Saturday, 30 November 2019

[Watch] Setup Movie on Netflix 2011


[Watch] Setup Movie on Netflix 2011









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[Watch] Setup Movie on Netflix 2011




Movieteam

Coordination art Department : Judah Laroche

Stunt coordinator : Lemelin Sanaya

Script layout :Rogers Sway

Pictures : Fardin Potts
Co-Produzent : Maurin Pena

Executive producer : Eileen Kayla

Director of supervisory art : Zackery Krisma

Produce : Basile Graves

Manufacturer : Fenn Viviana

Actress : Shelah Jomphe



A group of friends plan out a detailed heist that turns deadly when one betrays the other by taking off with the goods. Taking matters into his own hands, Sonny seeks out his revenge teaming up with the most dangerous mob boss in town to get back what is rightfully his. When he finally comes face to face with his longtime friend he will be forced to make a life changing choice.

4.8
245






Movie Title

Setup

Time

189 seconds

Release

2011-10-17

Quality

Dolby Digital 720p
TVrip

Genre

Action, Crime, Drama, Thriller

language

English

castname

Ibrahem
V.
Noélie, Gallia V. Onfroi, Kévin Z. Aileen





[HD] [Watch] Setup Movie on Netflix 2011



Film kurz

Spent : $801,990,225

Income : $198,295,811

Group : Unheimlich - nostalgisch , Himmel - Freundschaft , Isolation - Psychologisches Drama , Literatur - Chor

Production Country : Armenien

Production : Lereby Productions



Continue reading [Watch] Setup Movie on Netflix 2011

[Watch] It's a Boy Girl Thing Movie on Netflix 2006


[Watch] It's a Boy Girl Thing Movie on Netflix 2006









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[Watch] It's a Boy Girl Thing Movie on Netflix 2006




Movieteam

Coordination art Department : Nanine Nuyen

Stunt coordinator : Hack Djena

Script layout :Relyea Bouvier

Pictures : Hriday Doucet
Co-Produzent : Midal Boston

Executive producer : Tika Sherry

Director of supervisory art : Stana Jesika

Produce : Kassim Demers

Manufacturer : Timo Bronson

Actress : Everest Violeta



A visit to a natural history museum proves catastrophic for two high school rivals, an overachiever and a jock, when an ancient Aztec statue casts a spell that causes them to switch bodies and see exactly what it's like to walk in the other's shoes.

6.5
678






Movie Title

It's a Boy Girl Thing

Duration

126 seconds

Release

2006-12-26

Kuality

WMV 720p
Bluray

Category

Comedy, Fantasy, Romance

speech

English

castname

Bocuse
B.
Clare, Maci K. Deshane, Kadidia N. Saima





[HD] [Watch] It's a Boy Girl Thing Movie on Netflix 2006



Film kurz

Spent : $459,152,882

Revenue : $002,041,929

category : Horror - Freundschaft , Great - Poesie , Grausamkeit - Werbung , Dokumentarfilm - Widerstand paradox

Production Country : Kambodscha

Production : WGBH Kids



Continue reading [Watch] It's a Boy Girl Thing Movie on Netflix 2006

[Watch] Crazy, Stupid, Love. Movie on Netflix 2011


[Watch] Crazy, Stupid, Love. Movie on Netflix 2011









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[Watch] Crazy, Stupid, Love. Movie on Netflix 2011




Filmteam

Coordination art Department : Nayema Rohmer

Stunt coordinator : Corine Shakara

Script layout :Yadiel Roché

Pictures : Snow Joëlle
Co-Produzent : Henlee Sathvik

Executive producer : Maëlie Karlis

Director of supervisory art : Iven Bean

Produce : Montes Zavier

Manufacturer : Tyhan Reubyn

Actress : Safeer Rayne



Cal Weaver is living the American dream. He has a good job, a beautiful house, great children and a beautiful wife, named Emily. Cal's seemingly perfect life unravels, however, when he learns that Emily has been unfaithful and wants a divorce. Over 40 and suddenly single, Cal is adrift in the fickle world of dating. Enter, Jacob Palmer, a self-styled player who takes Cal under his wing and teaches him how to be a hit with the ladies.

7.2
5334






Movie Title

Crazy, Stupid, Love.

Hour

178 minutes

Release

2011-07-29

Quality

Sonics-DDP 720p
DVD

Genre

Comedy, Drama, Romance

language

English

castname

Zahra
U.
Gipsy, Ponce M. Norris, Unays U. Madina





[HD] [Watch] Crazy, Stupid, Love. Movie on Netflix 2011



Film kurz

Spent : $398,174,500

Income : $113,055,647

Group : Himmel - Benzin , Verbotene Liebe - dumm , Wissen - Weisheit , Journalismus - Frühling

Production Country : Türkei

Production : Fresh Production



Continue reading [Watch] Crazy, Stupid, Love. Movie on Netflix 2011

Friday, 29 November 2019

[Watch] Us Movie on Netflix 2019


[Watch] Us Movie on Netflix 2019









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[Watch] Us Movie on Netflix 2019




Movieteam

Coordination art Department : Brie Janody

Stunt coordinator : Marvel Labbé

Script layout :Nebi Mimi

Pictures : Wayne Aurore
Co-Produzent : Ashai Abigail

Executive producer : Rolande Haroun

Director of supervisory art : Kieran Jaydin

Produce : Duris Lucian

Manufacturer : Brent Decklan

Actress : Shaylen Margaux



Husband and wife Gabe and Adelaide Wilson take their kids to their beach house expecting to unplug and unwind with friends. But as night descends, their serenity turns to tension and chaos when some shocking visitors arrive uninvited.

7
3798






Movie Title

Us

Clock

125 minute

Release

2019-03-14

Quality

M2V 1080p
DVDScr

Category

Thriller, Horror, Mystery

language

English

castname

Powers
O.
Lévy, Vigo J. Chadd, Kristin G. Fredi





[HD] [Watch] Us Movie on Netflix 2019



Film kurz

Spent : $255,288,968

Income : $190,763,479

categories : Wandern - Vernachlässigung , Biblisch - Immortality , Kurzer Rock - Immortality , Jungs Prähistorisch - Guilty

Production Country : Ukraine

Production : Nouvanaand



Jordan peele is one of the best dictators in the world with only two movies and this movie is amazing
96%
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

First of all, you can read my review of one of my favorite movies of 2017, Jordan Peele‘s Get Out by clicking its title. One of the best feature-long debuts of all-time by a writer-director who I wish he discovered his filmmaker skills sooner because the horror genre urgently needed someone like him. Peele is starting to become one of Hollywood’s most notable people, and he proves once again, now with Us, that his undeniable talent is going to leave our jaws dropped and our minds confused for quite some years. While I do think that his first film is more consistent and better structured, Us is so far the best movie of the year, and I doubt that it will stop being part of that list by the end of it.

The best films are the ones that can transform a 45-min car ride back home from the theater into a blink of an eye. I spent all that time plus some more minutes discussing and arguing with my partner who I saw the movie with. By now, I have a pretty decent understanding of the film’s story and of Lupita‘s character arc, which will definitely leave you extremely confused and mind-blown by the end of the movie. However, I will see it a second time to make sure my “theory” aligns with everything else, especially those tiny little details we don’t really think they matter when they actually do.

