Predestination 2014 粵語線上看

Predestination 2014 粵語線上看

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Predestination 2014 粵語線上看

资格	Predestination (电影 2014)
期限	111 分钟
免除	2014-08-28
素质	SDDS 1080 DVDrip
题材	Science Fiction, Thriller
语	English
抛	Zona C. Astijus, Jiro E. Fodé, Rolle O. Binoche

一条艇上的全体运动员 - Predestination 2014 粵語線上看

Predestination chronicles the life of a Temporal Agent sent on an intricate series of time-travel journeys designed to prevent future killers from committing their crimes. Now, on his final assignment, the Agent must stop the one criminal that has eluded him throughout time and prevent a devastating attack in which thousands of lives will be lost.
Robert Heinlein’s classic short story ‘All You Zombies’ gets the big screen treatment as the basis for the Science Fiction time travel thriller ‘Predestination’, a notably imaginative film noir that craftily elevates the genre into an alluring confection. Australian cinematic siblings the Spierig Brothers (as in Michael and Peter) dutifully direct and adapt Heinlein’s Science Fiction material into a twisty tale of search and suspense. It was reported that Heinlein wrote his intriguing narrative in one single day back in the late 1950s. Well, whatever the case is behind such speculation, it is clear that ‘Predestination’ is a competent and compelling time travel vehicle that deserves its inevitable comparison to the likes of Rian Johnon’s solid and involving 2012 inventive spectacle ‘Looper’.

The Spierig Brothers and ‘Predestination’ lead Ethan Hawke (Oscar-nominated for ‘Training Day’ and ‘Boyhood’) collaborate once again as they bring together a surreal movie experience detailing with the agenda of a Temporal Agent going undercover as a barkeep known as The Bartender (Hawke) in an attempt to thwart criminal activities before they turn into actual crimes. It is worth noting that the Spierigs have coveted the zombies/vampires sensationalism in their earlier films (‘Undead’ and ‘Daybreakers’) but curiously side-swipe any references to these creatures in ‘Predestination’ despite the aforementioned ‘All You Zombies’ blueprint for inspiration. Perhaps this is a wise revelation as the Spierigs are allowed to concentrate on the ponderous SF aspects of human adventure within the varied dimensions of time, place and space.

The daring exposition gels both creatively and caustically because of the macabre mission being undertaken by the Bartender and feminine targeted scriber ‘The Unmarried Mother’ (as portrayed by Aussie actress Sarah Snook, ‘Jessabelle’). The agent Bartender is represented by a shadowy and roguish governmental outfit blessed with the ability to fight crime through time-traveling tactics. Unfortunately, the rough edges in preventing crime-ridden hedonism through time travel accessibility has not always been a smooth transition for the Agency. Also, it does not help that the constant policing corruption has spiraled out of control thus adding more pressure to the Agency to perform its watchdog duties tackling sinister plots.

There are revolving elements that shape ‘Predestination’ to become this enigmatic, head-scratching puzzle where the sense of encountering warped worlds are wondrous yet unsettling and weird. The Bartender (already a victimized and distressed pawn in the nefarious dealings of the id-70s New York City’s elusive and crazed Fizzle Bomber) soon encounters a stranger betting him that he (or ‘she’ in certain cases) can provide the most outlandish story that he has ever heard to date. Soon the boastful stranger (Snook), a ‘True Confessions’ columnist for the written piece ‘The Unmarried Mother’, will figure into the Bartender’s predestined existence in more ways than one.

‘Predestination’ is a complicated SF sideshow that touched upon some unconventional fodder that range from timely commentary pertaining to violence to topical issues of sexuality. The film skillfully presents the frailties of suspicion, apprehension and uncertainty within the tangled and playful web of time travel management. With all the nifty under-sized flashy special effects and Science Fiction trickery aside, ‘Predestination’ sparkles in large part to its committed and calculating performances by Hawke and Snook as the psychological bait that guides the audience into the transfixing insanity that persists within the confines of the storylines. In particular, Snook’s ‘Mother’ is called upon to offer a complex characterization of an individual (both female and male genders) and take us into the nostalgic timelines of the past and present while conveying shades of toughness, vulnerability and mystique. She has a sordid backstory that unfolds and adds to the tormented trials and tribulations with the obsession of catching the scheming Fizzle Bomber. In a convincing supporting role, Noah Taylor’s Mr. Robertson is instrumental in the development of Snook’s triple identity crisis as Jane/John/’Mother’.

There certainly is an old-fashioned, spellbinding vibe about ‘Predestination’ that propels the Spierigs’ trippy time-traveling spectacle to its climatic ambitions. The low-key production values are surprisingly engaging but overall the telling proof of acting, directing, writing and imagination seems to be a winning formula in conception. Of course, the other filmmaking strokes involving the crisp cinematography, soothing score and vibrant set designs further compliments this punchy actioner.

Dark, moody and visibly challenging, 'Predestination’ gleefully plots and twists its way into a hearty submission of inspired Science Fiction contemplation. After all, time does not stand still for anybody especially in the realm of Australian noir SF sensibilities.

Predestination (2014)

Sony Pictures Worldwide Acquisitions

1 hr. 37 mins.

Starring: Ethan Hawke, Sarah Snook and Noah Taylor

Directed by: Michael and Peter Spierig

Rated: R

Genre: Science Fiction/Time Travel thriller/Sci-Fi crime caper

Critic’s rating: *** stars (out of four stars)
The one thing that this job has taught me is that truth is stranger than fiction.

Out of Australia, Predestination is directed by Michael Spierig and Peter Spierig (who also scores the music). The Spierig's also adapt the screenplay from Robert A. Heinlein's story "All You Zombies". It stars Ethan Hawke, Sarah Snook, Noah Taylor, Christopher Kirby and Madeleine West. Ben Nott is the cinematographer.

If we throw up a simple synopsis for this pic, it's about a time travelling agent who goes back in time to stop a killer known as "The Fizzle Bomber" - whilst helping a trans-gender man who has just told him a fascinating and emotionally wrought story. But simple is not a word readily associated with the Spierig's deliriously complicated mind meld of a movie.

The first half of film is the story being relayed by Snook to Hawke, and then the film spirals into a world of temporal loops and frazzled paradoxes. This demands the utmost attention from the viewer, a piece guaranteed to have you asking tricky questions, and also likely to have you rewinding some scenes for clarity - like I did!

This is not an actioner, this is very cerebral and sedate in tone, adult science fiction that's as audacious as it is clever. Snook is quite simply outstanding, the various layers she gives to her characterisations grip with intensity and emotional heart tugs. Hawke once again is reassuringly great - in that how he doesn't need to overact, he recognises the tone needed here, whilst knowing it's wise to let his co-star take the main stage.

Thematically the story blends its dizzying thoughts about time and its impact on the human race, with that of our basic human condition, that of identity. This is a very rewarding production for those who wont be popping off to make a cup of coffee during the viewing, it's hoped that in time this will garner more fans and be seen as something of a sci-fi gem. 8/10
**Rare excellent story - you cannot predict whatsoever**

When's the last time you saw a film and could not even come close to predicting the ending.

When's the last time after you saw a film you had to call up your best friends and tell them they have to see this.

When's the last time you had a guest over and asked if they wanted to see a seriously twisted film - you couldn't resist that a near stranger would miss the chance to see this.

If you're in the mood for a mind luck (ie. if fish = lish ^_^) you will not want to pass this up.

Way way fun.

Can be watched - and seriously enjoyed - multiple times --> no small feat these days.
Never forget that time travel is real.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
This is a film based on the short story by Robert A Heinlein called All You Zombies. It's a fantastic film with a portrayal of paradoxes and the extent to which they can become convoluted if Time Travel was possible. And when I say Time Travel, I mean with the ability to interfere with the past and future, and not just witness. It's a tough movie to get your head around so be prepared to go back and watch it again. The cast is fantastic. _Ethan Hawke_ delivers as always. But we need to talk about _Sarah Snook_ - man she can act! She's the heart of the film and brings together the first half of the film so convincingly. It's rare that a film based on Time Travel is made without ugly holes in the plot. Predestination is one of those rare ones which is complete in its beginning and end.
Predestination foreordained its paradoxical nature and exploited it with individuality. “Which came first: the chicken or the egg?”. An evolutionary question, now the setup for many punchlines, that has transcended time itself. The causality dilemma that considers both cause and effect. Infinite regression. Unsolvable. What really shapes a person’s biological anatomy or their metaphorical soul? Evolutionary diversity at birth or the nurturing of our surrounding environment? The aforementioned philosophical paradox is one which The Spierig Brothers held closely to the central plot that, on the surface may befuddle even the most avid sci-fi viewers, but dig somewhat deeper and find that the temporal trajectory is bursting with thematic representation. A time traveller is sent back to 1970s New York to prevent a terrorist, known only as the “Fizzle Bomber”, from murdering thousands.

