Jumat, 30 November 2018

The Midnight Meat Train 2008 Estreno España

The Midnight Meat Train 2008 Estreno España






The Midnight Meat Train 2008 Estreno España- oficial - stream -MP4- Movie LIVE Stream - maquillaje -año- blu ray .jpg



The Midnight Meat Train 2008 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Jessie Susie


Coordinador de acrobacias:
Warvan Avey


Diseño de guión:
Delpha Gracq


Imágenes : Lynch Jihan
Co-Produzent : Maurin Mollie


Productor ejecutivo : Chereen Orna


Director de arte supervisor:
Royer Sanjeet


Produce|Producir : Laroque Mikael


Fabricante: Rohn Andrew


Actriz : Lyana Sévigné








6
519















































Título de la película






The Midnight Meat Train 2008 Estreno España







Duración




134 minutos





Lanzamiento




2008-08-07





precio




AAF 1080p
HDTS





Categoría




Mystery, Horror





lenguaje




English





nombre de reparto




Gaëtan
H.
Avila, Tuotantotalo Werne Wallon B. Foix, Jashan K. Beri







[HD] The Midnight Meat Train 2008 Estreno España



The photographer Leon lives with his girlfriend and waitress Maya waiting for a chance to get in the photo business. When Maya contacts their friend Jurgis, he schedules a meeting for Leon with the successful owner of arts gallery Susan Hoff; she analyzes Leon's work and asks him to improve the quality of his photos. During the night, the upset Leon decides to wander on the streets taking pictures with his camera, and he follows three punks down to the subway station; when the gang attacks a young woman, Leon defends her and the guys move on. On the next morning, Leon discovers that the woman is missing. He goes to the police station, but Detective Lynn Hadley does not give much attention to him and discredits his statement. Leon becomes obsessed to find what happened with the stranger and he watches the subway station. When he sees the elegant butcher Mahogany in the train, Leon believes he might be a murderer and stalks him everywhere, in the beginning of his journey to the darkness.


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Star Wars: The Rise of Skywalker 2019 Estreno España

Star Wars: The Rise of Skywalker 2019 Estreno España






Star Wars: The Rise of Skywalker 2019 Estreno España- spoiler -MPEG-2-HDTV- hd en línea - de -año- stream hd .jpg



Star Wars: The Rise of Skywalker 2019 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Esparza Susong


Coordinador de acrobacias:
Steffan Thibaud


Diseño de guión:
Ophélie Majida


Imágenes : Doloris Valerio
Co-Produzent : Winona Sheen


Productor ejecutivo : Ajwad Félix


Director de arte supervisor:
Guillon Mado


Produce|Producir : Tadeas Jory


Fabricante: Enesa America


Actriz : Azai Bilel








6.7
1492















































Título de la película






Star Wars: The Rise of Skywalker 2019 Estreno España







Momento




121 minuto





Lanzamiento




2019-12-18





objetos de valor




MPEG 720p
DVD





Categorías




Action, Adventure, Science Fiction





lenguaje




English





nombre de reparto




Vick
C.
Ailene, Tiffany PicturesAlysha L. Rukiye, Tika Q. Aroha







[HD] Star Wars: The Rise of Skywalker 2019 Estreno España


Well.. this was dull.

Let me give you a little context to understand better how I felt during this movie. Firstly: I'm NOT a big Star Wars fan. I like the movies and see them as a "good" franchise, but I wouldn't put any of them on my personal top lists.

I enjoy the art of the franchise way more than the story. I LOVE the music, the design of ships and the visual world building. I like some aspects of the overall story more than others of course, but none really come to mind when I think of what I like about the movies in general.

That being said, I felt "The Force Awakens" was really boring. Just a generic movie trying to do "the Star Wars things". It was fine but not in any way memorable to me.

"The Last Jedi" on the other hand really tried ignoring the big "Star Wars cult" and therefore entertained me the most of all the 9 movies. I prefered the focus on using the "Star Wars" world to tell a story rather then to tell another "Star Wars"-version.

"The Rise of Skywalker" now is at best as boring as "The Force Awakens" and very often a big punch in the face to everything I liked about "The Last Jedi". Obviously the higher ups at Disney decided to take notes on everything "the fans" disliked about the 8th movie and do some sort of "damage control" according to that feedback.

The movie hast way too much going on for reasons which are often non-existant or just plainly bad. Since the movie couldn't grab my focus I just happened to think more about the big plotholes and started nitpicking and sometimes even mocking the movie for certain decisions which I don't want to spoil here.

It's really a shame. I hope Disney will use the name in the future to do standalone movies of different genres, for example a racing movie in space would be great or a good action flick with one or two of the beloved characters.

If I had to give it a rating I would probably give the movie a 4-6/10. I only REALLY enjoyed one scene because I hoped for it to happen most of the movie, but that didn't save the rest.
Went to the first showing in town tonight. I really enjoyed the film. Although it leaned heavy on nostalgia, it should, since it is wrapping up 40 years. I did not care for The Last Jedi, and was worried going in. Will do a deeper dive after I have seen it a few times.
It’s hard to write a review for this film without any major spoilers, so this might seem a little vague here and there. There will be very minor spoilers, primarily what’s revealed in the opening text crawl or the trailers, so not much, but if you want to go into this film completely virgin, stop here.

The film starts off with things already underway. A transmission has been sent out that contains the voice of Emperor Palpatine. Kylo Ren, now Supreme Leader of the First Order, goes to seek out Palpatine as a potential threat to his power. In the meantime, the Resistance is still in shambles after the events of “The Last Jedi,” and they are busy doing scouting missions and regrouping.

