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Sunday, May 31, 2020

Little Joe 2019 Watch Movies Online

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106 Minutes | Drama, Science Fiction | 2019-11-01


Little Joe


📥 Little Joe 2019
📥 DOWNLOAD HERE



**_A fascinating premise and setup, but the execution is tedious_**

>_The Capgras Delusion has been known since the turn of the century but has been treated as a curiosity, an anomaly. The standard explanation, which you find in most psychiatry textbooks, is a Freudian one and the idea is something like this: this young man, like most young people, when he was an infant, growing up, he had strong sexual attraction to his mother, the so-called "Freudian Oedipus complex". But then along comes a blow to the head, and suddenly and inexplicably these sexual urges come flaming to the surface, and_ _he finds himself sexually attracted to his mother. And he says, "_My God, if this is my mother how come I'm attracted to her? How come I'm aroused? This must be some other strange woman._"_

>_Now this is an ingenious explanation but it doesn't quite work, because I've seen a patient who has the same delusion about his pet dog. He'll look at his pet dog and say, "_Doctor, this is not Fifi. It looks just like Fifi, but in fact it's been replaced by another identical dog_". So how does a Freudian explanation account for this, unless you start talking about the inherent bestiality in all human beings or something like that? So what really causes the Capgras Delusion? Well, it turns out that when you look at an object, the message goes to the temporal lobes – to the visual centres in the temporal lobes. But seeing is a multi-level process. After you've recognised it, you also need to respond to the object emotionally. This is obvious when you look at a Picasso or a Rembrandt or any beautiful picture. Even when you look at, say, your mother's face, the appropriate emotional warmth has to be evoked. Or when you look at a lion you have to be afraid. And all of this is part of the visual process, but happening in a different part of the brain._

>_Now, what I've suggested is that what's going on in this patient is the message gets to the temporal lobe cortex, so the patient recognises his mother as being his mother and evokes the appropriate memories. But the message doesn't get to the amygdala, because the fibres going from the temporal cortex to the amygdala into the emotional centres are cut, as a result of the accident. Therefore, there is no emotion. There is no warmth. And he says, "_If this is really my mother why is it I'm not experiencing any emotions? There's something not quite right here. Maybe she is some other strange woman pretending to be my mother._"_

- V.S. Ramachandran
"Secrets of the Mind"; _NOVA_, Ep. #28.13 (October 23, 2001)

We live in an age where so many people work to live and live to work. We live in an age where Big Pharma has worryingly significant control over our lives via the drugs we're prescribed, drugs that so many people need just to make it through the day. We live in an age of genetic engineering and the commodification of well-being. And these are some of the weighty themes tackled in _Little Joe_, a clinically detached, aesthetically fascinating pseudo-horror with a killer premise, but questionable execution. Don't get me wrong, I thoroughly enjoyed the first hour or so, relishing the slow pace and methodical build, the gradual accumulation of detail, the anticipatory discomfort at seeing the protagonist pushed further and further into a corner. However, at around the 75 minute mark, I realised that this wasn't a slow build _to_ something; this slow build _was_ the something. And with that realisation, it didn't take long for tedium to settle in. I certainly admire the film's thematic complexity and stunning visual and aural design, but, in its totality, it's completely lifeless, the tone rigidly detached and dispassionate no matter what's happening on-screen, like a long sentence spoken in a gratingly monotone voice. It's one of those films I wish I had enjoyed a lot more than I did, but the fact is, I found the last act (which is not especially dissimilar to the previous acts) a real struggle to get through.

In the near future, Alice (Emily Beecham) is a senior plant breeder at Planthouse Biotechnologies, a bioengineering lab that designs new types of flora. As the film begins, she and her colleague Chris (Ben Whishaw) have just unveiled their latest creation – a flower she's named Little Joe, which omits a scent that makes people happy on a biochemical level. Alice has genetically engineered Little Joe to be incapable of reproducing, which will enable Planthouse to maintain complete control when the flower is released to the public. Meanwhile, she must try to balance work with being a single mother to her young son Joe (a superb Kit Connor), after whom she named the flower. In an effort to bridge the two areas of her life, she smuggles a Little Joe out of the lab and gifts it to Joe. Meanwhile, at Planthouse, Bella (an excellent Kerry Fox), who has had mental health problems in the past, is concerned for her support dog, Bello, with whom she's exceptionally close and who comes to work with her each day, but who has started to show signs of aggression. Everyone tells Bella that it's no big deal, but she insists the dog is no longer her dog, that something has changed in him. She soon becomes concerned that this change has been brought about by exposure to Little Joe's pollen. Alice is dismissive until she starts to notice subtle, almost imperceptible, changes in Joe's behaviour as well. Could the pollen somehow be responsible, and if so, to what extent are people being altered, and to what end?

Written by Jessica Hausner and Géraldine Bajard, and directed by Hausner (_Lourdes_; _Amour Fou_), Little Joe is kind of like an episode of Black Mirror, but focusing on biology rather than technology. Building a general tone of unease rather than relying on traditional horror beats (although there is one jump scare, and it's a good one), the film is built on a foundation of stoicism, and if you've seen any of Hausner's previous films, you'll recognise some of the techniques used in _Little Joe_; the stilted, declamatory performances that are a step or two divorced from reality (similar to, although not as idiosyncratic as, the staccato performances in Yorgos Lanthimos's early work); the vaguely defined character motivations; a prominent use of passivity, which sees characters to whom things happen; ambiguity regarding the central storyline – in the excellent _Lourdes_, this was manifested in the possibility that Christine (Sylvie Testud) may or may not have been miraculously healed, whereas here, it's whether or not people are _really_ changing, or is Alice suffering from Capgras Delusion?

