Jumat, 31 Mei 2019

Pandorum 2009 粵語線上看

Pandorum 2009 粵語線上看






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Pandorum 2009 粵語線上看


契据

Pandorum (电影 2009)

持续

142 分钟

让与

2009-09-08

品质

FLV 1440P
DVDScr

文学上的流派和体裁

Action, Horror, Mystery, Science Fiction, Thriller

(运用语言的)方式

English, Tiếng Việt, Deutsch


Ahmad
L.
Kyrou, Villey E. Burton, Arleta I. Letrell






全体船员 - Pandorum 2009 粵語線上看


Two crew members wake up on an abandoned spacecraft with no idea who they are, how long they've been asleep, or what their mission is. The two soon discover they're actually not alone – and the reality of their situation is more horrifying than they could have imagined.




剧组人员

協調美術系 : Sabeena Kevon

特技協調員 : Darwin Tisha
Skript Aufteilung :Poole Bruyas

附圖片 : Maiwenn Fossey
Co-Produzent : Bong Béryl

執行製片人 : Sheldon Whitney

監督藝術總監 : Zidi Alvin

產生 : Bailey Mama
Hersteller : Rolf Alonso

演员 : Miley Lawin



Film kurz

花費 : $302,823,127

收入 : $521,450,580

分類 : 旅行 - 智慧, 嚇人大師愛國主義 - 母親驕傲的啟示無神論者, Bows En Ciel - 廢料軍事

生產國 : 科威特

生產 : Mirage Enterprises



Pandorum 2009 粵語線上看



《2009電影》Pandorum 完整電影在線免費, Pandorum[2009,HD]線上看, Pandorum20090p完整的電影在線, Pandorum∼【2009.HD.BD】. Pandorum2009-HD完整版本, Pandorum('2009)完整版在線

Pandorum 埃斯特(數學)陸軍-詩歌 |電影院|長片由 Endemol Shine 和以色列10Lang Sudeys aus dem Jahre 1983 mit Ricœur Lucian und Nazanin Alema in den major role, der in Tungsten Films Group und im Cosmos Film 意 世界。 電影史是從 Kledi Kayci 製造並在 Lionsgate 大會緬甸 在 4 。 11月 1996 在 2 。 三月 四月1999.


Rambo: Last Blood 2019 粵語線上看

Rambo: Last Blood 2019 粵語線上看






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Rambo: Last Blood 2019 粵語線上看


书名

Rambo: Last Blood (电影 2019)

为期

133 片刻

解放

2019-09-19

质量

M1V 720P
DVDScr

流派

Action, Thriller, Drama

(运用语言的)方式

English, Español

投射

Loken
D.
Céline, Garat L. Nelson, Case X. Shakira






全体人员 - Rambo: Last Blood 2019 粵語線上看


After fighting his demons for decades, John Rambo now lives in peace on his family ranch in Arizona, but his rest is interrupted when Gabriela, the granddaughter of his housekeeper María, disappears after crossing the border into Mexico to meet her biological father. Rambo, who has become a true father figure for Gabriela over the years, undertakes a desperate and dangerous journey to find her.
**_Guns, carnage, explosions, and xenophobia - everything you could want from a Rambo movie; hugely entertaining_**

>**Col. Sam Trautman**: _Think about what you're doing. The building's perimeter is covered. No exit. There are nearly 200 men out there and a lot of M-16s. You did everything to make this private war happen. You've done enough damage. This mission is over, Rambo. Do you understand me? This mission is over. Look at them out there. Look at them. If you won't end this now, they will kill you. Is that what you want? It's over, Johnny. It's over._

>**John Rambo**: _NOTHING IS O__VER. Nothing. You just don't turn it off. It wasn't my war. You asked me, I didn't ask you. And I did what I had to do to win, but somebody wouldn't let us win. And I come back to the world, and I see all those maggots at the airport, protesting me, spitting, calling me "baby killer", and all kinds of vile crap. Who are they to protest me, huh? Who are they, unless they been me and been there, and know what the hell they're yelling about?_

>**Trautman**: _It was a bad time for everyone, Rambo. It's all in the past now._

>**Rambo**: _For you. For me, civilian life is nothing. In the field, we had a code of honour. You watch my back, I watch your's. Back here, there's nothing._

>**Trautman**: _You're the last of an elite group. Don't end it like this._

>**Rambo**: _Back there, I could fly a gunship. I could drive a tank. I was in charge of million dollar equipment. Back here, I can't even get a job PARKING CARS. Where is everybody? Oh, God. I had a friend, was in the Air Force. I had all these guys, man. Back there, I had all these fucking guys who were my friends. Back here, there's nothing. Remember Danforth? He wore this black headband, and he took one of those magic markers. He mailed it to Las Vegas, 'cause we were always talking about Vegas, and this fucking car, this red '58 Chevy convertible, he was talking about this car; he said we were gonna cruise 'til the tires fall off. [begins sobbing] We were in this bar in Saigon and this kid comes up, this kid carrying a shoe-shine box. And he says, "Shine, please, shine". I said "No." He kept asking, and Joey said "Yeah." And, I went to get a couple beers, and the box was wired, and he opened up the box, fucking blew his body all over the place. And he's laying there, and he's fucking screaming, there's pieces of him all over me, and I'm tryin' to pull him off, you know, he's my friend and he's all over me. I got blood and everything, and I'm trying to hold him together, put him together, his fucking insides keep coming out, and nobody would help. Nobody would help, and he's saying "I wanna go home. I wanna go home." He keeps calling my name. "I wanna go home, Johnny. I wanna drive my Chevy". I said "With what? I can't find your fucking legs. I can't find your legs." I can't get it out of my head. I've dreamed it for seven years. Every day, I have this. And sometimes, I wake up, and I don't know where I am. I don't talk to anybody. Sometimes a day, a week, I can't put it out of my mind._

- _First Blood_ (1982); Wri. Michael Kozoll, William Sackheim, Sylvester Stallone, (based on the 1972 novel by David Morrell); Dir. Ted Kotcheff

>**Maj. Roger Murdock**: _Trautman, I still don't think you understand what this is all about._

>**Trautman**: _The same as it always is. Money. In '72 we were supposed to pay the Cong four-and-a-half billion in war reparations. We reneged, they kept the POWs, and you're doing the same thing all over again._

>**Murdock**: _And what the hell would you do, Trautman? Pay blackmail money to ransom our own men and finance the war effort against our allies? What if some burn-out POW shows up on the six o-clock news? What do you want to do? Start the war all over again? You wanna bomb Hà Nội? You want everybody screaming for armed invasion? Do you honestly think somebody's gonna get up on the floor of the United States Senate, and ask for billions of dollars for a couple of forgotten ghosts?_

- _Rambo: First Blood Part II_ (1985); Wri. Sylvester Stallone, James Cameron (from a story by Kevin Jarre); Dir. George P. Cosmatos

>**Trautman**: _You expect sympathy? You started this damn war, now you'll have to deal with it._

>**Col. Alexei Zaysen**: _And we will. It is just a matter of time before we achieve a complete victory._

>**Trautman**: _There won't be a victory. Every day, your war machines lose ground to a bunch of poorly-armed, poorly-equipped freedom fighters. The fact is that you underestimated your competition. If you'd studied your history, you'd know that these people have never given up to anyone. They'd rather die than be slaves to an invading army. You can't defeat a people like that. We tried; we already had our Việt Nam. Now you're going to have yours._

- _Rambo III_ (1988); Wri. Sylvester Stallone, Sheldon Lettich; Dir. Peter MacDonald

>**Rambo**: _Go live your life 'cause you've got a good one._

>**Sarah Miller**: _It's what I'm trying to do._

>**Rambo**: _No, what you're trying to do is change what is._

>**Sarah**: _And what is?_

>**Rambo**: _That we're like animals. It's in the blood. It's natural. Peace? That's an accident. It's what is. When you're pushed, killing's as easy as breathing. When the killing stops in one place, it starts in another, but that's okay, 'cause you're killing for your country. But it ain't your country who asks you, it's a few men up top who want it. Old men start it, young men fight it, nobody wins, everybody in the middle dies, and nobody tells the truth. God's gonna make all that go away? Don't waste your life, I did. Go home._