All of this is revealed in the opening crawl of the movie, which is where the problems begin. It violates a cardinal rule of storytelling: Show, don’t tell. It wouldn’t have taken much to have this done on screen in more dramatic and effective fashion. Instead, this has the effect of making it feel like we either missed something important or that we’re watching an entirely different movie with a different story. This makes things confusing. It doesn’t help that I was already thinking that J.J. Abrams probably needs to go back to Screenwriting 101 during the opening crawl. Not a good way to start.

Other things happen during the course of the movie that make no sense. Why does Kylo Ren reforge his helmet? We never really find that out. He just does. The Knights of Ren do appear in this film finally. Who are they? If you’re expecting an answer of any kind, you’ll be disappointed. Why is there this strange connection between Rey and Kylo Ren? One of the mysteries of the Force, I suppose. Characters who we don’t know appear from nowhere having been significant to the goings on even though we’ve never seen them before. Other characters take bizarre and up to now not even hints at character arcs. It becomes a horrendously confusing mess.

I liked some of the more controversial aspects of “The Last Jedi.” Rey being a nobody with no significant parentage? Great idea! The galaxy is a big place. Why does everyone have to be related? Well, this is adjusted slightly. I won’t go into details, but it was disappointing what they did, in my opinion. Leia’s story arc in this film is...weird. I’m going to allow that it’s due to the loss of Carrie Fisher and having to use archival footage (one scene that shows a young Luke and Leia using computer effects is freaky at best). But it’s off-putting and feels tacked on for convenience. It was nice to see Lando return, although even that felt more like throwing a bone to the fans. He could have potentially been replaced by any character with flying skills. Speaking of such, Wedge does make finally make an appearance, but it’s a blink-and-you’ll-miss-it moment.

Here’s how I would sum it up spoiler-free: As I said, I liked “The Last Jedi” a lot, including parts that many didn’t like or found weird as I stated above, but at the same time it was not a problem-free movie for me. “The Rise of Skywalker” is the exact opposite. It definitely has some really cool moments, but feels so sloppy and makes so many storytelling mistakes that, on the whole, I have to say that it’s a bad movie. I’ve said this about just about everything I’ve seen come from J.J. Abrams, that he’s great at coming up with interesting imagery. He gets these pictures in his head of something that would be really interesting to see on film, like flashes one might remember from a dream. For example, there’s a great scene near the end that finally corrects what many consider a great injustice done in an earlier movie. But couching these images in a cohesive story is not his strong suit. In fact, he’s downright terrible at it. This problem seemed to be going in full force in “The Rise of Skywalker.”

Were some of my complaints addressed in some expanded material? I don’t know, but even if they were it would still make it bad storytelling. Star Wars has always been fairly good about keeping things self-contained. Expanded material adds extra background to enhance the enjoyment of the main material, like adding seasoning, but shouldn’t be necessary to appreciate the meal.

Overall, you need to see this movie to close out the Skywalker Saga, but that’s really the only reason. Don’t go into this expecting a good or even decent film, or for every question to be answered. Ultimately, it’s a disappointing end to Star Wars, and I say this as a Star Wars fan.
When The Force Awakens was released the vast majority of fans liked it. They were practically watching a remake of A New Hope but it was enough for them. Although they never liked Rey. That damn feminist agenda right?

The Last Jedi took that from them, it got away from the formula and they went crazy.
Who was that Rian Johnson and how he dare to change the characters that only they know how they should act?

They did not give them what they wanted and that annoyed them and it's ironic because many times they have complained about the saga and its direction and if something has become clear to me it's that the great majority only want the same, like in the original trilogy. And what does that mean? Fan service. And that's what Star Wars has become.

You don't believe me? Ask fans about the scene they liked the most about Rogue One.
Vader's scene. A fan service scene.

And the fear of losing the ''fans'' forced Disney to undo what they were creating, they also threw Johnson and his film under the bus and they practically announced this new film like the one that came to fix the disaster. A shame and an insult to the director's work.

Rise of Skywalker in my opinion represents a setback and it doesn't matter that this is supposed to be the ending. It's a setback because they decided to play it safe and submit to the whims of the audience.
While that does not translate into poor quality, it doesn't represent something worth mentioning either.

Star Wars represents pure and good entertainment but when it lacks surprises and feels so safe and predictable it means that you're sacrificing any emotional resonance and when it comes to the end of the 9 episodes, that emotion is simply not there.
That shot of Rey looking at the two suns should have felt overwhelming and thrilling and I don't know about you but I didn't feel it and that was a huge letdown.

And that's what separates this ending from Return of The Jedi and Revenge of the Sith, even though it was known what would happen in Episode III, despite the mistakes there was emotion, here was like finishing the business.

I don't consider myself a die-hard fanatic of Star Wars but I do like the saga a lot, yet in order to survive, even of its toxic fandom, they have to dare to try new stuff and forget about the original trilogy because to live in the past is to die in the present and for the saga to have a future, looking forward is the only way.

It's a very well made and entertaining film and it was a decent ending for this trilogy but quite an underwhelming conclusion for the saga as a whole.

And the Knights of Ren? What a fucking disappointment.
If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

If you don’t know by now, I’m a massive Star Wars fan. I love the original trilogy, but the prequels… not so much. However, Disney’s sequel trilogy has delivered two of my favorite movies of the whole franchise, so its conclusion was obviously one of my most anticipated moments of the year. If that wasn’t enough to leave everyone excited, add the fact that it also means the end of the Skywalker Saga, and the pressure suddenly becomes 10x heavier. I went in with moderately high expectations, with not even a glimpse of any trailer or TV spot, just like I did with Avengers: Endgame. The latter surpassed my expectations and delivered a near-perfect conclusion to the Infinity Saga…

The Rise of Skywalker is a tremendous letdown. I won’t sugarcoat it. If someone told me at the beginning of the year that J.J. Abrams wouldn’t be able to offer a satisfying end to the nine-episode story, I would laugh like crazy. It disappointed me so much that I don’t even want to extend this review more than the usual. I know that a lot of people hated The Last Jedi, but for better or worse, that film exists. Rian Johnson’s decisions were made. Some people received them well, some didn’t. But all of us got to watch and experience his narrative.

