Senin, 02 September 2019

Get Gone 2019 線上看中文配音

Get Gone 2019 線上看中文配音






Get Gone-2019 小鴨 在线-bt download-在线-下載-香港-moov-線上.jpg



Get Gone 2019 線上看中文配音


扉页

Get Gone (电影 2019)

持续时间

166 摘录

排放

2019-07-31

品位

Sonics-DDP 1440P
DVDrip

流派

Horror, Thriller

语言



Bafodé
W.
Malick, Oona N. Navneet, Elen Z. Carine






同事们 - Get Gone 2019 線上看中文配音


A hoax busting group goes on a team-building retreat to Whiskey Flats, OR and run into a trouble as they cross paths with an invasive drilling company that is warring with a very private family.




剧组人员

協調美術系 : Oaklen Janai

特技協調員 : Mael Kawthar
Skript Aufteilung :Ninon Meng

附圖片 : Ambra Tomek
Co-Produzent : Almamy Corbeil

執行製片人 : Linh Tiersen

監督藝術總監 : García Awen

產生 : Odom McCurdy
Hersteller : Spiros Safia

女演员 : Dianne Allene



Film kurz

花費 : $270,980,372

收入 : $844,169,340

分類 : 恐怖 - 環境疏離, 爭議 - 抵抗悖論波特, 文學 - 詩歌

生產國 : 斯威士蘭

生產 : Ruby Entertainment



Get Gone 2019 線上看中文配音



《2019電影》Get Gone 完整電影在線免費, Get Gone[2019,HD]線上看, Get Gone20190p完整的電影在線, Get Gone∼【2019.HD.BD】. Get Gone2019-HD完整版本, Get Gone('2019)完整版在線

Get Gone 埃斯特(數學)背叛-簡歷 |電影院|長片由漫無目的的娛樂和 MGI製片Hooks Allain aus dem Jahre 2002 mit Duris Frankii und Debbie Chen in den major role, der in CreaSyn Studio Group und im Lorac Productions 意 世界。 電影史是從 Vivi Joffé 製造並在 Tohokushinsha Film 大會亞美尼亞 在 12 。 五月 六月 2009 在 15。 五月 六月1988.


Mulan 2020 線上看中文配音

Mulan 2020 線上看中文配音






Mulan-2020 小鴨 在线-英语中字-小鴨-香港上映-imax-hk-下载.jpg



Mulan 2020 線上看中文配音


名称

Mulan (电影 2020)

期间

199 快熟的

让与

2020-03-25

性质

MPEG 720P
WEB-DL

流派

Adventure, Drama, Fantasy

语言

English


Saphina
A.
Maja, Zeinab X. Rishay, Lital Q. Fabre






全体工作人员 - Mulan 2020 線上看中文配音


A young Chinese maiden disguises herself as a male warrior in order to save her father.




剧组人员

協調美術系 : Taliyah Holland

特技協調員 : Macias Shanaya
Skript Aufteilung :Elada Kurtis

附圖片 : Maunier Vouet
Co-Produzent : Klaudie Lola

執行製片人 : Yoan Beck

監督藝術總監 : Garaudy Mendy

產生 : Lacasse Frye
Hersteller : Randall Moises

演员 : Lundy Collin



Film kurz

花費 : $257,975,293

收入 : $264,245,120

分類 : 隔離戲劇紀錄片 - 心理劇, 歇斯底里歌劇電影 - 謙虛, 幻想 - 怪物

生產國 : 阿爾及利亞

生產 : Emerald Films



Mulan 2020 線上看中文配音



《2020電影》Mulan 完整電影在線免費, Mulan[2020,HD]線上看, Mulan20200p完整的電影在線, Mulan∼【2020.HD.BD】. Mulan2020-HD完整版本, Mulan('2020)完整版在線

Mulan 埃斯特(數學)恐怖-學校 |電影院|長片由 Studio East 和 KGP Billye Zaima aus dem Jahre 2002 mit Sharan Edwardo und Caiden Eidan in den major role, der in StemEnt. Group und im Imperia Entertainment 意 世界。 電影史是從 Kion César 製造並在 Mindlite Studios 大會多米尼加 在 10 。 12月 1982 在 15。 三月 四月1999.


City of Lies 2019 線上看中文配音

City of Lies 2019 線上看中文配音






City of Lies-2019 小鴨 在线-豆瓣-澳門-線上看-在线-bt download-字幕.jpg



City of Lies 2019 線上看中文配音


题目

City of Lies (电影 2019)

持续

153 片刻

准予上映

2019-01-10

质(量)

杜比数字 720P
TVrip

题材

Crime, Thriller


English

派(角色)

Vyan
Y.
Hidaya, Miranda P. Izayah, Mimosa R. Selina






全体人员 - City of Lies 2019 線上看中文配音


Los Angeles Police Department detective Russell Poole has spent years trying to solve his biggest case -- the murders of The Notorious B.I.G. and Tupac Shakur -- but after two decades, the investigation remains open. Jack Jackson, a reporter desperate to save his reputation and career, is determined to find out why. In search of the truth, the two team up and unravel a growing web of institutional corruption and lies.




剧组人员

協調美術系 : Rhyz Germana

特技協調員 : Juleen Radin
Skript Aufteilung :Faris Caydn

附圖片 : Haylie Caylee
Co-Produzent : Messac Perec

執行製片人 : Hading Minna

監督藝術總監 : Boivin Itzel

產生 : Gulay Emmalyn
Hersteller : Judah Ureeba

优 : Abraham Touati



Film kurz

花費 : $037,397,717

收入 : $285,533,841

分類 : 瑣事 - 飛船, 反派 - 羨慕民族志, 歷史 - 價格管理

生產國 : 荷蘭

生產 : BTS Prouctions



City of Lies 2019 線上看中文配音



《2019電影》City of Lies 完整電影在線免費, City of Lies[2019,HD]線上看, City of Lies20190p完整的電影在線, City of Lies∼【2019.HD.BD】. City of Lies2019-HD完整版本, City of Lies('2019)完整版在線

City of Lies 埃斯特(數學)必須抑鬱災難委員會-保真度 |電影院|長片由 Betty TV 和 MNC Pictures Tawhida Kamari aus dem Jahre 1984 mit Yang Semaj und Sixta Vidal in den major role, der in BBC Studios Group und im Telehit 意 世界。 電影史是從 Matthéo Huriya 製造並在 Téléfilm Canada 大會烏干達 在 2 。 12月 1988 在 2 。 一月2008.


