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Friday, January 31, 2020

Toy Story 3 2010 Full Movie Download

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103 Minutes | Animation, Family, Comedy | 2010-06-16


Toy Story 3


📥 Toy Story 3 2010
📥 DOWNLOAD HERE



Great for the kids!
Just like any other Pixar movies, Toy Story 3 was great. The story flowed really well with the two Toy Story movies. And just like the two other movies, it was funny, has a lot of action and adventure, and it was really touching.


I guess at some point, everyone was able to relate to the story. That's why it's so great. It's great for young children and really great for adults. It's a good ending for the Toy Story movies.


My rate for this movie is A.
When I first watched this nearly a decade ago in the cinema, I believe it was (and still is) the only movie I've ever watched in 3D that I've enjoyed. I was worried that it was that great theatrical experience I'd had that coloured my opinion of _Toy Story 3_ so positively, and that it wouldn't hold up to any further scutiny. But I gotta say, on re-watch? It **absolutely** holds up. In my opinion, **strong** contender for best work Pixar's ever put out.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
Just an all around wonderful and poignant sequel that surpasses the others. Great seeing the gang working together and the voice casting was, once again, perfect. While Toy Story 4 was good, this served as a great finale. **5.0/5**
I don't love 'Toy Story 3' as much as its two predecessors. That doesn't mean that it isn't anything other than great though.

I enjoy the bountiful humour and intriguing plot, while the newly-introduced toys are very good. If I had to nitpick, I don't massively like Lotso, who kinda feels to me like a slight copy of The Prospector from the 1999 sequel - with the difference here being he's the ultimate antagonist, perhaps too villainous for my own personal taste. As I said though, just a tiny criticism in the grand scheme of these productions.

Tom Hanks remains on top form as Woody, as do all the others including Buzz Lightyear (Tim Allen) and Jessie (Joan Cusack). Ned Beatty does a terrific job as Lotso, while Barbie and Ken are brought to life well by Jodi Benson and Michael Keaton.

Once again there are some excellent scenes, with the ending also being entertaining just like in 'Toy Story 2'. There's also a lot of heart in the concluding scene. I'm surprised they did a fourth time, even if I do agree it's still a very good new instalment.

Pixar and Disney keep up a pretty remarkable high quality, even in the third film of the franchise. I will never tire watching these.



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Wild Tales 2014 Watch Movies Online

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125 Minutes | Drama, Thriller, Comedy | 2014-08-21


Wild Tales


📥 Wild Tales 2014
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Thursday, January 30, 2020

GoodFellas 1990 Movies Online Stream

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145 Minutes | Drama, Crime | 1990-09-12


GoodFellas


📥 GoodFellas 1990
📥 DOWNLOAD HERE



In a world that's powered by violence, on the streets where the violent have power, a new generation carries on an old tradition.

Martin Scorsese’s Goodfellas is without question one of the finest gangster movies ever made, a benchmark even. It’s that rare occasion for a genre film of this type where everything artistically comes together as one. Direction, script, editing, photography, driving soundtrack and crucially an ensemble cast firing on all cylinders. It’s grade “A” film making that marked a return to form for Scorsese whilst simultaneously showing the director at the summit of his directing abilities.

The story itself, based on Nicholas Pileggi’s non-fiction book Wiseguy, pulls absolutely no punches in its stark realisation of the Mafia lifestyle. It’s often brutal, yet funny, unflinching yet stylish, but ultimately from first frame to last it holds the attention, toying with all the human emotions during the journey, tingling the senses of those who were by 1990 fed up of popcorn movie fodder.

It’s not romanticism here, if anything it’s a debunking of the Mafia myth, but even as the blood flows and the dialogue crackles with electricity, it always remains icy cool, brought to us by a man who had is eyes and ears open while growing up in Queens, New York in the 40s and 50s. Eccellente! 9/10



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Monster Problems 2021 Online Full HD Movies

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| Adventure | 2021-02-12


Monster Problems


📥 Monster Problems 2021
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The Big Lebowski 1998 Movies Online Stream

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117 Minutes | Comedy, Crime | 1998-03-06


The Big Lebowski


📥 The Big Lebowski 1998
📥 DOWNLOAD HERE





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Wednesday, January 29, 2020

Star Wars 1977 Full Movie Download

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121 Minutes | Adventure, Action, Science Fiction | 1977-05-25


Star Wars


📥 Star Wars 1977
📥 DOWNLOAD HERE



(As I'm writing this review, Darth Vader's theme music begins to build in my mind...)

Well, it actually has a title, what the Darth Vader theme. And that title is "The Imperial March", composed by the great John Williams, whom, as many of you may already know, also composed the theme music for "Jaws" - that legendary score simply titled, "Main Title (Theme From Jaws)".

Now, with that lil' bit of trivia aside, let us procede with the fabled film currently under review: Star Wars. It had been at a drive-in theater in some small Illinois town or other where my mother, my older brother, and I had spent our weekly "Movie Date Night" watching this George Lucas directed cult masterpiece from our car in the parking lot. On the huge outdoor screen, the film appeared to be a silent one, but thanks to an old wire-attached speaker, we were able to hear both the character dialogue and soundtrack loud and clear. We even had ourselves a carful of vittles and snacks - walked back to our vehicle, of course, from the wide-opened cinema's briefly distant concession stand. Indeed, it had been a lovely summer evening that July.

From the time the film started, with my brother and I following along as our mother sped-read the opening crawl, I began to feel rather antsy, thinking that this movie, the first in a franchise that would soon be world-renowned, was going to be boring, due to its genre being Science Fiction: A respectably likable, but not a passionately lovable genre of mine DURING THAT TIME. I just didn't believe I was going to like Star Wars all that much ... But I soon found myself intrigued ... And awed.

George Lucas is a man with a phenomenal, and I do mean phenomenal imagination. Apart from his human characters (Han, Luke, Leia, and Obi-Wan Kenobi, among others), the droids: C-3P0, R2-D2, R2-series, and IG-88, not to mention those unusual characters like Jabba the Hutt, Yoda, and Chewbacca, just to name a few, are all creations of Lucas's phenomenal imagination. And I was completely in awe of each one of these strange beings. Then there was Vader ... And the evil Emperor ... And the Stormtroopers ... And the Spacecraft ... And the galaxies (I'll admit that I am a huge lover of the Universe in all its Celestial glory) ... And the magnificent planets ... The Lightsabers ... And so on. Star Wars is a gorgeously shot space opera; it is truly an epic masterpiece. We enjoyed this film tremendously. And my brother was a die-hard fan from that night onward. He, my brother, had even received for Christmas that year, nearly every Star Wars action figure that my mother could find, including two of the spacecraft: The Millennium Falcon and Star Destroyer. The Death Star space station had too been wrapped beneath our Christmas tree - tagged with his name. It was totally crazy, what the new Star Wars era. Frenzied! But it was great ... Even still, to this day.