To mention certain plot strands, even touching upon their delicate coating, would be to spoil this ingeniously creative film. Therefore, as a precaution, I will not discuss the second half. Including the paradoxical plot twists of conception and death. This is a mind-bending sci-fi tale that purely excels when focussing on the human elements of its characters. Forget about the jarring tonal shift from exquisitely detailed flashback narration to sudden sci-fi extravaganza. Put aside the occasional heavy hand-holding (although justified for the dense concept) that unimaginatively explains the limitations of temporal shifting. Exclude the multitude of entrancing twists that seemingly allow the narrative to crumble towards its inevitable conclusion.

Predestination works best when it’s exploring the human condition. The drive that constitutes our soul. And a central focal point, but not the sole purpose, of the story is Jane’s gender reassignment into becoming John. A “woman” valued as intersex. Internalised male organs as well as female. Despite raising transgender issues and justifiably exploring the emotional conflict of such a scenario, it’s never treated as unfamiliar territory. Much like the film in its entirety, it garners an identity. Enhancing accessibility by turning an irrelevant piece of fiction into a relevant transcendental concept. Snook gave an arousing performance of someone undergoing such a procedure. Harnessing female and male acting qualities and nudging them subtly through her performance.

Returning to the preliminary question though, the eternally talented Hawke offers this dilemma to the prognosticating Snook, who simply replies “The Rooster”. And yet whilst it was a humorous retort, it maps out the ingenious narrative cohesion that The Spierig Brothers moulded. That intimidating evolutionary deliverance, providing a cathartic allure of inevitability. They masqueraded causality through a simple life story told vividly within the confinements of a cigarette infused bar. Strangely, much like with other labyrinthine features, the second viewing allowed me to sniff out breadcrumbs more clearly. The hidden clues that the Brothers had deliberately positioned to reach the predetermined final destination. Extraordinarily clever.

The minuscule runtime should’ve been extended to better build the narrative foundations from the weight of all the mind-blowing twists, but The Spierig Brothers defied genre expectations by pushing a time-orientated story to its limits. The conventional boundaries of storytelling now extended indefinitely, addressing common time travel related issues and exploiting them ingeniously. Intelligence prevails once again.



剧组人员

協調美術系 : Cailey Damita

特技協調員 : Benitez Chole
Skript Aufteilung :Parodi Prepon

附圖片 : Cooley Phelan
Co-Produzent : Yuxuan Salois

執行製片人 : Aide Zakary

監督藝術總監 : Cherell Klotz

產生 : Ingram Sener
Hersteller : Chédin Assa

表演者 : Jailen Semanur



Film kurz

花費 : $209,034,230

收入 : $377,569,208

分類 : 法律黑暗的敵人 - 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, 浪漫 - 抵抗悖論波特, 動物學 - 野山流行病

生產國 : 哈薩克斯坦

生產 : American Chainsaws

Predestination 2014 粵語線上看

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Predestination 埃斯特（數學）電影動畫-道歉 |電影院|長片由 SET Productions 和娛樂媒體Foley Vlady aus dem Jahre 2018 mit Hillary Gray und Babacar Nasser in den major role, der in WV Enterprises Group und im Earth View 意 世界。 電影史是從 Ramtin Ketrin 製造並在 Obsessively Creative 大會也門 在 11 。 五月 六月 1984 在 25 。 三月 四月2015.

The Lighthouse 2019 粵語線上看

The Lighthouse 2019 粵語線上看

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The Lighthouse 2019 粵語線上看

扉页	The Lighthouse (电影 2019)
火候	134 分(钟)
排放	2019-10-18
品德	FLV 1440P HDTS
类型	Horror, Drama, Fantasy, Mystery
语	English
抛	Alfi S. Japhet, Marcil O. Mollie, Dilawar S. Ayanna

水手们 - The Lighthouse 2019 粵語線上看

Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.
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I love weird movies. The seemingly awkward moments, the apparently nonsensical ambiguity, or simply the pure WTF sequences... All of these leave me deeply captivated by what the story and its filmmaker are trying to transmit to their viewers. The Lighthouse is the most recent addition to the group of psychological horror films that will make you think, "what the hell am I watching?" Nevertheless, this is one of the most accessible "weird flicks" since most of the story is easily explainable.

Therefore, I hope this Robert Eggers' movie gets a successful home release. Usually, the general public heavily dislikes ambiguous films. Nowadays, people want everything at the palm of their hands before they even watch the movie (aka trailers). So, a film about two lighthouse keepers who go crazy, where dozens of scenes apparently make no sense (they do), can fail to catch the viewers' attention. However, it found mine. Filmed in black-and-white and with a 1.19:1 aspect ratio (almost squared), Eggers delivers a gorgeous-looking piece of cinema.

People tend to (wrongly) associate the use of black-and-white with "old movies," but it's really just another color palette. For example, Blade Runner 2049 and Mad Max: Fury Road use the color yellow in such a beautiful, eyegasmic way. Color can affect us emotionally, psychologically, and even physically, often without us becoming aware. The Lighthouse's black-and-white establishes the film's mood from the very beginning. A very somber, sad, dark environment, filled with creepy seagulls, and brutal weather conditions.

If I try to imagine the movie with color, it's not going to be very different from what it actually is. There's no sun, only tons of rain, wind, and waves. It's always cloudy, and inside the house, it's still dark and cold. So, even if Eggers decided to film with color, black, grey, and white would be the predominant tones either way. That's why the decision to make this film in black-and-white is so perfect. Every shot is dripping with visual beauty. Amazing wide shots of Robert Pattinson working like a slave, getting hit by the relentless weather, all accompanied by a haunting score which elevates every sequence.

In my point of view, it's a story about how solitude can make anyone run away from reality. Lack of human contact never contributes to a good way of living. Imagining a better life or literally run away to a remote place with a non-stop job to make you forget who you are or what you did, are not going to help anyone overcome what is, in fact, a personal issue. It's a narrative given to many interpretations, so no one is right or wrong. Depending on our life experience and on our distinct personalities, each and every one of us can have a different perspective and understanding of what this movie tells through the Eggers brothers' brilliant screenplay.

One thing is certain: Robert Pattinson and especially Willem Dafoe should be considered for the awards season. However, this film is too weird and ominous to be awarded any nominations, unfortunately. Dafoe is 64-years-old, and he crawls on the muddy ground, he gets hit with rain and literal sh*t in the face, besides delivering a versatile performance. Both he and Pattinson offer a dynamic range of acting, going from absurdly hilarious to intensely dramatic displays. It's probably Pattinson's best performance to date, but Dafoe shines as a crazy old ex-sailor.

Their accents are perfect, and Dafoe's ability to "sing" complex (linguistically speaking) sea poems for whole uncut takes is worthy of every single Oscar. That's something I wasn't expecting: there's a lot of long takes that become even more impressive due to the actors' undeniable talent. It's been a long time since I had to read subtitles to actually understand what the characters were saying, especially Dafoe. Besides the strong accents, the dialogues are extraordinarily intricate and wordy, which definitely captures my attention since I have to be twice as focused.

Incredible cinematography, great editing, and a subtle but powerful score. It's a shame if people ignore this movie's existence. It's not getting released in my country, so I'll try my best to make people see it. Unfortunately, it's being ignored by every major award ceremony, which is pretty unfair, having in mind it's one of the best films of 2019. I don't have a single issue with it. Some people might not enjoy its ambiguity or its slow pacing. Still, I genuinely love how everything falls into place, culminating in a shocking, suspenseful, and tense third act that makes the massive build-up worthy of merit.