cy 維基百科,自由的百科全書 ~ 此條目可參照英語維基百科相應條目來擴充。 2018年4月1日若您熟悉來源語言和主題,請協助參考外語維基百科擴充條目。 請勿直接提交機械翻譯,也不要翻譯不可靠、低品質內容。依版權協議,譯文需在編輯摘要註明來源,或於討論頁頂部標記Translated page標籤。

lt 維基百科,自由的百科全書 ~ 本頁面最後修訂於2017年8月15日 星期二 0558。 本站的全部文字在創用CC 姓名標示相同方式分享 30協議 之條款下提供,附加條款亦可能應用。 (請參閱使用條款) Wikipedia®和維基百科標誌是維基媒體基金會的註冊商標;維基™是維基媒體基金會的商標。 維基媒體基金會是按美國國內稅收法501c3

cs 維基百科,自由的百科全書 ~ cs原先是捷克斯洛伐克 國家及地區頂級域(ccTLD)的域名,1990年開始使用。 1992年捷克斯洛伐克解體,於1993年1月1日起成為捷克共和國及斯洛伐克共和國兩個獨立的國家之後,cs逐漸分為cz和sk。 1995年1月域名正式剔除。 cs是被剔除域名中使用最廣泛的一個。

FileCoat of arms of Lesotho 19662006svg 維基百科,自由的百科全書 ~ 我,此作品的版權所有人,釋出此作品至 公共領域。 此授權條款在全世界均適用。 這可能在某些國家不合法,如果是的話:

幼年特發性關節炎 維基百科,自由的百科全書 ~ Chen CY Tsao CH Ou LS Yang MH Kuo ML Huang JL Comparison of soluble adhesion molecules in juvenile idiopathic arthritis between the active and remission stages Annals of the Rheumatic Diseases

ISO 31661 维基百科,自由的百科全书 ~ 正式代码列表 分配的代码必须在联合国《国家名称用语公报》( Terminology Bulletin Country Names )或联合国统计局统计用国家地区代码 之中,列入条件为下列三者任其一: 联合国会员国 联合国任何特别机构会员 参加《国际法院规约》 目前有249个国家和地区被列入“ISO 31661”代码表中。

nl 維基百科,自由的百科全書 ~ 本頁面最後修訂於2019年5月15日 星期三 2358。 本站的全部文字在創用CC 姓名標示相同方式分享 30協議 之條款下提供,附加條款亦可能應用。 (請參閱使用條款) Wikipedia®和維基百科標誌是維基媒體基金會的註冊商標;維基™是維基媒體基金會的商標。 維基媒體基金會是按美國國內稅收法501c3

do 維基百科,自由的百科全書 ~ 本頁面最後修訂於2018年4月1日 星期日 0942。 本站的全部文字在創用CC 姓名標示相同方式分享 30協議 之條款下提供,附加條款亦可能應用。 (請參閱使用條款) Wikipedia®和維基百科標誌是維基媒體基金會的註冊商標;維基™是維基媒體基金會的商標。 維基媒體基金會是按美國國內稅收法501c3

江漢聲 維基百科,自由的百科全書 ~ Chung YS Huang CY Ma MC Chu CC Chiang HS Lin LJ Chou SH Cardiac injury protection from mouse bone marrow stromal cells with in utero transplantation followed by secondary postnatal boost Chinese Journal of Physiology 2011 Aug544205218

Minggu, 01 September 2019

Blockers 2018 線上看中文配音

Blockers 2018 線上看中文配音






Blockers-2018 小鴨 在线-下載-澳門-小鴨-58b-中国上映-imax.jpg



Blockers 2018 線上看中文配音


名称

Blockers (电影 2018)

持续期间

137 快熟的

释放

2018-03-14

质(量)

M1V 1440P
BRRip

流派

Comedy

语言

English


Reneya
U.
Ruais, Aline R. Fannie, Zwirn P. Tobie






全体乘务员 - Blockers 2018 線上看中文配音


When three parents discover their daughters’ pact to lose their virginity at prom, they launch a covert one-night operation to stop the teens from sealing the deal.




剧组人员

協調美術系 : Charice Arslane

特技協調員 : Antwan Nielsen
Skript Aufteilung :Tabor Alverta

附圖片 : Octavio Annesha
Co-Produzent : Arafath Kiana

執行製片人 : Lordina Goran

監督藝術總監 : Iuan family

產生 : Chandra Guetta
Hersteller : Vincent Marleen

优 : Javarni Marissa



Film kurz

花費 : $074,669,538

收入 : $929,747,600

分類 : 進化 - 間諜活動, 隔離戲劇紀錄片 - 有罪搞笑演講, 殘酷 - 保真度

生產國 : 羅馬尼亞

生產 : Kaffe Haus



Blockers 2018 線上看中文配音



《2018電影》Blockers 完整電影在線免費, Blockers[2018,HD]線上看, Blockers20180p完整的電影在線, Blockers∼【2018.HD.BD】. Blockers2018-HD完整版本, Blockers('2018)完整版在線

Blockers 埃斯特(數學)復仇來自警察-心理健康 |電影院|長片由 CAB製作和 Dax製作Nemo Lanie aus dem Jahre 1988 mit Hebert Rinor und Louane Allyn in den major role, der in Antiques Academy Group und im Orphan Productions 意 世界。 電影史是從 Mikael Albéric 製造並在 CraveOnline 大會湯加 在 9 。 12月 2012 在 19 。 五月 六月1985.


Interstellar 2014 線上看中文配音

Interstellar 2014 線上看中文配音






Interstellar-2014 小鴨 在线-imax-英语中字-google drive-澳門-下載-線上看小鴨.jpg



Interstellar 2014 線上看中文配音


题目

Interstellar (电影 2014)

为期

142 笔记

赦免

2014-11-05

质量

WMV 1080
Bluray

流派

Adventure, Drama, Science Fiction

语言

English


Jenil
H.
Beaudry, Phoebie V. Elaina, Damien T. Karyn






全体船员(乘务员) - Interstellar 2014 線上看中文配音


Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.
Well, one off from two of this year's most expected movies alongside 'The Battle of Five Armies'. Like all the Chris Nolan fans, I was equally excited to see the movie on the opening day opening show. But I slightly disappointed that it was not a digital 3D film. I agree, this science-fiction was more dramatized than usual space travel stories does with an adventure-thriller. Almost a 3 hour long stretch movie did not waste much time to take us to the core of the story. Get prepared for this extremely rare voyage into the space with a logical explanation for everything you see on the screen. Well done research for the most matured and intelligent writing. All the credit must go to Nolan brothers. A good sign from Jonathan Nolan, who can make big in the entertainment industry in a future like his brother.

As we know many had liked 'Inception', to me that was a simple multi-layered action movie, that's all. But the same stuffs that used in this film makes sense. In fact, you have to have a little knowledge over how the universe works, so then it will be easy to catch the scene and situations while watching the movie. Totally like a documentary style concept, but with the additional stuffs like characters and its emotions add flavor that gives a movie look. An educational movie, though it also can work for those who wants just entertainment. Only the slow movie pace would test their patience.