I don't personally know anyone whom has yet to see Star Wars, but that certainly doesn't suggest there are still a few people out there who haven't. And if you're one of the latter, then you should know that this classic space opera comes highly recommended. The entire series is told backwards, so you'll definitely want to see Star Wars first, followed by its two sequels: The Empire Strikes Back and Return of the Jedi ... In that order. I trust that you'll too discover yourself to be a lifelong cult fan in the wake. 😊
A long time ago in a childhood not too far away...

Princess Leia is captured and held hostage by the Imperial Army as it seeks to rule the Galactic Empire. An old Jedi Knight by the name of Ben "Obi-Wan" Kenobi may just be hers, and the rebels only hope. Teaming up with farm boy Luke Skywalker, scoundrel Captain Han Solo, and a couple of quirky droids, Kenobi sets off on a mission that could well shape the destiny of the Galaxy, and all who dwell within it.

Back in 1977 I was but a wee 11 year old boy, weened on films from all genres by my movie loving parents, I had no idea that Star Wars was to have the same impact on me as Jaws had two summers previously, where yet again I found myself queueing around the block for two whole hours to see a film in a one screen theatre. My love of cinema firmly cemented, Star Wars was the start of a love affair that lasts to this very day.

As the years have rolled by and my love of cinema has taken on more in-depth and serious tones, I have come to realise that Star Wars proves to be a far from flawless picture. Certainly its detractors do point to some frayed acting and call the plot structure a jazzed up good versus evil axis, while the charge of George Lucas referencing many prior pictures most assuredly stands, but really do those things matter? No they do not, because Star Wars opened up a new world of cinema, something of a portal to youngsters such as I, it got people talking and debating about the merits of model work in films (which is of an extraordinary high standard here), it nudged film makers to explore being bigger and bolder in their approach, and crucially, above all else, it got film goers hungry again, a hankering for more please if you may. Now it has to be said that all that followed 20th Century Fox's historic blockbuster didn't run with the baton, in fact most pale into comparison on impact value, but for better or worse (depending on the discerning viewers peccadilloes), Star Wars stands as a bastion of adventure laden entertainment.

It is by definition one of the most successful films in history, George Lucas perhaps didn't know it at the time, but in what was to become an almost operatic anthology, he didn't just make a movie, he created a whole new world seeping with style and rich texture. Almost as amazing as the success of the series, is how it has become part of modern day pop culture, anything from religion to everyday speak has at some time or another referenced Lucas' baby. Ultimately, though, it's one single thing that made (and still does make) Star Wars so great, it's that it has the ability to lift the audience into a rousing united feel good cheer; and that is something that few films can ever lay claim too. In 1977 it was an awe inspiring event to watch in the theatre, now here in my middle age it's an event that is like hugging a dear old friend, a friend that I know will never ever let me down no matter how many times I turn to it. 10/10
Star Wars (1977) is a true masterpiece of cinema, and is
definitely one of the best films ever made.

For me Star Wars (1977) is the best movie of all time,tied with The Lord of the Rings trilogy. Star Wars (1977) it is for sure the most iconic film of all time everything in it is iconic. The direction, the script, the performances in this film are brilliant, all the characters are captivating and well developed.

Anyway, this is a totally perfect film, I only have praise for it, it is certainly a masterpiece of cinema, and my grade for it is 10\10.



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Tuesday, January 28, 2020

2 Hearts 2020 Movies Online Free Websites

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| Drama | 2020-10-16


2 Hearts


📥 2 Hearts 2020
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Witness for the Prosecution 1957 Full Movie Download

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116 Minutes | Drama, Mystery, Crime | 1957-12-17


Witness for the Prosecution


📥 Witness for the Prosecution 1957
📥 DOWNLOAD HERE



Great thriller with superb classical interpretations. The plot moves sometimes too lazily.
**Why don't they make THESE movies anymore?**

Apart from being a **GREAT** courtroom drama_(which some people don't think this movie is)_, this movie is so much **FUN** and **ENTERTAINING** to watch.Especially because of the characters of _Charles Laughton_ and _Elsa Lanchester_. But _Tyrone Power_ and _Marlene Dietrich_ were convincing too in their portrayal of an _innocent, afraid for his life man and a disloyal, unloving, poker faced wife_ respectively.

Some people might say that they predicted the ending half way down the movie but i am not quite sure as to how they predicted the **ACTUAL ENDING** before it really unfolded before their eyes?

This movie is great not only in the part played in court but also in the scenes shot in _Sir Wilfrid Robarts's_ office(also due to _Miss Plimsoll's caringly lovably irritating character!_).

Perhaps the people(the minority I'd like to believe) who don't think this movie deserves the high ranking and rating that it's got saw this brilliant piece of art as more of a suspense thriller.But I loved this movie as a delightfully ENTERTAINING, MYSTERIOUS, DRAMA !

I rate this 10 just because I haven't seen any other CLASSIC courtroom drama that was intense throughout(barring some light hearted scenes with Sir Wilfrid Robarts) and yet in the end I somehow felt light-hearted and had a smile on my face rather than a thought provoking look on it.

The commentary in the ending credits was innocently adorable for our times of social networking _"The management of this theater suggests that for the greater entertainment of your friends who have not yet seen the picture you will not divulge to anyone the secret of the ending of Witness for the Prosecution!"_

And mind you I am a _big fan of 12 Angry Men and How to Kill a Mockingbird!_ But this movie too is equally good in a different way altogether!
I'm constantly surprised that women's hats don't provoke more murders.

Leonard Steven Vole finds himself on trial for the murder of a wealthy widow from whom he has inherited a fortune. Top barrister Sir Wilfrid Robarts takes up the defendants case, but he, along with everyone else, is stunned when Vole's seemingly loving wife Christine turns up to testify against the defendant.

Based on Agatha Christie's successful 1953 play, "Witness For The Prosecution" benefited from fine tuning from master director Billy Wilder and writing partner Harry Kurnitz. Here the dialogue becomes razor sharp and the characters are fully realised with quite wonderful results, but chiefly the masterstroke here is not letting a court room drama become just that, a court room drama. The film plays out with no wasted scenes, no moments of boredom, and it has such vim and vigour you sometimes forget that there actually is drama in the story.

