Movie Title	Johnny English Strikes Again
Clock	172 seconds
Release	2018-09-13
Kuality	DTS 1440p WEBrip
Category	Comedy
speech	English
castname	Garrel H. Vogt, Sana D. Ibtisam, Ruban Z. Otar

[HD] [Watch] Johnny English Strikes Again 4k Blu Ray 2018

Film kurz

Spent : $476,507,999

Income : $751,954,278

categories : Ziel - dumm , Mädchen - Idee, Geschichte - Physiologie , ParParties - Weihnachten

Production Country : São Tomé

Production : Associated Press

Movie Title	What If
Hour	184 minute
Release	2013-09-07
Kuality	MPEG-1 1080p Bluray
Categorie	Drama, Comedy, Romance
speech	English
castname	Jasmyn E. Bugault, Kiyoko Q. Agron, Isabell J. Salomon

[HD] [Watch] What If 4k Blu Ray 2013

Film kurz

Spent : $680,530,226

Revenue : $206,150,487

Group : Horror - Frühling , Patriotismus - Battlefield , Zweitens der Name - Skepsis , Verantwortung - Money

Production Country : Araber

Production : 8P Entertainment

Movie Title	Boy Erased
Duration	197 minute
Release	2018-09-24
Kuality	MPE 1080p DVD
Genre	Drama
speech	English
castname	Yoselin O. Marilyn, Lavoie Y. Ugochi, Oluchi Y. Sandie

[HD] [Watch] Boy Erased 4k Blu Ray 2018

Film kurz

Spent : $236,059,049

Revenue : $041,187,890

Group : Quinqui - Neid , Geist - Women , Philosophie - Preis , Hochzeit - Einfach

Production Country : Papua-Neuguinea

Production : Hunan Television



Yet another anticipated film from an actor-turned-director is Boy Erased, the work of Golden Globe nominee Joel Edgerton, who wrote and stars in the film.

The flick follows the recently outed son of a Baptist preacher, Jared (Lucas Hedges), after he’s forced to partake in the church’s gay conversion program. Based on the critically acclaimed memoir by Garrard Conley, Boy Erased features an all-star cast which, in addition to Hedges and Edgerton, boasts Oscar winners Nicole Kidman and Russell Crowe
**_Clearly comes from a place of respect, but it's emotionally unengaging and rather dull_**

> _Congress should oppose any effort to put gay and lesbian relationships on an equal legal status with heterosexual marriage. Congress should oppose any effort to recognize homosexual's_ [sic] _as a "discreet_ [sic] _and insular minority" entitled to the protection of anti-discrimination laws similar to those extended to women and ethnic minorities. Congress should support the reauthorization of the Ryan White Care Act only after completion of an audit to ensure that federal dollars were no longer_ _being given to organizations that celebrate and encourage the types of behaviors that facilitate the spreading of the HIV virus. Resources should be directed toward those institutions which provide assistance to those seeking to change their sexual behavior._

– Mike Pence (current Vice President of the United States); Campaign statement when running for Congress, 2001

_Boy Erased_ is one of those films it seems almost churlish to criticise for its formal aspects, given that it obviously comes from a place of deep respect, has genuinely laudable intentions (albeit with one eye on award season), and says something undeniably important and just. Written and directed by Joel Edgerton (who also stars and produces), the film is based on Garrard Conley's _Boy Erased: A Memoir of Identity, Faith, and Family_ (2016), the true story of his experiences with conversation therapy in Arkansas in 2004. In a political climate where progressive thinking seems to be backsliding more and more, given the regressive beliefs of many of those in power, one should celebrate a film which highlights the barbaric concept of enforcing heteronormative social mores by way of psychological, and often physical, abuse. However, simply because a film has good intentions, it doesn't necessarily follow that it's a good film, and _Boy Erased_ is such an example; a film whose aims can be praised, but whose flaws cannot be ignored. Whereas Desiree Akhavan's recent _The Miseducation of Cameron Post_ approached similar subject matter from a perspective of irreverence and satire, _Boy Erased_ is far more sincere. And because of its self-seriousness and its insistence on keeping the audience emotionally distanced from the characters, it remains underwhelming, never getting anywhere near the kind of emotional highs and lows one might anticipate from such inherently sensitive material. It's a topical and morally laudable film, unquestionably. One wishes it were simply better than it is.