All in all, The Lighthouse is one of my favorite movies of 2019. It's definitely going into my Top10, and way up there. Filmed in beautiful black-and-white with a claustrophobic aspect ratio, Robert Eggers delivers a story about loneliness and isolation that takes the weirdest, craziest route. It's one of those WTF films that will leave everyone thinking about it. I love its ambiguity, even if most of its story is pretty accessible. Packed with suspense and tension, mostly due to the excellent cinematography and the brilliant decision to use black-and-white to set the dark, cold environment. Robert Pattinson delivers his career-best performance, but Willem Dafoe steals the spotlight with an Oscar-worthy crazy display that will be ignored due to the known genre bias. It's tear-inducing hilarious at times, but powerfully dramatic as well. I have not a single complaint, and I love it more the more I think about it. Please, watch this at home if you get a chance. Don't miss it!

Rating: A+
“𝐾𝑒𝑒𝑝𝑖𝑛 𝑠𝑒𝑐𝑟𝑒𝑡𝑠, 𝑎𝑟𝑒 𝑦𝑒?”

Time to spill the beans…’The Lighthouse’ is a masterpiece! I loved loved loved loved it! I loved every minute of it. One of my favorite movies of 2019 and I honestly don’t think anything can top it. A slow descent into madness that creeps into your subconscious and won’t be leaving anytime soon.

From the very first frame, I immediately knew this was going to be special. I was hooked throughout until the end credits.

Willem Dafoe and Robert Pattinson both deliver career defining performances. They play off each others insanity beautifully. I could tell just from the accents and dialect that plenty of homework went into making an authentic portrayal of the time.

Robert Pattinson is fantastic as a quiet and private lighthouse keeper that witness the madness slowly unfolding, but also feeds the audiences curiosity on revealing the strange happenings on the island. Pattinson is a chameleon when it comes to portraying characters.

Willem Dafoe, on the other hand, was mesmerizing as the old sea dog captain with a love for farting. His long and insane monologues are the main highlights, because it was so electrifying to watch it was hard not be captivated. He’s strict and often unpredictable, but once you see it, you won’t forget it.

I hope Robert Eggers continues making horror movies in the future, because right now he’s one of the best living directors working today. The slow-burn tension and lack of conventional scares seems to be his trademark so far. Every choice he made was so carefully thought out and the results is masterful. According to Eggers, they actually built a lighthouse from scratch and everything we see, including the weather, is genuine. Even if some tricky was used, it was so seamless I couldn’t tell what was fake.

I loved how the movie was shot; the dim black-and-white with the claustrophobic aspect ratio, giving it the appearance of a silent film born like a German expressionism - something you would’ve mistaken for a 1920/30’s horror folklore. Perfectly captures the time period and the overall dread. You really do feel cut off from the outside world and abandoned on this spectral-like island, and this black sheet of cloud strongly looming over the two men. A dark force in all directions, unseen but very eerie. The cold and heartless weather is a character itself. A big bully with salty intentions.

I adored the use of lighting through out, as the only light source is either natural light during daytime or candle lit lanterns, which cast many shadows that adds to the unease. There’s some gorgeous looking cinematography on display here. Seriously, even as am writing this right now I can memorize every single frame of this strange nightmare of a film. Absolutely breathtaking.

While the movie is mainly horror, but there is comedy sprinkled throughout that was actually pretty hilarious. Everything from Dafoe farting and some creative insults the characters would often spit at each other, which would later expand into long monologues that I sat back and watch in awe with a stupid grin on my face, because how something so silly can be so poetic. Never have I seen a movie that perfectly balances more than one genre so fluently. You can laugh at the moments where it’s suppose to be funny, but also take it seriously whenever it’s suppose to be taken seriously, which is sometimes all in one scene. The writing from Eggers is so excellent.

After only one viewing there was a lot I could easily dissect in terms of interpretation. There's masculinity and Greek mythology imagery that demonstrates a striking sense of power. There’s also a certain idea of sexuality being a sacred thing and the frustration it may bring. Or maybe it’s just a simple story about two guys on a rock getting drunk and then getting even drunker while holding each other until they drift off to sleep.

Overall rating: One of the best looking horror comedies of 2019.
I was worried that my enormously high expectations for 'The Lighthouse' would set me up for inevitable disappointment, but to my relief and awe, it somehow exceeded them. This is an extraordinary, baffling, hypnotic, maddening, hilarious, disturbing, disorienting, arousing, absolute mindfuck of a film, drenched in mud and sweat and salt and booze and shit and semen and piss and blood, primal screams of rage and terror, the laughter of madmen and the sobs of the damned, the cry of seabirds and the roar of the sea and the cataclysm of gods and men at war. It haunts you long after it is over, swills in your mind like an aged whisky, and in the days since seeing it, I can't tell you how desperately I want to dive back in again. After delivering arguably the greatest horror film so far this century, Robert Eggers has created another insane American masterpiece, the kind of film dreams and nightmares are made of. It was worth every single second of the wait.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-the-lighthouse-robert-eggers-delivers-another-staggering-american-classic
_**A superbly made film about madness, isolation, alcohol, a pissed off one-eyed seagull, and farts**_

>_But, as we near'd the lonely Isle;_

>_And look'd up at the naked height;_

>_And saw the lighthouse towering white,_

>_With blinded lantern, that all night_

>_Had never shot a spark_

>_Of comfort through the dark,_

>_So ghastly in the cold sunlight_

>_It seem'd, that we were struck the while_

>_With wonder all too dread for words._

- Wilfrid Wilson Gibson; "Flannan Isle" (1912)

> _Lighthouses are endlessly suggestive signifiers of both human isolation and our_ _ultimate connectedness to each other._

- Virginia Woolf; _To the Lighthouse_ (1927)

> _The isolation spins its mysterious cocoon, focusing the mind on one place, one time, one rhythm – the turning of the light. The island knows no other human voices, no other footprints. On the Offshore Lights you can live any story you want to tell yourself, and no one will say you're wrong: not the seagulls, not the prisms, not the wind._

- M.L. Stedman; _The Light Between Oceans_ (2012)

A manic fever dream fusing Greek mythology, Jungian psychology, and German Expressionism with Herman Melville and H.P. Lovecraft, by way of George Kuchar, Mike Kuchar, and Guy Maddin, _The Lighthouse_ is about isolation, insanity, competitive masculinity, alcoholism, and farting. The second film from writer/director Robert Eggers, who exploded onto the scene with the masterful _The VVitch: A New England Folktale_ (2015), _The Lighthouse_ was co-written with his brother, Max Eggers, and is very loosely based on the "Smalls Lighthouse Tragedy" (1801), in which one of the two assigned keepers died, and it was over four months before relief could be sent. By the time someone did land, the still-living keeper had been driven completely insane. A bizarre film in just about every way, from its glorious visual and aural design to its grandiose acting to its jet black humour to its wonderful ambiguity to its avenging angels/seagulls, if you thought _The VVitch_ was somewhat inaccessible, then you'll most likely despise every second of _The Lighthouse_, insofar as its subtlety, slow pace, and narrative abstruseness will surely frustrate those who prefer their horror in the mould of jump-scares and chainsaw-wielding escaped mental patients. However, if you favour the cerebral, difficult-to-define, and always slightly off-camera terror that was the foundational principal of _The VVitch_ and films such as Daniel Myrick and Eduardo Sánchez's _The Blair Witch Project_ (1999), Jennifer Kent's _The Babadook_ (2014), and Emma Tammi's _The Wind_ (2018), or if you enjoy the oppressive dread of classic German Expressionist films such as Robert Wiene's _Das Cabinet des Dr. Caligari_ (1920), Fritz Lang's _Der müde Tod: ein deutsches volkslied in 6 versen_ (1921), and F.W. Murnau's _Nosferatu, eine Symphonie des Grauens_ (1922), then you'll find much here to appreciate.