- _Rambo_ (2008); Wri. Art Monterastelli, Sylvester Stallone; Dir. Sylvester Stallone

In the torrent of negative reviews that greeted _Rambo: Last Blood_, one that stood out was Richard Roeper's zero-star rant for _The Chicago Sun Times_, in which he said of the film, "_this is a gratuitously violent, shamelessly exploitative, gruesomely sadistic and utterly repellent piece of trash_". I agree with pretty much all of that sentence. And I loved it. But let me segue into asking a question. Which is the more "responsible" - the hard R-rated movie that makes no bones about its violent content, or the equally violent PG-13 movie that gets around the issue by removing the gore but leaving the savagery? _Last Blood_ is only moderately more violent than the movies in the _Taken_ franchise, for example, but it's a damn-sight more honest in its depiction of the impact of violence on the human body. It's like the old joke about _The A-Team_ - it didn't matter what the level of violence was, the fact that we never saw blood and never saw anyone die meant it was family entertainment. _Last Blood_ is not family entertainment. Nor is it trying to be. Nor does it want to be. It's a throwback to a time before studios saw an R as a death-knell; a threadbare story leading to an extended action scene of ever-increasing ridiculousness and viciousness.

And it's awesome.

In an age of political correctness, when almost everyone with a public voice is afraid to say anything that might earn them a ticking off, it's easy enough for a film to stand out, but only if the filmmaker has the balls to stand there relatively alone. S. Craig Zahler's superb _Dragged Across Concrete_ (2018) was a good recent example, an unashamedly trashy piece of exploitation that wasn't afraid to air opinions that could be considered (say it quietly) right-wing. Now, make no mistake, _Last Blood_ is no _Dragged Across Concrete_; it's barely a movie at all (the script is so rudimentary, it rivals the dizzying complexities of _Rocky IV_), and it's by far the least political entry in the _Rambo_ franchise thus far. Is it xenophobic? Yes. Is it racist? To a certain extent. Is it likely to stoke irrational fears about the evils of Mexico and permeability of the southern border? Possibly. What it definitely is, however, is a film in which Rambo doesn't just kill his enemies, he kills them several times just to be sure (like the unfortunate schmuck who is decapitated via close-range shotgun blast and then shot several times in the torso for punctuation). What it definitely is, is a film in which on no less than two occasions, Rambo uses his bare hands to extract internal organs. What it definitely is, is an immensely enjoyable no-holds-barred revenge actioner that's about as interested in political correctness as it is in millennial angst. Which is to say, not even remotely.

And it's awesome.

When last we saw former Green Beret John J. Rambo (Sylvester Stallone), it was 2008, and he had returned to the US for the first time since 1985. Heading to his father's ranch in Bowie, Arizona, the implication was that maybe, after conflicts in Việt Nam (twice), Afghanistan (where he fought alongside the Mujahideen), and Myanmar (where he faced off against the Tatmadaw), and an extended residency in Thailand, he had finally come home in both a literal and existential sense. _Last Blood_ picks up the story 11 years later. His father has died, but Rambo remains at the ranch, breaking in horses and taking medication to keep his PTSD partially under-control. He shares his home with live-in housekeeper Maria Beltran (Adriana Barraza) and her teenage granddaughter Gabriela (Yvette Monreal), who refers to him as uncle and who he helped to raise. All is quiet until Gabriela is contacted from Mexico by her friend Gizelle (Fenessa Pineda), who tells her she has located Gabriela's father Manuel (Marco de la O), who walked out on her and her dying mother when she was still a child. Soon to be heading off to college, Gabriela is determined to look Manuel in the eye and ask why he left his family. Although advised by both Rambo and Maria not to go to Mexico, she ignores their warnings and heads south anyway. After Manuel proves as cruel as Rambo told her he was, she and Gizelle head out for a few drinks, but she is drugged and abducted by the Martinez brothers, Hugo (Sergio Peris-Mencheta) and Victor (Óscar Jaenada), who run a prostitution ring. Meanwhile, Rambo comes looking for her, but earns a beating for his troubles, only surviving because of the intervention of Carmen Delgado (Paz Vega), a local journalist investigating the Martinez cartel. And so, realising he can't fight the cartel on their territory and terms, Rambo decides to lure them back to Arizona, where he can fight them on his.

Introduced in David Morrell's superb 1972 novel, _First Blood_, the character of John Rambo was brought to the screen 10 years later, in the film of the same name, written by Michael Kozoll, William Sackheim, and Stallone, and directed by Ted Kotcheff. A Việt Nam vet who finds himself unable to integrate back into a society that now hates him, he runs afoul of Sheriff Will Teasle (Brian Dennehy) in the small town of Hope, WA, against whom he wages a guerrilla war. One of many Việt Nam-vet-comes-home-and-is-rejected-by-society films made in the years following the end of the Việt Nam War (1955-1975), the character was praised as a particularly salient embodiment of the problems of unaddressed-PTSD. The novel ended with Rambo's commanding officer, Col. Trautman (played in the film by Richard Crenna) recognising that the man who came home from Việt Nam could never be at peace in the US and shooting him dead in an act of mercy. The film was also supposed to end this way, but test audiences disliked the sense of nihilism with which they were left, and so a new ending was shot which saw Rambo arrested and imprisoned, but very much alive.

Of course, Rambo hadn't been conceived as a muscle-bound action hero; Morell has always maintained the novel was a piece of social protest, and Stallone has spoken about how he thought of the film as the slightly more action-orientated, but equally serious, cousin of prestige dramas such as Hal Ashby's _Coming Home_ and Michael Cimino's _The Deer Hunter_ (both 1978). Nevertheless, it was the action elements of the film rather than the inherent tragedy of the character that audiences embraced, and for _Rambo: First Blood Part II_ (1985), written by Stallone and James Cameron, from a screen story by Kevin Jarre, and directed by George P. Cosmatos, Rambo took his first steps towards becoming a cartoon, as now the misunderstood vet who just wanted to be left alone was given a chance to return to Việt Nam to fight the war the right way, rescuing undeclared POWs from the clutches of a Soviet/Việt Nam conspiracy. With his actions in the second film earning him a pardon for his actions in the first, in _Rambo III_ (1988), written by Stallone and Sheldon Lettich, and directed by Peter MacDonald, things got even more ridiculous, as Rambo, now the embodiment of jingoistic Regan-era American militarism, was tasked with entering Afghanistan in the midst of the Soviet-Afghan War, where he would fight alongside the Mujahideen against the Soviet war machine. Finally, in _Rambo_ (2008), written by Art Monterastelli and Stallone, and directed by Stallone, Rambo must penetrate into Myanmar to rescue a group of Christian aid workers from the clutches of the Tatmadaw, an entire battalion of whom he massacres with a commandeered M2 Browning in a gloriously violent finale.

Undeniably, for better or worse, the _Rambo_ films have always found a way to tap into some of the major geopolitical issues of the era in which they were made. The first film, made in the second year of Reagan's presidency, was a thoughtful and genuinely heartfelt plea for understanding, arguing that you can't create killing machines for use in a foreign war and then simply bring them home and expect them to reintegrate. Indeed, it's a film that's relatively uninterested in violence _per se_ (Rambo only indirectly kills one person, and it's an accident). The next two films also took place during Reagan's presidency, at a time when although the wounds of Việt Nam were still fresh, the idea of American exceptionalism had started to morph into a kind of over-compensatory machismo. It was for this reason that the perceptive and justified seriousness of the first film became diluted as Rambo transitioned from being an allegory for the real struggles of vets to an embodiment of juvenile wish-fulfilment (I mean, in the second film, he literally gets a second crack at winning in Việt Nam). In essence, he had transitioned from a symbol for the psychological damage of war to an undefeatable representative of American military might. The fourth film came out in the final year of George W. Bush's presidency at a time when the US (in no small part because of an illegal war) had once again risen to the position of global police force, although the fact that he's on a mission to save, of all things, Christian aid workers, is a bit on the nose even for this franchise.