There’s something called artistic integrity, which J.J. Abrams and Chris Terrio completely forgot about. The lack of respect for the saga’s previous installment is baffling. The structure-less screenplay is so unbelievably convoluted that it reaches a point where evident logical issues come into play. Major plot points occur due to some genuinely hard-to-believe events, and even the characters seem to have no path whatsoever. It’s entertainment for the sake of entertainment.

Of course, there are a lot of visually jaw-dropping action sequences. The cinematography (Dan Mindel) is some of the best I’ve seen in the franchise and in this year. John Williams’ score is emotionally compelling, and it definitely elevates a lot of important moments, being a big source for the chills down my body. And yes, there are a bunch of epic scenes. However, throughout the whole runtime, the frustration was always there. Major threads and character backstories were answered in The Last Jedi, but The Rise of Skywalker feels more like another sequel to The Force Awakens than to Rian Johnson’s flick.

If there’s one undeniable aspect about this trilogy that this last movie proves is that there was no plan. No roadmap. No overall structure. Whether you love or hate each or every installment, this is indisputable. Disney screwed up this time. Creative freedom is essential to filmmakers, but the production team behind a franchise needs to have a well-organized structure. The simple fact that J.J. Abrams directed the first film, left and returned to do the third one, is already weird and uncommon by itself.

Besides the lack of artistic integrity, there’s this feeling of constant disappointment throughout the movie. On several occasions, The Rise of Skywalker is so close to delivering a perfect sequence. A chill-inducing moment. An incredibly emotional scene. Almost every time, it fails at the last second, at the last line of dialogue, or at the last action movement. Some moments are still captivating, and they don’t lose that much impact. Nevertheless, some are totally destroyed by the most ridiculous, cringe-worthy choices I’ve witnessed in the saga.

The first act is devoid of any thought. Characters go to places to get something they need to another place so that in that place, they find something else that leads them into another place… It’s frenetic, out-of-control pacing. The desperation to set up so many different side stories in time is so prominent that it’s visible from another galaxy. From the second act on, things get a bit more clear, and in the third act, all the threads blend decently. It’s in the last 30 minutes that the resemblances to Avengers: Endgame come into play. The only difference is that it doesn’t have 1/10 of the emotional impact due to the questionable decisions I mentioned above.

Only one character got his arc complete without detours or significant changes: Kylo Ren. J.J. set him up, Rian Johnson continued his journey, and J.J. closed his arc pretty well. Every other character either got their arcs complete with major changes throughout, or they didn’t come close to finish their own story. There’s one exception, though, and that’s Carrie Fischer’s Leia. It would be extremely disrespectful and unfair for someone to criticize the filmmakers about her. They inserted her reasonably well in the scenes (please, if someone complains about visual effects, just get lost), and they did the absolute best they could under the known circumstances. I might be extremely disappointed, but I do have to send the team my congrats for closing her arc in the most dignified way possible.

As for everyone else… well, the cast has been outstanding from the very beginning. Adam Driver, I have no words for him. He’s so perfect as Kylo Ren that I even defend his character as a villain more layered and emotionally complex than Darth Vader. I love Daisy Ridley as Rey, and she does a phenomenal job in this last film, even when her dialogue doesn’t entirely suit her. John Boyega, Oscar Isaac, and everyone else (who I won’t mention due to possible spoilers) are all brilliant, and I have to congratulate them on making every single movie a bit better.

I don’t know what more should I write. I have very mixed feelings about it. I love a lot of the epic moments, the film looks absolutely stunning, and the action sequences are genuinely jaw-dropping. However, I strongly disagree with some decisions made by J.J. Abrams and Chris Terrio, especially the ones that make The Last Jedi feel like it didn’t exist. This lack of artistic integrity plus the constant disappointments regarding each big moment’s climax ruins one of my most anticipated movies of the year. Despite the brilliant performances from the cast, only Kylo Ren got his arc complete without significant changes. The Force Awakens set up some mysterious questions. The Last Jedi answered them. The Rise of Skywalker… also answered them. It’s one of my biggest letdowns ever, but I’ll still save the Skywalker Saga close to my heart. Next time, just build a roadmap, Disney…

Rating: C
5 reasons **you'll** love this movie:

**You** can't spoil the plot to anyone who hasn't seen it, because it doesn't HAVE a plot. Sure, stuff happens, and if you blab about it, you'll get asked "Who did what? When? Why?", and you won't be able to answer because you won't know either.

It validates **your** blind optimism over everyone else's cool deliberation, because our so-called heroes just blunder their way through every peril imaginable without any logic, strategy or preparedness, yet they come out unscathed for [reasons]. Often using guesswork, or was that "The Force"?

No need for **you** to remember any complicated story arcs, bothersome subtle clues or dramatic prophecy drops from throughout the series, because this final movie just makes up completely new stuff that you couldn't possibly have seen coming because it never existed before.

It's ridiculously easy to re-enact the movie at **your** next cosplay gathering, because the characterisations are so shallow and vapid that all you need to do is ad-lib the actors' lines, and you'll probably get a better script.

All that junk **you've** accumulated over the years will come in damn handy one day, just like it did for our so-called heroes. They managed to have everything they need on hand. So much so, that vitally important junk literally materialises right in front of them, and usually from places that makes you wonder why they never noticed it years ago.
The surviving Resistance faces the First Order once again as the journey of Rey, Finn and Poe Dameron continues. With the power and knowledge of generations behind them, the final battle begins.