The cast here are on fine form, Wilder had wanted to work with Charles Laughton for some time, and it's obvious that both parties here are getting the best out of each other. Laughton is a pure delight as Robarts, a sharp tongue, all bluster and cheeky into the bargain, his interplay with Miss Plimsoll (Laughton's real life wife Elsa Lanchester) is quality, and it's another testament to Wilder's genius for putting them together. Tyrone Power, in what would be his last completed film before sadly passing away, is devilishly smart as Vole, whilst Torin Thatcher is great as the gruff prosecution barrister Myers. Yet as good as they all are, they all sit in the shadow of Marlene Dietrich and her turn as Christine Vole, sultry and femme fatalistic, it's a sizzling performance that crowns this delightful film.

It occurred to me overnight that it's probably the closest film that Wilder got to being Hitchcockian, and I'm pretty sure the big master of suspense himself would have enjoyed this one. It's a mystery that is dramatic, it's a thriller that is also funny, it's pretty much a multi genre classic. 9/10



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Capernaum 2018 Full Movie Download

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126 Minutes | Drama | 2018-10-06


Capernaum


📥 Capernaum 2018
📥 DOWNLOAD HERE



**_I wouldn't call it entertaining per se, but it's certainly provocative_**

>_I saw kids who are so neglected, so abused that there's nothing anymore in their eyes. These children don't laugh, don't cry, and don't play. If you put a toy in front of them, they don't touch it. They are just numb. There's no more childhood in their eyes. After seeing these kids many times, when they started to have a trusting relationship with me, I used to ask them, "are you happy to be alive?" Ninety-nine percent of the kids answered "no". They told me: "I'm not happy to be here." "Why am I here when there'__s no one to take care of me?" "Why am I here if I'm going to be hungry all the time?" They have the feeling that they're here because they are being punished for something._

- Nadine Labaki; _Capharnaüm_ Production Notes

Taking as its subject the horrific plight of guttersnipe children in the slums of Beirut, _Capharnaüm_ is the kind of film of which a superficial reading might suggest miserablism at best, and "poverty porn" at worst. Comparisons to film such as Danny Boyle's _Slumdog Millionaire_ (2008), Stephen Daldry's _Trash_ (2014), and Sean Baker's _The Florida Project_ (2017) are probably inevitable, albeit not very informative if one wishes to parse the film. Instead, it's much more useful to view _Capharnaüm_ in the tradition of classic Italian neorealist pictures such as Luchino Visconti's _Ossessione_ (1943) and _La Terra Trema_ (19548), Roberto Rossellini's _Roma città aperta_ (1945) and _Germania anno zero_ (1948), and Vittorio De Sica's _Ladri di biciclette_ (1948) and _Umberto D._ (1952), albeit far more pessimistic than any of them.

The third film from Lebanese writer/actress/director Nadine Labaki (_Caramel_; _Where Do We Go Now?_), _Capharnaüm_ is written by Labaki, Michelle Keserwany, and Labaki's regular writing partner Jihad Hojaily (Georges Khabbaz, Labaki's husband, and the film's producer and composer, Khaled Mouzanar are credited with "screenplay collaboration"). Presenting a _milieu_ in which people are utterly discardable, the film depicts children who are literally bought and sold for a few chickens; 11-year-old girls who are married off so their family can afford the rent; babies who are fed on ice cubes covered in sugar; refugees who roam the streets; mental illness which goes untreated; and people without a Lebanese identity card who don't officially exist. Uplifting it most certainly is not. In a similar tonal key to Héctor Babenco's _Pixote: a Lei do Mais Fraco_ (1981) and Walter Salles's _Central do Brasil_ (1998), the film works because it never feels like it's exploiting, patronising, or trivialising the poverty and misfortune it depicts, never attempting to manipulate the audience into feeling a preconceived emotion. On the contrary, it's matter-of-fact, and notable for just how unsentimental it is. However, it's also deeply humanist, with genuine compassion in its DNA and a quiet rage at its core, born partly from an inherent sense of authenticity; shot in the style of _cinéma vérité_, it uses non-professional actors whose lives are not dissimilar from the characters they play, with Labaki encouraging improvisation throughout. There are some problems, of course - the framing device of a trial is poorly conceived and distracts from the superior filmmaking surrounding it, the ending is disappointingly didactic, and the litany of hardships endured by the main character does get a little over-the-top. However, this is undeniably impressive filmmaking, as harrowing and angry, as it is solicitous and respectful.

Zain El Hajj (Zain Al Rafeea) is a young boy from the slums of Beirut serving a five-year prison sentence for, as he puts it, "_stabbing a son-of-a-bitch_." Neither he nor his parents, mother Souad (Kawsar Al Haddad) and father Selim (Fadi Youssef), know Zain's exact age, as he was never officially registered, and therefore has no birth cert. As the film begins, Zain is brought before a judge, as he has decided to sue his parents for bringing him into the world despite not being able to care for their already numerous children. The film then flashes back several months, with Zain working as a delivery boy for the family's landlord, Assad (Nour El Husseini). Life is harsh, but Zain and his sister, 11-year-old sister Sahar (Haita "Cedra" Izzam), look out for one another. When he sees bloodstains on her underwear, he helps her hide the fact that she has begun her period, believing their parents might try to marry her off. Making plans to escape with her, Zain returns home one day to find his parents in the process of handing Sahar over to Assad. A brutal struggle ensues, but Zain fails to save her, and that night, he runs away. Seeking refuge in a rundown amusement park, he meets Rahil (Yordanos Shiferaw), an Ethiopian refugee working as a cleaner. Taking pity on Zain, she agrees to let him stay with her in exchange for him looking after her one-year-old son Yonas (an absolutely astounding performance by Boluwatife Treasure Bankole) when she's at work. Her forged migrant documents are set to expire soon and as she doesn't have enough money to pay her forger, Aspro (Alaa Chouchnieh), for new papers, he is trying to persuade her to sell him Yonas. As time passes, Zain, Rahil, and Yonas form a tight bond, until one day, Rahil doesn't return home from work, leaving Zain and Yonas to fend for themselves.