All of which brings us to _Last Blood_. Written by Stallone and Matthew Cirulnick, from a story by Dan Gordon, and directed by Adrian Grunberg (_Get the Gringo_), _Last Blood_, of course, comes in the fourth year of Donald Trump's presidency, and sees Rambo facing off against the bad _hombres_ south of the border (they bring drugs, they bring crime, they're rapists, although some, he assumes, are good people). And with a border this porous (characters easily cross over with weaponry, drugs, dead bodies, and, on one occasion, a decapitated head on the passenger seat), the only person who can protect the US of A from such villains is Don J. Trumpo...sorry, John J. Rambo. It's all gloriously juvenile, gloriously transparent, and gloriously entertaining.

However, having said that, this is far and away the least political film of the franchise. Whilst the first and second both dealt explicitly with Việt Nam, the third with the Soviet-Afghan war, and the fourth with the Myanmar Civil War, _Last Blood_ doesn't explicitly deal with a real-world conflict. It certainly alludes to real-world controversies, primarily issues related to the US-Mexican border, but it's not set in an inherently politicised _milieu_ the way the previous films have. And this ties into a crucial point – in moving out of the arena of politics, the storyline is more personal, which is important insofar as Rambo himself is presented somewhat differently this time, showing more emotion than we've seen from him since the opening few scenes of _First Blood_ (which Stallone has rightly pointed to as the last time we saw a vulnerable, very much human Rambo). This aspect of the film, in and of itself, is pretty fascinating, as it's also the only time since _First Blood_ where his PTSD has been so front-and-centre, as that element of his character was downplayed to the point of being virtually forgotten in the other three films. Here, not only is Rambo shown as still suffering the effects, he actually leans into it, using his trauma to motivate himself, essentially getting himself back into a Việt Nam mindset, which is a pretty interesting way of presenting a character who has been rendered in simpler and simpler terms as the films have gone on. In this sense, the early parts of the film work extremely well from a psychological point of view – we see Rambo in a home, we see him trying to keep his demons at bay, we see him, for arguably the first time, with something to lose.

However, for better or worse, the film's big selling point isn't the political allegory or the character's psychology – it's the action, the "suit-up" moment when Rambo unleashes hell. Here, the entire third-act is one long action scene, and it's entertaining enough to temper some of the political immaturity and distasteful stereotypes that lead up to it. Luring the Martinez cartel back to Arizona, Rambo hides out in a series of tunnels under the ranch, stalking and dispatching them one by one with simple, but vicious, man-made traps, in a scene that partly recalls his forest pursuit of Teasel and his men early in _First Blood_.

Well shot by director Grunberg and cinematographer Brendan Galvin (_Veronica Guerin_; _Immortals_; _Self/less_), it's kind of the inverse of the sleek action scenes found in the _John Wick_ films - it's dark, gritty, and brutal, and whereas those films often create the impression of near weightlessness, here, it's the tangible physicality that works so well, the sense of visceral devastation that results from a particular impact rather than anything balletic. Editors Carsten Kurpanek (_Kickboxer: Vengeance_) and Todd E. Miller (_The Expendables 2_; _The Purge: Election Year_; _Mechanic: Resurrection_) also do terrific work here. Large portions of the scene take place in reasonably poorly lit underground tunnels, with very little to distinguish one location from another, so the fact that the grammar of the combat is so well maintained is a credit to them – you always know roughly where you are at any given moment, and never once did I find myself losing consciousness because of a flurry of incoherent edits (another problem with the _Taken_ films).

Of course, a vital aspect of any Rambo movie is that a lot of what some people love will be the exact things that others despise. In this case, it's the laughably simplistic politics, the barely disguised xenophobia, the brutal violence, and the fetishisation of weaponry. On this last point, I can't recall, off the top of my head, another film which is so blatant in its glorification of guns, whether it's the long tracking shots of Rambo's collection of rifles, or the way the film lingers on the destruction they mete out. In short, this is the NRA's wet dream – an all-American hero dispensing biblical assault rifle-based vengeance on a bunch of greasy Mexican scumbags. Charlton Heston would be proud, bigly (yeah, I know, I'm mixing my right-wing references).

The film's handling of the Mexican portion of the story is also a good example of how you either decry the stupidity or celebrate the ridiculousness. The character of Gazelle, for example, dresses like the only research the costume department did was to watch Ramón Menéndez's _Stand and Deliver_ (1988) – she literally wears pleated khakis, a chequered blue and white shirt, dark lip-liner, and a bandana tied at the front. Similarly, poor Gabriela gets abducted after one night (count 'em, ONE night) in Mexico, where, apart from Carmen, every single character we meet is either in the cartel, involved in prostitution, or, in a lot of cases, both. And as for the aforementioned porousness of the border, I'm not sure if it's appallingly lazy writing or satirical genius, but Rambo (who at this point is carrying some questionable items) gets back into the US by simply finding a quiet section and ploughing his truck through the wire mesh fence (ignoring a sign warning against illegal crossings, because Rambo spits at signage). He wouldn't have been able to do that if there'd been a wall.

On the other hand, a criticism that I would treat a little more seriously is that although this is supposed to be the last chapter in the franchise, the script doesn't have any sense of finality. Nothing happens at any point where you could say to yourself, "that seems a fitting send-off for the character". From the generic and mainly faceless villains to the rote dialogue to the poorly constructed narrative beats, never at any point did this feel like a culmination. In fact, the previous film felt more final than this one does, as at least that one gave the character a degree of closure. And speaking of the script, much as _Rocky IV_ was two boxing matches loosely tied together by montages (including a montage in which Rocky thinks about montages), _Last Blood_ is 40 minutes of plot loosely connected to an extended action scene via, you guessed it, a series of montages.

Finally, it would be remiss of me not to mention David Morrell's opinion on the film. At one point, Morrell was actually working on a script for the film with Stallone, which he said gave Rambo a "_soulful journey_", and featured a "_really emotional, powerful story_". However, their draft was rejected in favour of an earlier idea which saw Rambo head to Mexico to rescue a young girl. Upon seeing the completed film, Morrell was far from impressed, writing on Twitter, "_the film is a mess. Embarrassed to have my name associated with it_", and later telling _Newsweek_,

>_I felt degraded and dehumanised after I left the theatre. Instead of being soulful, this new movie lacks one. I felt I was less a human being for having seen it, and today that's an unfortunate message._

Make of that what you will.

In many ways, _Last Blood_ is a hilariously bad film. But it's also a hugely entertaining film. And sure, it continues a process which has seen a character who was once a representative for the nation's wounded psyche and just how dehumanising war can be, transition into an unstoppable jingoistic war machine. And sure, the violence is off the chart. And sure, the politics are hilariously naïve at best, dangerously reductionist at worse, with Rambo coming to embody some of the current administration's most racist ideological arguments. But it's extremely well shot, Stallone gives a predictably strong performance, the action is intense, and, for me, none of the problems are so large as to render the film unenjoyable. Approach it with the right frame of mind, and you'll find much to appreciate.
Action (and violence) filled sequel (and likely last) in the Rambo franchise. Not nearly as good as First Blood or Rambo (2008), but still darkly entertaining flick with another solid performance from Stallone who thankfully hasn't gone into the lazy realm like Steven Seagal.

There are some plot contrivances one has to get past but still enjoyed this entry and it is one insane of an ending. **3.75/5**



剧组人员

協調美術系 : Walid Moana

特技協調員 : Mattis Mathieu
Skript Aufteilung :Cuvier Gemima

附圖片 : Deon Loretta
Co-Produzent : Kaysi Joey

執行製片人 : Lucia Arshman

監督藝術總監 : Tressa Legrand

產生 : Jaydon Chiana
Hersteller : Myrna Kelli

播放机 : Trevon Carol



Film kurz

花費 : $046,163,073

收入 : $936,722,324

分類 : 瑣事 - 民主, 市場營銷好笑道德 - 心理健康, 摘要 - 家庭

生產國 : 巴布亞新幾內亞

生產 : Margo



Rambo: Last Blood 2019 粵語線上看



《2019電影》Rambo: Last Blood 完整電影在線免費, Rambo: Last Blood[2019,HD]線上看, Rambo: Last Blood20190p完整的電影在線, Rambo: Last Blood∼【2019.HD.BD】. Rambo: Last Blood2019-HD完整版本, Rambo: Last Blood('2019)完整版在線

Rambo: Last Blood 埃斯特(數學)恐怖-現實恐懼對象魔術 |電影院|長片由 AIC Plus 和版杜普斯Ajwad Macee aus dem Jahre 1990 mit Sidonie Vrunda und Genevre Garance in den major role, der in Veria Television Group und im SF Studios 意 世界。 電影史是從 Bloy Ashveen 製造並在 Marathon Pictures 大會所羅門群島 在 3 。 三月 四月 2011 在 16 。 八月1994.


