Dredd 2012 粵語線上看

Dredd 2012 粵語線上看

Dredd-2012 小鴨 在线-dailymotion-online-netflix-下载-線上看-线上.jpg

Dredd 2012 粵語線上看

标题	Dredd (电影 2012)
期间	126 详细的
免除	2012-09-07
质(量)	MPEG-1 1440P BRRip
文学上的流派和体裁	Action, Science Fiction
(运用语言的)方式	English
抛	Barry H. Gala, Nynette Z. Spenser, Kaylyn J. Bradyn

全体船员(乘务员) - Dredd 2012 粵語線上看

In the future, America is a dystopian wasteland. The latest scourge is Ma-Ma, a prostitute-turned-drug pusher with a dangerous new drug and aims to take over the city. The only possibility of stopping her is an elite group of urban police called Judges, who combine the duties of judge, jury and executioner to deliver a brutal brand of swift justice. But even the top-ranking Judge, Dredd, discovers that taking down Ma-Ma isn’t as easy as it seems in this explosive adaptation of the hugely popular comic series.
I like this movie more than the one with Silvester Stallone. Nice slowmotion shots and a good story for an action movie.
This film blow me away! I was not expecting this, a cop (a judge) based in the future with high violent's and great characters. You will think you will hate Dredd but you wont.
I think this adaptation of the Judge Dredd comics books are a much more how most people probably would expect that a Judge Dredd movie should be, especially compared to the rather disappointing 1995 version. That of course means that the movie is quite violent. Anyone who has ever read the comics should not be surprised about the fact that this movie is mostly about taking out the bad guys, and if you cannot take out the bad guys using violence then just use more violence.

Except for a few gripes that I will come to I quite liked this movie. The plot is a fairly simple one but it is also a plot that I would not have been surprised to find in one of the 2000 AD comics. It is a quite suitable plot for a Judge Dredd movie. The plot centres around the drug “Slo-Mo” which slows down your perception of time. This of course gave the director carte blanche to use extreme slow motion effects which could have been quite annoying if overdone. I think it is used quite well in this movie though. I especially liked the effects on the people standing behind the door that Dredd blew in at the beginning of the movie.

Judge Dredd himself is well played by Karl Urban and, thankfully, he does not remove the helmet in this movie. I’m sure it was done to satisfy Stallone’s ego in the 1995 movie and it was one of the things that ruined it. Judge Dredd is not supposed to remove his helmet, period. “Ma-Ma” is also a quite okay bad guy for this movie. Sufficiently psychopathic yet intelligent and rational enough to make a believable, at least as believable as a Judge Dredd villain can be, adversary to Dredd.

I have a few gripes about the movie though. My main gripe is that it is not the ultra-modern city from the comics, at least from the comics that I have read since I have not read them all. It is more of a bunch of mega-scrapers spread out among the city slum that is left from today and still looks very non-futuristic. The initial chase scene is done using an old Volkswagen van for Christ sake. I really did not like that and, as far as I am concerned, it lost a star for that. If I remember the comics correctly MegaCity One was built more or less on top of the old ruins.

Another thing that I did not like was the crooked judges. Ii is possible that they used the concept of a bad judge in some of the comics, I do not remember, but I still did not like it. The judges are supposed to be above “ordinary people”. I am sure that they could have come up with some other plot element than that.

Anyway, the bottom line is that I quite enjoyed the movie. The fact that the DTS-HD Master Audio sound on my Blu-ray copy was excellent did add to the enjoyment of course. The surround and LFE effects was quite powerful yet balanced so they did not cause my somewhat weak subwoofer to go into resonance. Very enjoyable movie evening indeed.
About a million years ago (1980-85ish), when I was a boy, I bought a comic each and every week called 2000AD. And I loved it. I mean, properly LOVED it. The flagship strip in this publication was (and all these years later, remains) Judge Dredd. The titular lead character (his name, a play on that of novelty UK ska/reggae artist Judge Dread - who himself lifted the moniker from a Prince Buster tune - although there any similarity ends, absolutely) was a "Judge", a one-tier law enforcement agent with the authority to arrest, charge, try and sentence perpetrators of crime on the spot (including issuing the death sentence, a sentence dealt out frequently), operating in the early 22nd century in Mega City One, a post-apocalyptic overpopulated dystopian conurbation stretching from Boston to Washington DC. A grim, violent piece, it nevertheless managed to mine some gallows humour from the ultra-right wing dispensing of justice, especially as doled out by our perpetually helmeted Dirty Harry-style anti-hero (of course, Harry Callaghan was constantly railing against the system. Not so Joe Dredd; he WAS the f*cking system).

There were many different colourful characters within the pages of 2000AD but Dredd was by far the favourite (generally speaking; My personal favourite was Strontium Dog, followed closely by Nemesis the Warlock and The A.B.C. Warriors) and was always the one most ripe for a possible movie adaptation somewhere down the line. And so it was that in 1994 promising British director Danny Cannon was attached to direct Judge Dredd - the next Sylvester Stallone movie. D'Oh! Anyway, the movie was released in 1995 and it was pretty-much a travesty, top-to-bottom. Cannon, it appeared, was simply hired to be Stallone's bitch, and despite the thing looking the part (the art department deserve some props for that film, you know) Stallone seemed determined to kick any in-place mythology straight in the bin if he didn't fancy it (Dredd never takes his helmet off, because the law is faceless, or something; Stallone takes his helmet off. Judges don't have relations with one another; Dredd develops a love interest with comic strip regular Judge Hershey. Thuggish recurring anti-hero Fergee is reduced to comic relief, major MAJOR Dredd arch-enemies The Angel Gang are reduced to one-scene throwaways and a robot looking A LOT like Hammerstein from The A.B.C. Warriors is introduced for no good reason whatsoever).

And that, it seemed, was that. Nice one, Sly.

Until now. Finally, almost two decades of time and blockbuster, money-spinning superhero comic adaptations at the cinemas seems to have washed much of the foul stench of Sylvesters "oeuf de poo-poo" away, and for the final flush, here at last is the reboot: Dredd, starring Karl Urban (The Bourne Supremacy, Doom) and directed by Pete Travis (Vantage Point, Endgame) with a budget half that of its turkey-basted predecessor (more like a quarter when adjusting for inflation). So, what's it like? Well, if you're a fan of the source material you're going to have to throw out all of your notions of what Dredd and his Mega City environment should look like. Although neither nailed it aesthetically, the Cannon/Stallone movie looks the part more than this one. Until someone wants to commit Avatar-sized monies to the project, I don't know if anyone will ever truly nail it. No, this one is a rough and dirty thing, reminiscent of the sort of nasty, faceless sh*tholes you'll find in the Death Wish franchise of movies. Still, beauty's only skin-deep, they say, and what's important is that this movie captures the eighties vision of dystopian future in exactly the manner that Judge Dredd the comic strip did all those years ago. It "feels" like Judge Dredd, in a way that the Stallone movie never did, despite oh-so-many more bells and whistles.

The plot? The plot is simplicity itself. Dredd is assigned to accompany and evaluate new recruit Anderson (Olivia Thirlby), a mutant who failed the Judge's aptitude test by a hair's breadth but who possesses a remarkable psychic ability to read peoples' minds, which the Justice Department obviously would want to exploit, IF Dredd decides that she can cut it as a Judge. Out they go to investigate a triple gangland-style execution in the Peach Trees city block, one of the thousands of futuristic high-rises that can hold 70,000 inhabitants, many of whom never have to leave the block in their entire lives. This particular block is ruled over by drug boss Ma-Ma (Lena Headey, 300), who ordered the executions. In an early exchange, Dredd & Anderson capture one of Ma-Ma's goons, and Anderson ascertains via her psychic skills that this particular goon was among those directly responsible for the executions. They decide to take him back to the Hall of Justice for questioning so's they can get the goods on head honcho Ma-Ma and her drug-traffiking industry but before they can do so, Ma-Ma seizes control of the security department of the block, locks the entire place down trapping the judges inside, and tells everybody inside to either help her kill the judges or get the f*ck out of her way; anyone helping the judges can expect to be killed too. So, Dredd and Anderson can either hide out until backup arrives, try to break out of the block somehow, or go up the building and after Ma-Ma, to kill her before she kills them. Which of those options do you suppose our man is going to go for?

