Jumat, 30 November 2018

Ver The Lion King 2019 Online Castellano

Ver The Lion King 2019 Online Castellano






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Ver The Lion King 2019 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Stanley Klara


Coordinador de acrobacias:
Nidia Gilmore


Diseño de guión:
Kilmer Leeves


Imágenes : Warner Chahine
Co-Produzent : Dhruti Serero


Productor ejecutivo : Yashna Denis


Director de arte supervisor:
Mcclure Mendy


Produce|Producir : Jaheim Camelia


Fabricante: Millard Jasneet


Actriz : Jayson Éric








7.1
3166









































Título de la película






Ver The Lion King 2019 Online Castellano







Momento




117 minuto





Lanzamiento




2019-07-12





costo




MPEG-1 1440p
DVDrip





Categoría




Adventure, Animation, Drama





habla




English





nombre de reparto




Baer
M.
Hennah, Clean CutsYvan R. Iestyn, Nava T. Liel







[HD] Ver The Lion King 2019 Online Castellano


‘The Lion King’ is a catastrophe; a new low in the ever-diminishing returns of Disney’s endless run of remakes. There’s nothing redeeming about it, with every decision either ill-conceived or mishandled to the point of incompetence. In Favreau’s hands, ‘The Lion King’ is rendered thunderously dull, lacking in any tension or complex characterisation, taking a laboriously long time to go nowhere and never once justifying its contentious existence. Even with my dislike of the original, I was flabbergasted at how thoroughly this film never attempts to understand why so many people love the 1994 film. If nothing else, this film makes it abundantly clear that Disney has no interest in making great cinema or honouring its own legacy. They don’t care whether the film is good or whether you enjoy it. All they care about is using nostalgia to trick you into buying your ticket so they can make as much money off you as they can, and maybe if they throw some recognisable iconic moments from your childhood on the screen, they may even be able to fool you into thinking you’d had a good time. ‘The Lion King’ is the ultimate diabolical apex of the commercialisation of nostalgia, and its inevitable box office success will just prove how easily we continue to be duped and how thoroughly they have trained us to not care about the quality of what we see. If this really is the future of mainstream cinema, then we are in serious, serious trouble.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-the-lion-king-a-catastrophic-and-soulless-remake-of-a-disney-classic
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

I don’t know how I should start, but I guess I’ll address something that people might ask: yes, it’s a SPOILER-FREE review. Why? Well, the story might follow the same essential plot points, and the characters might have similar narrative paths, but there are so many details that make this movie stand on its own. From tiny little improvements to moments of the original that wouldn’t make sense in a realistic environment to adjustments to character’s backstory, musical moments or other significant parts. With that said, I need to discuss the controversy surrounding this remake, but I won’t take longer than one paragraph.

People need to understand that these Disney’s remakes aren’t here to replace the originals. They’re here to honor them, and bring their stories and characters to this new century so that new generations can have an additional look at something they love, and 90s kids can remember why they love these films so much. Emphasis on the “additional” part of that sentence. Then, people also need to get their preferences right: would you want to watch a shot-for-shot remake or something entirely different? Or a blend of these two? If you don’t know what you want, you might be in danger of turning into a hypocrite if your speech goes from “I don’t want these copy-paste remakes” to “they changed that specific moment, why didn’t they keep it the same?” Just be clear on what you wish. If you simply don’t want Disney to do these remakes, then just don’t watch them. Don’t go online try to beat it to the ground with negative comments if you haven’t seen the movie. Moving on …

I love it. I absolutely love it. I cried the exact same 4 times as I did in the 1994’s original. My whole body got chills during the opening sequence, which is one of a few things I love more about the remake than in the original. It’s NOT a shot-for-shot remake! I don’t understand how so many critics are calling it so. Either people’s memory of the original faded or someone clearly didn’t watch the same film. I can write a whole review of 1000+ words just describing the new stuff. Of course, the story goes through the same iconic moments in the same way, and some dialogues are extensively repeated, which was something that I was hoping they developed more. Despite that, I still feel that the scripts have a different take on it from the voice actors, even James Earl Jones.

One proof would be that I cried on a scene that I never felt like it in the original. I don’t know if it was how it was shot (one of the various different angles that the remake provides of known scenes) or if the dialogue just has more impact this time around, but the point here is that this remake is NOT a cheap copy-paste. I always look forward to seeing what they come up with to solve or adjust some questions that the originals leave us with. Let me just write that Jeff Nathanson has some truly brilliant changes/additions. Remember people criticizing Scar’s look when the first teaser came out? With just ONE WORD, its entire physical shape, scar, and past are explained. One word. Imagine that. There are little elements like adding a word or a sentence here and there, and it makes so much more sense with the character or the story in question.

Speaking of Scar, Chiwetel Ejiofor is astonishing. Scar might be my favorite character of the remake. He’s more menacing and scarier, his voice is darker, and his arc is better explored. Jeremy Irons will always have that iconic voice associated with the character, but Ejiofor did a crazily good job in replacing him. However, if there’s one voice that I could never watch another actor do is Mufasa’s. I have no words to express how emotionally powerful James Earl Jones’ voice is. As soon as he says “Simba” in the reflection scene, my eyes drop waterfalls. His voice is an emotional trigger, let’s call it that. I love Timon (Billy Eichner) and Pumbaa (Seth Rogen) even more this time around. Their scenes are hilarious, and the characters’ relationship keeps being a standout. Oh, and if you were worried that the hula scene would never be as good let alone surpassed … You might need to rethink that. Also, I enjoyed the stretched last act (I found the original’s final battle too abrupt), and I would advise parents to be careful showing this remake to (very) young kids since the violence on display feels much more real (duh).

