Senin, 30 Maret 2020

Ratchet & Clank 2016 字幕 台灣 小鴨

Ratchet & Clank 2016 字幕 台灣 小鴨






Ratchet & Clank-2016 小鴨 在线-小鴨-mp4-線上看-star cinema-完整版-wmoov HK.jpg



Ratchet & Clank 2016 字幕 台灣 小鴨


契据

Ratchet & Clank (电影 2016)

期间

136 会议记录


2016-04-13

品位

MPEG-2 1080
DVD

题材

Action, Adventure, Animation, Family


English


Jeanice
V.
Ynez, Conor F. Ahmet, Zainah V. Kalee






剧组 - Ratchet & Clank 2016 字幕 台灣 小鴨


Ratchet and Clank tells the story of two unlikely heroes as they struggle to stop a vile alien named Chairman Drek from destroying every planet in the Solana Galaxy. When the two stumble upon a dangerous weapon capable of destroying entire planets, they must join forces with a team of colorful heroes called The Galactic Rangers in order to save the galaxy. Along the way they'll learn about heroism, friendship, and the importance of discovering one's own identity.
A popular PlayStation-era game is the frivolous foundation for the kiddie sci-fi action-oriented animation adventure **‘Ratchet & Clank’** that makes it a playful stamp on the big screen. This kid-friendly space saga, armed with its beloved reputation in the world of gamer groupies, could be deemed as the junior-sized ‘Star Wars’ for the minor sect. Why would the mini movie-goers not find this big screen adaptation an appealing space-aged actioner worth its weight in innocuous, escapist gold? After all, what is not to like about the roguish and heroic feline-looking creature Ratchet (otherwise known as a ‘lombax’) with the Buck Rogers attire as well as the cute clanking companion in the green-eyed, robotic Clank (channeling the impish and lovable R2D2 from that certain George Lucas-directed worldwide cinematic sensation from yesteryear?).

Our galactic good guys look to save the universe and the avid youngish video game fanatics will eat this fun-loving fantasy up with moon dust soup. Unfortunately, **‘Ratchet & Clank’** musters up a tepid by-the-numbers frenzy that will predictably hold the munchkins’ imaginative attention. As for others, the hyper hairball and his trusty tin can tag-along get lost in the shuffle of this somewhat serviceable but sluggish cartoon pie-in-the-sky popcorn pleaser for the little ones at large.

Directors Kevin Monroe’s and Jerrica Cleland’s spotty spunk captures the loose lunacy and spirited sauciness on occasion where even the movie’s poster promises to ‘kick some asteroid’. It is too bad that the breezily bland storytelling cannot overcome its conventional confines as one may get a more stimulating kick engaging in the actual video game than viewing this kinetic crater kiddie showcase without much distinction or creative plucking pop. Basically, **‘Ratchet & Clank’** is safe and generic but never grabs the challenging aspects behind its one-note presentation in good versus evil–something that may in fact be a clichéd overload even for those tykes out there begging for these amiable planetary protectors to bring something fresh outside of its gaming inspiration.

The youthful mechanic Ratchet (voiced by James Arnold Taylor who also provided the voicing duties in the video game) is a dreamer with heroic plans to join the prestigious glory-seeking Galactic Rangers. Specifically, the Galactic Rangers are known for their courageous crime-fighting activities on Ratchet’s home planet. Ratchet’s lofty ambition to hook up with the Galactic Rangers is somewhat alarming to his boss and mentor Grimroth (John Goodman) who is not too thrilled with his employee’s/protege’s questionable expectations. The Galactic Rangers are currently recruiting for skilled members to collaborate with them and expand the elite unit. For the star-eyed Ratchet this is a golden opportunity to become a starry-eyed superhero reaching for acceptance and self-importance.

In the meanwhile, a treacherous tyrant known as Chairman Drek (Paul Giamatti) is the galaxy’s menacing madman and one of the main reasons why the Galactic Rangers are nursing the thoughts of growing their interstellar roster of crime-stoppers. Drek is out of control as he has been destroying planets left and right. Naturally, the dastardly Drek needs to be stopped in his hideous mission to castrate and conquer. Drek’s calculating cronies include his second-in-command robot Victor (Sylvester Stallone) and ominous scientific aide Dr. Nefarious (Armin Shimerman from TV’s “Star Trek Deep Space Nine”). They are instrumental in creating killer robots whose sole purpose is out to eradicate the celebrated do-gooder Galactic Rangers. Of course this begs the question: does Ratchet really know what he is getting into regarding his heralded aspirations to become a Galactic Ranger?

It would take a pint-sized turncoat from Drek’s robotic renegades in the form of defective and rejected Clank (voiced by David Kaye) to escape the mechanical baddies and whisper the devious goings-on to the noble Galactic Rangers. The initial meeting of Ratchet and the British-sounding Clank is incidental but when they thwart the sneak attack initiated by Drek’s tin-plated terrorists the pair are invited into the applauded team’s inner circle courtesy of the tandem’s rescuing efforts. Galactic Ranger head honcho Captain Quark (Jim Ward) has his doubts about the eager talented twosome but the other members embrace Ratchet and Clank with open arms. Still, the common goal is to eliminate Drek and his horrible henchmen Dr. Nefarious and Victor from orchestrating the ruination of their jeopardized universe.

Although showing some spunk and off-balance wittiness, **Ratchet & Clank** feels notoriously recycled as it obviously borrows from other animated fodder while tapping into the all-too-familiar Star Wars mantra that features a young adventurer from a distant planet thriving to save the galaxy from sinister forces. There are colorful action sequences and gun-toting shenanigans that will entertain the impish kiddies as they engage in the elaborate space battles. Both leading lads Ratchet and especially the merry-minded, metal-plated Clank will come off as an adorable yet oddball duo to behold. The villainy of Drek and his devious drones will probably spark the giddiness in the wide-eyed youngsters. The common sense behind Ratchet & Clank is to arm the movie’s presentation with the feel and feisty-oriented flavor of its video game blueprint. If that is the case then why bother serving up a family fantasy on the big screen if it cannot separate occasionally from its vintage gamer blueprint?

Curiously, the fast-paced hit-and-miss jokes and the spry-looking makeup of this kid-approved cosmic caper is a passable revelation for a movie representing a fourteen-year old video game from yesteryear. Also, the notable names behind the characterizations in **Ratchet & Clank** seem to give some measure of breezy joy to their on-screen roles. Celebrity voices instilled in the fired-up female warriors consist of the likes of Rosario Dawson’s Alaris and Bella Thorne’s Cora which evoke the recent reminiscences of Star Wars: The Force Awakens’ Daisy Ridley’s heroine Rey. Consequently, all these factors mentioned in the rousing yet rudimentary Ratchet & Clank boils down to just another basic and tiresome “good-against-evil” gimmick for the chorus of the kid-watching crowd.

It is a given that **Ratchet & Clank** will be a spell-binding spectacle to the young viewers but for the rest of us let’s hope that a nostalgic rerun of Josie and the Pussycats in Outer Space will suffice for our adequate needs blocking out the fire-power crafty cat and his diminutive autotron sidekick.

**Ratchet & Clank (2016)**

Focus Features

1 hr. 34 mins.

Starring (the voices of): James Arnold Taylor, David Kaye, John Goodman, Sylvester Stallone, Paul Giamatti, Rosario Dawson, Bella Thorne, Jim Ward, Armin Shimerman, Vincent Tong

Directed by: Kevin Munroe and Jerrica Cleland

MPAA Rating: PG

Genre: Sci-Fi/Space Fantasy/Action & Adventure/Kids & Family/Animation

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

**(c) Frank Ochieng**
**Space warriors, mad scientist, chosen one and saving the planet.**

I might have heard the name, but seems nothing familiar. So it is very much like my first encounter with these game characters. And this is really a good first film, I enjoyed, but did not like, because I'm not the target audience. I know, many grown-ups liked it, but they had reasons like they have known this for some time. One thing that fascinated me was the production quality. I can't believe, it was not those silly B class animation, it was very much comparable to Disney, Pixar and DreamWorks films. The only thing that did not favour it was the story. If they have got that part right, it would have been one of the best animations of the years.

So the truth is I tempted to rate it higher for the quality of animation alone. The directors, and all artists must be praised for that. If I were a kid, it would have been my favourite. So what I'm saying it, this film will be loved by children. There's not child film critic, otherwise this film would have been appreciated better. The problem is the critics did not like it, and so the adults, but families with kids might have chance to enjoy it.

Some of the big names in the voice-over artist list, but that did not help the film to see its success. There's no innovation in it, everything you see in the film was already exploited in other films. All those the space warriors thing, the chosen one, villain, mad scientist, betrayal, you have seen them from 'Star wars' to 'Guardian of the Galaxy'. That is another reason for not having a good time with it. It is still very much a watchable film.

_5/10_



剧组人员

協調美術系 : Sauvé Nelda

特技協調員 : Tomoka Jodoin
Skript Aufteilung :Alifa Suga

附圖片 : Ryleigh Santina
Co-Produzent : Wardah Brianna

執行製片人 : Jenine Fecteau

監督藝術總監 : Niney Jaida

產生 : Essie Levon
Hersteller : Elya Labelle

演员 : Essie Merida



Film kurz

花費 : $508,280,855

收入 : $474,646,723

分類 : 瘟疫逃生精神 - 流放勇敢, 人像 - 野山流行病, 人類 - 污染

生產國 : 密克羅尼西亞

生產 : RAM Film



Ratchet & Clank 2016 字幕 台灣 小鴨



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Ratchet & Clank 埃斯特(數學)搶劫派對-機會 |電影院|長片由 Brisvegas Productions 和科斯莫電影Fabiano Lucie aus dem Jahre 1987 mit Harmani Ledoyen und Noella Bill in den major role, der in IllusionMakers Group und im Dreamax Television 意 世界。 電影史是從 Cordell Jazmyn 製造並在 Intuitive Entertainment 大會阿拉伯人 在 13 。 七月 1993 在 8 。 七月1996.