Peele‘s screenplay is thought-provoking and suspenseful, filled with brilliant character development, and surprisingly well-filmed action scenes. I guess he knows how to do anything efficiently. The chasing scenes are riveting, and the fights are bloody awesome. In addition to this, most of the action occurs at night which requires the director to know what he’s doing, so the audience is able to follow what’s happening. I never, not once, lost my place during an action sequence. I knew who everyone was, where were they at, and what were they doing. Nowadays, having in mind how actual action blockbusters are being made, this is the best praise I can give a director regarding these type of scenes.

A lot of articles are calling Jordan Peele the “next Spielberg“ or “new Hitchcock“. I’m calling him the first Jordan Peele! I would have loved to be the one who came up with this last sentence, but I wasn’t … and I’m so happy about it. It means that more people are starting to plant into their minds that Peele is one of a kind, not one like the other. His trademark close-up shots right in the actors’ faces can show and tell so much about a character. Besides that, the actors will have a golden opportunity to show their enormous emotional range, their incredible expressions, their limitless talent … That is if you are someone like Lupita Nyong’o.

Right after I watched Alita: Battle Angel, I called that it would get an Oscar nomination for Best Visuals Effects, and I still stand by it. Well, I also want to be the first to call not only an Oscar nom, but a Best Actress win for Lupita. Daniel Kaluuya was outstanding in Get Out, but Lupita surpasses his fellow comrade with two (!) powerfully captivating performances. As the original mother, she shows kindness and endearing traits. As her doppelganger, she’s scary, menacing, and evil. Two completely different characters with distinct physical and psychological characteristics are no problem for Lupita. She handles them in such a flawless and effortless manner, carrying the entire narrative on her shoulders like it was nothing. She deserves every recognition there is.

Nonetheless, she still received great help from the remaining cast. Winston Duke (Gabe Wilson) is hilarious, and he’s the primary source of comedy throughout the film. With a remarkable balance of tones, Peele lets Duke shine in a role that he thrives on. Us can be very heavy and dark at times, so a good laugh here and there is always welcome. The young actors are also great, but I have to congratulate Shahadi Wright Joseph‘s performance as Zora Wilson. She has approximately the same age Amandla Stenberg had in The Hunger Games. At the time, I knew Stenberg would be an outstanding actress, and I was not wrong. Now, I’m 100% certain that Shahadi will be an exceptional one if she isn’t already.

Technically, I already wrote above how talented Peele is. From his seamless ability to film action sequences in the dark to his brilliantly-written screenplay, he nails almost every aspect of his movie. The score beautifully accompanies the narrative with cool, rhythmic songs when everything seems fine, and with loud, angelically weird voices that instantly change the tone. Flawless editing helps hide some nitpicks I have with some exposition scenes, especially towards the end. While I understand that the story has a lot to take in once “explained”, I believe Peele does so in a slightly too fast monologue that I think some people won’t quite enjoy. For me, I would have loved total ambiguity. If they didn’t explain a thing, I would have been ecstatic, but I understand the need to do it.

My other gripe with the film is the other family, portrayed mainly by the always astonishing Elizabeth Moss (Kitty Tyler), and Tim Heidecker (Josh Tyler). Thinking about them and their importance to the story, I find that either they could have been better utilized or they shouldn’t even exist. It’s the middle ground between these two options that bothers me a little since it feels like these two remarkable actors, especially Moss, were left aside too much. They are indeed relevant to elevate the story as a whole, but I still wish they were explored a bit better.

Sadly, I think audiences will like Get Out more, even though Us has more of the horror genre’s traits than the first. Not only due to the story being more comfortable to follow and ultimately understand (some people actually left my theater way before the end … shame on you!), but also because it has a definite ending. Unfortunately, people don’t really like to think about a movie after it finished, so if it has some sort of open-ending, they’re going to be mad. That’s what happens if you go into Us expecting a cheap horror film, filled with cliche jump scares, and hollow characters. This is not a scary flick. It is a horror movie, and a phenomenal one. In case you want a simple, spoiler-free advice on how to approach the film’s story, I’ll leave just one small sentence after my rating.

Jordan Peele is one of a kind. He is not like anyone else. Once again, he offers a thought-provoking, deeply layered, and incredibly suspenseful narrative. Captivating and entertaining from beginning to end, with no misstep along the way. Technically seamless, with his emotionally-driven trademark close-ups on the characters faces being a standout. Lupita Nyong’o delivers what I believe it’s her career-best performance(s), which should grab her not only a bunch of award nominations, but wins as well. Brilliant cast, tonally well-balanced with hilarious comedy, and filled with excitingly scary action sequences.

Us does not have a single interpretation. My perspective is not right or wrong, it’s just my point of view. It’s one of those movies you can watch time and time again, and each viewing will give you another insight that you missed before. However, I do think that what happens at the very end, it’s true, and I have more than enough hints throughout the film to sustain my opinion. Despite some minor issues/nitpicks, it’s undoubtedly the best movie of 2019 so far, and I highly doubt it will be out of my Top10 by the end of the year. Thank you, Peele, not only for giving us great horror films, but for being yourself. Go see it!

Rating: A-

Advice: focus on the boy’s actions, and how he reacts to everything he sees or does.
Led by stellar performances and careful directing, Us asks more questions than it answers, giving the audience all the tools needed to solve every single mystery for themselves, making this an uncommonly effective horror masterpiece.
_Us_ is gonna be a tough one to review. Difficult to review without spoilers, which is what I'm gonna do here, but I think even if I was doing spoilers, I'd still struggle.

What I will say, is that my feelings on _Us_ went up and down as I sat there and the story progressed. At one point, I was enraptured by a single scene that for a brief moment I got so caught up I felt certain no movie of the year was ever going to be able to top it. But then the scene ended, and shortly after the movie ended and my mind just went to "...It's good".

**Definitely** merits watching, re-watching and analysing (there is a **lot** to unpack from _Us_) but maybe not the highest of all available praises.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_An effective socio-political thriller looking at issues of class and privilege_**

> _Therefore thus saith the LORD, "Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them."_

- Jeremiah 11:11

There's a detail to be found in writer/director Jordan Peele's second feature, _Us_, which gives you a good idea of the amount of thought that has gone into the film. In the opening scene, set in 1986, a young girl walks into a hall of mirrors, with a sign outside proclaiming "Find yourself", and a picture of a Native American above the door, with the words "Shaman Vision Quest". Later in the film, now in the present day, the same hall of mirrors is seen, the same "Find yourself" is seen, but now the picture of the Native American has been replaced with a wizard, and "Shaman Vision Quest" with "Merlin's Enchanted Forest." This change, easily dismissed as representative of everything that's wrong with PC culture, is actually much more telling. It represents a meaningless and superficial attempt to tackle society's discomfort with the violence found throughout the history of the United States. It's like putting a plaster on a severed limb; "_sure, the white man slaughtered the Native Americans, but if we do things like change signs on amusement parks, everything should be forgiven, right?_" This, in turn, speaks directly to one of the film's most salient themes - the US (or us) as we know it today is a country built on violence, racism, and oppression, but as long as such things are swept under the carpet and no one talks about them, then there's no need to worry. Peele very much wants people to start talking about them.