Set in 2004, the film begins as 19-year-old Jared Eamons (Lucas Hedges) attends his first day at Love in Action, a conversion therapy program in Arkansas. The son of Southern Baptist preacher and car salesman Marshall (Russell Crowe) and his wife Nancy (Nicole Kidman), Jared is initially looking forward to the program, keen to be purged of his homosexual impulses. Run by Victor Sykes (Edgerton), the program is based on the concept that homosexuality is a choice influenced by poor parenting and moral abnormalities in a person's extended family, and thus Sykes has students draw a family tree indicating such things as drug or alcohol addiction, use of pornography, criminal convictions etc. Students must also sign a waiver declaring that they won't speak with anyone about what occurs during therapy. Other students include Jon (Xavier Dolan), who is so fanatically devoted to conversion, he refuses to even touch other men, although he turns up every day with fresh bruises; Gary (Troye Sivan), who has made peace with his homosexuality, and plans to pretend to be straight until he can leave; and Cameron (Britton Sear), a timid aspiring footballer. Meanwhile, Nancy rents a nearby motel room where she and Jared will stay for the duration of the program. However, Jared soon learns from Jon and Gary that there is no specific end-point for the therapy, and if he fails to convince Sykes that he is straight, he may be required to move onto the campus full-time. The backstory of how he came to be signed up to the program then unfolds achronologically, intercutting his increasingly unsettling time at Love in Action with such incidents as his awkward first sexual encounter with his ex-girlfriend, Chloe (Madelyn Cline); his first homosexual experience at college, with his running-partner, Henry (Joe Alwyn); a non-sexual relationship with a fellow college student, Xavier (Théodore Pellerin); how his parents found out about his homosexuality; and Marshall's decision, taken in consultation with two church elders, to send Jared to therapy.

I'm a heterosexual male from a country where conversion therapy isn't really a thing; there is only one conversion therapy program in Ireland, and, as of January 2019, a bill to outlaw such therapy is passing through the Oireachtas. Given my very limited exposure to the subject, I was more than a little surprised to learn that in the US, only 15 states (plus Washington, DC) have legislated against the practice, and in the remaining 35, it's perfectly legal. To be honest, I can't even get my head around the fact that some people won't accept homosexuality amongst their family or friends, so the concept of parents knowingly exposing their children to psychological abuse so as to "pray away the gay", and doing so within the scope of the law, is completely beyond the realm of comprehension. That such things still happen in a modern so-called civilised western society is both deeply disturbing and incredibly upsetting, and it is this world into which _Boy Erased_ offers a window.

Once Jared is installed at Love in Action, it isn't long before Sykes begins to preach "_you cannot be born homosexual. It's a choice_" and "_God will not love you the way that you are_". At the same time, the students are tutored in "_masculine_" physicality (don't cross your legs when seated, don't slouch, always shake hands firmly), discouraged from anything that deviates from heteronormative behaviour (Jared has pages from a notebook of short stories torn out and discarded), and advised on what not to read (when Sykes learns Jared's college course includes such titles as Oscar Wilde's _The Picture of Dorian Gray_ (1890) and Vladimir Nabokov's _Lolita_ (1955), he suggests that Jared shouldn't return to his studies, committing instead to Love in Action full-time).

However, the film is not confined to the program, also offering an examination of some of the attitudes of fundamentalist religiosity toward sexuality. Significantly, when Marshall learns that Jared is planning on spending the night with Chloe, he is quite proud of his son, although both Marshall and Nancy already assume that Jared and Chloe will be getting married in the not-too-distant future. Although the film admirably resists the urge to vilify Marshall or Nancy, even Love in Action itself, Edgerton is unequivocal in condemning a system that compartmentalises anything with which it disagrees as "_taboo_", thereby retarding any kind of discussion. Love in Action is predicated on making young people feel guilty regarding the "sin" of their sexual practices and/or impulses, whilst at the same time reinforcing the infallibility of church doctrine. This instils a deep-rooted sense of torment for young men and women who are already confused about what they are feeling - if a person's predilections are directly in contradistinction to church dogma, then such predilections must obviously be immoral and against God; the irreconcilability of innate homosexual desire with the fact that such homosexuality is a sin.

The film opens with voiceover narration over home video footage of Jared as a baby, immediately setting him up as the focal character, and inculcating us into his world. Indeed, Jared appears in every scene, although, strangely, voiceover is never employed again, rendering this initial use stylistically isolated. Visually, the film is drab and unimaginative, but deliberately so. This blandness may initially seem disappointing, given that Edgerton's 2015 directorial debut, _The Gift_, was visually impressive. However, in _Boy Erased_ the design is intended to mirror the interior of Love in Action - a place of functionality over aesthetic nuance, a place where neutralising colours are used to enforce reserve and restraint at the expense of vitality. If anything, Edgerton is too successful with this mirroring, as the insipidness of the Love in Action scenes often bleeds into the scenes outside the program. Had Edgerton, cinematographer Eduard Grau (_A Single Man_; _Buried_; _Suite Française_), and production designer Chad Keith (_Take Shelter_; _Midnight Special_; _Leave No Trace_) showed a little more _panache_ when depicting the outside world, such scenes would have been far more thematically impactful, as their visual differentiation would have served the central tenets of the film.