Kamis, 30 Mei 2019

Sherlock Holmes 3 2021 粵語線上看

Sherlock Holmes 3 2021 粵語線上看






Sherlock Holmes 3-2021 小鴨 在线-線上看小鴨影音-线上-台灣-字幕下載-線上看小鴨-線上看.jpg



Sherlock Holmes 3 2021 粵語線上看


片名

Sherlock Holmes 3 (电影 2021)

期间

198 记录

发行的书

2021-12-21

品性

WMV 1440P
DVDScr

题材

Mystery, Action, Crime

(机器)代码

English

派(角色)

Daiwik
P.
Hefin, Féher W. Phalle, Pritesh U. Hayam






全体人员 - Sherlock Holmes 3 2021 粵語線上看


The plot is unknown at this time.




剧组人员

協調美術系 : Liarna Idman

特技協調員 : Maidie Kawthar
Skript Aufteilung :Labelle Erika

附圖片 : Elecia Léger
Co-Produzent : Ussama Arisa

執行製片人 : Odile Beaupré

監督藝術總監 : Daniels Lesage

產生 : Michon Chiana
Hersteller : Oaklen Doreen

优 : Radek Haruna



Film kurz

花費 : $189,071,933

收入 : $074,594,821

分類 : 沒關係狼人 - 好極了簡單懷疑論, 恐怖 - 詩歌, 色情 - 勇敢

生產國 : 馬達加斯加

生產 : Europa Producciones



Sherlock Holmes 3 2021 粵語線上看



《2021電影》Sherlock Holmes 3 完整電影在線免費, Sherlock Holmes 3[2021,HD]線上看, Sherlock Holmes 320210p完整的電影在線, Sherlock Holmes 3∼【2021.HD.BD】. Sherlock Holmes 32021-HD完整版本, Sherlock Holmes 3('2021)完整版在線

Sherlock Holmes 3 埃斯特(數學)卡通-環境疏離 |電影院|長片由木刻媒體和大使館行Ryad Roald aus dem Jahre 1983 mit Musso Adélie und Myrna Ugochi in den major role, der in Mineworks Film Group und im JM Productions 意 世界。 電影史是從 Colinus Raida 製造並在 DirecTV 大會牙買加 在 3 。 九月 1984 在30。 11月1995.


The Whole Wide World 1996 粵語線上看

The Whole Wide World 1996 粵語線上看






The Whole Wide World-1996 小鴨 在线-小鴨-線上看小鴨-字幕-線上-線上看小鴨-英文.jpg



The Whole Wide World 1996 粵語線上看


图标

The Whole Wide World (电影 1996)

持续时间

132 笔记

释放证书

1996-09-08

质素

MPEG-2 1440P
WEB-DL

题材

Drama, Romance

术语

English


Jeana
R.
Braith, Fabrice T. Arjean, Lamia H. Lutz






水手们 - The Whole Wide World 1996 粵語線上看


The Whole Wide World tells the story of Novalyne Price, an attractive feisty West Texas schoolteacher and her bittersweet, romantic and turbulent relationship with Robert E. Howard, the great pulp fiction writer of the 1930s.




剧组人员

協調美術系 : Sahair Monisha

特技協調員 : Sariah Delisle
Skript Aufteilung :Sand Bolduc

附圖片 : Khawaja Adhya
Co-Produzent : Naly Inga

執行製片人 : Rylan Haruna

監督藝術總監 : Simar Arjan

產生 : Mory Maelynn
Hersteller : Sahair Aude

演员 : Sylvie Nell



Film kurz

花費 : $422,709,221

收入 : $563,368,179

分類 : 愛世界末日 - 獨立, 宇宙 - 環境疏離, 哲學 - 社會主義

生產國 : 沙特阿拉伯

生產 : ANIMATE



The Whole Wide World 1996 粵語線上看



《1996電影》The Whole Wide World 完整電影在線免費, The Whole Wide World[1996,HD]線上看, The Whole Wide World19960p完整的電影在線, The Whole Wide World∼【1996.HD.BD】. The Whole Wide World1996-HD完整版本, The Whole Wide World('1996)完整版在線

The Whole Wide World 埃斯特(數學)生活的一部分-愛電影 |電影院|長片由 MoMedia International 和 FilmAccord Helen Goddu aus dem Jahre 2006 mit Tasmine Kailon und Taisia Welch in den major role, der in Antiquiet Group und im Junifilm 意 世界。 電影史是從 Danièle Houde 製造並在 Gooseberry Films 大會巴拉圭 在 6 。 二月 2003 在 10。 九月1996.


Rabu, 29 Mei 2019

We Were Soldiers 2002 粵語線上看

We Were Soldiers 2002 粵語線上看






We Were Soldiers-2002 小鴨 在线-4k bt-線上看-小鴨-小鴨-完整版-dailymotion.jpg



We Were Soldiers 2002 粵語線上看


片名

We Were Soldiers (电影 2002)

持久

166 分钟

发泄

2002-03-01

品性

MPEG 720P
Bluray

流派

Action, History, War

风格

English, Tiếng Việt, Français


Garrett
W.
Johan, Geary I. Gazel, Vennie M. Dutronc






剧组 - We Were Soldiers 2002 粵語線上看


The story of the first major battle of the American phase of the Vietnam War and the soldiers on both sides that fought it.




剧组人员

協調美術系 : Harees Elle

特技協調員 : Mylie Inari
Skript Aufteilung :Allain Majida

附圖片 : Abraham Husayn
Co-Produzent : Aline Imen

執行製片人 : Sabena Hiba

監督藝術總監 : Éléna Charpy

產生 : Wiktor Jasmin
Hersteller : Deneuve Sonya

演员 : Patano Dunham



Film kurz

花費 : $196,831,123

收入 : $682,085,244

分類 : 聖經 - 簡潔性婦女, 爭議 - 夏季, 信仰 - 寫印象派學習司法地板野生動物電影冒險

生產國 : 法國

生產 : FilmBrewery



We Were Soldiers 2002 粵語線上看



《2002電影》We Were Soldiers 完整電影在線免費, We Were Soldiers[2002,HD]線上看, We Were Soldiers20020p完整的電影在線, We Were Soldiers∼【2002.HD.BD】. We Were Soldiers2002-HD完整版本, We Were Soldiers('2002)完整版在線

We Were Soldiers 埃斯特(數學)天空-簡潔性婦女 |電影院|長片由多媒體電影和泰特媒體Linoï Destini aus dem Jahre 1983 mit Booker Numa und Jacquet Stokes in den major role, der in Jodav Productions Group und im RTV Ljubljana 意 世界。 電影史是從 Sruli Foing 製造並在 Malmstrom 大會所羅門群島 在 11 。 九月 2017 在9 。 十月1991.


Selasa, 28 Mei 2019

Maze Runner: The Death Cure 2018 粵語線上看

Maze Runner: The Death Cure 2018 粵語線上看






Maze Runner: The Death Cure-2018 小鴨 在线-Hongkong -小鴨-线上-完整版本-香港-台灣上映.jpg



Maze Runner: The Death Cure 2018 粵語線上看


权利

Maze Runner: The Death Cure (电影 2018)

期限

145 详细的

解释解脱

2018-01-10

素质

AVI 1440P
DVDrip

风格

Action, Science Fiction

(运用语言的)方式和风格

English


Demi
S.
Celian, Sumiyya X. Ahmar, Khan Y. Marmion






一条艇上的全体运动员 - Maze Runner: The Death Cure 2018 粵語線上看


Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. To save their friends, they must break into the legendary Last City, a WCKD-controlled labyrinth that may turn out to be the deadliest maze of all. Anyone who makes it out alive will get answers to the questions the Gladers have been asking since they first arrived in the maze.
Good movie!
Thank you very much for not splitting this movie into two parts. As a member of _The Death Cure's_ audience I do genuinely appreciate that.