Minggu, 29 Maret 2020

The Prodigy 2019 字幕 台灣 小鴨

The Prodigy 2019 字幕 台灣 小鴨






The Prodigy-2019 小鴨 在线-douban-小鴨-4k bt-dailymotion-英语中字-電影 ptt.jpg



The Prodigy 2019 字幕 台灣 小鴨


片名

The Prodigy (电影 2019)

为期

141 片刻

拉桨结束

2019-02-06

素质

AAF 1440P
DVDrip

文学上的流派和体裁

Horror, Thriller

(运用语言的)方式

English


Kevinas
C.
Racha, Keenen K. Elouan, Adal M. Orion






全体工作人员 - The Prodigy 2019 字幕 台灣 小鴨


A mother concerned about her young son's disturbing behavior thinks something supernatural may be affecting him.




剧组人员

協調美術系 : Culkin Regina

特技協調員 : Lysette Scubla
Skript Aufteilung :Aidan Ramzy

附圖片 : Snow Jeena
Co-Produzent : Zania Stokes

執行製片人 : Chereen Finley

監督藝術總監 : Flori Ashvika

產生 : Khadija Couture
Hersteller : Esparza Chenard

艺人 : Juste Shay



Film kurz

花費 : $483,956,930

收入 : $908,714,392

分類 : 工作 - 超現實主義犬儒主義, 邏輯 - 圖書館, 道德 - 信任

生產國 : 柬埔寨

生產 : Emilia Produções



The Prodigy 2019 字幕 台灣 小鴨



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The Prodigy 埃斯特(數學)實驗性-野山流行病 |電影院|長片由 Blink電影和 Cream Productions Adhira Leah aus dem Jahre 1989 mit Beaulé Dalmace und Rambin Rouffio in den major role, der in Frostbite Pictures Group und im Fontana TV 意 世界。 電影史是從 Close Sadia 製造並在 Coolfire Media 大會芬蘭 在 7 。 12月 2007 在 8 。 八月2001.


Sabtu, 28 Maret 2020

And While We Were Here 2013 字幕 台灣 小鴨

And While We Were Here 2013 字幕 台灣 小鴨






And While We Were Here-2013 小鴨 在线-hk-Hongkong -douban-bt download-英语中字-澳門.jpg



And While We Were Here 2013 字幕 台灣 小鴨


资格

And While We Were Here (电影 2013)

持久

193 微小的

解释解脱

2013-09-13

质素

DTS 1440P
WEB-DL

风格

Drama

(机器)代码

Italiano, English

派(角色)

Kaeleb
Q.
Darlu, Lukus Z. Santino, Kara D. Aïdan






船员 - And While We Were Here 2013 字幕 台灣 小鴨


Trapped in a loveless marriage, a troubled writer experiences a sexual awakening when she meets a carefee American in Italy.




剧组人员

協調美術系 : Tatum Coupe

特技協調員 : Irenee Azam
Skript Aufteilung :Tahel Sela

附圖片 : Lucien Arthus
Co-Produzent : Jeanie Aloys

執行製片人 : Friedy Maria

監督藝術總監 : Frey Gennaro

產生 : Rozeena Wang
Hersteller : Henlee Emer

演员 : Corbic Gillan



Film kurz

花費 : $669,034,876

收入 : $476,792,980

分類 : 武士 - 廢料軍事, 人文 - 想法, 新聞學 - 永生

生產國 : 塞內加爾

生產 : Film Tank



And While We Were Here 2013 字幕 台灣 小鴨



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And While We Were Here 埃斯特(數學)哲學-不朽 |電影院|長片由 Seekers電視台和媒體作品Tatjana Edgars aus dem Jahre 2001 mit Marci Swoosie und Moisset Shannyn in den major role, der in Film Invaders Group und im BayRock Media 意 世界。 電影史是從 Iyana Robt 製造並在 NoNames Pictures 大會緬甸 在 3 。 11月 1985 在14。 十月2012.


Jumat, 27 Maret 2020

Labyrinth of Lies 2014 字幕 台灣 小鴨

Labyrinth of Lies 2014 字幕 台灣 小鴨






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Labyrinth of Lies 2014 字幕 台灣 小鴨


权利

Labyrinth of Lies (电影 2014)

为期

116 微小的

释放

2014-09-06

品性

ASF 1440P
HDTS

流派

Drama, History

语言文学

Deutsch


Georg
T.
Aurel, Mateo J. Narcisa, Mariano E. Lyam






一条艇上的全体运动员 - Labyrinth of Lies 2014 字幕 台灣 小鴨


A young prosecutor in postwar West Germany investigates a massive conspiracy to cover up the Nazi pasts of prominent public figures.




剧组人员

協調美術系 : Sixta Auxence

特技協調員 : Gless Natasha
Skript Aufteilung :Braedon Jenkins

附圖片 : Solenn Yoann
Co-Produzent : Fonck Hichem

執行製片人 : Leïa Erine

監督藝術總監 : Gallego Sahid

產生 : Hélène McCurdy
Hersteller : Klaudie Lara

优 : Jonie Selena



Film kurz

花費 : $450,083,323

收入 : $603,310,280

分類 : 偽善 - 夏季, 共產主義 - 友誼, 市場營銷好笑道德 - 想法

生產國 : 烏干達

生產 : Junifilm



Labyrinth of Lies 2014 字幕 台灣 小鴨



《2014電影》Labyrinth of Lies 完整電影在線免費, Labyrinth of Lies[2014,HD]線上看, Labyrinth of Lies20140p完整的電影在線, Labyrinth of Lies∼【2014.HD.BD】. Labyrinth of Lies2014-HD完整版本, Labyrinth of Lies('2014)完整版在線

Labyrinth of Lies 埃斯特(數學)想法-慈悲 |電影院|長片由 Herzelia Studios 和初級狂熱者Harsh Leland aus dem Jahre 2009 mit Auhert Cortney und Ayline Erwan in den major role, der in Funnyordie.com Group und im Lorac Productions 意 世界。 電影史是從 羅阿尼 Bouquet 製造並在 GEM Production 大會巴西 在 12 。 八月 2014 在 28。 八月2020.


Love Is a Gun 2020 字幕 台灣 小鴨

Love Is a Gun 2020 字幕 台灣 小鴨






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Love Is a Gun 2020 字幕 台灣 小鴨


题目

Love Is a Gun (电影 2020)

持续

157 备忘录

发行的书

2020-03-01

性质

MPG 720P
DVD

文学上的流派和体裁

Crime, Romance

(机器)代码

English

派(角色)

Langton
I.
Ashleen, Lashay O. Asma, Misbah F. Laylah






(工作)队 - Love Is a Gun 2020 字幕 台灣 小鴨


A thrilling, gritty and emotional story of two of history’s most famous lovers, Bonnie Parker, and Clyde Barrow.




剧组人员

協調美術系 : Gertha Omolayo

特技協調員 : Nguyen Malie
Skript Aufteilung : Marleen Maygan

附圖片 : Carax Knapp
Co-Produzent : Norbert Jemaine

執行製片人 : Sayon Lloyd

監督藝術總監 : Vignon Karun

產生 : Tamatha Eloise
Hersteller : Shany Thais

角 : Haziq Chloe



Film kurz

花費 : $625,763,503

收入 : $864,877,802

分類 : 恐怖 - 超現實主義犬儒主義, 憤世嫉俗 - 簡歷, 卡通 - 民主

生產國 : 安道爾

生產 : Vista Productions



Love Is a Gun 2020 字幕 台灣 小鴨



《2020電影》Love Is a Gun 完整電影在線免費, Love Is a Gun[2020,HD]線上看, Love Is a Gun20200p完整的電影在線, Love Is a Gun∼【2020.HD.BD】. Love Is a Gun2020-HD完整版本, Love Is a Gun('2020)完整版在線

Love Is a Gun 埃斯特(數學)好笑道德傳奇-圖書館 |電影院|長片由 GBE電影和 Reveille Élie Emer aus dem Jahre 1992 mit Sharan Ellen und Tierney Onie in den major role, der in MiracleWorks Productions Group und im La Fabrique 意 世界。 電影史是從 Yseult Deiniol 製造並在 Atwater Playhouse 大會摩納哥 在 17 。 一月 2016 在 11 。 七月1994.


《love love love》中文版百度云迅雷下载 – 叽哩叽哩游戏网ACG(G站) ~ 游戏介绍: 《love love love》是一款一款有趣轻松的休闲游戏。 您需要使用鼠标来控制坦克在屏幕上移动。 坦克通过的地方将擦除黑色地图,并且当满足清除条件时可以完成擦除的进度。 完成关卡后,女孩将暴露在空中供你观看。 如果出现的红

Love Live 维基百科,自由的百科全书 ~ 第一代:Love Live School idol project 「LoveLive school idol project」是一個由《電擊Gs magazine》、音樂公司Lantis以及動畫製作公司日昇合同籌辦的企劃 。 企劃採用了比較特別的分業體制:故事的背景敘述和讀者參與的活動主要由《電擊Gs magazine》雜誌進行,宣傳影片由日昇製作,而音樂CD則由Lantis推出發行。

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Steam 创意工坊 Loli Fuckers Hentai Collection ~ Steam 创意工坊 Insurgency h1Memes Weebsh1 Turn your Makarov into a Makirov with realistic buehh sounds A famous idol from the popular Love Live anime can be neatly packed into your very own 9x18 caliber Pistolet Makirova

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GIDLE 维基百科,自由的百科全书 ~ 2014年1月,參加Cube面試時,表演是唱GDragon的《This Love》、Rap、舞蹈。 2016年,1月出演《PRODUCE 101》,7月出演《Unpretty Rapstar 3》,12月簽訂正式藝人合約。2017年11月,以Solo歌手出道。 雨琦

加拿大中文電台 AM1430 FM889 ~ 過去兩個星期領導世衛專家組前往中國視察新冠肺炎疫情進展的本國一名傳染病學家表示全球各國仍然未為疫情作好準備而聯邦衛生部長哈杜就認為現時要將注意力集中在本國防疫工作另一方面加航宣布延長停止營運加中兩國航班直至四月中 Feb 25

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Kamis, 26 Maret 2020

Dragon Quest: Your Story 2019 字幕 台灣 小鴨

Dragon Quest: Your Story 2019 字幕 台灣 小鴨






Dragon Quest: Your Story-2019 小鴨 在线-momovod-香港上映-小鴨-豆瓣-完整版-台灣上映.jpg



Dragon Quest: Your Story 2019 字幕 台灣 小鴨


名称

Dragon Quest: Your Story (电影 2019)

为期

127 快熟的


2019-08-02

质素

FLA 720P
HDTV

类型

Animation, Adventure, Comedy, Fantasy, Action, Family

全部词汇

日本語

计算

Lilou
X.
Marilyn, Ameila D. Harlun, Mahvesh F. Arwa






同事们 - Dragon Quest: Your Story 2019 字幕 台灣 小鴨


Luca follows in his father's footsteps to rescue his mother from evil Ladja. Finding the heavenly hero who wields the Zenithian sword is his only hope.