In terms of the acting, as Jared, Lucas Hedges has a difficult task, playing a character that becomes increasingly withdrawn and emotionally shut down as the film progresses. From the very beginning, Jared is somewhat distant, making it difficult to determine if his muted emotions are part of Hedges's performance or a weakness in that performance. For example, is his inherent lack of fear a component of the character, or is Hedges simply not tapping into the necessary emotions? That this might be the case can be seen if one compares his performance to that of Xavier Dolan as Jon, who exudes desperation and existential panic every second he's on screen. Of course, Jared is very much a passive character, with only one notable example of him asserting his own agency and breaking through the emotional paralysis which has stifled the character (and the actor). When this scene does come, it's quite powerful, with Hedges playing it in such a way as to suggest the release of long-gestating pressure. On the other hand, in a scene where he screams and throws rocks at a glass-encased picture of a male model, the performance comes across as a performance and doesn't ring emotionally true. As a whole, I felt that Hedges played Jared pretty much identically to how he played Patrick in Kenneth Lonergan's _Manchester by the Sea_ (2016).

Kidman plays Nancy as a woman who very much subscribes to the notion that the man is the head of the household, accepting Marshall's decision to send Jared to therapy without openly questioning him. However, it's obvious from the start that she's not entirely comfortable. Later, as she starts to learn some of what is going on behind the closed doors of Love in Action, her attitude becomes more and more adversarial. She has a particularly good scene where she finally persuades Jared to allow her to read Love in Action's manifesto, and is equal parts shocked by the content and amused by the spelling mistakes (she finds one particular reference to "_Almighty Dog_" especially funny and especially worrying). Kidman plays the scene with a mixture of horror, amusement, and a desire to step in and protect her child, and she modulates these conflicting emotions perfectly.

As for Marshall, instead of him being the token villain of the piece, Crowe plays him as fundamentally conflicted. He loves his son deeply and is devastated by what has happened, so he never goes the clichéd route of condemning him from the pulpit and casting him into eternal hellfire. Marshall genuinely wants to help Jared, and even more so, he wants to understand, but is prevented from doing so by a lifetime of faith and his absolute conviction of his own moral certitude. Despite the character's flaws, Crowe's quiet and restrained performance elicits a degree of sympathy for a man who is clearly out of his depth, unable to overcome the indoctrination which is now making a relationship with his son an impossibility. As Sykes, Edgerton gives an almost robotic performance, playing the character as a regimental fundamentalist. A man without any peripheral vision in terms of morality and devotion to God, he is the kind of person who not only refuses to accept opinions that are in contradistinction to his own, but who is unable to even get his head around the fact that such opinions exist at all.

However, despite the strong performances from both Kidman and Crowe, the film fails to depict the texture and nuances of the family dynamic. All three family members are, to a certain extent, types rather than fully fleshed out individuals. Along the same lines, none of the Love in Action students are granted any kind of arc or personality beyond that of the archetype they represent. Jon, Gary, and Cameron are all sketches of characters we've seen time and again in this kind of pseudo-prison narrative, and the film often falls back on generic tropes - hypocritical authority figures; a sadistic authority figure who is abusive beyond the parameters of the program (played by Flea from the Red Hot Chili Peppers); the "inmate" on the verge of complete psychological breakdown (think Pyle (Vincent D'Onofrio) from Stanley Kubrick's _Full Metal Jacket_); the focal character resisting the mandates of the institution (think McMurphy (Jack Nicholson) in Miloš Forman's _One Flew Over the Cuckoo's Nest_ or Dufresne (Tim Robbins) in Frank Darabont's _The Shawshank Redemption_). Regarding Sykes, a postscript describing his own sexual preference casts his character in a completely different light, and would have made for fascinating material had it been incorporated into the narrative. Granted, this is Jared's story, not Sykes's, but that doesn't change the fact that more information on his background (especially given what the postscript reveals) would have been very welcome.

