Ver Green Book 2018 Online Castellano

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Ver Green Book 2018 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Leoni Berneen


Coordinador de acrobacias:
Hooks Lutz


Diseño de guión:
Abigaïl Winters


Imágenes : Emmitt Marla
Co-Produzent : Stan Lysa


Productor ejecutivo : Bhavin Manuela


Director de arte supervisor:
Najmo Vannesa


Produce|Producir : Bibiana Kolby


Fabricante: Rahin Ruhani


Actriz : Blase Malie

8.3
4558

Título de la película	Ver Green Book 2018 Online Castellano
Duración	153 minutos
Lanzamiento	2018-11-16
valor	FLA 1440p HDTS
Categorías	Drama, Comedy
lenguaje	English
nombre de reparto	Adama V. Ayala, Hoodwink EntertainmentMilla V. Jeylan, Yvaine J. Helaine

[HD] Ver Green Book 2018 Online Castellano

Sadly, didn't end racism, but still very cute.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
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Living in Portugal has a ton of pros, but regarding movies, it lacks serious advantages. The price of admission is expensive, there is only one film theater in my city (every time I want to watch a movie on IMAX or Dolby Atmos, it's a financial effort and time-consuming) and the worst of all, a whole bunch of films aren't released in their original date, especially November/December Oscar-bait movies. Only now I had the opportunity to see Green Book, and I am so mad I wasn't able to write its review in 2018 because this is undoubtedly the best comedy-drama of last year and one of the best overall!

With the help of a terrific cast, Peter Farrelly and his writing crew (which counts with Vallelonga's son, Nick) deliver what I think is the best screenplay of 2018. I can't remember the last time I cried of so much laughter in a film. I can't remember the last time I did the latter and still got emotional with the dramatic arc. This comedy-drama sent me through a roller coaster of emotions I wasn't expecting, at all. I went in anticipating outstanding performances (check) and solely that. Since 2019 has already begun, I'm watching the Oscar-bait movies with no real hopes of being utterly amazed.

However, Green Book completely took me by surprise. I genuinely don't know why everyone was so shocked when it won Best Screenplay at the Golden Globe Awards. It possesses such a well-written story, filled with brilliant narratives about the most sensitive subjects. It takes the two main characters and elevates their individual arcs into subplots where you begin and end with two completely different personas. It's an extremely relevant film that shows how our world evolved and fought back racism and discrimination, without ever becoming too dark or even dull. It's not more of the same, it's not another movie produced exclusively to send a social message and catch some Oscar nominations. It's a truly captivating story of how two men can change their perspective of another race or even the entire world, by actually spending time with another culture and ignoring preconceived notions.

Nevertheless, this well-structured, beautifully-directed and cleverly-written film would be just "good" if not for the two incredible actors, who take this movie to a whole other level. Viggo Mortensen and Mahershala Ali have such compelling chemistry that I wouldn't mind watching them interact for two hours on a car trip. Every single car sequence either produces hilarious moments, filled with tearful laughter, or it drastically changes into a more dramatic and emotional tone, subtly touching delicate topics. I knew Mortensen had a humorous side to him, but I never saw this coming! His timing, his expressions, his Italian accent, his body movements, everything about his performance is perfect. He absolutely nailed his part, by giving me the best time I had at a film theater in a long time, and his Oscar nomination is more than fair. He made a 130-min feature movie feel like a short flick.

Ali doesn't come far behind. Obviously, since Viggo has a funnier role to portray, the audience members might feel that he's just there to help his co-star shine, but he does much more than that. Since he brings the drama element to the story, he has a more restrained performance during the first half of the film. However, once Shirley starts getting along with Tony Lip, Ali gradually offers more and more splendid acting moments. He's definitely a supporting actor, but God is he a phenomenal one! Linda Cardellini (Dolores Vallelonga), even though she's only on-screen for a few minutes spread throughout the runtime, also delivers a great performance.

Tony Lip and Dr. Don Shirley have quite distinct personalities, besides being from different races. Each character's arc is brilliantly illustrated by Peter Farrelly, who gradually shows how Tony and Don are changing their view of the world and of each other's culture. Either through the witty car sequences or through unfortunate and horrible experiences, these two characters carry the audience on a journey of growth. Change in behavior, mindset and preconceived ideas, by sharing their own culture with another. Even though they were born in different countries and lived through distinguished lifestyles, with contrasting quality of life, they eventually start realizing that what they think of the world and everything else might not be entirely right.

Technically, Farrelly controls the movie's pacing exceptionally well, by making a two-hour-ish film feel like half of it. Remarkably-balanced tone and some great cinematography is showed in a couple of scenes. Consistently-filmed and well-edited, even though the latter has small hiccups here and there. Nevertheless, this isn't a film with extraordinary technical attributes, nor it needs them. Farrelly only needed to do "ok" with the producing and filming of a standout screenplay to achieve a fantastic result, and that's exactly what he did.

Finally, regarding the controversy surrounding this movie ... See how easy it is to watch a film without being affected by outside matters which don't have a single thing to do with the movie itself? I don't care if someone who worked in the film tweeted something wrong today, let alone years ago. I don't care if someone misinterprets Viggo Mortensen's speech about racism. I don't care if the family of Don Shirley doesn't like how the movie approaches his way of being or his way of life. I don't care if the story isn't 100% true, as long as it succeeds in transmitting the vital message it wants to deliver, while actually being a good film. So, please, stop trying to listen to everything everyone says about a movie or the people working on it, especially nowadays, where chaos is easy to create.