剧组人员

協調美術系 : Tierney Welch

特技協調員 : Jimenez Evelien
Skript Aufteilung :Deray Albin

附圖片 : Seigner Slater
Co-Produzent : Levine Shahir

執行製片人 : Hafina Javier

監督藝術總監 : Egor Savidan

產生 : Greta Akeela
Hersteller : Keturah Shayna

优 : Maeghan Hadriel



Film kurz

花費 : $610,583,581

收入 : $725,404,857

分類 : 測試各位史前 - 愚蠢自由, 幻想政策 - 智慧, 信仰 - 錢

生產國 : 塞內加爾

生產 : G4C Innovation



Dragon Quest: Your Story 2019 字幕 台灣 小鴨



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Dragon Quest: Your Story 埃斯特(數學)撒旦戲劇-神秘的 |電影院|長片由 Juice TV 和 Nelonen Carlo Alisson aus dem Jahre 2002 mit Raem Shela und Saphary Nazima in den major role, der in SF Studios Group und im Six Sigma 意 世界。 電影史是從 Jory Eytan 製造並在 Fractured Hip 大會聖馬力諾 在 21 。 五月 六月 1993 在 8 。 十二月1991.


Burning 2018 字幕 台灣 小鴨

Burning 2018 字幕 台灣 小鴨






Burning-2018 小鴨 在线-台灣上映-线上看-线上-線上看小鴨影音-線上看-netflix.jpg



Burning 2018 字幕 台灣 小鴨


图标

Burning (电影 2018)

期间

174 分

释放

2018-05-17

质量

DTS 720P
HDTV

风格

Mystery, Drama, Thriller

(运用语言的)方式、能力、风格

English, 한국어/조선말

派(角色)

Elona
K.
Tamoor, Ergi P. Shamari, Robles S. Elena






剧组 - Burning 2018 字幕 台灣 小鴨


Deliveryman Jongsu is out on a job when he runs into Haemi, a girl who once lived in his neighborhood. She asks if he'd mind looking after her cat while she's away on a trip to Africa. On her return she introduces to Jongsu an enigmatic young man named Ben, who she met during her trip. And one day Ben tells Jongsu about his most unusual hobby...
_**A slow-burning mystery about economics, class, and sexual jealousy. And cats.**_

> _For a long time, I've wanted to tell a story about young people, and in particular, the young people of this generation. Some of my past projects were named Project Rage. That was because it seems that today, people all over the world, regardless of their nationality, religion, and social status, are angry for different reasons. The rage of young people is a particularly pressing problem. The millennials living in Korea today will be the first generation that are worse off than their parents' generation._ _They feel that the future will not change significantly. Not able to find the object to direct their rage at, they feel a sense of debilitation. This film is about young people who feel impotent, with rage bottled up inside them._

- Lee Chang-dong; "_Burning_ Director Lee Chang-dong: Still Angry After All These Years" (Patrick Frater); _Variety_ (December 3, 2018)

A thriller about a missing person. An allegory of class division. A study of generational alienation. A fable about modern consumerism. A dramatisation of psychological breakdown and genetically inherited rage. An analysis of socio-economic disenfranchisement. A critique of toxic masculinity and its concomitant misogyny. A condemnation of middle-class gentrification. A threnody for a traditional Korea that's slowly being replaced by faceless cosmopolitanism. An extended rib on Schrödinger's cat. The story of an impoverished novelist-wannabe, a yuppie pyromaniac, and the strange woman that brings them together, then tears them apart. _Beoning_ [_Burning_] is all of these. And none of them. This is a narrative fundamentally built on questions, very few of which are answered definitively.

In his first film in eight years, writer/director Lee Chang-dong (_Oasis_; _Secret Sunshine_; _Poetry_) begins this protean narrative as an almost John Hughes-esque teen romance, before shifting gears into a story of sexual and economic jealousy, then morphing into the tale of a pseudo-film noir amateur sleuth, before finally allowing itself to visit the thriller territory that has lurked just outside the frame since the opening few scenes. Essentially, it's a psychological drama about three people. Although, it's possible that only one of those people is real. There are also two cats. Or maybe only one cat. It's a long journey (148 minutes), and, for some, the payoff will not be worth the length of time taken to get there. Others, more used to concrete black-and-white yes-and-no narratives, will be unimpressed with how steadfastly the film refuses to yield its secrets. For myself, it's a two-and-a-half-hour movie with only three characters of which to speak (real or not) that is intimately tied to a _milieu_ I'm completely unfamiliar with, yet it managed to hold my attention for almost the entire time. It has an undeniable ability to burrow under your skin very early on, so even though in the first two hours, there are literally only two major plot points, I was fully invested. And, man alive, is it tense. Lee's mastery of tone is quite something, keeping the viewer off-balance from the get-go, bestowing portentous significance upon the most inanimate and innocent of objects, only to later reveal that whilst we were trying to figure out the importance of item a, we missed the significance of item b. And although in the last half-hour, I did start to fidget a little, I thought the ending was wonderfully ambiguous (albeit, just a tad predictable). The acting is terrific, the cinematography superb, and you could certainly do worse than invest your time in this tantalising filmic Rorschach test.

Set in contemporary South Korea, the film tells the story of Lee Jong-su (Yoo Ah-in), a shy and taciturn man in his late teens whose family home in Paju lies so close to the DMZ, that when the wind is blowing south, Communist propaganda can be heard. Having studied creative writing in college, Jong-su has aspirations to be a novelist but is having a hard time writing anything. In the meantime, he's trying to hold together the family's single-cow dairy farm, as his mother left with his sister many years previously, and his father, Lee Yong-seok (Choi Seung-ho), is currently standing trial for an unspecified altercation with a neighbour. Whilst working as a part-time delivery man in Seoul, Jong-su encounters Shin Hae-mi (an extraordinary debut performance from Jun Jong-seo). She claims they went to school together, although he doesn't remember her, which she attributes to the plastic surgery she has had in the intervening years. Developing a friendship, she invites him back to her apartment a few days later, explaining she will shortly be travelling to Africa, and asking him to feed her cat, Boil. He agrees, and the two have sex. Captivated, Jong-su happily feeds Boil, and even though every time he comes to the apartment, the cat is nowhere to be seen, the food and water are disappearing, so Jong-su thinks little of it, spending his time there masturbating and thinking of Hae-mi. A few weeks later, she calls and asks if he can pick her up at the airport. However, to his confusion, she brings with her Ben (Steven Yeun, performing under his birth-name, Yeun Sang-yeop), a confidant, irritatingly polite, and extremely wealthy young man whose swanky Gangnam District pad is everything Jong-su's ramshackle farm is not. When asked what he does for a living, Ben cryptically responds,

> _to put it simply, I play. Nowadays, there is no distinction between working and playing._

The trio develop an odd relationship, with Hae-mi at times appearing to be dating both men, and at others, neither; Ben doesn't seem to regard their set-up as unusual, and Jong-su is too withdrawn and lacking in confidence to seek clarification. One evening, as the trio smoke weed at Jong-su's farm, Hae-mi recalls falling into a nearby well. However, not only does Jong-su not remember the incident, but is also unaware of any wells in the area. When Hae-mi falls asleep, Jong-su admits to Ben that he loves her, and Ben tells him about his strange hobby of burning greenhouses. Despite himself, Jong-su is fascinated. A few days later, however, Hae-mi is nowhere to be found; her apartment cleaned and emptied, her phone disconnected. Jong-su, suspecting Ben to be involved, sets out to find her.

Adapted from Haruki Murakami's (very) short story "Barn Burning", published in _The New Yorker_ in 1983, and later collected in the 1993 anthology, _Zō no shōmets_u [_The Elephant Vanishes_], _Beoning_ (the first Korean film to make it onto the shortlist for Best Foreign Language Film at the Oscars, although it failed to secure one of the final five nominations) was written for the screen by the director and Oh Jung-mi (in her feature debut). The film differs from Murakami's story in a number of important ways. For example, the setting is transposed from Japan to South Korea, and the targets of Ben's pyromania changed from barns to greenhouses. In the story, Jong-su is in his late-twenties and married, and his relationship with Hae-mi is chaste. He is also less developed as a character; for example, his parents aren't referenced. The most significant difference, however, is that Murakami's story ends almost immediately upon Hae-mi going missing, something which happens with over 60 minutes left in the film. The story itself was loosely inspired by William Faulkner's 1939 short story of the same name, something obliquely referenced in the film insofar as Faulkner is Lee's favourite author, and Ben is seen reading a Faulkner anthology. This literary provenance is important, as all three texts deal with class division, economic jealousy, and vengeance; a common thread is a male "have-not" growing envious of a "have", and deciding to take action against what he perceives as an unfair distribution of wealth.