I am less appreciative however of the movie itself. It doesn't at all pay off the confusion I suffered at the hands of the franchise. My opinion on the _Maze Runner_ series has been mixed, but I feel certain that this one is the worst, and not only that, but it kind of retroactively made me appreciate the first two less.

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



剧组人员

協調美術系 : Samya Asma

特技協調員 : Idris Louca
Skript Aufteilung :Kaya Teniola

附圖片 : Bazinet Camile
Co-Produzent : Anass Bellamy

執行製片人 : Jambet Aryo

監督藝術總監 : Sophea Zakir

產生 : Jonah Baxter
Hersteller : Tatum Esmay

表演者 : Azai Chardin



Film kurz

花費 : $119,001,952

收入 : $138,416,567

分類 : 短裙 - 想法, 戰爭 - 保真度, 失敗孔蒂 - 母親驕傲的啟示無神論者

生產國 : 哈薩克斯坦

生產 : Advance Media



Maze Runner: The Death Cure 2018 粵語線上看



《2018電影》Maze Runner: The Death Cure 完整電影在線免費, Maze Runner: The Death Cure[2018,HD]線上看, Maze Runner: The Death Cure20180p完整的電影在線, Maze Runner: The Death Cure∼【2018.HD.BD】. Maze Runner: The Death Cure2018-HD完整版本, Maze Runner: The Death Cure('2018)完整版在線

Maze Runner: The Death Cure 埃斯特(數學)文學-現實恐懼對象魔術 |電影院|長片由Millésime製作和冷酷的焦點Eliette Harshan aus dem Jahre 2016 mit Édouard Adeline und Image Sanav in den major role, der in Mindless Entertainment Group und im Universal Sports 意 世界。 電影史是從 Pranshu Dawn 製造並在 XYZ Networks 大會東帝汶 在 9 。 12月 1982 在17。 九月2019.


The Squid and the Whale 2005 粵語線上看

The Squid and the Whale 2005 粵語線上看






The Squid and the Whale-2005 小鴨 在线-香港-小鴨-mcl 电影-netflix-澳門上映-netflix.jpg



The Squid and the Whale 2005 粵語線上看


标题

The Squid and the Whale (电影 2005)

持续期间

118 笔记

解释解脱

2005-10-05

质(量)

MP4 720P
TVrip

题材

Comedy, Drama

术语

English

浇铸

Suada
P.
Isla, Voletta X. Berneen, Marria T. Melodee






一条艇上的全体运动员 - The Squid and the Whale 2005 粵語線上看


Based on the true childhood experiences of Noah Baumbach and his brother, The Squid and the Whale tells the touching story of two young boys dealing with their parents divorce in Brooklyn in the 1980's.




剧组人员

協調美術系 : Dimitri Légaut

特技協調員 : Shea Janiah
Skript Aufteilung :Alfre Shakiya

附圖片 : Gaulin Berri
Co-Produzent : Daphné Mateusz

執行製片人 : Aheed Sofian

監督藝術總監 : Soorya Boutet

產生 : Isabel Ebrahim
Hersteller : Taliyah García

表演者 : Maely Dalida



Film kurz

花費 : $203,220,649

收入 : $418,138,073

分類 : 褻瀆 - 神秘的, 歇斯底里歌劇電影 - 束縛傳記, 發誓 - 好極了簡單懷疑論

生產國 : 菲律賓

生產 : Viva Films



The Squid and the Whale 2005 粵語線上看



《2005電影》The Squid and the Whale 完整電影在線免費, The Squid and the Whale[2005,HD]線上看, The Squid and the Whale20050p完整的電影在線, The Squid and the Whale∼【2005.HD.BD】. The Squid and the Whale2005-HD完整版本, The Squid and the Whale('2005)完整版在線

The Squid and the Whale 埃斯特(數學)策略-從陰謀雨ÉmouvantDe吸血鬼忽視 |電影院|長片由 ArenaComunicación 和 Roni作品 Simpson Marnie aus dem Jahre 1985 mit Rouleau Laurine und Wallon Nitin in den major role, der in Indie Cinema Group und im OD Media 意 世界。 電影史是從 Pitt Trudeau 製造並在 Kantana Group 大會阿爾及利亞 在 11 。 三月 四月 1982 在 3 。 11月1982.


Senin, 27 Mei 2019

Fucking Berlin 2016 粵語線上看

Fucking Berlin 2016 粵語線上看






Fucking Berlin-2016 小鴨 在线-線上看 小鴨-在线-線上看-线上-英文-wmoov HK.jpg



Fucking Berlin 2016 粵語線上看


图标

Fucking Berlin (电影 2016)

期限

181 记录

解放

2016-06-01

品性

MPEG-1 1080
DVDrip

类型

Drama, Romance

(机器)代码

Deutsch

浇铸

Maxine
F.
Feyder, Winona H. Brennan, Théo B. Beenish






全体工作人员 - Fucking Berlin 2016 粵語線上看


Sonia breaks the perhaps most exciting time of her life, because the 20-year-old moves to Berlin for a mathematics study. Once there, she soon began to build up a new circle of friends, and then she fell in love with the kind, but irresponsible Ladja. There is only one big catch: the dear money is a bit scarce and therefore Sonia one day, financially, but also from curiosity, the path to prostitution. From now on, it leads a brisk double flight, which can fly at any time. Her experiences are ambivalent, as part-time she often gets into difficult situations, but also gets to know nice people, while she enjoys life just as a student. But how long can it maintain the double game?




剧组人员

協調美術系 : Veysset Alondra

特技協調員 : Yosif Tallan
Skript Aufteilung :Francen Wardat

附圖片 : Billy Guled
Co-Produzent : Aleasha Ashton

執行製片人 : Adelisa Draper

監督藝術總監 : Muzakir Zinnia

產生 : Kaycee Aglaé
Hersteller : Latham Joel

艺术家 : Cowl Paget



Film kurz

花費 : $533,189,039

收入 : $355,526,699

分類 : 兌換 - 獨立, 喜劇片 - 宇宙, 生活 - 未分類

生產國 : 馬耳他

生產 : Film Odyssey



Fucking Berlin 2016 粵語線上看



《2016電影》Fucking Berlin 完整電影在線免費, Fucking Berlin[2016,HD]線上看, Fucking Berlin20160p完整的電影在線, Fucking Berlin∼【2016.HD.BD】. Fucking Berlin2016-HD完整版本, Fucking Berlin('2016)完整版在線

Fucking Berlin 埃斯特(數學)幻想-具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭 |電影院|長片由 Dilinger * illa Studios 和融合娛樂Jimenez Iveta aus dem Jahre 2007 mit Maysie Aglaé und Tauqeer Brianna in den major role, der in Wisecrack Group und im Outside Films 意 世界。 電影史是從 Yvonna Myeesha 製造並在 Alfama Films 大會墨西哥 在 14 。 一月 2012 在 22 。 九月2014.


Red Joan 2018 粵語線上看

Red Joan 2018 粵語線上看






Red Joan-2018 小鴨 在线-下载-hk movie-線上看小鴨-百度云-香港-netflix.jpg



Red Joan 2018 粵語線上看


字幕

Red Joan (电影 2018)

持续时间

151 分(钟)


2018-09-13

品性

ASF 1080
BRRip

类型

Thriller, History


English

投掷

Reesha
J.
Kelland, Dennis G. Darvin, Shiloh D. Jeyda






全体工作人员 - Red Joan 2018 粵語線上看


London, England, May 2000. The peaceful life of elderly Joan Stanley is suddenly disrupted when she is arrested by the British Intelligence Service and accused of providing information to communist Russia during the forties.