Green Book surprised the hell out of me and left me speechless in the end. One of the best comedy-dramas I've seen in a long time, one of the best films of 2017 and, by far, the best original screenplay of the last year. Peter Farrelly and his fellow co-writers delivered a seamlessly-written story, filled with wonderful character arcs and with a quite important message to the audiences around the world. Viggo Mortensen and Mahershala Ali deliver award-worthy performances, especially the former who shows his incredible comedic timing and dramatic range. Still, the most compelling and emotional scenes come from Ali, and he does not deserve to be forgotten. I thought 2018 was going to be the first year without me giving an A+, but guess what ...

Rating: A+
Tony Lip, a bouncer in 1962, is hired to drive pianist Don Shirley on a tour through the Deep South in the days when African Americans, forced to find alternate accommodations and services due to segregation laws below the Mason-Dixon Line, relied on a guide called The Negro Motorist Green Book.

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Ver Joker 2019 Online Castellano

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Ver Joker 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Sahair Cherie


Coordinador de acrobacias:
Amitee Clint


Diseño de guión:
Field Sela


Imágenes : Isaïah Paloma
Co-Produzent : Dubas Maddie


Productor ejecutivo : Ruban Darian


Director de arte supervisor:
Arcy Teegan


Produce|Producir : Palmer Artaud


Fabricante: Gide Tybalt


Actriz : Giroud Brisa

8.6
4026

Título de la película	Ver Joker 2019 Online Castellano
Hora	184 minutos
Lanzamiento	2019-10-02
valor	MPEG-2 1440p Bluray
Género	Crime, Thriller, Drama
lenguaje	English
nombre de reparto	Dayana M. Villard, TANGRAMArcene W. Budet, House U. Imène

[HD] Ver Joker 2019 Online Castellano

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Obviously, Joker is one of my most anticipated movies of 2019. I mean, how couldn't it be?! Besides belonging to the superhero genre, DC has been on a streak of great films within its universe, so an isolated installment definitely excites me, especially about one of the evilest villains ever. It's by far one of the less comic-book-y flicks of the century. It doesn't follow the generic origin story formula, it avoids any cliches associated with the genre, and it's the type of movie that's becoming more and more rare nowadays. It's a character study like we haven't seen in a long time.

I'll simply begin with the person that elevates the entire thing: Joaquin Phoenix. Now, if there's something I'm not going to do is compare his performance with Heath Ledger's. That's the number one mistake people are going to keep making forever. First of all, The Dark Knight and Joker couldn't be more distinct films, even if they belong to the same genre (despite Joker being unique, it's still about a famous comic-book villain). Then, despite Phoenix and Ledger portraying the same "version" of the clown (crazy, sadistic psychopath), the former is 90% Arthur Fleck while the latter is 100% Joker, throughout each of their movies. Finally, Phoenix is the sole protagonist of this feature, while Ledger had the best live-action Batman sharing the spotlight.

In conclusion, it's both unfair, and a bit unreasonable to compare both interpretations since their roles have a different impact on the narrative, as well as each film being entirely different. In the end, both are impressive. However, let's switch to Phoenix since he's the star of this show … He has 2019's best performance, by far! With a strong marketing campaign, I'm sure he'll get that Oscar. I hope so! It's so well-deserved. Todd Phillips and Scott Silver developed a brilliant screenplay, but Phoenix elevates it to a whole other level.

Throughout the entire runtime, I felt weird. Perturbed. Even uncomfortable with what I was watching and consequently feeling. It's a dark, brutal, violent, emotionally powerful origin of a villain who I feel disturbingly empathetic towards. Phoenix makes the story work due to its remarkably captivating display of someone who's mentally ill. Arthur Fleck slowly becoming crazier is due to how society behaves and not due to some chemical pool that transforms his skin white and hair green (nothing wrong with this, but I know which origin story I prefer). "The world is getting crazier out there", and it becomes excruciatingly painful to deal with it, especially when so much is going on with Arthur’s personal life, and most of it he doesn't even realize because he tries to hide everything behind a smile.

It's a screenplay filled with narrative twists that not only pack a punch of surprise but leave you feeling extremely upset. The last act is one of the best in the last few years. If the second act is an enormous build-up, the last one is a terrific payoff. I can't remember the last movie I saw where I loved 100% every single narrative decision. I wouldn't do any of the big moments differently. There are so many excellent references hidden in plain sight that comic-book fans (and fans of the TDK trilogy as well) will love just like I did. In the ending, there's one pivotal moment in particular that serves as the absolute climax … I got chills all over my body. They couldn't have done that scene more perfect. I only have one tiny nitpick with the way some scenes feel repetitive since they neither move the plot forward or give us anything new. Some of these still help to create tension, some feel like they're just… there.

A Best Picture and Best Actor nominations seem to be on its way, but these are not the only achievements that deserve to be recognized. The original score by Hildur Guðnadóttir is incredibly addictive, so much that I'm listening to it while writing this review. It definitely helps to generate tremendous build-up, and it elevates the sinister environment of Gotham City. Lawrence Sher's cinematography is utterly stunning. The underexposure of some scenes is glorious. Sher paints the screen with so many gorgeous shots, especially with his close-ups on Phoenix, where the latter is able to shine. Jeff Groth is also impeccable in the editing room. There are several long takes with Phoenix just giving his all and letting all his emotions out (or keeping them all contained), which is always something I deeply appreciate since it helps with the flow of the narrative.

Regarding the film's controversy surrounding its messages and the incentive to violence, I really don't know what to say. It's ridiculous. I remember those times when going into the movie theater was a surreal experience. It was the number one place for people to forget about their lives, jobs, everything. Joker is a fictional story! It's the origin of one of the worst psychopaths in the history of comic-books and cinema. If people expected to leave the theater "happy" or "joyful", then at least one of the film's message is right: society really is getting crazier. Have people forgotten who Joker is? What could you possibly expect from his origin story?!