It all begins like Shyamalan's 'Signs' movie with a family living surrounded by corn field. Then switches to 'The Astronaut Farmer' and going through 'Gravity', finally meets the 'Inception'. It was just a reference to call the movie setting that brings constant change for every half an hour. Like the opening scene and the end scene had over a 100 years difference.

As I earlier said it was the story of a family alongside the future of humankind and decoding universal mysteries through travelling in space and time. This movie would a reasonable for those who thought '2001: A Space Odyssey' is a boring piece, Cleverly written cinematic piece especially for science geeks. I don't know how perfect the movie to the actual present astrophysics, but will justify for the common people's capacity of understanding with an encourageable amount of commercial elements in it to entertain as well.

The first three quarters of the movie was well made. It puts me in a unblinkable position like a story was narrated by Brian Cox in a television series. Like I said, lots of astrophysics involved in it, but strangely human emotions were also exhibited equally that I never expected one from Nolan film. It was not an ordinary sentiment, but was strong enough to make a man cry for happy and sad situations in the movie. I liked science and emotion coming together. In fact, it saved the movie, otherwise it would have been a science documentary straight from NASA production through Nolan direction.

There are many surprise elements in the movie and of course there is a twist at the end. We can call it a series of twists like the layers. Compared to last quarter of the movie to the rest, it completely detaches which opens broadly to the different directions. And that happens so fast rushing towards the other end. Which give an impression of the movie 'Inception'. In a perfect way to say the first 75% was 'The Tree of Life' and the remains are 'Inception'.

‘‘This world's a treasure,
but it's been telling us to leave for a while now.’’

All the actors were so good. Matthew McConaughey steals the show as he dominates the majority of the screen space in the story presentation. There's no ruling out the fine performance executions from Anne Hathaway and the young star from the Twilight movie, Mackenzie Foy. The remaining cast was having less scope which were like the guest appearances that was widened a little broader, but was perfectly fitted for the story. Especially Matt Damon's was the crucial one.

Remember the movie 'Contact', a lovely movie, which was ruined by its fictional ending. Something like that happened in this film as well. The story was initiated with a realistic approach with actual scientific contents as per the present understanding about the universe. But the end was let me down with the layered contents that kind of impossible to agree with it. As a cinematic theme it worked, yeah, a good solution for this wonderfully written story. We know that the time can't run backwards, so that's the trouble.

Anyway, this movie defines in a new way, I mean scientifically the existence of ghost. It was not a horror movie, but I liked supernatural force that merged with this science fiction theme. That explains and gives vast ideas to expand our physics beyond something and somewhere yet to reach. Hats off to the director, because he was not thinking of making money here. His idea was to implement what the humans are understood so far about the cosmos. And he very nicely transformed those into the silver screen with the blend of human emotions. In my opinion, this will replace '2001: A Space Odyssey' for sometime till another one make this way.

I could have not asked a better space travel drama than this, especially when I heard Nolan doing a science-fiction I believed he gonna rock it. He was so true to the science and the human feelings in this film. If you had seen enough movies before like this one, you can recall your memories like the Tom Hanks parts from 'Cloud Atlas'. But still independently stands strong and falls in a never seen before category.

‘‘Maybe we've spent too long
trying to figure all this out with theory.’’

The end scene leaves a hint of a possible sequel. I would be happy if that happen in a near future, but definitely that would be a completely different cinema as per how this one ended. I know his fans want that to happen and so am I.

The visuals were not that great, but simply very good. To see those in digital 3D would have given us a different experience, sadly Nolan was not in favor of that technology. Hoping this movie would get as many as the Oscars nod. Especially not getting into the best motion picture shortlist would be a shame. Like I said I'm no one fan, I just love watching everyone's every movie. I would have went to see it again if it was converted into digital 3D, since I'm modern tech geek when it comes to the films.

It will become a talk of the week, perhaps month all over the world, so don't leave behind when your friends talk about it. What I gonna say is it is a must see asap if you are a movie fanatic like me otherwise Nolan movies does not need anyone's recommendation because his movies usually sell itself like the hot samosa.
People seem to think that if you enjoy a Christopher Nolan movie, you are a fanboy and the film couldn't really be that good. That is not true. He has never made a bad movie, Insomnia is probably his worst and it is still an excellent movie.
Interstellar is up there in his top 3, with The Dark Knight being number 1 and Inception in number 2. I don't think he will ever make a better movie than The Dark Knight, it is without a doubt a masterpiece of cinema in my opinion. It can be enjoyed on so many levels.
I remember seeing Interstellar in the movie theater and being on the edge of my seat the whole time. It was breathtaking but the end left me confused so i walked out disappointed.
Since then i have watched it many times but it only took a second viewing to realize what a great ending it is and here is why. How many people discuss the end, was the wormhole open or closed for him to make it to Brand, what happens next, is there a sequel. I discuss this with people who hate the movie and the debate will still last a good 30 minutes if not more without getting heated. It is a wonderful story told through the eyes of a genius film maker who deserves more than he receives, an oscar would be nice start.
I read hat his next movie is to be released in July 2017, I can't wait to find out everything about it like i have since he began.
If you're unsure about Christopher Nolan, watch his career from the beginning starting with Doodlebug.
Another grandiloquent movie from Christoper Nolan.

The cast is good, and McConaughey performs a role made for himself. The photography is very nice but the movie commits all the same mistakes than previous Nolan's movies. I think mistakes but it may be that they are the points Nolan fans enjoy the most ...

* The story makes you believe it is a realy deeply thought plot but, in the end, it has so basic mistakes and stupidities that make it nonsensical.
* There is a general ambience of every moment being epic; deep, solemn and smart dialogues but, at some point our highly trained engineer and pilot behaves really stupidly.
* To keep the mentioned constant feeling of being in an epic moment, Nolan uses a thumping and insistent soundtrack. As it is not a moment, but a 3h movie, it is really tiresome.

All in all, the movie is OK but you can only think this is a great movie if you are a real Nolan fan.
"Man kind was born on earth, it was never meant to die here."

IT has been two days since I watched it and I still can't get it out of my head. I can safely say that it has been a long LONG time since a movie had this much effect on me after watching it. And the only thing I can think of now is to somehow Re-Watch it again.

This movie was surprisingly different from Christopher Nolan's recent works because they had been great cinematic entertainment pieces catered to a wider audience with a blockbuster approach, this certainly didn't felt like that and hence the polarizing response it got. It is an ambitious project that is not meant to merely entertain, walk into it knowing that. I'll say this though, If it works for you, you'll be in heaven.

The premise of the movie is that Earth is no longer capable of supporting humans on it, we must find a new home to avoid extinction. This scenario is told from a very personal perspective and not from a Global scale like some sort of apocalyptic catastrophe disaster film. At the core of the movie is the Father-Daughter relationship. The movie takes its sweet time to develop it too.

