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153 Minutes | Drama, Thriller, Adventure | 1953-04-22
📥 The Wages of Fear 1953
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150 Minutes | Drama, History, War | 1981-09-16
📥 Das Boot 1981
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123 Minutes | Drama, Action | 2013-09-02
Awesome, the best racing movie since grand prix 👍
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165 Minutes | Action, Crime, Drama, Thriller | 2012-07-16
📥 The Dark Knight Rises 2012
📥 DOWNLOAD HERE
I felt like this was a tremendous end to Nolan's Batman trilogy. The Dark Knight Rises may very well have been the weakest of all 3 films but when you're talking about a scale of this magnitude, it still makes this one of the best movies I've seen in the past few years.
I expected a little more _Batman_ than we got (especially with a runtime of 2:45) but while the story around the fall of Bruce Wayne and Gotham City was good I didn't find it amazing. This might be in fact, one of my only criticisms—it was a long movie but still, maybe too short for the story I felt was really being told. I feel confident in saying this big of a story could have been split into two movies.
The acting, editing, pacing, soundtrack and overall theme were the same 'as-close-to-perfect' as ever with any of Christopher Nolan's other films. Man does this guy know how to make a movie!
You don't have to be a Batman fan to enjoy these movies and I hope any of you who feel this way re-consider. These 3 movies are without a doubt in my mind, the finest display of comic mythology ever told on the big screen. They are damn near perfect.
I personally thought this film is on par if not better than the Dark Knight.
Whilst some think the film is too long for the story I didn't find this. The length of the film is longer than some (but doesn't feel it), I liked that the film took it's time rather than shoving more elements in it - I think this contributed to the dramatic ending (much like a classical piece of music will be relaxed and calm before the final crescendo).
At the end of the day whether you like this film will boil down to if you like films Christopher Nolan has directed and/or you like the Christopher Nolan Batman series so far.
Stupendously good film in my opinion.
The Dark Knight Rises is one of the best movies to come out in 2012. The story compels you to watch it time and time again. It also has I of, I my opinion, the best bad guys in any movie, Bane! Batman was well played as all ways and the cast where well selected. I think this movie is the best batman to see the light of day or the darkest nights (pun intended).
No doubt that the movie is one of the best movies of this era.
The film doesn't lack in whatever it try to do.It has Simple narration with extraordinary Direction,Acting,Music,Cinematography and a lot of qualities.
Christian Bale is supremely entertaining for sure.
The person behind the scenes is actually the real core creater of the film yes! The Director Christopher Nolan ❤ .
The film ofcorse completes with philosophical quality loaded with Lots of Sacrifices.
This one is the one you surely can't afford to miss.
Go watch The Dark Knight.Go now.
While it's clearly not as superlative as its famous predecessor, it's simply because of both Heath Ledger's outstanding and Oscar-winning performance, and the character of the Joker's etching in our collective unconscious as the greatest comic-book villain ever created (with Lex Luthor a very distant second place). This is still a masterwork, and is an excellent coda to the finest filmic trilogy ever made. As great as Christopher Nolan is as a director, and as fine a film as 'Interstellar' is, I really don't know if he'll ever be able to top his work here, on these three films. But I, for one, am certainly looking forward to finding out...
So here we have it. The end of a trilogy, the end of an era of the universe of Batman through the eyes of Christopher Nolan. And baby, it goes out with a bang...
Going into the theatre tonight I actually wasn't sure what I was up for. I loved Batman Begins, but I didn't actually care that much for The Dark Knight. So the big question was, will TDKR actually be more like the first or the second film? The answer is: neither.
This third instalment of the Nolan-franchise carries its weight all on its own merits. Despite the lack of any kind of intro or opening credits, there actually is plenty of build-up (partly thanks to the insane opening scene). The foundation for a proper, action-packed story is laid down perfectly, explaining things just enough whilst keeping the viewer intrigued to find out more. But if you thought that Nolan couldn't surpass his previous work, you will be pleasantly deceived.
Christian Bale as Batman is terrific. Never before was a superhero so human, so vulnerable. As his mask of intangibility and anonymity slowly starts to crumble, this is a man who questions his reasons to keep being who he is, and he must figure it out before it is too late. Because somebody’s preparing to take him and Gotham down, and he might just be too strong for the Batman...