The most immediately obvious element of the film is the extraordinary sound design by Erik Mischijew (_Import/Export_; _Ich seh ich seh_; _Toni Erdmann_) and Matz Müller (the _Paradies_ trilogy; _The Field Guide to Evil_; _The Collini Case_). Before we see any images, we hear a high-pitched drone, which later becomes a motif that's used multiple times to suggest unease and danger. Important to the sound design is the score, or rather the lack of score. Hausner elected not to have original music composed for the film, but instead to use existing music written by Teiji Ito during the 1970s, which itself is deeply discordant, abrasive, and unsettling and which blends into the sound design. On top of all this, Mischijew and Müller frequently use the sounds of screeching metal, rustling, screams, and, bizarrely, dogs barking. It's all wonderfully chaotic, defamiliarising, and unnerving.

The other aesthetic element that really pops is the cinematography, specifically how the camera moves. Director of photography Martin Gschlacht (_Ravanche_; _Im keller_; _Alpha_) often shots scenes as if he's capturing images for a diorama – long, slow pans from left to right and right to left that often start and finish with the characters not in the frame. Equally as interesting is that on two occasions, he shoots a conversation by very slowly tracking in between the participants – one character is screen-left, the other is screen-right, both on the edge of the frame, and Gschlacht tracks in between them to the point where they're no longer on screen.

Thematically, there's a fair bit going on in _Little Joe_. Obviously, concerns pertaining to genetic engineering are front and centre, and in one respect, it's a cautionary pseudo-_Frankenstein_ tale, a story of how playing God can go wrong. Another theme is the work/home divide. Alice is more focused on her job than her home – one of the first things we hear Joe say to her is, "_all you can see are your flowers_" – and her decision to bring a Little Joe home is a rather ridiculous attempt to redress the balance; her attempt to (re)integrate the two areas of her life.

The film also looks at what could be called "cognitive zombification" – those who Alice suspects are infected by Little Joe act just normal enough for people who don't know them to perceive nothing wrong, but just abnormal enough for the rest of us to see that something is not quite right; it's as if there's a slight phase differential between how they act and how everyone else acts. Symbolically, this represents the idea that if happiness could be made tangible and commodified, rather than such knowledge being used for the betterment of mankind, it would instead be a tool for control – a narcotic for addicts who don't even know they're addicted. Think about it – if you created something that could make people fundamentally happy, think of the power you'd wield if you took that thing away, and only you could restore it; "_sure, I'll let you experience that bliss again, all you have to do is everything I say_". In an age when happiness as an abstract concept is being distilled into the evermore tangible (think of people whose happiness rests almost entirely on getting likes on social media), _Little Joe_ posits a scenario where the abstract is made completely literal.

However, it's also concerning the issue of people's happiness that we can see one of the film's biggest problems. Whilst the idea that most people would be willing to take fake happiness over real discontent is a compelling one (and almost certainly an accurate one), on more than one occasion, Hausner equates such happiness with the use of anti-depressants. There are multiple references to Bella not being the same since she started taking medication, and the film seems to say that the use of pharmaceuticals to get through the day is akin to people being somehow less than their "real" selves. That this is a naïve view hardly needs explaining; one need only mention people who suffer from depression or those with chronic pain – such people _cannot_ function without their medication, which they need as much as someone with diabetes needs insulin or someone with a heart condition needs nitroglycerin. So to suggest that they are somehow being zombified is not only inaccurate, it's dangerous, the kind of crap that Scientology and Tom Cruise yammer on about.

On a slightly different point, I'm not sure that the depiction of Alice's difficulty in finding a balance between home and work, and the suggestion that she has only achieved professional success by neglecting her child, will go down very well with the tens of thousands of professional women who are also single mothers, and who have managed to climb the ladder of success and be there for their children. And, as I've already outlined, the film's pacing becomes a real issue in the last act, when you realise Hausner has little interest in building to anything even mildly resembling a traditional _dénouement_.

_Little Joe_ has a lot going for it – an intriguing premise, a great cast, a gorgeous visual design, a superb aural design, a thematic complexity – but it all matters little when the narrative is so tediously self-important and plodding, with a message about pharmaceuticals that's well-intentioned and partially accurate, but also misguided at best and offensive at worst. More an existential thriller than the horror movie as which it's been marketed, I do hope the film opens doors for Hausner, who's clearly a talented filmmaker. But as an individual exercise, it just didn't work for me. Lacking the subtle ambiguity of _Lourdes_, the bombast of a straightforward horror, the esoteric coherence of a good satire, and the narrative drive of a thriller, _Little Joe_ kind of ends up somewhere awkwardly in between.



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The Good, the Bad and the Ugly 1966 Watch Movies Online

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161 Minutes | Western | 1966-12-23


The Good, the Bad and the Ugly


📥 The Good, the Bad and the Ugly 1966
📥 DOWNLOAD HERE



I'm looking for the owner of that horse. He's tall, blonde, he smokes a cigar, and he's a pig!

It's debatable of course, since there are legions of fans of the first two films in Sergio Leone's Dollars Trology, but with each film there not only came a longer running time, but also a rise in quality - debatable of course!