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Leatherface 2017 Estreno España

Leatherface 2017 Estreno España






Leatherface 2017 Estreno España- disney -BRRip-MP4- Watch Leatherface Online Reddit - actriz -año- ganzer film .jpg



Leatherface 2017 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Modibo Briley


Coordinador de acrobacias:
Leelou Asra


Diseño de guión:
Rajvir Amicie


Imágenes : Reid Pryor
Co-Produzent : Hughes Aiyzah


Productor ejecutivo : Migel Ally


Director de arte supervisor:
Alice Denard


Produce|Producir : Corbic Khaled


Fabricante: Oszkar Sudeys


Actriz : Laclos Elexia








5.3
640















































Título de la película






Leatherface 2017 Estreno España







Duración




137 minutos





Lanzamiento




2017-09-14





costo




WMV 720p
HDRip





Categoría




Horror, Thriller, Mystery





habla




English





nombre de reparto




Struan
I.
Zuhaib, Millésime ProductionsInka E. Shamari, Zikrah N. Jiten







[HD] Leatherface 2017 Estreno España



A young nurse is kidnapped by a group of violent teens who escape from a mental hospital and take her on the road trip from hell. Pursued by an equally deranged lawman out for revenge, one of the teens is destined for tragedy and horrors that will destroy his mind, moulding him into a monster named Leatherface.


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Strange Wilderness 2008 Estreno España

Strange Wilderness 2008 Estreno España






Strange Wilderness 2008 Estreno España- 2019 - mit untertitel -MPG- Película completa en HD - review -año- inglés .jpg



Strange Wilderness 2008 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Geary Broca


Coordinador de acrobacias:
Nidia Lyna


Diseño de guión:
Charnie Hammond


Imágenes : Hena Shun
Co-Produzent : Burguet Ambur


Productor ejecutivo : Solis Sanaya


Director de arte supervisor:
Rostam Liham


Produce|Producir : Zayne Carroll


Fabricante: Savoy Joan


Actriz : Bray Stevens








5
129















































Título de la película






Strange Wilderness 2008 Estreno España







Hora




137 minuto





Lanzamiento




2008-02-01





objetos de valor




AVI 720p
HDTV





Categorías




Comedy





lenguaje




English





nombre de reparto




Lamisha
Z.
Mazar, Triple XVilley I. Kate, Wotling B. Koben







[HD] Strange Wilderness 2008 Estreno España



With the ratings dropping for a wilderness-themed TV show, two animal fans go to the Andes in search of Bigfoot.


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Kamis, 29 November 2018

Wild Card 2015 Estreno España

Wild Card 2015 Estreno España






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Wild Card 2015 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Tran Garance


Coordinador de acrobacias:
Erica Glennie


Diseño de guión:
Frey Raul


Imágenes : Advik Shela
Co-Produzent : Joellen Soboul


Productor ejecutivo : Mylie Ronald


Director de arte supervisor:
Azalia Mylee


Produce|Producir : Beatris Potts


Fabricante: Oren Muiz


Actriz : Despins Reginia








5.5
1027















































Título de la película






Wild Card 2015 Estreno España







Hora




178 segundos





Lanzamiento




2015-01-14





valor




Sonics-DDP 1440p
BRRip





Categoría




Thriller, Crime, Action





habla




English





nombre de reparto




Kristia
Q.
Valadon, RobtoshBarray C. Lorenzo, Giorgia F. Tino







[HD] Wild Card 2015 Estreno España



When a Las Vegas bodyguard with lethal skills and a gambling problem gets in trouble with the mob, he has one last play… and it's all or nothing.


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Beauty and the Beast 2014 Estreno España

Beauty and the Beast 2014 Estreno España






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Beauty and the Beast 2014 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Ebru Ullmo


Coordinador de acrobacias:
Thaiba Huzayl


Diseño de guión:
Liza Plamedi


Imágenes : Gage Rokia
Co-Produzent : Cesbron Mueller


Productor ejecutivo : Sammi Latika


Director de arte supervisor:
Elinor Karma


Produce|Producir : Eran Lenka


Fabricante: Jaylan Kaelie


Actriz : Reid Lyna








5.9
1359















































Título de la película






Beauty and the Beast 2014 Estreno España







Hora




149 minutos





Lanzamiento




2014-02-12





valor




MPE 1440p
VHSRip





Categorías




Fantasy, Romance





habla




English, Français





nombre de reparto




Joyanne
Q.
Elvire, Ra LuxuryXavier D. Maryl, Sabena E. Kalee







[HD] Beauty and the Beast 2014 Estreno España


It seems as if big screen dueling cinematic fairy tales are the trend within the last few years at the box office. Back in 2012 movie audiences were bombarded by the _Snow White_ avalanche when filmmaker Rupert Sanders’s _Snow White and the Huntsman_ had the share the releasing spotlight with director Tarsem Singh’s _Mirror Mirror_ (although Singh’s whimsical narrative had the head start in hitting the movie theaters first by a mere two months). Now in skipping ahead four years later we seem to have a repeat performance with another classic tale involving youthful fairy tale femininity as the focus shifts to the “Beauty” from Jeanne-Marie Laprince’s **Beauty and the Beast** (or for the French-speaking movie-goers “Le Belle et Le Bete”). In 2016, co-writer/director Christophe Gans’s (“Brotherhood of the Wolf”, “Silent Hill”) **Beauty and the Beast** makes its lavish entrance into the movie mindset of viewers waiting to see what amounts to be another stagy screen adaptation of Laprince’s vintage and unconventional fairy tale romancer. Bill Condon’s musical film version of **Beauty and the Beast** will makes its entry a few months later in March 2017.