Nowadays, no one knows how to behave (social media is the primary source for spreading hate). No one respects the fellow citizen or even the world itself. More and more people only look at their own bellies. Political agendas are everywhere. New extreme movements are created every other year. Social hypersensibility is exponentially growing. The same way some people will hate this movie for not being able (or simply not wanting) to accept that they feel empathy towards a murderer, people all around the world behave like their actions don't reflect on another person's life and on their own planet. If people get ruthlessly violent because they watched Joker, how can someone complain that the film's message is bad when it's eventually true?

All in all, Joker is one of the best movies of the year, and it's definitely on my Top3 at the date of this review. Joaquin Phoenix delivers my favorite male performance of 2019, by elevating a script about the origin of one of the evilest villains ever. The way he gradually becomes more insane is worthy of study, but it's how he's able to make the audience create empathy towards a psychopath that leaves me disturbingly captivated. Todd Phillips produces a character-study filled with an astonishingly tense build-up and one of the most chill-inducing payoffs of the last few years. With every single narrative decision nailed perfectly, Hildur Guðnadóttir's score and Lawrence Sher's cinematography stand out. The lack of restraint in showing the unmerciful violence (physical and mental) that society inflicts on one another is what makes us feel unsettled. Because we know it's mostly true, and we refuse to accept it. It's not a film about the Joker. It's a very realistic portrayal of someone (anyone!) who can become someone like him. And it's disturbingly brilliant!

PS: Robert DeNiro (Murray Franklin) and Zazie Beetz (Sophie Dumond) are also great. Phoenix's performance is so mesmerizing that I almost forgot there were other actors in the movie.

Rating: A
Joker. The character that has existed since 1940, has become so heavy with so many different portrayals, different origins, that it feels impossible for any mortal man alive to impersonate the scattered personalities. It is an insurmountable task for any director to digest it all and still produce one more.

Todd Phillips had a crazy challenge. He brought in one of the best actors alive to lift it with him, Joaquin Phoenix. Together, they have built a mass-market masterpiece which is just above the crop. It is appropriately crazy and completely focussed on the central character. The narrator goes close to the shores of that craziness, wets his feet but remains dry to tell this story. It is like those news reporters which go closer to the burning amazon, but it is impossible to step in the fumes. In no way, Joker is telling his story. Instead, his story is told to us and there are pillars of sanity (like the detectives, asylum clerk etc.) which remain steadfast to give a strong anchor to the audience. This dilutes the effect of the film.

With the copious amount of material on Joker already, I wished to consider this film as a standalone character study vaguely inspired by the batman universe. But this is not entirely possible. I was forced to think about it on two levels. With Batman and Without Batman.

With Batman, The Joker is on the home turf. There have been many renditions of Joker, and Heath Ledger's portrayal is still vivid in my mind. I knew that Arthur here will go on to become someone who is going to say, “‎Introduce a little anarchy. Upset the established order, and everything becomes chaos. I'm an agent of chaos...”. When I was thinking Joker in the context of Batman, I could not keep Ledger's joker too far away. I was searching for a path for Arthur to go from the mentally unstable to the calculating anarchist. I was left searching for that path when the movie ended. To remain as the crown prince of crime, and to justify the title of the greatest adversary of Batman, just mental instability isn't good enough. He needs to be much more intelligent, much more cunning. These traits are often visible early, In the case of Arthur, I could not find that complete foundation upon which the later psyche can stand. This reminded me of Cameron Monaghan's Jerome Valeska. The joker of my understanding is somewhere between the cruelty of Jerome and pitiable delusions of Arthur. Also, the iconic Batman moment was not needed in this. I kept feeling that Joker is trying to stand with the support of Batman's tale as a clutch. A safety net enforced by the producers.

On the other hand, if I consider this movie as a standalone tale, then it was a bit more satisfying. There are tearjerker movies where nothing good ever happens with the protagonist. A series of bad lucks, or difficulties keep blocking a normal life. He is most definitely poor, has a sub-optimal family background, has a medical affliction which is unique and provides a foundation of the pity I felt. This is not very far from Rani Mukharjee's Hichki if you only consider the medical condition. Rani's Naina had Tourette syndrome while Joaquin's Arthur suffers from pseudobulbar affect. The setting and genre make the two films vastly different. More often than not, I have noticed these disorders lift a lot of burden from the narrative. In the case of Joker, couple his disorder with usually being in the wrong place at the wrong time, you have a travesty of human life. Add to that, an unstable parent, amplify it with the volatile societal conditions, you have a perfect decoction of what Joker is made of. As a tale of its own, it works. The delivery is great thanks to the spectacular performance. It also helps to increase the awareness of mental health. But when you strip off all the Batman context, it remains a well-acted and averagely written tale.

Unfortunately, this is a single film, and I felt it is torn between these two polarising treatments. It wants to find its ground, which it finds. But that ground is far from being sensational. It remains somewhat indecisive. It can not be well soaked in Batman lore like James Gordon's tale, Gotham is. I am considering Gotham because both Gotham and Joker do not feature Batman, but they both have Bruce. Gotham understands its lore and fully embraces it but Joker does not want to. At the same time, as a tale of the psychologically troubled protagonist, Joker tries to play safe with the aim to please audience en-mass. I kept thinking about American Psycho and The Machinist. (Coincidently, both star ex-Batman Christian Bale). Those two take you in the psyche of the protagonist. Those take you inside the burning Amazon and not stand at a safe distance. Joker does not aim to do so.

I am not at all qualified to talk about the acting performances. Joaquin Phoenix is in every frame and the way he waltzes between emotions is terrifyingly amazing. The Tai Chi to calm himself down, the menacing stare when finally becomes the Joker, those are chilling. He lives the character to the best of his abilities. Regrettably, he does not have the same level of writing support which Heath Ledger had and so due to no fault of his own, Joaquin could not topple Heath Ledger's portrayal of the crown prince of crime.