JD McCrary and Shahadi Wright-Joseph (young Nala) are amazing, and their voices are crystal clear while singing. Donald Glover and Beyoncé (adult Nala) are also terrific, and their voices are even better. The new music Spirit fits better in this remake than Speechless in Aladdin. Moving on to the music, it’s another aspect that I genuinely think the remake does better. Hans Zimmer proves that he can bring an old score of his back to life in a much more robust, epic, and passionate way. Every song feels more prominent, every soundtrack feels a lot more impactful and stronger. Be Prepared is the only one that goes through a significant change, and while it might sound a bit strange at first, I love it more each time I listen to it. It’s a score that will never be forgotten, and this remake just helped people remember how great it is. Oscar-winning score.

I left the best to last: the visuals. I can’t possibly describe how impressive and eyegasmic the CGI is. Animals talking was never an issue (people keep sharing GIFs or short clips and immediately started complaining that it looked awkward … a 30-seconds video without context watched on a laptop will never give you a hint of how the movie will actually be). Yes, the expressiveness of the original animation can’t be achieved, but going as far as saying that the film lacks soul or that the characters don’t emote is just inaccurate. You don’t need a PhD to understand that a lion with its ears down or up means different things. There are tiny little movements in the animals that are so complex that I’m still astounded how they were able to do it. If a bug flies near their faces, they flinch or move in such a characteristic way that I felt like I was truly watching real animals. Once again, Oscar-winning VFX.

I don’t really have major problems with it. Minor gripes with a few things, but the biggest one would be the lack of more uniqueness. There’s no element of surprise in regards to the story or the character’s decisions. We always know what’s coming, so we’re prepared (no pun intended) for anything they through at us because, well, we’ve seen it before (with the exception of one particular scene that made me jump out of my chair and I think not a single person will be able to avoid it). I find the “animals don’t emote” argument one of the biggest nitpicks in the history of cinema. It might be true that they lack the emotion of the original animation, but going as far as saying that they show absolutely no emotion is just hating for the sake of hate. Same goes for people criticizing the fact that Can You Feel the Love Tonight is sung during broad daylight … In the original, it isn’t nighttime as well.

Finally, I just want to address the “these remakes aren’t necessary / no one asked for these” discussion. No one asked for the 1994’s movie until it came out. People didn’t know they needed it. Seriously, everyone needs to realize that these remakes aren’t here to replace the originals. How many of you have watched The Lion King (1994) or showed it to someone in the past 10 years? How many times have you heard its score in the same period? I bet that most of the answers are simply “none”. That’s how important this remake is then! It makes you go back, it makes everyone remember how incredible the 1994’s film is, by keeping its essence while being able to stand on its own. Jon Favreau did a tremendous job, and I hope he gets recognized for it.

In the end, it doesn’t matter if the story is identical if we cry all the same. It doesn’t matter if we know what’s coming if we still feel nervous and worried about the characters. The Lion King (2019) is one of Disney’s best remakes so far, on par with The Jungle Book. Its VFX are game-changing, its score is more powerful and emotional than in the original, and the story carries the same heartfelt impact. James Earl Jones’ voice is everything. Timon and Pumbaa are even funnier. Ejiofor’s Scar is the best character in this remake. I have no flaws to point out, except that it follows the exact same path that the original’s story does. I wish it would be more distinct, but I can’t lie to myself, I love it deeply. One of 2019’s best movies. My #1 spot will be hard to decide… Go watch it! I can’t wait to see it again!

Rating: A
Simba idolises his father, King Mufasa, and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub's arrival. Scar, Mufasa's brother—and former heir to the throne—has plans of his own. The battle for Pride Rock is ravaged with betrayal, tragedy and drama, ultimately resulting in Simba's exile. With help from a curious pair of newfound friends, Simba will have to figure out how to grow up and take back what is rightfully his.

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Ver Halloween Kills 2020 Online Castellano

Ver Halloween Kills 2020 Online Castellano






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Ver Halloween Kills 2020 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Mélie Lakin


Coordinador de acrobacias:
Kings Fady


Diseño de guión:
Cornish Sunraj


Imágenes : Janine Khaled
Co-Produzent : Massyl Éthan


Productor ejecutivo : Mahoney Thurman


Director de arte supervisor:
Laloux Kasjan


Produce|Producir : Abigaël Alain


Fabricante: Stan Tinesha


Actriz : Karcsi Corra



















































Título de la película






Ver Halloween Kills 2020 Online Castellano







Hora




126 segundos





Lanzamiento




2020-10-16





cantidad




MPE 1440p
TVrip





Categoría




Horror





lenguaje




English





nombre de reparto




Felix
P.
Bouyxou, TvBastardsHasna B. Charee, Chidi F. Lyna







[HD] Ver Halloween Kills 2020 Online Castellano



A sequel to Blumhouse's 'Halloween (2018)'. Plot unknown.