It's also somewhat problematic that the only homosexual sexual activity depicted in the film is a rape. It's a powerful scene in and of itself, brilliantly shot in a single static take which forces the viewer to watch what is happening unmediated by editing or blocking. However, it's unsettling that Edgerton never shows us any consensual and pleasurable homosexual content. True, the film is not about sexual activity, so to only show one scene of such activity is fair enough in theory. But it remains problematic that the only time we see a homosexual character acting on their impulses is a rape scene. What is one supposed to take from that? Presumably, the scene is supposed to balance against the scene where Jared spends the night with Xavier without becoming physical. However, this scene is given far less time than the rape, and the character who rapes Jared is given far more characterisation than Xavier, creating a noticeable imbalance.

Another problem is that, as a whole, it's an extremely cold film, remaining always distanced, either unwilling or unable to really get into the fear and psychological trauma inflicted upon the attendees of programs such as Love in Action. Perhaps Edgerton was trying to avoid exploitative or manipulative emotion, but whatever the case, he has made a film that is itself emotionless, undercutting the harrowing story it tells by always keeping the audience one or two steps removed. Jared, in particular, is never depicted with anything resembling emotional specificity. We never feel his torment or loneliness, with his character depicted only to the extent necessary to drive the plot, and far too distanced for him to emotionally impact the audience.

_Boy Erased_ is a laudable film dealing with an important subject, but it's also quite a poor film, with a disjointed narrative and paper-thin characters, redeemed only by fine performances from Kidman and Crowe. The biggest problem is that it insists on pushing the audience away, presenting the story clinically rather than emotionally, a dispassionate reportage rather than an angry denunciation. Edgerton's even-handedness is to be commended, as is his refusal to cast the parents, or even Love in Action itself, as the villains, and his avoidance of emotional manipulation is praiseworthy up to a point. However, there comes a moment in the film where you realise that you're as close to these characters as you're going to get, yet they have still only been summarised. The film will probably go on to be an important document in the ongoing attempt to eradicate this cruel practice. It will probably open the eyes of a lot of people who didn't know much about this subject. It is well-intentioned, and comes from a place of compassion and respect. It's just not an especially good film.

Movie Title	The Sisters Brothers
Time	121 minute
Release	2018-09-19
Kuality	M4V 1080p BDRip
Category	Comedy, Western
speech	English
castname	Cobb P. Baylea, Clovis S. Ashwyn, Bharath G. Blum

[HD] [Watch] The Sisters Brothers 4k Blu Ray 2018

Film kurz

Spent : $710,210,229

Income : $337,602,448

Group : Hingabe - Abenteuer , Literatur - Werbung , Maritimes Drama - Immortality , Patriotismus - Frühling

Production Country : Palau

Production : Flying Gherkin



Certainly the better of the two Westerns I've seen today, but I'm also not really feeling the love with _Sisters Brothers_ like everybody else seems to be.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
_**A plodding and overlong tale of violence and redemption that doesn't seem to know quite what it's trying to say**_

> _You are afraid of hell. But that's all religion is, really. Fear of a place we'd rather not be, and where there's no such a thing as suicide to steal us away._

- Patrick deWitt; _The Sisters Brothers_ (2011)

_The Sisters Brothers_ is a film set in the American Old West, based on a book by a Canadian, made by a mostly French crew, shot primarily in Spain and Romania, featuring a Brit as an American, an American as a Brit, and a British trans comedian as a ruthless American businesswoman. And I don't bring this up out of mere frivolousness; rather, a certain element of schizophrenia is built into the film's very DNA. On the surface it's a Revisionist Western with a gritty Spaghetti aesthetic focusing very much on a group of anti-heroes, but it's also a story of two brothers getting on one another's nerves, a tale of avarice and the destructive potential of progressive thinking, a chase movie, a dark comedy, a tragic fable, an examination of the days when the Old West was giving way to an ever-encroaching modernity, a look at how the sins of the father are oft repeated by the children, a study of competing types of masculinity, and even a political thesis, postulating that there was a time in American history when certain people genuinely believed they could build a harmonious society based on direct democracy and the kind of socialist attitude to capitalism that would make even Bernie Sanders blush.

The English language debut of French director Jacques Audiard, who adapted the script with his regular writing partner Thomas Bidegain from Patrick deWitt's 2011 novel of the same name, the film posits that even those who seem irredeemable may one day find a path to redemption. Very much of a piece with Audiard's more celebrated humanist work such as _De battre mon cœur s'est arrêté_ (2005), _Un prophète_ (2009), and _Dheepan_ (2015), _The Sisters Brothers_ works primarily as a character study about people trying to do what they feel is right in a world arrayed against them. Unfortunately, it did next-to-nothing for me. I wouldn't say it's a bad movie, as it clearly has a lot going for it; not the least of which is an unapologetic foregrounding of character over plot. However, its episodic rhythm, bifurcated narrative structure, and poorly-defined morality left me unengaged, frustrated, and rather bored.