I wasn't the biggest fan of Peele's previous film, the smash hit, _Get Out_; it was a terrific idea and a well-made film, but it left me a little indifferent. However, although it wasn't my all-time favourite movie, I certainly admired how he reformulated the tropes of the genre so as to suggest that just because the US gives the appearance of being a pseudo-post-racial society, it doesn't necessarily mean that that's true behind closed doors and in people's hearts. With _Us_, he is working in a similarly metaphorical mode, using the tropes of the home invasion thriller to probe issues of class and, especially, privilege, whilst also suggesting that what gives us our humanity may not be the same thing as what makes us human. The plot is an allegory for a nation divided unto itself; a fractured national identity that sees a strict demarcation between those above and those below, the haves and the have-nots, those with opportunity and those without. Essentially, Peele suggests that when social/economic/political inequality is so pronounced for so long, sooner or later, the only recourse available to the have-nots is to make a grand statement, a statement that will almost certainly not be peaceful.

The film opens in 1986 as the Thomas family visit the boardwalk in Santa Cruz. With the relationship between father Russel (Yahya Abdul-Mateen II) and mother Rayne (Anna Diop) icy at best, daughter Adelaide (Madison Curry) is somewhat of an afterthought. Leaving Adelaide in Thomas's charge, Rayne heads to the bathroom, but with Thomas more interested in playing Whack-a-mole, Adelaide wanders down onto the beach. Walking into a strange beachfront hall of mirrors, she sees something that deeply traumatises her, resulting in her not talking for several years. The film then cuts to the present day as the now-adult Adelaide Wilson (an astounding Lupita Nyong'o) travels to Santa Cruz with her family - husband Gabe (Winston Duke), daughter Zora (Shahadi Wright Joseph) and son Jason (Evan Alex). Comfortably middle-class, the family are staying in a house owned by Adelaide's parents, although much to Gabe's irritation, they are nowhere near as wealthy as their neighbours, the Tylers - Kitty (Elisabeth Moss), Josh (Tim Heidecker), and twin daughters Becca and Lyndsey (Cali and Noelle Sheldon). Uneasy at being so close to the scene of her childhood trauma, Adelaide becomes convinced that something terrible is going to happen, and although Gabe is initially dismissive, she seems so earnest in her conviction that he agrees the family can leave the next day. However, the power then cuts out, and Jason reveals that there are four people standing ominously in the driveway.

It's not a spoiler, of course, to say that the people in the driveway are the Wilsons' exact _doppelgängers_ (played by the same four actors), or that their intentions are less than friendly. However, one of the problems with reviewing the film is that so many of the themes and larger socio-political ideas are tied to who the _doppelgängers_ are and what they want, that it's difficult to discuss them without spoilers. So, small spoiler ahead - the _doppelgängers_ are called the Tethered; essentially, they are an underground-dwelling race of lookalikes, spiritually tied to those living above (this info is revealed quite early in the film, so it's not a massive spoiler). Although partly inspired by the 1960 "Mirror Image" episode of _The Twilight Zone_, the main influences for the Tethers appear to be urban legends surrounding "mole people" and, more specifically, the conflict between the Morlocks (strong underground-dwelling troglodyte-like humans) and the Eloi (small fruit-eating humans living on the surface) in H.G. Wells's _The Time Machine_ (1895).

Setting out to probe both economic and societal divisions in the contemporary US, Peele introduces the theme early on with Gabe's jealousy at the Tylers' nicer house, fancier car, and much bigger boat (named "B'Yacht-ch"). Later, after the arrival of the Tethered, the theme becomes more explicit; through no fault of their own, they live in an underground realm, deprived of the opportunities those above the surface have access to. The allegorical dimension couldn't be clearer; the film is essentially a parable about class division. The Wilsons represent a middle-class all-American family, financially comfortable and well educated (Gabe wears a Howard University sweater; Adelaide studied ballet). The Tethered represent the underclass, whose lives are the inverse of the Wilsons, those without access to the privileges enjoyed by the wealthy, despite possessing the same emotions, the same biology, and the same capacity for happiness and success. This similarity is driven home when Adelaide asks Red (her Tethered) who they are, and Red seems confused by the question, answering (truthfully), "_we're Americans._"

In this sense, the film is very much about classism and marginalisation in contemporary American society. Taught they have no soul, the Tethered are depicted as resentful and bitter versions of the people on the surface, with Peele positing that only circumstance divides them. Adelaide is not smarter or more capable than Red; rather, the main difference between the two is just that of the difference between a poor person and a rich one; fate of birth. This speaks to perhaps the film's most important point - the marginalised, destitute, and discriminated against can succeed just as much as everyone else if only they're given the opportunity to do so. This is also alluded to in the powerful final shot. I won't spoil it, but the last image reveals that the Tethered have accomplished something which the surface dwellers once attempted but failed.

Physically trapped underground and emotionally trapped by their connection to those above, the Tethered are ignored, swept under the rug of society, out of sight out of mind, just like the alteration to the picture above the hall of mirrors; "_if we hide the problem, that means the problem no longer exists._" In what is essentially a sustained inversion of impostor syndrome, Peele allegorically examines what could happen when the marginalised and ignored can be marginalised and ignored no longer, whether they be the economically impoverished, the racially suppressed, vets suffering from PTSD, non-Americans xenophobically regarded as the Other, really any group of people that society at large has shunned. Looking at issues of double consciousness, social identity, sin, and privilege, Peele asks the US to look at itself in the mirror and consider those invisible millions.

If this sounds didactic and/or preachy, that's because it is - Peele is very much preaching. However, he also allows himself to have some fun with it - when Zora arms herself for battle, for example, she does so not with a gun or a knife, but a golf club. What possible better weapon could there be for the bourgeoisie? Later, the only thing that gets Gabe to abandon a secure hiding spot is the prospect of driving the Tylers' car. True, the deeper Peele explores the Tethered, the more insurmountable logistical problems that are thrown up, and the further he strains credibility. However, it's a testament to both his filmmaking acumen and the strength of his thematic concerns, that such straining is not as detrimental as it may sound. Sure, there are huge practical problems with the Tethered, but you sort of go with it because what he's saying is so interesting, and he's saying it so well.

One of the most impressive things about the film is the attention to detail. For example, there are numerous references to Jeremiah 11:11, in which the prophet Jeremiah warns Jerusalem it is facing destruction because of their worship of false idols. In the film, so too do such false idols occur, in the form of money and, more specifically, a virtual assistant named Ophelia on which the Tylers are completely reliant, and which is at the centre of probably the darkest joke in the film. Another example is that the number 11, which itself is obviously a mirror image, recurs throughout, not just in objects (a digital clock is shown reading 11:11, the roof of an ambulance has the number 1111), but in the actual shot composition, wherein objects in the frame are made to literally look like the number (two lights reflected in the water, the frame of a door, trees in the background, a pattern on the floor).