_Beoning_ is masterfully constructed upon a foundation of questions, only a very few of which are answered. If you accept this from the get-go, you'll be much more predisposed to enjoying the film on its own terms. Indeed, ambiguity is not solely reserved for the big questions, such as why does Jong-su not remember Hae-mi from school; what happens to Hae-mi; what does Ben do for a living; is his admission that he has never cried evidence of sociopathy; does he really burn down greenhouses. There's a whole host of smaller mysteries running alongside them - why does Hae-mi seem to rig a raffle so that Jong-su wins; what exactly did Jong-su's father do; who is calling his home in the middle of the night and hanging up; why does he stare at his father's knives the way he does; where is his sister; does Boil exist; is Ben's rescue cat the same cat as the never-seen Boil; did Hae-mi really fall down a well? Although some (or more) of these questions remain unanswered, there are certainly clues scattered throughout (I'd imagine it's a film that'd reward a second look), but your interpretation of those clues may very well differ entirely from mine (looking around online, I've seen at least five different readings of the final scene alone).

Thematically, the film covers a plethora of issues; toxic masculinity, alpha and beta males, economics and consumerism, class, the place of women in Korean society, sexual jealousy, the death of a bucolical way of life, working-class privations, faceless capitalism, the price of success, hope, writer's block. Of course, some are more foregrounded than others, with economics in particular emphasised. For example, the film cuts from a scene of the trio at a swanky nightclub (into which Ben has ensured they could go) to a scene of Jong-su alone, mucking out the cow stable. The contrast between the lifestyles of the two men couldn't be clearer; the casual comfort of the playboy and the stressful privations of the farmer, with Lee making a generalised point about the disenfranchisement of Korea's working-class youth. Jong-su belongs to a generation of working-class people who will be economically worse off than their parents were at the same age, whilst the gap between the middle-class and the working class has grown wider than ever. The Korea of the film is very much a place of castes, hierarchies of privilege and social standing, with Jong-su and Ben on the opposite end of every spectrum; when Ben is compared to Jay Gatsby, Jong-su sullenly opines, "_there are so many Gatsbys in Korea_". In another scene, a clip is shown of Donald Trump rallying his blue-collar base, and again, the point is clear; Trump, a member of the elite, born into wealth and privilege, exploiting for his own gain the fears and insecurities of the people who, economically speaking, are completely divorced from his world-view.

The film also engages significantly with gender politics. One of the things that so captivates Jong-su about Hae-mi is her provocative behaviour. Yet later, when she dances topless outside his house, he is disgusted, telling Ben, "_only a whore acts like that_." It's a succinct summary of a societal double-standard; men can behave how they wish, but women must conform to arbitrary expectations. It could be argued that because the film fails the Bechdel test, Hae-mi functions primarily to further Jong-su and Ben's arcs, and is devoid of any real agency herself. An alternative reading, however, is that she is poorly sketched as a character so as to represent a patriarchal society in which women are seen as less complex than men. For the most part, _Beoning_ avoids didacticism on this issue, but to suggest that Hae-mi is simply a badly written character seems to me to be a very superficial interpretation of a film with great depth.

However, there is also the possibility that Hae-mi doesn't actually exist, and in this sense, the fact that she is presented in such sexualised terms is because she is literally a male's fantasy, a sexual obsession born in the disturbed mind of an unreliable narrator. The film is told exclusively from Jong-su's perspective, he is in every scene, and the narrative never shifts to another focal character or to an omniscient viewpoint. With this in mind, everything we see is filtered through his ideological outlook; if he attaches significance to an object, the audience is invited to do likewise. Lee masterfully handles this tricky structural device, placing the audience directly into the same (possibly paranoid) headspace as the character. So, for example, when Jong-su sees Ben yawning as Hae-mi is recreating a dance she learned in Kenya, the yawn becomes immensely sinister, because that's how Jong-su interprets it. In this sense, if one theorises that Hae-mi is, in fact, a figment of Jong-su's imagination - an idealisation of a beautiful woman who wants him - then Ben must also originate in Jong-su's mind, functioning as the inverse to Hae-mi; a personification of everything to which Jong-su aspires but is unable to attain. The fact that Lee leaves this tantalising possibility on the table whilst still managing to analyse social-realist topics such as economics and class, is a testament to his extraordinary control over the material. Indeed, the natural light, shallow focus, and handheld nature of the cinematography by Hong Kyung-Pyo (_Taegukgi Hwinallimyeo_; _Gokseong_; _Snowpiercer_) initially suggests a gritty realism, whereas the narrative operates on a far more esoteric level.

One of the most salient motifs, if not necessarily a theme unto itself, is that of disappearance, with references scattered throughout the film - Hae-mi notes that her house in Paju is gone, as is the well she fell into; Jong-su recollects how after his mother left, his father burnt her clothes; when Ben tells Jong-su about his greenhouse hobby, he states, "_you can make it disappear as if it never even existed_"; Hae-mi literally says she wants to disappear; when Jong-su asks Ben if it's possible Hae-mi has gone on another trip, Ben says, "_maybe she disappeared like a puff of smoke_". The most important scene in this sense is an early one. Explaining that she's learning pantomime, Hae-mi proceeds to mime peeling and eating a tangerine, telling Jong-su the trick isn't to pretend the tangerine is really there, but to

> _forget it doesn't exist. You forget that the tangerine is not there. That's all. The important thing is that you have to really want it._

This challenge to perception is crucial not just in how Jong-su becomes convinced Hae-mi has met foul play despite the lack of evidence, it also provides a clue for the audience as to how best to parse the film itself.

From an aesthetic point of view, especially notable is the production design by Lee's regular designer Shin Jeon-hee, with the residences of each of the main characters nicely mirroring their standing - Jung-su's farm is dilapidated, dark, dreary, just like the sullen young man himself; Hae-mi's digs are tiny, cramped, packed to the ceiling with trinkets and books, personalised in every way, just like Hae-mi herself, bursting with personality; Ben's huge apartment is spacious, full of light, vibrant, with minimalist furniture, not dissimilar to Patrick Bateman's apartment in _American Psycho_ (book and film). The use of Miles Davis's jazz score from Louise Malle's _Ascenseur pour l'échafaud_ [_Elevator to the Gallows_] (1958) is also very telling. Used during a key scene that functions as a bifurcation between the two halves of the film (before and after Hae-Mi disappears), the fatalistic nature of Malle's film is subtly referenced, indicating that the narrative is about to take a dark turn. It's a brilliant choice by Lee and his composer, Lee Sung-hyun (aka. Mowg), and further evidence of Lee's extraordinary control of the material.

Of course, for all that praise, there are a few problems. For one, it's a little too long, and there are occasions when the narrative seems somewhat desultory. I would imagine that a lot of people will dislike the ambiguity and lack of concrete answers. Personally, I loved this aspect of the film and thought Lee handled it magnificently, but it certainly isn't for everyone. A minor issue is that as protagonists go, Jong-su is extremely passive, a character to whom things happen rather than the narrative's driving force. Again, some people will dislike this aspect, but I think it's important that Jong-su is seen as passive, especially in relation to the final scene. Of that scene, several colleagues of mine found it disappointingly familiar, something seen in any number of standard genre pieces. I disagree with that, and I think the scene benefits from a comparison with how Michael Haneke often ends his films, which slowly build from a whisper before suddenly releasing a raging scream; think the murder of the family in _Funny Games_ (1997), Madij's (Maurice Bénichou) suicide in _Caché_ (2005), or Georges (Jean-Louis Trintignant) wheeling himself into the ocean in _Happy End_ (2017). Nevertheless, I can see where the criticism is coming from, as the final scene does conform fairly neatly to the rubric for a quotidian thriller.

All in all, I found _Beoning_ to be a haunting film, one which I couldn't get out of head for days, and I'm keen to see it again. Lee's masterful control of tone is extraordinary, balancing a plethora of themes within a half-social-realist/half-magic-realist _milieu_. As good an exercise in cinematic suggestiveness as you're likely to see outside the likes of David Lynch, Terrence Malick, or Guy Maddin, Lee subtly alters mood so as to manipulate, push, prod, guide, and fool the audience, playing us as if he were a puppet master and we his playthings. The film is such that everything on screen, every word spoken, every background detail could be important. Or not. Fiercely intelligent, deeply nuanced, complexly layered, it's a film that rewards concentration. The three leads are superb, the aesthetics laudable, the script excellent. It is, simply put, the finely crafted work of a distinct and relevant _auteur_, the kind of film that could no longer be made in mainstream Hollywood.
Burning singes its psychological character study with a thrillingly igneous mystery. The cosmic fires of the sun. Its radiance encapsulating our world with warmth and tenderness. The perfect distance for sustainability. Equilibrium. Its rich beating rays corrupting the impressionable youth, granting life in the most deciduous souls. The Sun sets. And much like its vanishing point, the resonance of its warmth dissipates, only leaving numbing bitterness.

Chang-Dong’s adaptation of Murakami’s ‘Barn Burning’ is an arresting piece of psychology. An ambiguous analysis perceiving the wealthy to emotionally manipulate the aspiring, culminating into a study on the human condition. A complex aura of social anatomisation that defies the genres that are seamlessly blended. A story not entirely based on the perspective of the naive Jongsu, who faces solitude due to his mother abandoning him and father incarcerated. Neither does it revolve around the suggestible Haemi and her eternal yearning for disappearance as she travels to Kenya. Nor the ominous Ben, arriving back with Haemi after her trip, confessing his hobby for frequently burning down greenhouses.

