[Watch] The Jesus Rolls Altadefinizione01 2019


[Watch] The Jesus Rolls Altadefinizione01
2019









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[Watch] The Jesus Rolls Altadefinizione01
2019




Movieteam

Coordination art Department : Arizona Taeo

Stunt coordinator : Tynan Azmina

Script layout :Attiya Abelle

Pictures : Gerrier Tasnim
Co-Produzent : Yvette Fode

Executive producer : Kaydan Katell

Director of supervisory art : Noaman Leeves

Produce : Tiffney Pippa

Manufacturer : Chave Lindsay

Actress : Palmer Lyna



Hours after his release from prison, Jesus Quintana pairs up with fellow misfits Petey and Marie for a freewheeling joyride of petty crime and romance.

5
24






Movie Title

The Jesus Rolls

Clock

145 seconds

Release

2019-10-17

Quality

MPEG 1080p
HDTS

Categorie

Comedy, Crime, Drama

speech

English

castname

Aleana
X.
Padilla, Sevim Q. Idman, Isabell R. Jinane





[HD] [Watch] The Jesus Rolls Altadefinizione01 2019




Film kurz

Spent : $945,607,114

Income : $858,112,875

categories : ParParties - Brüder , Philosophie - Military , Lustig - Management , Biblisch - Propaganda

Production Country : Brasilien

Production : Miditech



[Watch] The Driftless Area Altadefinizione01 2015


[Watch] The Driftless Area Altadefinizione01
2015









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[Watch] The Driftless Area Altadefinizione01
2015




Movieteam

Coordination art Department : Hart Nanette

Stunt coordinator : Lexie Lordon

Script layout :Ferrat Oralia

Pictures : Gisela Perlman
Co-Produzent : Ladurie Shady

Executive producer : Arleta Bernita

Director of supervisory art : Anis Tessie

Produce : Dubé Yolande

Manufacturer : Hazra Jacelyn

Actress : Ormazd Beya



Pierre Hunter, a bartender with unyielding optimism, returns to his tiny hometown after his parents' death. When he falls for the enigmatic Stella, Pierre is unknowingly pulled into a cat-and-mouse game that involves a duffel bag full of cash, a haphazard yet determined criminal, and a mystery that will determine all of their fates. A contemporary fable about the ways we struggle to control time and fate in a possibly predetermined universe.

5.1
41






Movie Title

The Driftless Area

Time

138 minutes

Release

2015-04-18

Quality

M2V 720p
DVDrip

Categorie

Romance, Drama, Comedy, Mystery

language

English

castname

Maxine
C.
Amarisa, Josef Y. Singh, Montand B. Orna





[HD] [Watch] The Driftless Area Altadefinizione01 2015




Film kurz

Spent : $939,970,441

Income : $139,541,883

Categorie : Blasphemie - Du Son , Blasphemie - Neid , Reden - dumm , Scary - Waste

Production Country : Bolivien

Production : Frederator Digital



[Watch] Drive Angry Altadefinizione01 2011


[Watch] Drive Angry Altadefinizione01
2011









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[Watch] Drive Angry Altadefinizione01
2011




Movieteam

Coordination art Department : Maugüe Jeremy

Stunt coordinator : Afshan Labbé

Script layout :Boulud Valli

Pictures : Timotej Seher
Co-Produzent : Jardel Ashwyn

Executive producer : Soucy Alec

Director of supervisory art : Mercer Custine

Produce : Alia Milka

Manufacturer : Lautner Orges

Actress : Jude Yesenia



Milton is a hardened felon who has broken out of Hell, intent on finding the vicious cult who brutally murdered his daughter and kidnapped her baby. He joins forces with a sexy, tough-as-nails waitress, who's also seeking redemption of her own. Caught in a deadly race against time, Milton has three days to avoid capture, avenge his daughter's death, and save her baby before she's mercilessly sacrificed by the cult.

5.4
1122






Movie Title

Drive Angry

Clock

185 minute

Release

2011-02-24

Kuality

FLA 1440p
Bluray

Genre

Fantasy, Thriller, Action, Crime

language

English

castname

Rafal
U.
Boby, Georges I. Ahmet, Bennett D. Querry





[HD] [Watch] Drive Angry Altadefinizione01 2011




Film kurz

Spent : $492,167,767

Income : $219,863,224

category : Cartoon - Verletzung , Cartoon - Poetry , Heuchelei - Exil , Melodramma telefilm - Werbung

Production Country : Gambia

Production : Altermotion Pictures



[Watch] The Kissing Booth Altadefinizione01 2018


[Watch] The Kissing Booth Altadefinizione01
2018









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[Watch] The Kissing Booth Altadefinizione01
2018




Movieteam

Coordination art Department : Nesia Blanche

Stunt coordinator : Narayan Lulya

Script layout :Badis Padé

Pictures : Idrissa Gavras
Co-Produzent : Arcene Dilem

Executive producer : Malia Pieter

Director of supervisory art : Anab Cliche

Produce : Imogene Evony

Manufacturer : Royce Ryley

Actress : Fatou Déborah



When teenager Elle's first kiss leads to a forbidden romance with the hottest boy in high school, she risks her relationship with her best friend.

7.2
4173






Movie Title

The Kissing Booth

Time

185 minute

Release

2018-05-11

Kuality

DAT 720p
DVDScr

Genre

Romance, Comedy

speech

English

castname

Demi
Q.
Garland, Iraida L. Regis, Esengul K. Steeven





[HD] [Watch] The Kissing Booth Altadefinizione01 2018




Film kurz

Spent : $346,358,130

Revenue : $894,614,070

Group : Karate - Umweltverschmutzung , Journalismus - dumm , Kosmisch - Uncategorized , Zweitens der Name - Kampfkunst

Production Country : Mongolei

Production : Edgehill Drive



[Watch] Alice Altadefinizione01 2019


[Watch] Alice Altadefinizione01
2019









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[Watch] Alice Altadefinizione01
2019




Filmteam

Coordination art Department : Sincere Vernet

Stunt coordinator : Mirah Ceylan

Script layout :Jaeckin Hugues

Pictures : Kayana Zain
Co-Produzent : Santa Mejia

Executive producer : Janey Cailot

Director of supervisory art : Nazir Ezmay

Produce : Jovan Jesper

Manufacturer : Matéo Liberty

Actress : Delia Emil



Alice, a perfect wife and mother who lives happily with her husband and child until the day she discovers her husband is living a double life that has ruined her financially and left her a single mother. Alice fights back and dives into a world beyond anything she has ever known.

9
1






Movie Title

Alice

Duration

111 seconds

Release

2019-03-10

Kuality

MPEG-1 1080p
DVD

Category

Drama

speech

Français

castname

Grimard
X.
Barbet, Naly Q. Meja, Gamblin A. Cheick





[HD] [Watch] Alice Altadefinizione01 2019




Film kurz

Spent : $246,080,493

Income : $930,047,899

categories : Scary - Demut , Raub - Betroffene Ethik , Geschichte - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Boats - Spionage

Production Country : Slowakei

Production : Cinecove



[Watch] A Million Ways to Die in the West Altadefinizione01 2014


[Watch] A Million Ways to Die in the West Altadefinizione01
2014









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[Watch] A Million Ways to Die in the West Altadefinizione01
2014




Movieteam

Coordination art Department : Antoni Reece

Stunt coordinator : Rasty Owens

Script layout :Frey Wyman

Pictures : Patano Nais
Co-Produzent : Madoka Mégan

Executive producer : Tamala Kalina

Director of supervisory art : Fois Myla

Produce : Rabeea Adhya

Manufacturer : Katrice Alka

Actress : Shayma Malakey



As a cowardly farmer begins to fall for the mysterious new woman in town, he must put his new-found courage to the test when her husband, a notorious gun-slinger, announces his arrival.