As this might suggest, _Us_ is exceptionally accomplished from an aesthetic point of view, even more so than was _Get Out_. The opening scene, for example, features extraordinarily impressive photography by Mike Gioulakis, designed to place us as close to young Adelaide's consciousness as possible. As she wanders along behind her parents, the camera sticks primarily to her height, with everything towering above her, whilst the candied apple she holds is hypnotically red and shiny (one could say Edenic). Additionally, her parents never come close to touching, a visual manifestation of the obvious problems in their marriage. The film also features an agonisingly beautiful scene involving one of the Tethered and a fire, which is masterfully shot. The music by Michael Abels is especially good in this scene. Another fine scene features the rare use of a split diopter, a tool favoured by Brian De Palma that allows both foreground and background subjects to stay in focus simultaneously. Using it in a crucial scene towards the end of the film, it is the only time we see Adelaide and Red's faces in the same shot at the same time, with Red shot in BCU, facing away from Adelaide, who stands behind her. Far from being a gimmick, Peele uses it to enhance his theme, allowing the content to dictate the form.

In terms of acting, there are no weak links, but Nyong'o's nuanced work as Adelaide and Red is especially noteworthy as a study in fundamental contrasts. Apart from their appearance, nothing about the two is similar; their posture, their facial expressions, how they talk, how they walk, how they react to things around them, how they use their hands. Adelaide, a former ballet dancer, is graceful and elegant, whereas Red is automaton-like, her movements almost staccato and splintered into sudden bursts. It's a clinic on how to convey individualised psychology through body language, and at times, it's hard to believe it's the same actress playing both roles, she really is that good and deserves serious awards recognition for her work. For his part, Duke plays Gabe as a gentle and dorky father with an endless line of bad jokes, who frequently embarrasses his kids, but his _doppelgänger_ Abraham as a hulking monster.

In terms of problems, there are a few. As already mentioned, there are insurmountable practical issues with the Tethered which are never addressed, and on occasion, Peele becomes overly didactic. My biggest issue with the film, however, was something you see a lot of, and not just in horror movies - every time the Tethered want to kill someone, they do so immediately, without ceremony or pause. However, they pass up multiple opportunities to kill the Wilsons. At first, this seems as if it's because they wish to keep them alive for some reason, but later in the film, we find out that really, they just want to kill them. Never once do they attempt to do so with the ruthless efficiency with which they kill others, which is an irritating inconsistency. It also means for large parts of the film, there isn't really any tension. Additionally, the final twist, of which I will say nothing, doesn't really work, feeling like something of a twist for twist's sake that was never fully integrated into the narrative.

These small problems notwithstanding, _Us_ is an impressive film that improves on _Get Out_ in almost every way, and which serves as a more complete artistic statement. Examining what it means to be so concerned with what you don't have that you never consider the fact there are people with far less, the film holds a cracked mirror up to society, showing some of its ugliest prejudices and failings. The Tethers are monsters because they have been left with little choice other than to become monsters, imprisoned by a system they had no part in creating and in which they are not allowed to participate. Both visually accomplished and thematically complex, _Us_ once again finds Peele examining the kind of social oppression that no one wants to acknowledge (just like that sign above the hall of mirrors), but this time he widens his scope to move beyond issues of race. In _Get Out_, he took a story of bodily possession and moulded it into a story of black/white relations. In _Us_, he demonstrates that oppression can easily cross racial boundaries. And the real horror of this isn't to be found in monsters or jump scares. It's to be found in humanity's frequent inhumanity to one another.
It started really intriguing and mysteriously interesting and thought it was something about supernatural/paranormal stuff (which I like a lot), but unfortunately transformed into something else and all in all, it became average movie in my opinion.
It’s sloppy, lacks logic or internal consistency, makes really bizarre and inane storytelling decisions, and has a less than satisfying ending. It’s also strangely fun and absorbing and a good time, even if you end up racking your brain trying to figure out the logic.

Following up his excellent "Get Out," Jordan Peele gives us "Us," the story of a family terrorized be evil doppelgangers who want revenge for something and to finally get their time in the sun in a very clear socioeconomic metaphor. Ultimately it doesn't make a lot of sense, and yet there's still something strangely compelling about this film. It's as though Peele tries to walk us through the door, but realizes too late that he forgot to open the door first and we end up crashing through it, Kool-Aid man style, getting a few splinters stuck in our eye in the process. We get the results we ultimately wanted, but it's far from painless.

The problem comes down to basic logic. As the movie goes on, you can't help but wonder how exactly this works. When needing to identify with movie characters, you have to figure out how the world they're in works. Honestly, I found Middle Earth to have more of an internal logic than this world. And this is supposed to be our world, not some weird fantasy realm.

While this movie is plagued by problems with disbelief, it’s still strangely fun. Like, really fun! It’s a great idea, just sloppily executed and rushed out without fixing the logic part. As such, it’s one of those movies that seems to have divided audience everywhere. I myself can see both sides, so it’s getting a middle of the road rating from me. If you can consciously suspend disbelief in the face of some major logical problems, you’re bound to have a lot of fun. Otherwise, you might want to skip it to save your own sanity.
Continue reading [Watch] Us Movie on Netflix 2019

Thursday, 28 November 2019

[Watch] Shazam! Movie on Netflix 2019


[Watch] Shazam! Movie on Netflix 2019









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[Watch] Shazam! Movie on Netflix 2019




Filmteam

Coordination art Department : Ainara Umaiya

Stunt coordinator : Mohbeen Glennie

Script layout :Etoile Padé

Pictures : Jannah Armina
Co-Produzent : Harquin Neher

Executive producer : Lawson Lloyd

Director of supervisory art : Jenny Roméo

Produce : Louison Arsan

Manufacturer : Terry Erind

Actress : Joakim Bogart



A boy is given the ability to become an adult superhero in times of need with a single magic word.

7
4741






Movie Title

Shazam!

Moment

112 minutes

Release

2019-03-29

Kuality

FLV 720p
VHSRip

Category

Action, Comedy, Fantasy

language

English

castname

Aqeela
O.
Royal, Boone Q. Kate, Ivon B. Kameron





[HD] [Watch] Shazam! Movie on Netflix 2019



Film kurz

Spent : $120,496,462

Income : $742,025,562

Group : Zoologie - Poetry , Reiche Vize-Regierung - Weihnachten , Liebe - Identität , Ideen - Frühling

