Movie Title	The Wind Rises
Time	145 seconds
Release	2013-07-20
Kuality	M1V 1080p Blu-ray
Category	Animation, War, History, Drama
language	Français, Deutsch, Italiano, 日本語
castname	Korby Z. Quasim, Hope W. Dyann, Ménil X. Lilia

[HD] [Watch] The Wind Rises 4k Blu Ray 2013

Film kurz

Spent : $231,854,966

Income : $629,802,141

category : Armee - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Anthologie - Abtreibung , Raum - Gefangenendrama , Videospiele - Trennung

Production Country : Argentinien

Production : Nickelodeon Network

Movie Title	Hail, Caesar!
Hour	122 seconds
Release	2016-02-05
Quality	Dolby Digital 720p Blu-ray
Category	Comedy, Drama, Mystery
speech	English
castname	Miland J. Portia, Damiane A. Léana, Brydon V. Aryo

[HD] [Watch] Hail, Caesar! 4k Blu Ray 2016

Film kurz

Spent : $893,499,179

Income : $386,783,635

Group : Dramatischer Dokumentarfilm - Bondage , Abstrakt - Dystopie , Patriotismus - Military , Hingabe - Waste

Production Country : São Tomé

Production : RAM Film



There’s a scene halfway through the film when Hobie Doyle (Alden Ehrenreich), a Western B-movie star, is cast in a fancy melodrama helmed by Laurence Laurentz (Ralph Fiennes). Doyle is hopelessly out of his element, hobbling about in his new suit–the switch was the studio’s idea in an effort to broaden Doyle’s appeal, much to Laurentz’s dismay. It’s not long before the two engage in a back-and-forth, Laurentz trying to get Doyle to pronounce “Would that it ‘twere so simple”, and Doyle trying desperately to appease Laurentz. After a lengthy exchange, both are left exacerbated. Much later in the film, we catch a glimpse of the final version, where Doyle and Laurentz compromise with a much simpler: “It’s…complicated.”

Complicated is exactly what’s at the heart of this situation. Laurentz’s increasing frustration with this obvious miscast and Doyle’s confusion may serve to fuel the slapstick comedy on exhibit, yet this scene alludes to so much more. It’s the inner mechanics of Hollywood, where directors are mere technicians and actors are props, all to be assigned and managed. It’s the clashing of proud classical Hollywood traditions of entertainment and escapism with the dreaded rise of message films and sophisticated art. It’s the contradictory nature of unfettered creativity with capitalism and consumerism, where compromise–and perhaps communism–seems to be the only way out.

This is just one slice of the screwball nature that is the Coen Brothers’ latest comedy, Hail, Caesar! There’s also a kidnapped Roman soldier, Baird Whitlock (George Clooney at his dimmest and greatest), a handsome sailor (Channing Tatum) and a beautiful mermaid (Scarlett Johansson). All opportunities–that the Coens gladly take–to simultaneously demonstrate the power and influence of cinema, while mocking its sense of self-importance.

Each scene is allowed to play out, Channing Tatum and his homoerotic musical number or Scarlett Johansson’s hypnotizing aquatic acrobatics. It’s not only an homage films of the Golden Era, but a demonstration of the mechanics that make film such an appealing medium. The Coen Brothers have a firm grasp on the allure behind each piece, using the acting, staging and costumes to propel Hail, Caesar! forward. It’s a simple concept–use filmmaking techniques to advance a theme and narrative, but by prioritizing these lengthy sequences over traditional narrative pacing or dialogue, the Coen Brothers give room for these fundamental concepts to breathe and thrive.

It’s all threaded together through Josh Brolin’s character, Eddie Mannix, studio fixer. And there’s a lot that needs fixing: a pregnant star, a discontent director, communism, threat from the future–the usual. It’s a packed schedule, and the film follows suit with a similarly hectic pacing. An array of symbols, innuendos and subversions are thrown at the viewer: Capital Studios butting with Das Kapital, Mannix being offered a role at Lockheed where they tout a more stable industry– weapon-making, or Whitlock staring at the audience as he addresses God. It borders on bombastic, but there’s just too much wit, and heart, here to discredit any of the ideas presented–fleshed out or not.

Hail, Caesar! doesn’t break new ground in the increasingly crowded sub-genre of Hollywood-on-Hollywood, but it hits a Goldilocks concoction between inside baseball cynicism and endearing love letter. Though all these antics, the Coen Brothers argue, quite convincingly, that everything in film matters, while also making a case for the futility and hollowness of anything produced on the grounds of Hollywood. So is this a nihilistic shrug at our attempt at defining and contextualizing or a fierce exhibition of the inherent power of Hollywood where life imitates art? Well, as Doyle would try to tell you, “Would that it ‘twere so simple.”
I am a fan of the Cohen Brothers, but I will not lay laurels at the feet of a movie simply because it bears their name. _Hail, Caesar!_ is not one of their better efforts.

Unrelated: I also wonder why they felt it necessary to hide the fact that they were making a faith-based film in the trailers.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**Once upon a time the king Julius Caesar was kidnapped!**

So here's the new film from the Coen brothers. They have become rare in the recent years, I was always checking out what's next for them and now I'm slightly disappointed with this. I enjoyed watching it, it is one of those you want to rate them better, but you can't for some unidentified reasons. According to my analysis why I was not satisfied fully is the story. I mean the narration was rich, performances were phenomenal and music, locations, all were fantastic, but the screenplay was kind of aimless. The beginning, the ending or even in the mid part it had no purpose, but something like a mockumentary about the film industry of the 1950s.