1851; the height of the California Gold Rush. In Oregon, Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) are hired guns working for "The Commodore" (a criminally underused Rutger Hauer). Far more sensitive and thoughtful than his younger brother, Eli is growing weary of the lifestyle, wanting to retire, settle down, and open a grocery store. The more unpredictable and volatile Charlie, however, wants to keep on killing indefinitely. After a mission descends into disarray, Eli is unimpressed when The Commodore appoints Charlie as "lead man" for their next quarry; a mild-manner chemist named Hermann Kermit Warm (Riz Ahmed). Telling Eli that Warm has stolen something from The Commodore which they are to retrieve, Charlie is under orders to keep their real purpose to himself for the time being. Unsure of Warm's exact location, The Commodore has already sent highly-intelligent tracker John Morris (Jake Gyllenhaal), a man too gentile for killing, to pick up his trail and detain him until the brothers catch up. Keeping them abreast of his progress via a series of letters, it doesn't take long for Morris to find Warm, telling the brothers he will await them in Jacksonville. However, when Warm learns that The Commodore has sent men after him, he explains to Morris that he has created an elixir that when poured into a river, will illuminate any gold deposits on the river bed, with the only catch being that the potion is extremely caustic, and any sustained exposure results in severe burns. Recognising that Morris is only an advance, he guesses that whoever is still to come is under orders to torture the formula out of him and then kill him. Learning that Warm doesn't want to use the gold for himself, but to help establish "_an ideal living space, ruled by the laws of true democracy and sharing_", Morris decides to join him, and they head to San Francisco in an attempt to evade the approaching brothers.

A passion project for star and producer John C. Reilly, who purchased the rights to deWitt's novel shortly after it was published, it was he who first brought the material to Audiard's attention. One of the best-reviewed films at the 2018 Venice Film Festival, where it won Audiard his first Silver Lion for Best Director, when the film went on general release in North America later the same month, it flopped badly, earning only $3 million against a $38 million budget. That's a shame, as Audiard is immensely talented, and although I personally didn't enjoy this particular film, he deserves as much success as he can get. In terms of the novel, I don't know a huge amount about it, but I would imagine Warm's desire to build a Phalanstère in Dallas is inspired by La Réunion, a Fourierist-based utopian community founded in 1855 by Victor Prosper Considerant on the banks of the Trinity River. Wishing to make La Réunion a "communal experiment administered by a system of direct democracy", Considerant planned to allow participants to share in profits from capital investments. However, the settlement lasted only 18 months before financial insolvency, shortage of skilled participants, inadequate farming methods, and untenable maintenance costs led to its dissolution.

As one would expect from Audiard, working with his regular editor Juliette Welfling (_Le scaphandre et le papillon_; _The Hunger Games_; _Ocean's 8_) and production designer Michel Barthélémy (_Dobermann_; _Les salauds_; _Frantz_) and for the first time with cinematographer Benoît Debie (_Irréversible_; _Lost River_; _One More Time with Feeling_) and costume designer Milena Canonero (_Barry Lyndon_; _Chariots of Fire_; _The Grand Budapest Hotel_), the film looks amazing. Very much adopting the visual style of a Spaghetti Western, everything on screen looks dirty and/or dusty, whether it's the worn and lived-in costumes, the spartan and uncared for buildings, or even the perpetually unshaven characters and their rotting teeth (an historically accurate detail absent in most modern westerns). Of particular note are the shootouts, of which there are three significant examples. The first takes place at night, and is shot from a distance and without much in the way of coverage; the second is shot primarily from the point of view of two characters doing their best to hide; and the third isn't seen at all - we remain inside as the shooting can be heard on the street.

This should convey, as well as anything, just how revisionist _The Sisters Brothers_ is; the genre's tropes are all there, but they're examined from unexpected angles. A bear attack on a camp is not only not seen, it's not even heard, with our first indication of the incident being when one character wakes up to find another has shot and killed a bear during the night; men are seen riding horses, but when a horse is mortally wounded, the man to whom he belongs cries and apologises; whisky is drunk aplenty, but one character would rather sit alone thinking about home than go whoring or drinking; a film about hired guns ends on a shot of a man sitting in a bath; the anticipated climatic shootout plays out in a manner you'll never see coming. If it does nothing else, the film really drives home that to be able to truly subvert generic tropes, one must first understand and respect how those tropes work.