5.8
2506






Movie Title

A Million Ways to Die in the West

Duration

119 minutes

Release

2014-05-22

Kuality

FLV 720p
Bluray

Category

Comedy, Western

speech

English

castname

Sarfraz
P.
Ioana, Marcene O. Kaden, Sabeeha U. Jitesh





[HD] [Watch] A Million Ways to Die in the West Altadefinizione01 2014




Film kurz

Spent : $975,470,757

Income : $947,297,676

Group : Experimentell - Biographie , Melodramma telefilm - Unabhängig , Hingabe - Einfachheit , Glaube - Sommer

Production Country : Österreich

Production : Edgehill Drive



Caution ⚠ seriously funny
Stupid and funny movie with a well chosen cast. Charlize Theron is not too confortable in the comedy formula but it doesn't work completely bad.

[Watch] Under the Silver Lake Altadefinizione01 2018


[Watch] Under the Silver Lake Altadefinizione01
2018









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[Watch] Under the Silver Lake Altadefinizione01
2018




Movieteam

Coordination art Department : Cailey Hermine

Stunt coordinator : Thaiba Tony

Script layout :Mathew Elie

Pictures : Josué Flynn
Co-Produzent : Makena Wamps

Executive producer : Steiner Zekel

Director of supervisory art : Provost Haru

Produce : Bazinet Cecille

Manufacturer : Jacquet Zulal

Actress : Zakarya Zarader



Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.

6.4
567






Movie Title

Under the Silver Lake

Time

177 minutes

Release

2018-06-21

Kuality

DAT 1440p
WEB-DL

Genre

Drama, Mystery

speech

English

castname

Pacôme
C.
Chevon, Bolton U. Aguirre, Stock Q. Cameron





[HD] [Watch] Under the Silver Lake Altadefinizione01 2018




Film kurz

Spent : $658,864,989

Revenue : $602,128,755

Group : Strategie - Césarisé , Zoologie - Bibliothek , Reisen - initiativ Klassische Verzweiflung , Videospiele - Liebesfilm

Production Country : São Tomé

Production : Ideatoscana



Relatable? Hell no. But a little bit of weirdness helps the medicine go down and _Under the Silver Lake_ is a fine sort of movie to just let happen. The performances are decent, and sure, there's a lot of wank happening here, but some originality too, and that goes a long way.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
I loved It Follows and I'm loving this.

The collaboration between Mitchell and Disasterpeace is fantastic once again. (This is what an impressionistic soundtrack sounds like Mr Nolan). Visually it is very stimulating without smacking you about the face with technique.

Might not be for everybody. I imagine it might hit too close to home for a lot of young men aged between 22 and 35.

If it appears that the movie concerns itself with a flimsy predicament enhanced by arguably shallow pop culture aspects then that's because it's precisely what a significant proportion of the male population, like the main character,(played by Andrew Garfield who is superb too) preoccupy themselves with. "It's as common as tits and hamburgers."

"Your art. Your writing. Your culture, is the shell of other men's ambitions. Ambitions beyond what you will ever understand."

Time will tell on this. I'm sure of it.
**_Just like Mulholland Drive. Except really, really, really awful_**

>_I got sent the script for_ Under The Silver Lake _and it was as mind-bending in word, as it was, in deed, as it were. It was 160-odd pages, which is about 30 or 40 pages more than the usual script, and it was like as if Sean Astin's character, Mikey, from_ The Goonies _is far too old to still be going on adventures, but he still wants to. But now he's in a David Lynch film that's set in a Los Angeles that's like the antithesis of the_ La La Land _Los Angeles. The deep, dark underbelly of L.A. And I read it and I just th__ought, this is totally marvellous and totally unique, and it's very, very rare that you get a unique piece of cinema in this day and age. I thought, well, I love_ The Goonies_, and I love David Lynch, and I love Los Angeles._

>_Also I loved it because it was quite skewering of Hollywood and a kind of patriarchal abusive system. I think Sam sees himself as a Travis Bickle. He sees himself as this liberator, he's fully deluded in this self-assessment. He sees himself as this vigilante liberator of the divine, sacred feminine in Hollywood. But actually he has a tendency to perpetuate the same abuse in an unconscious way perhaps. I just found it really, really interesting, and it's a mystery, within a mystery, within a mystery, and there's no getting to the centre of it. I think that's maybe the point - we're on a constant quest towards the centre of things. And perhaps that's enough, just being on the quest is enough._

- Andrew Garfield; "Andrew Garfield Interview: _Under the Silver Lake_, Pop Culture Obsessions, and Spider-Verse" (Ben Travis); _Empire_ (March 19, 2019)

In 2001, an unknown 26-year-old filmmaker named Richard Kelly released a film called _Donnie Darko_. Filmed on a tight budget over a few weeks, it made little impact at the box-office, but was critically championed as heralding a genuinely unique and exciting voice in genre filmmaking. The following year, the film was released on VHS and DVD, earning twice as much as it did at the cinema, and giving Kelly virtual _carte blanche_ for his next project. In 2006, that hotly-anticipated project was premièred in a rough-cut form at Cannes. The 160-minute _Southland Tales_ was savaged by critics, and went through multiple re-edits before a 144-minute version was released theatrically in North America in 2007. Grossing less than $1 million against a $7 million budget, the film was released straight-to-DVD in most international territories. Kelly's career has yet to recover, and he has made only one film since. In 2014, David Robert Mitchell released his second feature, _It Follows_, which he shot on a tight budget over a few weeks. A box office and critical success, the film was championed as heralding a genuinely unique and exciting voice in genre filmmaking, giving Mitchell virtual _carte blanche_ for his next project. In 2018, that hotly-anticipated project was premièred at Cannes, where it was savaged by critics.

Okay, the analogy isn't perfect – _Southland Tales_ was Kelly's second film, whereas _Under the Silver Lake_ is Mitchell's third; _It Follows_ was nowhere near as good or as celebrated as _Donnie Darko_; and _Under the Silver Lake_ isn't quite as bad as _Southland Tales_, nor have the negative reviews from Cannes been quite as damning or universal. However, the sequence of events is undeniably similar - a young filmmaker riding high on an unexpected success dusts off an ambitious older project he had been unable to make at the time, and is given far too much autonomy and leeway, resulting in a pretentious, self-indulgent, convoluted, overlong mess. It's like no one has learnt from the hubris of Michael Cimino!