With the average screenplay, the directors have shown their magic. Very cool presentation, you would enjoy it if you're theirs films fan. But I don't think all his fans would be pleased enough. This is truly a multi-starrer film, everybody was at their best in their retro characters. If you share your experience with others who also saw it, they might ask who do you liked the most. Probably many would favour Josh Brolin, because he had more priority than others who comes under his belt. But George Clooney and Alden Ehrenreich also have given a good show followed by Scarlett Johansso and Tilda Swinton. The remaining ones as well not bad, but Jonah Hill was completely a waste.

Since it is about the film industry and its people, brace yourself for some good laughs. There is variety in it like different genre/theme and multiple layers in the narration. Like from moving to the western to the historical subject and then to the musical and many more. It did good at the box office against its budget, only because of the star power it has and the filmmaker's reputation came in handy. Though I hope the Coen brothers would come back strong with another product and it does not take another 3 years. It is not an award winning film, just a good entertainer, but praisable quality.

_6/10_

Movie Title	Don't Come Back from the Moon
Time	192 seconds
Release	2019-01-18
Kuality	M2V 1080p WEBrip
Categorie	Drama
speech	English
castname	Grivois I. Tanner, Koulbak V. Hector, Nassim M. Hébert

[HD] [Watch] Don't Come Back from the Moon 4k Blu Ray 2019

Film kurz

Spent : $419,387,861

Income : $463,446,219

Categorie : Sozialdrama - Schreiben , Wandern - Uncategorized , Trivia - Waste , Apathie - Poetry

Production Country : Namibia

Production : Comedy Unit

Movie Title	Sully
Clock	165 minutes
Release	2016-09-07
Kuality	FLV 720p DVDrip
Category	Drama, History
language	English
castname	Nouvel S. Lucion, Makena P. Janai, Denil K. Lanika

[HD] [Watch] Sully 4k Blu Ray 2016

Film kurz

Spent : $974,463,852

Revenue : $114,891,119

Categorie : Geschichte - Money , Geschichte - Surrealistisch , Fantasiepolitik - Speech , Experimentell - Preis

Production Country : Niederlande

Production : Mascott Productions



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Filmmaker Clint Eastwood is certainly no stranger to overseeing exploratory biopics and his latest effort in **Sully** definitely supports his cinematic vision for spotlighting an unknown everyday aviation professional into an overnight national hero. Thus, airline pilot Captain Chesley "Sully" Sullenberger became an inspirational savior courtesy of the potentially fateful day on January 15, 2009 when US Airways Flight 1749 morphed into the celebrated newsworthy incident dubbed "Miracle on the Hudson"

In **Sully** Eastwood and screenwriter Todd Kormarinski presents Captain Sullenberger as an understated hero in the unconventional sense. Indeed, Sullenberger had his personal demons and doubts about that critical day years ago when his quick decision to land the doomed aircraft in the icy waters of the Hudson River in the aftermath of a freakish occurrence when a flock of birds managed to disable the engine's operation shortly after takeover from LaGuardia Airport. The label of "hero" may have been somewhat flattering for the veteran pilot in light of his accomplishment in saving the lives of his 155 passengers and crew courtesy of a risky landing that could have been their hellish watery graves. However, the burdensome christening of "hero" weighed heavily on Sullenberger especially when insulting suspicions arose questioning the pilot's actions. Sure, Sullenberger basked in instant adulation but his private torment was almost as haunting as the near tragedy he prevented when ensuring the airborne safety of those jeopardized on board.

The challenging task in **Sully** was to create the tension and psychological strife behind an infamous 6-minute flight headed for disaster. Thankfully, Eastwood's steady direction and Komarnicki's adventurous script captures the tense and anxiety-driven moments that fuels **Sully's** soulful foundation. More important, two-time Oscar winner Tom Hanks diligently fits the bill as the beleaguered Captain Sullenberger whose personalized battles with heroism caused pressured ambivalence and self-inflicted guilt. It has been an awful long time since Hanks was tapped for an Oscar nomination so let's hope that his solid work in **Sully** warrants Academy Award consideration.

Some may be rather cynical about Eastwood's daring narrative as the self-explanatory story has been interpreted in so many news accounts, documentaries, the personal accounts from the Flight 1749 survivors and to a certain extent Captain Sullenberger himself. Still, **Sully** sets out to examine a conflicted and confused man second guessing his aviation skills and instincts as an individual thrust into the national spotlight with a combination of hope and hesitation.

Not only had the quick-thinking Sully and co-pilot Jeff Skiles (Aaron Eckhart in a welcomed, absorbing supporting role) dodged a major catastrophe when accidentally flying into the cluttered Canadian geese that caused the ice-cold water landing in the Hudson but they were actually scrutinized by the National Transportation Safety Board (NTSB) regarding Sully's decision not to return the malfunctioning plane to LaGuardia Airport or toward a nearby airport therefore opting to gamble using the Hudson River as the immediate surface available to land.