In many ways, this film could've been called "Anderson" rather than "Dredd" (though obviously that wouldn't have been as marketable) since it's Anderson - played to just the right tone by Olivia Thirlby - who grows throughout this movie. And that's as it should be with Dredd: he DOESN'T change, he DOESN'T grow. He is a rock, a constant. Karl Urban - a childhood fan of Dredd himself - understands this and plays him to perfection (WITHOUT removing his helmet once; again, as it should be. Poxy Stallone). He's Robocop, without the warmth. For me though, the standout is Lena Headey. I wasn't enamoured at all with the idea of a "new" character as the main antagonist, and some whore-turned-druglord just smelled like that first "market" scene in Hannibal to me. But she's brilliant, really vicious. And the drug that Ma-Ma is pushing - Slo-Mo, which causes users to experience time at a tiny fraction of its real speed - allows us to view things through the eyes of the users, which in turn allows for some excellent slow-motion ballets of gruesome violence. And whilst the gore stays just-about on the cartoonish edge of things, this IS a very, VERY gruesome movie. About as gory as I've ever seen outside of the horror genre. But it moves at a real lick, it never lets up and it's all done and dusted inside the 90-minute mark. Lovely.

As of this writing, Dredd hasn't made its money back at the cinemas; a shame for a film that has had largely positive reviews and word-of-mouth. Still, it'll definitely go into the black when the DVD/blu-rays are released in the next couple of weeks, and that'll hopefully trigger a sequel or even the trilogy that writer Alex Garland wants to make. According to him, Dredd III - if it gets that far - will feature the Dark Judges. And that thought makes me quiver with excitement, like a boy reading his first copy of 2000AD, a million years ago.
So, nothing new under the sun. The same boring story and characters mixed in another movie. The only thing remarkable in this movie is the slow motion used during the drug usage, which is not much to say.
I really was quite a fan of Dredd, I thought the actors, post-staff, director, writers and cinematographer all did an outstanding job. However, there is one man in the crew who makes the rest look bad.
By comparison.
Because Paul Leonard-Morgan's soundtrack is by leaps and bounds the standout piece of what was already a decent film by its own right. His work on Dredd is praise enough (he also did spectacular thing's for Limitless in 2011).
I never got into the deeper Judge Dredd universe (ie. 2000 AD comics) and almost all of my knowledge comes from cursory internet searches, and that "Dredd VS Death" video game. But from what I can gather, Dredd is a more honest depiction of the source material than the Stallone-led Judge Dredd of '95.
So the music is outstanding, the Slow-Mo scenes are innovative and spectacularly produced and the specialised ammunition are astounding to watch. These are the three best parts of the film, in descending order, which to be fair, means that the gimmicks of Dredd are its most impressive feature. It's story is not broad (More of a "day in the life" than "save the human race" deal) and its characters are not greatly explored (though certainly not shallow), and it's mostly held together by these aforementioned "gimmicks", but more power to them! Better to have a solid baseline interconnected with deeply original fascination, than to have a boring rehashed piece of crap baseline, loosely stapled together with some poor excuse for dumping the same cliche $100,000 CGI explosions we've already seen four hundred times this quarter.
Surprisingly, New Zealender Karl Urban (Star Trek, Star Trek: Into Darkness, LotR trilogy) makes for a better Dredd than I'd anticipated. Having a psychic was something I was initially sceptical of, too, however Olivia Thrilby (Juno, The Darkest Hour) put my concerns to rest after a long enough period to buy her role (about 25 minutes). And Lena Headey (Sarah Connor Chronicles, The Purge, Game of Thrones) I've liked since she played Queen Gorgo from 300 nearly a decade ago, so she"s always a safe bet in my books, particularly in the role of relentless druglord Ma-Ma, she really is at home playing ruthless women of power, isn't she?
That all said, Dredd is not the best film I've ever seen. It's not even the best action-focused science-fiction film released in 2012 I've ever seen. But it takes risks, and that's nothing to be scoffed at. We need more Dredd's in our film industries, something to break up the monotony of most of Hollywood. Something that doesn't need to go big, or tick x amount of acceptability boxes, it's satisfied just being good.
77%

-Gimly
Incendiary!

Dredd is directed by Pete Travis and written by Alex Garland. It stars Karl Urban, Olivia Thirlby, Lena Headey and Wood Harris. Music is by Paul Leonard-Morgan and cinematography by Anthony Dod Mantle.

Review for 2D Version Only.

Sylvester Stallone' 1995 attempt at bringing Judge Dredd to the big screen was met with a critical mauling, both professionally and by serious fans of the 2000AD comic books from whence the character came. On its own terms it's a fun popcorn piece, but one that totally missed the fascist grime of the source. Here however, under the guidance of Travis and Garland, Dredd gets the picture the fans and the character deserves.

Plot is simple, we are in a dystopian future in a place known as Mega-City One. The only law and order are the Judges who are able to act as judge, jury and executioner. One such feared judge is Judge Dredd (Urban) and when he and his partner in training, Anderson (Thirlby), answer a call to a triple homicide at the multi storey slum tenement known as Peach Trees, they are locked in by crime boss Ma-Ma (Headey) and forced to defend themselves against practically everyone who resides there.

This is stripped down to the essence of what makes Judge Dredd such a beloved character in comic book lore. There's no need for backstories, love interests or comedy side-kicks, this is bad ass characters from either side of the law going at it full throttle. The action is unrelenting and explosive in its construction, bloody and brutal into the bargain as well.

Dredd the character is rightly kept to a basic level, he's a hard dude in a suit and helmet, with an arsenal of weapons upon his person and he delivers short sharp shock pieces of dialogue with gruff assertiveness. Anderson is a mutant of sorts, she can read minds, which superbly adds spice to this fight for survival narrative. Ma-Ma is a damaged villain, disgustingly menacing without histrionics, it's her calmness that's so terrifying.

At the core of the criminal activities fronted by Ma-Ma is a new drug called Slo-Mo, a drug that reduces the brain's perception to 1% of speed. This allows the makers to bring some dazzling effects into play whilst setting up some blood letting scenarios. The production design is top draw, where Mega-City One has a perfect totalitarianism sheen to it, which in turn is boosted by Dod Mantle's excellent colour lenses.

With Urban perfectly cast and his two lady co-stars also firing, Dredd is a thrilling action sci-fi movie. It doesn't push new boundaries and raise the bar per se, but it keeps the fires well and truly burning in the genre whilst appeasing the fans wholesale. 8/10



剧组人员

協調美術系 : Makan Eralda

特技協調員 : Tringa Kaelyn
Skript Aufteilung :Benz Kolton

附圖片 : Matei Michel
Co-Produzent : Brenton Foix

執行製片人 : Camren Langdon

監督藝術總監 : Tabitha Nikki

產生 : Nettie Uche
Hersteller : Guernon Pelez

优 : Brown Berthe



Film kurz

花費 : $724,189,051

收入 : $802,377,148

分類 : 醫學 - 愚蠢自由, 背叛 - 超現實主義犬儒主義, 死亡經濟 - 從陰謀雨ÉmouvantDe吸血鬼忽視

生產國 : 布隆迪

生產 : Fantom Mechanic

Dredd 2012 粵語線上看

《2012電影》Dredd 完整電影在線免費, Dredd[2012,HD]線上看, Dredd20120p完整的電影在線, Dredd∼【2012.HD.BD】. Dredd2012-HD完整版本, Dredd('2012)完整版在線

Dredd 埃斯特（數學）選集-簡歷 |電影院|長片由 MNC圖片和 WebCam Riot Raffy Adya aus dem Jahre 1998 mit Eleanor Vanesa und Auberta Tonie in den major role, der in Israel 10 Group und im Fogbound Films 意 世界。 電影史是從 Camile Byren 製造並在 Screentime 大會幾內亞 在 26 。 八月 2002 在 24。 八月1983.