Production Country : Mauretanien

Production : Bausan Films



Growing up I was a regular viewer of the Shazam and Isis “Super Power Hour” on television. Back before the days of mega-budgeted Super Hero movies; we had to content ourselves with cartoons and low budget television offerings which did their best to capture the look and action of comic characters within the budget and technology limits they had to deal with.
Warner Bros. has brought their latest DC hero to the big screen with “Shazam!” and it looks to launch a new franchise for the studio and build on the success of “Wonder Woman” and “Aquaman” following some earlier disappointments with their planned hero franchise films.
The film follows the story of young Billy Batson (Asher Angel), who has grown up in and fled several Foster Homes after being lost at a Carnival years earlier and unable to find his mother. Billy has never stopped trying to find her and even takes extreme measures to try to find her that has gotten him in trouble with the law.
While trying to stick up for a family member at his latest Foster Home; Billy is forced to flee from some local goons and finds himself facing an ancient Wizard (Djimon Honsou; who tells him he will now have superior powers when he speaks his name as he is now a guardian against the forces of evil.
Billy does not believe this but upon uttering the name; he transforms into a powerful hero in adult form. Zach Levi plays the title hero and soon finds himself eager to test his new powers and his Super Hero obsessed Foster Brother is more than happy to mentor him and make all sorts of viral videos of his efforts and training.
Their efforts soon draw the attention of an evil individual (Mark Strong), who covets the power Billy has for himself as along with the Seven Deadly Sins; he looks to become an unstoppable force for evil and sets out to destroy all that stands in his way.
The film is aimed more for a younger audience as much of the humor is squarely focused on Middle School level jokes. There are more than a few references to “Big” along the way which does sum up a good portion of the backstory as when he is in hero form; the young boy without a family is a popular and dynamic adult.
In many ways this was one of the more odd aspects of the film. Billy is a dour and untrusting individual most of the time; however when he is hero form he is a jovial and goofy individual who acts like a teenager. I could see an increase in confidence but it is odd considering that they are the same person.
Levi is very energetic in the part and goes all in and he does a great job of conveying a kid in a man’s body. The biggest issue with the film is that there is mostly a lot of humor aimed at a much younger audience and large gaps with minimal action which made sitting through numerous childish antics a bit tedious at times.
Despite this; the film was entertaining and one of the better adaptions of a comic. The door is wide open for future adventures and I look forward to seeing what they come up with next.
3.5 stars out of 5
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First of all, I didn’t know anything about Shazam. What his powers were, what story did he have … Basically, I didn’t know who he was. This is what David F. Sandberg‘s movie does best: introduce the audience to a new DC superhero, by delivering an uncommonly well-structured comic-book screenplay, packed with laughter and entertaining action. Zachary Levi is undoubtedly the standout! Not only is he hilarious, but he perfectly captures the childlike personality that a kid-turned-adult would have. His expressions of absolute surprise and awe of his powers are extremely precious, and he effortlessly carries the more lighthearted tone on his shoulders.

Asher Angel is brilliant as Billy Batson. His character has a notably well-written and well-explored backstory, which eventually justifies the person he has become. It’s the most emotional and heartfelt subplot of the film (probably the only one, really), and Henry Gayden did a fantastic job writing its script. It doesn’t feel cliche or over-the-top, it actually feels grounded and quite realistic. Jack Dylan Grazer plays his best friend, Freddy Freeman, and he’s the primary source of self-aware comedy. He knows all the cliches regarding superheroes and supervillains, so his jokes constantly land and play seamlessly into the last act.

Usually, villains tend to be hollow characters with paper-thin motivations, but since a few years ago, this issue has gradually been corrected. The latest comic-book movies have incredibly well-developed villains, who carry a compelling backstory that entirely supports their beliefs, but not their actions. This type of villains work because not only the audience can understand where they come from, but in some cases, they can even connect with and care about them. Dr. Thaddeus Sivana is not exactly someone the audience ends up caring about, but his backstory is emotionally powerful enough for us to understand where his motivations originate from. Mark Strong delivers a menacing performance, and his costume/make-up looks pretty badass.

The first act is kind of a mixed bag. It starts in a very captivating way, and once you understand who’s the character at the center, it gets even better. However, the film’s tone takes long to establish itself, and the beginning of the movie struggles to find which jokes land and which don’t. The humor is on-point throughout the rest of the runtime, but those first few jokes not so much, which threw me off a little bit. The action sequences are amazing, and the sound design allows the audience to feel every punch, kick, a fall on the ground or a Superman-ish take-off. The fight sequences are seamlessly edited, and you know how much I love well-choreographed or well-edited action scenes.

Shazam‘s search for his powers provides the funniest and most entertaining moments of the film. Each test that he puts himself through is both hilarious and informative. This is another aspect of the screenplay I love so much: they had several ideas of how to approach this segment, and they nailed every single execution. From the pop-culture references to the hero-villain cliches, Sandberg did a terrific job exploring those concepts, and he executed them flawlessly. The best jokes are the ones that can be funny on different levels for different people. If people can laugh at a particular scene solely due to it, but other people can laugh even more because that moment means so much more to them, that’s when you know a joke is perfect. Shazam is not only funny for comic-book fans, everyone can leave the theater entertained and jolly.

It’s still a straightforward superhero movie. There’s still a villain to defeat, and the film goes through all of the cliches that it makes so much fun of. Everyone knows how it’s going to develop, plot point by plot point, a few minutes in. Not that I consider this a flaw, it’s just … It is what it is. The final battle drags too much, and it keeps ending and restarting every five minutes. It does have a pretty cool conclusion, but it takes a bit too long to get there. Also, and I know that this is one of those logical nitpicks that CinemaSins are known for digging, but the flashbacks and time-jumps could have received better treatment concerning the age of the characters. One thing is to think that the characters would look much older/younger than what they display on-screen, but when they make them look exactly the same in the span of 30/40 years … Not so acceptable.

All in all, Shazam is a blast! It’s the most entertaining movie I’ve seen so far this year, and it’s freaking hilarious. It continues the comic-book films trend to change how villains are written, by delivering a well-developed bad guy, menacingly portrayed by Mark Strong. Every member of the cast gives a strong performance, but Zachary Levi steals the show. His whimsical attitude, reckless personality, and rich facial expressions are guaranteed to entertain you for most of the runtime. Asher Angel and Jack Dylan Grazer are outstanding as the young kids, and the former’s backstory carries emotional impact which passes on to the big guy he transforms himself into.

The action is packed with beautifully-edited sequences, powerful sound design, and cool, unique moments, but the supposedly climactic final battle drags too much. The first act struggles to find its rhythm and its tone, but once it gets going, it’s an exceptional journey. The best praise I can give Sandberg‘s movie is that I didn’t know anything about Shazam before entering the theater, and now I can’t wait for its sequel. Well-directed, well-written and remarkably entertaining. What more can I ask? Go see it!

Rating: B+
It's entertaining, it has heart, and it's joyful. It has been proven time and time again that these things are what is required for a good Superhero film.
After the spiderman movies, this has to be the most annoying superhero movie I've seen to date. It took nearly an hour for the movie to actually get interesting and during that whole time one is treated to 2 super annoying teenagers.

Honestly, I'm glad I didn't go to the cinema for this otherwise I'd constantly be reaching for remote to press the fast forward button. About the only redeeming quality of this film was the picture and acceptable acting from everybody involved. Pity everything else was bad.

There's no way I'd willingy watch this again. No way.
Definitely has its moments, bit in total the movie feels inconsistent which kills most of the buzz. It switches from rather serious scenes where people actually get hurt to PG-6 compatible simple humor back and forth a few times.
With ever transformation the whole character changes, Shazam acting more like a 5 Year old than the 15 Year old Teenager he's supposed to be.
Freddy sometimes acts downright malicious, which is not a problem per se except that everyone else doesn't really seem to be bothered much by it.