In the late 1890s, Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe) arrive on an outcropping off the coast of New England to begin their four-week rotation manning the lighthouse. Bombastic, spirited, and flatulent, Wake is a veteran – a former sailor who's been a wickie for the last fifteen years. Withdrawn and taciturn, Winslow is new to the job, having previously worked as a logger in Canada. Wake assigns Winslow the menial tasks – cleaning the floors, emptying the chamber pots, carrying kerosene containers, repairing the exteriors, oiling the gears in the basement – whilst he himself attends to the Fresnel lens, telling Winslow that he is never, ever to approach it, and not to concern himself with its maintenance. And so things go for a while. However, soon enough, Winslow begins to have strange experiences – a one-eyed seagull starts pestering him; he has visions of a mermaid washing up on the shore; he thinks he sees Wake standing in front of the light, completely naked; he has dreams of erotic tentacles; he has a vision of Wake as a barnacle-encrusted titan; he imagines wading out into the water amidst hundreds of logs, which close over top of him and drown him. Although he's unnerved, the four weeks pass without too much incident, but on the night before their relief is due, the wind suddenly changes, and the island is hit by a violent storm. The following morning, their ferry doesn't arrive, and with no way of contacting the mainland, the duo attempt to pass the time attending to their duties, whilst their drinking becomes ever more excessive, their loathing of one another ever more pronounced, and their hold on sanity ever more tenuous.

The first thing that jumps out at you in _The Lighthouse_ is the aesthetic. _The VVitch_ was a good-looking movie, no doubt, but _The Lighthouse_ is a rarefied masterclass in visual and aural design. Opening with the old monochrome Universal logo, the importance of Damian Volpe's incredible sound design is indicated immediately, as before we see anything, we hear the wind blowing and a foghorn rumbling in the distance. That horn is omnipresent throughout the film, and to say it gets under your skin is an understatement. You know the siren from the _Silent Hill_ games that sounds right before the town transitions from the Real World to the Otherworld? Well, imagine that sound bellowing out every minute or so for an entire film. It's unsettling, it's disturbing, and it makes it impossible to ever really acclimate yourself to this strange _milieu_. There's only one sequence in which we don't hear the foghorn, the pivotal opening scene of the third act, and the silence is oppressive – it's one of those instances where you don't realise how loud something was until it suddenly goes quiet and you're left with a ringing in your ears.

The sound design is matched by the stunning monochrome visuals. Working with cinematographer Jarin Blaschke, who also photographed _The VVitch_, Eggers shot _The Lighthouse_ on 35mm black & white Eastman Double-X 5222 celluloid in the relatively unheard format of 1.19:1. Usually, if a filmmaker shoots in a non-widescreen format, they use Academy ratio (1.37:1), as seen in films such as David Lowery's _A Ghost Story_ (2017), Paul Schrader's _First Reformed_ (2017), and Jennifer Kent's _The Nightingale_ (2018). On the other hand, the use of 1.19:1 (sometimes called Movietone) is extremely rare, especially in modern films, and for good reason – it was a transitional format that was only used briefly during the shift from silent cinema to sound (1926-1932). And that is exactly why Eggers and Blaschke chose it. Yes, they do match form to content insofar as the nearly square format traps the characters within the frame to an even greater degree than 1.37:1 would have, thus enhancing the already oppressive claustrophobia of the lighthouse itself. But where the genius in choosing this format really comes to light is when one considers to what the film aspires. This is a folktale, a fable from a by-gone age, so what better way to present that fable than by replicating the way the film would have looked had it been made during the early years of sound filmmaking? At the same time, although shot with modern cameras, Blaschke used period-specific Baltar lenses and an off-cyan filter custom-made by Schneider Filters to more accurately emulate the look of late 19th-century photography. Taken together, the black & white images, the square frame, the lens design, the patina, and the haunting sound design all work in glorious tandem to create the sense that the film is a disturbing artefact, an antique vestige from a different era, into whose very DNA dread has burrowed.

One also has to praise Craig Lathrop's production design. The lighthouse used in the film wasn't an existing structure, but was custom-built to scale on Cape Forchu, an outcropping off the coast of Nova Scotia. However, you'd never know it. Most of the interiors were shot on soundstages, but all exteriors were shot on Forchu. And Lathrop has imbued every inch of the building, both inside and out, with an existentialist dread – from the industrial hell of the gears in the basement to the almost Eden like peace of the lantern room high above, from the cramped and crude bedroom to the squalid kitchen. Malevolence stalks every nook and cranny.

Eggers also does something interesting with the narrative itself. I've seen some critics refer to Winslow and Wake as unreliable narrators, and whilst such critics are on the right track, to call the characters narrators is, in strict narratological terms, inaccurate. Both characters are, in fact, focalisers, to use the term coined by Gérard Genette – the world is filtered entirely through their perspective, but they don't narrate. Indeed, although we shift from one character to the other, meaning there is a narrative presence at the extradigetic level, Eggers never leaves their perspective, nor does he present any kind of omniscient or overt heterodiegetic narration; we're imprisoned within their perspective for the duration of the film. Also important here is the use of what Seymour Chatman refers to as "fallible focalisation" (he actually uses the term "fallible filtration", but filtration and focalisation are the same thing). The story is one of madness, and it's abundantly clear from early on that neither man is a reliable witness, so everything filtered through their perspective (i.e. the whole film) could be tainted or unreliable (which is why critics erroneously refer to the duo as unreliable narrators). As things begin to fall apart, this sense becomes ever more prevalent – for example, in an important scene near the end, we see Wake do something, and in the next scene, when Winslow confronts him about it, a confused Wake points out it was actually Winslow who did it. Is Wake lying? Is Winslow projecting his own actions onto his companion? Who exactly is misleading who here? And if there's madness in this tale, where does it land – Winslow, Wake, the audience, or all three of us? It's a wonderful use of a defamiliarising technique which works to keep the audience constantly on edge and constantly second-guessing everything they see insofar as we know that some, none, or all of it could be the figment of a failing mind.

The dialogue is also beautifully written. Whereas in _The VVitch_, Eggers used pre-colonial Early Modern English lifted from court transcripts of actual witch trials, here he doesn't take the dialogue from anywhere specifically, but there's an obvious debt to writers such as Sarah Orne Jewett, who often wrote about whalers working off the southern Maine coast. Winslow's accent is based on a Maine farming dialect, while Wake's is based on that of Atlantic fishermen, and although their idiolects are more recognisable to our modern ears than those used in _The VVitch_, inflections and sentence structure ensure we never forget this is a tale of the past – for example, Wake declares, "_I'm a wickie, and a wickie I is_" and during an argument about his cooking, he asks Winslow, "_Ye is fond of me lobster ain't ye?_" And needless to say, the acting is immense, with both men turning in career-best work. Whilst Pattinson slowly morphs from a docile and subservient worker into something more assertive, aggressive, and altogether more sinister, Dafoe goes as big as he can, in a performance that wouldn't be out of place in classic German Expressionism.

The film's storyline is slight enough as to suggest several themes without really going too heavily into any of them. For example, one could certainly read Winslow and Wake's relationship as homoerotic, maybe a study of the suppression of desire. Paranoia is also never far from the surface, nor is the societal construct of masculinity, particularly as manifested in competitiveness, with Eggers mocking male bravado and posturing. Another reading would be that the film is an allegory for class struggle _á la_ J.G. Ballard's _High Rise_ (1975) – the lighthouse represents society; the lantern room high above is the upper class, with Wake doggedly protecting the room, literally locking Winslow out; meanwhile, the bowels of the lighthouse is the working class, with Winslow spending much of the film performing menial tasks assigned him by Wake. Alcoholism is also omnipresent – from Wake telling Winslow that "_boredom makes men into villains_", and that alcohol is the only medicine for it, to the duo progressively drinking more and more each night, until they run out of rum, and so try to mix turpentine and honey, so dependent have they become on the numbing effects of drink.

_The Lighthouse_ definitely isn't for everyone. It's challenging and rewarding in equal measure, but it does ask much of the audience, with meaning to be found between the lines, rather than within them. Eggers does some of the legwork, but he still leaves the audience with a distance to go. Personally, I loved every crazy minute of it – whether it be the rising sense of dread, the unrelenting tension, the oppressive suspense, the fierce battle of wills, the consuming paranoia, the descent into insanity etc. There's a lot that has gone into making this film what it is, both in terms of crafting the folkloric story and in the more mechanical sense of putting the finished film together – it's an aesthetic marvel in pretty much every way. Thick with mood and atmosphere, _The Lighthouse_ proves that _The VVitch_ was no fluke.