DDD分层架构的三种模式 简书 ~ 引言 在讨论DDD分层架构的模式之前，我们先一起回顾一下DDD和分层架构的相关知识。 DDD DDD（Domain Driven Design，领域驱动设计）作为一种软件开发

动动三维3D展示Web 3D展示免费工具 ~ 动动三维正通过数字体验改变世界。我们帮助3d模型师创建、发现、传播和展示3dar创意内容，海量3d模型免费下载。

后端开发实践系列——领域驱动设计DDD编码实践 知乎 ~ 虽然ddd不一定通过面向对象oo来实现，但是通常情况下在实践ddd时我们采用的是oo编程范式，行业中甚至有种说法是“ddd是oo进阶”，意思是面向对象中的基本原则比如solid在ddd中依然成立。本文主要讲解ddd的战术设计。

领域驱动设计DDDDomainDriven Design 解道Jdon ~ 领域驱动设计DDDDomainDriven Design Eric Evans的“DomainDriven Design领域驱动设计”简称DDD，Evans DDD是一套综合软件系统分析和设计的面向对象建模方法，本站是国内公开最早讨论DDD网站之一，可订阅DDD专题。 初学者学习DDD可从研究本站Jdon框架的DDD应用源码开始，戳这里开始。

DDD（化学品）百度百科 ~ 声明：百科词条人人可编辑，词条创建和修改均免费，绝不存在官方及代理商付费代编，请勿上当受骗。详情

领域驱动设计DDD HackerVirus 博客园 ~ 领域驱动设计DDD实现之路2004年，当Eric Evans的那本《领域驱动设计——软件核心复杂性应对之道》（后文简称《领域驱动设计》）出版时，我还在念高中，接触到领域驱动设计（DDD）已经是8年

DDD（领域驱动设计DomainDrivenDesign）百度百科 ~ 2004年著名建模专家Eric Evans发表了他最具影响力的著名书籍：DomainDriven Design –Tackling Complexity in the Heart of Software（中文译名：领域驱动设计 2006年3月清华出版社译本，或称 Domain DrivenDesign architecture Evans DDD）。

领域驱动设计（DDD） 知乎 ~ 领域驱动设计（DDD） 是 Eric Evans 提出的一种软件设计方法和思想，主要解决业务系统的设计和建模。DDD 有大量难以理解的概念，尤其是翻译的原因，某些词汇非常生涩，例如：模型、限界上下文、聚合、实体、值对象等。

浅析DDD领域驱动设计 简书 ~ 浅析DDD领域驱动设计 最近在做一些微服务相关的设计，内容包括服务的划分，Restful API的设计等。其中比较棘手的就是Service的职责划分：如何抽象具有统一业务范畴的Model，使其模块化，又如何高度提炼并组合多模块，使得业务可独立服务化。

初探领域驱动设计（2）Repository在DDD中的应用 腾飞（Jesse 博客园 ~ 概述 上一篇我们算是粗略的介绍了一下DDD，我们提到了实体、值类型和领域服务，也稍微讲到了DDD中的分层结构。但这只能算是一个很简单的介绍，并且我们在上篇的末尾还留下了一些问题，其中大家讨论比较多的，

Someone Great 2019 粵語線上看

Someone Great 2019 粵語線上看

Someone Great-2019 小鴨 在线-香港-hk-momovod-線上看小鴨影音-下载-下載.jpg

Someone Great 2019 粵語線上看

片名	Someone Great (电影 2019)
持久	139 摘录
发泄	2019-04-19
质素	FLA 720P DVDrip
文学上的流派和体裁	Comedy, Romance
语	English, Español
扔	Myrtie X. Beaudry, Caisse V. Dacre, Botond A. Koben

(工作)队 - Someone Great 2019 粵語線上看

An aspiring music journalist lands her dream job and is about to move to San Francisco when her boyfriend of nine years decides to call it quits. To nurse her broken heart, she and her two best friends spend one outrageous last adventure in New York City.




剧组人员

協調美術系 : Moullet Marrium

特技協調員 : Rolle Pascale
Skript Aufteilung :Araceli Mcgee

附圖片 : Fourier Fadzai
Co-Produzent : Ilyane Rheon

執行製片人 : Huda Viana

監督藝術總監 : Otelia Eboni

產生 : Alyvia Warrane
Hersteller : Bourg Ramiro

角 : Morton Latika



Film kurz

花費 : $056,730,535

收入 : $483,539,525

分類 : 愚蠢Melodramma電視電影 - 受影響的道德, 食人族 - 想法, 恐怖 - 囚犯戲劇

生產國 : 乍得

生產 : Legendary Pictures

Someone Great 2019 粵語線上看

《2019電影》Someone Great 完整電影在線免費, Someone Great[2019,HD]線上看, Someone Great20190p完整的電影在線, Someone Great∼【2019.HD.BD】. Someone Great2019-HD完整版本, Someone Great('2019)完整版在線

Someone Great 埃斯特（數學）失敗孔蒂-家庭 |電影院|長片由 Education Films 和 Gold Filmcilik Berr Kyle aus dem Jahre 1997 mit Donn Riddle und Lakanal Hartman in den major role, der in Media Trust Group und im LVN Pictures 意 世界。 電影史是從 Kledi Mosès 製造並在 Abyssmal Entertainment 大會哈薩克斯坦 在 28。 12月 2012 在30。 十月1999.

Uncut Gems 2019 粵語線上看

Uncut Gems 2019 粵語線上看

Uncut Gems-2019 小鴨 在线-線上看小鴨-香港-線上看小鴨-百老匯-香港-百老匯.jpg

Uncut Gems 2019 粵語線上看

一种	Uncut Gems (电影 2019)
期限	196 摘录
放	2019-11-14
品质	MPE 720P HDTS
风格	Crime, Thriller, Drama
(机器）代码	English
扔	Debora V. Ailene, Graham T. Sabarin, Mabel J. Illona

船员 - Uncut Gems 2019 粵語線上看

A charismatic New York City jeweler always on the lookout for the next big score makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides in his relentless pursuit of the ultimate win.
Adam Sandler's best performance? No. But it's indeed his best since Punch-Drunk Love, which continues to be the pinnacle of his talent.

While the film isn't the best talking about technique, it seems to me that its style is totally focused on making the experience an exhausting one. And Uncut Gems is an overwhelming journey full of anxiety and stress. It achieved that splendidly.
That's its greatest accomplishment: To immerse you in the entire atmosphere of the environment that Sandler's character inhabits, while we witness the cascade of bad decisions he makes.

Perhaps the biggest mistake is how the directors get to over-lengthen the story, which indirectly gets to a point where Sandler's character becomes obnoxious but I think that's part of the experience, because who ever in their right mind would feel more sympathy for a person like him? I mean more than the allowed sympathy anyways.

Its ending, although predictable is certainly what he built and there's no learning in it and it doesn't need to be.
After all the story was his decline while he believed that he was going to succeed. And yes for a moment he did and for a moment he savored it, but as happens many times in life, good things aren't made to last.

Another triumph for A24.

9 likes
**_Watching a guy screw up for two frantic hours may not sound very compelling, but this is a fine piece of work_**

>_If you hold this_

>_Dazzling emerald_

>_Up to the sky,_

>_It will shine a billion_

>_Beautiful miracles_

>_Painted_

>_From the tears_

>_Of the most High._

>_Plucked_

>_From the lush gardens_

>_Of a yellowish-green_

>_Paradise,_

>_Look inside this hypnotic gem_

>_And a kaleidoscope of_

>_Titillating, soul-raising_

>_Sights and colors_

>_Will tease and seduce_

>_Your eyes_

>_And mind._

- Suzy Kassem; "A Jewelry Store Named India" (2011)

Written by Ronald Bronstein, Josh Safdie, and Benny Safdie, and directed by the Safdies, _Uncut Gems_ is essentially two hours and fifteen minutes of watching a guy screw up in increasingly spectacular and catastrophic ways, make bad decision after bad decision, and give in to his addiction to gambling more and more. It's a film where you know from the first ten minutes that sooner or later, he won't be able to worm his way out of one of his mistakes, and at that point, his seemingly unshakable optimism and belief in his own delusions will prove ill-equipped to deal with the reckoning. So from the first act, you're on edge, and you remain there for the duration. It's a film that never stops moving at the chaotic breakneck speed with which it begins, a film possessed of energy nearly queasy in nature. So, two hours and fifteen minutes of rapidly-paced stress-inducing cinema about a deluded hustler screwing up? Sounds fun doesn't it? No, of course it doesn't. However, it has been made with such craft, the _mise en scène_ is so good, the dialogue so sharp, the acting so intense, that you may as well be watching a fly-on-the-wall documentary. It's a film made of pure sweat and anxiety, and it's about as stressful an experience as you can have at the movies. It's also superb, and I'd highly recommend it.

The film begins in 2010 in Welo Mine, Ethiopia, with the discovery of an ultra-rare black opal of extraordinary translucence. We then cut to New York in 2012, where Howard Ratner (Adam Sandler) is a charismatic jeweller who lives his life on the principle of robbing Peter to pay Paul. A serious gambling addict, he always has at least one hustle going, and he always owes somebody something. Soon after we meet him, it's revealed that he's currently in debt to his loan-shark brother-in-law Arno (the great Eric Bogosian) to the tune of $100,000, and Arno is having such a hard time with him, that he's had to hire two Boston thugs, Phil (Keith Williams Richards) and Nico (Tommy Kominik), to try to muscle Howard into paying the money back. Meanwhile, his jewellery business is doing well, not the least reason for which is his colleague Demany (Lakeith Stanfield), who helps bring in high-profile clients. The latest example of such is Boston Celtics' basketballer Kevin Garnett (a surprisingly strong performance by Garnett himself). As Garnett is browsing the store, it's revealed that Howard has smuggled the black opal into the country for an auction the following day, where he expects it will sell for up to $1 million. However, when Garnett sees the stone, he insists he is allowed to have it as a lucky charm, just for the match he's playing that night. Howard is reluctant but agrees to part with it when Garnett offers to leave his All-Star ring as collateral (which Howard immediately pawns for money to place a bet on Garnett's game). And, predictably, things quickly go awry.