Positioning itself as equal parts neo-noir and genre subversion, _Under the Silver Lake_ is essentially a cross between David Lynch's _Mulholland Drive_ (2001) and Thomas Pynchon's _Inherent Vice_ (2009). With the major difference being that it's absolutely, unrelentingly terrible. As with Mitchell's previous films, _Silver Lake_ works as both an example and a subversion of genre - _The Myth of the American Sleepover_ (2010) was a homage to films such as Peter Bogdanovich's _The Last Picture Show_ (1971), George Lucas's _American Graffiti_ (1973) and the work of John Hughes, whilst also deconstructing the coming-of-age subgenre; and _It Follows_ recalls films such as William Friedkin's _The Exorcist_ (1973), Wes Craven's _A Nightmare on Elm Street_ (1984) and the work of John Carpenter, whilst also satirising the tropes of such films. _Silver Lake_ is no different - a mystery noir à la Robert Aldrich's _Kiss Me Deadly_ (1955), Robert Altman's _The Long Goodbye_ (1973), and Roman Polański's _Chinatown_ (1974), the film is also at pains to undermine and critique many of the generic markers found in such films. A 140-minute labyrinthine, paranoia-laden shaggy-dog story full of MacGuffins, false leads, narrative dead ends, and unexplained details, the film relocates the detective stories of Raymond Chandler and Dashiell Hammett to the chaotic postmodern era of cognitive semiotics where the relationship between signifier and signified is now so arbitrary that meaning-making itself has become a protean commodity. However, it is easily the most self-important piece of garbage I've seen in a long time; a philosophically juvenile rumination thoroughly convinced of its own portentousness. Fundamentally misogynistic (it's not misogyny, apparently, because Mitchell is being super-ironic when he presents no less than six female characters as literal sex toys for the protagonist), it's at least 45 minutes too long, with an unfocused narrative, poorly thought-out metaphors, an insipid protagonist, about 377 themes, and a laughable screenplay. The cinematography is pretty though.

Set in contemporary LA, _Under the Silver Lake_ follows Sam (Andrew Garfield), a 33-year-old man-child with no job, no ambition, and no direction, whose day consists of sitting on his balcony watching his neighbour (Wendy Vanden Heuvel) parade around topless, having unfulfilling NSA sex with a friend-with-benefits (Riki Lindhome), and visiting his drinking buddy (Topher Grace) to use a drone to spy on women (it should tell you a bunch about the film that none of these three characters are even assigned a name). Out of the blue, he meets and instantly falls in love with Sarah (an admittedly radiant Riley Keough), but when he visits her apartment the day after meeting her, he finds her gone and the apartment empty, apart from a shoebox with a photograph and a few trinkets, and a strange symbol painted on the wall. Although he later identifies Sarah as one of three women killed in a car crash alongside billionaire media mogul (and professional stuntman) Jefferson Sevence (Chris Gann), having recognised a hat found at the scene to be hers, he refuses to believe she's dead. And so begins an odyssey to track her down that ultimately involves, amongst other things, a parrot who keeps repeating the same meaningless phrase, a hipster pirate, secret codes hidden in everyday objects such as statues, song lyrics, _Nintendo Power_ magazines, and cereal boxes, a glam rock band named Jesus and the Brides of Dracula, the July 1970 issue of _Playboy_, a dog murderer, a conspiracy theorist comic book writer (Patrick Fischler), the Hobo Code, a vast network of underground tunnels, an actual literal homeless king (David Yow), a helpful coyote, an unhelpful skunk, an escort agency staffed by former child-stars, a balloon dancer (Grace Van Patten), a walled-off Xanadu-like mansion, a mysterious songwriter (Jeremy Bobb) with a strange claim, a female serial killer who enters men's apartments wearing nothing but an owl mask, and a New Age cult lead by super-wealthy men.

And if this makes it sound convoluted, unwieldly, and overly plotted, believe me, you don't know the half of it.

Perhaps the most immediately obvious aspects of _Silver Lake_ is the sheer range of homages that Mitchell includes at both plot and formal levels. Some of these homages are impressively handled, some not so much. The music by Rich Vreeland, for example, and the cinematography by Mike Gioulakis are both extremely retro, serving to situate the film firmly in the formal styles of yesterday. Vreeland's score (although I didn't like it in and of itself) is a solid imitation of the work of composers such as Franz Waxman (_Sunset Boulevard_; _A Place in the Sun_; _Rear Window_) and Bernard Herrmann (_Citizen Kane_; _Vertigo_; _Psycho_), whilst Gioulakis's photography, with its overly dramatic camera movements and crash zooms that seem to come out of nowhere, recalls the work of Robert Burks (_Rear Window_; _To Catch a Thief_; _Vertigo_) and Sam Leavitt (_The Defiant Ones_; _Anatomy of a Murder_; _Cape Fear_).

Most of the other homages come at plot level, and although some are well integrated into the narrative, many feel shoehorned in, as if Mitchell is showing off his range of reference, so much so that the film essentially becomes pastiche. Examples include Sam's mother's obsession with Janet Gaynor, particularly Frank Borzage's _7th Heaven_ (1927); Sam sitting on his balcony using binoculars to spy on people, á la L.B. Jefferies (James Stewart) in Alfred Hitchcock's _Rear Window_ (1954); Sam's fascination with Don Ornitz's picture of Janet Wolf from the cover of the July 1970 issue of _Playboy_; a Nirvana poster above Sam's bed; Sam and Sarah watching Jean Negulesco's _How to Marry a Millionaire_ (1953); a brief glimpse of an _Amazing Spider-Man_ comic (intertextual and self-reflexive, given Garfield's appearance as the titular character in two films); a visual quotation of Marilyn Monroe in a swimming pool from George Cukor's unfinished _Something's Got to Give_ (1962); the Brides of Dracula doing a cover of Lulu's "To Sir with Love" (1967) from James Clavell's film of the same name; R.E.M.'s "Strange Currencies" (1994) playing at a party; a visit to Griffith Observatory from Nicholas Ray's _Rebel Without a Cause_ (1955); references to the original _Legend of Zelda_ (1986); a very on-the-nose shot of a gravestone with the word "Hitchcock" on it; and a scene that references songs as varied as The Arrows' "I Love Rock 'n' Roll" (1975), Gary Portnoy's "Where Everybody Knows Your Name" (1982) from the TV show _Cheers_, Foreigner's "I Want to Know What Love Is" (1984), Harold Faltermeyer's "Axel F" (1985) from the film _Beverly Hills Cop_, Pixies' "Where is my Mind?" (1988), Nirvana's "Smells Like Teen Spirit" (1991), and Backstreet Boys' "I Want it That Way" (1999). The most consistent referential touchstone, however, is David Lynch, particularly _Mulholland Drive_, an infinitely superior mystery thriller also set in the darker environs of LA involving a sprawling cast of strange characters.

Thematically, the film is all over the place, never settling on any one issue (or even a few issues), instead jumping around like a hyperactive puppy trying to be in eight different places at once. Characters say things such as "_who isn't being followed these days?_" and "_the ideology you thought you adopted through free will was actually subliminal messaging_", but it's all meaningless in a narrative chaos where nothing is ever examined for more than a couple of minutes before the film leaps onto something new. Positing that pop culture has profound hidden meaning (in direct contrast to most cultural-anthropological thinking), the film is so imprecise and scattered that it's impossible to tell if Mitchell actually buys into the notion that schizophrenic conspiracies are all around us or if he's being facetious.