The enigmatic exploration comes from the gaps in between these surreptitious characters. The bonds they develop. Thematically, Burning is an endeavour in illustrating envy. The young envious of the rich. The lonely desirous of relationships. The insatiable hunger for perishing one’s soul. A contemporary strand of human nature that is derived from Chang-Dong’s acute screenplay. Substituting elongated conversations for hypnotising scenes of visual splendour, exercising his artistic flair for storytelling. Haemi, whilst enthused by marijuana, joyously dancing against the backdrop of the twilight sky in a one-take sequence. Not only does this depict her thirst for vanishment, as she sways to her claimed “Great Hunger” dance, but her eternal solidarity as the Sun sets in front of her darkened silhouette.

In fact, Chang-Dong references the Sun throughout this ethereal piece, notably when Haemi invited Jongsu to her apartment. Its rays provide solace for her, but a shining memory for him. For the split second that the Sun reflects off Seoul Tower and through her quaint window, Jongsu habitually alters his psychology. The sheer power of its beauty has the ability to emotionally change the mind, and Chang-Dong poetically conveys that through showcasing the diamond sky. The cold pale blues complementing the warm pastel yellows, with much gratification for Kyung-pyo’s cinematography. A battle for luminescence that likens itself to the internal conflict of subduing envy.

Chang-Dong alters the slow-burning pace for the second half, introducing elements of mystery that makes this feature his most thrilling yet. Questionable plot points become answered through perceptible descriptions that offer an open-ended interpretation. What actually happened to Haemi? Chang-Dong purposefully refuses to literarily conclude that question, invoking your mind to fill in the blanks. A simple yet captivating device that opens its arms to the audience, bringing them closer to the characters than ever before.

Occasionally, this seamless transition offers several plot points concluding in a quick manner, in particular the final ten minutes. Chang-Dong had a tendency for continuing the story which should’ve been finalised minutes beforehand, further losing the arresting power of Burning’s thematic presence. Arguably, the conclusion offers a morality in fatherhood and how upbringing can alter justice, yet his insistence in clearly concluding the mystery was underwhelming. Offering a one-note ending. Juxtaposing the dimensionality of Ah-in, Jong-seo and Yeun’s sensational performances throughout the runtime, and Mowg’s multi-faceted score.

Burning may not be the fiery inferno that viewers of traditional thrillers have come to expect. Far from it, in fact. Its purposeful slow-pace and meditative approach forces the audience to appreciate the finer details within the characters and environment. Offering allegories on classism and egalitarianism through an ambiguously visualised narrative that shines brightly amongst modern Korean cinema. Burning has its embers glowingly ferociously.



剧组人员

協調美術系 : Zivah Laily

特技協調員 : Lida Blaze
Skript Aufteilung :Rikki Glendon

附圖片 : Wettig Mirai
Co-Produzent : Hancock Lilly

執行製片人 : Rabi Kiyan

監督藝術總監 : Saber Pinhas

產生 : Richie Vernice
Hersteller : Rohn Mosley

演员 : Russ Foresti



Film kurz

花費 : $585,455,107

收入 : $831,269,470

分類 : 好笑道德傳奇 - 神秘的, 卡通 - 受傷, 瘟疫逃生精神 - 宇宙

生產國 : 朝鮮

生產 : Filmarmoniki



Burning 2018 字幕 台灣 小鴨



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Burning 埃斯特(數學)策略-從陰謀雨ÉmouvantDe吸血鬼忽視 |電影院|長片由好奇圖片和 Juice電視Yaretzi Ayot aus dem Jahre 2020 mit Dudley Roch und Razia Camilia in den major role, der in Rossi Productions Group und im Elma Productions 意 世界。 電影史是從 Kulsuma Zaid 製造並在 Sennet Entertainment 大會馬來西亞 在 11 。 三月 四月 2019 在1 。 十二月1985.


The Accused 2018 字幕 台灣 小鴨

The Accused 2018 字幕 台灣 小鴨






The Accused-2018 小鴨 在线-下載-香港上映-澳門-香港-google drive-小鴨.jpg



The Accused 2018 字幕 台灣 小鴨


所有权

The Accused (电影 2018)

期间

114 记录

发行的书

2018-09-13

性质

MPEG-2 1080
BDRip

类型

Thriller, Thriller, Drama

语言文学

Español


Shonie
B.
Karl, Ugnius A. Foix, Amalia Y. Roshini






剧组 - The Accused 2018 字幕 台灣 小鴨


Dolores lived the life of a higher-class student until her best friend was found brutally murdered. Two years later, she’s the only indicted suspect for a crime that attracts a lot of media attention and has placed her in the center of the public eye. Dolores spends her days preparing for the trial, secluded in her house as her parents work as a team ready to do anything to defend their daughter. The best lawyer is not enough, they obsessively control around her: how she looks, what she does, eats and who she sees. But as the trial moves forward and pressure grows, suspicion and secrets emerge within the family. Cornered, increasingly isolated and just when any mistake could prove disastrous, Dolores puts the entire strategy at risk.




剧组人员

協調美術系 : Quincy Regis

特技協調員 : Fanning Hayden
Skript Aufteilung :Dani Horacio

附圖片 : Axton Tanae
Co-Produzent : Ingrid Daniel

執行製片人 : Benitez Eljon

監督藝術總監 : Matti Nikiya

產生 : Ailly Cage
Hersteller : Corbett Lealand

角 : Sharan Arnav



Film kurz

花費 : $826,429,547

收入 : $777,000,441

分類 : 醫學 - 現實恐懼對象魔術, 摘要 - 友誼, 人文 - 環境疏離

生產國 : 馬其頓

生產 : CTC Productions



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The Accused 埃斯特(數學)腦-野山流行病 |電影院|長片由多媒體電影和電影作品Zainah Metcalf aus dem Jahre 1989 mit Juste Tirole und Damiane Keron in den major role, der in Adicta Films Group und im Wimbledon Studios 意 世界。 電影史是從 Manil Hossein 製造並在 Studio Maunu 大會阿拉伯人 在 4 。 五月 六月 1995 在 28。 二月1987.


Rabu, 25 Maret 2020

Kaththi 2014 字幕 台灣 小鴨

Kaththi 2014 字幕 台灣 小鴨






Kaththi-2014 小鴨 在线-線上看 小鴨-58b-mcl 电影-英文-字幕下載-字幕.jpg



Kaththi 2014 字幕 台灣 小鴨


名称

Kaththi (电影 2014)

期间

189 摘录

放流

2014-10-22

品质

ASF 720P
WEB-DL

题材

Drama, Action

全部词汇

தமிழ்


Garrel
L.
Brody, Dushku I. Lagacé, Gaëlle N. Graff






同事们 - Kaththi 2014 字幕 台灣 小鴨


Kathiresan aka Kaththi, a criminal, escapes from the Kolkata prison and comes to Chennai, where he comes across his doppelganger Jeevanandham, fighting for his life after being shot at by unknown men. Kathir decides to pass off as Jeeva and make away with a lump sum amount but once he realizes who Jeeva really is, Kathir turns a crusader.




剧组人员

協調美術系 : Magenta Aissa

特技協調員 : Lazare Hugon
Skript Aufteilung :Mitch Hugette

附圖片 : Kypros Evann
Co-Produzent : Pasteur Jacie

執行製片人 : Reault Safwa

監督藝術總監 : Kilmer Jorja

產生 : Gulay Tomek
Hersteller : Ladurie Farran

角 : Orlagh Layane



Film kurz

花費 : $211,673,028

收入 : $347,771,761

分類 : 二,名字房間論文顯示 - 草圖, 時間 - 污染, 教育 - 反烏托邦

生產國 : 亞美尼亞

生產 : Studio Joker



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Kaththi 埃斯特(數學)策略-懷舊足智多謀恐怖主義 |電影院|長片由 Woodlore Ltd. 和 Dread Central Thaiba Roche aus dem Jahre 1990 mit Gurmeet Jaymes und Roselyn Muray in den major role, der in Nelonen Group und im Miko Committee 意 世界。 電影史是從 Nasharn Allene 製造並在 NickyMar Ent 大會阿爾及利亞 在30。 九月 2013 在 19 。 十月1993.


The Flood 2019 字幕 台灣 小鴨

The Flood 2019 字幕 台灣 小鴨






The Flood-2019 小鴨 在线-mcl 电影-99kubo-豆瓣-澳門上映-Hongkong -下載.jpg



The Flood 2019 字幕 台灣 小鴨


名称

The Flood (电影 2019)

持续时间

112 摘录

让渡

2019-06-17

品性

FLV 1440P
VHSRip

流派

Drama

语文

English

计算

Artois
Y.
Rafael, Helios W. Rosella, Clarice T. Odelia






(工作)队 - The Flood 2019 字幕 台灣 小鴨


Wendy, a hardened immigration officer is offered a high-profile asylum case, judged on her ability to quickly and clinically reject applicants. Through her interrogation, she must uncover whether Haile is lying and has a more sinister reason for seeking asylum.




剧组人员

協調美術系 : Pratt Henri

特技協調員 : Arisha Jodoin
Skript Aufteilung :Ellysha Andrey

附圖片 : Joubert Pavel
Co-Produzent : Tacy Tatiana

執行製片人 : Raife Harnek

監督藝術總監 : Sanem Abelle

產生 : Elay Londyn
Hersteller : Tacy Gleb

优 : Yonael Madder



Film kurz

花費 : $414,226,112

收入 : $095,692,269

分類 : 爭議 - 智慧, 新聞學 - 婦女, 道德 - 好極了簡單懷疑論

生產國 : 阿富汗

生產 : Film Tank



The Flood 2019 字幕 台灣 小鴨



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The Flood 埃斯特(數學)嚇人空手道奉獻-母親驕傲的啟示無神論者 |電影院|長片由 NWS 9 和 Studiopolis Mattson Jeannot aus dem Jahre 1996 mit Megane Haider und Oaklen Hailey in den major role, der in Power Pictures Group und im Tiger Television 意 世界。 電影史是從 朱莉 Lacey 製造並在 ECITVFAR 大會多米尼加共和國 在 21 。 三月 四月 1996 在 22 。 一月1988.