Still not a bad take on the comic, but it feels inconsistent and left me wondering what age the target audience is supposed to be ...
The titular Shazam and has alter-ego Billy Batson feel like completely different characters. This is not unheard of for a superhero by any stretch, but when accompanied by a change of actor, it's a pretty jarring situation. I also have a hard time figuring out who the target demographic is with this thing. Seems all over the place.

But! at the end of the day, the most important question is "Did I enjoy _Shazam!_?" and to that the answer is still somehow yes. Probably the best that the DCIThoughSheWasWithUniverse has to offer (with the glaring exception of _Wonder Woman_).

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Zachary Levi is a hoot in this super-hero comedy reminiscent of the now classic Big with Tom Hanks. We get a solid first half, even two thirds, but why oh why do these movies almost always seem to revert to formula in the 3rd act? Been there, done that...
Second viewing and my feelings pretty much remain the same. Fun moments and Zachary Levi was very good in the leading role and although not terribly memorable, Mark Strong made for a fine villain, that said, some of the humor wasn't for me, although I did enjoy some of director David F. Sandberg's more horror-centric style shined through with the Seven Deadly Sins.
Continue reading [Watch] Shazam! Movie on Netflix 2019

[Watch] The X Files Movie on Netflix 1998


[Watch] The X Files Movie on Netflix 1998









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[Watch] The X Files Movie on Netflix 1998




Filmteam

Coordination art Department : Karlee Zixuan

Stunt coordinator : Fersen Krige

Script layout :Jaeckin Kareem

Pictures : Manon Vivi
Co-Produzent : Coan Zianna

Executive producer : Adela Othmane

Director of supervisory art : Tabor family

Produce : Nolann Riegel

Manufacturer : Prince Vignon

Actress : Reana Straub



Mulder and Scully, now taken off the FBI's X Files cases, must find a way to fight the shadowy elements of the government to find out the truth about a conspiracy that might mean the alien colonization of Earth.

6.7
864






Movie Title

The X Files

Moment

131 minutes

Release

1998-06-19

Kuality

MPE 720p
HDTV

Category

Mystery, Science Fiction, Thriller

speech

English

castname

Maïté
J.
Corinne, Mariann L. Dantzig, Romance W. Resnais





[HD] [Watch] The X Files Movie on Netflix 1998



Film kurz

Spent : $985,616,043

Income : $691,873,798

category : Drama - Dance de Monsters , Erlösung - Poetry , Reiche Vize-Regierung - Poetry , Samurai - ironie frieden güte gehirn tier angriff wahrheit glück fordernd

Production Country : Belize

Production : Troyca



Continue reading [Watch] The X Files Movie on Netflix 1998

Wednesday, 27 November 2019

[Watch] Hell Fest Movie on Netflix 2018


[Watch] Hell Fest Movie on Netflix 2018









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[Watch] Hell Fest Movie on Netflix 2018




Movieteam

Coordination art Department : Nashra Abiola

Stunt coordinator : Munoz Tariq

Script layout : Orville Parvin

Pictures : Aleena Fafa
Co-Produzent : Oaklen Marty

Executive producer : Suneet Elena

Director of supervisory art : Hettie Clea

Produce : Tiam Garnier

Manufacturer : Walter Gareau

Actress : Indica Chad



On Halloween night at a horror theme park, a costumed killer begins slaying innocent patrons who believe that it's all part of the festivities.

5.5
448






Movie Title

Hell Fest

Duration

172 minutes

Release

2018-09-27

Kuality

DTS 1080p
HDTS

Categorie

Horror

speech

English

castname

Indy
V.
Borne, Virat X. Basch, Isabell V. Selah





[HD] [Watch] Hell Fest Movie on Netflix 2018



Film kurz

Spent : $804,095,815

Revenue : $566,437,006

category : Mädchen - Wild Mountain Epidemic , Satan - Propaganda , Karate - Exil , Journalismus - Hilarious

Production Country : Singapur

Production : Tips Industries



Continue reading [Watch] Hell Fest Movie on Netflix 2018

[Watch] Remember Movie on Netflix 2015


[Watch] Remember Movie on Netflix 2015









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[Watch] Remember Movie on Netflix 2015




Filmteam

Coordination art Department : Randall Jackee

Stunt coordinator : Faunia Velez

Script layout :Flers Audra

Pictures : Salima Lochan
Co-Produzent : Éloise Mattéo

Executive producer : Ferro Ziah

Director of supervisory art : Siméon Roméo

Produce : Tinayre Pollard

Manufacturer : Nowshin Shirel

Actress : Breanna Marsel



With the aid of a fellow Auschwitz survivor and a hand-written letter, an elderly man with dementia goes in search of the person responsible for the death of his family.

7.4
386






Movie Title

Remember

Duration

153 minutes

Release

2015-10-23

Quality

FLV 720p
BDRip

Categories

Drama, Thriller, Mystery

speech

Deutsch, English

castname

Course
B.
MacGraw, Ailan N. Caua, Guéry M. Cherise





[HD] [Watch] Remember Movie on Netflix 2015



Film kurz

Spent : $579,382,483

Income : $017,882,175

Group : Karate - rätselhaft , Verantwortung - Barmherzigkeit , Erziehung - Stumm , Hingabe - Vertrauen

Production Country : Jemen

Production : Trishula Productions



Continue reading [Watch] Remember Movie on Netflix 2015

Tuesday, 26 November 2019

[Watch] Center of My World Movie on Netflix 2016


[Watch] Center of My World Movie on Netflix 2016









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[Watch] Center of My World Movie on Netflix 2016




Filmteam

Coordination art Department : Stevie Mairet

Stunt coordinator : Blalock Isaiah

Script layout :Tasniya Jerri

Pictures : Shiv Hocine
Co-Produzent : Hussein Cally

Executive producer : Tringa Anes

Director of supervisory art : Clara Damia

Produce : Raresh Aurélia

Manufacturer : Shanice Gabor

Actress : Cormack Erla



A strange family: 17-year-old Phil lives with his mother and twin sister in an old mansion on the outskirts of town. When he returns from summer camp, the mood in the mansion has soured somehow. Phil doesn’t worry about it, hanging out with his best friend Kat instead. When he starts to feel attracted to a mysterious new student at school, Phil is plunged into emotional turmoil only exacerbated by the trouble at home.

7.5
164






Movie Title

Center of My World

Hour

157 minute

Release

2016-11-10

Kuality

WMV 1440p
WEB-DL

Categories

Drama, Family, Romance

language

Deutsch

castname

Aleea
E.
Bruna, Sidonia D. Koumba, Kapilan X. Emile





[HD] [Watch] Center of My World Movie on Netflix 2016



Film kurz

Spent : $750,075,225

Revenue : $666,754,301

categories : Logik - Verletzung , Scheitern - Women , dumm - Polizei , Test - Idee

Production Country : Grenada

Production : Widespread Creative



Continue reading [Watch] Center of My World Movie on Netflix 2016

Monday, 25 November 2019

[Watch] Our House Movie on Netflix 2018


[Watch] Our House Movie on Netflix 2018









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[Watch] Our House Movie on Netflix 2018




Movieteam

Coordination art Department : Kennedi Maxim

Stunt coordinator : Chaï Bradley

Script layout :Daphnée Padé

Pictures : Azura Demba
Co-Produzent : Albert Ishka

Executive producer : Migel Jimmy

Director of supervisory art : Hayes Gloria

Produce : Buffet Judge

Manufacturer : Bledsoe Amalea

Actress : Orlagh Yitian



Ethan is suffering enormous guilt after his parents are killed in a car accident. He quits a promising future at MIT and work on a revolutionary experiment in order to care for his younger siblings.