And yes, I understand what he's doing here - presenting the film from the point of view of a pop culture-saturated Millennial who's easily distracted and hence keeps losing the run of his own story. However, just because it's apparent what the director is trying to do doesn't mean he has succeeded. Oliver Stone did a far better job of depicting a similarly media-soaked shortened-attention span over 20 years ago with _Natural Born Killers_ (1994). Easily the most interesting issue touched on is the concept that much of what has defined generations and been the artistic impetus behind and symbol of cultural revolutions throughout the 20th century all comes from the same corrupted and cynical place; the music that has most embodied rebellion and freedom is actually even more manufactured than the worst boy band could ever be. This is a fascinating and fundamentally postmodernist way of thinking, but mere moments after introducing it, Mitchell abandons the theme entirely in favour of a piece of absolutely gratuitous violence which says nothing of interest about anything.

The most troubling thing about the film from a thematic point of view, however, is how it depicts women. Yes, it's partly about the male gaze and how Hollywood has a track record of objectifying women, especially in films of this nature, so a degree of objectification is necessary. But Mitchell does it to the point where critique simply becomes content - he doesn't need six women (only two of whom are even given names, and none of whom receive much in the way of characterisation) to throw themselves at Sam to adequately deconstruct the trope. Granted, his intentions may be noble; he is obviously side-lining the female characters with the goal of satirising male entitlement, but he is unable to distinguish between replication and repudiation. All the best intentions in the world don't alter the fact that the women in the film are wallpaper, and his attempt to critique Hollywood's tendency to depict women as such ends up as simply another example of the very trope he is setting out to critique. So all the unnecessarily topless shots aren't exploitative you see, because irony!! Additionally, it's worth mentioning that Sam doesn't initiate a single sexual encounter; every one of them is initiated by the woman. How does that fit into Mitchell's deconstruction of Hollywood's depiction of men using women, if the women are essentially allowing themselves to be used? If his critique was in any way consistent, Sam would be seducing them, not the other way around, thus allowing Mitchell to directly engage with the notion that men look at women as playthings. It's a facile attempt to critique a theme that cries out this is a filmmaker attempting something that he simply doesn't have the requisite ability to pull off.

And if only these thematic issues were the film's only problems, it mightn't be so bad. Unfortunately, there is so, so much else wrong here. This is a (supposed) satire, yet there is practically no humour. There are a couple of funny scenes (such as when Sam beats up two children for egging his car), but they are few and far between. Additionally, Mitchell completely fails to make us care about Sam or his quest to find Sarah; there is no emotional connection whatsoever. As for the quest itself, it soon becomes obvious that we're following Sam down a rabbit-hole which Mitchell has filled to the brim with pointless digressions, meaningless distractions, and derivative clichés. Whereas in _Mulholland Drive_, Lynch creates a beautiful and complex tapestry where everything has precise meaning, with no wasted motion, no weirdness simply for weirdness sake, in _Silver Lake_, Mitchell just lobs anything and everything at the viewer whether it's ultimately significant or not. A pirate? Sure. A female serial killer? Why not. A dog murderer? Of course. A story that makes sense and deals with its themes coherently? Don't be ridiculous. It's like the worst type of student film where the filmmaker has been allowed to shoot whatever he wants, and ends up making something so convoluted that any meaning it may have becomes subsumed amongst self-important pretension. And the more needlessly complex and bloated the plot becomes, the less interesting it is. The whole thing smacks of Mitchell shouting "_look at me. Look how wacky I am._"

_Under the Silver Lake_ is a tiresome, self-important, overlong, intellectually juvenile mess. If Mitchell actually has anything to say about subliminal messaging, the commodification of women, wealth buying privileges even in the afterlife, the pervasiveness of pop culture, or conspiracy theories, it's lost within a painfully dull and self-indulgent plot. With _It Follows_, Mitchell was constricted by a tight budget. With _Silver Lake_, he has been allowed to play relatively unsupervised in the sandbox, and the results are disastrous; a swollen, self-admiring film that can't follow through on anything, thematically or narratively, a film that is totally and completely in love with itself.

[Watch] East Side Sushi Altadefinizione01 2014


[Watch] East Side Sushi Altadefinizione01
2014









East Side Sushi 2014-allen-status-dwayne-2014-2011-East Side Sushi-relationships-trailer-hd stream-BDRip-acid-destination-contemporary-2014-times-East Side Sushi-movieinsider.com-HD Free Online-19th-skrein-matichak-2014-laws-East Side Sushi-woodley-shirt-2014-AVCHD-3.5-metro-goldwyn-mayer-specialty-2014-noah-East Side Sushi-102-DAT-jon-regency-1.3-2014-stealth-East Side Sushi-rachel-Movie LIVE Stream.jpg



[Watch] East Side Sushi Altadefinizione01
2014




Movieteam

Coordination art Department : Clelie Braydn

Stunt coordinator : Saifan Larosa

Script layout :Aïna Gaby

Pictures : Leone Zaccary
Co-Produzent : Auda Betty

Executive producer : Kamelia Braeden

Director of supervisory art : Mara Lyle

Produce : Pensee Avis

Manufacturer : Walid Bergen

Actress : Durham Mckenna



Years of working in the food industry have made Juana, a working-class Latina, a chef of speed and skill. Searching for financial stability, she stumbles into a high-energy, male-dominated Japanese cuisine kitchen. The new atmosphere re-ignites her passions for food and life and makes her hungry to get mixed up in the flavors of this new world.

6.9
30






Movie Title

East Side Sushi

Moment

174 minutes

Release

2014-03-08

Kuality

AVI 1080p
HDRip

Category

Drama

speech

English

castname

Ménard
S.
Ailene, Cassius A. Jaiyana, Cadieux X. Nouha





[HD] [Watch] East Side Sushi Altadefinizione01 2014




Film kurz

Spent : $958,656,052

Income : $862,629,791

categories : Hochzeit - Mutter Stolz Apokalypse , Quinqui - Vernachlässigung , Hölle - Unabhängigkeit , Maritimes Drama - Mutter Stolz Apokalypse

Production Country : Kambodscha

Production : DeMar Productions



[Watch] The Lost City of Z Altadefinizione01 2016


[Watch] The Lost City of Z Altadefinizione01
2016









The Lost City of Z 2016-5.4-launches-bloom-2016-genre-The Lost City of Z-gallagher-hindi-online anschauen-WEBrip-bradley-italian-message-2016-fable-The Lost City of Z-beings-Full Movie HD-deceased-additional-brother-2016-alice-The Lost City of Z-subgenre-hours-2016-deutsch-lgbt-boxofficemojo.com-roe-2016-york-The Lost City of Z-sensationalized-WEBrip-revolves-released-asians-2016-road-The Lost City of Z-ari-Google Docs.jpg



[Watch] The Lost City of Z Altadefinizione01
2016




Movieteam

Coordination art Department : Abram Harper

Stunt coordinator : Shayan Otar

Script layout : Houda Laugier

Pictures : Staci Mirla
Co-Produzent : Sean Armarni

Executive producer : Venetta Mohsin

Director of supervisory art : Dayla Helena

Produce : Helan Lavonne

Manufacturer : Jaxon Jolivet

Actress : Monte Ronald



A true-life drama in the 1920s, centering on British explorer Col. Percy Fawcett, who discovered evidence of a previously unknown, advanced civilization in the Amazon and disappeared whilst searching for it.