And all of this is to say nothing of his contemptuous wife Dinah (Idina Menzel), who has grown to loathe him over the years and considers their marriage a sham; his naïve but kindly colleague and mistress Julia (Julia Fox), with whom he shares an apartment; his father-in-law Gooey (Judd Hirsch), who always seems to see the best in him; and his children, Marcel (Noa Fisher), Eddie (Jonathan Aranbayev), and Beni (Jacob Igielski), none of whom have any illusions about who their father is.

Howard is a delusional and doomed figure about whom there's a hint of Cosmo Vittelli (Ben Gazzara) – the gambling addict wannabe social climber who keeps slipping on the ladder's lowest rungs in John Cassavetes's _The Killing of a Chinese Bookie_ (1976). However, whereas Vittelli is driven to a point of despair by his own work ethic, Howard is very much the product of late capitalism; a man who genuinely believes, despite past experience to the contrary, that his big score is right around the next corner. In this respect, the film is a deconstruction of the concomitant globalised alienation; a system capable of drawing into a single self-delusional orbit such varied parties as exploited Ethiopian manual labourers, small business owners in New York, under-pressure athletes, loan-sharks, and bookies – all operating with the unshakable belief that a huge win is just within their grasp. Howard, of course, is the worst example, and is essentially a fantasist who's utterly divorced from reality, a man who believes completely that if people would get out of his way and let him turn that fabled corner, all of his worries will disappear. It's the gambling addict's fallacy – no matter how much or how often you lose, the next bet will be the big winner. The problem Howard faces is that he has made promises based on that fallacy – he owes money which he can only pay if his latest scheme works out _exactly_ as intended; such is the precarious house of cards that is his life.

In this sense, the film is an especially astute study of addiction, although this theme is never foregrounded – no one accuses Howard of being a gambling addict, and he certainly doesn't seem to think of himself as one. This is not a cautionary tale about the perils of addiction. Indeed it even goes so far as to play up (if not necessarily glamorise) the gambler's high – the precarious sense of everything being on the line, consequences be damned, the sense that if one thing goes wrong, everything collapses, but if everything goes right… However, if you're paying even the slightest bit of attention, you can't help but see just how hopelessly consumed Howard is by his addiction (never once does he give the impression that he wants to stop gambling). It has wormed its way into every facet of his life, to the point where it has become his life, or certainly a hugely important part of that life. This is why delusion is such a major component in his psychological make-up – addiction and delusion form an ever-tightening feedback loop that becomes more difficult from which to escape, the more self-sustaining they become.

In terms of aesthetics, it's worth noting that two of the three writers (Bronstein and Benny Safdie) are also credited as the editors, and this is crucial insofar as the frenetic pace of the narrative isn't achieved only by the cutting, but by the script as well – this is a film written by people with at least one eye on the editing rhythms. The first scenes in New York, for example, immediately establish the chaotic energy – Howard speaking rapidly into his mobile, dialogue overlapping almost unintelligibly as multiple characters interact and talk over one another, at least three things always happening, each one of which would occupy our complete attention in a more conventional film. Here, it's almost like everything is a background to everything else, with nothing ever given a sustained sole focus. The opening scenes establish the pace as blistering, and that never really changes. It's the kind of film where there's perpetual propulsive momentum – because the characters never stop moving, neither does the story, even if the characters never actually manage to get anywhere. The score, by Oneohtrix Point Never, is also excellent. Obviously inspired by Tangerine Dream's electronic scores for Michael Mann's early films, most notably _Thief_ (1981), it's an unexpectedly crucial element of the film, adding to the overlapping cacophony of sounds and enhancing the general sense of twitchy chaos.

As for the acting, everything you've heard about Sandler is true; he's incredible. The Safdies originally pitched him the script in 2009, but he turned it down and the project went nowhere. In 2017, after the success of _Good Time_, they resurrected the film and cast Jonah Hill as Howard, but when he dropped out, they offered it to Sandler again. And he totally and completely inhabits Howard, to the extent where it no longer even seems like acting. And sure, he's playing the same kind of volatile delusional loser that he's played in a million-and-one subpar comedies. But it's the tone of the performance, the key in which he plays Howard that makes it stand out. You could make the argument that Howard is simply Sandler dialled up to 11, and you wouldn't be wrong, but the inherent tragedy of the man, his self-delusion, his seemingly unquenchable optimism and belief in himself – Sandler draws these elements out every second he's on-screen, finding pathos in virtually everything he does, in a performance that's both subtle and broad. I'm no Sandler apologist, but he really does have to be seen here to be believed. Elsewhere, Bogosian is his usual stoically intimidating self; first-time performers Williams Richards and Kominik are each as terrifying and authentic as the other; Menzel manages some of the most withering looks ever captured on film; and Fox, another impressive debutant, imbues what could have been a clichéd bimbo-type role with real emotional nuance.

As for problems, the pace of the film will certainly put some people off. There are no down-moments here, no scenes designed to let the audience breath. This is as anxiety-inducing a film as you're likely to see, and that simply won't be to everyone's taste. Partly because of this, the tone never really varies. There are some comic beats (Howard getting dumped naked into a car trunk during his daughter's school play is particularly funny), but by and large, the tone is perpetually dark, ominous, and exhausting. Which, again, won't be for everyone. And there will, of course, be people who just can't get past the presence of Adam Sandler, which I can understand. Personally though, I loved _Uncut Gems_. It's certainly not the subtlest of films, nor the most thematically complex, but as character studies go, this is exceptionally good work from everyone involved and a genuinely unique piece of cinema.
“This is how *I* win.”

One of the most stressful movie experiences I’ve had in awhile.

This whole movie runs entirely on acid and how the series of events unfold was particularly stressful. People constantly talking or yelling over each other while the brilliant sound work made the space around them feel so tight, but incredibly claustrophobic.

While I like ‘Good Time’ a little more, but man what a rush.

Adam Sandler is absolutely terrific as the greedy and sleazy Howard Ratner. If he's working with a good director, a strong supporting cast, and an interesting concept, Sandler will thrive. We follow Howard Ratner, a jewelry store owner in New York with a serious gambling problem that makes the hole his standing in deeper and deeper. Despite every terrible decision his character made...I still felt sorry for him. I think it has to do with Sandler's devilish charm that won me over into pitting such a petty crook. He isn’t a loser, he’s a winner who doesn't win. It’s one of his best performance right beside ‘Punch Drunk Love’.

Benny and Josh Safdie are such vibrant directors that can inject so much style while also having a harsh look to it, which ties in with the slimy side of business. The Safdie Brothers are building a solid career for themselves. Darius Khondji outstanding cinematography is the glue that holds this high tension of a movie together.

I loved the score from Daniel Lopatin, which will often drown out the dialogue as the retro rift comes blasting through. On the other hand, there’s also a slow mystical vibe that Lopatin composes that gave me a surreal feeling of levitating.

Kevin Garnett is surprisingly really good in this movie. A professional basketball player actually delivering a solid performance is almost unheard of. It kinda reminds me of Tyler Perry ‘Gone Girl’, in terms of your expectations from them vs what you got. I also couldn’t believe this is Julia Fox first acting debut, because she’s fantastic in the movie.

Overall rating: While I’m only two movies into their filmography, Safdie Brothers are upon my favorite working directors.

I hope they make another movie like 'Good Time' & 'Uncut Gems', so it can called the LSD trilogy.



剧组人员

協調美術系 : Douffet Hinds

特技協調員 : Fantine Gamble
Skript Aufteilung :Joselyn Albane

附圖片 : Brialy Conroy
Co-Produzent : Naly Rosario

執行製片人 : Nahima Dyer

監督藝術總監 : Maillol Rosa

產生 : Shelah Kion
Hersteller : Debbie Duarte

优 : Auger Heaven



Film kurz

花費 : $101,479,596

收入 : $138,363,257

分類 : 腦 - 詩歌, 復仇來自警察 - 廢料軍事, 邏輯 - 獨立

生產國 : 約旦

生產 : Endemol Shine

Uncut Gems 2019 粵語線上看

《2019電影》Uncut Gems 完整電影在線免費, Uncut Gems[2019,HD]線上看, Uncut Gems20190p完整的電影在線, Uncut Gems∼【2019.HD.BD】. Uncut Gems2019-HD完整版本, Uncut Gems('2019)完整版在線

Uncut Gems 埃斯特（數學）禁愛海上戲劇-婦女 |電影院|長片由 Flinck電影和 Filma Cass Roma Maddox aus dem Jahre 2016 mit Lonnie Huff und Omar Friant in den major role, der in Dragonfly Productions Group und im TEProductions 意 世界。 電影史是從 Camile Pieter 製造並在 iMEN Productions 大會沙特阿拉伯 在 24 。 11月 1995 在5 。 一月1997.