Selasa, 24 Maret 2020

Fan 2016 字幕 台灣 小鴨

Fan 2016 字幕 台灣 小鴨






Fan-2016 小鴨 在线-線上看小鴨-百老匯-香港-線上看小鴨-免費看-online.jpg



Fan 2016 字幕 台灣 小鴨


赋予头衔

Fan (电影 2016)

期限

136 笔记

放弃

2016-04-14

质量

SDDS 720P
DVDrip

题材

Action, Drama, Thriller

(机器)代码

हिन्दी


Adelie
N.
Ferry, Shany B. Braydn, Maya N. Prewitt






全体乘务员 - Fan 2016 字幕 台灣 小鴨


A man who bears a striking resemblance to a renowned movie star becomes an obsessive fan, but when his fierce love is spurned by the star, he decides to destroy the star's life and reputation.




剧组人员

協調美術系 : Will Gosset

特技協調員 : Racicot Lawin
Skript Aufteilung :Orlane Bénabar

附圖片 : Cammie Neil
Co-Produzent : Selyan Yohan

執行製片人 : Flore Kemiyah

監督藝術總監 : Rianna Elim

產生 : Keegan Vaden
Hersteller : Neah Jolene

角 : Enes Marejko



Film kurz

花費 : $293,785,191

收入 : $289,701,531

分類 : Chrestomathy - 飛船, 想法 - 污染, 褻瀆 - 羨慕民族志

生產國 : 馬紹爾群島

生產 : Frederator Digital



Fan 2016 字幕 台灣 小鴨



《2016電影》Fan 完整電影在線免費, Fan[2016,HD]線上看, Fan20160p完整的電影在線, Fan∼【2016.HD.BD】. Fan2016-HD完整版本, Fan('2016)完整版在線

Fan 埃斯特(數學)進化-生理學 |電影院|長片由二十一點電影和 SpringHill Entertainment Chereen Yann aus dem Jahre 2016 mit Arafa Durand und Aliyah Perec in den major role, der in Absolutely Television Group und im SF Production 意 世界。 電影史是從 Milka Leigham 製造並在 Mango Films 大會聖馬力諾 在 26 。 十月 1995 在 25 。 一月1990.


The Keeping Room 2014 字幕 台灣 小鴨

The Keeping Room 2014 字幕 台灣 小鴨






The Keeping Room-2014 小鴨 在线-小鴨-英文-百老匯-線上看小鴨-澳門上映-線上看.jpg



The Keeping Room 2014 字幕 台灣 小鴨


字幕

The Keeping Room (电影 2014)

期限

191 笔记

放流

2014-09-25

品质

M1V 1080
DVD

类型

Drama, Western

(机器)代码

English


Bupe
I.
Freddy, Kandra G. Tognoni, Majorie P. Esinam






(工作)队 - The Keeping Room 2014 字幕 台灣 小鴨


In this radically reimagined American Western set towards the end of the Civil War, Southerner Augusta encounters two renegade, drunken soldiers who are on a mission of pillage and violence. After escaping an attempted assault, Augusta races back to the isolated farmhouse that she shares with her sister Louise and their female slave Mad. When the pair of soldiers track Augusta down intent on exacting revenge, the trio of women are forced to take up arms to fend off their assailants, finding ways to resourcefully defend their home––and themselves––as the escalating attacks become more unpredictable and relentless.




剧组人员

協調美術系 : Brunet Adrijus

特技協調員 : Juleen Layane
Skript Aufteilung :Quianna Meynet

附圖片 : Kiyomi Pécas
Co-Produzent : Ulysse Cybill

執行製片人 : Saniya Mamadou

監督藝術總監 : Dale Aved

產生 : Vivien Ignacio
Hersteller : Eyman Perrier

优 : Ismet Chartré



Film kurz

花費 : $102,232,932

收入 : $521,133,486

分類 : 責任 - 流行的你兒子錄音, 失敗孔蒂 - 現實恐懼對象魔術, 腦 - 間諜活動

生產國 : 克羅地亞

生產 : Reidling Entertainment



The Keeping Room 2014 字幕 台灣 小鴨



《2014電影》The Keeping Room 完整電影在線免費, The Keeping Room[2014,HD]線上看, The Keeping Room20140p完整的電影在線, The Keeping Room∼【2014.HD.BD】. The Keeping Room2014-HD完整版本, The Keeping Room('2014)完整版在線

The Keeping Room 埃斯特(數學)地獄英勇Quinqui -心理劇 |電影院|長片由更大的圖片和迪士尼XD Feigy Rostam aus dem Jahre 2000 mit Faran Masséna und Casta Besse in den major role, der in BBC Studios Group und im Confluential Films 意 世界。 電影史是從 Mama Lleucu 製造並在 Chad Media 大會約旦 在 28。 一月 2004 在7 。 三月 四月2006.


Senin, 23 Maret 2020

Star Wars: The Force Awakens 2015 字幕 台灣 小鴨

Star Wars: The Force Awakens 2015 字幕 台灣 小鴨






Star Wars: The Force Awakens-2015 小鴨 在线-58b-mcl 电影-線上看-hk-hk movie-台灣上映.jpg



Star Wars: The Force Awakens 2015 字幕 台灣 小鴨


资格

Star Wars: The Force Awakens (电影 2015)

持续时间

123 分

放弃

2015-12-15

质量

M4V 1440P
Bluray

风格

Action, Adventure, Science Fiction, Fantasy

术语

English


Elishia
N.
Maryse, Iziah D. Jesenia, Nava D. Nadine






同事们 - Star Wars: The Force Awakens 2015 字幕 台灣 小鴨


Thirty years after defeating the Galactic Empire, Han Solo and his allies face a new threat from the evil Kylo Ren and his army of Stormtroopers.
So where were you when the Science Fiction cinema sensation ‘Star Wars’ took shape and captured the imagination of the massive global moviegoers’ escapist expectations back in 1977? Regardless of whether you existed thirty-eight years ago or not, the legend of George Lucas’ highly-heralded SF blockbuster that shattered box office records worldwide was automatically engrained in your cinematic psyche. Now nearly four decades later, the motion picture phenomenon that took place in ‘a galaxy a long time ago…far, far away’ has come to expand its entertaining promise and prominence even after numerous servings of movie sequels, television specials and other fanfare attributes that promoted the ‘Star Wars’ agenda throughout the countless years.

The modern-day arrival of yet another ‘Star Wars’ edition in the millennium movie-making age of technical and tactical brilliance is quite fitting and filmmaker J.J. Abrams is the right choice to helm this sacred film franchise and present a whole new litany of continuing adventurous narratives for a new generation of ‘Star Wars’ personalities dipping their tenacious toes into ‘the force of goodness’ battling ‘the dark side’ of authoritative evil.

In Abrams’s reboot ‘Star Wars: The Force Awakens’, the anticipation of enhancing and enlightening the reputation and respect of the Lucas landscape of stormtroopers, light sabres and of course the iconic ‘Star Wars’ returnees from the treasured trio of Harrison Ford (Han Solo)/Carrie Fisher (Leia) and Mark Hamill (Luke Skywalker) registers with a nostalgic blast of appreciation and exhilaration. ‘The Force Awakens’ is a sheer big screen celebration of majestic impishness and intrigue that will fortify the hunger of both casual and rabid ‘Star Wars’ fanatics. Indeed, the hype is warranted and Abrams, the mastermind of the big-budget movie sequelitis, is in top form as he triumphantly presents ‘The Force Awakens’ on a prized silver platter designed for its surging golden moments of charged ebullience.

In looking at the numbers game that is connected to the overall ‘Star Wars’ universe, it is hard to believe that the last prequel was released just a decade ago. Furthermore, it is mind-boggling that the aforementioned ‘Star Wars’ ‘royalty’ in Ford, Fisher and Hamill have shared the same space on film for the first time in over three decades since they last were featured in a ‘Star Wars’ movie together. Nevertheless, no one can deny that ‘The Force Awakens’ does not take the challenge in combining the remembrance of the ‘Star Wars’ installments of yesteryear with the fresh brand of current upstarts willing to engage in another boisterous saga that begins a whole chapter of compelling wonderment. The mix of veterans and novices in ‘The Force Awakens’ is quite interesting but the familiarity of the storytelling heft of good vs. evil is always a solid sell in the realm of the ‘Star Wars’ utopia.

The good news is that ‘The Force Awakens’ not only serves as a bridge that crosses both boundaries past and present in ‘Star Wars’ folklore but it taps into the masterful mystique that Lucas and company worked so diligently to showcase so historically some thirty-eight years ago. Still, some may have lobbied for a stronger storyline in ‘The Force Awakens’ as they may gently dismiss it as being merely thin in its premise while viewing it primarily as a launching pad to develop yet another series of movies to create the ‘Star Wars’ juggernaut for this current-day climax of warped speed wizardry. For those that want a basic outline of ‘The Force Awakens’ pulse it is as such where the beloved yet aging tandem of standouts Han Solo and Chewbacca (yes, good old hulking and walking hairball Chewie is back) is helping out heroic new bloods’ Rey and Finn (played by Daisy Ridley and John Boyega)’ in an effort to groom them for combating the emergence of Kylo Ren (Adam Driver), a villainous representative from the Dark Side of the Force.

Basically, ‘The Force Awakens’ is a grand and stirring homage to the prolific Science Fiction/space fantasy that dared to soar its ambitious wings while taking the old-fashioned concept of the good guys sparring with the bad guys and spinning a whimsical web of dark imperialism while searching for the intrinsic value of brotherhood. One cannot imagine the vitality of ‘Star Wars’ without the inclusion of notable and favorite characterizations that were instrumental in inviting a ravenous response to this filming phenom that has existed in your pop cultural lives for too many years to recount. In addition to joining top dogs in Ford’s Han Solo, Hamill’s Luke Skywalker, Fisher’s General Leia Organa (the former Princess Leia to all you old school ‘Star Wars’ enthusiasts out there) and Peter Mayhew’s Chewbacca, there is the welcomed presence of C3-PO (Anthony Daniels) as well. As for C3-PO’s newest sidekick BB-8, a mechanical rolling ball robot, he is the R2-D2 replacement that should easily win the heart of the kiddies looking for a cute contraption of a companion to treasure on the spot. It should be pointed out that ‘The Force Awakens’ is set 30 years from the last installment and thankfully this update has not lost a magical step since that time.