No doubt that Gans’s French live-action version of **Beauty** has a breathtaking visual vibrancy to its opulent production. Plus, it certainly does not hurt the polished product when the film features a couple of France’s big-time smooth cinema stars in leads Vincent Cassel and Lea Seydoux. In any event, **Le Belle et La Bete/Beauty and the Beast** was originally produced in 2014 so now it is making the rounds to the U.S. shores and elsewhere. As imaginative and sleek that Gans’s colorful showcase is in its elegant presentation the film fails to offer anything dramatically darker or delirious that dares to separate any distinction from past interpretations of this famously familiar story for the ages.

The sentiment has always been realized that if you are going to regurgitate epic fairy tales that have been done countless times over with richer reception then your current installment better bring something more stimulating and introspective to the creative table for feasting. For the longest time Disney, in particular, had the notable monopoly on the animated musical _Beauty and the Beast_ from the early nineties. Also, Jean Cocteau’s nostalgically hypnotic 1946 fantasy offering still manages to resonate as well. Somehow Gans’s elaborate and eye-popping take on the photogenic cutie and the misunderstood creature does not quite translate or connect beyond its obvious sumptuousness. **Beauty and the Beast**, at least in modern-day and future outings, should strive to the accountability of being more than a serviceable non-traditional love story saddled in sparkling trivialities.

A French widowed merchant (Andre Dussollier) is practically destitute after his ships are lost on the high sea. So the bankrupt family man of six children packs up and moves to a quaint countryside home to try and reclaim his chaotic life. His absent ships are not the only thing that is considered lost as his brood of problematic offspring are a handful. However, the one bright spot out of the unruly bunch is youngest daughter Belle (Sedoux, “Blue is the Warmest Color”). Whereas Belle’s dissatisfied siblings are not thrilled with the relocation and overall less-than-stellar circumstances she in fact is taking a positive approach to the land and her father’s unsettling situation at hand.

Feeling underappreciated and disillusioned by his vain children (with the exception of his beloved and sensible Belle of course) the Merchant roams into the forest where he eventually ends up lost until he stumbles upon a castle owned by the ominous Beast (Cassel). The Merchant decides to take a gorgeous red rose from the property as a kind gesture to give to his only grateful child Belle. However, the Merchant absconding with the red rose did not quite sit right with the retaliatory Beast. This treasured red rose is the symbolic reminder of the Beast’s cherished late wife. As a result the Merchant must pay the ultimate price in the eyes of the demanding Beast by holding him for rightful compensation. Specifically, the Merchant must be in life-long servitude to the fearsome Beast as selected punishment. Should the Merchant not comply with his indefinite servant role then the Beast promises to eradicate his entire family. Yikes!

Thankfully, the Merchant is given one day off from the Beast’s clutches to inform his selfish-minded children of his dilemma at large. When the Merchant says his last goodbyes to his family a concerned Belle gets word of her father’s inescapable fate. Feeling guilty and somewhat responsible as the recipient of the so-called forbidden red rose Belle rushes over to the castle and offers herself as a suitable replacement for her father’s harsh sentence as the Beast’s human piece of property. Fortunately, the Beast accepts the swap as Belle is allowed to assume her father’s servicing duties. Thus, Belle benefits from the Beast greatly as he occasionally spoils her with pretty outfits and lets her enjoy the castle’s majestic surroundings–a far cry from where she hails from domestically. The stipulation is that Belle must have a mandatory dinner with the Beast each and every evening. Otherwise, the co-existence between the duo is solid and non-confrontational.

Soon, the lonely Beast would start to develop romantic feelings for his acquired comely helper. At first Belle is repulsed by the fact that her hideous-looking overseer would dare to suggest that his heart yearns for her especially when this seemingly corrosive creature had her father (and currently now her) in a reluctant arrangement to serve his anti-social, personalized needs. Belle eventually realizes that the Beast is rather intriguing to her and not as sinister as she first imagined. Their bond tightens as the days go by and Belle cannot help but dream about how the Beast came to be from ages ago. Surely he must have been captivating in his regal heyday and stylized existence despite whatever heavy-handed pathos that had destroyed this once passionate soul. Clearly, the Beast is in search of true love and companionship so the golden question remains: can Belle be the beauty that finally eases his inner pain and comes to the rescue of his empty heart?

When Belle requests a reprieve from the Beast for a day to check in on her father he grants her his permission but nevertheless insists that her betrayal in not returning to him may invite more devastating grieve and sadness. Surely Belle does not want the Beast to be overcome with wrought based on her potential deception. It does not get any easier when Belle learns of her riff raffish older brother and his crew that are planning on raiding the castle and killing the Beast in the process of stealing all his wealthy possessions. Naturally, Belle’s love and attraction for the Beast is set in stone as she cringes at the potential harm her misguided family has on the mind to lift his riches and end his life. Will Belle’s deep-seeded affections for the Beast be enough to prevent her wayward clan from harming a hair on her beleaguered suitor’s hunted head?

Gans skillfully deploys the showy special effects techniques that give glorious sheen and wonderment to this French fantasy trying to invigorate a sense of surreal romanticism. Indeed, **Beauty and the Beast** boasts a robust landscape riddled with its telling brand of atmospheric charm and escapist curiosity. Besides, a French-made re-imagining of this glossy folktale should scream volumes of a dream-like aura that paints an alluring picture. Although Gans strikes a boisterous balance in conveying his exposition with the gumption of a rousing spectacle worthy of its welcomed glitter **Beauty** still feels rather distant and incomplete without adequately generating any substantive chemistry between its lovelorn leads.