Thoroughly uplifting stuff, am I right? Labaki first got the idea for the film when she saw a woman and a one-year-old baby on a traffic island in Beirut. In the film's production notes, Labaki writes,

> _the little boy couldn't sleep. Every time he would doze off, he would wake up again. And it hit me. The only place where this kid is going to experience life is this half a meter of concrete between two highways. It's all he knows._

When she got home, she drew a picture of a child shouting at a group of adults, with the caption,

> _I'm sorry! I quit! I don't want to be here! I don't belong in your world! I don't want to breathe, eat, play, learn, laugh or dream! I don't want to grow up to become like you! You have failed me!_

Brainstorming, she began to write down everything that bothered her about the situation;

> _where did the system fail these kids? Why do we as a society allow this sort of injustice to happen? The migrant workers' situation in Lebanon; the absurdity of the notion of frontiers; the absurdity that you need a paper to prove that you exist._

Looking at the list of topics, she thought of the French word, "_Capharnaüm_" (alternatively spelt Capernaum). The term was originally the name of a Biblical fishing village on the northern shore of the Sea of Galilee, which is mentioned multiple times across all four gospels, as a place where Jesus performed several miracles. However, it's best known from Matthew 11:23, when Jesus curses the village for its lack of faith in him ("_And you, Capernaum, will you be lifted to the heavens? No, you will go down to Hades. For if the miracles that were performed in you had been performed in Sodom, it would have remained to this day_"). Later on, however, the word came to be used in French literature to signify a state of chaos and disorder. The current dictionary definition is, "_a confused jumble; a place marked by a disorderly accumulation of objects_".

Beginning to research what life is really like for children of poverty, Labaki went to prisons for minors, refugee camps, courtrooms, and the streets themselves. Shooting with as small a crew as possible, she elected to use a non-professional cast whose lives resembled those of the character they're playing (like Rahil, Shiferaw is an illegal Ethiopian immigrant who was working as a cleaner; like Sahar, Izzam was unable to attend school in Lebanon, and was selling gum on the street; like Souad, Haddad has children for whom she has been unable to get ID). In this sense, casting director Jennifer Haddad deserves a great deal of praise, as she's done an astounding job of pulling together an authentic ensemble. During the shoot, Labaki would give the performers the basic outline of a scene, but allow them to use their own words and mannerisms, and draw upon their own experiences, without worrying too much about where the scene is supposed to go. With the film being shot in sequence, this necessitated that the script was constantly being rewritten, so as to accommodate something which somebody had improvised.

From an aesthetic perspective, Labaki wisely keeps things simple and functional, eschewing any directorial gymnastics, with the aesthetic design perfectly chosen to convey the story she wishes to tell. Adopting a documentarian sense of realism, cinematographer Christopher Aoun sticks to handheld cameras and, for the most part, natural lighting. The scenes on the streets of Beirut are especially impressive, with Labaki shooting most of the material from roughly Zain's height, or slightly lower. This allows the scenes to adopt a heavily focalised and subjective view of the world, without having to resort to less elegant POV shots. Chadi Roukoz's sound design is also superb in these exterior scenes, with the soundtrack crammed with car horns, shouting, crying, laughter, dogs barking, airplanes flying overhead, traffic on the streets. It's an aural overload, conveying how the massive city is overwhelming Zain, and again, tying us to his subjectivity.

Laure Gardette (_Jeune & Jolie_; _Frantz_) and Konstantin Bock's editing is also laudable. Even apart from the fact that they had to cull the film from over 500 hours of footage (the first cut ran 12 hours), with the complete editing process taking over two years, the editing is extremely powerful in certain scenes, with the specific cuts tied closely to the theme and tone of the film. Probably the two best examples are the scene where Zain is trying to prevent his parents from giving Sahar to Assad, and a later scene when Zain leaves Yonas on the side of the road and tries to walk away. The fight for Sahar balances, on the one hand, combinations of shots focusing on Sahar and the parents, and on the other, an equal number of shots focused solely on Zain. This places him front-and-centre in the _mise en scène_, simply by virtue of the fact that we see more of him than any of the other characters. The result is that the scene, although ostensibly concerned with the parents' choice to give Sahar away, is actually more about Zain's reaction to that choice. Similarly, in the scene where he tries to leave Yonas, the editing focuses on him rather than the baby - the shots of Zain are longer, there are more of them, and there are a combination of different framings, whereas all of the shots of Yonas are uniform. This kind of editing is as shrewd as it is subtle, giving Zain a greater sense of agency and energy, and ensuring the audience knows that he, not Yonas, should be the focus of our attention.

Labaki sets the tone for the film to come in the very first shot, as we see Zain, filthy dirty, in only his vest and underwear. It is subsequently driven home multiple times that life is almost worthless in this place - Sahar is sold for some chickens, Aspro tries to get Rahil to sell Yonas in return for forged migrant documents, Assad tells Zain, "_I can buy a human for 500_". This is a world in which people think of children in the same way as they think of commodities, with the notion of adults protecting children subservient to that of adults looking at children in a cold transactional manner. In such a place, Zain somehow manages to retain his sense of empathy, although he too is infected with the concept that everything is transactional, as his pragmatism illustrates to him that materialism is the order of the day. However, although he suppresses his sense of compassion, he does not completely extinguish it, nor would he want to. In a world where adults are reprehensible, and children their innocent victims, Zain is the story's moral compass, exhibiting a humanity far in excess of any kindness than has ever been shown to him.

Thematically, Zain's jaded disillusionment, which is far more pronounced than it should ever be in a child his age, echoes the line from _Ladri di biciclette_, when Antonio (Lamberto Maggiorani) decries, "_I curse the day I was born._" Zain himself is kind of an amalgamation of Antoine Doinel (Jean-Pierre Léaud) from François Truffaut's _Les quatre cents coups_ (1959), Huckleberry Finn, and any number of Charles Dickens youngsters (Oliver Twist, David Copperfield, Little Dorrit, Philip Pirrip, aka Pip), with his unique perspective on the world illuminating the horrors of that world in a way that would be impossible were he an adult. An important plot point in relation to Zain is his lack of an ID card. Without being registered when he was born, he can't get a state ID, meaning he is effectively a non-person; he cannot own a passport, he cannot legally work, and he is not entitled to an education or medical care, a situation that attains an almost Kafka-esque surrealism in its bureaucratic absurdity.