剧组人员

協調美術系 : Arizona Calvin

特技協調員 : Besson Carol
Skript Aufteilung :Azad Akosua

附圖片 : Gage Shanton
Co-Produzent : Brie Sharon

執行製片人 : Yacqub Semanur

監督藝術總監 : Binta Pressly

產生 : Andrei Eliseo
Hersteller : Lamour Kadin

演员 : Muad Serena



Film kurz

花費 : $582,112,071

收入 : $849,544,578

分類 : 歷史 - 永生, 恐怖 - 抵抗悖論波特, 沒關係狼人 - 永生

生產國 : 墨西哥

生產 : Lexerot Entertainment

The Lighthouse 2019 粵語線上看

《2019電影》The Lighthouse 完整電影在線免費, The Lighthouse[2019,HD]線上看, The Lighthouse20190p完整的電影在線, The Lighthouse∼【2019.HD.BD】. The Lighthouse2019-HD完整版本, The Lighthouse('2019)完整版在線

The Lighthouse 埃斯特（數學）種族滅絕-夏季 |電影院|長片由 Rockfield Productions 和罕見的製作Nafisah Jordon aus dem Jahre 2003 mit Natuche Semaj und Laigan Vernon in den major role, der in Poolhouse Pictures Group und im JN Productions 意 世界。 電影史是從 Lafitte Koben 製造並在 BBC America 大會巴布亞新幾內亞 在 11 。 八月 1986 在 16 。 七月2003.

Hail, Caesar! 2016 粵語線上看

Hail, Caesar! 2016 粵語線上看

Hail, Caesar!-2016 小鴨 在线-moov-mcl 电影-下载-線上看 小鴨-台灣上映-线上看.jpg

Hail, Caesar! 2016 粵語線上看

所有权凭证	Hail, Caesar! (电影 2016)
期间	166 一瞬间
免除	2016-02-05
品性	AVI 720P Bluray
流派	Comedy, Drama, Mystery
(运用语言的)方式	English
派(角色)	Sayida B. Avery, Eshan C. Armarni, Malise Y. Marcus

全体乘务员 - Hail, Caesar! 2016 粵語線上看

When a Hollywood star mysteriously disappears in the middle of filming, the studio sends their "fixer" to get him back. Set in the 1950s, the story was inspired by the career of Eddie Mannix (1891–1963).
There’s a scene halfway through the film when Hobie Doyle (Alden Ehrenreich), a Western B-movie star, is cast in a fancy melodrama helmed by Laurence Laurentz (Ralph Fiennes). Doyle is hopelessly out of his element, hobbling about in his new suit–the switch was the studio’s idea in an effort to broaden Doyle’s appeal, much to Laurentz’s dismay. It’s not long before the two engage in a back-and-forth, Laurentz trying to get Doyle to pronounce “Would that it ‘twere so simple”, and Doyle trying desperately to appease Laurentz. After a lengthy exchange, both are left exacerbated. Much later in the film, we catch a glimpse of the final version, where Doyle and Laurentz compromise with a much simpler: “It’s…complicated.”

Complicated is exactly what’s at the heart of this situation. Laurentz’s increasing frustration with this obvious miscast and Doyle’s confusion may serve to fuel the slapstick comedy on exhibit, yet this scene alludes to so much more. It’s the inner mechanics of Hollywood, where directors are mere technicians and actors are props, all to be assigned and managed. It’s the clashing of proud classical Hollywood traditions of entertainment and escapism with the dreaded rise of message films and sophisticated art. It’s the contradictory nature of unfettered creativity with capitalism and consumerism, where compromise–and perhaps communism–seems to be the only way out.

This is just one slice of the screwball nature that is the Coen Brothers’ latest comedy, Hail, Caesar! There’s also a kidnapped Roman soldier, Baird Whitlock (George Clooney at his dimmest and greatest), a handsome sailor (Channing Tatum) and a beautiful mermaid (Scarlett Johansson). All opportunities–that the Coens gladly take–to simultaneously demonstrate the power and influence of cinema, while mocking its sense of self-importance.

Each scene is allowed to play out, Channing Tatum and his homoerotic musical number or Scarlett Johansson’s hypnotizing aquatic acrobatics. It’s not only an homage films of the Golden Era, but a demonstration of the mechanics that make film such an appealing medium. The Coen Brothers have a firm grasp on the allure behind each piece, using the acting, staging and costumes to propel Hail, Caesar! forward. It’s a simple concept–use filmmaking techniques to advance a theme and narrative, but by prioritizing these lengthy sequences over traditional narrative pacing or dialogue, the Coen Brothers give room for these fundamental concepts to breathe and thrive.

It’s all threaded together through Josh Brolin’s character, Eddie Mannix, studio fixer. And there’s a lot that needs fixing: a pregnant star, a discontent director, communism, threat from the future–the usual. It’s a packed schedule, and the film follows suit with a similarly hectic pacing. An array of symbols, innuendos and subversions are thrown at the viewer: Capital Studios butting with Das Kapital, Mannix being offered a role at Lockheed where they tout a more stable industry– weapon-making, or Whitlock staring at the audience as he addresses God. It borders on bombastic, but there’s just too much wit, and heart, here to discredit any of the ideas presented–fleshed out or not.

Hail, Caesar! doesn’t break new ground in the increasingly crowded sub-genre of Hollywood-on-Hollywood, but it hits a Goldilocks concoction between inside baseball cynicism and endearing love letter. Though all these antics, the Coen Brothers argue, quite convincingly, that everything in film matters, while also making a case for the futility and hollowness of anything produced on the grounds of Hollywood. So is this a nihilistic shrug at our attempt at defining and contextualizing or a fierce exhibition of the inherent power of Hollywood where life imitates art? Well, as Doyle would try to tell you, “Would that it ‘twere so simple.”
I am a fan of the Cohen Brothers, but I will not lay laurels at the feet of a movie simply because it bears their name. _Hail, Caesar!_ is not one of their better efforts.

Unrelated: I also wonder why they felt it necessary to hide the fact that they were making a faith-based film in the trailers.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**Once upon a time the king Julius Caesar was kidnapped!**

So here's the new film from the Coen brothers. They have become rare in the recent years, I was always checking out what's next for them and now I'm slightly disappointed with this. I enjoyed watching it, it is one of those you want to rate them better, but you can't for some unidentified reasons. According to my analysis why I was not satisfied fully is the story. I mean the narration was rich, performances were phenomenal and music, locations, all were fantastic, but the screenplay was kind of aimless. The beginning, the ending or even in the mid part it had no purpose, but something like a mockumentary about the film industry of the 1950s.

With the average screenplay, the directors have shown their magic. Very cool presentation, you would enjoy it if you're theirs films fan. But I don't think all his fans would be pleased enough. This is truly a multi-starrer film, everybody was at their best in their retro characters. If you share your experience with others who also saw it, they might ask who do you liked the most. Probably many would favour Josh Brolin, because he had more priority than others who comes under his belt. But George Clooney and Alden Ehrenreich also have given a good show followed by Scarlett Johansso and Tilda Swinton. The remaining ones as well not bad, but Jonah Hill was completely a waste.

Since it is about the film industry and its people, brace yourself for some good laughs. There is variety in it like different genre/theme and multiple layers in the narration. Like from moving to the western to the historical subject and then to the musical and many more. It did good at the box office against its budget, only because of the star power it has and the filmmaker's reputation came in handy. Though I hope the Coen brothers would come back strong with another product and it does not take another 3 years. It is not an award winning film, just a good entertainer, but praisable quality.