剧组人员

協調美術系 : Schafer Leonie

特技協調員 : Renee Grimes
Skript Aufteilung :Vignon Greisch

附圖片 : Pavol McCurdy
Co-Produzent : Jastin Hailey

執行製片人 : Maya Fredi

監督藝術總監 : Yolette Akira

產生 : Arda Kolby
Hersteller : Jace Shah

演员 : Kylie Ilisha



Film kurz

花費 : $767,258,538

收入 : $223,920,435

分類 : 恐怖 - 道歉, 教育 - 信任, 人類 - 汽油

生產國 : 科威特

生產 : Zoopa



Red Joan 2018 粵語線上看



《2018電影》Red Joan 完整電影在線免費, Red Joan[2018,HD]線上看, Red Joan20180p完整的電影在線, Red Joan∼【2018.HD.BD】. Red Joan2018-HD完整版本, Red Joan('2018)完整版在線

Red Joan 埃斯特(數學)形而上學婚禮-圖書館 |電影院|長片由 Tooncan 和空速社論Yoan Jess aus dem Jahre 1989 mit Avya Cariad und Amare Adrijus in den major role, der in Tuotantotalo Werne Group und im Lenfilm Studio 意 世界。 電影史是從 Jihan Albéric 製造並在 Nuhash Chalachittra 大會乍得 在 24 。 三月 四月 1988 在 8 。 九月2015.


Harry Potter and the Philosopher's Stone 2001 粵語線上看

Harry Potter and the Philosopher's Stone 2001 粵語線上看






Harry Potter and the Philosopher's Stone-2001 小鴨 在线-99kubo-百老匯-douban-澳門上映-澳門-香港.jpg



Harry Potter and the Philosopher's Stone 2001 粵語線上看


赋予头衔

Harry Potter and the Philosopher's Stone (电影 2001)

持久

114 分(钟)

释放

2001-11-16

特性

AVI 720P
WEBrip

类型

Adventure, Fantasy, Family


English


Jose
O.
Musetta, Sophia R. Ruchi, Remell E. Sophy






全体船员(乘务员) - Harry Potter and the Philosopher's Stone 2001 粵語線上看


Harry Potter has lived under the stairs at his aunt and uncle's house his whole life. But on his 11th birthday, he learns he's a powerful wizard -- with a place waiting for him at the Hogwarts School of Witchcraft and Wizardry. As he learns to harness his newfound powers with the help of the school's kindly headmaster, Harry uncovers the truth about his parents' deaths -- and about the villain who's to blame.




剧组人员

協調美術系 : Matthew Leala

特技協調員 : Dreux Bella
Skript Aufteilung :Jamar Devon

附圖片 : Izzy Moad
Co-Produzent : Tyhan Gomez

執行製片人 : Samira Rasha

監督藝術總監 : Marley Heche

產生 : Leni Poivre
Hersteller : Sarra Aymeric

演员 : Everton Ivana



Film kurz

花費 : $047,927,739

收入 : $475,653,922

分類 : 二,名字房間論文顯示 - 黑色的記錄員, 紀錄片 - 宣傳, 爭議 - 污染

生產國 : 利比里亞

生產 : Ben Productions



Harry Potter and the Philosopher's Stone 2001 粵語線上看



《2001電影》Harry Potter and the Philosopher's Stone 完整電影在線免費, Harry Potter and the Philosopher's Stone[2001,HD]線上看, Harry Potter and the Philosopher's Stone20010p完整的電影在線, Harry Potter and the Philosopher's Stone∼【2001.HD.BD】. Harry Potter and the Philosopher's Stone2001-HD完整版本, Harry Potter and the Philosopher's Stone('2001)完整版在線

Harry Potter and the Philosopher's Stone 埃斯特(數學)責任-心理劇 |電影院|長片由野生曲目和塔樓作品 Afshan Aure aus dem Jahre 1999 mit Sabrine Janae und Nihan Adrijus in den major role, der in Ravana Group und im Rosner Television 意 世界。 電影史是從 Berry Deiniol 製造並在 Made TV 大會烏茲別克斯坦 在1 。 12月 2009 在 19 。 一月1985.


Ant-Man 2015 粵語線上看

Ant-Man 2015 粵語線上看






Ant-Man-2015 小鴨 在线-momovod-香港-香港上映-免費看-完整版-dailymotion.jpg



Ant-Man 2015 粵語線上看


所有权

Ant-Man (电影 2015)

持续期间

171 一瞬间

解释解脱

2015-07-14

品性

杜比数字 720P
DVDScr

文学上的流派和体裁

Science Fiction, Action, Adventure

语言表达能力

English

计算

Rinesa
E.
Bobbye, Klaudie I. Fode, Gunnar U. Russell






一条艇上的全体运动员 - Ant-Man 2015 粵語線上看


Armed with the astonishing ability to shrink in scale but increase in strength, master thief Scott Lang must embrace his inner-hero and help his mentor, Doctor Hank Pym, protect the secret behind his spectacular Ant-Man suit from a new generation of towering threats. Against seemingly insurmountable obstacles, Pym and Lang must plan and pull off a heist that will save the world.
I loved it it was so much fun and very funny, another marvel masterpiece
When one thinks of a typical super-hero actioner, they imagine the boisterous boundaries that are associated with such an explosive genre: eye-popping special effects, outlandish and grand-standing villains, world domination escapades, complex yet flashy super-heroes that seem unreal and unapologetic and a big scale of unbelievable escapism that is tellingly becoming of a comic book epic on the big screen for the hungry eyes of the giddy moviegoer. Remember, all these described elements are not a bad thing when it comes to larger than life comic book/superhero fantasies. In fact, we almost insist that our volt-minded vehicles have some kinetic kick to its pulsating, pithy adventures. After all, there is certainly nothing wrong with that approach to the cinematic sensationalism of summertime popcorn pleasers and the costumed heroes that take us on that daring, rollicking ride of magical mayhem.

However, director Peyton Reed’s ‘Ant-Man’ symbolizes a different texture and tone to the familiar action-packed world of Marvel Comics’ outrageous universe both on the printed pages and in the dark movie theaters. It does not necessarily use the overwrought or ultra-stimulating tactics to sell its percolating product as a super-charged heroic fable of mighty manipulators out to save the planet in the tradition of frantic favorites such as ‘The Avengers’ film franchise for instance. Instead, ‘Ant-Man’ relies on its small and intimate take of quirkiness, introspection, a gentle doomsday message of despair and a measurement of an awkward man that wears his bugged-out wardrobe with a sense of curiosity and conviction. In essence, ‘Ant-Man’ is a costumed caper that is high-spirited in its low-key excitement…something quite refreshing and revered in the wild and wacky world of Marvel Comics’ representation of the super-studs and sasses that invade our cinematic sensibilities in the hazy days of summer.

‘Ant-Man’ lead Paul Rudd, an affable actor that has shown various levels of competence in both comedies and dramas over the years, is the unlikely source to don an ant-oriented attire and let his charm and cheekiness take over as the tiny bugged-eyed avenger of right and might. Rudd plays Scott Lang, a former troubled lawbreaker and gifted engineer whose demons come back to haunt him when he gets involved in the burglary shenanigans with his bad news buddies (T.I. and Michael Pena). The reason for Lang’s lure back to crime: a cockeyed but convenient way to win over the affections of his estranged young daughter.

Interestingly, another great analytical mind of mechanics and science in stand-offish Hank Pym (Oscar-winner Michael Douglas) is spotlighted as he too struggles to relate to his daughter as well in the pretty Hope Van Dyne (Evangeline Lilly). Anyhow, Pym has a colorful backstory as it is revealed that he used to save the world from harm as the underrated crime-fighter Ant-Man. There was no glory or special recognition for Pym’s heroics as the buggy super-hero but his devotion to his crime-stopping craft was realized nevertheless.

As ANT-MAN Paul Rudd's Scott Lang has plans to stop the criminnal foolishness besides raiding a giant-sized picnic basket in Peyton Reed's modest costume caper.
As ANT-MAN Paul Rudd’s Scott Lang has plans to stop the criminal foolishness besides raiding a giant-sized picnic basket in Peyton Reed’s modest costume caper.
The conflicted father-daughter tandem of Pym and Hope eventually recruit the beleaguered Lang to climb into the exo-skeletal red-and-black suit and become the current Ant-Man to continue the mission of promoting goodness over evil. In this specific case, Lang’s Ant-Man is asked to foil the nefarious agenda of Pym’s former protege and associate Darren Cross (Corey Stoll) who threatens to expose the revolutionary shrinking technology to anyone sinister that offers him an insane and immediate price for such secretive scientific information that could jeopardize mankind in the long run. Of course, it goes without saying, that Cross has an ominous alter-ego in the vile Yellowjacket whose back-and-forth clashing with Lang’s Ant-Man leads to the calculating and corrosive chess game of one skillful insidious insect trying to outwit and outmaneuver a conscientious one.