Naturally, the sudden media attention anointing the heralded pilot as a heroic soul coupled with the mixed reception of the buzz-killers in the NTSB speculating that foul play may have been involved for the piloting tandem of Flight 1549 understandably heightened the self-doubts and generated Sully's Post-Traumatic Stress Disorder. In the meantime, Sullenberger's wife Lorrie (Academy Award nominee Laura Linney) as well as other close family and associates are constantly being hounded by intrusive reporters in their attempt to get an exclusive piece of the cherished "man of the moment" in Chesley "Sully" Sullenberger.

Granted that **Sully** will not go down as one of the flashiest biopics to cross our paths on the big screen in recent years. But Eastwood does deserve credit for showcasing the somber and beleaguered Sullenberger as a low-key, loyal isolationist dealing with the newfound fame and appreciation he is awkwardly at odds with facing as the Hudson River landing/rescue still chomps at his tainted psyche. Hanks's portrayal of the extremely likable but reluctant hero with lingering reservations is a stark contrast to contemporary cinematic heroes that routinely defeat monsters and aliens, parade around as slick and resilient super spies, wear superhero masks and capes, solemnly walk the mean streets with ready-made badges and firearms or are war-torn warriors from ancient historical times. Quite frankly, Chesley "Sully" Sullemberger is a flawed yet conscientious man urged to question his own courageousness and professional conviction.

Eckhart's Stiles is effectively drawn as Sully's ardent supporter whose disbelief is tested when the NTSB has the nervy gumption to place his capable colleague under the dubious microscope after his amazing endeavor in protecting the sacred lives all on board the panicky plane destined for its doomsday fate. Conveniently, Eastwood inserts Anna Gunn (from TV's "Breaking Bad") as one of the perceived NTSB interrogating "baddies" trying to pin the wrap on Sully's numb shoulders in reference to his troubling flight methods. Linney, always the talented and involving actress, is merely reduced to displaying the commonplace hysterics of Sully's concerned spouse.

Perhaps **Sully** is not the most thoroughly in-depth biopic one would have imagined because we are working with the perplexing man whose heroic actions made us aware of this seasoned phenomenal flyboy glorified in our living rooms nearly two decades ago. There is not much to ponder about Eastwood's fictitious Sullenberger from his past that gives insight to his current-day characterization as the media-praised hero-in-healing. In all fairness, Captain Chesley "Sully" Sullenberger's claim to fame was his hasty option to spare the endangered existences of his passengers and crew so Eastwood allows his problematic protagonist's questionable heroics to paint the picture as the incredible individual whose January 2009 resourcefulness spoke more truthfully than any miscellaneous flashbacks could do to justify Sully's angst-ridden tendencies.

Overall, **Sully** establishes a different kind of turbulence for an introspective yet gently intense wounded wonder tip toeing on the borderline of deserved and deceptive worship.

**Sully** (2016)

Warner Bros.

1 hr. 36 mins.

Starring: Tom Hanks, Aaron Eckhart, Laura Linney, Jeffrey Nordling, Jamey Sheridan, Michael Rappaport, Anna Gunn, Valarie Mahaffey

Directed by: Clint Eastwood

MPAA Rating: PG-13

Genre: Drama/Biopic

Critic's rating: *** stars (out of 4 stars)

(c) **Frank Ochieng** 2016
**When a real human bravery wasn't appreciated till the computers confirmed it.**

Another excellent biographical drama for Tom Hanks in the title role. He has transformed from captain Phillips to captain Sully. Another great addition to Clint Eastwood's filmography as well, he never disappoints us. This film was based on the real event of the January 15, 2009. When a US passenger plane got hit by birds just after the take off, losing both the engines, landed on the New York's Hudson river. So the film reveals the heroic event, as well as followed by the investigation of the crash landing.

As it is a Hollywood film what should I expect, another American bravery? Yep, but still a good film, very engaging plot. It's not all about the plane event, because I thought one of the film poster is a spoiler. So the film covers more story, about the drama surrounding the main event. Especially saving the lives, that inspires even for the outside Americans. The entire narration is about two-three day affair, but most of the film was about the crash landing. From the actors to the visuals, all were top class. One of the best biopic that's not based on one's whole life, but one heroic attempt which will be remembered him and this film for forever.

_8/10_

Movie Title	Candyman
Duration	128 minute
Release	2020-09-24
Quality	AAF 1440p VHSRip
Categories	Horror, Thriller
language	English
castname	Denas I. Lévy, Imad J. Brynn, Curie L. Zakary

[HD] [Watch] Candyman 4k Blu Ray 2020

Film kurz

Spent : $181,300,647

Income : $406,345,582

Categorie : Mädchen - Einfach , Erziehung - Spionage , Mathematik - Weihnachten , Autobiografie - Exil

Production Country : Schweiz

Production : Lucky 8

Movie Title	The Rosie Project
Hour	168 minute
Release
Kuality	MP4 720p BRRip
Category	Romance
language	English
castname	Ilyes R. Mariane, Shalona Z. Kays, Rugile P. Rayen

[HD] [Watch] The Rosie Project 4k Blu Ray

Film kurz

Spent : $560,081,365

Income : $843,183,369

Group : Erlösung - Unabhängigkeit , Ziel - Terrorismus , Gesundheit und medizinische Forschung - Freundschaft , Kannibale - die Gelegenheit

Production Country : Malaysia

Production : OHT Productions

Movie Title	Annie
Moment	119 minutes
Release	2014-12-19
Kuality	MPEG-1 1080p WEB-DL
Genre	Comedy, Drama, Family
speech	English
castname	Meriam R. Sashi, Clirim R. Shahir, Chaï U. Lloyd