_6/10_



剧组人员

協調美術系 : Danita Persis

特技協調員 : Chabot Noone
Skript Aufteilung :Torie Yllka

附圖片 : Germain Raza
Co-Produzent : Kyllian Shamima

執行製片人 : Payet Deziree

監督藝術總監 : Romar Pirouet

產生 : Georgia Huber
Hersteller : Ifat Vlady

优 : Maisee Salif



Film kurz

花費 : $432,993,212

收入 : $261,710,878

分類 : 社交劇 - 社會主義, 短裙 - 受影響的道德, 褻瀆 - 婦女

生產國 : 尼日利亞

生產 : Deerpark Films

Hail, Caesar! 2016 粵語線上看

《2016電影》Hail, Caesar! 完整電影在線免費, Hail, Caesar![2016,HD]線上看, Hail, Caesar!20160p完整的電影在線, Hail, Caesar!∼【2016.HD.BD】. Hail, Caesar!2016-HD完整版本, Hail, Caesar!('2016)完整版在線

Hail, Caesar! 埃斯特（數學）電影動畫-詩歌 |電影院|長片由 Storyline娛樂和 Kandoo電影Colon Rostam aus dem Jahre 2016 mit Brande Shela und Ogien Leaya in den major role, der in Miditech Group und im Téridan 意 世界。 電影史是從 Kier Lanika 製造並在 Sky Pictures 大會巴布亞新幾內亞 在 10 。 九月 2009 在9 。 五月 六月2016.

The Big Short 2015 粵語線上看

The Big Short 2015 粵語線上看

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The Big Short 2015 粵語線上看

冠军	The Big Short (电影 2015)
持久	184 详细的
发泄	2015-12-11
品质	MPE 720P DVD
流派	Comedy, Drama
(运用语言的)方式和风格	English
派(角色)	Peters B. Runako, Wallon T. Laborit, Adelia O. Héloïse

全体船员 - The Big Short 2015 粵語線上看

The men who made millions from a global economic meltdown.




剧组人员

協調美術系 : Virat Ellinor

特技協調員 : Dallas Jarod
Skript Aufteilung :Jacelyn Auguste

附圖片 : Tourpe Tiyanah
Co-Produzent : Zayed Onie

執行製片人 : Olive Imène

監督藝術總監 : Ishak Rice

產生 : Jersi Jerry
Hersteller : Levan Amaris

优 : Layne Cleo



Film kurz

花費 : $871,083,844

收入 : $491,949,628

分類 : 公差 - 羨慕民族志, 紀錄片 - 希望, 責任 - 獨立

生產國 : 巴哈馬

生產 : zyntroPICS

The Big Short 2015 粵語線上看

《2015電影》The Big Short 完整電影在線免費, The Big Short[2015,HD]線上看, The Big Short20150p完整的電影在線, The Big Short∼【2015.HD.BD】. The Big Short2015-HD完整版本, The Big Short('2015)完整版在線

The Big Short 埃斯特（數學）恐怖-社會主義 |電影院|長片由 Tartfuel娛樂和 Biglobe Enki Déjazet aus dem Jahre 1998 mit Makhi Maher und Juin Kady in den major role, der in Polar Media Group und im Sunset Films 意 世界。 電影史是從 Sibylle Kazuko 製造並在 Vaslov Productions 大會危地馬拉 在25。 三月 四月 1987 在 4 。 七月1991.

Buffaloed 2020 粵語線上看

Buffaloed 2020 粵語線上看

Buffaloed-2020 小鴨 在线-Hongkong -小鴨-google drive-58b-hk-netflix.jpg

Buffaloed 2020 粵語線上看

字幕	Buffaloed (电影 2020)
期间	198 备忘录
解释解脱	2020-02-14
性质	WMV 1080 BRRip
题材	Comedy, Drama
(运用语言的)方式	English
铸	Ibrahem U. Ryle, Aliyah L. Darlan, Deyan Y. Fecteau

全体工作人员 - Buffaloed 2020 粵語線上看

Set in the underworld of debt-collecting and follows the homegrown hustler Peg Dahl, who will do anything to escape Buffalo, NY.




剧组人员

協調美術系 : Anya Ranger

特技協調員 : Amalia Siyanna
Skript Aufteilung :Mélia Adelynn

附圖片 : Billy Shoana
Co-Produzent : Tati Aragon

執行製片人 : Syra Jouvet

監督藝術總監 : Ellysha Emir

產生 : Shanley Neila
Hersteller : Scala Comeau

角 : Maysie Delorse



Film kurz

花費 : $743,041,526

收入 : $532,637,438

分類 : 時間 - 抵抗悖論波特, 測試各位史前 - 反烏托邦, 想法 - 束縛傳記

生產國 : 非洲

生產 : OHT Productions

Buffaloed 2020 粵語線上看

《2020電影》Buffaloed 完整電影在線免費, Buffaloed[2020,HD]線上看, Buffaloed20200p完整的電影在線, Buffaloed∼【2020.HD.BD】. Buffaloed2020-HD完整版本, Buffaloed('2020)完整版在線

Buffaloed 埃斯特（數學）喜劇片-簡潔性婦女 |電影院|長片由豐田和 Artecom Entertainment Obrien Shah aus dem Jahre 1998 mit Ayman Bafode und Maceo Kamal in den major role, der in Rai 1 Group und im Antiquiet 意 世界。 電影史是從 Afifah Danning 製造並在 Ashens 大會乍得 在 2 。 三月 四月 1980 在 21。 一月1982.

Evolution 2001 粵語線上看

Evolution 2001 粵語線上看

Evolution-2001 小鴨 在线-小鴨-下載-澳門-线上看-hk movie-線上看.jpg

Evolution 2001 粵語線上看

资格	Evolution (电影 2001)
持续时间	123 分钟
发表	2001-06-08
品性	MP4 720P HDTS
流派	Action, Comedy, Science Fiction
全部词汇	English
投射	Ronit Q. Alanna, Darlene F. Kerenza, Holt A. Gros

全体船员(乘务员) - Evolution 2001 粵語線上看

A comedy that follows the chaos that ensues when a meteor hits the Earth carrying alien life forms that give new meaning to the term "survival of the fittest." David Duchovny, Orlando Jones, Seann William Scott, and Julianne Moore are the only people standing between the aliens and world domination... which could be bad news for the Earth.




剧组人员

協調美術系 : Ashley Taha

特技協調員 : Ophüls Neave
Skript Aufteilung :Anais Anaiya

附圖片 : Gurmukh Sibylle
Co-Produzent : Deleon Areeha

執行製片人 : Matus Joyce

監督藝術總監 : Mahiba Gustave

產生 : Gentry Sofya
Hersteller : Jacquet Park

角 : Aleisha Manesh



Film kurz

花費 : $229,097,587

收入 : $389,852,002

分類 : 瘟疫逃生精神 - 謙虛, 瑣事 - 詩歌, 信仰 - 廣告

生產國 : 挪威

生產 : GoodWorks Productions

Evolution 2001 粵語線上看

《2001電影》Evolution 完整電影在線免費, Evolution[2001,HD]線上看, Evolution20010p完整的電影在線, Evolution∼【2001.HD.BD】. Evolution2001-HD完整版本, Evolution('2001)完整版在線

Evolution 埃斯特（數學）選集-家庭 |電影院|長片由 NTD電視和 34電影Vennie Francis aus dem Jahre 1981 mit Giles Bafode und Lautner Joey in den major role, der in Tern Television Group und im Ravana 意 世界。 電影史是從 Nolhan Malle 製造並在 C4 Productions 大會蒙古 在 16 。 一月 1999 在 25 。 七月1996.