This somebody is a character called Bane. As a character, an actor and a performance it must be incredibly hard to follow Heath Ledger's The Joker, which was easily one of the greatest villains to ever appear on the silver screen. But tonight, Tom Hardy took a swing for the fence... and made it. His performance is thrilling and actually frightening, in the sense that you don't just *know* you're supposed to be afraid of this character, you actually FEEL it. He instils a feeling of horror and discomfort that is not rivalled by many other film villains. What I actually liked about his character the most is the fact that unlike Scarecrow, who grew into being a villain, and the Joker, who was just a raving maniac, Bane was actually (literally) born from evil. Born in hell, as it is said in the film. This is not a man, this is a creature. A living, breathing manifestation of evil that cannot be reasoned or negotiated with. Hardy's performance is masterful. Since his creepy mask is never removed, he, like only a few actors before him, must act without the use of any facial expressions, making his voice is main tool. His manner of speech (and the sound of it through his mask) is enough to send chills down your spine. This is more than just a another villain from a superhero flick, this is a character that just got torpedoed into the top 10 of the greatest antagonists in the history of film. Now I realise that's a bold statement to make, but you just go and watch TDKR and prove me wrong.
I would say a slight downside to this film is the overflow of characters, both new and old. Aside from the already familiar characters, three new major ones are introduced. And there are also many characters running along in the margin which may seem not important enough to pay attention to, but actually they are so you need to stay focused.
I understand the character of Joseph Gordon-Levitt, Blake, was written in specifically for him because Nolan wanted him in it. And although as a character he works just fine, it does feel like it was at the expense of Gary Oldman. As a cop, Levitt does everything that Oldman's character could've done, but he spends most of his screen time in the hospital, almost like they wanted to get him out of the way, and that's really too bad.
Now, I was extremely excited to see what Nolan had done with Catwoman, because she is one of my favourite film characters. When I heard that she would be played by Anne Hathaway, I had my doubts. I thought she was just way too sweet to pull this off. But I must say, Ms Hathaway did a pretty good job. She is actually much more sly and devious than I thought she could be. The Nolan brothers, on the other hand, disappointed me here. Catwoman isn't really Catwoman, she's just a sexy girl in a spandex suit who can kick your ass. Her movements aren't even typically cat-like... So that was a bit of a letdown.
I would also like to make a note on Michael Caine. I think his performance here was so much deeper and more character-driven than the other two films. In fact, there is one scene in particular, where he confesses something to Bruce, that almost moved me to tears. And this is actually TDKR’s greatest strength; unlike the other two films, this one deals much more with actual human emotions, it gives us an insight into what actually drives these characters, both heroes and villains alike.
As much as I would love to, the word-limit restricts me from elaborating more on the characters, so I'll just move on to the technical stuff. And in that department, actually pretty much everything was perfect. The pacing was very well balanced, and during those 2 ½ hours I didn't get bored once. Great action scenes alternate with more quiet moments, and the special effects are absolutely awesome. Hans Zimmer once again delivered a terrific score and there was some high quality dialogue. Also in store: a couple of great plot twists and two very cool cameos... There are a few plot holes, but everything else easily makes up for it.
I highly recommend The Dark Knight Rises. It is a worthy conclusion to the trilogy, and it far exceeded my expectations.
_(July 2012)_
Batman was one of my childhood heroes from the Comic magazines even though the Swedish plonkers, in their infinite stupidity, had renamed him to something as ridiculous “Läderlappen” which basically translates into “patch of leather”.
Thus, when Christopher Nolan brought us Batman Begins and steered away from the ridiculous comic shows that the previous batman movies (except the first one) had turned into I was thrilled. Unfortunately I was equally disappointed with this one.
I think the title of the movie is quite misleading since Batman isn’t exactly rising at all but rather sinking. If this would have been a movie about some other “guy” it would probably have been excellent but it isn’t. It’s about Batman and as such I had expected him to be the hero going around beating up the bad guys.
Instead the movie starts downright boring with Batman having dug himself down into a swamp of melancholy and closed himself off from the world. When he finally starts to appear again he gets pretty much beaten at every turn not to mention conned out of the Wayne fortune. What the f… is that? It isn’t until the end that he starts to be the real Batman and even then it’s not very exciting.