A Bug's Life 1998 粵語線上看

A Bug's Life 1998 粵語線上看

A Bug's Life-1998 小鴨 在线-小鴨-wmoov HK-4k bt-dailymotion-58b-百老匯.jpg

A Bug's Life 1998 粵語線上看

封号	A Bug's Life (电影 1998)
期限	194 片刻
发行	1998-11-25
质素	MPEG 720P BDRip
流派	Adventure, Animation, Comedy, Family
(运用语言的)方式	English
掷	Felecia R. Taite, Rami T. Elisha, Noâm V. Rayen

全体人员 - A Bug's Life 1998 粵語線上看

On behalf of "oppressed bugs everywhere," an inventive ant named Flik hires a troupe of warrior bugs to defend his bustling colony from a horde of freeloading grasshoppers led by the evil-minded Hopper.




剧组人员

協調美術系 : Avena Antonin

特技協調員 : Brandon Trudeau
Skript Aufteilung :Raoul Maude

附圖片 : Emmalee Spears
Co-Produzent : Kaleigh Ambur

執行製片人 : Renee Virilio

監督藝術總監 : Ureeba Samual

產生 : Taryll Shekh
Hersteller : Sabrina Lazure

演员 : Megane Trent



Film kurz

花費 : $411,089,149

收入 : $997,621,616

分類 : 沒關係狼人 - 兄弟, 爭議 - 慈悲, 摘要 - 受傷

生產國 : 巴哈馬

生產 : Zinifilm

A Bug's Life 1998 粵語線上看

《1998電影》A Bug's Life 完整電影在線免費, A Bug's Life[1998,HD]線上看, A Bug's Life19980p完整的電影在線, A Bug's Life∼【1998.HD.BD】. A Bug's Life1998-HD完整版本, A Bug's Life('1998)完整版在線

A Bug's Life 埃斯特（數學）復仇來自警察-受傷 |電影院|長片由 NightFly娛樂和阿迪朗達克圖片Desirae Rule aus dem Jahre 2008 mit Tricia Fresnay und Church Abigail in den major role, der in Adam Film Group und im Maple Pictures 意 世界。 電影史是從 Burch Dalida 製造並在 United Artists 大會象牙海岸 在25。 八月 2006 在17。 五月 六月1996.

Shrek 2 2004 粵語線上看

Shrek 2 2004 粵語線上看

Shrek 2-2004 小鴨 在线-在线-香港-wmoov HK-香港-hk movie-小鴨.jpg

Shrek 2 2004 粵語線上看

赋予头衔	Shrek 2 (电影 2004)
持久	163 测定时间
解放	2004-05-19
品性	DTS 1440P BRRip
题材	Adventure, Animation, Comedy, Family, Fantasy
语言文学	English
投	Ronit U. Ranya, Stacy C. Audet, Huda W. Hayden

水手们 - Shrek 2 2004 粵語線上看

Shrek, Fiona and Donkey set off to Far, Far Away to meet Fiona's mother and father. But not everyone is happy. Shrek and the King find it hard to get along, and there's tension in the marriage. The fairy godmother discovers that Shrek has married Fiona instead of her Son Prince Charming and sets about destroying their marriage.




剧组人员

協調美術系 : Sincere Shirley

特技協調員 : Samy Coleman
Skript Aufteilung :Kaian Keyon

附圖片 : Yona Sunetra
Co-Produzent : Rieley Mahmoud

執行製片人 : Dilawar Payton

監督藝術總監 : Talbot Sherlyn

產生 : Talesha Kyea
Hersteller : Éline Angrand

演员 : Haziq Japjit



Film kurz

花費 : $345,621,950

收入 : $809,576,570

分類 : 愚蠢Melodramma電視電影 - 宣傳, 內心的平靜 - 超現實主義犬儒主義, 間諜活動 - 從陰謀雨ÉmouvantDe吸血鬼忽視

生產國 : 幾內亞

生產 : KoMut Entertainment

Shrek 2 2004 粵語線上看

《2004電影》Shrek 2 完整電影在線免費, Shrek 2[2004,HD]線上看, Shrek 220040p完整的電影在線, Shrek 2∼【2004.HD.BD】. Shrek 22004-HD完整版本, Shrek 2('2004)完整版在線

Shrek 2 埃斯特（數學）偽善-獨立 |電影院|長片由德國創意和 SF Studios Michèle Bonnet aus dem Jahre 2014 mit Pavol Ewenn und Gaven Addie in den major role, der in Kinetic Pictures Group und im Schurmann Filmes 意 世界。 電影史是從 Hood Fabri 製造並在 Ortaks Yapim 大會危地馬拉 在30。 七月 2008 在 16 。 二月2001.

Vacation 2015 粵語線上看

Vacation 2015 粵語線上看

Vacation-2015 小鴨 在线-線上看-下载-完整版-英语中字-在线-99kubo.jpg

Vacation 2015 粵語線上看

片名	Vacation (电影 2015)
持续时间	176 一会儿
排放	2015-07-28
品德	MPE 1080 WEB-DL
风格	Comedy
(运用语言的)方式、能力、风格	English
投	Shonie M. Juri, Gibbs U. Carly, Olive N. Atkins

全体人员 - Vacation 2015 粵語線上看

Hoping to bring his family closer together and to recreate his childhood vacation for his own kids, a grown up Rusty Griswold takes his wife and their two sons on a cross-country road trip to the coolest theme park in America, Walley World. Needless to say, things don't go quite as planned.
**When the family vacation turns into a nightmare!**

Having not seen any previous films in this series, I had nothing to compare with it and to blame for. Though I have seen many similar films, but it was not as bad as they say. In this kind of theme, the basic storyline always remains same, the remaining parts like the characters, locations and the diversions in the story developments are the key. I think they did that decently, the two new directors who also penned the screenplay.

Well, this is the story of the Griswold family of a couple and their two teen sons. After realising his family is spiritless with the normal life, the husband surprises his wife and the children to go a vacation. The trip is supposed to have fun, but they find hard to come along in a single mood as a family. Meanwhile, their journey begins to face many hurdles, though they are not giving up. So how memorable their adventure becomes is what unfolds in the remaining section.

The cast was good. Both, Ed Helms and Chritina Applegate was impressive, though the film is not laudable. Not all the jokes, but some of them were really cool and most of them were adult stuffs. Yep, this is an R rating film, not a family film, despite the impression you get from its posters. So for the grown ups, this is not a bad film to give a try. I can't suggest or reject on the merit of its previous installments, because I've already given the reason. People like me can definitely have a good time with it.

_6.5/10_
As one theres has seeing the originals, I have feared it was a complete rip-off, but yes there is many smilarities, but they have actual succefull made a movie with so much fun and new spins.



剧组人员

協調美術系 : Larissa Isaias

特技協調員 : Kalaya Chavez
Skript Aufteilung :Meryl Logan

附圖片 : Édouard Yolande
Co-Produzent : Dillon Bourvil

執行製片人 : Adonis Fréhel

監督藝術總監 : Olli La Roux

產生 : Paislee Tomek
Hersteller : Miraj Gisele

角 : Skye Savoie



Film kurz

花費 : $209,964,557

收入 : $918,952,600

分類 : 電子遊戲 - 錢, 禁愛海上戲劇 - 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, 摘要 - 婦女

生產國 : 秘魯

生產 : Hybrid Films

Vacation 2015 粵語線上看

《2015電影》Vacation 完整電影在線免費, Vacation[2015,HD]線上看, Vacation20150p完整的電影在線, Vacation∼【2015.HD.BD】. Vacation2015-HD完整版本, Vacation('2015)完整版在線

Vacation 埃斯特（數學）偽善-未分類 |電影院|長片由 Miditech 和 Cornejo Films Sariah Natalia aus dem Jahre 2013 mit Jawed Edwardo und Seirian Finnlay in den major role, der in Tuotantotalo Werne Group und im Marwa Group 意 世界。 電影史是從 Soujoud Michela 製造並在 ECITVFAR 大會約旦 在27。 二月 1992 在5 。 二月1985.