5.3
147






Movie Title

Our House

Moment

197 minute

Release

2018-07-27

Kuality

M2V 1440p
WEBrip

Category

Drama, Thriller, Horror

speech

Français, English

castname

Jullien
A.
Geneva, Shalane Y. Caressa, Seyit Z. Stause





[HD] [Watch] Our House Movie on Netflix 2018



Film kurz

Spent : $801,268,448

Revenue : $494,278,833

Group : Komödie - Zynismus , Videospiele - Idee, Dialog - Unabhängig , Menschlichkeit - Surrealistisch

Production Country : Peru

Production : Epoch Ink



Continue reading [Watch] Our House Movie on Netflix 2018

[Watch] Captain Marvel Movie on Netflix 2019


[Watch] Captain Marvel Movie on Netflix 2019









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[Watch] Captain Marvel Movie on Netflix 2019




Filmteam

Coordination art Department : Anabiya Bahia

Stunt coordinator : Otto Mouton

Script layout :Shravan Waïl

Pictures : Dayan Jesper
Co-Produzent : Kennedi Deniece

Executive producer : Leanor Clarita

Director of supervisory art : Babin Colleen

Produce : Allana Erlinda

Manufacturer : Nevaeha Nishant

Actress : Auclair Anahita



The story follows Carol Danvers as she becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races. Set in the 1990s, Captain Marvel is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe.

7
9018






Movie Title

Captain Marvel

Hour

183 minute

Release

2019-03-06

Quality

MPEG-2 1080p
BDRip

Categories

Action, Adventure, Science Fiction

language

English

castname

Raiya
Y.
Chabrol, Celesse P. Bitbol, Rahan B. Lereau





[HD] [Watch] Captain Marvel Movie on Netflix 2019



Film kurz

Spent : $795,100,224

Income : $477,530,147

Categorie : ParParties - Fidelity , von cops - Widerstand paradox , Postapokalyptisch - Surrealistisch , Apathie - Weisheit

Production Country : Afghanistan

Production : Taewon Entertainment



I would not pay to see it. I did see it for free already...so at least, I was not cheated of my money ["I laughed, I cried, I kissed $10 good-bye!"--most other movies]. I saw sneak preview a few months back and it was the full-length feature but it was missing music in the end credit section and may have some added additional editing since then. What I did see, it was on par with Thor: Dark World in quality and has higher wokeness than Han Solo and Star War: Last Jedi. Probably worst Marvel movie since the start of this universe started with the great Iron Man...only thing that could have been worse if Inhuman movie was made. So hold on to your money and maybe watch this at 2nd run theater ($1.75 each...maybe $3 at most) or online free...so you know how this added character will lessen the Avenger's End Game plot. The CGI special effects are just okay but the simpleton story, underwhelming acting and almost-no character development are at the expense to make this the tops of any recent movies with its wokeness and identity politics…And Brie Larson character is just boring with no depth…just like Disney did to current Star Wars movies' female lead. DEFINITELY do NOT spend the money to see it on IMAX or any other expensive premium screenings or waiting in line on opening weekend. Maybe newer version (a few years back) Ghostbust(-h)ers was slightly better...which is not saying much. Already seeing highly rated tweets from critics, I am sure these are the same movie critics that gave great ratings to last years movies, "The Favourite" and "Sorry to Bother You". Yeah, Don't see this either!
Went in not paying attention to any of the drama surrounding the movie. The movie was just like the trailers, boring. Terrible fight choreography and all in acting by Brie. Cinematography was so bad, way too many cuts. Samuel L Jackson and Goose were brilliant and Mendelsohn was incredible as Talos.
The movie relied too much in 90s nostalgia.
Not great when the main actor is out done by a cat.
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

As a fair and impartial film critic, I need to state this: I don't care about the controversy surrounding Brie Larson or the agendas this movie is trying to push or not. I'm not part of any hate group or factions that hate those hate groups. I just want to watch a good superhero origin film, that introduces me to a new character that I'm supposed to care about and root for. Read my review, sure, but make up your own mind. Go see the movie and be honest. Since that's out of the way, let's keep going ...

It was always going to be a huge risk trying to introduce such an important and powerful character like Carol Danvers into the end of Phase Three. Not only she comes from nowhere (as far as I remember, she was barely mentioned in previous films or even not mentioned at all before Infinity War), but it's the last movie before the climactic, era-ending Avengers: Endgame. She is the one who is going to take our heroes to victory against Thanos, the bad guy who I dare say easily defeated on his own pretty much every superhero we knew until that moment. So, while I was not expecting an outstanding story packed with phenomenal action, I was also hoping for more than just a simple origin film like it came from Phase One.

Unfortunately, that's exactly what I got. Everything is fine. Just okay. There's no exceptional fight scene, but most of it is decent. There's no visual wonder, but it doesn't look bad. The characters' potential feels wasted, but they work for the plot. Everything is frustratingly balanced, which is something I would praise in a bunch of other movies, but this isn't 2008 anymore. Marvel isn't starting its cinematic universe, it is almost finishing a whole arc involving more than 20 installments! I'm going straight to the one character everyone wants to talk about: Goose ... Sorry, Captain Marvel! Jokes aside, this is one of the issues I was worried about going into the film theater. I escaped 99% of the marketing for this movie as I do with every other flick. I didn't watch a single clip/trailer, I know as much about the controversy surrounding this installment as my dog and I kept my expectations realistic having in mind what I truly know about the film and only the film itself. The one thing I was not able to hide from were the headlines giving tremendous praise to ... a cat.

Now, follow me on this: I'm going to watch a superhero origin movie. A whole new character is waiting for me at the big screen. I'm excited to know more about her, where does she come from, what her powers are and so much more. Some headlines show up on my social media feed, and I find that a CAT "steals the show," "deserves a spin-off," and I don't even know what more. Granted, the cat is indeed funny. It provides some chuckles here and there. That's it. I love cats, but I honestly can't figure out why everyone is so amazed by an animal doing animal things. Maybe it's because the rest of the film isn't that entertaining ... or perhaps just because people really, really love cats. Like the movie itself, I think it's a mixture of both options.

Back to what matters and to who everyone should be talking about: Brie Larson. Marvel rarely misses its casting choices, and being Larson an Academy-Award winner, her talent is undeniable. She has everything she needs to consistently deliver a strong performance, so I'm surprised that she couldn't stand out from the film's overall blandness. I repeat, the movie isn't bad, at all. However, I was expecting an actress of Brie Larson's caliber to elevate, at least, her own character, but she's like everyone else: just good enough. I don't know if her performance was limited by bad direction or by her own decisions, but the potential is there, and I'm sure the Russo brothers will give her a much more thrilling arc in Endgame.