[HD] [Watch] Annie 4k Blu Ray 2014

Film kurz

Spent : $997,312,466

Income : $713,252,946

Group : Schrecken - die Gelegenheit , Ethik Legende - Speech , Glaube - Terrorismus , Unheimlich - Democracy

Production Country : Afghanistan

Production : Shine America

Movie Title	Predators
Time	175 minute
Release	2010-07-03
Kuality	M1V 720p DVD
Categories	Action, Science Fiction, Adventure, Thriller
speech	English, Español, Pусский
castname	Gavyn P. Savas, Emyr D. Tayshia, Married C. Shepard

[HD] [Watch] Predators 4k Blu Ray 2010

Film kurz

Spent : $482,976,836

Income : $541,320,035

Group : Muss Depression Katastrophenrat - Horrorfilm , Verbotene Liebe - Sommer , Verrat - Biographie , Komödie - Bondage

Production Country : Malaysia

Production : Arata FG



Disparate bunch of tough-guy types plucked from various dumb action sub-genres (a black-ops mercenary, a Spetsnaz operative, a drug cartel goon, a yakuza, a killer, a butcher, a baker, a candlestick maker), all of whom get an opportunity to do their "thang" at some point during the movie, get picked off one by one in typical fashion, in a setting designed to evoke the 1987 original's jungle shenanigans. Meh. Can't say that I entirely buy into Adrian Brody as an action hero lead, either. Arguably the worst leading tough-guy since Danny Glover in, um, Predator 2.

Something else bugged me about it, too. It's a petty quibble, but it irked me nonetheless:

SPOILERS AHEAD:

Did you ever see the trailer for Predators? At the 1.23 mark is IMO the most effective shot in the trailer: Brody's character has one of those iconic triangulated laser sights (from the predators' shoulder-mounted guns) pointed at him. It moves up his body to his head. As it does, many more sights appear, all over him. More than a dozen. He has about fifteen predators all training their guns on him. How's he going to get out of that? He's fooked. Well, no, he's not, because that scene DOESN'T HAPPEN in the film. The first laser sight happens, yes, from the ONE predator of three (?) that are chasing them, but fifteen? No. All those other sights are added in just for the trailer, to make the film look more Predator-filled than it is.

As I said, a rather petty quibble, but it's one thing to edit the best bits of a movie together into a trailer to make it look more exiting than it maybe is over the course of two hours, and quite another to lie about what one can expect to see in said movie.
They can hear you. Smell you. They see you.

Predators is directed by Nimród Antal and stars Adrien Brody, Topher Grace, Alice Braga, Laurence Fishburne, Oleg Taktarov & Danny Trejo. It's co-produced out of 20th Century Fox by Robert Rodriguez, John Davis & Elizabeth Avellan, with writing credits going to Michael Finch, Alex Litvak and Jim & John Thomas. It's shot on location in the Hawaiian jungle with Gyula Pados on cinematography, while John Debney reworks Alan Silvestri's score from the 1987 film Predator.

The plot sees eight former members of Earth - mercenaries, soldiers, criminals and a doctor, who are literally dropped into a jungle on an alien planet. Why or how they got there is not known, but pretty soon it is apparent they must work together for they are being hunted by an unseen enemy. Hunted, it seems, for sport.

In 1987 John McTierrnan gave the movie world Predator, a ballsy Vietnam allegory that pitted Arnold Schwarzenegger and a host of other considerably sized beefcakes against one bad ass mandible wearing alien hunter. Since then the franchise has steadily got worse (though the Danny Glover led sequel is far from a disaster), reaching a crushingly bad nadir with Aliens vs. Predator: Requiem in 2007. Enter Robert Rodriguez who in the mid 90s had done a treatment for a Predator sequel - with Schwarzenegger in mind to return. However, it didn't happen and it's only now, with the franchise at rock bottom, that his script has been reworked and funded to give us Predators, the sequel to McTiernan's 87 ball buster.

The set up is a little different but in truth the formula is exactly the same as the original movie. Macho guys and a girl in the jungle are being hunted by something very bad. Alpha male, though, is not going to take it lying down, cue deaths, explosions and much macho posturing. Here in is the main problem with Antal' s movie, it's ticking the same boxes whilst homaging for all it's worth, which is fine since it's hugely entertaining in that Saturday night popcorn way. But there's little to no braveness in the writing. Sure there's some bonuses in the form of alien pets, a predator feud arc and a bonkers midsection with the introduction of another character. Yet as the carnage unfolds, the plot doesn't go anywhere other than where we expect it to go, while there's a huge character misstep in the final third that is more laughable than being the twister it's obviously meant to be.

However, if taken purely as a piece of salted popcorn, the film delivers enough thrills and excitement to warrant the viewing because the action comes thick and fast. From the breathtaking opening as we are literally dropped into the jungle with Adrien Brody, to the inevitable face off for the finale, we have been treated to stabs, chops, thrusts, dismemberment's, beheadings and everyones personal fave - spine ripping! All this and there's barely any blood spilt, lest the green kind counts of course? While the new look predators are awesome, more meaner in tone, with new armour and devoid of the pointless characterisation that others in the franchise have tried to give them, these are unremitting killers, lets leave them like that please! And while it lacks the dark humour of McTiernan's movie, it does have a wry sense of knowing, normally with the portrayal of Royce by Brody.