Here for the third and final part of the trilogy, Leone adds Eli Wallach to the established pairing of Lee Van Cleef and Clint Eastwood, and brings all his tools of the trade to the party. Plot is slight, the three principals are on a collision course to find some buried gold, with each man having varying degrees of scuzziness, so how will it pan out?

Such is the genius of the narrative, it's a fascinating journey to undertake. The characterisations are ripe and considered, the various traits and peccadilloes beautifully enhanced, and with Leone being Leone, there's no shortage of cruelty and humour. He also brings his style, the close ups, long shots and some outstanding framing of characters in various situations.

The story encompasses The Civil War, which pitches our leads into "The Battle of Branston Bridge", where here we get to see just how great Leone was at constructing full on battle sequences. It's exciting, thrilling and literally dynamite, whilst Aldo Giuffrè as Captain Clinton turns in some memorable support.

The Euro locations pass muster as the Wild West, superbly photographed by Tonino Delli Colli, and then of course there is Ennio Morricone's musical compositions. It's a score that has become as iconic as Eastwood's Man With No Name, a part of pop culture for ever more. It mocks the characters at times, energises them at others, whilst always us the audience are aurally gripped.

There's obviously some daft coincidences, this is after all pasta world, and the near three hour run time could be construed as indulgent. But here's the thing, those who love The Good, The Bad and the Ugly could quite easily stand for another hour of Leone's classic. I mean, more barbed dialogue, brutal violence and fun! Great, surely!

From the sublime arcade game like opening credit sequences, to the legendary cemetery stand-off at the finale, this is a Western deserving of the high standing it is held. 9/10
Sergio Leone's The Good, the Bad, and the Ugly is a classic Western film. Clint Eastwood is the Good, aka the Man with No Name, a taciturn wanderer who follows his own sense of justice. His opposite is Angel Eyes (Lee van Cleef), the Bad, a brutal mercenary who kills anyone who stands in the way of making ready cash. The film's comic relief is Tuco (Eli Wallach), the Ugly, a Mexican bandit wanted in several states who ends up inadvertently doing some good turns. At the height of the Civil War, as Union and Confederate armies battle each other in the West, these three men vie for an abandoned cache of gold coins.

The film is especially memorable for its pace and cinematography. The opening scene, for example, juxtaposes closeups of anxious faces with vast panoramas of the Western landscape, and 10 minutes passes before a single word is said. It is like Tarkovsky transplanted to a vastly different setting. That's not to say it's all so serious, though. In a sense the film is a "two buddies on the road" movie, with Tuco the wisecracker and Eastwood's character the straight man. It is also a war film, with Leone apparently sparing no expense in presenting a realistic image of hundreds of men charging each other on the battlefield. This is not among the greatest films I've ever seen, but it's very well-made.

Because this is a "spaghetti Western", an effort in the genre realized by a joint Italian-Spanish production team with American lead actors, the film has some curious qualities. Because of the use of locals, all the faces of Civil War soldiers are so clearly Italian, even though Italian immigration into the US picked up only later. The Mexican bandit Tuco is played by a Jew from New York, and furthermore Leone mocks the character's Catholicism in a way that Americans of the era would, although the faith would be in no way foreign to his Italian audience.



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Saturday, May 30, 2020

Oldboy 2003 Watch Movies Online

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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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Batman Begins 2005 Watch Movies Online

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140 Minutes | Action, Crime, Drama | 2005-06-10


Batman Begins


📥 Batman Begins 2005
📥 DOWNLOAD HERE



It's not who I am underneath, but what I do that defines me.

Bruce Wayne is constantly tortured by his childhood memories when he witnessed his parents being murdered. Taken under the wing of The League Of Shadows, a deadly ninja assassin army devoted to erasing crime with their own brand of harsh justice. After completing training, Wayne refuses to join them on account of not agreeing with their methods, he returns to Gotham City to reek his own one man war against crime.

Director Christopher Nolan literally goes back to Batman origins to not just give the dead franchise a kiss of life, but actually to spark it into a sort of triumphant homecoming. Gone is all forms of camp veneer so evident in Joel Schumacher's offerings, and in place we have a darkly rich picture intent on fleshing out Batman's motives, and crucially, his fractured persona.

One of the most pleasing things to me was that Nolan paced this picture to perfection, the build up of character, and then birth of the Bat, dominates for practically the first hour of the piece. This gives Batman Begins some crucial heart, it really helps us to focus on this weird super-hero now that we have some meat on his bones. We then follow Wayne from a Chinese prison to The League Of Shadows monastery, watching his transformation from brawling man of anger into a controlled fighting machine. A machine that still roams with a revenge laden heart.

Then its to Gotham City where he then births Batman and all bad guys are on his agenda. Mob boss Falcone, the mysterious Scarecrow, and also a face from his past that rears its surprising head. Wayne is driven by powerful motives, and it's here in the second part of the film that Batman Begins rewards those who indulged in the character build up. In come the stunts and outrageous sequences, all played out in Nolan's desperately dank Gotham City (a far cry from Tim Burton's dark Oz like scapes). This Gotham is pot boiling to disaster and is crying out for the Bat to sweep all before it, and thankfully Nolan and his cast fulfil all the early promise to deliver a wonderful action fantasy that caters for all ages.