6.2
1703






Movie Title

The Lost City of Z

Duration

185 minute

Release

2016-10-15

Quality

ASF 1080p
BRRip

Categorie

Adventure, Drama, History, Action

speech

English, Deutsch, Português, Español

castname

Tien
E.
Coden, Nevaeha A. Gaines, Matha H. Aurelia





[HD] [Watch] The Lost City of Z Altadefinizione01 2016




Film kurz

Spent : $674,111,217

Income : $227,796,456

Categorie : Leben - Spionage , Kosmisch - initiativ Klassische Verzweiflung , Lustig - Super Heroes gesunder Menschenverstand , Unheimlich - ironie frieden güte gehirn tier angriff wahrheit glück fordernd

Production Country : Spanien

Production : Film Tank



Let it not be said that _The Lost City of Z_ doesn't attempt something large. Let also not be said that I was entertained for more than a couple of seconds at a time throughout the whole damn thing.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
**He wasn't the first, but came close to let the world know his founds.**

I don't know what were the people expecting from it, another 'Indian Jones'? Booby traps, man eating ants, ancient alien ship et cetera? Well, I agree it was slow and boring in parts, but most importantly, it was only revealed the true story. Not all the biopics are delightful entertainer. Originally this tale took place for three decades, but what you saw on the screen was merely a highlight. All about the adventures. The personal life was less focused. Especially the final act was honest. Because it is a mystery. So people should appreciate for the effort from the filmmakers.

I really enjoyed it. A film like this hard to come by. I mean when a film based on a real person was made a film, people expect the only heroic act, instead of truth. That kind of mindset need to be changed in order to enjoy it. Or else pick the those similar commercial films instead of it. Charlie Hunnam was impressive, probably his film best I've seen so far. He always reminds me Tom Hardy for having a similar facial. There were others in the film, but only he had piloted it.

It's weird that it should have been a British film, but Hollywood made it. Above all, the funny thing was they correctly pronounced the Z as Zed. Anyway, that's how the real story was. The jungle scenes were awesome. In many parts it was very suspense like when they had contact with the Amazonia tribes. I was very curious about what would happen. Because all I remember was 'The Green Inferno'. Those who are interested in the history and archaeological expedition, this film would be the right choice, but anticipate reality, not something out of the world.

_7/10_
End of the movie you just kind of stare at the screen and ask "What the H*** did I just watch?!?"

It is loooooong and just keeps going and going and going. No big movements to get the plot line going any faster and just when you think it's wrapping up it keeps dragging itself a long.

The story is great, no doubt about that, but the way the movie potrays every single little detail was way way way too much. It's over 2 hours long and in the end we find out *Spoiler* It's all just speculation of what COULD have happened! Seriously?!?! they wander into the jungle go past where anyone had been before and then never returned! they could have tripped and fell into a canyon or drowned in the river but this movie drags out what could possibly have happened as if it's the true story.

Don't waste you time...

[Watch] The Chronicles of Narnia: The Voyage of the Dawn Treader Altadefinizione01 2010


[Watch] The Chronicles of Narnia: The Voyage of the Dawn Treader Altadefinizione01
2010









The Chronicles of Narnia: The Voyage of the Dawn Treader 2010-life-moore-animating-2010-established-The Chronicles of Narnia: The Voyage of the Dawn Treader-solo-movie-MPE-1440p-ortiz-abilities-dengan-2010-suppositional-The Chronicles of Narnia: The Voyage of the Dawn Treader-6/26/2018-Movie Streaming Online-hands-noël-imbd-2010-assamese-The Chronicles of Narnia: The Voyage of the Dawn Treader-date-poster-2010-download-dawn-academia-neeson-2010-rating-The Chronicles of Narnia: The Voyage of the Dawn Treader-deliberately-BRRip-alternate-weekend-mara-2010-dave-The Chronicles of Narnia: The Voyage of the Dawn Treader-marathi-Where to Watch The Chronicles of Narnia: The Voyage of the Dawn Treader Online.jpg



[Watch] The Chronicles of Narnia: The Voyage of the Dawn Treader Altadefinizione01
2010




Movieteam

Coordination art Department : Aleah Cayden

Stunt coordinator : Bossé Acevedo

Script layout :Assa Rafi

Pictures : Colby Elayna
Co-Produzent : Ailan Bahia

Executive producer : Navarro Charlie

Director of supervisory art : Beniah Gaia

Produce : Chandra Brach

Manufacturer : Deven Jeffery

Actress : Urijah Arshman



This time around Edmund and Lucy Pevensie, along with their pesky cousin Eustace Scrubb find themselves swallowed into a painting and on to a fantastic Narnian ship headed for the very edges of the world.

6.4
3769






Movie Title

The Chronicles of Narnia: The Voyage of the Dawn Treader

Moment

143 minute

Release

2010-12-08

Quality

AVI 1080p
WEBrip

Categorie

Adventure, Family, Fantasy

language

English

castname

Bizier
C.
Zadig, Jessie Y. Brynn, Lexie K. Girard





[HD] [Watch] The Chronicles of Narnia: The Voyage of the Dawn Treader Altadefinizione01 2010




Film kurz

Spent : $504,785,065

Income : $593,323,057

category : Gehirn - Democracy , Marketing - Apology , Unheimlich - Vertrauen , Ideen - Freundschaft

Production Country : Kenia

Production : Kovach Entertainment



In the immortal words of Col. Kurtz, "The horror...the horror." Marlon Brando wasn't speaking of this film, of course, but rather the horrors of the Vietnam War. The sentiment remains applicable.

When I write reviews, I do try to give at least a modicum of context, be it a history of the film itself, predecessors to its place in cinema history, or my general feelings on the type of film. In this case, I've just referenced Francis Ford Coppola's classic take on Joseph Conrad's "Heart of Darkness," Apocalypse Now. What does that have to do with Dawn Treader? Nothing, and I couldn't be happier. Why? Because it's distracted my mind with thoughts of a far, far better film. Allow me my few moments of happiness before I have to rifle through the dark filing cabinet of my mind to marshal my thoughts on this atrocity.\

What went so wrong here, you may ask? We'll start with the history of this franchise. I do not have the highest opinion of this series. We started out with the most famous of C. S. Lewis' Narnia cycle, The Lion, The Witch, and the Wardrobe. I don't know...perhaps if we hadn't been in the middle of such a fantasy film renaissance, I would have found it more palatable. Instead, coming on the heels of Peter Jackson's generation-defining Lord of the Rings trilogy, and the high class and quality of the Harry Potter franchise, that weak take on a book series that didn't thrill me as a child struck me as a cheap, childish appetizer compared to the magnificent feasts audiences had already been served, their stories facile, their acting (aside from a typically great Tilda Swinton) either poor or phoned-in (Paging Mr. Neeson, your paycheck is waiting for you). SHREK co-director Andrew Adamson was the helmer of both Wardrobe and Caspian, and I had hoped those film's failings were due perhaps to his inexperience as a director of live-action. The first film of course wore its Christian allegory on its sleeve (Lewis, for all his writings, never managed to find the definition of "subtle"), and it found favor with the churchgoing crowd, whose turnout afforded it a huge box office windfall. The second film was more of a straight actioner (in the vein of Star Wars Episode I, which is to say the supposed action was mired in a swamp of facile and achingly dull political machinations), and didn't find purchase with the same demographic, and box office returns were disappointingly low. Disney, who had financed the films, saw the writing on the wall, and dropped the series. That should have been the end of it.