Actually Batman, as in Batman and not Wayne, is not really in the movie for a good chunk of the time and the real hero in this movie is really the young cop and he sure isn’t a particularly good substitute for the superhero Batman that I was expecting to watch.
I was struggling with what to give this movie but in the end, since I probably would have thought it to be a good movie if it had not been labelled as a Batman movie, I gave it 5 out 10 stars. At least the special effects where quite okay.
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122 Minutes | Drama, History, War | 2004-03-04
📥 Hotel Rwanda 2004
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130 Minutes | Drama, Mystery | 1940-03-23
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A good movie and interesting plot but the characters are a little bit exaggerated and the outcome is quite expectable.
A poor "lady's companion", so self-effacing that we are never given her name (Joan Fontaine), suddenly finds her life changed when a moody widower, Maxim de Winter (Laurence Olivier), proposes to marry her and take her to his splendid estate of Manderley.
It seems like a fairy-tale turned true, but it is not. On reaching Manderley, the new Mrs. de Winter (still unnamed) finds herself out of place, as Maxim seems to drift away and the hostile housekeeper Mrs. Danvers (Judith Anderson) repeatedly tells her that she will never live up to the standard set by Maxim's first wife Rebecca.
What was Rebecca really like? The perfect English lady, or a hypocrite who dazzled the people around her? Where do Maxim's affections really lie? The questions not only create a great movie mystery, but a portrait of an unequal marriage between an arrogant aristocrat and a neurotically dependent young wife.
Absolutely perfect Gothic Thriller that has many imitators but few of equal quality.
With "Rebecca" about to hit the Broadway stage (as a musical!), I thought it was time to write my review of perhaps my favorite Hitchcock film. I recall the first time I saw this on TV almost 30 years ago on the late show, I had set my VCR to tape it, but woke up to start watching a bit of it, and stayed up all night to watch it all. That's how good a film it is. Daphne Du Maurier's tale of a shy companion who shocks her employer by winning the most desired wealthy widow in England is gripping, suspenseful, and filled with innuendo. Joan Fontaine never gave a more lovely performance as the awkward bride who leaves her hysterically selfish employer (Florence Bates) to marry the brooding Maxim De Winter (Laurence Olivier) and finds animosity from the darkly dressed Mrs. Danver (Judith Anderson) who resents her intrusion because of her devotion to Maxim's late wife, Rebecca. The mystery of how Rebecca died and what kind of woman she really was is explored, and with the intrusion of scoundrel George Sanders and some well-meaning advice from Maxim's toothy sister (Gladys Cooper), the new Mrs. De Winter (her first name is never revealed) finds out more than she bargained for.
If you thought Olivier's Heathcliff in "Wuthering Heights" was dark and somewhat depressing, wait until you meet his more civilized Maxim. Joan Fontaine's bride is as far from Merle Oberon's "wild and sweet" Cathy as you can find, but as far as Gothic tales of brooding men and their lost souls go, the two movies make a perfect double feature. Samuel Goldwyn and David Selznick were Hollywood's most famous independent producers, so sometimes their careers are compared. They share many of the same players, and in the case of these two films, the same photographer (Gregg Toland). Fontaine and Olivier work well on screen together, even though they apparently did not share a close working relationship. It is, however, the supporting players who are the shining stars.
Anderson's Mrs. Danvers is a role we've already seen on screen (usually played by Gale Sondergaard), but being Anderson's second film (and first in 7 years), there was a lot of curiosity surrounding her considering her reputation as one of Broadway's hottest dramatic actresses. Mrs. Danvers isn't a one dimensional evil housekeeper; You understand her affection for the late Rebecca from the very beginning, and in every movement Anderson makes, you cannot take your eyes off of her. I can't praise her highly enough. Sanders' suave villain (who playfully calls Mrs. Danvers "Danny") is extremely likable and almost equal in stealing away the attention of the leads. Gladys Cooper and Nigel Bruce add on a delightful "pip pip" quality to their eccentric characters, while in her brief time on screen, Florence Bates is hysterically funny, putting out a cigarette in her cold cream, and coolly telling Fontaine how she can never truly be a "great lady".