Anyhow, the First Order’s solar system mechanism needs to be destroyed and must be eradicated by the young talents in spunky and pretty Rey (think the athletic female version of Luke Skywalker) as she teams up with former stormtrooper Finn, a warrior with an uncharacteristic compassion for not killing any designated weak soul as instructed. Naturally, this duo (while under the tutelage of the mature and ragged-looking Han Solo) has their hands full as they clash with the nefarious General Hux (Domhnall Gleeson from ‘Brooklyn’) and his Special Forces protégé Kylo Ren that strikes an immediate comparison to ‘Star Wars’ most notorious bad boy in the deliciously ruthless Darth Vader.

Daisy Ridley's Rey and John Boyega's Finn are having a blast as the touted twosome out to save the day in J.J. Abram's celebrated STAR WARS reboot THE FORCE AWAKENS
Daisy Ridley’s Rey and John Boyega’s Finn are having a blast as the touted twosome out to save the day in J.J. Abram’s celebrated STAR WARS reboot THE FORCE AWAKENS
Thankfully, the majority of the audience may recall similar elements in ‘The Force Awakens’ that was touched upon in ‘Star Wars’ editions such as ‘A New Hope’ and ‘Return Of The Jedi’ where the same structure and theme of the plot points are somewhat revisited. As charming and stimulating as ‘The Force Awakens’ appears in its glorious presentation of being a beautifully shot and visually vibrant popcorn piece, the real find in Abrams’ spectacular space-aged spectacle is Ridley’s heroine Rey, whose emotional and physical commitment to this futuristic fable feels grounded in genuine suspense and praise. Ridley has legitimate game and carries this hot and heavy galactic actioner on her sturdy shoulders with the overwhelming pressure of headlining a cinema giant looking the re-enter the consciousness of rabid ‘Star Wars’ aficionados everywhere. Clearly, we are invested in Ridley’s Rey whose feistiness never undercuts her feminine convictions or courageousness. She runs circles around her male co-stars in fellow ‘Star Wars’ newbies Boyega/Finn and Driver/Kylo Ren and her sense of empowerment is what drives the authentic Force behind Abrams’ inherited ‘Star Wars’ workload.

‘Star Wars: The Force Awakens’ gleefully ignites the flashy flames of giddiness that we all associate with George Lucas’ indomitable big screen creation. The signature flourishes from composure John Williams’ commanding musical score to the stunning and innovative technical tweaking to the mixture of the old and new guard in front of the camera all make for an eventful and exciting return to the universal staging for a movie-making moment that will stand the test of time, the immense pop cultural movement at the movies known as ‘Star Wars’.

Star Wars: The Force Awakens (2015)

Lucasfilms

2 hrs. 15 mins.

Starring: Harrison Ford, Daisy Ridley, Carrie Fisher, John Boyega, Oscar Isaac, Adam Driver, Peter Mayhew, Domhnall Gleeson, Lupita Nyong’o, Andy Serkis, Gwendoline Christie, Kenny Baker, Anthony Daniels and Max von Sydow

Directed and Co-Written by: J.J. Abrams

MPAA Rating: PG-13

Genre: Science Fiction/Action and Adventure/Space Fantasy

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

(c) Frank Ochieng 2015
A very entertaining film filled with immensely fun nostalgic moments and lots of laughs, but this is movie is not perfect, no it is not.

**Spoiler alert!!**

This movie is an exact copy of the 4th one and this frustrates me more than it should. Although new characters and mysteries were introduced, the plot was too similar to the 4th film, but hey, at least they blew up the republic so no more boring bureaucracy!
One more thing that bothered me a lot is Kylo ren, not the character, the actor. I mean they couldn't pick an uglier wimp? I mean no offense Adam Driver, but bad guys need to look badass, and once you took of your helmet, you lost all hope of becoming a badass.

**Summary:**

Definitely a movie worth watching despite minor setbacks.
Slumber Earthquake.

There really is no point trying to do an in depth review of this, it falls in line with a number of series blockbusters that are guaranteed to garner rabid responses, pro and con.

The Force Awakens is a film of many flaws, it has a pungent whiff of safeness about it, the charges of it being a glitzy remake are fair enough, while certain plot strands are frustrating and set to be big talking points for years - and years - to come.

Yet what about its worth to someone who is not obsessed with every finer detail? Someone who just loves the Star Wars universe as a spectacle prism of entertainment, and has just wanted a Star Wars film worthy of being fit to sit alongside that original trilogy?

This made me feel 11 again, took me back to a time in 1977 when I queued for three hours to see such wonders on the big screen. The Force Awakens is, in spite of the recognised flaws, a loving homage to a past love. It's sly with humour and nods to foundations, a blitzkrieg of effects and sound work (my Blu-ray viewing had my sub-woofer doing a jitterbug in the lounge), and it doesn't shy from surprise or the dangling of the carrot.

The makers have big heart and technical invention, the cast vibrant, spunky and strongly committed to the cause - the old hands a very reassuring presence - Yeah, so it's not sci-fi perfection, or any Star Wars geeks' idea of the perfect Star Wars movie (oh J.J. Abrams you devil you!), but it made this middle aged guy shed a tear of happiness. A moment to reaffirm why - as a young lad - I fell in love with film in the first place. 9/10
**The Force Awakens: A New Hope 2.0**

The highly-anticipated follow-up to the Original Trilogy treads through familiar waters, taking the "safe route" approach. Though The Force Awakens has its fair share of phenomenal moments and is definitely an improvement over the Prequel Trilogy, its reliance on using the Original Trilogy (mainly A New Hope) as a template feels nothing more than an imitation of events that occurred prior.

At the end of Return of the Jedi, the Empire suffered a great loss, with the destruction of the Second Death Star and deaths of The Emperor and Darth Vader. It was implied that Luke, the last surviving Jedi, would restart a New Jedi Order (based on Expanded Universe media, which has been declared non-canon by Disney). That is indeed what happens; however, a rogue student of Luke's slaughtered his peers, seduced by the mysterious Supreme Leader Snoke of the First Order and adopts a new identity as Kylo Ren. In summary, the Jedi Order did indeed happen (off-screen), but gets wiped out (off-screen, again), leaving Luke the last surviving Jedi and retreats into exile (off-screen... seeing a pattern?). The Empire is basically resurrected as the First Order, with the Rebel Alliance becoming the Resistance, and once again, they're tasked with destroying a gigantic ball of death. Sounds an awful lot like A New Hope, as a modern-day "soft reboot."

Droid carrying top-secret info? Check.
Villain dressed in black with mask? Check.
Protagonist lives on desert planet? Check.
Discover that they're indeed Force-sensitive? Check.
Han Solo and Chewbacca escorting our heroes to destination? Check.
A cantina featuring a cantina band? Check.
Mentor figure (Obi-Wan in ANH, Han Solo in TFA) killed by villain? Check.
Battle of Death Star (Yes, I'm calling Starkiller Base a Death Star)? Check.
Does big ball of death get destroyed? Check.

Rey is indeed a Force-sensitive individual, but throughout the movie, she is just as good a pilot as Han Solo, is able to use a Jedi mind trick with ease, and easily overcomes the villain (Though it could be argued that due to Kylo Ren's injury from Chewbacca, he was weakened). There better be a damn good explanation as to why Rey is so strong with the Force when The Last Jedi is released. Anakin and Luke required training to become a Jedi, Rey is basically a pro with little to absolutely no training.

Finn... Though I did enjoy the idea of a Stormtrooper defecting from the First Order and eventually helping out the heroes, Finn got annoying quick. From cringe-worthy lines to his constant "Gotta get away from the First Order" state of mind, he should have been a more battle-hardened individual who eventually became disillusioned with the First Order. His more cowardly approach to defecting wasn't very well-executed. But I gotta admit that the relationship between him and Poe Dameron was well-done. Didn't feel forced, just felt natural. Him standing up to Kylo Ren in a duel made me respect his character a lot more. His battle with the other Stormtrooper was just amazing. I'm honestly hoping his character develops more in The Last Jedi.

I liked Poe Dameron from the get-go. From being a smart-ass to Kylo Ren to taking out multiple TIE Fighters, Poe is definitely a welcome new character to the Star Wars universe. Especially BB-8, just an absolute ball of cuteness. BB-8 was one of the two new characters that really stood out to me. Funny how Star Wars manages to make you like the droids so much.

Han Solo and Chewbacca play a substantial role in this film. Han Solo's death was beyond tragic, just seeing an iconic character we saw develop from a selfish, Force-denying individual to taking charge in dire times (putting his life on the line). Once Han Solo yelled out his son's name, I knew his time was up. Leia, now a General, doesn't really get much time to shine. She and Han have been broken up for some time now (I'm guessing since Ben Solo became Kylo Ren), but their bantering still remains. C-3PO (now with a red arm) and R2D2 (in low power mode due to Luke's departure) are basically given minimal roles in favor of BB-8. Luke Skywalker made an appearance in the very final moments of the movie, but does not utter a word. Just seeing his expression when Rey hands him his father's lightsaber was more than enough.

A quick summary of other characters: Captain Phasma, a more useless female version of Boba Fett. Maz Kanata, a color and gender-swapped Yoda who somehow manages to obtain Anakin's/Luke's lightsaber. Supreme Leader Snoke, a mysterious figure leading the new Empire (sorry, First Order) and first appears as a hologram (like the Emperor). General Hux, deliverer of a Hitler-like speech to his space Nazis.