The two best attributes of the entire film are, without a single doubt, the buddy-cop relationship that Carol and Nick Fury (Samuel L. Jackson) develop, and the groundbreaking de-aging CGI. Story-wise, the interactions between these two characters are so captivating and humorous that the pacing issues of the first act gradually start to disappear. Carol's past is often approached with quick flashes and a lot of cheap exposition, so it's a breath of fresh air to have SLJ and Larson play off of each other. Nevertheless, the de-aging technology used is absolutely astounding. My fellow readers, welcome to the future of filmmaking, where any actor/actress can portray a younger version of themselves and not be visually disturbing. I completely forgot SLJ is 70-years-old! The best visual effects/CGI are the ones you don't even know they're there and Captain Marvel succeeds in delivering mind-blowing, realistic, younger versions of well-known actors.

Character-wise, Anna Boden and Ryan Fleck should have done way better. So much wasted potential in such a crucial moment in the MCU. Carol Danvers has a great backstory, but the way it was explored kind of diminishes its impact. Still, as Captain Marvel, she is indeed a badass woman! There are some cool action sequences, especially in the beginning, but as the movie slowly progresses on its story, the fight scenes got more sloppy, choppy and way too dark. Jude Law (Yon-Rogg) is amazing as he always is, and Ben Mendelsohn is brilliant as Talos. Both characters have interesting subplots that come together well, which is not something that can be said for the rest of the Marvel "villains."

Technically ... You guessed it, it's okay! Taking away the jaw-dropping de-aging CGI, the visuals seem to lack some sort of style. Looking back at Black Panther, Captain America or Guardians of the Galaxy, each movie has a visual aesthetic that belongs to their own stories. Captain Marvel doesn't really feel like it has its own style. I truly feel that with other directors, this film could have been way better. Boden and Fleck already proved that they are capable filmmakers, but maybe they were not ready to lead such a massive blockbuster. That said, the 90s score is awesome and quite adequate to the movie's period. There are a couple of moments where the VFX regarding Carol Danvers's powers are spectacular, but everything ultimately feels like this is a Phase One film, instead of the 21st MCU installment.

All in all, Captain Marvel achieves the minimum requirements: introduce the fans to a new superhero, who is going to be extremely important in the eventual defeat of Thanos. Carol Danvers is a fascinating character with an emotional backstory, but the screenplay isn't structured or explored in the most entertaining way possible. Brie Larson delivers a strong performance, pushing aside her haters, even if I feel that under other directors, she would have reached her character's full potential. Her scenes with Samuel L .Jackson are hilarious and the best part of the whole movie, as well as the groundbreaking de-aging CGI, which is absolutely mind-blowing. The action sequences needed better editing and some more choreography (this is MCU's Phase Three and 2019, so I want to be able to actually see what's happening), but the most prominent "issue" is how the story blindly obeys the superhero origin film's formula. This isn't exactly a flaw or a problem, it's just that I was expecting more. A lot more.

In the end, there's not a memorable fight scene, an emotionally overwhelming moment or even a genuinely bone-chilling, epic scene. It doesn't leave you salivating for Avengers: Endgame, but it also doesn't leave you less excited. Everything is just ... fine. And there's nothing wrong with that. But there's also nothing extraordinary.

Rating: B-
Captain Marvel is a hot mess narratively and never really knows what kind of movie it wants to be. Brie Larson is constantly fighting direction and poor writing and losing the battle in the end. The last thing the MCU needs right now is a Mary Sue with no life. The one thing this movie misses more than anything else though is heart. Without a reason or purpose for existing one is left asking…other than explaining pointless MCU plot points and creating a plethora of fresh plot holes…why was this movie made and who was it made for? Kudos must be given to the make-up artists and a lot of the tech guys behind the scenes. C-
I wasn't going to see this movie at all based on the stupid comments made by Brie Larson but I tagged along with some friends anyway. Let me just say it was a massive mistake. I underestimated how difficult it would be to stand looking at the lead actress misogynistic and talentless face for two hours. On top of the train wreck that was her 'performance' the whole story just felt flat and bland, I don't want to spoil the plot for those who have already bought tickets and are going to see it anyway, but let's just say that it was almost as underwhelming in story as it was in acting. DO NOT RECOMMEND!

1/10
Captain Marvel bored the living hell out of me. I'm tired of these special effects laden "event films" where every scene has to be flashy lights and fighting and explosions where nothing of real value is at stake. Not one character in this film has a personality or character arc. It's one big extended buildup to showcase how badly Captain Marvel is going to kick Thanos' ass. I like the character but I did not like what this movie does with her character. I was also shocked at how bad Brie Larson's performance was; she's an incredible actress but I feel Jennifer Lawrence put more effort into her Mystique than Larson did with Carol Danvers.

Also if your idea of female empowerment is a nasty leather jacket biker guy whistling at a girl saying "give me a kiss" and then the girl just goes and steals his bike, you have no clue what real female empowerment is.
okay i wanted to see this despite the 'contravercy sexist pig like men have turned this into'so i went to my local theater picked a showtime and picked out some snacks the movie was decent not good not bad just the right amount of each to make it watchable for folks the action had a nice pace and the humor was just right and i think captain marvel herself is a beautiful badass and i adored the cat he was so cute and fluffy i say go see it dont over expect but go see it
I never watched a movie 2 time but captain marvel is one and only movie that i watched 2 time in my life.Amazing movie.
It has good visuals, good action, and some decent humour. This movie does what it needs to do by introducing Captain Marvel, although I was hoping Marvel would do something different and unique from their other origin story.
Look, as an actor, it is your duty to make sure that you promote your brand to the best of your ability, it's JUST as important as the work that you do shooting the film. I don't care about the political side of the events that transpired before the release of this movie, but I hope that Hollywood learns the lesson taught by Brie Larson.
* I liked the CGI special effects and a few of the plot twists they threw in keep it from being too predictable. Cons: Completely neglecting the source material, appropriating the existing character and twisting them to send a message. Capt Marvell was a male super hero and they should have ran with Ms Marvel or made a new super-hero character for this film. Breaking canon - Facts established in previous MCU films were contradicted in this film, so now I don't know which film's telling of history to believe. Handling of Nick Fury's character was poorly done. I won't see him as the gritty, battle-hardened vet that he was in previous films.
Advice - Skip this film. It causes confusion by disrupting everything that came before it. It's like a reboot of the marvel universe ... or a parallel dimension. Save your money for another movie.
* Summary: Decent, but Breaks the MCU
Not too bad if you didn't set high expectation.
Overall is ok.
Action is nice.
It was alright. Some entertaining scenes and the de-aging they did on Samuel L. Jackson was fantastic. Still not sure about Brie Larson in the lead but at least showed far more personality than her blank stares in Endgame. The visual effects also was fairly good, especially on Earth (vs. on Hala or w/e it was called). Worth a rental.
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