In terms of problems, there are a few. The framing device of the trial, for example, is awkwardly realised, and for the most part, serves only to interrupt the far more compelling story of Zain, Rahil, and Yonas. Additionally, not only do the scenes in court come across as more heavily scripted than everything else, but they also depict something that couldn't happen (as Labaki herself has acknowledged, children can't sue their parents for giving birth to them). Obviously intended as a means to dramatize how Zain wants a voice, it is nonetheless a narrative contrivance that gets in the way of the far more accomplished filmmaking seen elsewhere. Surrounded by the more naturalistic realism of the rest of the film, the court scenes stand out because they feel like a plot machination. The third act in particular, which focuses primarily on the trial, and which features the usual impassioned speeches you would get in any clichéd courtroom drama, strays into something Labaki has deftly avoid everywhere else; didacticism. Elsewhere, there is something of a sense that Labaki overloads the story, pushing just one too many hardships on Zain, as she attempts to cover a plethora of topics. For example, she touches on domestic violence, the migrant crisis, human trafficking, paedophilia, child labour, education, the justice system, and on occasion, the film feels like it's going to collapse under the weight of human suffering and thematic nihilism. This is a shame because some of the best scenes in the film are those involving Zain and Yonas just going about their day, and if Labaki had had the confidence in these quieter moments, she might have scaled back on the socio-political content.

In a strange way, _Capharnaüm_ has something of the same thematic DNA as Paul Schrader's _First Reformed_ (2017), with both films examining the morality of bringing children into a world of suffering (albeit from fundamentally different perspectives, with Schrader's examination far more existential than Labaki's practical workaday world). Never feeling exploitative, nor glorifying the poverty at its centre, the film isn't even especially sentimental, depicting scenes with a raw matter-of-factness, that were they featured in a Hollywood movie would be in slow-motion, with string music telling us to "Cry now". Zain is no saint; he's a rough, foul-mouthed thief, but he's also the most inherently honourable character in the film. Labaki could easily have used Zain to attempt to elicit unearned pity, but instead, she is far more interested in examining the day-to-day survival of children like him. One of his most salient characterises is his practical-minded solutions to the challenges he faces, and in this, we're encouraged to respect how he responds to his situation rather than pity him for being in such a situation in the first place. The film adopts something of the same manner; much like Zain, it's tough-minded and practical, and just as his hardened exterior is completely authentic, so too is the film's quiet anger. Placing us not just in Zain's world, but, crucially, in his subjective interpretation of that world, Labaki draws us to him, allowing us to view the world partly as outraged adults, but also as sharers in his experiences. The conclusion is disappointingly didactic, and the journey there harrowing and exhausting. However, in the last shot, Labaki dares to offer a very cautious bit of optimism, and ultimately, the takeaway is not despair, but compassion. Just as Zain finds a humanity within himself that should be long dead, the film finds a moment of optimism amidst the chaos, and encourages the audience to cling to it.



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Happiest Season 2020 Watch Movies Online

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| Romance, Comedy | 2020-11-25


Happiest Season


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Up 2009 Movies Online Stream

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96 Minutes | Animation, Comedy, Family, Adventure | 2009-05-28


Up


📥 Up 2009
📥 DOWNLOAD HERE





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The Rental 2020 Movies Online Stream

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88 Minutes | Horror, Thriller, Drama | 2020-07-23


The Rental


📥 The Rental 2020
📥 DOWNLOAD HERE



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The Rental is Dave Franco’s debut as both director and screenwriter of a feature film. Making a successful horror movie was never an easy task, but I believe it’s even harder nowadays. This genre has evolved in so many ways by delving into distinct subgenres and helping new directors deliver brilliant horror stories. Of course, every year has dozens of awful horror films, and most of the “Worst Movies of the Year” lists possess more than one horror flick. However, I firmly defend horror is reaching audiences like never before, and I genuinely believe that it’s a matter of time until a Best Picture award goes to this genre.

So, is The Rental one of the better ones or not so much? Well, it’s as “okay” as it can be. I find it hard to heavily criticize a film that doesn’t really give me much to actually analyze. It’s a straightforward story with barely any complexity. Four characters with clear yet generic motivations. Their relationships and how they handle each romantic bond is surprisingly the most interesting aspect of the movie. Still, besides being somewhat predictable, it seems more captivating than what it truly is because one particular screenplay element fails to deliver a compelling narrative.

The main (and honestly, only) horror component of the story is no more than a hollow attempt at creating a franchise. Now, there’s nothing wrong with teasing an overarching story in the first film of a saga, but if this tease plays the entire horror role, then the only feeling Franco is getting from the audience is disappointment. Viewers might look forward to jumpscares and creepy sequences, but if the questions the movie makes are left unanswered, chances are people will dislike the ambiguity.

I’d be interested in a sequel because this first film creates a really intriguing mystery that I’d love to see developed and eventually solved. However, this comes at the cost of sacrificing the latter flick since it basically uses the whole runtime to introduce the overarching character/element. The Rental follows the usual “friends in a vacation house where things are not what they seem” formula, which doesn’t really set up Franco as a horror director to follow closely. He shows a bit of skill, the uneasy atmosphere is well-established, and he lets the actors play off their dialogues without too many cuts, something I deeply enjoy.

Technically, it’s quite good, to be honest. It’s a very dark movie, but I could see everything clearly, which is usually a problem in this type of horror film. The third act might be partially a letdown, but its execution holds the necessary tension and suspense. Dan Stevens and Sheila Vand deliver two great performances, showing remarkable chemistry. Alison Brie and Jeremy Allen White are also good, but the previous duo steals the spotlight. I wish it had more horror-like sequences, even though I appreciate the focus on the character’s relationships and dynamics.

All in all, The Rental is a clear attempt at creating a new horror franchise, and honestly, it partially works. If “success” means getting the viewers interested in a sequel, then mission accomplished. However, sacrificing the first movie of a possible saga to just introduce its main horror element doesn’t quite work as Dave Franco might have thought. In his directorial debut, Franco focuses on the characters and their relationships, which are undoubtedly the most captivating aspects of the film, also thanks to a fantastic cast. Despite some neat technical attributes, the formulaic screenplay and its predictable developments are far from being entertaining enough to hold my attention. The dozens of unanswered questions definitely leave an open door to produce a genuinely compelling sequel, but this first installment will always feel more like a prologue than an actual movie. If you’re just looking for a simple horror flick to spend your extra time, this one won’t surprise you, but it might be a good, inoffensive Saturday night pick.

Rating: C



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Pride & Prejudice 2005 Movies Online Stream

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127 Minutes | Drama, Romance | 2005-09-16


Pride & Prejudice


📥 Pride & Prejudice 2005
📥 DOWNLOAD HERE



Good adaptation and performances from Knightley and MacFayden.