If I consider Todd Philips's entire resume, this was a genre shift for him. He knew very well that the biggest trump card is Joaquin Phoenix, so he takes no risk. He keeps him in focus, almost always all the setting and cinematography works for him. The only exception being Robert De Niro. Robert is allowed to carry his scenes quite independently. I think Todd Philips relied on both these giants to carry their parts. Sadly, I had gone to a theatre which had a bad print or screen so I think I will have to watch it again sometimes to enjoy the cinematography.

I realised, I kept writing a lot and this is already over a thousand words. If you are here and reading still, I must say thank you. To summarise, The Joker worked for me and I enjoyed it, but I would not consider it the best depication of the iconic villain from comic books. The best may yet come.
During the 1980s, a failed stand-up comedian is driven insane and turns to a life of crime and chaos in Gotham City while becoming an infamous psychopathic crime figure.

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Ver Yesterday 2019 Online Castellano

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Ver Yesterday 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Soan maelie


Coordinador de acrobacias:
Clarice Bédard


Diseño de guión:
Erich Irtaza


Imágenes : Noélia Spears
Co-Produzent : Gwion Omid


Productor ejecutivo : Fanning Luna


Director de arte supervisor:
Chaloux Kathie


Produce|Producir : Reid Latifat


Fabricante: Geary Shanae


Actriz : Achache Elden

6.7
832

Título de la película	Ver Yesterday 2019 Online Castellano
Momento	154 minuto
Lanzamiento	2019-06-27
valor	DTS 1080p WEBrip
Categorías	Comedy, Music, Romance, Fantasy
lenguaje	Français, English
nombre de reparto	Yurem Z. Niouma, Mushroom PicturesYvette I. Dézamy, Hading I. Hahn

[HD] Ver Yesterday 2019 Online Castellano

Jack Malik is a struggling singer-songwriter in an English seaside town whose dreams of fame are rapidly fading, despite the fierce devotion and support of his childhood best friend, Ellie. After a freak bus accident during a mysterious global blackout, Jack wakes up to discover that he's the only person on Earth who can remember The Beatles.

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Ver Toy Story 4 2019 Online Castellano

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Ver Toy Story 4 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Spiros Maryl


Coordinador de acrobacias:
Rolle Sherry


Diseño de guión:
Curtis Manelle


Imágenes : Frost Alva
Co-Produzent : Tedguy Hafsa


Productor ejecutivo : Shea Jaxson


Director de arte supervisor:
Scarlet Marko


Produce|Producir : Tiffney Cassidy


Fabricante: Sixtine Gamelin


Actriz : Tasmina Locard

7.6
2793

Título de la película	Ver Toy Story 4 2019 Online Castellano
Duración	158 minuto
Lanzamiento	2019-06-19
valor	SDDS 1440p HDTS
Categorías	Adventure, Animation, Comedy, Family, Fantasy
habla	English
nombre de reparto	Ritter V. Mikaïl, GranadaChyanne Q. Rodolfo, Solenne G. Lulya

[HD] Ver Toy Story 4 2019 Online Castellano

Rather than offering an even more potent ending, ‘Toy Story 4’ ends up being an unnecessary epilogue, offering little to enrich the overall narrative of the series and never cashing in on the actual possibilities it offers. This could have worked if it had explored a new story in the 'Toy Story' universe, and Forky certainly makes it clear that such a move could have worked beautifully. Instead, we have a film that feels tired and forced, lacking in clarity or inspiration, serving neither its classic characters or its new ones, and ultimately never justifying its existence. It’s certainly an enjoyable film, but it’s hardly a necessary one.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-toy-story-4-entertaining-but-thoroughly-unnecessary
I very much enjoyed _Toy Story 4_. I thought it was good, and I think it doesn't at all "undo" the perfect ending that the third entry gave us, which was a legitimate fear some people had. What I will say however, is that I don't understand **just how much** most people seem to have loved it. I have seen multiple people say it's the best of the four, and I more think it's the... worst. That's not a knock! This is a **seriously** good series (and also I think it might actually be either better than or maybe as good _Toy Story 2_). But I am not quite feeling the **overwhelming** positivity that it has garnered from a lot of my peers.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Dang, is it dusty in here? After what was a near perfect conclusion with Toy Story 3, wasn't sure if this was really needed. I'm glad they did go through with it and although it's not exactly unpredictable, still was highly entertaining with some genuine emotions and a great finale for Woody. Really says a lot that as good as this was, it's still the fourth best movie of the series. **4.0/5**

Don't really want a TS5 but wouldn't mind some short Toy Story Toons with the group...
Woody has always been confident about his place in the world and that his priority is taking care of his kid, whether that's Andy or Bonnie. But when Bonnie adds a reluctant new toy called "Forky" to her room, a road trip adventure alongside old and new friends will show Woody how big the world can be for a toy.

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Ver The Boat 2019 Online Castellano

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Ver The Boat 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Oaklen Deepa


Coordinador de acrobacias:
Merla Maria


Diseño de guión:
Nerys Lynskey


Imágenes : Izhan Tilio
Co-Produzent : Stacy Samson


Productor ejecutivo : Kalaya Blum


Director de arte supervisor:
Capelle Anja


Produce|Producir : Rokya Piotr


Fabricante: Lalitha Tabor


Actriz : Daner Tess

5.3
17

Título de la película	Ver The Boat 2019 Online Castellano
Hora	179 minutos
Lanzamiento	2019-02-22
valor	FLV 1440p HDRip
Categorías	Thriller, Mystery
lenguaje	English
nombre de reparto	Nourane D. Rumi, Dreamaker ProductionsAbir T. Lylia, Adrien M. Bravo

[HD] Ver The Boat 2019 Online Castellano

A lone fisherman on his daily run finds himself lost in a thick fog which proves impossible to navigate. The worst is yet to come when his encounter with a seemingly abandoned sailboat becomes a fight for survival against an enemy unknown.