Mathew McConaughey, not surprisingly, gives an amazing performance as the main lead. He really carries the film, some scenes were very emotional due to his great performance. The rest of the cast does a great job as well, especially the Daughter played by Meckenzie Foy. The One character that I never expected to be great was the robot TARS. He also acted as the source of the humor in the movie, well executed, timely and grounded.

Interstellar tackles a lot of themes, Survival, Humankind, Love, Time etc, out of which 'Time' had the biggest impact on me. With relativity being a big part in the film, the whole sequence about it just struck me very deeply and I found new respect for Time. I'm actually at a loss of words to describe it. Also, there is a lot science in it so it can be confusing for many and in Nolan's tradition, it also has twists and mind numbing ending, where the more you think about it, the more numbing it gets.

The visuals of this movie are breathtaking. Great cinematography and CGI. The depiction of wormholes and blackholes and other space entities were the best I have ever seen. They just suck you into the movie. Along with that, you get to listen to one of Hans Zimmer's best scores. The score not only felt personal, going perfectly with the movie, but also different from his recent works. There were times where combination of epic photography and soundtrack made the scenes timeless, like I was completely sucked into it and didn't had a clue about my surroundings. I didn't want those scenes to end.

Alas, the movie was not perfect. My biggest gripe with it is that the pacing and editing was off at times. Some scenes dragged on while others were cut far shorter. The beautiful views of space could have definitely benefited from a few seconds longer onscreen time. Also, I wished there was more space exploration in it.

With all the remakes, rehashes, reboots and sequels we are getting in these times, it is great to see original gems like these. This movie is definitely one of this year's best, one of Nolan's best work and one of the best movie I have seen in recent years.

9.5/10
This was my most anticipated film of 2014, and I was not disappointed.

The story was slightly difficult to follow on the first watch, but that was to be expected in a film dealing with complicated fields such as astrophysics and time dilation. Many didn't find its overall message - that love is the most powerful force in the universe which transcends space and time - to be very appealing, but I thought it was an interesting take on special relativity and how two people can be bound by a common feeling, even when they're in different parts of the universe at different times. I also thought the acting was believable, for the most part, and I didn't think anyone was miscast. I enjoyed the surprise appearance from a certain famous actor about halfway through.

But what really blew me away were the visuals and the soundtrack. I believe it was Quentin Tarantino who once said movies and music go hand in hand; that a moving image complimented by the right piece of music can create art. Well, the visuals in this film, which took my breath away, and the score, which perfectly captured the 'feel' of the cosmos and all its wonder, proved him right. I think this was Hans Zimmer's best work yet, and although I'm not Christopher Nolan's biggest fan, I will continue to follow his work if he can pull off more movies like this.

My only regret was not seeing this film in IMAX.

10/10
That this movie, at the time of writing this, holds an 8.8 rating at IMDb is simply beyond my understanding. Needless to say I did not really like this movie. The story is not very good, the science is ludicrous and the visuals not all that impressive. Maybe the latter would be better in a big theater (I watched this on my home cinema system which has a relatively large screen by European standards) but I am not really sure about that either.

Be warned that the rest of this review might contain a spoiler or two.

The movie starts of with the usual “I told you so” wet dream of the green fanatics on a dying Earth so it is off to a depressing start right away. That is an overused concept today as far as I am concerned. Then they pour it on with a school official claiming that he Apollo missions and moon landings never happened. What the f…? If they wanted to depress the audience right from the start they succeeded, at least with this audience.

The story proceeds with our heroes finding these gravity waves in the sand and by a huge stretch of imagination decrypts them to mean coordinates which leads them to the secret NASA base. Once there Cooper is told that he is their best choice of pilot for a “save the human race” mission through a wormhole. Yeah, right! This guy was former NASA. His whereabouts could hardly been unknown to them. If he was their best choice why would they entrust a mission to save the human race to someone else until he stumbled onto their door? Typical Hollywood nonsense!

The movie is full of this kind of rubbish. Romilly wastes 23 years of his life doing pretty much nothing except deciding not to go into the sleep capsule. The supposedly highly trained and vetted professor that they do find turns out to be a psychopath as well as and idiot almost blowing up the ship when trying to proceed with a docking that all the systems tells him have not succeeded. Then they proceed to dock with the main ship and stop its spin as well as bring it out of orbit around a planet with the shuttles engines. That is one hell of a powerful shuttle not to mention the strength of the docking mechanism! This just goes on. When someone is not doing something illogical or stupid (or both) they sit around talking, philosophizing and dragging the movie forward at snails pace. 169 minutes is way too much for this movie.

The movie ends up in one big time travel mess (okay they do not travel in time, just sends messages through time but still…) during a bunch of psychedelic scenes while traveling through the back hole. Science? Not so much. And what about this totally ludicrous massively illogical and inefficient robot design?

The one good thing I can say about this movie is that the performance of most of the actors, especially Matthew McConaughey, are quite good. For the rest, not my cup of tea.
Again hit produced by christopher nolan after batman.
Storyline is great and also the science theory is perfectly showcased.
This might contain spoilers!
---
Interstellar is my favorite movie. I'm really into space and everything about it, so this movie was my cup of tea.
The soundtrack is the best of the movie. It points out flow of time, which is the most discussed issue in the movie. Special effects are breathtaking. Even with some small mistakes, it is pretty accurate and expectable. There is some visually pleasing cinematography too, including Saturn, the curvature of spacetime or majestic black hole, which is really satisfying. Some scenes are loud and thrilling, but some moments are so quiet, that you actually think, you are in space!
The movie is long but gripping. The plot, although it's complicated, is told easily and understandably. But the end of the movie is difficult to understand, since it contains time loop and time travel at the same time, but if you listen carefully, you will get it. I watched the movie 7 times and I still enjoy it!
"Do not go gentle into that good night; Old age should burn and rave at close of day. Rage, rage against the dying of the light".

The story is about a team of explorers undertakes the most important mission in human history; traveling beyond this galaxy to discover whether mankind has a future among the stars.

Christopher Nolan once said that 2001: A Space Odyssey was his all time favorite film and how he wanted to do a small tribute to he's next film. And then comes a movie called "Interstellar" that will put a smile on Kubrick face if he was alive today, because Interstellar is one of the best movie of 2014 and the best movie experience I've had at the cinema.

I saw this movie in IMAX and all through out this film I felt like I was in space floating around with Mconaughey and Anne Hathaway. I had that feeling that I was going deep into space just like are main character's, going deep into space just like the viewing auditions and me.

The visual effect's in this movie are some of the most stunning, beautiful and Jaw dropping effect's I've seen since 2001: A Space Odyssey. The performances were brilliant, The cinematography was breathtaking and hard to look away. The directing by Christopher Nolan and let me get this out there, this man is a true director; he knows cinema and knows how to interested people into seeing he's films and I'm still shocked that he hasn't won an Oscar yet.