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Cruella 2021 Movies Online Free Websites

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| Comedy | 2021-05-27


Cruella


📥 Cruella 2021
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Monday, January 27, 2020

King Richard 2021 Watch Movies Online

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| Drama | 2021-11-19


King Richard


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Der göttliche Andere 2020 Watch Movies Online

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| Comedy, Romance | 2020-08-13


Der göttliche Andere


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Amélie 2001 Movies Online Free Websites

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122 Minutes | Comedy, Romance | 2001-04-25


Amélie


📥 Amélie 2001
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Sunday, January 26, 2020

Mary and Max 2009 Watch Movies Online

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92 Minutes | Animation, Comedy, Drama | 2009-02-09


Mary and Max


📥 Mary and Max 2009
📥 DOWNLOAD HERE



Mary and Max- Am I sad or happy? Am I philosopher?

It's hard to understand weird people. Oh, actually, I'm weird. It's hard to understand normal people. I've been depressed for a great deal of time. Not depressed like: ”oh, I'm not feeling okay now. But everything is okay”. It's something like: “I'm feeling very bad, and sad; probably I'm considered as I am freak. But I consider others as being freaks. I'm not depressed because of weirdness – it's because of life, as it is”. Uncertainly, I'm both Mary and Max.

The first – my state of mind.
Unbearable pressure in head, which I almost can't put literally vertical on my head. It's pretty hard, considering it's mass. I feel like an invisible ghost pushes my head and makes my eyes falling down. Teeth and jaw are stiff. I'm going to sleep. It's the most comfortable way to make reality become unreal and relaxing. I'm crying when the story of the sense of life is being said. I'm smiling when there are people around me. It's a spontaneous reaction. Probably because I'm Max in my mind, Mary in my soul.

People probably wrongly understand depression; or more precisely – they have no idea how actually it functions for real, in mind of attached person. They think they are mad, or they're pretending something wrong is happening- “depression is nothing serious”.

I'm Mary:
I'm ready to finish my living, to kill myself, to die in the full coldness of the life. There is no good person in the world, there is no sense of
life, there is no hapinnes in the world, there is nothing funny to do. But I won't do this. Medicines are really useful. They're changing our brain. I want to be in a closed room, I don't want to eat, I hardly ever sleep, but I'm tired. My willing is just to make me being physically smaller, to become a dot in a nowhere and to forget about everything. I have headaches. I almost haven't eaten anything for a couple a days, I'm sad, unsuccessful, bad in every possible way. There is no meaningless of living. We've been born. We're going to dye. We're nothing. I'm isolated, obsessed with horrible thoughts, (horrible from my point of view). These thoughts are as normal as they could be. I'm right but
nobody understands me. Acting happiness and smiling and funny person makes me feeling even worse after a while. The first thing I'm going to do is to push walls around me, to make me feel pain, to be alone and to do nothing – because, there is nothing to do. The only one friend I believed in disappointed me. Nobody cares. The next state is that I would try to be “normal”. I'm buying stupid cosmetics instead of going to travel. I'm talking to people, doing this as they do. Pretending being cool and perfect. Funny. Communicative. Everything went bad because it's not me. Go ahead!

Now, I'm Max:
Einstein said there were only two infinite things: cosmos and one's stupidity. I agree with him. I am different, I'm maybe even smart, I'm trying to understand the world. Maybe others are, too. Different, and also triers. I like chocolate, I don't have friends, there is no justice in the world. Anxiety and changing mood are no so simple things. Feeling are unpredictable, emotions are strong. Emotions are strong but undefined. I gave up. My psychiatrist is giving me instructions how to act in real life. “This is good, this is bad, in this situation you have to cry, in this to laugh, in this to imitate some nerd.” I was even using small notebook where I wrote “acting explanations”. I met Mary, but who cares. I'm used to living on my own. There is no friend. I am distanced form everyday life, like there is invisible barrier between me and others. It makes me being special; but obviously not in a good way.

We're now good friends. She is the best one for me; but also the only one. Oh, there are more freaks here. Haha. Impossible. She understands my needs, my mind, my reactions, my way of viewing stuff.

The second – don't worry. Robots are walking down the streets. Everyone is the same as the others. They define themselves as normal guys. Just define, don't worry. You can define them as you want The left person is copy of the right one. Everyone is the same. Everyone
has striped hair, blue narrow jeans, the equal brains, the equal opinion.
It's easier acting like they are acting. Just go down the street, listen to the others, turn off your mind, point of view the world and your charm. Just be like others. Be stupid. Be robot. I'm starting to believe Einstein. This is not myth he's very smart. But also you need to be good. Brave, beautiful, funny, intelligent, popular,...(just kidding) ;)

Be who you are, and help humanity. And believe there are also people worth respecting, because they are not robots. You just have to find them. Also they'll find you. They exist. Look bright, go straight. We're here and we can't run out of it. Imagine our life is one adventure we are lucky to have chance to play in. You're not a weirdo. Just go on, enjoy the adventure, be yourself, even when you have to be pathetic as I am now. :) After that, sense of life will come to you; you don't have to search so much! Just relax ;)

Let the game begin!

Written by Mary and Max,
December 2016,
for goodness of the world



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The Great Escape 1963 Watch Movies Online

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173 Minutes | Adventure, Drama, History, Thriller, War | 1963-06-20


The Great Escape


📥 The Great Escape 1963
📥 DOWNLOAD HERE



Not just great, simply magnificent more like!

"Wait a minute, you aren't seriously suggesting that if I get thru the wire and case everything out there, and don't get picked up, to turn myself in and get thrown in the cooler for a couple of months so you can get the information you need"

Smart, witty and directed with adroit hands by John Sturges, The Great Escape is standing the test of time as a joyous multi cast family favourite. Based on the real accounts of allied soldiers escaping en mass from a German POW camp back in 1942, the film is involving from start to finish, due in the main to the wonderful array of characters on show. We follow them from the moment they arrive at the camp right through to the stunning climax, and it is with great joy I say that none of the cast lets the side down, they all do great work for the astute and undervalued Sturges. A number of great set pieces align with Elmer Bernstein's fabulous score to never let the blood settle, and in among the cheeky slices of humour is palpable tension to make this simply one of the best films of its type, in fact one of the best films ever.

Sturges and his writers, James Clavell & W.R. Burnett, adapt from the book written by Paul Brickhill, someone who speaks from experience having been one of the prisoners of super POW camp Stalag Luft III, which of course is what The Great Escape is born from. Sturges was fascinated by the story and after trying without fail for over a decade to get it onto the screen, he finally succeeded. The success three years earlier of his star ensemble Western, The Magnificent Seven, enabled Sturges to realise his vision, the result of which is still enthralling new generations with each passing year.