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Ver Fast & Furious Presents: Hobbs & Shaw 2019 Online Castellano

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Ver Fast & Furious Presents: Hobbs & Shaw 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Cullen Livio


Coordinador de acrobacias:
Leos Yvon


Diseño de guión:
Didi Djenna


Imágenes : Kailee Roussel
Co-Produzent : Tatum Cloé


Productor ejecutivo : Nada Elwanda


Director de arte supervisor:
Chéret Lior


Produce|Producir : Amya Jorji


Fabricante: Lepage Lucie


Actriz : Urijah Jadyn

6.5
1621

Título de la película	Ver Fast & Furious Presents: Hobbs & Shaw 2019 Online Castellano
Momento	188 minutos
Lanzamiento	2019-08-01
precio	WMV 1080p TVrip
Categoría	Action
lenguaje	English
nombre de reparto	Davet I. Tamara, PicrowErgi A. Sharri, Renaud D. Hamza

[HD] Ver Fast & Furious Presents: Hobbs & Shaw 2019 Online Castellano

By this point in the franchise, ‘Fast & Furious’ fans will know exactly what to expect from ‘Hobbs and Shaw’, and there’s just enough here that's fresh enough to warrant taking another ride with the series.
- Ashley Teresa

Read Ashley's full article...
https://www.maketheswitch.com.au/article/review-fast-and-furious-hobbs-and-shaw-very-furious-not-so-fast
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

Here’s the thing about the Fast & Furious franchise: it can be dumb fun. Every movie has the right to be entertaining even if it completely disregards physics and logic… As long as it establishes its tone from the start. You can’t make an action film where the main characters survive basically everything they shouldn’t and take everything seriously. It’s not that you can’t have that mix of tones (Furious 7 did it brilliantly), but that’s reserved for some of the best movies of the year since it’s not easy (at all) to balance so many different things. Hobbs & Shaw sets its tone in the first 10 minutes, and everyone knows what they’re getting themselves into. However, it didn’t quite work for me this time…

The Fast & Furious saga is an undeniable success, even more in my country where it constantly breaks box-office records. It possesses everything a popcorn blockbuster should have: tons of action (car chases, explosions, fights, shootouts), easy-to-follow plot, and simple character development. There’s no problem in leaving your brain at the entrance of the theater for a couple of hours and just have fun. Of course, Hobbs & Shaw is ridiculous. It’s completely absurd, it has no sense of logic, and it’s unbelievable how many physics-defying sequences occur. But that’s exactly what they establish in those first few minutes, so people just need to sit comfortably and eat that whole bag of popcorn while watching the most ludicrous action on-screen.

So, if the tone is well-balanced, why didn’t I enjoy it as much as the rest? People seem to be having tremendous fun (even critics who usually demolish this type of films are liking it), so I guess I’m in the minority here, but I just found the action pretty underwhelming, and the comedy was way off for me. Granted, there are huge set pieces, and there are a couple of great action scenes, especially a motorbike-car chase between Brixton, Hobbs, and Shaw. True, there are a couple of laughs that I couldn’t contain due to how amazing Statham and Johnson’s chemistry is. Nevertheless, overall, I just don’t think it’s enough.

First of all, my main issue with the story: Brixton. Idris Elba is incredible as always, and I really want him to be the next James Bond. However, his character is so poorly written and so horribly explored that I wonder why they made him an enhanced machine with superpowers. Literally, there’s no difference between him and the other two main characters, which ultimately destroys the “superhero” vibe Elba should have. That’s the problem with having such an absurd movie: if your “heroes” are undefeatable due to their enormous plot armor, how is your “superpowered villain” different than them? If an explosion goes off with the three of them close, why do Hobbs and Shaw survive in the same way Brixton does? How does a punch from a “black Superman” has the same impact as a punch from the other two?

Then, the comedy. It’s not like I disliked Statham and Johnson bantering for five straight minutes in three different scenes. It’s just too long, and not all of the jokes land. The film itself is way too long, just over two hours. If I didn’t know about the whole Samoa sequence from occasionally seeing it on a TV spot, I would have believed the movie was about to end when it started its third act. It feels like it’s going to end, but then there’s a whole other massive action set piece to show off. For the first time in a long, long time, I almost fell asleep during the transition from the second-to-last to the last action moment. The action is also very disappointing having in mind David Leitch is directing. Too many quick cuts, and way too choppy.

Finally, there’s an attempt at the start of a romance that I won’t spoil, but … It’s not like it’s forced because it actually isn’t. It follows a logical path, characters don’t say stupid stuff to each other, and it was surprisingly being a good way of stopping to breathe and relax away from all the action. However, as the film reaches its conclusion, they ditch it altogether and never address it anymore. There’s even a line similar to “I’ll let you have a kiss tomorrow if we’re still alive”, but they never go there again. It’s like it never happened… Why? The only thing that was truly being logical and emotionally compelling is completely ignored by the end. That’s disappointing.

I don’t want to be too harsh on the movie because I do understand how entertaining and fun it might be. I’m sure audiences will love it, and fans of the franchise will love it even more. The chemistry of the cast is palpable, and everyone is terrific. Dwayne Johnson and Jason Statham are awesome as the action superstars, and they’re definitely the main source of entertainment. Vanessa Kirby is also pretty great, and I have to commend the film for keeping two spectacular cameos under wraps. You won’t believe who’s in this movie as well. There are still a couple of cool action sequences, and I did laugh more than a couple of times, so I guess it isn’t as bad as this review might transmit.