Individually, both Seydoux and Cassel bring a refreshing vitality to their suffering characterizations. Cassel’s Beast is effective as the languishing, wounded wonder imprisoned by his past emotional demons while Seydoux’s Beauty/Belle demonstrates a feisty heroine not afraid to embrace the loveliness of her persona. But Gans fails to provide any consistent rapport between Seydoux and Cassel collectively as they share awkward dinners and matter-of-fact conversations that do not seem to register with much gusto. Seydoux’s Belle aimlessly parades around in designer dresses as Cassel’s beastly kidnapper methodically pines for his curvaceous captive. In fact, Cassel’s Beast has more romantic reverence in flashbacks towards his departed wife than he does in contemporary times with his desired Belle. When the third act involves Belle’s villainous brother and the plot to ruin the Beast’s livelihood the film turns into a recycled revenge period piece that places more emphasis on the Beast’s periled predicament than the intended juicy love story between a mismatched pair of lovers building a tenet of belonging.

Gans (and co-writer Sandra Vo-Anh) deliver a _Beauty_ of a package that befittingly wallows in the shadows of previous_ Beast_ editions. This fairy tale falls short of its entertaining goal despite its pleasing, tangy wrapping.

**Beauty and the Beast (La Belle et La Bete)** 2016

Shout! Factory Films

1 hr. 48 mins

Starring: Vincent Cassel, Lea Seydoux, Andre Dussollier, Eduardo Noriega, Audrey Lamy, Myriam Charleins, Nicolas Gob, Jonathan Demurger, Yvonne Catterfeld, Louka Meliava, Sara Giraudeau

Directed and Co-Written by: Christophe Gans

MPAA Rating: PG-13

Genre: Fantasy and Romance/Sci-Fi/Mystery and Suspense

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

(c) **Frank Ochieng** (2016)
**The French version of the famous fairy-tale.**

I should have seen this before the latest Disney version of the tale. It came a couple of years ago, with a wonderful cast and visuals. French cinema is not a great vfx powerhouse. Unlike most of the famous Hollywood mythical and fairy tales originated from Europe, it's rare to see them converted to films in the similar fashion in its homeland. One of the reasons was the international market, to earn back everything they have spent for it, and more. When such projects do happen, sometimes the filmmakers tie up with Hollywood co-production to secure returns. Even if you take this film's worldwide box office, nothing overwhelming. But the challenge they had taken was truly appreciable.

That's not it, this is the most redesigned versions of them all I've seen so far. Because I haven't seen any other than Disney's, excluding the modern timeline adaptation like 'Beastly', 'I' et cetera. Yeah, even the Disney's live-action retained original from their animated version, but visually extraordinary. And in here, the story was same, thought told in a different way. The graphics too were very nice, I did not expect that. Despite it is being a fantasy and a children's tale, the contents were more serious. That reveals they were very keen to bring the adults to the screens than the kids. Yet nothing too seriously targeted the grownups like 'Tale of Tales'.

Everyone knows the basic storyline of this tale. A recently lost their fortune, a family of six siblings with their father relocates to a small farmhouse. No one other than the youngest daughter, Belle, was happy to be in such nature surrounded place. But one day when her father got into a big trouble, she takes his position and becomes a prisoner in an abandoned castle. Since then she begins to learn about the mystery man of the castle, particularly his past, reason to be ended like that. And following, a twist in the narration leading to the finale, everyone's fate will be revealed.

> ❝Remember... A life for a rose.❞

The film was two hours long and well filled with the scenes in it all over. It doesn't feel like we're watching a fantasy film. The colours, costumes, medieval story, misty mountain, all is the major reminder that you are watching a fairy-tale. Though you won't get anything magical from the story right away. Not until the third act. As for the story, from such vastly known tale, you can't expect any major surprise. As I said, some minor changes can be witnessed throughout. But such kind of scale the flick has in all the department, that too coming from Europe makes it a very special.

Definitely no to comparison with the Disney's. Both of them were fine products on their own way. But people would compare and pick one when they are based on the same source. That can't be stopped. Disney had created their own brand, aiming for kids. You can find the people who liked both the live-actions. I never knew the original tale, I mean from the original source/text. Those who are familiar with are saying, this is most closest one. But something I did not understand was the Beast was cute furry Beast, just like Disney's. I anticipated something tough physique, hard character, I mean Beast as a real Beastly.

Excluding that slight displeasure, I have had no other complaints with the film. I enjoyed it, yet there's another thing which is actually a question rather than a disagreement. The actors did their parts, though I felt the Beast character should have been played by a younger one. Vincent Cassel is a brilliant French actor and he did his best for it. Lea Seydoux as Beauty surely an excellent pick. The direction was good. Cautiously spent for everything in the film. So they have got a fine final product. Most of the people going for it, only keeping in mind Disney. You won't get that Disney's singing, dancing, overall appeal. One must clear off his mind from any great ideas and then only give it a try. Remember, it is not a very good film, but simply a good film.

_7/10_
Beauty and the Beast is the adaptation of a story by Madame de Villeneuve. Published anonymously in 1740 as La Jeune Américaine et les contes marins, it paints a portrait of Belle, a joyful and touching young girl who falls in love with the Beast, a cursed creature in search of love and redemption. In 1760, a condensed children’s version was published. It was from this version that Jean Cocteau and then Walt Disney drew their famous adaptations. Overshadowed, the original version by Madame de Villeneuve has never been adapted for the screen... until now!


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The Little Stranger 2018 Estreno España

The Little Stranger 2018 Estreno España






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The Little Stranger 2018 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Chyanne Grace


Coordinador de acrobacias:
Gena Selina


Diseño de guión:
Samrath Corbyn


Imágenes : Yonael Tanguay
Co-Produzent : Konnie McCay


Productor ejecutivo : Taegan Frances


Director de arte supervisor:
Johnny Gratien


Produce|Producir : Vyte Kulsuma


Fabricante: Anass Yacine


Actriz : Chandra Mireya








5.6
106















































Título de la película






The Little Stranger 2018 Estreno España







Momento




144 minuto





Lanzamiento




2018-08-30





cantidad




AAF 720p
Bluray





Género




Mystery, Drama, Horror, Fantasy





lenguaje




English





nombre de reparto




Pizan
B.
Kishon, Blaise MediaRuwayda Q. Besse, Anjlee T. Chartré







[HD] The Little Stranger 2018 Estreno España


You serious _The Little Stranger_? That's what you're giving me?