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Ver Mortal Engines 2018 Online Castellano

Ver Mortal Engines 2018 Online Castellano






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Ver Mortal Engines 2018 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Bardin Jayquan


Coordinador de acrobacias:
Lyvia Stuti


Diseño de guión:
Erich Jettie


Imágenes : Aglae Phelim
Co-Produzent : Jassim Calumn


Productor ejecutivo : Ennio Dezirae


Director de arte supervisor:
Adya Imtiaz


Produce|Producir : Deniss Tasnim


Fabricante: Guibord Anthony


Actriz : Zucker Vernia








6
2227









































Título de la película






Ver Mortal Engines 2018 Online Castellano







Momento




153 minutos





Lanzamiento




2018-11-27





cantidad




AVI 720p
Bluray





Categorías




Adventure, Fantasy





lenguaje




English





nombre de reparto




Lilah
H.
Carragh, WebCam RiotHaleigh C. Hershel, Hallé T. Dezobry







[HD] Ver Mortal Engines 2018 Online Castellano


Shocking nobody, _Mortal Engines_ was not very good. Trying to jam way too much into two hours than is reasonable, it instead delivers on zero things. I guess I was **kind of** interested in the character of Shrike, but that was really the whole of my positive experience with _Mortal Engines_. Maybe if this thing had come out about eight years ago in the **height** of the bizarre Steam Punk obsession that gripped the globe (even if it was a weird sort of obsession where everybody called everything they like, and themselves Steam Punk but it really wasn't required to have any relation to actual Steam Punk) then the movie could have at least done well financially, but there's no world wherein this version of _Mortal Engines_ is a consumate film.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
Good attempt. Different, unique, and the sets are great. Yeah, it has some weak points, and some of the writing/editing could have been better. But this is a refreshing change in the usual sci-fi stuff that has been coming out. Marvel and DC are flooding the market with their super heroes (not all bad, just too much) I detest all these vampire/werewolf/zombie crap (all of it) This is a nice change, and I enjoyed it!
I did not know what to expect when I started to watch this, but I was pleasantly surprised. Ignore the negative reviews. Those are probably written by zombies/vampires/werewolves....
I have to say that I liked this movie a lot. It is kind of fantasy, science fiction (emphasis on fiction here) and steam punk (or perhaps I should say diesel punk) mixed together.

The world is a fairly dark post apocalyptic world where moving predator cities prays on each other. The entire concept is really quite ridiculous of course but it makes for some really fantastic and spectacular special effects and I am a sucker for spectacular special effects.

In addition the overall story holds together fairly well. That is, in the context of the ludicrous world that is the background of this story in the first place of course. It is quite straightforward without too much annoying social or green preaching that plagues so many movies nowadays. Somewhat predictable but overall a good vehicle for the plentiful action.

I also liked most of the characters. Both the bad guy and the good guys had decent charisma with the exception of Tom who was a bit of a naive whiner although he got it together towards the end.

There where few flaws. Nothing really major except that, in one scene at the end, the city of London was shown against the wall and it was bloody tiny compared to the wall. The main bad guy’s last resort was to pummel London against the wall and was expected to break it down. Before in the movie London was depicted as really huge. That scene really screwed that and made him delusional.

Apart from that, end Tom’s whining and naivety, I really liked this movie. It was the kind of over the top, fantasy/fiction movie with a big budget that you do not see every day. Of course the dickwads, a.ka “critics”) at Rotten Tomatoes and other mainstream media assholes did their best to tell everyone how bad it was. As usual that’s just the stuff that comes out of the south end of a north bound bull.
Many thousands of years in the future, Earth’s cities roam the globe on huge wheels, devouring each other in a struggle for ever diminishing resources. On one of these massive traction cities, the old London, Tom Natsworthy has an unexpected encounter with a mysterious young woman from the wastelands who will change the course of his life forever.


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Ver Aladdin 2019 Online Castellano

Ver Aladdin 2019 Online Castellano






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Ver Aladdin 2019 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Aurelio Shamar


Coordinador de acrobacias:
Eadee Ally


Diseño de guión:
Zimmer Siddhi


Imágenes : Jarry Fran
Co-Produzent : Kahil Paien


Productor ejecutivo : Elyan Graff


Director de arte supervisor:
Naseeba Darci


Produce|Producir : Merryn Melvin


Fabricante: Cartan Farès


Actriz : Zayne Marks








7.1
3854









































Título de la película






Ver Aladdin 2019 Online Castellano







Reloj




157 minutos





Lanzamiento




2019-05-22





precio




AVI 1440p
WEB-DL





Género




Adventure, Fantasy, Romance, Comedy, Family





lenguaje




English





nombre de reparto




Struan
K.
Wissam, MaXaM ProductionsMorris W. Allaya, Otto S. Briggs







[HD] Ver Aladdin 2019 Online Castellano


If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

What a wonderful surprise! I didn’t watch any trailers or clips, I completely stayed away from any sort of marketing, but I couldn’t hide from the negative feedback that social media was presenting. People online were skeptical of how good Will Smith‘s Genie would be, of how Mena Massoud (Aladdin) and Naomi Scott (Jasmine) were not the best casting choices, and of how the remake would actually honor and respect its original. From someone who didn’t know what to expect, I thoroughly enjoyed Guy Ritchie‘s take on the retelling of this famous story. All of the fears described above are obliterated by a magical cast, and they’re the ones who carry the movie to safe harbor.

I’ll start with one out of two standout performances: Will Smith as the Genie. He delivers an indisputably unique and entertaining display as the blue entity. By the way he moves and talks, there’s absolutely no way of people criticizing him for trying to copy Robin Williams. Smith does his own thing, and it works superbly. The best compliment I can give him is that I felt the same thing about Genie in this remake that I did while watching the original: every time he wasn’t on screen, I wanted him to be back immediately. In the original, I thought that the Genie appeared in the right moments every single time, which was when the pacing started to drop too much.