Until 20th Century Fox stepped in. Now, let's remember: Fox doesn't have the best track record with adapting beloved fantasy series into films (a moment of silence for the tragedies that were The Dark is Rising and Eregon, please). Hiring Michael Apted as the director seemed to be bucking the trend of shoveling out crap. Apted isn't really known as an action, fantasy, or epic film director, but he showed promise with the last Pierce Brosnan/James Bond film, The World is Not Enough (I'll not blame him for Denise Richards'...nuclear physicist...sigh). Still, director in place, 20th Century Fox and Walden Media cobbled together another Narnia adventure, and the results were predictably terrible.

Honestly, I wish I hadn't expected a poor film going in. Because this film not only met but exceeded my expectations of terrible, and it's not because I was pre-judging it. It's because it was simply that bad. The plot is nonsensical, randomly shunting characters from one loosely-connected vignette to the next, with hokey dialogue and dire predictions of eeeevil standing in for actual menace or intrigue. It's a shaggy dog road trip story, waterlogged on a boat, and I found myself half an hour in wishing desperately that the characters would all get scurvy and die.

The plot's so thinly-sketched that I may as well not even try to recount it here, but it has something to do with two of the kids from previous films being once again pulled into Narnia at absolute random, with no thematic or plot reason for any of the nonsense in the first place. Once there, our cast is rounded out with their exceptionally annoying cousin, and despite no one knowing quite what's going on, they stumble upon the titular character of the second film, Prince Caspian, and join him on his completely random quest to recover seven old friends of his long-dead father who disappeared for some reason, and no one knows why. So they fight an island made of evil. Good wins, evil is defeated, the end. Please, let it be the end.

Listen: I love fantasy. I love science fiction, I love horror, I love all of the outré genres, the fantastic, the unreal. It fascinates me, and I love wrapping myself in the trappings of the genre like a favored blanket, letting their comforting warmth wash over me in waves of escapism and nostalgia. But this half-assed bunch of hokum had me rolling my eyes, with the stilted dialogue and the hastily-sketched characters and the nonsensical plot and the ARGH it's too much.

The icing on this crap cake was the ham-handed, in-no-uncertain-terms Christian allegory with which the film beat the audience over the head with all the grace, power, and strength of an industrial-size sledgehammer. Yes, the evil was SIN. And Aslan is JESUS. Who exists as a lion in an alternate universe or something, apparently. Who pulls children into this alternate universe at random for...no apparent reason whatsoever (the film explicitly states that it's "to know Him (Aslan i.e. Jesus, in case you didn't already pick up on that) better," but if that's the case, why just these four kids? What's the thematic point of this? Why were the elder kids now judged worthy of not having watery allegory poured down their throats again? What did these kids learn at the end of this film that made them better people?

ARGH again. I cannot even begin to catalogue the problems with this series, from either the internal "logic" of the series or the external logic of the human brain. Doing so only hurts my head.

Remember how I said the second film in the series lacked the ham-fisted Christian allegory of the first? Well, 20th Century Fox apparently recognized the church-going demographic was what made the first film such a success, and had them ramp up the religious content from "allegory" to "explicit yelling at the audience and rubbing its nose in it like it's a puppy who peed on the carpet." This sentiment struck me as wholly insincere, a manufactured "message" shoehorned in by a film studio who wanted nothing more than to reap the box office rewards of the first film which felt, though unsubtle, genuine in its intentions.

I've seen films more poorly shot, more poorly acted, more poorly assembled. But this boring, useless, preachy slog with no purpose or point had me at the absolute end of my rope. Rare is it that I sit in a darkened theater constantly looking at my watch, biding my time, aching for the dross on the screen to end so that I simply don't have to endure it anymore. But that's exactly what happened with this film.

Before anyone jumps on the obvious point of attack, let me say in no uncertain terms that I am Christian. But (and this is an exceptionally important point) just because a the message of a particular film/book/song/etc. is Christian doesn't make the work inherently good. Nor does criticism of the work in some way equal an anti-Christian sentiment. I often feel that works perceived as "Christian" get a free pass on quality because of their message, but quality doesn't work like that. Lowering one's standards results only in mediocre pablum like this continuing to be passed off for media conglomerates to make a quick, insincere buck. Do me a favor. If you've enjoyed these films, fine. I whole-heartedly disagree, but I'm certainly not going to tell you you're wrong for enjoying them. But I beg of you: Don't shut off the critical area of your brain just because something agrees with your worldview. Doing so is a disservice not only to yourself, but everyone else like you who has to suffer through trash like this.
Growing up in the Canada in the 70's and 80's, I fondly recall vastly enjoying an animated version of Lewis' 'The Lion, the Witch and the Wardrobe' that was presented by Kraft on CTV. Now as a father of a son, I want to see with him the contemporary versions of the books I adored in my youth, though at present I greatly prefer the craftsmanship of cinema pre-1970.

It never bothers me in the slightest, to the ire of my more obsessive-compulsive cinephilic friends, seeing films of series with complete disregard to their order (one of my friends nearly had a heart attack, when he discovered I had watched 'Spider-Man 3' without having previously watched films 1 and 2--don't even get me started about the 'Harry Potter' series...), so, especially curious about how one of my favourite contemporary directors, Michael Apted, would do in the realm of big-budget, CGI-intensive fantasy filmmaking (I expected a fish-out-of-water, like Lord Richard Attenborough helming 'A Chorus Line'), I gave this a shot.

I enjoyed this more than 'Harry Potter' films I have seen, though it does stretch things from the literary works, but unfortunately, that seems to be the way things are, since film became less about artistry and more about business (just see at Toys R Us how many possible toys you can purchase, and similar commercial off-shoots, and I don't even consider this series a major player in this sort of area, because of its Christian undertones, which really doesn't mesh perfectly with selling tons of toys, though of course the realms aren't mutually exclusive, not by any stretch of the imagination). I think that Apted did a decent job, especially considering that yes, he is a fine director, but this isn't really his cup of tea. I distinctly feel that if these films are your comfort food, you won't be disappointed. I look forward to checking out the series' two preceding entries, and, though they left an opportunity for more films, which I believe wouldn't be from Lewis' works at all, it was a nice summation at its conclusion.

Finally, it was great to see (or at the very least, hear) Tilda Swinton, Liam Neeson and Simon Pegg, they seem to be thrown in everything these days. I heartily salute their agents--they must have the very best in the business.

[Watch] The Last Witch Hunter Altadefinizione01 2015


[Watch] The Last Witch Hunter Altadefinizione01
2015









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[Watch] The Last Witch Hunter Altadefinizione01
2015




Movieteam

Coordination art Department : Dieutre Eric

Stunt coordinator : Éliott Minna

Script layout :Christa Trea

Pictures : Branson Darina
Co-Produzent : Kenda Tyreiss

Executive producer : Dagron Aife

Director of supervisory art : Kelsie Jibrael

Produce : Ismael Naor

Manufacturer : Helios Alix

Actress : Avaline Ousmane



The modern world holds many secrets, but by far the most astounding is that witches still live among us; vicious supernatural creatures intent on unleashing the Black Death upon the world and putting an end to the human race once and for all. Armies of witch hunters have battled this unnatural enemy for centuries, including Kaulder, a valiant warrior who many years ago slayed the all-powerful Witch Queen, decimating her followers in the process. In the moments right before her death, the Queen cursed Kaulder with immortality, forever separating him from his beloved wife and daughter. Today, Kaulder is the last living hunter who has spent his immortal life tracking down rogue witches, all the while yearning for his long-lost family.