Christian Bale dons the Batsuit and it fits like a glove, his Bruce Wayne may lack the ebullient charisma that Michael Keaton's had, but his Batman is mean and moody and comfortable with the zippy dialogue. Michael Caine plays Alfred the loyal servant to the Wayne family, much heart and emotive drive from Caine ensures the role is a roaring success. Cillian Murphy is Dr Jonathan Crane/Scarecrow who actually scares more as Crane with his piercing eyes and devilishly smirky leer, whilst both Gary Oldman (Jim Gordon) & Morgan Freeman (Lucius Fox) are solid with what little they actually have to do. Liam Neeson gets his teeth into a meaty role as Henri Ducard, and as a character arc he gets the best scenes (Nolan clearly having great fun here).

Minnor let downs to me without hurting the picture are Katie Holmes (pretty but hardly convincing as Assistant D.A. Rachael Dawes) and Rutger Hauer as Earle (a little bit of menace wouldn't go amiss here Rutger old man). Still, as I said they are very minor let downs because as comic book adaptations go, Batman Begins is from the top draw, a franchise re-suited, rebooted and completely reinvigorated. But now the test comes with that all important sequel... 9/10



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Tesla 2020 Full Movie Download

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102 Minutes | History, Drama | 2020-08-14


Tesla


📥 Tesla 2020
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Antebellum 2020 Watch Movies Online

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105 Minutes | Horror | 2020-09-09


Antebellum


📥 Antebellum 2020
📥 DOWNLOAD HERE





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Casablanca 1942 Full Movie Download

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102 Minutes | Drama, Romance | 1942-11-26


Casablanca


📥 Casablanca 1942
📥 DOWNLOAD HERE



"Everybody comes to Rick's," or so they say. It's the middle of WWII, and one evening a certain lady walks into Rick Blaine's popular cafe. As the familiar notes of "As Time Goes By" drift through the hazy atmosphere of the cafe, Rick's life begins to get really complicated. The top-notch cast is, I think, a big part of what makes this film so memorable, and much-heralded through the years. The script is truly well-written and moving. My only complaint is, how could they do something so awful as killing off Peter Lorre within the first quarter of the film?

Would I recommend? Overall, yes. There's a reason people cite this as one of the best films ever made. Though there are others I like much more, it is very, very good.
You must remember this...

Are my eyes really brown?

Casablanca is one of those films that needs no introduction - or in truth - any more in-depth dissection as to its worth. Over the years it has become one of the most quoted ever pictures (sometimes wrongly), and in reality it's arguably more iconic than it is a work of art. Although a truly "A" list production for 1942, fact is nobody in and around the film expected it to be anything other than a good piece that will put bums on the seats in the theatres. Solidly received on release and riding in on the wave of the Allies inroads into North Africa, Casablanca steadily overcame the much discussed production troubles (the script was practically rewritten daily) to be where it is now, one of the most loved film's of all time.

I wouldn't mention Paris, it's poor salesmanship!

So what is it about Casablanca that makes it so cherished and adored by each and every generation?. I just know that each time I view it (yearly) it's like falling in love again, each viewing brings a new and emotionally driven fulfilment. Tears flow, sad ones and happy ones, an overriding feeling that romantic idealism isn't dead, to which Casablanca becomes my personal myth buster. Thematic redemption brings a joyous reward, even as our daydreams about lost chances and lost loves hangs heavy in and around Rick's Café Américain. Everything about Casablanca is right, from the flawless direction (Michael Curtiz) to the iconic music, and of course the magnificent characters that are brought to life by the incredibly tight and effective cast. It may not be the greatest film of all time, but to me, and those who let it into their lives, it's one of the best friends anyone could ever hope to have. 10/10



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The Old Guard 2020 Watch Movies Online

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124 Minutes | Action, Fantasy | 2020-07-10


The Old Guard


📥 The Old Guard 2020
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We all remember "Highlander". It was an instant classic, memorable, heartfelt, romantic, exciting, fantastic soundtrack.......

Well "The Old Guard" is its antithesis. Its a brittle tale of justification for globalist Western meddling, social justice, politics of sexuality and more. Once again, the story has been mostly fogotten. It wanders around a bit, has a predictable twist and finally falls out of a window, literally.

The action scenes are fine, as is the acting but these are only ingredients and in this case the "mix" is very wrong.

I hope and pray this is the first and last of these. That said, it looks like they are gearing up for a second one. I can only imagine what that will be like.......

2/10.
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Netflix isn't exactly known for its original action films, and when these occasionally appear, most tend to be more comedic than focusing on the action itself (Spenser Confidential, 6 Underground). However, 2020 seems to be the year chosen by Netflix to surprise its viewers with ruthless, bloody, violent action. A few months ago, Extraction became the studio's best original action flick and one of the better movies ever released from the streaming network. Therefore, my expectations for The Old Guard were reasonably high, having in mind that it has Charlize Theron as the protagonist, and Greg Rucka as the sole screenwriter (he's one of the two creators of the original comics the film is based on).

Overall, it's a pretty decent movie that could have been a lot better had it reached the potential that it possesses. First of all, any film that focuses more on starting a franchise than actually being a good movie sets itself up to fail miserably. Fortunately, even though Gina Prince-Bythewood's feature does establish saga-worthy lore, it never makes it its number one priority. In fact, until the penultimate shot of the film, I was genuinely worried that a certain storyline wasn't going to have closure due to the "we need to save something for the sequel" mentality…

However, Greg Rucka clearly knows what he needed to write for the first installment of a possible franchise, and what he needed to save for the following chapters. The story is truly intriguing and mysterious, owning deep and complex mythology that doesn't have unambiguous answers. One of the aspects I love the most about Rucka's narrative is how it balances the abstract and philosophical approach to immortality. As weird as it might sound, immortality is depicted in such a believable manner even though everything about it feels unbelievably crazy.