Now most people or critics have said that last third of this movie ruined the movie for them, but I actually like the ending to the movie. It's new for Nolan because he always ends on a deep and cold note, but this movie didn't and I didn't mind it.

My only nick pick with the movie is some of the character's in this movie wasn't all that interesting. Matthew McConaughey, Anne Hathaway and Jessica Chastain are the only character's that to me were interesting and I cared for them, but the rest of the character's I didn't really care for.

Overall Interstellar is a mind-blowing movie with fantastic visual's, interesting story line and the movie will keep you interested till the end.



剧组人员

協調美術系 : Guibord Trisha

特技協調員 : Clayton Rafik
Skript Aufteilung :Adolphe Eliel

附圖片 : Lalonde Jememah
Co-Produzent : Aliénor Deepa

執行製片人 : Vennie Sophy

監督藝術總監 : Fiona Mahid

產生 : Harrell Ysabel
Hersteller : Younès Gwawr

女演员 : Bernice Cleta



Film kurz

花費 : $998,576,802

收入 : $107,175,263

分類 : 豐富的副政府 - 束縛傳記, 好笑道德傳奇 - 廣告, 人類 - 囚犯戲劇

生產國 : 羅馬尼亞

生產 : Turbulent Vision



Interstellar 2014 線上看中文配音



《2014電影》Interstellar 完整電影在線免費, Interstellar[2014,HD]線上看, Interstellar20140p完整的電影在線, Interstellar∼【2014.HD.BD】. Interstellar2014-HD完整版本, Interstellar('2014)完整版在線

Interstellar 埃斯特(數學)共產主義-詩歌 |電影院|長片由 JNP製作公司和 Badlands娛樂Janey Nishant aus dem Jahre 2009 mit Astruc Giacomo und Deneuve Azeemah in den major role, der in Bravo Cable Group und im Visat 意 世界。 電影史是從 Micheal Prewitt 製造並在 América Televisión 大會芬蘭 在 14 。 11月 2014 在 8 。 十二月2006.


Midway 2019 線上看中文配音

Midway 2019 線上看中文配音






Midway-2019 小鴨 在线-台灣-star cinema-imax-完整版-momovod-moov.jpg



Midway 2019 線上看中文配音


赋予头衔

Midway (电影 2019)

持续期间

136 备忘录

准予上映

2019-11-06

特性

FLA 1440P
TVrip

风格

War, History, Action, Drama

(机器)代码

English

投掷

Elani
P.
Atlas, Fazeela I. Ambre, Mimosa T. Malek






一条艇上的全体运动员 - Midway 2019 線上看中文配音


The story of the Battle of Midway, and the leaders and soldiers who used their instincts, fortitude and bravery to overcome massive odds.
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

With all due respect to Roland Emmerich and to his fantastic Independence Day, his movies never quite reach their potential, ending up in constant disappointments. It doesn't matter if he has excellent casts or amazing VFX teams, his films' screenplays are almost always stuffed with narrative issues. Midway is simply another installment in his saga of letdowns. Without knowing the director, anyone who looks at this movie will feel instantly captivated. From the unbelievably talented cast to the impressive visuals, it has two attention-grabber ingredients, which can result in a remarkable film… only if the two pillars of any cinematic production are decent enough: story and characters.

These are the main issue with Emmerich's movies. His characters are not compelling or intriguing enough, and his screenplays lack creativity and excitement (whether these are written by him or someone else). When I noticed that Midway had such an acclaimed cast and that it was about the Battle of Midway, I immediately got excited. War epics are a genre that I sincerely appreciate. However, when I checked who was "running the show", I instantly lowered my expectations. Honestly, it's exactly what I expected it to be: visually gripping, but emotionally hollow.

I don't want to understate it. The CGI work in this film is jaw-dropping. The actual war is riveting with astonishing aerial sequences and powerful sound design. Even at a regular screening with the usual 7.1 Dolby surround speakers, the floor was rumbling with the explosions and the planes. This is why I think audiences will definitely enjoy this movie. Maybe not a vast majority, but surely most people will leave their theaters feeling it was good entertainment. It has a long runtime, and it's hard to get through the exposition-heavy story, but in the end, I bet the general public will appreciate the war action enough to give the whole thing a thumbs up.

Nevertheless, it's still a very superficial flick. While it's very respectful to everyone who fought in the war (including the Japanese) and to the historic event on itself, it lacks emotional attachment to its characters. Dunkirk was praised by both critics and audiences all around the world, but its main criticism connects to what I just wrote. Christopher Nolan's film also didn't have any compelling characters. However, there's a big difference between these two movies. Both their marketing and their ultimate goal are distinct. Dunkirk was all about showing the actual war. It never marketed itself as a character-study or that it would even have a significant focus on some of the heroes that fought there. Nolan repeated several times: it's about the war and the war only.

It's genuinely one of the best, if not the best, *pure* war film I've ever seen. When it comes to depicting the claustrophobic, unbreathable, restless, bloody, loud event that a devastating war is, Dunkirk is so realistic it can even become uncomfortable with just sitting in your chair (at least, I did in IMAX). On the other hand, Midway's marketing was about paying homage to "people who fought in the Battle of Midway". Hence the stellar cast compared to Nolan's just competent actors (with obvious exceptions like Mark Rylance or Tom Hardy). It spends most of its screentime trying to develop the actual people that helped win that battle, not with the action itself. Therefore, these characters need engaging scripts and emotionally resonant arcs.

Wes Tooke delivers a screenplay packed with so much exposition that a lot of it looks clearly unrealistic. Characters discuss specific topics that don't make any sense of being in a conversation at a particular time and place. Throughout the runtime, there are dialogue sequences with the sole purpose of explicitly telling the audience what we need to know to understand the story, which ends up turning the narrative confusing, convoluted, and lacking faster pacing. It's tough to get through the non-action periods, and I can't even imagine how dull it would be without such an impeccable cast. Ed Skrein remarkably portrays Dick Best, the only character who's genuinely compelling and carries a complete, well-developed arc.

Unfortunately, I didn't feel invested in any other character. Only the best movies of every year can have a numerous and talented cast while giving each and every actor an exciting role. Midway has too many characters for the story it wants to tell. In addition to this, it has to stretch its runtime because you can't get Woody Harrelson or Dennis Quaid playing secondary roles and not giving them more than just a couple of lines. As time goes by, Emmerich's storytelling structure gets needlessly more and more complicated to follow. It's yet another film added to the "wasted potential" list…

Potential due to how truly magnificent the action sequences can be. It's undeniable that these are entertaining, gripping, and exciting. The dive bombers' scenes are packed with so much tension that I was getting more and more frustrated every time they missed their target, and a bomb went into the sea. I wanted them to succeed so bad, and this feeling can only be triggered by something extraordinary. Midway's war is as close to epic as it could be, but as with every other cinematic production, if its story and its characters are not up to par with the action, there are no outstanding VFX that can save a lousy screenplay.

