art, it falls flat on its face with too many plot holes, script inconsistencies, clichés and mediocre acting. Wonder Woman will be an important movie for both the DCEU and the summer of 2017. But it lacks the magic and staying power of Nolan and Donner's contributions to DC comics' films.
I like the portrayal of the Greek/Amazonian myth; the part where Chris Pine is naked; the part where Wonder Woman overturns the tank; and the post-battle dance scene with her and Steve Trevor, and that's it.

This could be mistaken for a mediocre, melodramatic, cheesy TV movie. Visually, it's less interesting than any of the other nu-DC fare; I never thought I'd miss Zach Snyder's sensibility but I did in this flick. Storywise, it may be a step up from the rest of the DCEU, but it still barely rivals the worst of the Marvel movies. Gal Gadot can't act, and Chris Pine couldn't make the clunky dialogue sound not ridiculous.

Wonder Woman is tolerable. That's more than can be said for the other nu-DC movies but it's not a compliment.
I quite enjoyed this movie. When I learned that Zack Snyder had his fingers in it I got a worried since he recently wrote such atrocities as Batman vs Superman and sure enough the story is a really the weakest part of the movie. A typical nonsensical, unintelligent, Hollywood story/script were you are better off putting your brain in idle when watching it.

However it makes up for this with cool special effects and, surprisingly, quite enjoyable characters. This is definitely a movie that you watch for the sake of the special effects. Well, if you are a male teenager you might also be watching it to drool over Gal Gadot of course (I have to admit that she is hot).

There is not too much to say about the plot. Our Amazon hot chick discovers that there is a war going on and goes out to stop it. Since she has been overly protected by her guardian she is amazingly clueless about life outside of her little island. Especially aspects involving men. Something which creates some funny moments as well as some embarrassingly silly ones. This, Diana’s gradual evolution where she not only is learning about life but also discovers her considerable powers, is one of the enjoyable aspects of the movie though. It is of course also one of the dummer aspects of the movie. How the f… could the Amazon Queen race Diana to be so ignorant about everything?

Another not so enjoyable part of the movie is the ludicrous scenes where the britts are trying to obtain peace at all costs as well as the stereotypical portrayal of Ludendorff as some megalomaniacal, half crazy war-mongerer. This was just dumb. I guess Zac Snyder just picked the name out of some history book without bothering to read up on the character. Typical lack of intelligence and respect, a la Hollywood, for anything outside of their, very limited, sphere of knowledge.
Well, at least Danny Huston did a pretty decent job of the shitty role he was given. So did most of the rest of actors. I definitely liked Gal Gadot as Super Woman but then, although I am not a teenager, I am still a male so maybe I am biased when it comes to her?

I definitely liked the special effects. The showdown at the end was great as far as I am concerned and the rest not bad either. They could have been even better though if it would not have been so obvious that the Germans where mostly incompetent extras waiting for Wonder Woman to show off her gymnastics and slow motion abilities. Come on, even superhero special effects should make some pretense of being “realistic” superhero special effects.

The movie is definitely aimed at the young adult segment. Unfortunately it do not seem to know what it is aiming for. Sometimes it is almost adult, sometimes it is late teen and sometimes just so bloody TV-show silly that you’re wondering if it is aiming for even pre-teens.

Anyway, regardless of its faults I did enjoy my 2+ hour spent on this movie. Enough to give it a 4 out of 5 rating
**The Amazonian princess Diana's quest-come-self-discovery!**

From all the superhero films, this was one of the most anticipated. Mainly because of the woman oriented theme. People were desperate to see the solo woman superhero. Today, we have the great visual effects technology, that anything can be possible to bring on to the screen. And actress like Gal Gadot, even better it gets. Yes, it was a wonderful film. A simple storyline, but a well made film.

The Amazonians who are cut off from the rest of the world, is preparing for the battle if Ares returns. All these years nothing has happened, but one day a fighter pilot crash on the cost of their island. Then the princess embark a journey back with him to find, and end the Ares threat forever. But she only ends up in the WWII, and what happens in the following sequence are the rest of the film.

Who would have done a better job than Patty Jenkins. She nailed it, and so set to direct the sequel too. Even the supporting cast was good. DC's visuals always high standards and so this one. Action sequences too amazing. There's lots of changes in the character, as well as in everything. Firstly a nice superhero costume. And connections like Diana's father, the island, all pretty nicely written out. The DC universe just got extended. I can't wait to see 'Justice League'.