The cast is made up of notable thespians and iconic heroes. Steve McQueen (enticing the American audience in one feels), Richard Attenborough, Charles Bronson, James Donald, Donald Pleasance, James Coburn, James Garner, David McCallum, John Leyton and Gordon Jackson. Which of course is a pretty tidy roll call, but the input and impact of Hannes Messemer as the Camp Commandant, Colonel Von Luger should not be understated. His scenes have a real humanistic quality that shows a softer side of Germany to the one ruled by a certain despot (the finale here offering up the counter opposite of the war), the writers smartly, and rightly, not tarring a nation with the same old brush.

A wonderful involving movie that puts characteristic heart in bed with the action and suspense laden plot. 10/10



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Babyteeth 2020 Movies Online Free Websites

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118 Minutes | Drama, Comedy | 2020-06-18


Babyteeth


📥 Babyteeth 2020
📥 DOWNLOAD HERE



Stories of adolescence are some of the hardest to tell on screen in new and interesting ways, and the added complexities of terminal illness and a morally questionable teen romance that 'Babyteeth' adds to this makes the film feel like a miracle in how well it pulls almost every element off. Its cast and crew are at the top of their game, resulting in a film that's just as heartbreaking as any other teen cancer film, but elevated through a humour and cynicism, as well as incredible performances, assuring it won't be forgotten any time soon.
- Ashley Teresa

Read Ashley's full article...
https://www.maketheswitch.com.au/article/review-babyteeth-a-frustrating-but-funny-australian-teen-dramedy



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Jurassic Park 1993 Movies Online Stream

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127 Minutes | Adventure, Science Fiction | 1993-06-11


Jurassic Park


📥 Jurassic Park 1993
📥 DOWNLOAD HERE



If you somehow missed this movie and have never seen it then watch it immediately. As a young boy of 9 on my way to the cinema I wasn't at all prepared for the on-screen awesomeness I was about to witness, one of the defining movies of my childhood and of the modern age. With special effects that simply blew any and all previous dino movies out of the water, compelling story and the odd comic moment such as the Mr Arnolds arm it really did make that evening something I will remember forever. So successful it went on to spawn 3 sequels, the second was enjoyable, the third not so much. The newest Chris Pratt one, I'll leave that for you but its worth a watch, especially if you want to wash the taste of the 3rd one out of your mouth. It gave me nightmares for weeks, really really wonderful nightmares.
I love it. There are movies coming out right now, 25 years later, with triple the budget (even _Jurassic_ movies) where the effects just cannot hold a candle to _Jurassic Park_. If that was the **only** thing it had going for, it would be enough for me to recommend this movie for all, but make no mistake, _Jurassic Park_ is **great** with or without them (but thank God it's with).

_Final rating:★★★★ - Very strong appeal. A personal favourite._
"Life finds a way… to let us enjoy dinos in theaters"

Filthy rich millionaire John Hammond (Richard Attenborough) is about to open a dinosaur theme park. He invites a couple of experts to satisfy his investors. During a preview tour things go awfully wrong.

While ‘Jurassic Park’ is too simplistic to be a perfect movie it is blockbuster cinema at its very best. Spielberg grabs you by the throat from the get go and you instantly know you’re in for quite a ride.
The story is simple but effective. Author Michael Crichton did his very best to make the cloning dinosaurs part plausible. When you have living giant meat-eaters in your amusement park it’s not hard to come up with something which causes things to go south so fast before you can say T-rex.

The movie works because it doesn’t take itself too seriously. The characters are somewhat underdeveloped but their main purpose is to serve as dino treats. The Ian Malcolm character (Jeff Goldblum) is of little use but he’s funny. Grumpy Dr. Grant (Sam Neill) is the perfect counterpart. You can’t help but root for these characters.

What makes the movie stand out are the ground-breaking special effects. Even to this day it’s remarkable what ILM and Stan Winston’s crew achieved. Although a 'Jaws' approach would have perhaps worked better (Love the shot of the T-rex’ leg in the mud) the dinos look so realistic.

What ‘Jurassic Park’ does have in common with 'Jaws' is John Williams’ score. Although not as ominous and iconic as 'Jaws', Williams went for wonderment this time around. Perhaps not regarded as his most famous work it’s amazing. When the experts travel to the island Williams’ score does indeed give you a sense of wonderment. The scene where the visitors first lay eyes on the dinosaurs is movie magic.

Rereleased for its 25th anniversary it’s safe to say we rarely have had more fun in the cinema than while watching 'Jurassic Park'.
This is my idea of a perfect movie. I mean, it's not perfect, perfect, but it's pretty close. To start off the score is just amazing and iconic and really drives the awe of this film. And these characters are developed so quickly but are also so good. All of the actors give fantastic performances. Sam Neill, Jeff Goldblum, Laura Dern, and Richard Attenborough give classic performances and even the supporting actors like Wayne Knight, Samuel L. Jackson, and especially Bob Peck as Muldoon. What really struck me this time I watched it was how the action really doesn't even start until halfway through the movie, and then from there the action is nonstop.

I think that since it was paced like this, it allows us to get attached to the characters which makes the action so much more impactful and suspenseful. And even with that first hour that is primarily dialogue, it's still so engaging since the script is tightly written, it has some compelling conversations on the control that humans have, is well shot, and has some humor that feels natural in the dialogue and is in character. The humor is never forced in situations that are tense unless it's expected form that character, like Ian Malcolm.

And then that second half... my God, it's so good. This isn't an action movie to me, it's a suspenseful thriller. There's no humans fighting dinosaurs, exploding cars and planes, and the action is used relatively sparingly. The CGI is also used sparingly and only when it is needed. Both the practical effects and CGI look great still. Speilberg really crafted amazing characters, tense scenes like with the Tyrannosaurus breakout and the Raptors in the kitchen, and iconic shots. This was my favorite movie as a kid because of the cool-looking dinosaurs, and is still one of my favorites because of it's insanely great characters and suspenseful scenes.