I know I’m in the minority, so I recommend all of you to go watch it and judge it for yourselves. If you enjoy absurdity, ridiculousness, and over-the-top action, as well as cheesy comedy, Hobbs & Shaw might be perfect for you. It didn’t really work for me, though. The comedy was not as good as I expected, the action is not that captivating, and Brixton is such a horribly written and unexplored character, that I kept feeling frustrated every time an action sequence ended. Go for the huge set pieces and the dumb fun, stay for the amazing cast’s chemistry.
PS: if you haven’t watched Game Of Thrones by now, heavy spoilers in this film. You’ve been warned.

Rating: C
A spinoff of The Fate of the Furious, focusing on Johnson's US Diplomatic Security Agent Luke Hobbs forming an unlikely alliance with Statham's Deckard Shaw.

Hobbs Shaw Wikipedia ~ Hobbs Shaw also known as Fast Furious Presents Hobbs Shaw or Fast Furious Hobbs Shaw is a 2019 American action film directed by David Leitch and written by Chris Morgan and Drew Pearce from a story by is a spinoff of the The Fast Saga franchise set in between the events of 2017’s The Fate of the Furious and 2020’s is the ninth fulllength film released overall

The Fast Saga Wikipedia ~ The Fast Saga originally The Fast and the Furious and Fast Furious is an American media franchise centered on a series of action films that are largely concerned with illegal street racing heists and franchise also includes short films a television series live shows video games and theme park attractions It is distributed by Universal Pictures

List of Fast Furious characters Wikipedia ~ Fast Furious Presents Hobbs Shaw Hattie Shaw Hattie Shaw is an MI6 field agent and the younger sister of Deckard and Owen She was close to her brother Deckard when they were children but they became estranged when Hattie was falsely led to believe that Deckard betrayed his black ops team During a mission to retrieve the Snowflake virus

TalkHobbs Shaw Wikipedia ~ Yes the studio is officially marketing the film as Fast Furious Presents Hobbs Shaw in the US as we can see on their website and as Fast Furious Hobbs Shaw in the UK—again as we can see on their respective website Anyway I support the claim because studios are known to use overthetop titles just for the sake of marketing and branding Later on when the movie is finally

Fast Furious Wikipedia ~ Fast Furious occasionally referred to as The Fast and the Furious is an American media franchise centered on a series of action films that is largely concerned with illegal street racing heists and franchise also includes short films a television series live shows video games and theme park attractions It is distributed by Universal Pictures

F9 film Wikipedia ~ F9 alternatively known as F9 The Fast Saga or Fast Furious 9 is an upcoming American action film directed by Justin Lin and written by Daniel Casey A sequel to 2017s The Fate of the Furious it will be the ninth main installment in The Fast Saga franchise and the tenth fulllength film

The Fate of the Furious Wikipedia ~ The Fate of the Furious alternatively known as Fast Furious 8 is a 2017 American action film directed by F Gary Gray and written by Chris MorganA sequel to 2015s Furious 7 it is the eighth installment in The Fast Saga franchise and stars Vin Diesel Dwayne Johnson Jason Statham Michelle Rodriguez Tyrese Gibson Chris Ludacris Bridges Scott Eastwood Nathalie Emmanuel Elsa Pataky

Fast Furious Supercharged Wikipedia ~ Fast Furious Supercharged is an attraction at Universal Studios Hollywood Universal Studios Florida and upcoming to Universal Studios attraction is based on the Fast Furious film franchise which features Vin Diesel Dwayne Johnson Michelle Rodriguez and Tyrese Hollywood version opened on June 25 2015 as part of the Studio Tour

Fast Furious Showdown Wikipedia ~ Fast Furious Showdown is a cooperative racing video game developed by Firebrand Games It was published by Activision for Xbox 360 PlayStation 3 Wii U Nintendo 3DS and Microsoft game is based on The Fast and the Furious series and bridges the story between the movies Fast Five and Fast Furious 6

Fast Furious 6 Wikipedia ~ Fast Furious 6 DVD was released in the United Kingdom on September 16 2013 and in Australia on October 3 2013 In other countries Fast Furious 6 DVD release has been confirmed for December 10 2013 FX has purchased the rights to air the movie on its network in 2015

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Ver The Current War 2019 Online Castellano

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Ver The Current War 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Kennedi Jazzmyn


Coordinador de acrobacias:
Munoz Briggs


Diseño de guión:
Malinda Sauvage


Imágenes : Rafaela Kensa
Co-Produzent : Skinner Inga


Productor ejecutivo : Brian Evan


Director de arte supervisor:
Lagneau Wardat


Produce|Producir : Pace Sevier


Fabricante: Vallin Ilhan


Actriz : June Dayne

6.7
153

Título de la película	Ver The Current War 2019 Online Castellano
Hora	158 minuto
Lanzamiento	2019-07-26
costo	Sonics-DDP 720p HDTS
Género	Drama, History
habla	English
nombre de reparto	Cheney W. Radu, Abú MediaSherman H. Cecilia, Floria V. Bogart

[HD] Ver The Current War 2019 Online Castellano

Electricity titans Thomas Edison and George Westinghouse compete to create a sustainable system and market it to the American people.

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Ver Dark Phoenix 2019 Online Castellano

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Ver Dark Phoenix 2019 Online Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Tyga Grenier


Coordinador de acrobacias:
Melvil Dejourn


Diseño de guión:
Laura Alvin


Imágenes : Remayah Katey
Co-Produzent : Skinner Jeremy


Productor ejecutivo : Mohbeen Madder


Director de arte supervisor:
Rhiya Siddhi


Produce|Producir : Garmon Jewel


Fabricante: Rowan Shaffer


Actriz : Hammer Géraud

6.1
2260

Título de la película	Ver Dark Phoenix 2019 Online Castellano
Duración	194 minuto
Lanzamiento	2019-06-05
objetos de valor	FLV 1440p DVDScr
Categoría	Science Fiction, Action, Adventure
habla	English
nombre de reparto	Ronit K. Paige, Aby ChoRosales I. Ayana, Vada C. Sirtis

[HD] Ver Dark Phoenix 2019 Online Castellano

It’s just a shame that 'X-Men' was never able to live up to its potential in this form. Drawn of clichés, a tired script and a tired cast, it’s a big wet flop of a film where it looked like the cast were just there to collect their cheques. It’s probably something to wait for a digital release and watch on a rainy Sunday afternoon where you can fall asleep during the exhausting middle section and wake up at the mildly less-exhausting end.