Even logically, all the questions one can have regarding "how immortal can they be?" are answered in some shape or form, so it's evident that Rucka wanted to make immortality something incredibly real and well-grounded. Charlize Theron's character gets her past very well-explored through flashbacks and a couple of captivating dialogues with her team. Andy is a tremendously easy character for the viewer to root for, and her "badassery" definitely helps strengthen that emotional connection.

Kiki Layne is a major surprise for me, she delivers an impressive performance! I missed out on If Beale Street Could Talk, so this makes my first time watching her on the "big screen", and I can't' wait to see what she does next. Her character, Nile, is also quite interesting to learn about. She has to make extremely challenging life decisions for such a young woman, making her a candidate to steal Andy's spotlight in the following movies (which are undoubtedly happening).

I wish that the screenplay packed less forced exposition, but I do understand the difficulties in explaining so many "rules" about this world without having a few dialogues exclusively meant to deliver that information. Rucka and Gina could have made better narrative decisions concerning a few storylines. Some sequences carry an immense potential that is never reached, leaving me wanting a bit more from a particular character or a specific subplot.

The action is definitely above average, but it's far from the quality of Extraction, for example. Some action set pieces are really well-choreographed and well-edited (Terilyn A. Shropshire), but most employ the generic "punch and cut quickly" style. As nitpicky as it might be, for a rated-R film, the gunshots didn't have the visual and audible impact that they should have, being awkwardly unflashy throughout most of the runtime. In the end, the action is entertaining enough to make any viewer grab the popcorn bucket and eat everything.

Nevertheless, two aspects heavily damage the film. The song selection is as cringe-worthy as it can be. I'm not entirely sure if the score composers (Volker Bertelmann, Dustin O'Halloran) are the ones to blame, but the excruciating insertion of an electropop song every ten minutes, including mid-action, ruins the dark, somber tone that the movie possesses, and it distracts from the actual fighting. The other aspect has to do with the "villain". I can't delve into details, but Gina and Rucka could have created a phenomenal antagonist whose moral motivations would resonate with every viewer, but instead, the "I want money" motive made the cut.

All in all, The Old Guard continues Netflix's trend of original action films boasting riveting set pieces, even though it doesn't quite reach Extraction's level. Some sequences are indeed well-choreographed and well-edited, but most feel simply generic and *just* fun enough. As one of the creators of the original comics, Greg Rucka delivers a screenplay packed with intriguing lore, which is well-explored and well-established for (what should be) the first movie in a new franchise. With the remarkable direction of Gina Prince-Bythewood, the main focus goes to making a good film instead of trying to get in as much information as possible. Charlize Theron and KiKi Layne offer excellent performances as the two well-developed and emotionally compelling protagonists. However, the cringe-worthy use of electropop songs throughout the whole film damages many moments. For a story containing a moral dilemma at its center, the choice of a money-driven villain feels disappointing and extremely unfulfilling, having in mind the antagonist's potential. It's an entertaining action flick, no doubt about it… but it carried so much potential that it's a shame it didn't reach half of it.

Rating: B-



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Friday, May 29, 2020

Monty Python and the Holy Grail 1975 Online Full HD Movies

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91 Minutes | Adventure, Comedy, Fantasy | 1975-05-25


Monty Python and the Holy Grail


📥 Monty Python and the Holy Grail 1975
📥 DOWNLOAD HERE





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Antlers 2021 Watch Movies Online

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99 Minutes | Horror, Mystery | 2021-02-18


Antlers


📥 Antlers 2021
📥 DOWNLOAD HERE





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Gone with the Wind 1939 Movies Online Free Websites

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233 Minutes | Drama, War, Romance | 1939-12-15


Gone with the Wind


📥 Gone with the Wind 1939
📥 DOWNLOAD HERE



I cannot fully explain all aspects of the movie easily and clearly in a text smaller than a large volume, but yet I will try to compress it decently here.
First and foremost, the movie for me is like a spectacle which could go on with the same cast for 100 hours and still be interesting and captivating. I have always wished it had been a series with this cast instead of a movie. Futile wishes!

The casting, to begin with, is very well matched to the book's spirit if not the physical descriptions. Vivien Leigh, Clark Gable, Olivia de Havilland and Hattie McDaniel. I stop here and will edit it bit by bit to complete it in a few days. It is too large to finish in one writing.



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Raya and the Last Dragon 2021 Movies Online Stream

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| Action, Adventure, Animation, Fantasy | 2021-03-11


Raya and the Last Dragon


📥 Raya and the Last Dragon 2021
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Snatch 2000 Online Full HD Movies

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103 Minutes | Thriller, Crime | 2000-09-01


Snatch


📥 Snatch 2000
📥 DOWNLOAD HERE



In the quiet words of the Virgin Mary... come again?

Snatch seems to be one of those spunky British gangster films that critics are divided on, yet it's loved by the target audience. Guy Ritchie has done a Sam Raimi, he has remade the first film that put him on the cinematic map. Where Raimi remade The Evil Dead, and just called it Evil Dead II, Ritchie cheekily tries to get away with remaking Lock, Stock and Two Smoking Barrels and calling it Snatch. Sure the circumstances in plotting are different, and there's a big American star brought in to beef things up for the global market, but it's the same movie and without doubt it's lazy film making. But it still - like Evil Dead II - Rocks!