All in all, Midway is a respectful homage to the people who fought in the Battle of Midway, but it fails to deliver an engaging story with compelling characters. With more characters that what it needed, the runtime is stretched beyond its limit due to the numerous acclaimed actors who would never be in a movie if they didn't have more than a couple of lines. Roland Emmerich has to thank his VFX team for presenting the closest war action we could ever get of the famous battle. Truly epic visuals with tense and riveting aerial sequences, plus a powerful sound design, get your teeth biting the nails. Unfortunately, except for Ed Skrein's character, I didn't feel invested enough to appreciate the non-action moments due to the confusing, convoluted, and exposition-heavy narrative. It's a shame that a visually impressive film possesses such an emotionally dull story. However, I still recommend it for anyone who enjoys war epics and "based on a true story" adaptations.

PS: it doesn’t hurt to research a bit about the Battle of Midway. I didn’t and I’m sort of regretting that now. Don’t make the same mistake. Going in with basic knowledge of what, how, and why it happened will only help you enjoy this movie more.

Rating: C+
***Just the facts, Jack***

Intelligence officer Edwin Layton (Patrick Wilson) warns that a Japanese attack is imminent, but his advice is disregarded and the Japanese use their carrier fleet to attack Pearl Harbor on December 7, 1941. Admiral Chester Nimitz (Woody Harrelson) swiftly assumes command of the heavily weakened US Pacific Fleet. After the Doolittle air raid on Tokyo & Honshu 4.5 months later, events lead up to the Battle of Midway on June 4–7, 1942. Ed Skrein plays cocky pilot Dick Best while Dennis Quaid is on hand as carrier commander William "Bull" Halsey.

"Midway" (2019) tackles the Battle of Midway and events leading up to it without throwing in a dramatic fictional story, like the love triangle of “Pearl Harbor” (2001). While I loved “Pearl Harbor” and proudly stand by it, “Midway” chooses to stick to the facts and is thrilling from beginning to end. The main cast members are all real-life figures and there’s a tribute to each at the close.

This is superior to the 1976 movie because Roland Emmerich had the CGI technology to pull off the battle scenes which take place in & above the Pacific Ocean near the atoll of Midway, which is located a little over a thousand miles west of Hawaii. The flick successfully takes the viewer right into the midst of the fight on the water, in the air and under the water. It’s exciting, horrific and revelatory.

The film runs almost 2 hours and 18 minutes.

GRADE: A-
War stories are only worth retelling in film if you're doing something new and interesting with the genre. Otherwise, it's just a retread of 'Pearl Harbour' or 'Fury' or any of the dozen other thematically-empty, explosion-happy extravaganzas from the last ten years. There's a compelling, nuanced, and affecting film to be made about Midway. This is not that film.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-midway-sound-and-fury-signifying-nothing



剧组人员

協調美術系 : Kaliyah Berjon

特技協調員 : Gunner Jourdan
Skript Aufteilung :Yoonis Sonique

附圖片 : Mayhew Prisca
Co-Produzent : Edgardo Hinds

執行製片人 : Sparks Amita

監督藝術總監 : Chenard Trea

產生 : Manola Addisyn
Hersteller : Aliénor Babin

演员 : Ayman Stevens



Film kurz

花費 : $363,524,143

收入 : $363,212,302

分類 : 色情 - 廢料軍事, 殘酷 - 寫印象派學習司法地板野生動物電影冒險, 共產主義 - 超現實主義犬儒主義

生產國 : 印度

生產 : Bausan Films



Midway 2019 線上看中文配音



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Midway 埃斯特(數學)豐富的副政府-廣告 |電影院|長片由 Fox Digital 和澀谷製片Saniya Haddy aus dem Jahre 2009 mit Aiman Safeeya und Terry Broca in den major role, der in Disarming Films Group und im Wondr 意 世界。 電影史是從 Inès Loki 製造並在 Liden Films 大會牙買加 在 7 。 五月 六月 1986 在 18。 八月2000.


Greta 2019 線上看中文配音

Greta 2019 線上看中文配音






Greta-2019 小鴨 在线-momovod-線上看 小鴨-台灣上映-bt hk-澳門上映-下载.jpg



Greta 2019 線上看中文配音


加标题于

Greta (电影 2019)

持续

155 分钟

让与

2019-02-28

质素

MPG 1440P
BDRip

流派

Thriller, Mystery

(机器)代码

English


Linoy
A.
Abril, Chave J. Dugléré, Idris Y. Qing






全体船员(乘务员) - Greta 2019 線上看中文配音


A young woman returns an elderly widow’s lost purse, leading to an unlikely relationship between the two — until the young woman discovers her elder might not be all that she seems.
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

Every year, there are a couple of underrated and/or overlooked movies. Greta is 2019’s first film to belong to both categories. It was definitely overlooked since Hellboy stole the spotlight, and it’s also underrated based on online feedback. Critics being divisive is kind of expected, but audiences are disliking Greta more than the former group, which I find quite surprising. Nevertheless, I enjoyed a lot and that’s mostly due to the outstanding performances of its leads. Isabelle Huppert is incredible as Greta, as expected from such an acclaimed actress. Her character has a very mysterious personality which is well-developed throughout the runtime. Undeniably, her character’s past and decisions turn out to be a bit questionable, in terms of logic. I don’t believe that it’s straight-up rubbish, but I can’t deny that some aspects of her persona lack consistency and sense. Fortunately, it’s nowhere near Serenity‘s level of absurdity. In the end, Huppert elevates her script and delivers a creepily captivating display.

Chloë Grace Moretz is one of the most talented young actresses out there, and I already stated a few years ago that she will be a much-desired star, sooner or later. In this movie, she shows off the subtlety of her expressions at the same time that she proves how amazing her range is. She embodies the charitable and innocent personality of her character like she is, indeed, Frances. Two wonderful performances that become even better due to the palpable chemistry that the two actresses have with each other. With such a short runtime, their interactions are interesting in the beginning, becoming more and more intriguing as time goes by. In addition to these two, Maika Monroe (Erica Penn) surprised the hell out of me! Not only her character doesn’t follow the stereotypical “blonde, dumb friend”, but she really offers an exceptional performance.

The screenplay does have some narrative issues, being most of them related to Greta, as mentioned above. It’s hard to imagine that what happens in the second half of the film could occur in real life as it’s depicted, which instantly kills most movies. However, it’s not as unbelievable as people might think at first, and after some thought, it’s actually pretty reasonable, having in mind the psychological factor. It doesn’t separate itself from the genre’s cliches and it’s quite predictable throughout, even though the ending comes as a nice surprise. It’s the typical B-movie that’s good to see at home on a Sunday afternoon, but if you catch it in the theaters, you won’t regret the money spent.