Every moment here is a classic movie memory, from the opening narration to Fontaine's first vision of De Winter, and then, the rainy ride down to where Fontaine sees Mandalay for the first time. The light first quarter darkens the moment we see Anderson pop into view as Mrs. Danvers. A cold pause, then "How Do You Do" reveals the tension, and from there, everything is set. Anderson explodes in two scenes-the first where she finds the hiding Fontaine in Rebecca's old room, and later, when Fontaine confronts Anderson after discovering her treachery. The film sags just a bit with the discovery of a body that might be Rebecca's, but that is minor. C. Aubrey Smith is memorable in his small role as Maxim's attorney. The final shot will live on in your memory, just as Mandalay lived on in the second Mrs. De Winter's.
While "Rebecca" won Best Film at that year's Academy Awards, many film historians prefer the message drama "The Grapes of Wrath" as the better film. I find the two rank very close, and also quibble over between the choice of Jane Darwell for Supporting Actress over Anderson's Mrs. Danvers. A big mistake was not nominating Sanders. A BBC version years later is also very good, a bit more faithful to the novel, and benefits from Diana Rigg as a more approachable Mrs. Danvers and a very diva-ish performance by Faye Dunaway in the Florence Bates role.
Do you think the dead come back and watch the living?
Rebecca is directed by Alfred Hitchcock and adapted to screen play from the Daphne du Maurier novel of the same name. It stars Laurence Olvier, Joan Fontaine and Judith Anderson. Cinematography is by George Barnes and music scored by Franz Waxman.
After meeting and marrying 'Maxim' de Winter (Olivier), the Second Mrs. de Winter (Fontaine), finds life at his English estate, Manderley, far from comfortable because the servants and the house serve to remind her of the first Mrs. de Winter, whose death remains a source of mystery. What did happen to the first lady of the house? Can this newly married couple survive the oppressive cloud that looms large over the mansion?
A Gothic emotional near masterpiece, Alfred Hitchcock's first American film may seem a bit too serviceable at times, something he was also aware of himself, but the production values are high and the story is played out supremely well. Within the story we can find Hitchcock's now famous trait of mistrusting Women, but in the main it stays the tragic tale of one young woman living in the ominous shadow of the previous Mrs. De Winter. Mood is often set as foreboding, with the director understanding the psychological pangs of the source material once the action switches to the de Winter home of Manderley. It arguably is a touch too long, and the restraint of Hitchcock, down to producer David O. Selznick overseeing things, stops it being a bit more unnerving than it should be.
For Manderley the mansion here is one of the finest put on the screen, this is because Hitchcock and brilliant cinematographer George Barnes manage to make it bold & beautiful one minute, and then the next scene it comes off as a monolithic nightmare. It's wonderful case of the surroundings playing the extra character for maximum effect. Laurence Olivier is impressive, even if we would learn later on that this is the sort of performance he could do in his sleep. The supporting cast do great work as well, especially as regards the cold and terrifying turn from Judith Anderson as Mrs. Danvers. However, to me this will always be Joan Fontaine's show, she nails it perfectly, the new Mrs. De Winter wants to do right but can't seem to so for doing wrong, she infuriates at times, yet the next minute you just want to hold her, for she's so vulnerable, but beautifully so, it's a brilliant performance in a brilliant film.
The ending is a switheroo from the novel, and it almost derails the success the film has achieved up to that point. And looking at it now it's hard not to curse the Production Code for enforcing a big change to what was revealed in du Maurier's wonderful novel. But the film has survived the "appeasing" ending to stand the test of time for all the ages. It won the Academy Award for Best Picture, and Barnes also won for Best Black & White Cinematography, it was nominated for a further nine awards, including Best Director, Best Actor, Best Actress and Best Supporting Actress. No nomination for Waxman, sadly, but his score is worthy of a mention for the evocative strains that sit nicely with the tone of the story. Rebecca, a hauntingly beautiful picture that's acted and produced with consummate skill. 9.5/10
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91 Minutes | Animation, Family, Comedy, Fantasy, Adventure, Music | 2020-03-12
📥 Trolls World Tour 2020
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The 'Trolls' franchise could have been another cheap brand name recognition film, like 'The Grinch' or the upcoming 'Scoob!', but when you have a team that cares about the project at every level, you end up with not only a fun kid's film, but one with a powerful message.
- Chris dos Santos
Read Chris' full article...
https://www.maketheswitch.com.au/article/review-trolls-world-tour-poppy-and-the-gang-are-back-and-rocking-harder-than-ever