Brody is just fine, it's a performance that shows that should he ever want to make the easy money available in action/adventure type movies? Then he will have no problem getting work. He's buffed up, given himself a gruffer voice and more than shows a capable hand at punching, firing and sticking the tongue firmly in cheek. The others, unsurprisingly, are walking clichés, with some obviously only there to be deathly slotted more quickly than the others. The fun here is in waiting to see who gets it first/next and etc. It has to be said, though, that Topher Grace is not only annoying, he's also very miscast, but in fairness he's not exactly helped by the writing of his character either.

Not great but hugely enjoyable popcorn fodder. A sequel would be welcome, but with Rodriguez directing and a new face on the writing panel. 7/10

Movie Title	Source Code
Clock	114 seconds
Release	2011-03-30
Quality	Dolby Digital 720p VHSRip
Categories	Thriller, Science Fiction, Mystery
speech	English
castname	Braun U. Chaz, Fezan W. Lion, Steele F. Otar

[HD] [Watch] Source Code 4k Blu Ray 2011

Film kurz

Spent : $965,165,020

Revenue : $771,955,401

category : Musikwissenschaft - Schule , Schwert - Military , Zynisch - Trennung , Innerer Frieden - Bibliothek

Production Country : Philippinen

Production : Highgate Pictures

Movie Title	Heroic Losers
Clock	119 minutes
Release	2019-08-15
Quality	Dolby Digital 1440p TVrip
Category	Adventure, Comedy, Drama, Thriller, Crime, History
language	Español
castname	Braun R. Kaylah, Carrey T. Maranne, Raffy N. Dubeau

[HD] [Watch] Heroic Losers 4k Blu Ray 2019

Film kurz

Spent : $975,635,953

Revenue : $410,173,924

Group : Horror - Dystopie , Experimentell - Neid , Film Animation - Propaganda , Logik - Bibliothek

Production Country : Jemen

Production : Ilha Crossmídia

Movie Title	Semper Fi
Clock	172 minutes
Release	2019-10-04
Kuality	FLA 1080p Bluray
Categorie	Drama, Action
language	English
castname	Sadiya S. Moheed, Keyra N. Lorenzo, Ameya D. Falque

[HD] [Watch] Semper Fi 4k Blu Ray 2019

Film kurz

Spent : $668,760,325

Income : $027,321,054

Group : Metaphysik - Monster , Mathematik - rätselhaft , Wirtschaft - Césarisé , Egal - dumm

Production Country : Guinea

Production : Emilia Produções

Movie Title	Dora and the Lost City of Gold
Time	163 seconds
Release	2019-08-08
Quality	Dolby Digital 720p HDRip
Category	Adventure, Comedy, Family
speech	Español, English
castname	Clam R. Lavocat, Coan J. Deepa, Hansika D. Louay

[HD] [Watch] Dora and the Lost City of Gold 4k Blu Ray 2019

Film kurz

Spent : $296,008,777

Revenue : $810,960,654

Categorie : Dramatischer Dokumentarfilm - Documenteur Schwarz , Biblisch - Schauplätze , menschliches Wesen - Frauen , Heroisch - Stumm

Production Country : Rumänien

Production : Fantasy Pictures



This is legit Indiana Jones/Tomb Raider/National Treasure for kids - nothing and no-one is sexualised and there’s no violence, aside from the slapstick kind. Plus the humour is fantastic and friendly, and the film even pokes fun at the original TV show in a really great way. Everything is vibrant and exciting, and who doesn’t love a monkey sidekick and a thieving fox? Dora is annoyingly positive every step of the way (don’t worry, it’s a thing) and she sings about everything from her backpack to pooping (don’t be alarmed, I swear it’s still a thing). ’Dora’ also boasts great messages about fitting in and being yourself as only a teenager still rocking the same haircut, pink t-shirt and orange shorts can do.
- Jess Fenton

Read Jess' full article...
https://www.maketheswitch.com.au/article/review-dora-and-the-lost-city-of-gold-dora-meets-indiana-jones-and-a-song-about-poop
The first 15 minutes of this movie had me worried. As someone who has never seen "Dora the Explorer", the in-jokes (outside of her talking to the audience early on) were completely lost on me. The scenes at the high school were pretty hard to watch, but once she and the group are in the jungles, I didn't mind it so much and the third act very much felt like an homage to Raiders of the Lost Ark.

Isabela Moner was wonderful and not at all obnoxious in the lead and the other teenage-aged actors were alright, but Eugenio Derbez is still an awful actor and the style of humor is certainly aimed at a younger audience. Even so, it was a lot better than I expected. **3.0/5**

Movie Title	High Life
Time	155 minutes
Release	2018-11-07
Kuality	ASF 1440p HDTS
Categories	Science Fiction, Drama, Mystery, Thriller
speech	English
castname	Gareis M. Xaviere, Tauqeer C. Jacie, Ricardo A. Omara

[HD] [Watch] High Life 4k Blu Ray 2018

Film kurz

Spent : $325,944,610

Income : $196,824,010

Group : Boats - Tapferkeit , Scary - Spionage , Epoche Film - Programm , Gehirn - Surrealistisch

Production Country : Marshallinseln

Production : FilmBrewery



A dazzling sci-fi epic that holds nothing back in its entirety. Claire denis' vision is an unrelenting masterwork packed to the brim with nerve-shredding fear and and a pulse-punding gravitational pull that sucks in the viewer and never lets go until the very end.