Snatch in story terms is concerned with a big diamond that stitches together a number of threads involving the London underworld. Some rough and tough Romany types join in the fun, headed by a purposely illegible Brad Pitt, while Dennis Farina, Benicio Del Toro and Rade Serbedzija add more cosmopolitan meat to the crooks and gangster stew. The British cement holding the building up comes in the twin forms of Jason Statham and Stephen Graham, with Vinnie Jones once again turning up to frighten the masses. Everything from bare knuckle fighting to bumbled robberies - to dog fighting and shifty arcade empires - are here, with Ritchie writing characterisations that positively boom off of the screen.

As with "Lock-Stock", the beauty is in the way violence and humour are deftly blended. Scenes are often bloody but also bloody funny, a pearl of dialogue is never far away from a perilous situation. The comic tone is more close to the knuckle here, Ritchie having fun toying with ethnic and machismo stereotypes, while he brings his bag of visual tricks before it got boring. The narrative is deliciously complex, but much credit to Ritchie for the way he pulls all the threads neatly together in a whirl of scene splicing and cocky literary assuredness.

So it's "Lock-Stock 2" then! No bad thing if you happen to be a fan of that sort of wide boy malarkey. If you don't like it? Then jog on sunshine. 8/10



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Thursday, May 28, 2020

Monos 2019 Movies Online Free Websites

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103 Minutes | Drama, Thriller | 2019-09-05


Monos


📥 Monos 2019
📥 DOWNLOAD HERE


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Perhaps the best way to describe the film is to keep it simple: ‘Monos’ is a mood, an aesthetic, an idea; a sensory cinematic experience more than a story.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-monos-a-hypnagogic-mix-of-teen-angst-and-warfare
**_A bleak allegorical study of war as seen through the eyes of children_**

>_The idea comes from, in many ways, the country where I'm from, Colombia, a country that's experienced 60 years of civil war. And it's been going on for so long, and there are so many different factions and sides, and there's peace agreements and they break, so, in a way, it wasn't something you could go at with clear ideological premises, but instead something that had a kind of ghostly feel. That's what inspired the story, to try to break any binary notion of future/past, man/woman, paradise/hell, and try to get_ _at something that you feel through the stomach or through the skin. I think that's what cinema has; it appeals to your conscious, like a story does, but also your subconscious, kind of like dreams do. So the idea was to do this politically sensitive allegory, but like a dream._

- Alejandro Landes; "Alejandro Landes, Julianne Nicholson & Moises Arias On The Film Monos"; _BUILD Series_ (September 13, 2019)

Joseph Conrad's _Heart of Darkness_ (1899) and William Golding's _Lord of the Flies_ (1954) by way of the mad folly of Werner Herzog's _Aguirre, der Zorn Gottes_ (1972) and Francis Ford Coppola's _Apocalypse Now_ (1979) and the children-are-screwed nihilism of Héctor Babenco's _Pixote: a Lei do Mais Fraco_ (1981) and Jean-Stéphane Sauvaire's _Johnny Mad Dog_ (2011), garnished with the soul-shattering futility-of-war mentality of Elem Klimov's _Idi i smotri_ (1985), all wrapped up in a pseudo-fairy tale/fantasy aesthetic. Turns out an insane hodgepodge like that results in a completely unique film, quite unlike anything you're ever likely to have seen. Written by Alejandro Landes and Alexis dos Santos, and directed by Landes, Monos (from the Ancient Greek "_μόνος_" ("_mónos_"), meaning "alone") is an uncategorisable film that moves from a mountain top which is literally above the cloud-line to a stifling jungle to a raging river to the edge of a city in the midst of war, whilst thematically travelling all the way from a tight-knit group of soldiers who would die for one another to a last-man standing mentality bordering on insanity. Visually stunning, the plot is a little lacking, and sometimes the allegorical basis is a tad imprecise, but this is hugely ambitious and audacious filmmaking from a director we're going to be hearing a lot about in the coming years.

In an unidentified country (the characters are speaking Spanish, meaning we're somewhere in Latin America, with the filming done in Colombia) at an unidentified point in time, a war is raging between unidentified combatants for never-specified reasons. On a mountaintop, we're introduced to the MONOS unit, a small group of child soldiers known only by their _noms de guerre_ – Wolf (Julian Giraldo), Rambo (Sofia Buenaventura), Bigfoot (Moisés Arias), Swede (Laura Castrillón), Smurf (Deiby Rueda), Dog (Paul Cubides), Boom-Boom (Sneider Castro), and Lady (Karen Quintero). Apart from being drilled by "Messenger" (former real-life Colombian guerrilla fighter Wilson Salazar), a superior officer in what is referred to only as "The Organisation", the children have two tasks – to look after a conscripted milk-cow named Shakira and to guard an American prisoner being held for ransom, referred to as Doctora (Julianne Nicholson). By day, they take their duties very seriously, but by night, they act more like the teenagers they are; drinking, eating mushrooms, having sex, goofing around. A tight-knit group, morale is high. That is until an accident has a series of knock-on effects that ultimately sees them abandon their mountain base, heading into the unforgiving jungle far below. Cut off from their chain of command, their discipline starts to break down and soon, they have come into violent conflict with one another.