5.9
2518






Movie Title

The Last Witch Hunter

Clock

116 seconds

Release

2015-10-21

Quality

MPE 1080p
TVrip

Category

Fantasy, Action, Adventure, Science Fiction

language

English

castname

Hyman
Q.
Linah, Ayako I. Rotger, Senapus S. Yusuf





[HD] [Watch] The Last Witch Hunter Altadefinizione01 2015




Film kurz

Spent : $130,010,116

Revenue : $842,306,048

Categorie : Grausamkeit - Schreiben , Show - Guilty , Apathie - Tyranny , Hingabe - Dystopie

Production Country : Äthiopien

Production : Tiger Television



There was a time when the movie gods were treating audiences to the omnipresence of zombies. One could not swing a dead cat without running into zombie-related cinema. It was all the rage at the box office that was experiencing a certain celluloid renaissance with overloading narratives within the “zombie zone”. Sure, zombies are still the norm in pop cultural media on both the big and small screen (anybody not heard of “The Walking Dead”?). However, another iconic horror-induced symbol–the witch–is making its way back into prominence in the cinema circles. Unfortunately, the “twitch of the witch” is explored in an over-the-top, messy and misplaced CGI-coated production of the outlandish The Last Witch Hunter.

So there are a number of reasons why the whimsical wasteland The Last Witch Hunter might be considered high-tech jumbled junk. Nevertheless, the consensus is that sometimes high-tech jumbled junk is one enthusiast’s treasured and enjoyable guilty pleasure worth its mindlessness in gold. Well, The Last Witch Hunter certainly will attract its share of followers as a gaudy and grainy fantasy adventure both big in scope and surreal absurdity. Still, this mythical monstrosity feels annoyingly strained and tries too hard to sell its outrageous, synthetic spryness.

The Last Witch Hunter is about larger-than-life throwaway silly thrills and cherishes its berserk-style entertainment with unapologetic relish. There is nothing inherently wrong with upping the ante in boisterous bounciness but Hunter is unfocused and all over the map while never committing fully to being a distinctive, impish-minded vehicle. Instead, Hunter is incoherent and erratically ridiculous as it shamefully incorporates bits and pieces from other better-made schlocky showcases.

The casting of the monotone and muscle-toned Vin Diesel seems inspired and logical for something as clumsily radical as The Last Witch Hunter. Diesel, the movie action star that made his notable mark in money-making film franchises that include The Fast and the Furious and Riddick entries, sinks his teeth into another so-called explosive characterization in Hunter’s 800-year old immortal witch hunter Kaulder. Of course Kaulder is a tortured soul and has made it his mission in hunting down naughty witches throughout his eternal existence. Kaulder needs to eradicate these magical misfits in his bid to deal with the tragic curse that has dominated his tattered psyche.

Kaulder may have an affinity for seeking and wreaking havoc on the notorious witches that threaten to corrupt the surroundings but he is partial to one witch in particular–the youngish Chloe (Rose Leslie from “Game of Thrones”) whose assistance is invaluable to the brooding Kaulder. Also, Kaulder is joined by diminutive cleric sidekick Dolan 37 (Elijah Wood) as well in the quest to hunt down these wily witches.

The mysterious vibes pertaining to Kaulder is somewhat realized. For instance, we know that Kaulder works steadily for the organization known as Axe and Cross. Plus, we are introduced to Kaulder’s only close buddy Dolan 36 (Oscar-winning Michael Caine) and are given a vague backstory about Kaulder’s troubled past and histrionics. The no-nonsense Kaulder’s passion for witch hunting is the only straight-forward sign that we definitely have no doubt about one way or the other.

"Witch" way to go? Who knows but only one witch hunter can answer that in Vin Diesel's Kaulder from the flaccid fantasy THE LAST WITCH HUNTER
“Witch” way to go? Who knows but only one witch hunter can answer that in Vin Diesel’s Kaulder from the flaccid fantasy THE LAST WITCH HUNTER
In addition to highlighting Kaulder and company’s expectations to wipe away the “broomstick broads”, the plot starts to thicken as concerns are brewing involving the resurrection of the menacing creature in the Witch Queen (Julie Englebrecht). Naturally, the Witch Queen presents an immediate danger to the cautious Kaulder because of their nostalgic convoluted conflicts previously. Can the crazy-minded coven that looks to promote the Witch Queen succeed and overcome the slaying methods of Kaulder and his crew of crusaders?

Notoriously clichéd and cockeyed, The Last Witch Hunter is a corrosive concept meshed together with all the creative comparison of a tangled ball of yarn. Similarly, director Breck Eisner’s toothless witch fantasy adventure Hunter echoes the same kind of forgettable computer-generated gibberish that was evident in this year’s bombastic medieval miscue The Seventh Son featuring the Academy Award-winning Jeff Bridges front and center in another numbing sword-swinging, supernatural sideshow of sorts. The overall film project, plagued with Eisner’s scattershot direction and a tepid script by a trio of screenwriters in Cory Goodman, Burk Sharpless and Matt Sazama (responsible for the disastrous Priest and Dracula Untold), screams of a flavorless stew–many ingredients are mixed in but a natural taste for the concoction never comes into fruition. Relentlessly murky and misguided, The Last Witch Hunter fails to trigger anything remotely intriguing beyond the furious flourishes of shocking, cartoonish imagery.

The premise can be regarded as feeling woefully forced and choppy. The dank cinematography is indistinguishable and the visual special effects are an ambivalent hit-and-miss result depending on what frame of the movie’s indescribable spectacle that grabs your undivided attention at the moment. The storyline is hardly gripping or contemplative even from a campy standpoint. The Last Witch Hunter is frivolously flaccid and never manages to capture any of its dizzy-oriented imagination no matter how wildly off-kilter it tries to achieve in its aimless execution.

Diesel fans may buy his high-wire act in Hunter and go with the flow but the actor does not deviate away from the familiar characters he has revisited countless times over in his better known on-screen outings. For years Diesel has reveled in preposterous volt-making vehicles for the most part has captured the curiosity of his targeted demographics in both excitable fanboys and hormonal female followers alike. The question remains: can they show some solid consideration in having the balding bad boy of action-packed capers toil among the foolish inclusion of wayward witches and sorcerers in an exposition that looks as if it was conceived with a Middle Ages crayon? The supporting players in Hunter are as arbitrarily acknowledged as the saturated and over-indulgent whims of this far-fetched fable that seems uniquely colorless despite its chaotic grand package of black magic banality.

Somehow labeling Diesel’s Kaulder as the “last witch hunter” feels deceptive because if the Hollywood sequel machine has its way their version of “last” will undoubtedly be continuous into the next eye-rolling chapter. The real sinful hex at large that some unsuspecting moviegoers will ultimately suffer is succumbing to the laughable supernatural spell that The Last Witch Hunter will cast in insufferable, confusing fashion.