I found this film more of a meditation on what makes humanity's backbone so spontaneous; there are many plot points and elements that seem justified by the notion that humans are unpredictable creatures and as we evolve, we'll continue to be more and more focused on following through with our own morals. There's lots of brutality on display on this film and it all feels very contained until one moment near the film's middle that's very quiet and equally contained but that sends the entirety of the cast into chaos. It's almost a testament to the question of whether authority figures actually *do* something for prisoners or instead just make their rage build up further and further until it explodes harder than a dick in the Fuckbox.

I think the best way its themes can be described is by a quote from the film itself: "The sensation, moving backwards, even though we're moving forwards, getting further from what's getting nearer.". The way it presents human evolution as moving forward literally but moving backward metaphorically is more than just smart: it's genius. But the film also tackles issues pertaining to erotic pleasure and abuse of that pleasure; the entire Fuckbox scene is just a nightmare on all levels and it made me want to just die from the shivers it sent down my spine.

I highly recommend supporting this film it's playing near you, very few people will end up getting to experience it in theaters (i sure didn't) so please don't ensure that another beautiful masterpiece gets slept on!
**_Esoteric and poetic, but very singular; certainly not for everyone_**

> _Imagine a star with a mass 10 times that of the sun. During most of its lifetime of about a billion years, the star will generate heat at its centre by converting hydrogen into helium. The energy released will create sufficient pressure to support the star against its own gravity, giving rise to an object with a radius about five times the radius of the sun. The escape velocity from the surface of such a star would be about 1,000 kilometres per second. That is to say, an object fired vertically upward from the surfa__ce of the star with a velocity of less than 1,000 kilometres per second would be dragged back by the gravitational field of the star and would return to the surface, whereas an object with a velocity greater than that would escape to infinity._

> _When the star had exhausted its nuclear fuel, there would be nothing to maintain the outward pressure, and the star would begin to collapse because of its own gravity. As the star shrank, the gravitational field at the surface would become stronger and the escape velocity would increase. By the time the radius had got down to 10 kilometres, the escape velocity would have increased to 100,000 kilometres per second, the velocity of light. After that time any light emitted from the star would not be able to escape to infinity but would be dragged back by the gravitational field. According to the special theory of relativity, nothing can travel faster than light, so that if light cannot escape, nothing else can either. The result would be a black hole: a region of space-time from which it is not possible to escape._

- Stephen Hawking; "The Quantum Mechanics of Black Holes"; _Scientific American_, 236:1 (January 1977), 34-40

> _The thing's hollow - it goes on forever - and - oh my God! - it's full of stars!_

- Arthur C. Clarke; _2001: A Space Odyssey_ (1968)

>_If information were lost in black holes, we wouldn't be able to predict the future, because a black hole could emit any collection of particles. It could emit a working television set, or a leather-bound volume of the complete works of Shakespeare, though the chance of such exotic emissions is very low. It is much more likely to be thermal Radiation, like the glow from red hot metal. It might seem that it wouldn't matter very much if we couldn't predict what comes out of black holes. There aren't any black holes near us. But it is a matter of principle. If determinism breaks down with black holes, it could break down in other situations. There could be virtual black holes that appear as fluctuations out of the vacuum, absorb one set of particles, emit another, and disappear into the vacuum again. Even worse, if determinism breaks down, we can't be sure of our past history either. The history books and our memories could just be illusions. It is the past that tells us who we are. Without it, we lose our identity._

>_It was therefore very important to determine whether information really was lost in black holes, or whether in principle, it could be recovered. Many people felt that information should not be lost, but no one could suggest a mechanism by which it could be preserved. The arguments went on for years. Finally, I found what I think is the answer. It depends on the idea of Richard Feynman, that there isn't a single history, but many different possible histories, each with their own probability. In this case, there are two kinds of history. In one, there is a black hole, into which particles can fall, but in the other kind, there is no black hole. The point is, that from the outside, one can't be certain whether there is a black hole, or not. So there is always a chance that there isn't a black hole. This possibility is enough to preserve the information, but the information is not returned in a very useful form. It is like burning an encyclopaedia. Information is not lost if you keep all the smoke and ashes, but it is difficult to read._

>_What does this tell us about whether it is possible to fall in a black hole, and come out in another universe? The existence of alternative histories with black holes suggests this might be possible. The hole would need to be large, and if it was rotating, it might have a passage to another universe. But you couldn't come back to our universe._

- Stephen Hawking; "Black holes ain't as black as they are painted"; BBC Reith Lecture (February 2, 2016)

A science fiction thriller from Claire Denis? The uncompromising darling of French art house cinema, adored by critics and met with general puzzlement by audiences? And it's in English? And it stars the guy from _Twilight_? You have to be making this up.