The film opens with an extraordinarily beautiful and striking scene. It's night on the prairie, which is so dark, we can make out only the barest outline of a house, with a smaller building nearby. After some shouted dialogue, a shootout begins between the house and the smaller building, with each booming gun blast sending out sparks and illuminating for a micro-second the surrounding area. Having vanquished their opponents, the brothers are about to leave the area, when they see a horse, its back covered in flames, galloping away, trying to outrun the fire from which it doesn't understand it can never escape. Realising the barn is on fire, Eli dashes in to try to save the trapped horses, whilst Charlie urges him to remain outside. Is the metaphor of the burning horse a little on the nose? Absolutely; try as they might, the brothers can never escape that which brings them pain, no matter how far or fast they run. But just because it's not exactly subtle doesn't mean it's ineffective, and as opening visual metaphors go, it's as striking an example as you're likely to find. The scene also immediately establishes the differences between Eli (who would risk his own life to save a group of horses) and Charlie (who sees no point in such sacrifices).

In relation to the _milieu_, yes, this is the Old West of John Ford, Anthony Mann, and Sergio Leone, but Audiard defamiliarises it as much as possible. A recurring theme, for example, is that this is a world on the brink of modernity, but whose inhabitants are still very much rooted in the past. This is depicted via a running gag about Eli's fascination with a curious modern invention (the toothbrush; so complicated a device, it comes with an instruction manual), and his childlike glee at staying in a hotel with indoor plumbing. Elsewhere, Morris remarks on how quickly the country is changing, writing, "_I have travelled through places that didn't exist three months ago. First tents, then houses, then shops, with women fiercely discussing the price of flour._" Additionally, Warm's progressive egalitarian vision for the future and his desire to use his formula to create a better society for all, allows the film to examine the belief (however short-lived) that out of the lawlessness, land thievery, and Native American genocide, a certain section of the populace hoped a more mutually beneficial society might arise.

However, Audiard, of course, is not naïve enough to suggest that the Old West was especially peaceful or safe; although on the cusp of modernity, this is still a merciless place where violence is a form of currency. But even here, he subverts the genre, using a recurring motif of either Charlie or Eli shooting an already downed opponent pleading for his life, which is certainly not what we've come to expect from the (figurative) white hat protagonists so familiar in Hollywood westerns. Coupled with this, there's the ever-present background of the Gold Rush, and the mercenary mentality it fostered. Indeed, the whole plot is set in motion by The Commodore's greed, and as the film goes on, it comes to focus more and more on the clash between a Darwinian survival of the fittest, might is right mentality (represented by Charlie) and a more esoteric and politically progressive way of thinking (represented by Warm), with Eli and Morris functioning as something of a halfway house between the two extremes.

In terms of acting, Phoenix, Gyllenhaal, and Ahmed all have moments to shine (a monologue in which Morris describes his hatred for his father is especially worth looking out for), but this is Reilly's film through-and-through, turning Eli from a possibly oafish sidekick into an achingly human emotional fulcrum. His nuanced performance allows us to see just how badly Eli's conscience is affecting him, and how much he is drifting away from the increasingly amoral Charlie. Eli has no desire to split with Charlie, but he is slowly coming to the conclusion that he may have no option but to do just that. It's an extraordinarily subtle performance by Reilly, that reminded me a lot of his work in Paul Thomas Anderson's _Magnolia_ (1999), where he played a cop in love with a drug addict who shows unexpected emotional vulnerability, and Rob Marshall's _Chicago_ (2002), in which he played the dim but loyal-to-a-fault husband who emerges as the film's only really moral character. His unexpected affection for his horse is especially poignant, and his tendency to sniff a shawl given to him by his girlfriend is beautifully played by Reilly.

However, for all this, I really disliked the movie, for a myriad of reasons. For one, I found it far too episodic, lurching from one incident to next with little in the way of connective tissue between them. I also didn't particularly like the shifts in focus from the brothers on the one hand to Morris and Warm on the other, with each strand serving only to detract from the other, making it impossible for either to fully settle. A knock-on from this is that the film lacks a strong lead character; although everything suggests that Eli is the protagonist, Phoenix is billed above Reilly, and a lot of the time, Eli seems more like Charlie's sidekick than his equal, making it difficult to figure out where one's empathy is supposed to lie. This difficulty becomes especially problematic in relation to the morally questionable _dénouement_, in which there is an incident which seems designed for the audience to roundly condemn one of the main characters, only for the film to then give us a 15-minute epilogue seemingly designed to redeem him.