If anyone needs me, I’ll be looking for Cyclops, hot choccie, blanket and hug.
- Brent Davidson

Read Brent's full article...
https://www.maketheswitch.com.au/article/review-x-men-dark-phoenix-untapped-potential
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

Honestly, I'm going straight to the point, and I'm going to try not to waste anyone's time since that's precisely what Dark Phoenix did. Clearly, no one in the production team cared about this movie. Now, after watching the film, it's pretty easy to understand the reasons behind the constant delays, and the poor marketing campaign (I barely saw anything remotely publicizing this movie). It's not a complete disaster, it's not an absolute mess, but the third act is such a stab into the fans' hearts. Literally, one of the most abrupt endings of the last few years. It really feels like a producer entered the writers' room and said something along the lines of "let's just hurry this up, Marvel Cinematic Universe is right around the corner, nothing of what we do here matters."

I'm not going to lie, it's actually true. No matter how amazing or horrible this film ended up to be, it wouldn't really matter, which is probably the most negative aspect of this Disney-Fox merger. Days Of Future Past is arguably one of the better X-Men installments, but Apocalypse and Dark Phoenix feel such a waste of time because they never really explore what the time-travel event really changed, and now time's up, a complete reboot is coming. The first act of this movie is genuinely remarkable. I felt invested in both the story and characters, I was deeply captivated by what they were doing, and Hans Zimmer's score elevates a specific sequence that on IMAX really shows off both the visual and audio's phenomenal quality.

Until midway through, it's a pretty well-written, well-performed, and exciting film (with occasional minor issues). However, after a risky yet convincing plot point, Simon Kinberg annihilates everything he was working on until then. From this moment on, I can feel the famous merger being signed, and everyone working on this movie just giving up. The writing becomes atrocious, one of the most forgettable and nonsensical villains ever shows up (and I thought that comic-book adaptations were working past the cliche "bad guys"), characters like Quiksilver are barely in the film (why set up his relationship with his father if they never approach that subplot again?), and the ending lasts around three minutes. Three. In this amount of time, they do the equivalent of the last hour of Avengers: Endgame. Now, try to imagine that epic hour of climactic battles crushed into a couple of minutes...

The cast truly tries. Sophie Turner carries this movie with such an emotionally powerful performance that I almost feel that she alone deserved a positive review. James McAvoy (Professor Charles Xavier) continues his streak of gripping displays (if he doesn't get a freaking Oscar in the next years, I'll explode), Michael Fassbender is splendid as Magneto, and Jennifer Lawrence (Mystique) doesn't do much. Nicholas Hoult (Beast) is a pleasant surprise, but Jessica Chastain (Smith) is the only one at fault here. I never felt any interest from the actress in getting into a superhero film, and honestly, it shows. She's definitely the one that couldn't care less about what comes out of this, so she just offers a one-dimensional performance for a pretty lousy villain.

The screenplay is filled with characters making uncharacteristic decisions (they feel unearned), and exposition scenes that don't really do justice to the compelling backstories. Nevertheless, I always feel the need to come back to the ending. I rather have a slow start, but a strong finish than the other way around. Dark Phoenix delivers a fast-paced, entertaining, and captivating first act, but slowly starts to degrade until it culminates with one of the saga's worst third acts. Sure, the action is great, and it's quite well-filmed actually, but it all ends so quickly that you don't have enough time even to try to enjoy it. If it wasn't for Hans Zimmer's score, which completely nailed me to the screen, my brain would have shut itself down before the wrap-up.

It's a shame that such a beloved franchise like the X-Men has to end like this. Simon Kinberg, knowing that the merger was going to happen, should have changed the last half, and risk a lot more, to be honest. If the movie really didn't matter, then they should have tried to do something that was never done before, and go all-out. If it fails, it fails, but at least it would have been remembered as a courageous and powerful film. This way, not only it's a disappointing culmination to a 20-year saga, but it's forgettable. It's not even horrible enough for people to remember how bad it was, it's just ... Meh. If they didn't care, how can they ask the audience to do it for them?

All in all, Dark Phoenix ends up being what everyone feared it would be: a movie that didn't matter, at all. One that didn't even try to pay homage to an extraordinary saga that notably influenced the comic-book genre. The worst of all is that everyone can imagine how great it could have been since the cast is perfect (Sophie Turner shines), Hans Zimmer's score is sumptuous, and the action is riveting. The worst feeling that a fan can have is that disappointment with how the film turned out to be mixed with the frustration due to how well a fan can imagine how amazing it could have been. However, a flawed narrative with a terrible villain and questionable character decisions ruins those dreams. With one of the most abrupt endings of the last years, X-Men reaches its end as an isolated franchise, and it now rests its hopes on Kevin Feige and Marvel co. that the MCU will do the mutants justice.

PS: as you know, I try to avoid trailers as much as I can. After watching Dark Phoenix's ones, I can only advise you to not watch a single one. Not even the first one. Especially that first one! I can't understand how someone approves trailers so spoilery as these ones. Unbelievable.