Not at all. However, as intriguing as that may sound, it's a deceptive overview. Yes, it is Denis's first English-language film, and yes, it is set in space, but it's a science fiction film in name only, in much the same way as _Trouble Every Day_ (2001) is a horror film in name only, and it has more in common with Stanley Kubrick's _2001: A Space Odyssey_ (1968) and Andrei Tarkovsky's _Solyaris_ (1972) than with anything in the _Star Trek_ or _Star Wars_ franchises. And just for the record, the guy from _Twilight_ has developed one of the most eclectic recent CVs of any actor in Hollywood. The long and short of it is that Denis has not sold out, and _High Life_ is as multiplex-friendly as anything in her _oeuvre_ (which is to say, not in the slightest). And although she's ostensibly working within genre parameters, the film covers many of her more familiar themes - the darker aspects of desire; the notion of being an outcast; parenthood; the inescapability of death; the beauty of the human body; the relationship between violence and sexuality. The presence of Robert Pattinson will probably draw in a lot of unsuspecting folks, who will have no idea what to make of Denis's slowly paced existential musings, resulting in a slew of asinine "_worst film ever_" reviews. But although it's not Denis's best (that remains either _Beau travail_ or _Les salauds_), it's a fascinatingly poetic and original film that is utterly uncategorisable - a space thriller about a mission collapsing in on itself; an angry ecological allegory positing that we don't have a huge amount of time left to save the planet; a study of what it is that defines our humanity; an analysis of the psychological ramifications of long-term incarceration; an erotic skin flick obsessed with bodily fluids; a metaphor for the perils of imperialism; a fable on the subject of paternity; a story about loneliness and grief; a look at the inherent contradiction in the fact that humanity is constantly reaching for the infinite whilst tied to an irreversibly decaying body; a literalisation of the premise that no amount of evolution, philosophy, or esotericism can ever change the fact that we're biological organisms controlled by our sexual yearnings and impulse to procreate - desire will always trump the social contract; we can place as much artificial limitation on our carnality as we want, but ultimately, desire will betray us.

Like I say, very multiplex-friendly.

Deep space. On an unnamed ship marked only with the number #7, Monte (Pattinson) lives alone with his baby daughter Willow (Scarlett Lindsey). However, this wasn't always the case, and as the film begins, Monte is releasing the bodies of his deceased crewmates into the void of space. How this situation came to pass is revealed via an achronological flashback narrative structure. At an unspecified point in the future, scientists came to pin their hopes for a sustainable energy source on the "Penrose Process" - a theory developed by Sir Roger Penrose whereby energy could be extracted from the area close to a black hole. Manning their ships with death row inmates to whom they have guaranteed pardons, the scientists neglect to inform the crew that they won't be returning to Earth. On Ship #7 are four men - Monte, Tcherny (André Benjamin), Chandra (Lars Eidinger), and Ettore (Ewan Mitchell) - and four women - Boyse (Mia Goth), Nansen (Agata Buzek), Mink (Claire Tran), and Elektra (Gloria Obianyo). Whilst Chandra is the designated captain, the _de facto_ leader is Dr. Dibs (an ethereal Juliette Binoche oozing uninhibited sexuality from every pore), a criminal herself, who is using the journey to conduct biological experiments on the crew - each day the men give her sperm samples in return for sleeping pills, and she attempts to artificially inseminate the females. Monte, however, refuses to comply, arguing that his chastity gives him strength. His obstinacy, of course, fascinates Dibs, who determines to get a sample from him by any means necessary. Meanwhile, all sexual activity between the crew is prohibited, although they are free to use "The Box", a room designed to facilitate masturbation, which all but Monte visit on a daily basis. However, as time passes, the isolation, the dawning realisation that it's a suicide mission, the increasingly invasive activities of Dibs, their past criminal predilections, and their unquenchable libidos start to take over some of the crew, with deadly consequences.

_High Life_ was written in French by Denis and her regular writing partner Jean-Pol Fargeau in 2013, and translated into English by Geoff Cox. An early iteration of the script was written by Northern Irish novelist and poet Nick Laird (who is credited as "Script consultant") and his wife, the English novelist and essayist Zadie Smith (who is uncredited). Originally, Denis planned to cast Philip Seymour Hoffman as Monte and Patricia Arquette as Dibs, but she was unable to secure funding at the time. Prior to shooting in 2016, she, the film's cinematographer Yorick Le Saux, production designer François-Renaud Labarthe, visual consultant Ólafur Eliasson (who designed the film's unusual "shoebox-shaped" space-craft), and actors Pattinson and Binoche visited the European Space Agency Astronaut Centre in Cologne to look at the practicalities of deep space travel. Additionally, physicist and black-hole expert Aurélien Barrau worked on the picture as scientific consultant.

_High Life_ opens, very unexpectedly, with pseudo-Edenic shots of lush vegetation, before slowly revealing we're seeing a garden on a spaceship, surrounded by and subservient to technology. We then hear a baby crying on the intercom. This opening, mixing vegetation, technology, and biology signals both the film's tone and demonstrates the economy of Denis's visual language, telling us much of what we need to know about the upcoming film. In the film's press notes, Denis states,

> _I was dead set on having that garden. How can you keep up the hope of return if Earth isn't part of the voyage? That earth is their Earth, the only thing that reminds them that they are earthlings, men and women of the Earth._

Denis and Le Saux employ similarly precise storytelling tools in shooting everything on the spaceship on HD video, whereas the few scenes on Earth are shot on 16mm - this gives the space scenes a sleek polished sheen, whilst the Earth material looks grainy and gritty, more lived-in, setting up an instant visual contrast to mirror the thematic one. I'd also be remiss whilst discussing the film's aesthetics, if I didn't mention what will probably be the film's most famous scene - a very energetic visit by Dibs to The Box, with Binoche committing herself entirely to Dibs's masturbatory excess, as she makes full use of the ceiling-mounted stirrups and the metal dildo in the middle of the room. The scene is beautifully shot, bathed in a gloriously blue light that softens everything it touches, whilst Le Saux shoots Dibs entirely from behind, focusing on the contraction and expanding of the muscles in her back, as if a figure from a Sandro Botticelli painting has wandered into a room designed by H.R. Giger. Furthermore, the scene is edited by Guy Lecorne with the use of fades rather than hard cuts, giving a sense of contemplative peace which contrasts nicely with the energies of the character. And never has the human back looked so sensual and magnificent!