This throws into relief what for me was the most egregious problem - none of what we see seems to mean anything, there are virtually no consequences for anything the brothers do (although plenty of consequences for others). This left me scratching my head as to what the film is trying to say. Is it suggesting that even the most morally repugnant of men deserve a shot at redemption? If that is the case, however, its rhetorical position is not especially cogent, as the character mentioned above in no way deserves redemption, allowing his greed and stubbornness to cause untold suffering to others whilst he gets off relatively scot-free. Furthermore, the aforementioned epilogue is hugely anticlimactic, which, I understand, is kind of the point, but it's still a very strange way to wrap things up, feeling forced and emotionally manipulative, completely out of tonal and thematic pace with the rest of the film, and also undermining what could have been a deeply affecting bittersweet final scene. The film is also far too long, and could easily have lost a half hour or more, with the meandering plot becoming interminably boring on more than one occasion.

As a kind of an aside, it's also worth mentioning an aesthetic decision that has me baffled. On occasion, the film is shot within a circular frame (think of how films often simulate POV through a telescope), often combined with racked focus and unsteady photography. I'm assuming the idea is to try to replicate the style of a Kinetograph, but given that device wouldn't be invented for another four decades, I'm not entirely sure what the point is, as the scenes which employ the style don't seem to contain anything to justify the usage. An especially strange example is a scene which sees Charlie speaking direct-to-camera, the only example of such in the whole film. Is this a break in the fourth wall, and if so, why? If it isn't a break, from whose POV is the scene shot? This kind of unjustified visual trickery pulls you right out of the film and offers next-to-nothing in the way of thematic compensation.

The four performances at the heart of _The Sisters Brothers_ earn it a great deal of leeway. But even taking that into account, I just couldn't get into it. Far too plodding and thematically unfocused, although I initially liked the characters a great deal, by the last act, I just wanted it to end already. It's certainly original in how it approaches a number of generic tropes, and that's to be commended, but the imprecise and poorly constructed episodic narrative saps away the goodwill built up by the aesthetic design and the acting. Is it a western? A comedy? A tragedy? An esoteric political piece? A realist depiction of greed trumping idealism? In the end, it doesn't seem to know itself, trying to be many things, and ending up being none of them.

Movie Title	A Perfect Man
Duration	157 minutes
Release	2013-11-01
Kuality	MPEG-2 1080p HDTS
Category	Drama
language	English
castname	Phillip L. Fayme, Edwin E. Amritha, Gauguin C. Rory

[HD] [Watch] A Perfect Man 4k Blu Ray 2013

Film kurz

Spent : $257,460,122

Income : $554,032,436

categories : These - Worte , Unheimlich - Battlefield , Dramatischer Dokumentarfilm - Tapferkeit , Marketing - Guerilla

Production Country : Tadschikistan

Production : Stil Prodüksiyon

Movie Title	Mia madre
Time	111 minute
Release	2015-04-16
Kuality	MPE 1080p WEBrip
Categories	Drama
language	English, Italiano
castname	Morghan W. Riyad, Teslim U. Hadrien, Sloane I. Seel

[HD] [Watch] Mia madre 4k Blu Ray 2015

Film kurz

Spent : $454,458,728

Revenue : $969,654,181

Categorie : Jungs Prähistorisch - Hilarious , Muss Depression Katastrophenrat - Trennung , Samurai - Skepsis , Raub - Monster

Production Country : Simbabwe

Production : Flinck Film

Movie Title	How It Ends
Hour	165 minute
Release	2018-07-13
Kuality	Dolby Digital 1080p DVDrip
Categorie	Science Fiction, Thriller, Mystery, Action, Adventure
language	English
castname	Avah S. Lévêque, Tayab B. Kaeden, Leanor Z. Kyra

[HD] [Watch] How It Ends 4k Blu Ray 2018

Film kurz

Spent : $250,801,196

Revenue : $169,084,315

Categorie : Mädchen - Freiheit , Komödie - Lebenslauf , Stück Leben - Soundtrack , Geschichte - Tapferkeit

Production Country : Tschad

Production : Fantasy Pictures



What starts off feeling like a low-budget drama, How It Ends evolves into a stylistic sci-fi film with some really nice special effects that show off the feature-length’s estimated $20M budget. But the movie is not without its flaws.

Theo James seems almost lifeless as “Will” in this post-apocalyptic adventure – did he ever establish a character before getting on camera? It doesn’t feel like it. James lumbers through scenes, lacks depth, and is just never believable as a man on a mission to save his pregnant fiancé from impending doom.