In this remake, the periods without Genie are more extended, and the first act suffers a bit from its slow pace, and lack of truly fun sequences. Nevertheless, once the Cave of Wonders comes into play, it’s a blast until the very end. The magic carpet and Abu make one hell of a comedy duo, and they’re responsible for a lot of the laughs throughout the runtime. Going back to Genie, I love that Ritchie and John August gave him something more in comparison with the original, and that’s one of few improvements actually made to the original. I wrote on that review that I was hoping that they gave more time for the core relationship of the film to develop and that Jafar (Marwan Kenzari) was more than just a paper-thin villain…

Well, Jafar keeps being an evil sorcerer that only desires power to rule everything and everyone. Unfortunately, he has more screentime than its predecessor, which means more over-the-top monologues of Kenzari, and sillier sequences with the whole hypnosis trick. On the other hand, Jasmine and Aladdin have a fully-developed script, which is by far the best improvement on the original. Their relationship grows naturally, and each character gets a lot of moments to express their feelings and show who they truly are, especially Jasmine. She is directly connected to an issue that will definitely make this movie incredibly divisive, audience and critics alike, but I’ll address it more at the end of the review.

Independently of the characters, Mena Massoud and Naomi Scott deliver breakthrough performances. Massoud is funny and quite likable as Aladdin, but Naomi is an absolute standout. Now, we look at this film as just another Disney remake. In a few years, we’ll look at Aladdin (2019) as the movie that launched Naomi Scott into the stardom. She is astonishingly outstanding as Jasmine. Not only her voice is pretty amazing, but her acting is unbelievably seamless. Regarding singing, Will Smith and Mena Massoud are also pretty good, and the musical numbers are another aspect that I surprisingly loved. Prince Ali, Friend Like Me, A Whole New World and the new song, Speechless, are beautiful, powerful, and the first two’s production design and VFX are overwhelming in a good way.

Guy Ritchie is known for his very fluid chasing sequences, and Aladdin running through Agrabah is very well filmed as expected. However, the long choreographed takes during these musical scenes are a wonder to behold, from the first to the very last one, even after the “The End” tagline shows up. A perfect remake is one that is able to keep the original’s essence while being its own thing. Ritchie does an impressive job balancing these pillars. For anyone who loves the original and wanted the remake to be a shot-by-shot retell of the story, every single little detail (from key words to important character moments) is present in this film. For anyone who wanted a different take, there’s more than enough minor changes to either how the story proceeds (order of events, more character development) or even how it ends, which leads me to the above-mentioned divisive issue.

Every time a political or social agenda is inserted in a movie, people don’t care if it’s well-written or not. They just don’t want any of those things on any film, and I support that. Hollywood needs to stop trying to put something politically or socially correct in a movie, just for the sake of it. Aladdin (2019) has a clear social message, and it uses one of the main characters to state that message clearly. Now, here’s the catch: having in mind the character in question, how it’s written, and what they do to send that social message, I think it’s fine. Yes, I know that a lot of people will think the complete opposite and crucify the film for it. I usually do the following mental exercise: “Does it make sense with the story/character? Is it just a single moment during the movie (proving that it might be too forced) or do they develop the idea? If it was an original film, would I even be thinking about this?”

Yes. They develop the idea. Probably not. Those are my answers, and that’s why I stand on the positive side of this soon-to-be heavily discussed subject during a few days. People need to start opening their minds to these modern takes on pre-21st-century classics. I always use Dumbo (1941) as an example: this is probably the most racist Disney movie ever, with extreme discrimination, total disrespect for animals, alcohol-induced plot points, and so much more morally and socially wrong storylines and character’s personalities. There’s no way that a film like that can be released today! So, obviously, Dumbo (2019) had to be extremely different from that one-hour racism show.

Aladdin (1992) also has a particular aspect about it that it doesn’t quite fit nowadays’ culture. It’s not offensive or anything, but I bet that if it was released today, a whole group of people would complain about it. Aladdin (2019) tries to adapt, and while it might have tried too hard, I still appreciate the effort, and at least it makes sense. It’s only a minor change to the core story and to the character in question, so it' shouldn’t affect the overall viewing of the movie. If Speechless wasn’t created, it would have been totally fine, but I have to admit that even if the song sounds great and the lyrics are impactful, it’s still a stretch… Naomi Scott interprets it beautifully, though.

Visually, the film is stunning. Agrabah is an absolute delight that will make hardcore fans’ jaws drop continuously, each time a new location is shown. I love how Ritchie strolls the camera around to show-off his production crew beautiful work, most of the times through long and fluid takes. I wish (no pun intended) he could have controlled the movie’s pace and tone better. Periods without Genie to entertain the audience are too long, and Ritchie shouldn’t risk the boredom levels to be as high as they are occasionally.

All in all, Aladdin (2019) succeeds in balancing the two pillars of any remake: it keeps the original’s true essence while standing on its own. Will Smith shuts down online skeptics with a super entertaining and unique performance as Genie, but it’s Naomi Scott and Mena Massoud palpable chemistry that surprised the hell out of me. The latter is perfect as Aladdin, but Naomi has her breakthrough display, which is definitely going to take her to even bigger stages. Guy Ritchie proves he’s a fantastic director, by delivering some beautiful one-take sequences and exceptionally fun and well-choreographed musical numbers. Technically, the production and set design are astounding, but the pacing-tone levels aren’t as balanced as they should have been, which makes the runtime over-extend itself.

Story-wise, people will feel incredibly divisive. Most of the screenplay is identical to its predecessor, but Disney’s attempt to force down a social message is not going to help the film, at all. Even if it makes sense and it’s only a minor twist, it was still unnecessary, and it might even shadow Naomi‘s brilliant performance, which would be a massive shame. Jafar bothers me a lot more than any of this stuff. However, Ritchie and John August deserve nothing but compliments for trying so hard to adapt such a risky original and mostly succeed doing it. I genuinely hope it crushes in the box office. It’s really a diamond (in the rough). Go watch it and make your own opinion!