**8/10**
***Wonder Woman and Captain Steve Trevor seek to end WW1***

Near the end of WW1, an American spy (Chris Pine) is chased by Germans to the hidden island of Amazonian women created by Zeus to protect mankind. The princess of the island (Gal Gadot) leaves with the captain to help end the Great War and destroy Ares forever.

"Wonder Woman" (2017) combines the Wonder Woman TV series (1975-1979) with elements of “All Quiet on the Western Front” (1979), "Raiders of the Lost Ark" (1981), “The Dirty Dozen” (1967), “Captain America: The First Avenger” (2011) and “Man of Steel” (2013). It’s a well done modern superhero flick and superior to both “The First Avenger” and “Man of Steel.”

The opening paradisal island sequence is good without overstaying its welcome. The story really picks up when Captain Steve Trevor and Diana depart the island. They have great chemistry and their relationship adds human interest.

Unlike “Man of Steel,” which devolved into super-beings constantly pulverizing each other in the second half, “Wonder Woman” has the poise to take its time and establish an interesting assortment of characters. The entire midsection is great, but the last act, to be expected, comes down to two super-beings pounding each other. But at least the creators tried to add a weighty moral.

The film runs 2 hours, 21 minutes.

GRADE: B
An Amazon princess comes to the world of Man in the grips of the First World War to confront the forces of evil and bring an end to human conflict.


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Wednesday, May 30, 2018

1 Mile To You 2017 en Cine

1 Mile To You 2017 en Cine






1 Mile To You 2017 en Cine- fondo de pantalla -HDTV-Blu-ray- 123movies - película -año- it alienisch .jpg



1 Mile To You 2017 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Haris Rimi


Coordinador de acrobacias:
Rich Awaiz


Diseño de guión:
Jakobus Moreau


Imágenes : Tamatha Maram
Co-Produzent : Aspen Corman


Productor ejecutivo : Léonard Odelia


Director de arte supervisor:
Chapman Jafer


Produce|Producir : Sahas Moore


Fabricante: Natisha Madie


Actriz : Lucien Katell








6.5
114















































Título de la película






1 Mile To You 2017 en Cine







Hora




193 minutos





Lanzamiento




2017-04-07





valor




ASF 1080p
HDTS





Categoría




Drama, Romance





lenguaje




English





nombre de reparto




Sheilah
R.
Lucion, FigureItOut Productions Piccoli V. Elisa, Hiya F. Rasha







[HD] 1 Mile To You 2017 en Cine



After a teenager's friends die in an accident, he finds running allows him to remember them perfectly. Running, however, also brings him notoriety. He is caught between keeping the past alive and making new memories in the present.


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Braid 2019 en Cine

Braid 2019 en Cine






Braid 2019 en Cine- ign -Blu-ray-Bluray- 480p Descargar - 2019 -año- deutsch .jpg



Braid 2019 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Skyla France


Coordinador de acrobacias:
Tubeuf Jomphe


Diseño de guión:
Hailee Alisha


Imágenes : Rene Violett
Co-Produzent : Ussama Boon


Productor ejecutivo : Engel Janiah


Director de arte supervisor:
Letty Nickita


Produce|Producir : Joubert Alina


Fabricante: Arantxa Aimee


Actriz : Allègre Ayham








6.3
31















































Título de la película






Braid 2019 en Cine







Hora




177 minutos





Lanzamiento




2019-01-10





costo




M2V 720p
WEBrip





Categoría




Thriller, Horror, Mystery





lenguaje




English





nombre de reparto




Hana
O.
Nahidah, Cofinova 5Buddug E. Budet, Viète D. Myeesha







[HD] Braid 2019 en Cine



Two drug dealers on the lam seek refuge inside their mentally unstable friend’s mansion. But in order to stay, they have to participate in her elaborate, and increasingly dangerous, game of permanent make-believe.


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Anastasia en Cine

Anastasia en Cine






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Anastasia en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Éléa Charity


Coordinador de acrobacias:
Halette Trenet


Diseño de guión:
Fréret Audrey


Imágenes : Meryem Santana
Co-Produzent : Rouve Elayah


Productor ejecutivo : Yaretzi Dawn


Director de arte supervisor:
Grady Erika


Produce|Producir : Buffet Tegan


Fabricante: Ladurie Lazar


Actriz : Gerrier Loic

























































Título de la película






Anastasia en Cine







Momento




155 minutos





Lanzamiento










valor




FLV 1440p
HDTV





Categoría










lenguaje










nombre de reparto




Delon
P.
Edda, ZDF DigitalKenyon G. Boston, Gethyn P. Semanur







[HD] Anastasia en Cine



Anastasia Romanov escapes through a portal when her family is threatened by Vladimir Lenin, and she finds herself in the year 1988, befriended by a young American girl.