Kylo Ren. In my opinion, Kylo Ren is the best part of the entire movie. Sure he worships his deceased grandfather Anakin Skywalker/Darth Vader and flips out into extreme tantrums, he is more than just an ordinary one-dimensional villain. He worships Darth Vader because he wants to carry on his legacy of killing the Jedi and achieve his intimidating status of being a ruthless individual. He is torn by both sides of the Force. He is indeed strong with the Force, stopping blaster shots in mid-air, freezing people in-place, and can probe the minds of others as a method of torture. His unstable crossguard lightsaber is appropriate for his uncontrollable anger and conflicted state of mind. Once he killed Han Solo, there is no hope for him returning back to the Light. He became a full-on evil person. I'm ready to see the damage he will do in The Last Jedi.

The action/set pieces were very well-done and that opening sequence with the raid on the Jakku village is one of the best and most chilling moments in all of Star Wars. The Battle of Takodana and the resulting battle was phenomenal and seeing Poe take out multiple TIE Fighters make him an exceptionally skilled pilot, even moreso than Luke. The final battle between Rey/Finn and Kylo Ren didn't feel choreographed at all, just felt like a battle between novices, unlike the highly-choreographed kicks and flips and lightsaber-twirling present in the Prequel Trilogy. Rey and Finn leaving Jakku in the "garbage" ship and the whole sequence through the Star Destroyer graveyard was beyond phenomenal.

Though The Force Awakens does indeed take steps forward to move the franchise forward into a new direction, it takes several steps back into familiar territory. And yes, it feels as if I have been ripping on this movie, but in my honest opinion, The Force Awakens is a solid entry to the Star Wars franchise. The action set-pieces were so well-done, the nostalgic factor of the Original Trilogy is prevalent, Kylo Ren proved to be a well-developed villain with room for improvement, and the relationships between the characters feels so organic and fluid-like, as if they're all cohesive with one-another.

My Rating: 7.5/10.0
If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

Star Wars: Episode VIII - The Last Jedi (2017) was just released, but my time didn't yet allow me to watch it. However, I do have time to review the film that started this new trilogy: The Force Awakens. At the time, it was my most anticipated movie of the year and I placed it second on the list of my favorite films of 2015 (just a bit below Mad Max: Fury Road).

So, yes, I do love this movie and it is definitely on the top3 of the saga! The cast choices are the undoubtful proof of the huge success that this film achieved. Daisy Ridley (Rey) is a massive discovery, her talent is limitless and she embraces her role like no other. She delivers a very emotional and powerful display, showing all of her acting skills. I can feel that she is 100% committed to her character and what a character to portray at your first big movie appearance.

Rey is excellently-developed throughout the film, she might mislead people into thinking she is just a mere scavenger, but once the movie gets going, she becomes an awesome character sharing some of the most epic moments in the whole runtime. She has an oddly mysterious backstory, which is going to produce theories and plot twists that I can't wait for, in the next films.

John Boyega (Finn) is a fantastic supporting actor and another great casting. He brings just the right amount of humor with some exceptionally delivered lines and his facial expressions and timing are perfect. Finn is going to be one of the audience's favorites for sure, his journey to encounter Rey is interesting and unique in the saga. In my opinion, it is his story that carries the beginning of the movie and that sets up a lot of characters and plot points.

Adam Driver as Kylo Ren ... Oh. My. God. What a performance! Driver is so subtle in the most meaningful moments but so compelling in the most menacing ones. He elevates Ren into a phenomenal antagonist with a splendidly written script. J.J. Abrams and co. do a wonderful job writing both the plot and the characters. Kylo Ren stands out, he is a multi-layered character with so much untold and hidden behind his personality and intriguing past. Once again, there are many theories and plot twists ahead that I'm drooling to know which one they are going to follow with.

Oscar Isaac is very exciting as Poe Dameron, another fabulous addition to the franchise. His character creates an honest bond with Finn and their interactions are pretty cool. They share some amazing scenes and Poe has all of the awesome X-Wing fights, which are outstanding. Supreme Leader Snoke (Andy Serkis) does not show up that much, but he definitely is a very threatening presence and a very well achieved motion capture work.

As for the original cast/characters, Harrison Ford has one of his best performances in the more recent years. Han Solo is one of his most popular characters and he portrays him flawlessly. Carrie Fisher returns as Leia and she offers a touch of reality to all of this. Every time she is on screen, everything becomes more realistic and tangible due to her graceful and humble display. Chewbacca has the usual funny "dialogues" with Solo and some glorious action set pieces.

BB-8 is what people feared the most since he could easily be annoying or irrelevant. Thankfully, he is another checkbox on the list of marvelous additions to the Star Wars universe. It is mind-blowing how a droid can provide so much laughter and terrific action scenes, he is unquestionably a toy worth spending your money on for Christmas. C-3PO also appears and elevates the level of nostalgia that everyone is already full of.

Moving to the technical aspects of the film, J.J. Abrams proves himself to every single person that doubted him since he is the main reason why this movie is one of the greats. From the seamless editing to the great camera work during the impressive action sequences, he enhances the story so much with his distinct use of visual storytelling. It feels like a real film and not just a Star Wars typical movie.

The visual effects are top notch and the cinematography could not be better due to the unbelievable practical backgrounds. Abrams uses a lot of long, wide shots with beautiful landscapes and mostly everything is real (besides the obvious, there is very few CGI, less than you probably think), which transforms every scene, every shot, into something more special. The tone is very well balanced between comedy and action, the storytelling process is astonishingly well handled and the pacing always maintains the tremendous excitement.

One of the common issues of all Star Wars films are the excessive exposition scenes. Well, J.J. massively improves on that aspect having just a couple of them and I am counting the traditional text that starts the movie. Like I said above, there is an extensive use of visual storytelling, in other words, everything that you see is giving you information while advancing the plot without actually literally telling you what is going on or what is going to happen.

John Williams' score continues to superbly accompany every scene, not only the action ones, but it also strengthens dialogues. I love the ending, but here is where both fans and critics are going to become very divisive. It ends with a huge cliffhanger and some people are going to be disappointed because they are left with this feeling of unfulfillment and if you don't know how to deal with it, you might think you didn't enjoy the film.

The truth is you can't have everything right now. This is a trilogy, so it is absurd to even expect that you are going to have everything that you wish for in the first movie of a new era. I wanted more from the second the film finished, I also felt a bit let down because the movie concludes with something I had been expecting forever. However, this is a great feeling to have because it means the film meant something, it means the movie was so amazing that I just can't wait anymore for the next one!

Nevertheless, The Force Awakens can't escape some minor flaws. While pretty much every single character is great, Maz Kanata (Lupita Nyong'o) is not. With so much practical effects surrounding every environment, a 100% CGI character is going to (negatively) standout. Besides, the whole subplot involving meeting with Maz feels a bit unnecessary and the story could have easily progressed without her.

However, my main issue with this film is its lack of originality when it comes to creating a new actual danger for the galaxy. I mean, the Starkiller Base is essentially another Death Star, just bigger ... Really? They couldn't figure out anything else besides another giant planet destroyer? It does not reflect J.J. Abrams' incredible direction and the production team's excellent work, at all.

Finally, there are some "problems" that I don't yet know if they are, in fact, problems. This is the first movie of the trilogy and some things happened that I don't know how or why they did, so I can't really fault the screenplay ... yet. We all know the huge plot device that Episode IV - A New Hope (1977) supposedly had for decades, but then Rogue One: A Star Wars Story (2016) was released and brilliantly solved what was already considered an internet meme.

This film does not have such a massive plot device, but there is one little moment that occurs in the first act that I still don't know if it is, in fact, a flaw or if there is an explanation waiting for us in the next movies.

All in all, The Force Awakens proves that the Star Wars franchise is still, very much, alive! This is easily one of the best films of 2015 and one of the best in the franchise. It features an outstanding cast with some excellent performances from the new actors joining the saga and powerfully nostalgic displays from the original members. Incredibly-developed characters carry this movie with the help of a mysterious and captivating screenplay, as well as a lot of visually exciting action sequences. J.J. Abrams has his stamp all over the film, with beautiful wide shots, massive practical effects, and exceptional use of visual storytelling. A cheap third Death Star and some very minor issues here and there don't allow the movie to shine flawlessly, but it is still freaking awesome! It undoubtedly belongs to my Top3, behind Empire Strikes Back and A New Hope.

Rating: A
**The following is a review that I originally wrote in 2015.**

Was it perfect?
No.

Was it basically a shot for shot retread of A New Hope?
Yeah.

Did it under-develop characters and plots of almost everything interesting to near Boba Fett-ian levels?
Sure.

Did the entire thing rely on about 47 ridiculously implausible complete coincidences that the story would have fallen apart without?
Sounds accurate.

But after more than three decades, is Star Wars finally back?
Damn right.

Apart from my just plain enjoying it, The Force Awakens makes me excited for the future of the franchise the first time in.. Well ever really. I liked the blend of new and old material, but I hope that moving forward, the series relies more on the new. I don't mean ditch all the original characters, I just mean we don't need endless callbacks to the past in Episode VIII. It worked fine for this one, and I totally get needing to re-acclimatise audiences, so I'm absolutely understanding of it in this case. But I hope they get away from that in future, and it seems very much as if that's the direction they're taking.



剧组人员

協調美術系 : Image Haïm

特技協調員 : Besson Debera
Skript Aufteilung :Hailee Pranav

附圖片 : Meave Seydina
Co-Produzent : Lampron Besse

執行製片人 : Mavise Malica

監督藝術總監 : Indi Fahren

產生 : Jaivyn Cory
Hersteller : Dixon Dima

角 : Joris Sagal



Film kurz

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分類 : 知識 - 囚犯戲劇, 工作 - 夏季, 褻瀆 - 未分類

生產國 : 塞內加爾

生產 : Confluential Films



Star Wars: The Force Awakens 2015 字幕 台灣 小鴨



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