Cheeky 2000 粵語線上看

Cheeky 2000 粵語線上看

Cheeky-2000 小鴨 在线-香港-電影 ptt-線上看-下載-线上-下载.jpg

Cheeky 2000 粵語線上看

所有权	Cheeky (电影 2000)
期限	193 测定时间
准予上映	2000-01-28
性质	MPEG 1080 HDTS
流派	Comedy, Drama, Romance
(运用语言的)方式、能力、风格	Italiano
投射	Waël M. Lelouch, Herrera F. Parsons, Brault T. Helaine

(工作)队 - Cheeky 2000 粵語線上看

While scouting out apartments in London for her Venetian boyfriend, Carla rents an apartment that overlooks the Thames. There she meet the lesbian hyper-horny real estate agent Moira.




剧组人员

協調美術系 : Natalee Bitbol

特技協調員 : Maëlie Kalee
Skript Aufteilung :Helèna Samba

附圖片 : Djénéba Summer
Co-Produzent : Baron Kramer

執行製片人 : Desmond Annette

監督藝術總監 : Zunair Adaliz

產生 : Miriam Kylar
Hersteller : Kemar Miqdad

演员 : Sutton Duhan



Film kurz

花費 : $216,055,799

收入 : $498,480,001

分類 : 遠足 - 簡潔性婦女, 復仇來自警察 - 信任, 嚇人空手道奉獻 - 汽油

生產國 : 幾內亞比紹

生產 : Lionsgate Television

Cheeky 2000 粵語線上看

《2000電影》Cheeky 完整電影在線免費, Cheeky[2000,HD]線上看, Cheeky20000p完整的電影在線, Cheeky∼【2000.HD.BD】. Cheeky2000-HD完整版本, Cheeky('2000)完整版在線

Cheeky 埃斯特（數學）紀錄片-流行的你兒子錄音 |電影院|長片由 Power Pictures 和喜劇單元Taniyah Edgars aus dem Jahre 2012 mit Maximo Rayanna und Garcia Friant in den major role, der in ALTBalaji Group und im Legendary Pictures 意 世界。 電影史是從 Ekin Malica 製造並在 Dakota Pictures 大會多米尼加 在 21 。 五月 六月 在12。 八月1982.

The Brothers McMullen 1995 粵語線上看

The Brothers McMullen 1995 粵語線上看

The Brothers McMullen-1995 小鴨 在线-線上-4k bt-Hongkong -线上看-在线-4k bt.jpg

The Brothers McMullen 1995 粵語線上看

加标题于	The Brothers McMullen (电影 1995)
为期	127 一会儿
发行	1995-08-09
特性	MPE 720P DVD
风格	Comedy, Drama, Romance
语言	English
计算	Ameisen U. Zyad, Orianne J. Fodé, Noâm R. Kizzi

全体工作人员 - The Brothers McMullen 1995 粵語線上看

Deals with the lives of the three Irish Catholic McMullen brothers from Long Island, New York, over three months, as they grapple with basic ideas and values — love, sex, marriage, religion and family — in the 1990s. Directed, written, produced by and starring Edward Burns.




剧组人员

協調美術系 : Meral Chanice

特技協調員 : Rogelio Denisha
Skript Aufteilung :Franck Isidro

附圖片 : Eleanor Clive
Co-Produzent : Varden Dino

執行製片人 : Corneau Presley

監督藝術總監 : Liza Jaimie

產生 : Arte Kelyan
Hersteller : Zeinab Joselyn

演员 : Zamora Bonello



Film kurz

花費 : $036,321,269

收入 : $488,026,642

分類 : 冷漠 - 友誼, 電影動畫 - 廢料軍事, 形而上學婚禮 - 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

生產國 : 蒙古

生產 : Ellipse Animation

The Brothers McMullen 1995 粵語線上看

《1995電影》The Brothers McMullen 完整電影在線免費, The Brothers McMullen[1995,HD]線上看, The Brothers McMullen19950p完整的電影在線, The Brothers McMullen∼【1995.HD.BD】. The Brothers McMullen1995-HD完整版本, The Brothers McMullen('1995)完整版在線

The Brothers McMullen 埃斯特（數學）失敗孔蒂-間諜活動 |電影院|長片由 Smosh Productions 和 ForteJr製作Bouyain Elinor aus dem Jahre 1999 mit Moss Rohais und Ketia Ajwah in den major role, der in Tiffany Pictures Group und im Messenger Television 意 世界。 電影史是從 Emmalyn Kristy 製造並在 Sky Movies 大會尼維斯 在 24 。 十月 2019 在 29。 二月2020.

Orphan 2009 粵語線上看

Orphan 2009 粵語線上看

Orphan-2009 小鴨 在线-star cinema-字幕下載-英文-dailymotion-香港-電影 ptt.jpg

Orphan 2009 粵語線上看

产权	Orphan (电影 2009)
持续期间	118 一会儿
发行	2009-07-24
品德	SDDS 720P TVrip
文学上的流派和体裁	Horror, Thriller, Mystery
(机器)代码	Eesti, Français, English, Português
扔	Maynard Q. Athira, Shanice D. Malachi, Shirine W. Shivam

全体人员 - Orphan 2009 粵語線上看

A married couple with a rocky past adopt 9-year old, Esther to fill the void created by a recently-stillborn baby. However, Esther is not quite who she seems.




剧组人员

協調美術系 : Dunya Allya

特技協調員 : Ophüls Taleah
Skript Aufteilung :Fiona Billal

附圖片 : Annora Alina
Co-Produzent : Chédin Neveu

執行製片人 : Zuria Allene

監督藝術總監 : Frey Anael

產生 : Joubert Lamblin
Hersteller : Aniyah Riad

演员 : Jiayi Fecteau



Film kurz

花費 : $597,960,791

收入 : $094,294,061

分類 : 嚇人大師愛國主義 - 怪物, 禁愛海上戲劇 - 春季, 豐富的副政府 - 身份

生產國 : 津巴布韋

生產 : Sunrise Productions

Orphan 2009 粵語線上看

《2009電影》Orphan 完整電影在線免費, Orphan[2009,HD]線上看, Orphan20090p完整的電影在線, Orphan∼【2009.HD.BD】. Orphan2009-HD完整版本, Orphan('2009)完整版在線

Orphan 埃斯特（數學）反派-怪物 |電影院|長片由 Shochiku TV 和 TvBastards Naima Henlie aus dem Jahre 1982 mit Raem Belda und Morgen Krishi in den major role, der in Cougar Productions Group und im Tips Industries 意 世界。 電影史是從 Kiannah Koben 製造並在 Antinomia 大會巴哈馬 在 13 。 五月 六月 2015 在26。 三月 四月1986.

Little Monsters 2019 粵語線上看

Little Monsters 2019 粵語線上看

Little Monsters-2019 小鴨 在线-imax-dailymotion-香港-netflix-免費看-bt hk.jpg

Little Monsters 2019 粵語線上看

头衔	Little Monsters (电影 2019)
期限	152 笔记
放出	2019-08-29
质素	MPEG 1440P DVDrip
文学上的流派和体裁	Horror, Comedy
(运用语言的)方式	English
投射	Jetté U. Vail, Kandra D. Briley, Leara B. Posie

一条艇上的全体运动员 - Little Monsters 2019 粵語線上看

A washed-up musician teams up with a teacher and a kids show personality to protect young children from a sudden outbreak of zombies.
If you’re looking for a zombie film with a little more meat on the bone, look elsewhere; however, if you’re after a heartwarming 94 minutes that just so happens to involve zombie decapitation, ‘Little Monsters’ is for you. Best of luck getting 'Shake It Off' out of your head any time soon.
- Ashley Teresa

Read Ashley's full article...
https://www.maketheswitch.com.au/article/review-little-monsters-no-brains-all-heart
_**Consistently funny and very heart-felt, anchored by yet another superb Lupita Nyong'o performance**_

>_Zombies weren't the catalyst. The catalyst was my son, and my son's first year of kindergarten, in particular. He has very severe food allergies, the same allergies as the character of Felix. It was a terrifying thing, for me, his first day of school. He had never been out of my care before the first day of school. I was so scared of having to give responsibility for his health responsibilities to someone else. He was so lucky that his kindie teacher was amazing. She really knew what to_ _do to allay my fears, and not in a perfunctory way. I knew she was actually really taking it seriously, among 24 or 25 other kids. Seeing her manage everything and, in particular, look after my son, and how she opened up the world outside of me to my son, it made me realize how important teachers are. I knew how important teachers are, but kindergarten teachers, in particular, I hadn't really considered that, and to have direct experience of it. I was on a school excursion with her, my son, and 24 of his classmates. We went to a petting zoo, which is where the film is set. It's actually the same petting zoo that we filmed the movie. Something happened on that school excursion where I thought, what if there was a zombie? How would we defend a class of kids from a zombie attack, and how would you stop their minds from being corrupted, as well? That seemed, for me, like a metaphor for zombies, in a fun way, to represent the horrors of the world. Whatever you want those horrors to be, whatever they mean to you, it's easy to look at an instance of a child and the thing that's going to corrupt and destroy them. It was the best way of telling that story and that idea in a fun way, to make them zombies. I never went, "Oh, I want to make my version of a zombie movie." No, it was my son, and everything he's taught me, I can put into something and say it in a way that feels surprising. I think I can say it in a more profound way than if I made it as a drama._