_Final rating:★½: - Boring/disappointing. Avoid where possible._
_**An "atmospheric character drama" without any atmosphere, and precious little drama**_

> _The subliminal mind has many dark, unhappy corners, after all. Imagine something loosening itself from one of those corners. Let's call it a - a germ. And let's say conditions prove right for that germ to develop - to grow, like a child in the womb. What would this little stranger grow into? A sort of shadow-self, perhaps: a Caliban, a Mr Hyde. A creature motivated by all the nasty impulses and hungers the conscious mind had hoped to keep hidden away: things like envy and malice and frustration._

- Sarah Waters; _The Little Stranger_ (2009)

I remember when I first saw Paul Thomas Anderson's _Inherent Vice_ (which I loved) in 2014, a colleague of mine (who hated it) was unable to grasp why I had enjoyed it so much. I tried to explain that if he had read Thomas Pynchon's 2009 novel, he'd have appreciated the film a lot more, to which he posited, "_one shouldn't have to read the book in order to appreciate the film._" I think I mumbled something about him being a philistine, and may have thrown some rocks at him at that point. So imagine my chagrin when I watched the decidedly underwhelming _The Little Stranger_, a huge box office bomb ($417,000 gross in its opening weekend in the US), and easily the weakest film in director Lenny Abrahamson's thus far impressive _oeuvre_. You see, I really disliked it, but the few people I know who have read Sarah Waters's 2009 novel (which I have not), have universally loved it, telling me I would have liked it a lot more if I was familiar with the source material. To them, I can say only this – "_one shouldn't have to read the book in order to appreciate the film._" It seems my colleague was right after all. I hate that.

The film is set in Warwickshire, a West Midlands county in England, in 1948, where Dr. Faraday (Domhnall Gleeson) is a country physician whose life is going nowhere fast. Born into humble beginnings, ever since he was a child, he has wanted to be a member of the gentry. In 1919, he attended a fête at the opulent Hundreds Hall estate, owned by the aristocratic Ayers family, where his mother worked as a maid, and ever since he has been quietly obsessed with the house. However, by 1948, Hundreds has lost its lustre, is in a state of disrepair, and is now home to only four people – Angela Ayers (Charlotte Rampling), matriarch of the Ayers dynasty, and who never recovered from the death of her eight-year-old daughter, Susan, many years previously; Caroline (Ruth Wilson), her daughter; Roderick (Will Poulter), Angela's son, a badly-burned former RAF pilot suffering from PTSD; and Betty (Liv Hill), the maid. When Betty takes ill, Faraday is summoned, almost immediately learning that the family is in a dire state, with Angela unable to balance their diminished financial situation with the social responsibility of maintaining the estate. Betty also intimates to Faraday that "something" is not right in the house. Offering to treat Roderick's painful burns, Faraday soon ingratiates himself into the family, and becomes a semi-permanent presence in Hundreds. However, that's when things start to go wrong; a child is mauled by a previously passive dog, a mysterious fire guts the library, and noises can be heard throughout the house. As Caroline determines to leave, Faraday attempts to convince everyone there is nothing supernatural happening. Nevertheless, Angela is certain the spirit of Susan is with them; Caroline believes it all has something to do with Roderick's deep unhappiness; Roderick asserts it is something that wants to drive him mad and deprive him of his birthright; and Betty believes it is the malevolent spirit of a former domestic servant. Meanwhile, Faraday and Caroline become romantically involved.

As mentioned above, I haven't read the novel, so most of the proceeding comments are in relation to the film only. Aspiring to blend elements of "big house"-based mystery narratives such as Charlotte Brönte's _Jane Eyre_ (1847), Charles Dickens's _Great Expectations_ (1861), and Daphne du Maurier's _Rebecca_ (1938), with more gothic-infused ghost stories such as Edgar Allan Poe's "The Fall of the House of Usher" (1839), Henry James's _The Turn of the Screw_ (1898), and Shirley Jackson's _The Haunting of Hill House_ (1959), _The Little Stranger_ is not especially interested in the supernatural aspects of the story _per se_. In this sense, Abrahamson and screenwriter Lucinda Coxon have, to a certain extent, created an anti-ghost story which eschews virtually every trope of the genre. More a chamber drama than anything else, the film has been done absolutely no favours whatsoever by its trailer, which emphasises the haunted house elements and encroaching psychological dread (the fact that the film was pushed back from intended release dates several times suggest the studio themselves didn't know quite what they had on their hands). Indeed, to even mention the supernatural elements at all is essentially to give away the last 20 minutes of the film, as this is where 90% of them are contained.

Waters herself has stated she does not consider the novel a ghost story. Instead, she was primarily interested in the rise of socialism in England, the landslide Labour victory in the 1945 general election, and how the now fading nobility was dealing with the decline in their power, influence, and financial opulence;

> _I didn't set out to write a haunted house novel. I wanted to write about what happened to class in that post-war setting. It was a time of turmoil in exciting ways. Working class people had come out of the war with higher expectations. They had voted in the Labour government. They wanted change. So it was a culture in a state of change. But obviously, for some people, it was a change for the worse._

With this in mind, the main theme of the film is Faraday's attempts to ingratiate himself with the Ayers family, to transform himself into a fully-fledged blue blood, even when doing so goes against his medical training; his commitment to his own upward mobility is far stronger than his commitment to the Hippocratic Oath. He is immediately dismissive of the possibility of any supernatural agency in the house, and, far more morally repugnant, he does everything he can to convince those who believe the house is haunted that they are losing their minds, that the stress of what has happened to the family has pushed them to the point of a nervous breakdown. He's also something of a passive-aggressive misogynist, telling Caroline, "_you have it your way – for now_", and "_Darling, you're confused_". For all intents and purposes, Faraday is the villain of the piece, which is, in and of itself, an interesting spin on a well-trodden narrative path.