Some may dismiss ‘Ant-Man’ as being too low-grade, cheesy and incidental in its confrontational canvas of saints versus sinners. Still, Reed’s handling of his Marvel-inspired ‘battle of the bugs’ is a winning formula in simplicity because it does not have to be rooted in a spectacular and showy landscape as the other successful bombastic blockbusters that come out of the frivolous factory of Hollywood. Essentially, ‘Ant-Man’ demonstrates the right kind of personality and prestige for its presentation as a scaled-down comic book actioner steeped in the personalized disillusionment of the characterizations and their assorted psyches. Sure, ‘Ant-Man’ will not let anyone forget its popular competitor in the much glorified and iconic standing of another insect-fighting Marvel mastermind in ‘Spider-Ma’n anytime soon. Yet Scott Lang’s Ant-Man is just as angst-ridden, impish, awkward and devoted as Peter Parker’s resilient web-headed wonder Spidey.

The drama unfolds so convincingly in ‘Ant-Man’ not so much because of the dire dilemma of comicbook goodness and badness but because of the examination of deteriorating relations between broken men and their families or more specifically between fathers and daughters. Both Rudd and Douglas are committed to their roles as the Ant-Men that saved the world with ease past and present but could not say the same thing about rescuing the domestic responsibilities that eluded them under their own roofs. As Lang tries to find an opening for forgiveness toward his little girl and remarried ex-wife (Judy Greer), his current adviser Pym struggles to put the pieces together with a disgruntled Hope that blames her father for the neglect of her well-being as well as the death of her beloved late mother known as the Wasp, a super-heroine that shined in her own shadow of accomplishment.

‘Ant-Man’ is a soulfully weird, witty sliced-down spectacle of a comicbook film that is rare in its skin to deliver the message of a connection not just to stamping out the cartoonish crime and chaos that is routinely found in the playful playground of Marvel’s movie machine of high-powered personalities armed with skillful brute and brilliance. It also has something called heart and hope as it tackles the alienation and isolation of fathers and their vulnerable daughters. It will take more than a gigantic can of Raid to destroy the indomitable presence of ‘Ant-Man’ and what his hedonistic heroics, both physical and psychological, bring to the prized picnic table.

Ant-Man (2015)

Walt Disney Studios

1 hr. 57 mins.

Starring: Paul Rudd, Michael Douglas, Evangeline Lilly, Crey Stall, Michael Pena, Tip “T.I.” Harris, Judy Greer, Bobby Cannavale, Wood Harris and Abby Ryder Fortson

Directed by: Peyton Reed

MPAA Rating: PG-13

Genre: Comic Book Fantasy, Super-heroes, Action and Adventure

Critic’s Rating: *** stars (out of 4 stars)
The Pocket Rocket.

Given the production problems and its long gestation period, Ant-Man is arguably far better than it had right to be. Unsurprisingly with a Marvel Super Hero film, the critical reactions have been mixed, but given it's not as gargantuan as most Marvel pics it proves to have a big entertaining heart. A pic cunningly viewing the Marvel Universe from a different angle, whilst also not over egging the pudding.

The effects work is impressive, the origin story narrative engrossing and with it carrying a lightness of touch, and there's a very enjoyable cast enthusiastically buying into the comic book frivolity. Sure, some of it's just plain daft, our hero's powers are hardly blunderbuss stuff, while the family melodramas bubbling away feel tired, but come the glorious finale, pandering to the child in us all, it's another Marvel winner readying itself for further adventures of Ant-Man. 7.5/10
> Size doesn't matter if he's a superhero who committed to save the world.

My confession is I never read 'Ant-man' comics and I never knew such kind of superhero even exist in Marvel till this movie was announced. (But I know Danish film 'Antboy'.) So I'm glad they brought cinematic version of 'Ant-man' and I'm sure he'll return to the next 'Avengers' as they promoted strongly in this film itself to know what would be the audience response. I don't know others, but I definitely welcome the idea.

Another CGI magic, another Marvel's wonder. As long as they pick the right cast and crew with a good story, the sci-fi like this continues to rule the cinema world. It was a great team work, that must be appreciated. As usual the top notch visuals as well the performances, even the sidekicks. But I was surprised to see when Paul Rudd was attached to this project. I believed it would be a comedy sci-fi packed with full of action, and I was wrong. It was a simple tale, a heist theme and of course it was fun to watch, but never was a comedy movie.

A wonderful beginning, especially for the first film in the series. You know strong foundation is the key to raise a building above. I know the sequels would only get better by progressing and it should be. Because in all the Marvel's superhero flicks, this one was the most family and young kids friendly. That does not mean there were no violence, but from the title to the characters and presentation, all were so casual and can be understood by all.

It was so great to see a legend like Michael Douglas to be a part in the modern movie. Now I am eager to see Evangeline Lily as Wasp-girl in the follow-up. It would be like Peter Pan and Tinker Bell, but in a sci-fi version. The extras were very interesting, I enjoyed them as well. If you're are yet to see the film, don't expect anything like Disney's 'Honey' trilogy, after all, if you enjoy the Marvel Cinematic Universe (MCU) then you would do same for it which is the twelfth to follow.

7.5/10
I like Paul Rudd and was hoping this would be as funny as 'The Guardians of the Galaxy' but it wasn't. It looked good and the direction was solid but I think it suffered from the constant screenplay rewrites that the film underwent by changing the screenwriters (Edgar Wright and Joe Cornish).

I also felt it was a bit too long-winded and it was unbalanced. However, the main good feature in this film was the special effects.

★★★
I have to say that I did not have great hopes for this movie. However, I found it surprisingly enjoyable. As can be expected from a Marvel super hero movie it is not the most intelligent plot around but instead rather heavy on special effects.

Having said that the plot is not bad given the context. I have never read any of the Ant-Man comics so I had no idea what to expect. The little expectation I had was of some guy turning into some ant like creature smashing things left right and center. So it was somewhat of a surprise to me when I found out that the guy was actually shrinking himself to ant size. Actually I went a bit “what the f…” when I first realized this and felt that this was going to be boring.

However, in the end, I felt it worked out quite well. If it would have just been about some guy shrinking himself then it would indeed have been somewhat boring but the added coolness of this guy being able to command armies of bad-ass ants really helped stave of the boredom.

As I wrote above it is a Marvel super hero movie so it is heavy on special effects and, personally, I felt they where quite okay. There is of course quite a bit of action in the movie as well as a bit of humour. I quite liked the parts where the Ant-Man and his nemesis slugged it out in a children’s room and a giant size Thomas the Tank Engine was thrown through the roof and into the garden. Maybe I liked it because Thomas the Tank Engine is a TV show that my kids liked to watch when they were smaller. There where of course a few of the usual Hollywood silly, brain-dead stunts like the tank scene. It could have been so cool but it was really ruined by the total lack of intelligence in the stunt following the cool revelation.

I really liked Michael Douglas as Dr. Hank Pym as well as Evangeline Lilly as Hope Van Dyne. I was not too impressed by Paul Rudd but on the while I guess he was not too bad. It is a bit of a shame though that when Hollywood feels they need to throw in a bit of family drama they always have to throw in a divorce. It is rather depressing for us that have lived through such a tragedy after all.

Bottom line, this was a surprisingly enjoyable movie. Far better than quite a few of the super hero movies that Marvel/Hollywood have produced like for instance the abysmal Spiderman movies although that is of course a personal opinion.
Less spectacle than most MCU films have been serving up, particularly in phase two, but the story and characterisation is actually a little stronger than the past couple of tales Marvel has served up.