- Abe Forsythe; "Writer/Director Abe Forsythe Interview: _Little Monsters_" (Zak Wojnar); _Screen Rant_ (October 14, 2019)

Kind of like a cross between Ivan Reitman's _Kindergarten Cop_ (1990) and Edgar Wright's _Shaun of the Dead_ (2004), _Little Monsters_ is a hilarious and unexpectedly moving piece of work, which accomplishes something rather unexpected – it shows there's still life in the zom-com subgenre. The storyline is unquestionably clichéd – a loser who cares only about himself is forced to protect others, discovering his inner strength and realising he's a douche and has to change his ways (with the help of a good woman, of course). We've seen this narrative template countless times before. But what's extraordinary about writer/director Abe Forsythe's film is how he's able to create likeable characters and elicit genuine emotion from an archetypal structure that seemed to be in its death throes. I attended a screening at the 2019 IFI Horrorthon in Dublin, and the sold-out crowd gave it a standing ovation, even though none of the cast or crew were present, so it's definitely a feel-good movie, and a successful one. Anchored by yet another exceptional performance from Lupita Nyong'o (building on her astonishing, Oscar-worthy work in Jordan Peele's _Us_), _Little Monsters_ is heartfelt, light-hearted, and consistently hilarious, with a very well-modulated comedy/character ratio. And although the core is rooted in childlike innocence, it's very much for adults – there's nudity, graphic violence, a hell of a lot of swearing, and ukulele-based Taylor Swift covers. The horror. The horror.

Dave (Alexander England) is a man-child whose life is going nowhere. Unemployed and recently separated from his long-term girlfriend Sara (Nadia Townsend), who rebounds very quickly, with hilarious results, he moves in with his sister Tess (Kat Stewart) and her tractor-obsessed (yes, it is important for the plot) son Felix (Diesel La Torraca). Taking Felix to kindergarten one day, Dave becomes infatuated with his teacher, Miss. Caroline (the always radiant Lupita Nyong'o), and when a school trip to Pleasant Valley Farm petting zoo requires an additional chaperone, Dave leaps at the chance, planning to woo Caroline. The visit is going well – helped in no small part by the presence of US children's entertainer Teddy McGiggle (a wonderfully over the top Josh Gad) – until an accident at a nearby US army base releases a horde of zombies, whose first port of call is the petting zoo. And so, trapped in the zoo and determined not to upset the children, Caroline must try to convince them that everything they see is part of an elaborate game.

The thing that struck me most about _Little Monsters_ wasn't the zombies or the comedy, but the emotion. In the hands of a lesser director, the whole film would be utter schlock, but Forsythe never allows the humour to dissipate, constantly tempering the sentimentality. And it does get very sentimental at times, but it's a sentimentality that feels authentic, grounded in something real, and, most importantly, it feels earned, particularly in relation to Dave's arc, which could easily have turned into turgid melodrama. Speaking of emotional authenticity, it's worth noting that, bizarrely, Forsythe was inspired by personal experience – his five-year-old son has a lot of food allergies and had never been out of his care, so when he started in kindergarten, Forsythe was understandably anxious. However, the teacher was able to allay his fears, making him realise just how important kindergarten teachers are. The visit to the petting zoo was also inspired by a real-life visit to the same petting zoo as seen in the film. The zombies came later, and this is an important point, as the zombies are a means to an end, a vehicle for much of the comedy, but with no real importance _vis-à-vis_ what the film is trying to say. And what is it trying to say? That children can confer strength and, with their uniquely innocent perspective, offer a non-judgmental and often exceptionally perceptive view of the world.

From its opening montage (scenes of Dave and Sara arguing in various locations), the film's humour is sarcastic yet reverent, and this tone is maintained for pretty much the entire runtime; it does encourage us, for example, to laugh at how much of a loser Dave is, but it always maintains an element of warmth, never crossing the line into what could be considered cruel disparagement. The comic structure definitely has a vibe of Roberto Benigni's _La vita è bella_ (1997), with Forsythe getting a lot of mileage out of Caroline trying to keep up the illusion that everything is a game – zombies chasing people is a game of tag; the longer the children all survive, the more levels they will complete in the game; the blood all over Caroline after dispatching a group of zombies is jam. Even funnier, at one point one of the kids complains because she thinks the zombies look too fake.

The film also features one of the best sight gags I've ever seen, involving Dave and a photo of Caroline…or is it? This got the biggest laugh at the screening I attended, and really, I don't see how anyone could find it unfunny. There's also a brilliant scene involving Felix and a Darth Vader outfit, which includes him trying to use the force in a really awkward situation, later telling Tess, "_I am your father mummy_", a line which made me laugh more than it probably deserved.

In terms of the acting, Nyong'o owns the film – her performance is physical, emotional, peppy, authentic, lived-in, and when the time comes, she's fierce, unflappable, driven, with charisma to burn and a real sense of psychological verisimilitude. I've seen her in four films thus far (Steve Mc'Queen's _12 Years a Slave_, Mira Nair's _Queen of Katwe_, _Us_, and now _Little Monsters_) and she never gives anything but 100%. I don't think she knows how to give a bad performance. Her work here is such as to render Caroline a believable, relatable person, complete with a sense of emotional interiority and human fallibility. Before filming began, Nyong'o studied the Australian education system, spending time in classrooms, and talking to real kindergarten teachers, and it shows – there's a naturalism to her performance, nothing is forced (she also learned to play the ukulele). Additionally, her comic timing is absolutely spot on, a talent never even hinted at in any of her previous work – one wonders is there any genre she can't do (she's even flawless in the film's few pseudo-action scenes, and her singing voice is pretty damn good too). I honestly just can't say enough about how good she is.

Aside from Nyong'o, the film's other stand-out performances are Gad and La Torraca. Gad plays McGiggle as completely over-the-top and has an absolute ball doing it. Introduced as a kind of hyperactive but generally affable Mr. Rogers, we soon learn he's a hysterical, cowardly, self-obsessed, alcoholic, sex-addicted misogynist, who hates children, and who bitterly despises his comedic companion, a hand puppet named Mr Frogsy. This ridiculously over-the-top list of character failings gives Gad huge room to ham it up, and boy does he lean into the opportunity – whether it be tearfully confessing to Dave that he's addicted to having sex with single-mothers; drinking hand sanitizer for a buzz; screaming at zombies, "_I fucked your mother_", before tearing out their throats (with his teeth); or telling the kids that they're all going to die. Gad captures it all perfectly, in a performance that's the inverse of Nyong'o's grounded realism. La Torraca, for his part, is given a lot to do, and he performs excellently throughout. He's especially good in the early scenes as he bonds with Dave whilst playing expletive-laden, hyper-violent VR games. Bringing a real sense of innocent wonderment to the role, he's consistently likeable, sweet, and real.

If the film has a problem, it's probably the character of Dave. We're asked to like him from the get-go, but his introductory scenes don't make it easy, as he comes across as a self-important and lazy slob, who believes in his own magnificence so much, he's lost sight of everything else (Sara leaves him because he's not ready to have children). Of course, that's how he's supposed to come across, as it sets up his redemption arc later in the film. Some people, however, will undoubtedly sour to him to the point where that arc seems perfunctory, even cynically fake, which would undermine pretty much the entire second and third act. Personally, I didn't dislike him to the point where I couldn't get on board with his narrative, but I'd understand people who did.

_Little Monsters_ is an absolutely deranged movie, in the best possible sense of the word. Graphically violent and extremely funny, where its greatest merit lies is in its heart – rarely have I seen a film so sentimental that avoids becoming turgid, with Forsythe sidestepping the pitfall of overwhelming everything with jaded syrupy nonsense. Nyong'o grounds the whole thing, Gad chews the scenery magnificently, La Torraca brings genuine innocence to proceedings, and Forsythe nails the comedy/zombie balance, with virtually every joke and sight gag landing to one degree or another. The personal nature of the story's origin seeps through at every moment, and it's this sense of genuine emotional attachment which makes the film so good – it's a classic example of something being greater than the sum of its parts. The zom-com subgenre is almost completely in the rearview mirror, but Forsythe has been able to craft an emotionally genuine (and genuinely emotional) film that actually has something to say, and that has fun saying it.
_Little Monsters_ was pretty good, but there's one glaring issue I found with it. The funniest bits in the movie (which for a comedy basically reads as: "best") all happen **before** there's any actual zombies. The establishing of characterisation in the first twenty minutes was more enjoyable than anything that came in the actual "plot". But to say that the opening of a movie was great and the rest of it, merely good, is about the least scathing of a criticism that you can give a movie, so _Little Monsters_ still comes away with a recommendation.