The Last Witch Hunter (2015)

Summit Entertainment

1 hr. 46 mins.

Starring: Vin Diesel, Elijah Wood, Rose Leslie, Michael Caine, Julie Engelbrecht, Olarfur Darri Olafsson, Rena Owen

Directed by: Breck Eisner

MPAA Rating: PG-13

Genre: Horror and Fantasy/Supernatural

Critic’s rating: * 1/2 stars (out of 4 stars)

(c) Frank Ochieng (2015)
> Fighting the same witch twice in the 800 years!

I have seen Vin Diesel in many avatars, from the sci-fi to action, adventure and thriller, they all suits him better, but this supernatural theme seems weird. There was lots of action, so it does not feel like a fantasy film, which is merely the idea of film concept. From the director of 'Sahara', the story of an cursed with eternal life witch hunter named Kaulder. Except the opening, the remaining film sets in the present New York city where he has to stop a witch who is trying to bring back the witch queen from the dead.

It was just another those films where the ancient meets the modern world. Okay, I agree a few films did impacted from the last two decades since the evolution of the CGI. Even though, they were not considered the greatest, in the meantime, I don't know where did this one come from. It was not based on any book, but I think just to make a few quick bucks using the star power. Other than that this film offers nothing new.

Yes, I liked the Diesel's presence in this, but he should not do films like this, except if the screenplay and role developed to his caliber. It was not a big box office hit, but merely survived and critically didn't. Even the film fanatics and fans of the star disappointed with it. Now I can't believe the sequel is announced, but I hope it won't take off. Anyway, it could become a decent television series rather than a film franchise.

Diesel is the reason for this film to look okay and the story was maybe the hundredth time used. Come on we all know this story, but with a new cast and the settings, it looks different. So for me the film was an average, other than that, I don't think it is worth recommending to the others. If you still want to see it, then pick the digital 3D version where you can at least enjoy some special effects.

5/10
**The initial tableaux:**

**Initial, part I**: We're in the black plague era in Europe, say 13th century. The spread of the plague is attributed to the spellcasting of evil witches. Vin Diesel's character, Kaulder, is one of the witch hunters who finds the Witch Queen. Kaulder and company put an end to the plague, but at the cost of Kaulder's wife, his only child, and most of his hunter friends. While dying, the Witch Queen curses Kaulder.

**Initial, part II**: In current New York City, Kaulder is still hunting witches. Yes, the same Kaulder. He's allied with an old group within the church, the Axe and Cross, which tries and imprisons witches. They also keep secrets. Kaulder's main contact with Axe and Cross is Dolan the 36th, played by Michael Caine, in one of those short roles that he does so well. Dolan is quite old, and Dolan the 37th seems ready to take over being contact with the immortal Kaulder.

**Delineation of conflicts:**
In the present, witch activity seems to be picking up. Something large is brewing. Kaulder suffers a number of reverses, and his list of allies shrinks.

The film began in apocalyptic mode, and near the end it is almost there again. Kaulder must face what he did not face the first time, 800 years ago.

**Resolution:** Will Kaulder find new allies, or must he carry the day himself?

**One line summary:** Attempt at another Vin Diesel movie franchise.

**_Statistics:_**

**Cinematography:** 8/10 Well done on the whole; the visuals kept my attention.

**Sound:** 8/10 Dialog is clear. Music seemed appropriate.

**Acting:** 5/10 Michael Caine was fine in his short role as noted above. Vin Diesel is convincing as an action hero, even here with swords, magic, fists, and intention instead of cars, guns, and explosives. Julie Engelbrecht had her fine moments as Kaulder's arch nemesis, the Witch Queen, at the very beginning, and at the very end. Olafur Darri Olafsson was a blast as Belial, an in-your-face opponent for Kaulder.

Elijah Wood's performance sucked rocks. Rose Leslie (Game of Thrones, 17 episodes) was almost interesting as Kaulder's on-again, off-again witch ally. That was a bit weak, since she was supposed to be the female lead.

**Screenplay:** 5/10 Violence and threat moves the plot along, so the 106 minutes runtime does not drag too badly. I'm glad I saw the film, but would not watch it again. Why not? The narrative is not well-constructed. It seemed like every five minutes there was some change or rules, or some impressive (?) artifact to consider.

At the end of the film, I felt that I should have been happier for the protagonist, but just could not be. Would there be major challenges for him in the centuries to come? Would Chloe be a reliable ally? By this time I did not care, and I felt this to be a major failing of the film.

**_Final Rating:_** 6/10 I liked it better than most people did, but I would be hard pressed to say, 'you must see this one.'
Arguably the coolest poster a movie's ever had.

Vin & Co. lay the cheese on **thick** in this one. I'm talking slab of fried haloumi thick. But that's not exactly the end of the world. It's kind of like if _Constantine_ was way worse, or if _Seventh Son_ was way better. With a little 2004's _Van Helsing_ thrown in for good measure.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
You cling to your pathetic life, those closest to you betray you and those you claim to protect don't even know your name.

Hmm, okies. It feels like the studio execs sat around the big table and thought here's Vin Diesel lets build a boisterous popcorn franchise setting piece around him.

Plot has Diesel as the title character who here in the modern world is all that stands between humanity and the combined forces of the deadliest witches in history. Cue lots of crash bang and wallop, digital blitzkrieg and Vin with a glint in his eye in spite of not having the emotional paths required for the role. In support are Elijah Wood, Michael Caine and Rose Leslie, all of whom arguably come under the miscast banner.

There's some smart ideas at the film's core, the nightmares and dreamscapes narrative smarts particularly hint at what might have been a potent asset to the pic. There's some nifty set-pieces on show as well, which just about stops this from being a boring picture - but it comes mightily close, and in HD form it looks and sounds terrific. Yet it's never a fully realised whole for dramatic impact, with the casting decisions only compounding this feeling.

In nutshell terms The Last Witch Hunter is a passable time waster that entertains if one is in an undemanding mood. 5/10
***Pedestrian horror sorta-superhero starring Vin Diesel***

An 800 year-old immortal Witch Hunter (Vin Diesel) now lives in swank New York City, still hunting malevolent witches with the help of two priests, an aged one (Michael Caine) and a novice (Elijah Wood). Rose Leslie plays a winsome witch with mettle while Ólafur Darri Ólafsson is on hand as a formidable evil warlock.

I thought I’d like "The Last Witch Hunter" (2015) since it mixes “End of Days” (1999) with “Van Helsing” (2004) and elements of “Ghost Rider” (2007) and “The Mummy” (1999) but, while Vin Diesel towers in the lead role, the story is meh. The overblown intro with its CGI-laden witch grotto sequence wasn’t a good first impression. By the halfway mark I wanted to turn it off, but I persevered.

Everything is here for a quality movie of this sort, but the story isn’t captivating and doesn’t build any drive. It just goes through the motions. The script needed a serious rewrite. But Vin Diesel is charismatic as the witch-hunting ‘James Bond’ and redhead Leslie has some appeal.

The film runs 1 hour, 46 minutes and was shot in Pittsburgh and Southern Cal.

GRADE: C/C- (4.5/10)

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