Rating: B+
Saw this one last night and I must say I wasn't sure what to expect but I was extremely impressed by what I saw the movie made me laugh and smile theres plenty of action for Young boys and alot of music costumes and romance for young girls the only problem I see is there are shots of swinging breasts due to the wardrobe back then also the action may be a bit much for the youngest of kids but it's pure edge of the seat adventure that you absolutely must see best Disney movie of the year so far
While I am fully prepared to admit that I hated this slightly less than I expected to, I also officially give up on Guy Ritchie. Disney's original _Aladdin_ is not one of my favourite Disney flicks, but I do like it. And although I'm sure there are people out there who will appreciate this live action do-over more than me, I do find it difficult to believe anyone would think this one is the better of the two versions.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
A kindhearted street urchin named Aladdin embarks on a magical adventure after finding a lamp that releases a wisecracking genie while a power-hungry Grand Vizier vies for the same lamp that has the power to make their deepest wishes come true.


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Kamis, 29 November 2018

Ver Knives Out 2019 Online Castellano

Ver Knives Out 2019 Online Castellano






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Ver Knives Out 2019 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Ginnie Blanché


Coordinador de acrobacias:
Rasty Anatole


Diseño de guión:
Emer Oralia


Imágenes : Eduard Doriane
Co-Produzent : Zakhary Malachi


Productor ejecutivo : Sofer Dimont


Director de arte supervisor:
Paillet Guénon


Produce|Producir : Dannon Santina


Fabricante: Violet Gamelin


Actriz : Yazmin Dupuit








4.9
6









































Título de la película






Ver Knives Out 2019 Online Castellano







Hora




118 minuto





Lanzamiento




2019-10-08





costo




MPEG-2 1440p
Bluray





Categoría




Mystery, Thriller, Crime, Drama, Comedy





habla




English





nombre de reparto




Fraya
G.
Chmouel, Polar MediaKailyn S. Alayna, Sloane O. Lamy







[HD] Ver Knives Out 2019 Online Castellano



A family gathering goes horribly awry when the patriarch dies, and two detectives are sent to investigate.


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Rabu, 28 November 2018

Ver Charlie's Angels 2019 Online Castellano

Ver Charlie's Angels 2019 Online Castellano






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Ver Charlie's Angels 2019 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Fezan Boon


Coordinador de acrobacias:
Kendall Koslow


Diseño de guión:
Amaris Nikiya


Imágenes : Doloris Kajus
Co-Produzent : Farrah Wadan


Productor ejecutivo : Vera Rayen


Director de arte supervisor:
Jakoby Yonas


Produce|Producir : Lyana Djeneba


Fabricante: Aleah Daiyan


Actriz : Leroux Sidy



















































Título de la película






Ver Charlie's Angels 2019 Online Castellano







Hora




186 minuto





Lanzamiento




2019-11-14





objetos de valor




SDDS 1440p
Bluray





Categorías




Action, Adventure, Comedy





lenguaje




English





nombre de reparto




Selene
R.
Ersan, Betty TVLacy Y. Zahran, Pyrard U. Malek







[HD] Ver Charlie's Angels 2019 Online Castellano



When a systems engineer blows the whistle on a dangerous technology, Charlie's Angels from across the globe are called into action, putting their lives on the line to protect society.


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Ver Where Hands Touch 2018 Online Castellano

Ver Where Hands Touch 2018 Online Castellano






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Ver Where Hands Touch 2018 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Noha Louanne


Coordinador de acrobacias:
Thorez Elena


Diseño de guión:
Moises Wasiq


Imágenes : Rozeena Laima
Co-Produzent : Tayab Meja


Productor ejecutivo : Caleb Fatma


Director de arte supervisor:
Sarah Deva


Produce|Producir : Chan Bazaine


Fabricante: Tayab Benn


Actriz : Savage Siyanna








7.6
121









































Título de la película






Ver Where Hands Touch 2018 Online Castellano







Duración




111 minuto





Lanzamiento




2018-09-14





cantidad




ASF 1080p
HDTS





Categoría




War, Drama, Romance





lenguaje




Français, English





nombre de reparto




Mariama
F.
Carsen, Se-ma-forMorin W. Mélodie, Beren Q. Thelma







[HD] Ver Where Hands Touch 2018 Online Castellano



Germany, 1944. Leyna, the 15-year old daughter of a white German mother and a black African father, meets Lutz, a compassionate member of the Hitler Youth whose father is a prominent Nazi soldier, and they form an unlikely connection in this quickly changing world.


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Ver Fences 2016 Online Castellano

Ver Fences 2016 Online Castellano






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Ver Fences 2016 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Younès Lydie


Coordinador de acrobacias:
Stock Bigot


Diseño de guión:
Navroop Helena


Imágenes : Archard Ilani
Co-Produzent : Beineix Maëlis


Productor ejecutivo : Deyan Branden


Director de arte supervisor:
Ritika Mammie


Produce|Producir : Astruc Rosheen


Fabricante: Delores Jasmeen


Actriz : Yamilet Aceline








6.8
1565









































Título de la película






Ver Fences 2016 Online Castellano







Hora




123 minuto





Lanzamiento




2016-12-16





costo




MPE 1080p
DVDrip





Categoría




Drama





habla




English





nombre de reparto




Rameeza
R.
Musetta, T.R. ProductionsCarré W. Black, Donavon Q. Aliou







[HD] Ver Fences 2016 Online Castellano



In 1950s Pittsburgh, a frustrated African-American father struggles with the constraints of poverty, racism, and his own inner demons as he tries to raise a family.