The film is very loosely inspired by the Colombian Conflict, a low-intensity, multi-sided civil war that began in 1964 and is still going on today. The majority of fighting has been between the government, paramilitary groups, narcos, foreign actors, and guerrilla organisations, the best known of which is _Fuerzas Armadas Revolucionarias de Colombia_ (FARC). In particular, Landes and dos Santos based the events of the film on the 2016 peace agreement signed by Juan Manuel Santos's government and FARC, which called for FARC members to surrender their weaponry to UN forces, at which point they would be reintegrated into Colombian society. FARC officially ceased to exist as a military group in 2017, instead reconstituting as a political party, _Fuerza Alternativa Revolucionaria del Común_. However, around 1,600 FARC dissidents refused to lay down arms, forming independent splinter groups to continue fighting the war. According to Landes,

>_the fragile possibility of peace is in the air, and it's been a long time coming._ Monos _explores this moment through the prism of the war movie. Though this is my generation's first chance, this is not Colombia's first peace process and so it feels plagued by ghosts. These ghosts inspired me to shape the film like a fever dream._

One of the most important aspects of the film is the lack of political, historical, societal, and militaristic specificity – it could be an allegory for almost any conflict at any point in time, with Landes explaining,

>_the idea, from the story to the production design, was to create an atemporal world, out of place, out of time, far away from everything – with this group of kids who is being trained and watched over by some unknown force. They're on a mission, part of a clandestine army. They're a squad of soldiers in the 'back' lines of a war – but also just a tight-knit pack of teenagers. Though the specifics of the Colombian civil war are the source of inspiration, the idea was always for the experience of the film to cross borders and exist as a world in and of its own._

In this sense, it has both a fairy-tale sensibility and a mythological underpinning, with the violence and brutality offset by a poetic tone that speaks to timelessness. Rather than attempting to elicit pathos by evoking the horrors of a particular conflict, Landes treats the story as a universal allegory, facilitated by the lack of concrete contextualisation.
On top of this, the film examines the chaos and absurdity of war through the lens of adolescence; although the members of MONOS can be violent, so too are they teenagers, a duality that informs the entire film. The opening scene, for example, depicts the group playing football, but wearing blindfolds, thus encapsulating both the seriousness with which they regard their training, but also acknowledging that play is still an important part of their lives. Indeed, the film could even be interpreted as an (admittedly extreme) allegory for adolescence itself (as opposed to adolescence being an allegory for something else) – a group of teenagers unsure who they are, experimenting with drugs, alcohol, and sexuality, not entirely thrilled about being told what to do by adults, and convinced that they can do a better job of running things.

Monos's most salient aesthetic characteristic is its dream-like quality, walking a very fine line between the gritty realism of a war drama and the hallucinatory feel of a fever-dream (in this, it very much recalls _Apocalypse Now_). This sense of existing just slightly outside reality is aided in no small part by the discordant and dislocating score by Mica Levi (_Under the Skin_; _Jackie_; _Marjorie Prime_), which is built around whistling and timpani percussion. Also important here is the lush and saturated photography by Jasper Wolf. On the mountain, Wolf often shoots scenes with the characters dwarfed in a small corner of the frame, filling almost the entire screen with vegetation and sky. Such compositions suggest life lived at the edge of the world, existing outside society, existing outside even time. However, once we relocate to the jungle, Wolf goes in the opposite direction, shooting in tight close-ups, frequently handheld, suggesting both claustrophobia and the loss of the near-omniscient control seen earlier in the film.

If I were to criticise anything, it would be the plot, which is very slight, even by allegory standards. Indeed, regarding that allegory, although I certainly admire Landes's steadfast resistance to specificity, sometimes he's almost _too_ successful in rendering the non-specific and universal, leaving you wondering what exactly he is trying to allegorise (even the title can't be locked into a single meaning – apart from the Greek word for "alone" and the name of the unit itself, it's also the Spanish term for "monkey"). And although the theme of child soldiers is a weighty enough issue on its own, it's something with which Landes seems uninterested for its own sake. This can lead to a lack of emotion, which is almost certainly by design, but it makes it difficult to feel empathy for any of the characters, even Doctora.

Nevertheless, this is hugely ambitious cinema with a lot on its mind. Straddling the line between the surreal and the barbaric, realism and fantasy, the seriousness of the adult world and the innocence of childhood, it's a singularly unique viewing experience, as beautiful, lyrical, and abstract in some places as it is ugly, crude, and realistic in others. Both a dire prediction for where an increasingly divided world may be heading and a foundation myth, _Monos_ speaks as much to our future as it does to the legends underpinning our present.
Monos is a film that's both raw, and abstract.
Incredibly well done and surprisingly well acted by the young cast.
An interesting look at those who are essentially nothing more than pawns of a game they don't even understand, but I liked it a lot that the focus is not on it but on this group of young people and the experience is as crude and strange as it is mesmerizing.



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Wednesday, May 27, 2020

Jurassic Park 1993 Online Full HD Movies

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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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Shakuntala Devi 2020 Movies Online Free Websites

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127 Minutes | Drama, Family, Comedy | 2020-07-31


Shakuntala Devi


📥 Shakuntala Devi 2020
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The 400 Blows 1959 Watch Movies Online

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99 Minutes | Drama | 1959-05-04


The 400 Blows


📥 The 400 Blows 1959
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Cool Hand Luke 1967 Watch Movies Online

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127 Minutes | Crime, Drama | 1967-06-22


Cool Hand Luke


📥 Cool Hand Luke 1967
📥 DOWNLOAD HERE



Oh Luke you wild beautiful thing!

Luke (Paul Newman) lands himself in a Deep South prison farm for drunkenly cutting the heads off of parking meters. Once at the farm Luke refuses to be ground down by the system and its grinning warden (a brilliant Strother Martin). As things role by Luke becomes something of a hero to his fellow inmates and this is not lost on the authority in charge of the farm. Things are sure to come to a head as Luke rebels to the point of no return...