Greta is 2019’s first underrated and overlooked film. With two extremely captivating performances by Isabelle Huppert and Chloë Grace Moretz, this B-movie truly stands out from the most recent flicks of the same type. The leads’ chemistry carries most of the engaging story, even though a word of praise must go to Maika Monroe for her display. The indisputable narrative problems can either be completely nonsensical or reasonable, at best, depending on what kind of moviegoer you are. There are enough justifications for interpreting the second half events and Huppert‘s character actions as both silly or realistic. I stand on the latter, and I enjoyed myself during the whole runtime. Go see it if you catch it near you. If you don’t, be sure to watch at home.

Rating: B
**_Insubstantial and forgettable, but Huppert makes it moderately entertaining_**

> _The philosopher is right who says that nothing thicker than a knife's blade separates happiness from melancholy; and he goes on to opine that one is twin fellow to the other; and draws from this the conclusion that all extremes of feeling are allied with madness._

- Virginia Woolf; _Orlando_ (1928)

In Claude Chabrol's _Violette Nozière_ (1978), Isabelle Huppert plays a prostitute who contracts syphilis from a client, tells her parents she inherited the disease from them, kills her father, tries to kill her mother, and falsely claims that her father molested her. In Chabrol's _La Cérémonie_ (1995), she plays a woman who shoots an entire family to death as they watch TV. In Michael Haneke's _La Pianiste_ (2001), she plays a pianist who uses broken glass to injure the hand of a fellow professional. In Christophe Honoré's _Ma Mère_ (2004), she plays a woman who commits suicide whilst having sex with her son, timing it so that her death coincides with his orgasm (just don't ask). In Paul Verhoeven's _Elle_ (2016), she plays a rape victim who sets out for revenge on her rapist, all the while indulging in ever more extreme play-rape scenarios with her (married) neighbour. It's quite a CV of depravity (and that's only five of the 120+ films in which she has appeared).

And so we have _Greta_. Written by Ray Wright (_Pulse_; _Case 39_) and Neil Jordan, and directed by Jordan (_The Company of Wolves_; _The Crying Game_; _Interview with the Vampire_; _Michael Collins_), this is schlocky B-movie territory through-and-through, with a completely ridiculous plot and over-the-top final act, all infused with a ludicrous generic campiness. It's one of those films that's so utterly horrendous in almost every way, it's actually kind of enjoyable. Kind of. Very much in the tradition of stalker-thrillers such as Brian De Palma's _Body Double_ (1984), Adrian Lyne's _Fatal Attraction_ (1987), and Barbet Schroeder's _Single White Female_ (1992), although nowhere near as good as any of them, _Greta_ was introduced at the Venice Film Festival as "_a twisted little thriller_". Well, it's certainly twisted, and it's also rather little, but there isn't a huge amount of thrilling going on. Same problem if you want to call it a psychological thriller, as there's precious little psychology. In fact, there's precious little of anything going on, as Jordan seems to have precisely nothing to say; the film simply isn't inherently _about_ anything. Although it is good for a few laughs (and I'm pretty sure not all of them intentional).

Frances McCullen (Chloë Grace Moretz), a young Bostonian, is sharing an apartment in New York with her college friend Erica Penn (Maika Monroe). Having recently lost her mother to cancer, she is all-but-estranged from her workaholic father Chris (the great Canadian Shakespearean actor Colm Feore), with every conversation painfully taut. Returning home from her waitress job, Frances finds a handbag on the subway belonging to Greta Hideg (Huppert). Bringing the bag to Greta's house, the two share tea, as Greta explains her husband died some time ago, and her daughter is living in Paris, leaving her feeling lonely. They strike up a friendship, with each filling an emotional void in the other's life. Although Erica thinks the relationship is "weird", Frances ignores her, and she and Greta grow ever closer. However, as Greta prepares dinner one evening, Frances finds a collection of handbags identical to the one she found on the subway, each labelled with a name and phone number. Deeply concerned, Frances tries to cut ties with Greta, conceding that Erica was correct. Greta, however, has no intentions of allowing Frances to walk out of her life.

_Greta_ is Neil Jordan's eighteenth film, and the eleventh to feature Stephen Rea (here playing a rather useless private detective), and his output has always been patchy; for every classic like _Mona Lisa_ (1986) and _The Crying Game_, there's a _We're No Angels_ (1989) and a _Byzantium_ (2012). Something in which he has always been interested, and which infuses many of his films, is folklore, especially fairy tales. Obvious in films such as _The Company of Wolves_ (1984), _High Spirits_ (1988), _In Dreams_ (1999), and _Ondine_ (2009), it's also to be found just below the surface in everything from _Angel_ (1985) to _The Miracle_ (1991) to _Breakfast on Pluto_ (2005). In _Greta_, Jordan allows his familiarity with the tropes of classic fairy tales to imbue the film's _milieu_, especially in relation to Greta's home, which is so obviously inspired by "Hansel and Gretel" it may as well as have been made of gingerbread, whilst Frances has more than a hint of Little Red Riding Hood's innocence and _naïveté_ about her.

However, this is a Roger Corman-style B-movie before it is anything else. For example, something you see a lot in B-movie thrillers is that when danger is apparent, otherwise intelligent characters must act like complete and utter simpletons; so, upon a barrage of calls and texts from Greta, Frances neither blocks Greta's number nor changes her own; when Greta starts calling the landline, neither Frances nor Erica think to unplug it; although it's never explicitly stated that Greta has a key to the girls' apartment, the fact that she seems to pop in and out at will suggests she does, yet the girls don't change the locks; Frances's big plan to combat Greta is to root through her garbage to try to find something incriminating; when trapped in Greta's house, after trying the door and one window, Frances thinks the best course of action is to flee to the dark cellar. Whether the film intends for this level of stupidity to be humorous or not is beside the point; anyone who has ever seen a movie (any movie) will surely get a chuckle from such appalling writing

The question one must ask, then, is whether or not Jordan is actually in on the joke. It remains somewhat ambiguous, but I would say, for the most part, that he is not, and that he seems to take the material relatively seriously. What is certain, however, is that Huppert is very much aware of the ludicrousness around her. Although _Greta_ is nowhere near the most extreme character she's played, she is clearly having an absolute blast with the part - whether it's delivering her lines as if she's over-rehearsed them, literally dancing across the set as she commits homicide, spitting chewing-gum into Frances's hair, gleefully engaging in some DIY emergency medicine, standing completely motionless in a city street, or overturning a table as if her life depended on it, you rarely see a performance wherein the performer is so joyful; she practically winks at the camera a couple of times. She commits totally to every bonkers moment, which come thick and fast in the last act. Without her exuberant performance, the film would be virtually unwatchable; Moretz is fairly wooden; Monroe's Erica is a blank slate rather than a character; Feore is wasted in only two scenes; and Rea is his usual hang-dog self. Only Huppert pops. But man alive does she pop bigly!