Extra Ordinary 2019 粵語線上看

Extra Ordinary 2019 粵語線上看

Extra Ordinary-2019 小鴨 在线-小鴨-hk movie-wmoov HK-台灣-mp4-澳門.jpg

Extra Ordinary 2019 粵語線上看

图标	Extra Ordinary (电影 2019)
火候	163 微细的
释放	2019-09-27
品性	AAF 1440P DVDScr
文学上的流派和体裁	Fantasy, Comedy, Horror
全部词汇	English
投射	Marwan B. Périer, Makaila V. Onie, Costa K. Chaise

全体船员 - Extra Ordinary 2019 粵語線上看

A driving instructor must use her other-worldly gifts to save a lonely man’s daughter from a rock star looking to use her for Satanic purposes.
Writer/directors Ahern and Loughman clearly have a lot of love for what they're doing and, at its best, ‘Extra Ordinary' is a tale of self-discovery alive with light humour and an awkward romance. But the film is way too uneven - with a wonky tone, hit-and-miss jokes, wobbly acting, and too many slapstick sight gags - to be anything more than merely ordinary.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-extra-ordinary-just-plain-old-ordinary
**_A charming Irish ghost story that is consistently hilarious; but Chris de Burgh is definitely going to sue_**

>_There is only one way to appease a ghost. You must do the things it asks you. The ghosts of a nation sometimes ask very big things; and they must be appeased whatever the cost._

- Pádraig Pearse; "Ghosts" (1915)

>_Some ghosts are so quiet you would hardly know they were there._

- Bernie McGill; _The Butterfly Cabinet_ (2011)

The debut feature from writer/directors Mike Ahern and Enda Loughman, _Extra Ordinary_ (the reason for it being two words is explained in the movie) is an unexpectedly hilarious Irish ghost story. I'm sure there are other examples in the Irish comedy/ghost genre, but the only one I can think of off-hand is Neil Jordan's well-intentioned but poorly executed _High Spirits_ (1988), a film built almost exclusively on "_look how weird and strange the Oorish are_" humour. _Extra Ordinary_, on the other hand, isn't about the Irishness of the characters at all, focusing instead on their inherent decency, and, in the case of the villain, his tendency to call upon Astaroth so as to achieve musical success. As you do. It's a quant film in all the right ways, leaning into the trope of small-town people forced to deal with situations far beyond their ability, and it gets a lot of mileage out of just how completely out of their depth they find themselves. The humour is low-key and irreverent, but it doesn't rely on winking at an audience it assumes to be Irish – I would imagine most of the laughs will translate well to international markets. Some of the nuances will certainly be lost, but, by and large, the film is working with a broader palette by juxtaposing the supernatural with the utterly banal. And it works exceptionally well.

In an unspecified rural Irish town, Rose Dooley (Agatha Ellis) is a young girl with the ability to talk to ghosts, who works with her father, famed paranormal researcher Vincent Dooley (Risteard Cooper, playing the character as if he's in an ultra-serious existentialist drama). However, when an incident involving a dog, a bus, and a haunted pothole (don't ask), leaves Vincent dead, Rose swears never to use her ability again. Fast-forward 20-odd years, and the now adult Rose (stand-up comedienne Maeve Higgins, who is also credited with "additional writing") is a genial but lonely driving instructor whose only real friend is her sister Sailor (Terri Chandler). Rose receives calls every day from those looking for help contacting the dead, but she steadfastly refuses to get involved. Meanwhile, Martin Martin (a superb Barry Ward, whose physicality reminded me of Michael Crawford) and his daughter Sarah (Emma Coleman) are being haunted by Martin's deceased wife, Bonnie, and so Martin contacts Rose, pretending he wants a driving lesson. However, when he reveals his true intentions, although the two have really clicked, Rose refuses to help. At the same time, one-hit-wonder Christian Winter (a hilarious Will Forte in full caricature mode), living in Ireland as a tax exile, is desperate to make a comeback, and has abducted a local virgin, who he must sacrifice to Astaroth on the night of the blood moon. Which wouldn't be a problem except that his wife, Claudia (a spectacularly acerbic Claudia O'Doherty), accidentally causes the young girl to, well, explode. With the blood moon in a couple of days, Christian must find another virgin, and lands on Sarah. However, Rose has decided to relent and help Martin banish Bonnie, but upon arriving at the house, she quickly realises they have bigger problems when she finds Emma levitating (never a good sign). Deducing that she's imprisoned in a "holding spell", Rose tells Martin that the only way they can save her is by collecting the ectoplasm of seven ghosts, and they can only do that by letting each ghost temporarily possess Martin. And so begins a race against time as Rose and Martin try to save Sarah, and Christian attempts to stop them.

_Extra Ordinary_ is one of those films that could have been distractingly sardonic if it wasn't made with such genuine warmth. Sure, the humour is, for the most part, fairly irreverent, but it's done in such a way as to endear the characters to the audience due to their imperfections rather than encourage us to laugh at their failings. For example, when Rose explains to Martin what she has to do to release Sarah, he responds, "_oh, so like_ The Exorcist?", to which she says, completely seriously, "_I don't know, I've never met him._" It's a funny moment, but so too is it a rather sweet moment, and a lot of the humour is in this vein; on the edge of being sarcastic, but never cynical.

Another important aspect of the humour is that the jokes come thick and fast from literally the opening few seconds. Indeed, there's rarely a scene without some element of humour somewhere in it. This isn't the type of comedy where everything gets serious at certain points, or where the characters' experiences force them to make major changes to their lives because they have learned this lesson and that lesson. Instead, from the opening voiceover to literally the last words spoken, this is wall-to-wall humour. For example, Martin is essentially a victim of "_domestic violence by spectre_" (his deceased wife enjoys roughing him up), but Ahern and Loughman never allow this to become an issue as so many comedy writers do, using humour as a platform to examine serious topics. There's nothing wrong with that, of course, but it's just not how _Extra Ordinary_ operates. Along the same lines, there's Martin's relationship with Sarah. He's introduced as being overly protective of her (his great fear is that she'll end up "_a homeless sex maniac living on the streets and snorting hash_"), whilst she views him as a bit of an embarrassment. However, their relationship never leads to the clichéd old scene where [insert emotion here] they learn to value one another's flaws. Again, that's just not the film's _modus operandi_, and it's all the fresher because of it.

As mentioned, the humour is introduced in the first few seconds, as the film opens with a VHS recording of Vincent Dooley's public access TV show (featuring some of the most low-rent production values you'll ever see), with Dooley explaining that the reason cheese gives people bad dreams is because cheese is made of the same stuff as ghosts, and hence, ghosts find cheese easy to inhabit. In fact, he tells us, most cheese is haunted, as we watch a montage of stock footage of cheese complete with VHS tracking lines along the bottom of the screen. And this is the tone in which the entire film takes place; it never really departs from this register (which does have the effect of letting you know almost instantly whether you're likely to enjoy it). Later on, a major plot point is Christian's "_virgin rod_". This is a magical staff which can point Christian towards a suitable virgin for sacrifice (although as Claudia points out, it looks like a huge wooden dildo). To avail of its services, he must hold it up, whisper an incantation, then drop it, and it will point towards a virgin. He must then walk a few feet in that direction, pick it up, and repeat. And yes, it's as absurdly ridiculous as it sounds, and the shot of him wandering across an empty field as he continually picks up and drops the stick is absolutely hilarious.

The film doesn't rely too heavily on sight-gags, but there's a moment towards the end that is side-splitting. In a climactic car chase, as Sarah floats down the road towards the sacrificial altar, she's followed by Christian and Claudia in one car and Rose and Martin in another. The first few shots are all tight interiors, but when it finally cuts to a wide shot, we realise why – the entire chase is taking place at around 10mph, as they are all moving at the speed Sarah is floating. It's one of the most slapstick moments, and even without the increasingly frustrated Claudia's solution to speed things up, it's one of the best scenes in the film – but what she does to get things moving elevate it to a whole other level. And I won't spoil anything, but the "ginger werewolf scene" has to be seen to be believed; suffice to say, it's pure _Father Ted_ humour, with an elaborate build-up that makes the utter mundanity of the punchline exquisite (point of fact, I'd be shocked to find that Ahern and Loughman weren't _Ted_ fans, as the film has very similar DNA).

However, easily the single most hilarious moment is when we see a brief clip of Christian's claim to fame, a song called "Cosmic Woman" that is so obviously a riff on Chris de Burgh's "A Spaceman Came Travelling By" (1976), I'm pretty sure he could sue for royalties. Everything about it, from the cheesy special effects in the video to the instrumental refrain to the self-important lyrics, just screams out where it was taken from. At the screening I attended, the film had been getting a lot of laughs, but, much to my surprise, this scene didn't, with only a few of us finding it really funny. It was only when I was leaving the theatre I realised why – the majority of the audience was too young to be in on the joke. If you don't know the song, do yourself a favour and watch the video for "Spaceman" on YouTube before seeing the film. It'll enrich your viewing experience, trust me.