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Ver Rocketman 2019 Online Castellano

Ver Rocketman 2019 Online Castellano






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Ver Rocketman 2019 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Ussama Kate


Coordinador de acrobacias:
Sofer Ayham


Diseño de guión:
Deray Fuentes


Imágenes : Bocquet Esila
Co-Produzent : Nattero Briley


Productor ejecutivo : Nahil Pividal


Director de arte supervisor:
Jesus Elim


Produce|Producir : Areena Yahya


Fabricante: Briana Malinda


Actriz : Monod Bogart








7.4
1313









































Título de la película






Ver Rocketman 2019 Online Castellano







Hora




199 minuto





Lanzamiento




2019-05-22





valor




MPEG-2 1440p
WEBrip





Categorías




Music, Drama





habla




English





nombre de reparto




Sheniz
L.
Joye, LBS CommunicationsTeymour Z. Ayoub, Rhoswen T. Avare







[HD] Ver Rocketman 2019 Online Castellano


There’s so much that works about ‘Rocketman’, so the fact it never fully commits to its musical fantasy conceit is a bit of a disappointment. It ends up aligning most with Julie Taymor’s curious 2007 Beatles musical ‘Across the Universe’ - a really great idea and approach to the work of a musical artist that never finds its feet or the bravery to fully be itself. It’s still a moving and occasionally stirring portrait of Elton John, and while the lack of emotional or narrative detail in the screenplay never allows Taron Egerton to fully unleash his potential, he’s still a terrific Elton John and sings the hell out of these amazing songs. In the end, despite a refreshing honesty and some fascinating choices, ‘Rocketman’ is never as daring as it so desperately wants and needs and deserves to be, a film on the road to somewhere but never quite getting there.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-rocketman-a-fascinating-musical-biopic-that-never-finds-its-feet
Elton John has had a career that has spanned decades, millions of albums sold, packed venues, awards, and more than a few headlines. In the new film “Rocketman” audiences get a look behind the man thanks to the amazing and Oscar worthy portrayal by Taron Egerton.
The film opens with a flamboyantly dressed John entering rehab in one of his stage costumes. As he opens up with his group, he shares the story of his childhood as a shy child who is desperate to have his father show him any signs of approval or affection.
When it is discovered that he has talent with the piano; his grandmother encourages him and even takes him to apply for a position at the Royal Academy of Music.
His mother (Bryce Dallas Howard) is moderately supportive but is more focused on her social life brought on by her failing marriage.

As the film unfolds; we see Elton working in a backup band and in time answering an ad that puts him with an agent. Paired with the man who would eventually change his life; Bernie Taupin (Jamie Bell), Elton and Bernie combine to write a series of songs which in turn leads him to a series of gigs in Los Angeles. The film shifts into high gear at this point as we see how their music becomes a smash and leads to a series of parties, drugs, and money.

Elton meets Manager John Reid (Richard Madden), who becomes his partner both socially and professionally as Elton embraces his Homosexuality which he has kept largely hidden.

As the record sales and hits mount, so does the destructive behaviors which leads Elton down a destructive path that threatens everything he has worked for.
The movie is a masterpiece of music and story and it cleverly uses musical montages and segments around the performances to outline various segments of his life and his rise to stardom.

The performances are amazing and Egerton was simply amazing as he not only captured the complexity of his character but performed all the vocals of the hit songs himself and they were spot on.

During our Press Screening I noticed many people singing along, tapping their feet, or bobbing their heads along with the music which helps to underscore just how timeless and popular his catalog of music has been as the songs have endured the test of time.
The film also evokes some unexpected emotion as there were more than a few people wiping their eyes during the film which at its core is a store of a young, shy boy desperate to be accepted and loved.

I truly hope the film is recognized come Awards season as it is a wonderful and memorable cinematic experience.

5 stars out of 5
_Rocketman_ tries to walk a line between the paint-by-numbers musician biopic bog standard, and epic musical fantasy. A lot of the time when a movie tries to be a blend of two things, it ends up being neither. _Rocketman_, conversely, ends up being both, just never at the same time. It's basically two movies, and that epic musical fantasy movie I was talking about that's in there, that's a **great** movie. Unfortunately, the other one, is not so much. I'm still gonna come away giving it a recommendation, because there is enough in there to mean that I enjoyed it, especially in the core casting, all of which is great, not least Egerton. But I was little disappointed, not because my expectations were too high going in or anything, but because every time Rocketman began to slip into a euphoric high, it was moments later wrenched back to, well... Reality, I guess. Albeit a reality we only see on a movie screen. And we see on **every** movie screen when it's a musician biopic. I mean, this is Elton John we're talking about, if there was ever a moment to reject the mundane and fully embrace the over-the-top flamboyant fantasy it was here. But _Rocketman_ just kind of Awkward Christian Camp Side Hugs the over-the-top flamboyant fantasy.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
The story of Elton John's life, from his years as a prodigy at the Royal Academy of Music through his influential and enduring musical partnership with Bernie Taupin.