Division of Corrections. Road Prison 36.

The close examination of Cool Hand Luke over the years has rightly thrown up the fact that it's a Christ allegory. Which is just fine given that Stuart Rosenberg's film is one of the finest films that the 60s had to offer. It also boasts, arguably of course, the Paul Newman signature role (yes even better than The Hustler). As the title suggests, Cool Hand Luke, both the film and character, there is a great deal of cool here, in fact for a great deal of the first half of movie it's laced with comic touches as we warm easily to the "rebel against the system" machismo and charm that Newman provides as Lukas Jackson. Yet the film then shifts considerably at the mid-point to give us something far more potent and dramatic to alter any preconceptions the audience had of this just being a movie about a macho loner earning our sympathy.

Calling it your job don't make it right Boss.

Much in the film has been firmly ensconced in the memorable moments department, 50 eggs, tar that road quickly, the "Kick a Buck" poker game, "still shaking boss", a mountain of rice to be eaten, sneezing bloodhounds, the boxing match and one of the greatest and most iconic of tag-lines ever, "what we got here is a failure to communicate", all forming part of a truly great whole. However, revisiting the picture often brings the realisation that so much more is on offer than at first thought. Luke is a real war hero (this has been missed by both pro and amateur critics) whose crime is pretty tame for the sentence he finds himself faced with. The Dragline (George Kennedy kicking up a storm of acting quality) and Luke friendship that builds with grace and thunder, sexual frustration of the incarcerated male and a mother and son arc that attacks the soul and lets Newman show many of his acting peers just how grief should be acted out on screen...

"Well, I don't care if it rains or freezes, Long as I have my plastic Jesus, Riding on the dashboard of my car. Through all trials and tribulations, We will travel every nation, With my plastic Jesus I'll go far"

With Newman, Kennedy and Martin holding court with every scene they are in, it would be easy at first glance to ignore the supporting roles, but Rosenberg ensures that supporting players make telling marks. It's a roll call of sweaty and twitchy character actors that features the likes of Anthony Zerbe, Joe Don Baker, Clifton James, Harry Dean Stanton, Dennis Hopper, Morgan Woodward, Wayne Rogers and J.D. Cannon. Filmed in Technicolor and Panavision, Rosenberg and cinematographer Conrad Hall do an amazing job of making Stockton, California feel like the actual Deep South. Film unfolds to the backdrop of a sun drenched land inhabited by life's unfortunates and the supposed upstanding face of American officialdom...

Iconography and martyrdom unbound, Cool Hand Luke is a slow-burn classic of deep thematic worth. 10/10



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V for Vendetta 2006 Watch Movies Online

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132 Minutes | Action, Thriller, Fantasy | 2006-02-23


V for Vendetta


📥 V for Vendetta 2006
📥 DOWNLOAD HERE



With the litany of comic book films being made in 2017, it's hard to understand the role V for Vendetta has played in 'Comic Book Movie' culture. This was one of the early successes of the genre and it continues to shine today in ways other movies (I'm looking at you, Marvel) have not.

The grittiness of the story cannot be understated, this story is DARK. However, the message of the story is one of hope, and hope is a difficult thing to capture. This film captures both, with the help of excellent cinematography and slow-motion action cuts.

I get the sense when I watch this film that something bigger is happening around me, and honestly in 2017, this movie feels more relevant than ever. Themes of state-run media empires, government corruption of the highest order, and the suffocation of all that is 'other' permeates the fabric of this film, and everything is captured beautifully in a noir-esque nightmarescape of future, facist London.

I can honestly say that more than a decade later, this film still shines as one of the great comic book movies and its themes will continue to ring true as long as we have people in the world who exist to limit others. Let's just hope that someday this world does not feel any more real than it does now.



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High and Low 1963 Movies Online Stream

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142 Minutes | Crime, Drama, Mystery, Thriller | 1963-03-01


High and Low


📥 High and Low 1963
📥 DOWNLOAD HERE





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La verità su La dolce vita 2020 Watch Movies Online

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83 Minutes | Documentary | 2020-09-03


La verità su La dolce vita


📥 La verità su La dolce vita 2020
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Tuesday, May 26, 2020

The Treasure of the Sierra Madre 1948 Movies Online Free Websites

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126 Minutes | Adventure, Drama, Western | 1948-01-15


The Treasure of the Sierra Madre


📥 The Treasure of the Sierra Madre 1948
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Fantastic movie with great cast and a thrilling story. Bogart performs great.
I wanted something very special to be my 5,000th film (at least to my horrible memory and to my stats on IMDb), and so after brazen and intense thought, I decided on a later-than-expected watch of a classic from Bogart's association with John Huston. I say later than expected because I bought the immaculate 24-film Humphrey Bogart Collection, which was supposed to have it on its 12 double-sided DVDs, but it accidentally had, in its place, the special features disc, which held excellent feature-length documentaries on both John Huston and the making of the film. Thus I waited until recently, when I found the blu for a very good price and went for it.

It was worth the wait. The ultimate tale of sordid greed. Without going into detail or spoilers, everyone got exactly what they deserved. My only qualm is that after a splendid cameo by the director (whom when I think of that aspect of his career, I will always fondly think of 'Chinatown'), I was hoping we'd end up seeing more of his character. That would have been even more wonderful for me.

Hopefully I will see and rate another 5,000--and I'm very curious if and when I do, what film I'll choose for THAT milestone...



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