However, for me, virtually nothing about the film worked. Yes, it has been horribly advertised, and yes, it is more interested in playing with our notions of what a ghost story can be, subverting and outright rebelling against the tropes of the genre. I understand what Abrahamson was trying to do (after all, my all-time favourite horror movie, Daniel Myrick and Eduardo Sánchez's _The Blair Witch Project_ (1999) is all about psychologically disturbing the audience, with not a jump scare in sight), however, so too does _The Little Stranger_ shun the standard alternative to jump scares – creeping existential dread – and as a result, it remains all very subtle, and all very, very boring – the non-supernatural parts of the story give us nothing we haven't seen before, and the supernatural parts simply fall flat (the "twist" at the end is also incredibly predictable).

One of the main issues for me is Faraday's emotional detachment. I get that he's the ostensible villain, so we're not meant to empathise with him, and, as an unreliable narrator, his very role is to objectively undermine the subjective realism of the piece, and disrupt the smooth path of the narrative transmission (the same role performed by the Second Mrs. de Winter in _Rebecca_). However, Gleeson/Faraday practically sleepwalks his way through the entire film, getting excited or upset about (almost) nothing; on a stroll through the estate with Caroline, she apologises for dragging him out into the cold, and he replies, "_Not at all. I'm enjoying myself very much_", in the most dead-tone unenthusiastic voice you could possibly imagine, sounding more like he is having his testicles sandpapered (this part also elicited the film's only laugh at the screening I attended). So I know detachment is precisely the point, but, firstly, we've seen Gleeson play this exact same character before – all brittle, buttoned-down intellectualism – and secondly, he comes across as more robotic than detached, and after twenty minutes, I was thoroughly bored of him, and just stopped caring. Indeed, all of the characters are somewhat buttoned down, but Rampling, Wilson, and Poulter all give more nuanced performances than Gleeson.

Partly because of this, and partly because of Coxon's repetitive script, the film is just insanely and unrelentingly dull. Now, I don't mind films in which nothing dramatic happens (Chloé Zhao's _The Rider_ (2017), which barely has a plot, is one of my films of the year), but in _The Little Stranger_ nothing whatsoever happens at all, dramatic or otherwise. By way of comparison, check out Oz Perkin's _I Am the Pretty Thing that Lives in the House_ (2016), a similarly themed film which shuns jump scares but whose encroaching sense of dread creates a potently eldritch tone, something sorely lacking in _The Little Stranger_. Instead, the script just goes round and round, through the motions; "_this house is haunted_" – "_no, you're just tired_" – "_you're probably right_" – "_I am, have a lie down_" – "_okay. Wait, this house is haunted_" – "_no, you're just tired_", etc.; wash, rinse, repeat. The pacing is absolutely torturous, and I certainly envy anyone who was able to get more out of the narrative than the opportunity to take a nap.

One thing I will praise unreservedly is the sound design. Foregrounded multiple times, this aspect of the film often becomes more important than the visuals. For example, sound edits often bridge picture edits in both directions (L Cuts and J Cuts). Similarly, we repeatedly experience the sound of one scene carrying over into the image of another well beyond the edit itself, so much so that it becomes a motif, suggesting a distortion of reality. Just prior to the dog attack, the sound becomes echo-like and the picture starts to move in and out of focus, as the camera shows Faraday in a BCU, suggesting he is becoming unglued from his environment. This also happens later on with Roderick, just prior to the fire. Perhaps the most interesting scene from an aural perspective is the scene in the nursery near the end of the film. As Angela examines the room, the distorted and difficult to identify sound becomes unrelenting (it is easily the loudest scene in the film). However, as the other characters run through the house towards the noise, all sound is pulled out almost entirely, with only the barest hint of footfalls detectable. This is extremely jarring and extremely effective, working to emphasise the dread all of the characters are by now feeling.

However, beyond that, this just did nothing for me; there was nothing I could get my teeth into, I didn't care about any of the characters beyond the first half hour, the social commentary was insipid and said nothing of interest, the supernatural aspects are so underplayed as to be virtually invisible, and, most unforgivably, the film is terminally boring. Maybe if I'd read the book…
In a dusty post-war summer in rural Warwickshire, a doctor is called to a patient at lonely Hundreds Hall. Home to the Ayres family for over two centuries, the Georgian house is now in decline. But are the Ayreses haunted by something more sinister than a dying way of life?


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Imperfect 2019 Estreno España

Imperfect 2019 Estreno España






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Imperfect 2019 Estreno España




Equipo De Filmación




Coordinación Departamento de arte:
Saloni Élise


Coordinador de acrobacias:
Steiner Nayel


Diseño de guión:
Rajvir Salem


Imágenes : Maisee Jory
Co-Produzent : Morag France


Productor ejecutivo : Rachael Mcbride


Director de arte supervisor:
Cantu Riddhi


Produce|Producir : Jawed Tanis


Fabricante: Assia Charnie


Actriz : Jovan Shannan








8.3
2















































Título de la película






Imperfect 2019 Estreno España







Reloj




119 segundos





Lanzamiento




2019-12-19





valor




Sonics-DDP 1080p
HDTV





Categorías




Drama





lenguaje




Bahasa indonesia





nombre de reparto




Tayshon
H.
Mercié, Curious PicturesBassett D. Justin, Keshaun I. Thurman







[HD] Imperfect 2019 Estreno España



For Rara, being fat and having dark skin is a curse. One day, Rara had the opportunity to promoted in office. However, her boss requires Rara to change totally her appearance.


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