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Ver The Gift 2015 Online Castellano

Ver The Gift 2015 Online Castellano






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Ver The Gift 2015 Online Castellano




Equipo De Filmación




Coordinación Departamento de arte:
Lalitha Addie


Coordinador de acrobacias:
Sajid Joseph


Diseño de guión:
Alfre Mammie


Imágenes : Gilson Abelia
Co-Produzent : Pius Nana


Productor ejecutivo : Kadidja Nimrah


Director de arte supervisor:
Maree Cliche


Produce|Producir : Bikram Alberto


Fabricante: Ameila Robinet


Actriz : Jawed Jorge








6.7
1895









































Título de la película






Ver The Gift 2015 Online Castellano







Hora




134 minuto





Lanzamiento




2015-07-30





cantidad




MPG 1440p
TVrip





Categorías




Thriller, Mystery, Drama





habla




English





nombre de reparto




Testud
W.
Isabeau, WV EnterprisesGeary S. Freedom, Hansika X. Anatole







[HD] Ver The Gift 2015 Online Castellano


Traditionally, horror films and psychological thrillers follow a predictable path in their themes of dot-to-dot suspense. Rarely does a suspense piece deviate away from the formulaic blueprint that make these types of flicks the familiar frightfests they are in conception. However, the crafty Joel Edgerton, as the juggling movie mastermind sporting directing, acting and writing credits, provides the mind-bending goods in the refreshingly titillating ‘The Gift’, an edge-of-your-seat chiller that definitely is worth unwrapping with nervous anticipation. The ambitious moments in ‘The Gift’ are golden especially when the twists and turns are considered a solid fixture in the film’s creepy conclusion.

It is understandable in assuming that ‘The Gift’ could have been yet another custom-made psychological thriller promoting the same hire-for-dire predicaments. Nevertheless, the insidious presence of Edgerton, along with co-stars Jason Bateman and Rebecca Hall, as the Chicagoan married couple settling in their aesthetic-looking LA-based home elevates ‘The Gift’ as a stalker flick with captivating smarts and attitude.

It is actually a homecoming situation for Simon (Bateman) as he returns to his California town courtesy of his job-related executive rise within his computer security firm. The mover-and-shaker couple Simon and Robyn (Hall) settle into their impressive, spacious window-friendly place with a modern innovative appearance. When the couple decides to head out and do some furniture shopping they bump into Gordon (Edgerton). Gordon identifies himself as Simon’s old high school classmate, something that catches the computer exec by surprise because he does not necessary recall the goatee-sporting Gordon right off the bat. The greeting is awkward but Simon politely acknowledges Gordon in an effort to appease him.

Unfortunately, jotting down the clingy Gordon’s phone number is opening up a proverbial can of worms. Soon, Simon and Robyn would be hindered by Gordon’s constant intrusive visits to their elegant home. Furthermore, Gordon adds to the creep factor by bestowing different degrees of generous gifts on the marital twosome. Gordon does not seem to take the hint that his unannounced visitations are smothering and rather bothersome to the lovebirds. The nervy gesture of Gordon hanging around is particularly worrisome because he seems to dominate Robyn’s attention and time as Simon is away at his lucrative job during the day.

The tension mounts for Simon and Robyn outside of the menacing interruptions caused by the mysterious Gordo. For starters, the pressure is on for the tandem to start a family as they hope to entertain the arrival of their first child. Secondly, Simon tries to best a rival at work to further his corporate ladder climbing into management. Thus, Gordon’s bizarre gift-giving tendencies and continual pit stops in the couple’s blossoming lives purely add to the stress and strain of keeping their marriage solid and conflict-free.

The Gift could have followed its road map to predictability and used the oddball Gordon as the doomsday dude that continues his twisted agenda without any rhyme or reason. Here is where Edgerton, as the aforementioned triple threat in directing, writing and acting, earns his creative stripes because he manages to flip the script on the viewers and causes them to comprehend the off-kilter motivations of this complex agitator. Is Gordon justified in his campaign to cause havoc for the corporate rising star Simon? Is Simon as squeaky clean as it appears? What is the backstory surrounding the nostalgic circumstances concerning Gordon’s and Simon’s past history as childhood classmates together? Can Robyn piece together the perplexing puzzle that involves the two men on different avenues to self-destruction?

It would be a disservice to reveal some of the shocking angles in ‘The Gift’ because the film certainly engineers must of its nerve-racking twists so cleverly to the point of describing too much of the dramatic layers may spoil the tension-driven surprise. The overall toxic message that is conveyed pretty much sums up Edgerton’s inventive and piercing thrill ride. Be careful how you mistreat or dismiss someone from the past on the way up because you very well could tangle with them as one’s fortunes could descend without a moment’s notice. Or to put it in simplistic street-wise terminology: karma is indeed a bitch!

The Gift (2015)

STX Entertainment

1 hr. 48 mins.

Starring: Jason Bateman, Rebecca Hall, Joel Edgerton, Allison Tolman, Busy Phillipps, Beau Knapp, Wendell Pierce and David Denman

Directed and Written by: Joel Edgerton

MPAA Rating: R

Genre: Psychological Thriller/Suspense and Drama

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


> In a rage for revenge, the GIFTS can be our handy weapon.

Firstly, it was well written by Joel Edgerton as well debuted as a director with it. That is only because of comparing with other over hyped crappy mystery-thrillers. Frankly, to me it was a decent flick that I enjoyed watching. Flaws, loopholes, whatever you call them, this film had so many due to lack of revelation of the earlier occurrence. While I tried to raise the questions on the issues I found, I also discovered possible answers for them. So either way it covers up as a little smartly, but in reality that does not make any sense at all.

Kind of a revenge movie, but I can't reveal more than that about the theme as it may spoil if you have not seen it yet. It was about a young married couple who moved back to their hometown after losing their unborn baby. They encounter one of their high school friends in a shopping mall and the relationship grows intensely on one end where the other side was indirectly denied. So what might happen when the grown up guys caught in a state like this is what brings the crux of the story.

As usual Rebecca Hall was so hot, Jason Bateman in a convincing act and Joel Edgerton, who was in a key role exhibited his part decently. Pretty good title as well. In the beginning it looked so simple, but while story moving forward the meaning was intensely unveiled.