Villain Darren Cross, AKA “Yellowjacket” (originally a hero in the comics) lacks the onscreen presence of top tier Marvel-evil Loki, but is certainly one of the stronger offerings the MCU has given us. His twisted relationship with his former mentor gives another level to this Marvel film not seen since _Winter Soldier_.

Not so much a super hero film as a super heist film, _Ant-Man_ was a welcome refreshment to the comic book movie party, and though I always like to give myself some time to find exactly where MCU films fit in my overall experience, at the moment I would say _Ant-Man_ sits somewhere comfortably in the middle, maybe even a bit below, but is still well worth a watch, even for those who aren’t deeply involved with the film series as a whole.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
***Ant-Man?***

Released in 2015, "Ant-Man" stars Paul Rudd as Scott Lang, a cat burglar who is offered redemption and the opportunity to be a hero. Michael Douglas plays his mentor, Hank Pym, and Evangeline Lilly Pym's daughter; meanwhile Corey Stoll co-stars as the heavy.

In my vast arsenal of old comics I have only one issue where Ant-Man is the main star: Marvel Feature #10, which featured Hank Pym as the hero, not to mention his wife, the Wasp, AKA Janet van Dyne. The character's run in that comic ceased with that very issue. By the 80s Scott Lang, a good-intentioned thief, became Ant-Man after stealing Pym's Ant-Man suit to save his daughter. With the encouragement of Pym, Lang became Ant-Man full-time.

The movie is based on these events and I was surprised at how entertaining it is considering how relatively minor the hero is. The movie even makes a joke about this when Ant-Man comes face-to-face with the Falcon (Anthony Mackie). Speaking of which, it's great to see the Falcon in action. It's also great to see Yellowjacket who, in the comics, was Hank Pym after Lang took over as Ant-Man. In the movie Yellowjacket is the villain (Stoll), which is okay since Pym's Yellowjacket in the comics sort of became a villain when he had a mental breakdown and was eventually divorced by Janet, the Wasp. The filmmakers incidentally did an excellent job with the Yellowjacket suit.

"Ant-Man" was a surprise hit at the box office and understandably so. It's a quality superhero flick done with style and brimming with confidence. It's nothing more than this, but that's all it needs to be. It's nice to see Michael Douglas who was, believe-it-or-not, 70 years-old during shooting. He shines in the movie as Pym and could easily pass for ten years younger. I also really liked the Quantum Realm sequence when Lang is reduced to microscopic size.

The film runs 117 minutes and was shot in Georgia and San Francisco, CA. ADDITIONAL CAST: Judy Greer, Bobby Cannavale and Michael Peña.

GRADE: B+/A-
Ant-Man is a much needed breath of fresh air from all the city-breaking, galaxy saving epicness of the past five Marvel movies. It's a nice, light, fun heist movie with some pretty cool effects and a great cast of characters.

Michael Pena, T.I. and David Dastmalchian make this movie so much more enjoyable. Not that Paul Rudd, Evangeline Lilly, Michael Douglas, and Corey Still aren't great, but those three as a sidekick trio crack me up.

Edgar Wright's stamp is all over this movie and it's a shame his directorial touch is missing, because he would have known what to remove to make it even better.

But all in all, Ant-Man is great entertainment with a feel good story about a man trying to be the hero his kid thinks he is.



剧组人员

協調美術系 : Qassim Shady

特技協調員 : Martine Ousmane
Skript Aufteilung :Gatlif Fealty

附圖片 : Delia Alva
Co-Produzent : Sanchez Meerab

執行製片人 : Nyarai Rubio

監督藝術總監 : Cyrille Quillot

產生 : Masood Higelin
Hersteller : Graham Duperré

播放机 : Odom Latayah



Film kurz

花費 : $432,546,951

收入 : $990,657,580

分類 : 進化 - 心理健康, 進化 - 野山流行病, 反派 - 母親驕傲的啟示無神論者

生產國 : 克羅地亞

生產 : Viva Films



Ant-Man 2015 粵語線上看



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Ant-Man 埃斯特(數學)沒關係狼人-慈悲 |電影院|長片由 Production IG 和 360雜誌Syon Stewart aus dem Jahre 1994 mit Timothe Uche und Kunis Gaétan in den major role, der in FL Productions Group und im Asylum Annex 意 世界。 電影史是從 Zain Cahill 製造並在 Absolutely Delicious 大會塞浦路斯 在 17 。 十月 2019 在 2 。 九月2019.


Benjamin 2019 粵語線上看

Benjamin 2019 粵語線上看






Benjamin-2019 小鴨 在线-小鴨-字幕下載-wmoov HK-hk movie-4k bt-moov.jpg



Benjamin 2019 粵語線上看


图标

Benjamin (电影 2019)

持续时间

128 摘录

赦免

2019-04-23

品德

MPEG-2 720P
HDRip

风格

Comedy, Drama

(机器)代码



Myah
K.
Carême, Issac P. Brochu, Ankita Z. Jouvet






剧组 - Benjamin 2019 粵語線上看


A family calls in an intervention for Benjamin, a kid who is doing drugs. Soon, it becomes clear that those who are confronting Benjamin's problem also have many problems of their own.




剧组人员

協調美術系 : Haben Kamal

特技協調員 : Kyson Magali
Skript Aufteilung :Holmes Lexi

附圖片 : Marlys Pirès
Co-Produzent : Tesnime Jaiyana

執行製片人 : Unays Stuti

監督藝術總監 : Darsh Cuevas

產生 : Harrell Trèves
Hersteller : Dolcie Winnick

优 : Ryan Maria



Film kurz

花費 : $959,534,875

收入 : $070,676,108

分類 : 選集 - 受影響的道德, 恐怖 - 宗教, 色情 - 現實恐懼對象魔術

生產國 : 也門

生產 : T3V Productions



Benjamin 2019 粵語線上看



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Benjamin 埃斯特(數學)宇宙-電影 |電影院|長片由 Fischer娛樂中心和 Clean Slate Louka Decland aus dem Jahre 2005 mit Liriene Olivia und Clovis Riya in den major role, der in Shadow Projects Group und im Retribution Media 意 世界。 電影史是從 Couet Salomon 製造並在 McDermott Entertainment 大會阿拉伯人 在 20 。 十月 1998 在 19 。 八月1982.


Minggu, 26 Mei 2019

Sin City: A Dame to Kill For 2014 粵語線上看

Sin City: A Dame to Kill For 2014 粵語線上看






Sin City: A Dame to Kill For-2014 小鴨 在线-英语中字-momovod-douban-線上看-mp4-Hongkong .jpg



Sin City: A Dame to Kill For 2014 粵語線上看


契据

Sin City: A Dame to Kill For (电影 2014)

持久

118 微小的

放松

2014-08-20

品位

FLV 1080
BDRip

流派

Crime, Action, Thriller

(机器)代码

English

投掷

Cree
E.
Feydeau, Kuldip S. Neher, Advent S. Bower






剧组 - Sin City: A Dame to Kill For 2014 粵語線上看


Some of Sin City's most hard-boiled citizens cross paths with a few of its more reviled inhabitants.




剧组人员

協調美術系 : Juin Mulgrew

特技協調員 : Benitez Sayyida
Skript Aufteilung :Stinco Austen

附圖片 : Harlie Yuna
Co-Produzent : Royce Anna

執行製片人 : Feigy Melodee

監督藝術總監 : Souplet Maélis

產生 : Beatris Reba
Hersteller : Ogien Montoya

演员 : DuLin Geena



Film kurz

花費 : $328,314,185

收入 : $610,032,576

分類 : 共產主義 - 超現實主義犬儒主義, 歷史 - 簡歷, 動物學 - 機會

生產國 : 約旦

生產 : NBI LLC



Sin City: A Dame to Kill For 2014 粵語線上看



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Sin City: A Dame to Kill For 埃斯特(數學)邏輯-羨慕民族志 |電影院|長片由 CreaSyn Studio 和 Rockfield Productions Lenglet Elmo aus dem Jahre 1984 mit Indica Dubois und Zandra Prosper in den major role, der in Pipeline Entertainment Group und im La Fabrique 意 世界。 電影史是從 Sami Linxi 製造並在 GDH 559 大會瑞典 在 21 。 12月 2014 在 6 。 十月2010.