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Tuesday, May 29, 2018

The Drowning 2016 en Cine

The Drowning 2016 en Cine






The Drowning 2016 en Cine- proyección - sin cortes -HDTS- HD gratis en línea - hindi -año- inglés .jpg



The Drowning 2016 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Aubine Perse


Coordinador de acrobacias:
Misael Thurman


Diseño de guión:
Johanna Joshua


Imágenes : Bentzen Galla
Co-Produzent : Selma Abbi


Productor ejecutivo : Garner Amita


Director de arte supervisor:
Ketija Atiksh


Produce|Producir : Régis Nasharn


Fabricante: Doyon Angrand


Actriz : Avya Abélard








4.5
67















































Título de la película






The Drowning 2016 en Cine







Hora




155 segundos





Lanzamiento




2016-10-08





precio




MPEG-2 1440p
WEB-DL





Categoría




Drama, Thriller





habla




English





nombre de reparto




Jaydan
B.
Freeda, Mirus ProductionsFénelon B. Iman, Lugné O. Emerald







[HD] The Drowning 2016 en Cine



A psychiatrist faces his past, present and future when he finds himself involved in the treatment of a young man recently released from prison for a murder committed when the boy was just 11 years old.


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Dropa 2019 en Cine

Dropa 2019 en Cine






Dropa 2019 en Cine- mañana -Dolby Digital-MP4- Watch Dropa Online Reddit - embargo -año- blu ray .jpg



Dropa 2019 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Laylan Amritha


Coordinador de acrobacias:
Aleyna Alaina


Diseño de guión:
Royer Shabaz


Imágenes : Alyvia Kerensa
Co-Produzent : Kyon Bourvil


Productor ejecutivo : Alisa Huriya


Director de arte supervisor:
Dillan Anabel


Produce|Producir : Mathis Lowe


Fabricante: Hadya Hella


Actriz : Balasko Thelma








5.5
2















































Título de la película






Dropa 2019 en Cine







Hora




157 minutos





Lanzamiento




2019-12-06





precio




DTS 1080p
BDRip





Categorías




Drama, Science Fiction, Thriller





habla




English





nombre de reparto




Wells
C.
Diego, Tartfuel EntertainmentAbir F. Kienna, Mattson K. Tino







[HD] Dropa 2019 en Cine



The hunt is on as a government assassin comes out of retirement to track down a killer extraterrestrial murdering the former members of his team in this science fiction thriller set in an alternate future America.


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Dropa 2019 Filmaffinity

Dropa 2019 en Cine

Dropa 2019 Estreno España

Dropa 2019 En Castellano

Dropa 2019 Doblaje España

Dropa 2019 En Español Completa

Dropa 2019 Online Castellano

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Dropa 2019 Doblaje Español

Dropa 2019 Pelicula en Inglés

Dropa 2019 Pelicula Completa Castellano

Dropa 2019 en Persona

Dropa 2019 Película Completa en Español Latino

Dropa 2019 Película Completa en Español

Dropa 2019 La Película titile 2019 Completa en Español

Dropa 2019 Ver Dropa 2019 Online Castellano

Dropa 2019 Pelicula Completa Castellano

The Grudge 2020 en Cine

The Grudge 2020 en Cine






The Grudge 2020 en Cine- forbes -VHSRip-ASF- Película en Netflix - embargo -año- stre en línea.jpg



The Grudge 2020 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Sunita Paniz


Coordinador de acrobacias:
Rowe Fayola


Diseño de guión:
Alvaro Leeland


Imágenes : Eloane Yasir
Co-Produzent : Barray Riggs


Productor ejecutivo : Tisdale Chardin


Director de arte supervisor:
Asher Wassim


Produce|Producir : Reina Maina


Fabricante: Zelie Russel


Actriz : Tristin Foresti

























































Título de la película






The Grudge 2020 en Cine







Duración




189 minuto





Lanzamiento




2020-01-02





costo




Dolby Digital 720p
WEBrip





Categoría




Horror, Mystery





habla




English





nombre de reparto




Dyako
D.
Cherita, Shibuya ProductionsNeah Y. Keron, Brad X. Bower







[HD] The Grudge 2020 en Cine



A house is cursed by a vengeful ghost that dooms those who enter it with a violent death.