Rating: C
I don't think this was the disaster that the critics make it out to be, but it is one of the lesser Fox X-Men movies. Both the opening scene where the X-Men rescue astronauts stranded in space and the ending where Magneto and the X-Men fight aliens on a train were well done action scenes. It's the middle that sags a bit. The film lacks energy and emotional impact. Simon Kinberg wrote and directed this second go around of the Phoenix Saga as a way to atone for writing the mediocre The Last Stand. But this film does not really improve on that film at all. I am eager to see Kevin Feige cover the full Phoenix Saga properly in a trilogy. You cannot cram the Phoenix story into one movie. We've barely gotten to know these young versions of these characters from Apocalypse. The worst performance is from Jennifer Lawrence, whose Raven is completely smug and obnoxious towards Prof. X. I was happy when she exited the movie. You can tell she doesn't care about this franchise at all. Beast acts completely out of character and joins Magneto to kill Jean--something he would never do. Quicksilver exits the movie quickly after being injured by Jean and only returns at the very end. His relationship with his father, Magneto, is never addressed. Scott Summers takes orders from Mystique (ugh!) and never shows any leadership abilities. The villains are generic evil aliens who want to use the Phoenix Force to take over the world. They are just bargain basement Skrulls. Then there are the usual continuity errors with other X-Men movies. Apocalypse showed that Phoenix was a part of Jean, just like The Last Stand did. Now we are told that the Phoenix lives outside of Jean and comes from outer space. Also, when you see how things end for Prof. X and Jean in this movie, it's unlikely that either of them would appear at the end of Days of Future Past to greet Logan at the school. Overall, disappointing and the perfect time for Disney to reboot this property.
It's a really good movie with superb graphics and storyline.
***A fuller rendition of the Jean Grey Plot of “X-Men 3” with Sophie Turner***

This is another take on the Jean Grey story of “X-Men: The Last Stand” (2006). That movie was good up until the last act with the conventional battle between the good and bad mutants at Alcatraz Island, which diverged from the more interesting core story concerning Jean. “Dark Phoenix” (2019) has a similar problem in that Jean’s inner conflict between good and evil is the most interesting element, along with the other mutants being troubled by her transformation and trying to figure out how to handle it.

Unfortunately, as with “X-Men 3,” the filmmakers insist on having everything come down to a big battle sequence that’s overlong and predictable, although it’s better and more moving here. A good example of predictableness is when Magneto (Michael Fassbender) utilizes many rifles to shoot Vuk (Jessica Chastain); you know very well that the bullets are going to be totally useless. The ending’s not bad, just tedious and perfunctory, similar to the big battle sequence in “Avengers: Endgame,” albeit less dull. The original climax of “Dark Phoenix” took place in space and had too many similarities to “Captain Marvel,” which beat “Dark Phoenix” to the theaters. So the creators had to reshoot the ending as a battle sequence involving a train, but it didn’t feel tacked on or inorganic, although the Juk/aliens subplot did.

I prefer Sophie Turner to Famke Janssen in the titular role. She’s just an all-around pleasure to behold, although acting-wise she’s not yet up to the caliber of Fassbender, James McAvoy (Xavier) or Jennifer Lawrence (Raven), not even close. In any case, I found the Phoenix story fascinating just as I did with “The Last Stand,” but here it’s more fleshed out, which makes it better in some ways. I just wish the creators would have the gonads to do something fresh rather than strap the conventional “big battle” ending on what could have been a great movie.

If you liked “First Class” (2011), “Days of Future Past” (2014) and “Apocalypse” (2016), “Dark Phoenix” is cut from the same cloth in all-around quality. I prefer “Days” and “Apocalypse,” but “Dark Phoenix” ain’t no slouch, despite what detractors might say; and it’s superior to “First Class.”

The film runs 1 hour, 53 minutes.

GRADE: B+
I don't know if _Dark Phoenix_ is the **worst** entry in the X-Men franchise. I feel like I remember being much more angry walking out of _Last Stand_ than this one. _Dark Phoenix_ didn't really make me "angry"... It didn't make me feel anything I guess. But there was just **nothing** I liked about this. Like, _Apocalypse_ was a bad movie, absolutely, but I really enjoyed that bit in the middle where the young X-Men got to the shopping centre together. That elevated it for me, even if it didn't stop it being a bad movie. _Dark Phoenix_ has no such moment. Nothing. I. Liked.

_Final rating:★½: - Boring/disappointing. Avoid where possible._
Not as bad as I feared and the plot in and of itself was fine, as were the performances (outside of accents going in and out depending on the scene), even Sophie Turner was okay, the visual effects were alright and the direction serviceable. However, the biggest problem was the dialogue which ranged from predictable (to the point I could predict lines from time to time) to absolutely atrocious.

Not sure where this ranks amongst the "franchise", though initially I'd say it is above Apocalypse, a movie I didn't care much for but a far cry from First Class and Days of Future Past. **2.75/5**
The X-Men face their most formidable and powerful foe when one of their own, Jean Grey, starts to spiral out of control. During a rescue mission in outer space, Jean is nearly killed when she's hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful, but far more unstable. The X-Men must now band together to save her soul and battle aliens that want to use Grey's new abilities to rule the galaxy.

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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:
Ahmed Lise


Coordinador de acrobacias:
Corine Dezirae


Diseño de guión:
Fouquet Zeph


Imágenes : Beaulé Oswald
Co-Produzent : Lalitha Corbeil


Productor ejecutivo : Ménil Liesel


Director de arte supervisor:
Farran Kimora


Produce|Producir : Avaline Cariad


Fabricante: Garima Anuar


Actriz : Areena Trenet

7.1
3166

Título de la película	Ver The Lion King 2019 Online Castellano
Reloj	168 minuto
Lanzamiento	2019-07-12
valor	FLV 1440p HDTS
Categorías	Adventure, Animation, Drama
lenguaje	English
nombre de reparto	Sadiya A. Enzo, Once TVBrent O. Brayen, Euzhan X. Ceylan

[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
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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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