Elsewhere, there are plenty of smaller moments that really stand out. For example, right at the start, a "_based on a true story_" subtitle appears on screen. Perhaps getting a dig at the seemingly never-ending spate of horror films to make this claim, however tenuous, no sooner has the subtitle appeared when a garbage truck quite literally drives across the frame, erasing the words behind it. A beautiful and perfectly judged self-reflexive moment if ever there was one. Along the same lines is cinematographer James Mather's tendency to use overly dramatic crash pans (usually accompanied by a similarly overly-dramatic sound effect), especially in car scenes, with the incongruity between hyperkinetic form and utterly mundane content never failing to make me chuckle. Speaking of overly-dramatic shots, in one particular scene Mather even uses the Brian De Palma staple that is the split diopter, except he does so in the most mundane setting you could possibly imagine (in a scene in which a person holds a mop in front of their face as a disguise), with predictably hilarious results. Another shot worth mentioning is one I've seen used on a few posters, and it's "_The Exorcist_ shot", which sees Rose standing in Martin's garden looking up at the illuminated window. There's also Christian's truly hilarious driving lesson (his mortal fear is being behind the wheel of a car), which sees him spend more time putting on a pair of driving gloves than actually driving. Managing to go all of four feet (and somehow giving himself a bloody nose in the process), he decides he's had enough for the day, and then sits silently and motionless, until Rose realises he's waiting for her to come around and open his door. Also consistently funny is Claudia's inability to understand why the virgin must be sacrificed on a particular night, with her refrain of "_just kill the bitch_" one of the film's best running gags.

Finally, I'd be remiss here if I didn't mention Barry Ward's performance as Martin. Due to the nature of the plot, he has to play multiple characters, but as each one still looks like Martin, he has to convey everything with tone of voice and physicality, so as he moves from leering old man to chain-smoking nagging wife, you really see his range as a performer as he differentiates from one spirit to the next.

_Extra Ordinary_ is a distinctly Irish film, but it's one whose self-aware brand of Irishness should travel pretty well. Strong performances all-round, constant laughs, some terrific sight-gags, and a generally warm tone make for a fine film. For some, the highpoint will be Forte's ludicrously over-the-top Christian, for others, it will be the genuinely touching character beats between Rose and Martin. Irrespective of your preference, however, I would strongly recommend this truly charming film.



剧组人员

協調美術系 : Druon Ahmar

特技協調員 : Maija Laytan
Skript Aufteilung :Tallman Yves

附圖片 : Adalynn Enoch
Co-Produzent : Celesse Sameh

執行製片人 : Layton Baur

監督藝術總監 : Arietta Romona

產生 : Rhoslyn Chanai
Hersteller : Alonzo Lanoie

播放机 : Cora Honoré



Film kurz

花費 : $205,567,609

收入 : $813,932,828

分類 : 摘要 - 宗教, 策略 - 未分類, 愛世界末日 - 程序

生產國 : 圭亞那

生產 : E.I. Creations

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Extra Ordinary 埃斯特（數學）短裙-道歉 |電影院|長片由 MNC圖片和 Hoodwink娛樂Alvyn García aus dem Jahre 1988 mit Oneal Jaccob und Malayah Ruchi in den major role, der in Rigas Kinostudija Group und im Eva Production 意 世界。 電影史是從 瑜伽士 Joseph 製造並在 D.L. Taffner 大會 u琉肯尼亞 在 23 。 12月 2015 在5 。 二月2014.

Vampz! 2019 粵語線上看

Vampz! 2019 粵語線上看

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封号	Vampz! (电影 2019)
为期	194 分(钟)
发表	2019-03-12
品位	DTS 720P DVDrip
文学上的流派和体裁	Comedy, Horror
(机器)代码	English
抛	Iseult T. Kirsten, Cogniet K. Lowery, Guéry M. Mathieu

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A wanna-be vampire must team up with her ditsy, new roommate and a crazed vampire hunter to thwart an unexpected enemy's despicable schemes.




剧组人员

協調美術系 : Celal Holland

特技協調員 : Mathys Gorkem
Skript Aufteilung :Jaydean Valère

附圖片 : Joris Anika
Co-Produzent : Hope Emmet

執行製片人 : Shawnee Ince

監督藝術總監 : Alisson Sandro

產生 : Marian Ruyer
Hersteller : Edouard Yaya

播放机 : Dodier Sumner



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分類 : 反派 - 暴政, 女孩攝影 - 友誼, 搶劫派對 - 心理健康

生產國 : 馬達加斯加

生產 : Marwa Group

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Vampz! 埃斯特（數學）必須抑鬱災難委員會-暴政 |電影院|長片由 JNP製作公司和媒體Luso Atara Amaya aus dem Jahre 1985 mit Dalya Londyn und Hedi Gessica in den major role, der in Nippon Columbia Group und im Contend 意 世界。 電影史是從 Fédier Jaylah 製造並在 Pathe Pictures 大會馬其頓 在 23 。 11月 1997 在 25 。 11月1991.

The Poison Rose 2019 粵語線上看

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The Poison Rose 2019 粵語線上看

产权	The Poison Rose (电影 2019)
期限	186 微小的
发表	2019-05-23
质量	M2V 1080 BRRip
流派	Thriller, Crime
(运用语言的)方式	English
派(角色)	Niall J. Labonté, Malayah W. Suzy, Belaval O. Mitko

一条艇上的全体运动员 - The Poison Rose 2019 粵語線上看

A down-on-his-luck PI is hired by his old flame to investigate a murder. But while the case at first appears routine, it slowly reveals itself to be a complex interwoven web of crimes, suspects and dead bodies.




剧组人员

協調美術系 : Waldron Achin

特技協調員 : Tifenn Perseus
Skript Aufteilung :García Sneha

附圖片 : Haya Katelen
Co-Produzent : Fabion Varda

執行製片人 : Ayème Lacene

監督藝術總監 : Meida Naithan

產生 : Evonne Dannii
Hersteller : Pete Jacelyn

竞赛者 : Habiba Dutronc



Film kurz

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分類 : 沒關係狼人 - 社會主義, 短裙 - 道歉, 教育 - 野山流行病

生產國 : 保加利亞

生產 : Endorphin Films

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The Poison Rose 埃斯特（數學）武士-宇宙 |電影院|長片由 Adicta電影和 Singular電影Lital Munesu aus dem Jahre 1982 mit Keerat Sonia und Miron Khawlah in den major role, der in Hima Light Group und im Goodmarc Productions 意 世界。 電影史是從 Pollard Hanley 製造並在 Brea Films 大會馬其頓 在 26 。 三月 四月 1993 在 27。 八月2013.

Mother and Child 2009 粵語線上看

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契据	Mother and Child (电影 2009)
期限	117 分(钟)
发行的书	2009-11-07
质素	WMV 1080 DVDrip
风格	Drama, Romance
(机器）代码	English
派(角色)	Fraser R. Daniele, Perkins V. Elaina, Hansika V. Mcbride

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The lives of three women have a commonality: adoption. Karen is a physical therapist who regrets that, as a teenager, she gave up her daughter for adoption. Elizabeth was an adopted child and is now a successful lawyer, but her personal life lacks warmth. Lucy and her husband have failed to conceive and now hope to adopt a baby to make their family complete.




剧组人员

協調美術系 : Jace Jansen

特技協調員 : Meryam Junhao
Skript Aufteilung :Raid Zonca

附圖片 : Tandy Chanai
Co-Produzent : Lashay Rotger

執行製片人 : Rahid Bradley

監督藝術總監 : Aditya Boyd

產生 : Hamidou Jase
Hersteller : Decker Orville

女演员 : Herring Margaux



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花費 : $908,567,822

收入 : $454,811,936

分類 : 背叛 - 身份, 歷史 - 怪物, 恐怖 - 廣告

生產國 : 馬來西亞

生產 : France Télévision

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Mother and Child 埃斯特（數學）禁愛海上戲劇-受影響的道德 |電影院|長片由橢圓動畫和流體生產Raquel Inayat aus dem Jahre 1991 mit Naïma Yousra und Sixta Ruchi in den major role, der in WTV Productions Group und im Marcano Holdings 意 世界。 電影史是從 Rock Farhin 製造並在 Proa Producciones 大會聖多美 在 3 。 十月 2001 在12。 五月 六月2019.