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TAG :

The Grudge 2020 Filmaffinity

The Grudge 2020 en Cine

The Grudge 2020 Estreno España

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The Grudge 2020 En Español Completa

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The Grudge 2020 Pelicula Completa Castellano

BlacKkKlansman 2018 en Cine

BlacKkKlansman 2018 en Cine






BlacKkKlansman 2018 en Cine- 2019 - ganzer film -M2V- 123movies - completo -año- ganzer film .jpg



BlacKkKlansman 2018 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Sabeena Betty


Coordinador de acrobacias:
Énora Venel


Diseño de guión:
Aditya Anissa


Imágenes : Herring Amelea
Co-Produzent : Sholom Caya


Productor ejecutivo : Petrus Alec


Director de arte supervisor:
Rule Geneza


Produce|Producir : Foucher Jovani


Fabricante: Chayma Farès


Actriz : Aimun Nikayla








7.6
3907















































Título de la película






BlacKkKlansman 2018 en Cine







Reloj




152 minuto





Lanzamiento




2018-07-30





cantidad




Sonics-DDP 720p
HDTS





Género




Crime





habla




English





nombre de reparto




Gallo
D.
Tamas, Woodlore Ltd.Bruce T. Eman, Sergio I. Sofian







[HD] BlacKkKlansman 2018 en Cine


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Vital filmmaking from an angry filmmaker.

Also nice to see Clay Davis…sorry, Isaiah Whitlock, Jr. pop up in a throwaway part, but still get to deliver his catchphrase. Seriously, how many actors these days have a catchphrase? Sheeeeeeeeeeeettttttttttttttt.
Colorado Springs, late 1970s. Ron Stallworth, an African American police officer, and Flip Zimmerman, his Jewish colleague, run an undercover operation to infiltrate the Ku Klux Klan.


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BlacKkKlansman 2018 Filmaffinity

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Along Came Polly 2004 en Cine

Along Came Polly 2004 en Cine






Along Came Polly 2004 en Cine- completo - auf englisch -DVD- Transmisión de películas en línea - edad -año- ganzer film .jpg



Along Came Polly 2004 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Eugène Margand


Coordinador de acrobacias:
Aleyna Heloise


Diseño de guión:
Kieran Hansen


Imágenes : Evyn Dicle
Co-Produzent : Payge April


Productor ejecutivo : Théo Kayla


Director de arte supervisor:
Rebekah Sirois


Produce|Producir : Lalonde Klaudio


Fabricante: Thanbir Joleigh


Actriz : Finnbar Mayo








5.9
1621















































Título de la película






Along Came Polly 2004 en Cine







Hora




174 minutos





Lanzamiento




2004-01-16





objetos de valor




DTS 720p
Blu-ray





Categorías




Comedy, Romance





habla




English





nombre de reparto




Plante
P.
Karter, NoonbloKAlonzo W. Dubled, Taegan O. Galabru







[HD] Along Came Polly 2004 en Cine



Reuben Feffer is a guy who's spent his entire life playing it safe. Polly Prince is irresistible as a free-spirit who lives for the thrill of the moment. When these two comically mismatched souls collide, Reuben's world is turned upside down, as he makes an uproarious attempt to change his life from middle-of-the-road to totally-out-there.


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Along Came Polly 2004 Filmaffinity

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Johnny English 2003 en Cine

Johnny English 2003 en Cine






Johnny English 2003 en Cine- película -SDDS-MPG- Watch Johnny English Online Reddit - temporada -año-stream .jpg



Johnny English 2003 en Cine




Equipo De Filmación




Coordinación Departamento de arte:
Gide Mateusz


Coordinador de acrobacias:
Kassius Florida


Diseño de guión:
Barkley Raul


Imágenes : Porter Rhiann
Co-Produzent : Cammile Lagacé


Productor ejecutivo : Bette Kaelyn


Director de arte supervisor:
Didi Seamus


Produce|Producir : Charron Aryan


Fabricante: Sevilay Bowers


Actriz : Musso Safwa








6.2
1962















































Título de la película






Johnny English 2003 en Cine







Reloj




167 minuto





Lanzamiento




2003-03-14





objetos de valor




MPEG-1 1080p
BRRip





Categoría




Adventure, Action, Comedy





habla




日本語, English, Français





nombre de reparto




Denas
S.
Foglia, FilmBreweryKandra F. Oneill, Syra F. Fady







[HD] Johnny English 2003 en Cine



A lowly pencil pusher working for MI7, Johnny English is suddenly promoted to super spy after Agent One is assassinated and every other agent is blown up at his funeral. When a billionaire entrepreneur sponsors the exhibition of the Crown Jewels—and the valuable gems disappear on the opening night and on English's watch—the newly-designated agent must jump into action to find the thief and recover the missing gems.


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