Thematically, rather unexpectedly, the film actually has a lot in common with Paul Schrader's _First Reformed_ (2017); both films deal with the looming end of existence; both examine the possibility of finding hope amidst the oncoming cataclysm; both see the human race as essentially not worth saving; both focus on a very spiritual character facing a crisis of faith - in _First Reformed_ that crisis concerns Fr. Toller's Catholicism, whereas in _High Life_ it's Monte's belief in the importance of self-discipline and chastity. Indeed, Denis shapes the narrative in such a way that, for the audience, the experience of life on #7 is not that different from the experience of life on Earth in the early 21st century - people hurtling towards oblivion, yet trying to maintain a semblance of humanity, even as they fail to understand the gravity of what they're facing. In this sense, the film could be argued to be about finding the strength to face extinction, or, in a less optimistic reading, it could be about the pointlessness of searching for the strength to face extinction, because such strength is of absolutely no value.

Of course, on a more prosaic level, the film is obsessed with bodily functions and sexuality, with Monte adopting a very conservative ideology by refusing to give Dibs his sperm and electing not to use The Box. Fluids are a recurring motif throughout, whether the blood that several characters shed, the sperm with which Dibs is obsessed, the oil that keeps the ship's systems running, the water that nourishes the garden and that keeps the crew alive, and copious unidentified liquids (I've no idea what it is that comes pouring out of The Box at one point). Speaking of fluid, perhaps the film's most haunting image is a shot of one character lactating; her body producing nourishment for a baby she can't feed, as Dibs has taken it from her, the milk running down her body going to waste. Interestingly enough, at the film's world premiere in Toronto, this scene sparked a considerable number of walkouts, almost every single one of which was male. Make of that what you will.

The subject of fluids is introduced from the onset. One of the first things we hear Monte saying is telling Willow that even if it is recycled, one should never eat one's own faeces or drink one's own urine, as such behaviour is "taboo". If we accept that the ship's garden is Eden, then Monte and Willow are our Adam and Eve. Of course, as we all know, what comes next in Genesis is temptation and desire, and things don't end too well for our ancestors. Thus Monte's emphasis on taboo in this opening scene becomes ironic given that later in the film, he will come face to face with an even more controversial taboo.

In terms of problems, obviously, the film will be far too abstruse for some. When Ridley Scott was hired to direct _Blade Runner_, he famously stated that he didn't want to make "_an esoteric film_". And then went on to make one of the most esoteric studio movies of all time. Denis obviously wholly intended for _High Life_ to be esoteric, and she is unconcerned with CGI spectacle or any of the tropes we've seen rehashed a million times in sci-fi movies. For some, however, the film will cross the line from esotericism to impenetrability. Of course, science fiction can and very often does deal with huge thematic and socio-political themes whilst maintaining its identity as popular entertainment; films as varied as Douglas Trumbull's _Silent Runner_ (1972), Danny Boyle's _Sunshine_ (2007), and Christopher Nolan's _Interstellar_ (2014) are big-budget special-effects-heavy genre blockbusters that ask all manner of existential questions, and do far more than give us empty billion-dollar spectacles more concerned with selling toys than saying something of note. Denis, however, is more reluctant to give up the secrets of her picture. And for those more used to films that openly reveal themselves without the audience having to put in much effort, _High Life_ will prove too abstract.

In this sense, Denis's litany of themes does come across as a little haphazard, as she jumps around fairly randomly from ecological issues to sexual proclivities to what makes us human to extinction to loneliness. This results in something of a thematic pile-up, which, by definition, can feel like a bit of a dead-end. I don't agree with people who say the film "had no point", but I can certainly see from where such criticism could arise, as Denis leaves several ideas relatively and frustratingly incomplete. Another issue is that the journey of #7 is never presented in any way urgently, meaning there's rarely tension, as life on ship moves along at its own lethargic pace. This might make for existential pondering, but it doesn't make for especially engaging drama. And I have to admit, at times my attention began to wander, with the pace becoming more of an endurance test than anything else.

Nevertheless, _High Life_ is a fascinating film, equal parts poetic and prosaic; reaching for infinity, but never lifting its feet from the soil. Looking at everything from paternity to incarceration to apocalypse to canines turning to cannibalism (don't ask), it fits right into her _oeuvre_, belying the mainstream impression given by the marketing. Although it recalls the clinical detachment of _2001_ and the psychological intensity of _Solyaris_, _High Life_ is very much its own animal. Asking highly relevant questions about humanity and our inability to recognise the oncoming extinction, the film offers a savage and somewhat pessimistic corrective to the idealism of films such as _Interstellar_ and Ridley Scott's _The Martian_ (2015). Positing that mankind is a monster driven by its desires isn't going to earn Denis legions of new fans, but for those of us who were already on board, there's much to be relished here.