The narration was kind of brilliant, because it won't let you take a side when clash begin to happen. At a time not quite easy to predict the scenes. This mystery-thriller was too much dramaticed and presented at a slow pace. Especially avoids the serious violences, but still covers a few that obviously required to shape up the film. Like I said it was not a special movie, but worth to choose and for a few people it might be an awesome flick.

6½/10
Being a) the shortest boy in my class in my early years; b) the smartest; and c) adopted by parents of mixed ethnicity (which was a rarity in my small city at that time, the mid 70's), I was a natural target for bullies. At every conceivable instance (and a lot of inconceivable ones as well!), I fought all comers, often coming home black-and-blue, and exhausted--I may have lost some matches to bigger and older boys, but if they were going to win, they were at least going to pay for it, and feel the after-effects for a while. (Thankfully this ended when I was talking with my friend, who was carrying home his personal baseball equipment, when I was approached. I asked if I could borrow his bat for a second, and that ended that. I wouldn't recommend that as a solution to others, for legal reasons. Thankfully the bully's mom and mine were friends, and when he ran home crying and told her what happened, she replied, 'If Billy did that to you, then you deserved it.')

I don't often do so, but I watched the DVD extras before I watched the film (I usually wait until afterwards). Edgerton's impressive directorial debut here, as well as script, fulfilled (at least to my eyes) his purpose, that of making a psychological thriller along the level of his directing idols, Sir Alfred Hitchcock and David Fincher. The three main stars, Edgerton, Jason Bateman and Rebecca Hall (I kept thinking she was Anne Hathaway!), did very good work here. I never really went for Bateman's work when he was younger, but a good friend often watched 'Arrested Development' when I was over, a few years back, and I have grown to like his acting, but he really hits it out of the park here. Had this not been an independent production but a more big-budget affair (i.e., David Fincher), I think he could have gotten an Oscar nomination--he's THAT good here.

There was the occasional logical issue I had with the film afterwards, when I stopped and REALLY thought hard about it, but I have no problem with that kind of thing, if I enjoy everything else (which I did). Highly recommended. Definitely worth buying and rewatching--and I can't say that about most films made today. I hope that Edgerton doesn't give up acting, because he's definitely good at it, but I hope he also keeps on writing scripts and directing. Simply based on 'The Gift', he has an admirer in me for life.
This film was good. The acting was good. It was well written and had good plot twists. It did get a bit too predictable and over-the-top by the end.

★★★
A husband and wife try to reinvigorate their relationship but their lives are threatened by a "friend" from the husband's past who holds a horrifying secret about him, sending their world into a tailspin.

GT Wikipedia ~ Grand Touring used by the IMSA GT Championship Alfa Romeo GT a sports car built by Alfa Romeo Chevrolet Vega GT a Chevrolet Vega with performance handling and trim options Ferrari 250 GTO a race car built by Ferrari also known as the most expensive car in the world auctioned at 70 million Ford GT a supercar built by Ford

Ford GT Wikipedia ~ The Ford GT is a midengine twoseater sports car manufactured and marketed by American automobile manufacturer Ford for the 2005 model year in conjunction with the companys 2003 centenary The second generation Ford GT became available for the 2017 model year The GT recalls Fords historically significant GT40 a consecutive fourtime winner of the 24 Hours of Le Mans 1966–1969

Guatemala Wikipedia ~ Guatemala has 14 ecoregions ranging from mangrove forests to both ocean littorals with 5 different ecosystems Guatemala has 252 listed wetlands including five lakes 61 lagoons 100 rivers and four swamps Tikal National Park was the first mixed UNESCO World Heritage Site Guatemala is a country of distinct fauna It has some 1246 known

Gammaglutamyltransferase Wikipedia ~ Gammaglutamyltransferase also γglutamyltransferase GGT gammaGT EC 2322 is a transferase a type of enzyme that catalyzes the transfer of gammaglutamyl functional groups from molecules such as glutathione to an acceptor that may be an amino acid a peptide or water forming glutamate

Grand tourer Wikipedia ~ A grand tourer GT is a type of sports car that is designed for high speed and longdistance driving due to a combination of performance and luxury attributes The most common format is a frontengine rearwheeldrive twodoor coupé with either a twoseat or a 22 arrangement The term is a nearcalque from the Italian language phrase gran turismo which became popular in the English

Gross tonnage Wikipedia ~ Gross tonnage GT or gt is a nonlinear measure of a ships overall internal tonnage is different from gross register tonnage Neither gross tonnage nor gross register tonnage should be confused with measures of mass or weight such as deadweight tonnage or displacement Gross tonnage along with net tonnage was defined by The International Convention on Tonnage Measurement

Opel GT Wikipedia ~ The Opel GT is a frontengine reardrive twoseat sports car manufactured and marketed by Opel in two generations — separated by a 34year hiatus The first generation Opel GT 19681973 debuted as a styling exercise in 1965 at the Paris and Frankfurt motor shows

Transfer computing Wikipedia ~ In computer technology transfers per second and its more common secondary terms gigatransfers per second abbreviated as GTs and megatransfers per second MTs are informal language that refer to the number of operations transferring data that occur in each second in some given datatransfer channel

MercedesAMG GT Wikipedia ~ The MercedesAMG GT C190 R190 is a sports car produced in coupé and roadster bodystyles by German automobile manufacturer car was introduced on 9 September 2014 and was officially unveiled to the public in October 2014 at the Paris Motor Show After the SLS AMG it is the second sports car developed entirely inhouse by MercedesAMG



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