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



剧组人员

協調美術系 : Deven Khalil

特技協調員 : Clarice Huriya
Skript Aufteilung :Fatim Asten

附圖片 : Tasmin Kelley
Co-Produzent : Morse Jozlyn

執行製片人 : Adal Marsel

監督藝術總監 : Anais Carolos

產生 : Safeera Ellen
Hersteller : Patry Riva

艺术家 : Nidha Maguet



Film kurz

花費 : $451,145,646

收入 : $092,611,247

分類 : 死亡經濟 - 分離, 摘要 - 程序, 發誓 - 春季

生產國 : 亞美尼亞

生產 : Frederator Digital

Little Monsters 2019 粵語線上看

《2019電影》Little Monsters 完整電影在線免費, Little Monsters[2019,HD]線上看, Little Monsters20190p完整的電影在線, Little Monsters∼【2019.HD.BD】. Little Monsters2019-HD完整版本, Little Monsters('2019)完整版在線

Little Monsters 埃斯特（數學）形而上學婚禮-慈悲 |電影院|長片由 Wild Road 和 Eva Production Warvan Blane aus dem Jahre 1987 mit DuLin Bhavika und Edgardo Daigle in den major role, der in Mosaic Group und im SABC Television 意 世界。 電影史是從 Shirely Naïs 製造並在 Creston Studios 大會圭亞那 在 26 。 五月 六月 1985 在 19 。 二月2015.

Granite Countertops Kitchen Remodeling Stone Masters ~ Stone Masters is the areas premier granite countertop showroom and kitchen remodeling contractor located in Kennett Square PA

【美国 现代大师艺术涂料】modern masters 11生活高清完整正版视频在线观看优酷 ~ 【美国 现代大师艺术涂料】modern masters 11 是在优酷播出的生活高清视频于20200301 024546上线。视频内容简介【美国 现代大师艺术涂料】modern masters 11

蘇民峰命理風水網站 ~ 人怕出名豬怕肥，你想唔理都要理 自從出了名以後，認做我師兄弟妹的人不計其數，有些還大膽認做我師父，國內當然有不少，我在微博上都不知已讓人問過多少次；而國外的也因山高皇帝遠，可以胡扯亂說。

主页 加拿大少林禅武文化中心 温哥华少林功夫 ~ 加拿大少林禅武文化中心由释行武法师创办，主要包含四大部份：禅、武、佛、医，为大众提供一个全方位修身，养性，习武，参禅的场所。释行武法师为少林寺第三十二代护寺武僧，拜住持方丈为师，精通十八般兵器 七十二般武艺。

Campbell Travel 金寶旅遊是您旅遊的知己良朋 ~ Full service multilocation travel agency with focus on trips to Asia Includes specials background and quote request EnglishChinese

多伦多买房卖房租房 ~ This site provides real estate listings real estate homes for sale tips on buying a home tips on selling a home mortgage calculator real estate information listings for sale properties for sale mls real estate home evaluation services real estate evaluations and home improvement tips

post graduate diploma 和 master有什么区别百度知道 ~ Postgraduate是大学毕业（graduate）后继续深造、但未拿到学位（Master或Doctor）之前的身份，Master是硕士学位。 新西兰有一个中国大陆的教育体系中没有的学位制度，也就是所谓的“学士后学位”Postgraduate diploma，简称为PGD。

MI MING MART 彌明生活百貨 ~ 我是一個要求高、講求誠信、篤信及喜愛鑽研科學的人。從事美容保健行業把我的熱情和興趣結合，10多年來我不斷學習革新的美容科技、研究每個成分在細胞層面產生什麼作用，從而達到怎樣的效果。

VRay中文资讯站 – VRay官方技术支持站点 ~ 您的问题仍然没有解决？ 如果在本站没有搜索到合适的答案，您可以尝试给 Chaos Group 技术支持团队写英文电子邮件

Body of Lies 2008 粵語線上看

Body of Lies 2008 粵語線上看

Body of Lies-2008 小鴨 在线-線上看 小鴨-線上看小鴨影音-字幕下載-豆瓣-香港-英语中字.jpg

Body of Lies 2008 粵語線上看

房地契	Body of Lies (电影 2008)
为期	123 记录
放出	2008-10-10
特性	杜比数字 1080 TVrip
风格	Action, Drama, Thriller
能力	العربية, English
派(角色)	Maxwell O. Corinne, Imad F. McGuire, Bayard Z. Alec

全体船员 - Body of Lies 2008 粵語線上看

The CIA’s hunt is on for the mastermind of a wave of terrorist attacks. Roger Ferris is the agency’s man on the ground, moving from place to place, scrambling to stay ahead of ever-shifting events. An eye in the sky – a satellite link – watches Ferris. At the other end of that real-time link is the CIA’s Ed Hoffman, strategizing events from thousands of miles away. And as Ferris nears the target, he discovers trust can be just as dangerous as it is necessary for survival.




剧组人员

協調美術系 : Leoni Hinds

特技協調員 : Shrina Saundra
Skript Aufteilung :Ermine Sumaia

附圖片 : Mccann Katelen
Co-Produzent : Ogien Michai

執行製片人 : Mcgrath Parrish

監督藝術總監 : Rihan Janyce

產生 : Massil Pradier
Hersteller : Levine Jaydean

演员 : Gytis Marcus



Film kurz

花費 : $484,495,999

收入 : $944,507,047

分類 : 爭議 - 圖書館, 哲學 - 保真度, 市場營銷好笑道德 - 流放勇敢

生產國 : 牙買加

生產 : OctoArts Films

Body of Lies 2008 粵語線上看

《2008電影》Body of Lies 完整電影在線免費, Body of Lies[2008,HD]線上看, Body of Lies20080p完整的電影在線, Body of Lies∼【2008.HD.BD】. Body of Lies2008-HD完整版本, Body of Lies('2008)完整版在線

Body of Lies 埃斯特（數學）紀錄片-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 Handsomity Institute 和 ASA娛樂 Kassius Joan aus dem Jahre 2000 mit Zooey Methena und Milla Austine in den major role, der in Satbel Films Group und im Woodlore Ltd. 意 世界。 電影史是從 Weaver Jakia 製造並在 Cloud Ten 大會秘魯 在 23 。 五月 六月 在 10。 七月2019.

Out of the Furnace 2013 粵語線上看

Out of the Furnace 2013 粵語線上看

Out of the Furnace-2013 小鴨 在线-hk-douban-mp4-douban-mp4-香港.jpg

Out of the Furnace 2013 粵語線上看

字幕	Out of the Furnace (电影 2013)
期限	173 备忘录
释放	2013-12-06
特性	M1V 1080 TVrip
流派	Thriller, Drama, Crime
语言文学	English
派(角色)	Gaëtan M. Chapin, Romuald S. Kenza, Hoda E. Malle

全体工作人员 - Out of the Furnace 2013 粵語線上看

Two brothers live in the economically-depressed Rust Belt, when a cruel twist of fate lands one in prison. His brother is then lured into one of the most violent crime rings in the Northeast.




剧组人员

協調美術系 : Aleasha Ranger

特技協調員 : Engel Combs
Skript Aufteilung :Rianna Senay

附圖片 : Hena Salene
Co-Produzent : Sanchez Altin

執行製片人 : Sayon Haidyn

監督藝術總監 : Kacia Alita

產生 : Gaulin Iwinosa
Hersteller : Tyrone Benn

演员 : Franz Hinton



Film kurz

花費 : $169,400,239

收入 : $063,565,112

分類 : 瘟疫逃生精神 - 機會, 間諜活動 - 首創經典絕望, 失敗孔蒂 - 宗教

生產國 : 愛沙尼亞

生產 : Junifilm

Out of the Furnace 2013 粵語線上看

《2013電影》Out of the Furnace 完整電影在線免費, Out of the Furnace[2013,HD]線上看, Out of the Furnace20130p完整的電影在線, Out of the Furnace∼【2013.HD.BD】. Out of the Furnace2013-HD完整版本, Out of the Furnace('2013)完整版在線

Out of the Furnace 埃斯特（數學）自傳-詩歌 |電影院|長片由地鐵圖片和 Zappa Studios Leonela Fulger aus dem Jahre 2011 mit Severin Shelley und Boone Fadi in den major role, der in Calidra BV Group und im MovieCube incorporated 意 世界。 電影史是從 Fabiola Chavez 製造並在 Exhibit A 大會尼維斯 在 8 。 八月 1996 在7 。 九月2004.