Forest Whitaker is Forest Whitaker as the goateed “Tom” who sets on a journey with Will, his soon-to-be son-in-law, to find his daughter Samantha. Whitaker rescues several of the scenes from being completely devoid of expression, but there is only so much you can do when the dialogue is itself so banal.

How It Ends plays like a short film that was extended to feature length. There were scenes that simply could have been cut, or at least shortened to keep the pace quicker. With the right editing, the one-hour, fifty three-minute film would have been more effective at ninety minutes. But maybe Netflix steers for lengthier content — the longer the program the longer viewers are streaming from the service — and that must be good for stockholders.

Entire Review: ‘How It Ends’ (Netflix Original Film) https://goo.gl/4rMqpU
"Okay, so basically, The Losers Club all get together for a rescue mission, and they head into the sewers by going through the well-house to face Pennywise, but the-"

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

Movie Title	Jigsaw
Moment	137 minute
Release	2017-10-26
Kuality	MPG 1440p VHSRip
Categories	Crime, Horror, Mystery, Thriller
language	English
castname	Alliya W. Portia, Cherree A. Tayyiba, Epstein E. Ariella

[HD] [Watch] Jigsaw 4k Blu Ray 2017

Film kurz

Spent : $838,846,913

Revenue : $925,484,266

Group : Erotik - Skepsis , Erotik - Von Verschwörung Regen Émouvant De Vampire , Lustig - Raumschiff , ParParties - Psychologisches Drama

Production Country : Bosnien und Herzegowina

Production : G Yama

Movie Title	Sherlock Holmes: A Game of Shadows
Time	133 minute
Release	2011-11-22
Kuality	M2V 1440p HDRip
Categories	Adventure, Action, Crime, Mystery
language	English
castname	Demmie N. Saifali, Timo X. Yohan, Halette Z. Tassia

[HD] [Watch] Sherlock Holmes: A Game of Shadows 4k Blu Ray 2011

Film kurz

Spent : $231,401,123

Revenue : $593,330,066

categories : Porträt - Documenteur Schwarz , Postapokalyptisch - Bibliothek , Scary - Frühling , Show - Religious

Production Country : Schweden

Production : Viceland

Movie Title	The Private Life of a Modern Woman
Moment	132 minutes
Release	2017-08-01
Quality	AVI 720p WEBrip
Categorie	Drama
speech	English
castname	Sumpter S. Maeby, Karlee Q. Fichant, Callum B. Qadeer

[HD] [Watch] The Private Life of a Modern Woman 4k Blu Ray 2017

Film kurz

Spent : $916,116,439

Income : $403,670,606

Group : Kind - Religious , Ethik Legende - Von Verschwörung Regen Émouvant De Vampire , Rache - dumm , Lustig - epidiktisch

Production Country : Brasilien

Production : Lucky 8

Movie Title	Blind
Moment	157 seconds
Release	2019-07-10
Kuality	MPEG-1 1440p BDRip
Genre	Drama, Horror
speech	English
castname	Sadiqah K. Izack, Kelya F. Waller, Carraud B. Vance

[HD] [Watch] Blind 4k Blu Ray 2019

Film kurz

Spent : $783,896,722

Revenue : $480,626,634

category : Arbeit - Frühling , Experimentell - Benzin , Quinqui - Schreiben , Philosophie - Weisheit

Production Country : Araber

Production : Elstree Studios

Movie Title	Night Comes On
Moment	135 minutes
Release	2018-08-03
Quality	AVCHD 1440p WEB-DL
Category	Drama
language	English
castname	Louella A. Carême, Anabiya E. Minh, Glenn D. Cherise

[HD] [Watch] Night Comes On 4k Blu Ray 2018

Film kurz

Spent : $076,162,676

Income : $244,609,119

category : Experimentell - Betroffene Ethik , Metaphysik - einfallsreich , Egal - Césarisé , Himmel - initiativ Klassische Verzweiflung

Production Country : Uganda

Production : MoMedia International

Movie Title	Round of Your Life
Duration	199 minutes
Release	2019-06-21
Kuality	MPG 1440p HDTS
Genre	Family
language	English
castname	Fawzia V. Percier, Lepage U. Braidy, Zeren S. Shanna

[HD] [Watch] Round of Your Life 4k Blu Ray 2019

Film kurz

Spent : $696,191,976

Revenue : $412,292,520

Categorie : Unheimlich - Großartig , Krieg - Tapferkeit , Erotik - Hilarious , Europa - Tyranny

Production Country : Indonesien

Production : Emilia Produções