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Saturday, January 25, 2020

Oldboy 2003 Online Full HD Movies

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120 Minutes | Drama, Thriller, Mystery, Action | 2003-11-21


Oldboy


📥 Oldboy 2003
📥 DOWNLOAD HERE


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I’m sure that all of you can always spot a film with good acting, superb plot and great cinematography easily but when it comes to a thriller that possesses all those above quality, it would be such a rarity. OldBoy here, second installment from The Vengeance Trilogy directed by Park Chan-wook (Sympathy for Mr. Vengeance, OldBoy, Sympathy for Lady Vengeance) really have them all, good story, powerful acting and the most horrifying and clever end twist if not genius. In fact no matter how many times you see this, the twist would still be awesome. The theme of revenge here is taken to the next level, to its supremacy for it’s really carefully-planned. OldBoy has a mind-bending assortment of drama, thriller, romance and beautifully spiced up with sadistic plot, shocking elements, ultra violence and clever psychological twist. Imagine yourself captured, locked in a room for 15 years, not knowing why and who did it and when you finally escaped and thought it’s all over, you were wrong and here’s the punching line, the direct punch to your stomach. Min-sik Choi as Oh Dae su really acted well, he really got us carried away by dragging us into the mystery that surrounds his life, into the depression he’s been feeling and into the deep well of his curiosity. Once again, OldBoy is a way too remarkable, when “revenge” isn’t merely knife-chopping or gun-battling. Enough said.
This is definitely one of the films to see before you die. It's seat-squirmingly unsettling, shocking and very violent.

It's a journey into a truly disturbed mind; a mind, which - like yours will be - is unable to cope with what it discovers.

This film is brilliantly twisted. It has a thread of the most wonderful, blackest humour running through it, a sense of complete disorientation and enough plot twists and turns to sustain your interest.

Not one of the best revenge thrillers I've seen - simply THE best!



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The Battle of Algiers 1966 Movies Online Stream

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121 Minutes | Drama, War, History | 1966-09-08


The Battle of Algiers


📥 The Battle of Algiers 1966
📥 DOWNLOAD HERE





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The Lion King 1994 Full Movie Download

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89 Minutes | Family, Animation, Drama | 1994-06-23


The Lion King


📥 The Lion King 1994
📥 DOWNLOAD HERE



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First of all, this is (obviously) a SPOILER review. I mean, who hasn’t seen this movie yet? If by some extraordinary circumstances you’re one of those unlucky souls, stop. Spend the next hour and a half watching this animated masterpiece and come back here. I will still avoid mentioning key details because I’m just used to it, and The Lion King has so many things to compliment that I don’t really need to get in-depth on spoilers. So, in case you haven’t notice it through my Twitter or occasional mentions in other reviews, The Lion King is one of my favorite films of all-time (animated or not)!

I rewatched it for the 312358th time this last weekend, and I cried more than when I was just a child. That’s how much this movie means to me. The sense of nostalgia plus the overwhelming emotions throughout the runtime are tear-inducing aspects that I can’t simply avoid. I literally cried (waterfalls) in four (!) different scenes. The opening sequence (Circle of Life) filled my eyes with nostalgia’s tears. Mufasa’s tragic moment obviously wrecked me (one of the most emotionally powerful scenes in the history of cinema). Simba receiving the whole “remember who you are” speech from Mufasa in the clouds is incredibly inspirational and therefore worthy of some sobbing. Finally, one of the last scenes, Simba climbing his way to the top of Pride Rock with Hans Zimmer‘s score, leaving me absolutely destroyed.

And I want to pick up on that last aspect: the score. It’s one of the most crucial technical features of a film, in my opinion. It can transform an “okay” scene into something magical or something pretty terrible, depending on what kind of score it is. Consequently, it can make a “good” movie turn into a “great” one. Hans Zimmer is one of my favorite composers ever. His soundtracks are always filled with such an epic vibe. Even if the film itself isn’t that good, his scores are still able to elevate it in some way. The Lion King is one of his most memorable scores due to how emotionally compelling it is, even in the subtlest moments.

During the stampede sequence, the score doesn’t lend you time to breathe. Its high rhythm and continuously growing music keep any viewer at the edge of the seat, waiting for it to be over. Then, when Simba descends and approaches his dad, the score is so subtle. Completely opposite to the previous sumptuous and grand sound. It’s that nuance plus the impact of the scene itself that make me cry. In the last scene that I mentioned above, it’s solely the score that brings in the chill-inducing tears. If Simba climbed Pride Rock with no soundtrack, it would just be a good ending. However, from the exact moment that the score fades in, it instantly turns that sequence into an epic finale. The slow-motion walk to the top, the immersive score, Simba’s roar … Damn it, I’m crying again!

The animation is some of Disney’s best. It’s not by chance that the Disney Renaissance Era (1989-1999), which was the return to form by Disney, has the best animation quality of its history, and a lot of the memorable movies that marked everyone’s childhood. Its expressiveness and ease to make animals emote elevates the story and its characters. There’s no need for any kind of dialogue when you can see how the characters are reacting and understand what they’re feeling. The wide shots are beautiful to look at and worthy of being anyone’s wallpaper even today.

The songs are remarkable and they influenced an entire generation. Can You Feel the Love Tonight, Circle of Life, Be Prepared, Hakuna Matata, … Every single song is someone’s favorite. The voice work is perfect. James Earl Jones gives such an outstanding vocal performance that even when discussing his career’s biggest role, Darth Vader isn’t the obvious choice. Jeremy Irons and his raspy voice elevate Scar as the villainous character. If you close your eyes and only hear every character’s voice, without having watched the film previously, you can easily identify who’s the “bad guy”, and that’s unbelievably good. Everyone else is amazing, but these two gentlemen are astonishing, and they deserve to be remembered forever as the voices of these iconic roles.

Nevertheless, in the end, the two pillars of every movie always matter the most: story and characters. The Lion King has an especially compelling screenplay, one that teaches its viewers how to handle loss, but also how to grow up and overcome our worst fears. It’s true that most people cry watching this film, but those same people are filled with joy by the end because they accompanied Simba’s journey. From being a reckless and innocent cub to becoming the king that everyone needed, while also making his father extremely proud. Even though it’s a very tragic movie, Timon and Pumbaa are two hilarious characters that keep bringing some sense of happiness by delivering some well-needed laughs. Their laid-back lifestyle is something that everyone desires, but when you have responsibilities, you can’t just hide from them. You must learn how to be what everyone needs you to be, without losing the essence of who you are.

It’s a masterpiece! It doesn’t matter if it’s an animated film. It doesn’t matter if it was “made for kids”. People need to stop looking at animated flicks as something juvenile that only children can watch while parents can do something else. If parents watched this kind of inspirational animated movies as well, maybe the world would be a better place. The Lion King is one of my favorite films of all-time, and it’s undeniably one of Disney’s best original movies. From the gorgeous animation to the beautiful score, from the emotionally compelling story to the life journey Simba goes through, from the chill-inducing tearful moments to the loud laughs … The Lion King is just perfect. Hopefully, its “live-action” remake will keep its essence and deliver these feelings once again.

Rating: A+



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