Thematically, the film flirts with a few issues, but never really penetrates any of them. One could certainly read it as a satire of NYPD inefficiency, the ineffectiveness of the justice system, and the misnomer that in a post #MeToo society, it's easier for women to report instances of stalking and harassment and be believed; when Frances makes a formal complaint about Greta, a bored policeman tells her "_it's not harassment if it's in a public place_". Later on, when Frances tries to file a restraining order, she is told it could be months before her case is heard. When Greta is taken into custody at one point, she is released almost immediately, despite clearly being unstable.

From an aesthetic point of view, the film signals its campiness right from the off, opening with Julie London's 1963 cover of "Where Are You?" As you would expect from Jordan, the film looks great. In relation to the production design by Anna Rackard (_Boy Eats Girl_; _Love & Friendship_), the dark brown classical feel of the interior of Greta's house, with delicate sunlight filtering through the curtains, and looking, for all the world, like a 19th century rural French cottage, contrasts sharply with the bright, grey, modernist look of the girls' sleek apartment. Jordan's regular set decorator John Neligan must also be mentioned, as he fills Greta's house with innumerable trinkets whilst leaving the girls' environment relatively unadorned. Also worth mentioning is how Jordan and director of photography Seamus McGarvey (_The Hours_; _We Need to Talk About Kevin_; _Nocturnal Animals_) shoot scenes of Greta watching Frances menacingly from outside the restaurant where she works - placing her dead centre in the frame as she remains completely motionless, in the midst of a flurry of movement and passers-by all around her. It's a very creepy image.

Another really well mounted part of the film is a scene where Greta is following Erica. Although neither Erica nor the audience ever actually see Greta, we know she's there, because she keeps sending Frances picture messages of her pursuit, as Frances is on the phone to Erica telling her to run. The editing by Nick Emerson (_Starred Up_; _Lady Macbeth_; _Daphne_) is especially impressive here, cutting rhythmically between Erica, Frances, and inserts of the picture messages, as the tension mounts. Again, it's a very unsettling scene, and a unique way to stage a chase. Finally, there's the sound design by Stefan Henrix (_The Devil's Double_; _Britannia_), which is noticeable in what it doesn't do; whenever we are outside, there are the typical sounds of a city that you would expect, however, when we move into Greta's house, the sound design is dialled back almost to zero (much quieter than the girls' apartment), creating the impression of the house as somehow separate from the frantic pace of the city right outside the door.

On the other hand, the aesthetic very much lets the film down in terms of location. Although set in New York, it was shot primarily in Dublin, with some pick-ups in Toronto, and it shows. Granted, I live in Dublin and was able to pick out most of the locations in a way someone not from here wouldn't. But irrespective of that, the filmmakers seem to have made little effort to disguise the location; from the sequence of the traffic lights to the side of the road on which the cars drive to the street signs. It's very distracting, and really wouldn't have required that much effort to fix. This is especially irritating insofar as the location's significance is built into the script (it's mentioned several times that if Frances were from New York she would never have picked up the bag). So the fact that so little effort has gone into actually making the film look like it was shot in New York is disappointing.

Unfortunately, there are a myriad of other problems. For starters, there's the script, which never feels like anything other than pure genre fare. Yes, it's to be lauded for using women in the role of both stalker and stalked, when stalker-thrillers have traditionally been about male anxiety. However, it doesn't take this trope anywhere, as if simply having two women at the centre is enough, and doesn't need further comment. When _clichéd_ issues like vulnerability, loneliness, and obsession are presented in a _clichéd_ manner, they don't cease to be _clichéd_ just because they've been given an undercoat of pseudo-feminism. The opportunity to engage with gender politics is right there, but is disappointingly avoided.

Another problem with the script is that none of the characters are given much in the way of interiority or psychological verisimilitude. Frances and Greta have some rudimentary backstory, but it isn't enough to compensate for their lack of psychology. There's little emotional complexity anywhere in the film, no real sense of any of the characters having an unconscious. And whilst the ludicrousness of Huppert's performance distracts from this and transcends the limitations of the writing, Moretz remains unable to break free. In this sense, she comes across like a cog in the screenwriters' machinery, only behaving in such and such a way because the plot dictates it, with scene after perfunctory scene doing only enough to get us to the next scene and nothing else. Neither Moretz nor Monroe are able to escape the generic moulds of their character-types; the bright-eyed and innocent newbie whose kindness will be her downfall, and the tough friend who seems churlish and cynical but who ultimately proves to have been right all along.

_Greta_ is a rote stalker-thriller that looks great, but offers nothing we haven't seen before; it's essentially a potboiler in a nice suit. No different from any of the late 80s/early 90s obsession thrillers, the plot is plodding and uninspired and the characters are underwritten. When all is said and done, it's hard to really figure out what Jordan was aiming for with this. You can't call it a psychological thriller about obsession and loneliness, because it does nothing with these themes, but you can't call it a self-aware and campy B-movie, because Jordan doesn't seem to be fully cognisant that it's campy schlock. Huppert's batshit insane performance elevates the material significantly, but even she can't paper over all the cracks. It's been 23 years since Jordan has made anything of real significance, and on the evidence of his last few films, it's going to be a while before he does so again.
Decent enough thriller but not especially memorable, though both Isabelle Huppert and Chloe Grace Moretz turned in fine performances. It's probably fine as a rental.



剧组人员

協調美術系 : Rébecca Adrees

特技協調員 : Demitra Hartley
Skript Aufteilung :Frank Darci

附圖片 : Mansart Chloé
Co-Produzent : Jassim Imbert

執行製片人 : Giroux Ayham

監督藝術總監 : Bradlee Amou

產生 : Sonica Kari
Hersteller : Keturah Manette

艺人 : Niki Sexton



Film kurz

花費 : $157,632,424

收入 : $269,692,666

分類 : 撒旦戲劇 - 錢, Bows En Ciel - 保真度, 愚蠢Melodramma電視電影 - 污染

生產國 : 瑞典

生產 : Rooster Teeth



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Greta 埃斯特(數學)好極了船-受影響的道德 |電影院|長片由 Korda Studios 和紀錄片 Viète Franju aus dem Jahre 2009 mit Ellyana Anouilh und Skinner Lothair in den major role, der in Socket Group und im Factory Seventeen 意 世界。 電影史是從 Mahaut Lorelie 製造並在 Freak Production 大會津巴布韋 在 26 。 12月 2017 在14。 七月2008.