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Saturday, August 15, 2020

Whiplash 2014 Movies Online Stream

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107 Minutes | Drama, Music | 2014-10-10


Whiplash


📥 Whiplash 2014
📥 DOWNLOAD HERE



DISGUSTING NONSENSE...

*** This review may contain spoilers ***

I find it very sad that so many people - including so-called professional reviewers - have rated this crap so highly. I did not walk out (although I was greatly tempted to do so) but saw it to the end. A total waste of time.

Here's what might spoil it for you, should you believe the BS that's being spread around this stinking pile of excrement: It could have actually been OK if it hadn't been so laughably impossibly ridiculous. Perhaps if it had been set in the fifties or the forties when people had much less developed consciousness of human rights? But even so...

I suppose the moral/lesson we are supposed to learn is... if you can't warp your students enough by abuse to force them to become great musicians then it is perfectly alright to discard or destroy them in the attempt.

This glorified tyrant and bully can himself only produce music at a grade one level and so because he cannot 'do' he 'teaches?'

He does not teach, he does not inspire; he withholds approval, negatively reinforces and rules by fear, and is feared rather than respected. I would have a difficult time to point to a single (pedagogical) scene in the film that had any merit whatsoever or was worth watching for any reason. Maybe I should say that its evident popularity may be evidence that we are truly living in the end times... ha!

See the film if you want to be current, but please decide for yourself from watching it and don't believe the hype about its 'genius' or 'brilliance.' It is not either of those things; it's a poorly written, sad joke.

I would expect that those people who rate it so highly A) want to seem cool because 'it's about jazz' B) have never actually been in a teacher/student situation and therefore, can only imagine how its done C) see all the other positive reviews and so must follow the herd D) don't really know their ass from their elbow or E) thought the the actor had truly grown because in Spiderman he only yell, but it THIS one, he throws chairs.... or F) all of the above.

Save your money or see something uplifting instead rather than this horseshit.
Fantastic movie with a good cast with an impressive Miles Teller and a yet even more impressive J.K. Simmons. Decent script, great directing, selection of the repertoire and performances.

Just sit down, get a good audio system and enjoy one of the best movies of the 2010s.
J K Simmons won an Oscar for Best Supporting Actor for his mean, bullying monster. Jazz teacher Terence Fletcher who abhors the words 'good job.'

Fletcher tells a tale about Charlie Parker and how doing a good job was not enough for him. Good job means mediocrity.

Yet Fletcher is a mediocre educator and his college seems not to have noticed this. Instead of being an inspiration his students fear him. He is a nasty tyrant and an incident from his past comes back to haunt him.

Miles Teller plays Andrew Neiman the put upon jazz drummer in the Shaffer Conservatory in New York. Neiman is eager to impress Fletcher but nothing he can do is good enough and withstands all the effluent Fletcher throws at him until one day he snaps.

Damien Chazelle unleashed an unethical monster in Fletcher with Neiman providing the film's heart but I am not convinced that this is a good film. The rest of the students in the class are silent to the abuse taking place right in front of them. They are young adults, not kids and they do nothing about it.
When I sat down to watch this film, I didn't know what to expect. I am not usually a fan of films about musicians but this was a brilliant and tense masterpiece. The story is of a very ambitious boy named Andrew (played by Miles Teller) who is a music student in New York. He aspires to be noticed by a prestigious music teacher named Fletcher (played by J.K. Simmons). As his wish starts becoming a reality, he realises the brutality of this teacher who continually pushes him with questionable methods. Damien Chazelle's direction is almost of a tense boxing or war action drama in that it constantly uses the music of the drumming to build the tension whilst using violent and sharp editing whilst the jazz band play.

Chazelle's screenplay is very well written. It is filled with humour, tension and heartbreak. The way in which Fletcher switches during Andrew's first lesson is expertly done. Fletcher relentlessly insults Andrew in a very shocking way which really creates a huge sense of sympathy for Andrew's character as he struggles to respond. The insulting dialogue is very similar to Stanley Kubrick's 'Full Metal Jacket' in that it is both humourous and disturbingly distressing.

The performances in this film are remarkable. Miles Teller is a relative newcomer but takes to this character with so much depth and understanding. The drumming scenes look like incredible and torturous workouts and Teller really shows the pain and agony his character is going through to reach his dream. The chemistry between the two central characters is flawless. J.K. Simmons is perfect as the abusive music teacher. Simmons manages to combine Fletcher's distinguished persona with his terrifying unpredictability. Simmons reminds me of his character in Valve's 'Portal 2' in which he continuously spouts insults at the player in a darkly hilarious way.

Overall, 'Whiplash' is a fascinating study of passion, ambition and love. The film asks questions about the morality of getting one's dreams and the acceptable methods of acquiring them. Full of amazing performances all around, and created with such intensity and spirit, my final rating for this film is 4.5 stars.

★★★★½
"There are no two words in the English language more harmful than good job".

Whiplash follows are main character Andrew Neyman who is a young jazz drummer, single-minded in his pursuit to rise to the top of his elite east coast music conservatory. Plagued by the failed writing career of his father, Andrew hungers day and night to become one of the greats. Terence Fletcher, an instructor equally known for his teaching talents as for his terrifying methods, leads the top jazz ensemble in the school. Fletcher discovers Andrew and transfers the aspiring drummer into his band, forever changing the young man's life.

OK let me just start off with this. You had no idea how much I was really looking forward to Whiplash. This was on my movies to check out list, because I heard nothing but positive things from this movie and I heard a lot of people described this film has the "Full Metal Jacket" but with no war or guns, but with music and well... drums. I think Whiplash and "Birdman" was the two movies I wanted to see before making my best movies of the year list, because who knows they might make the list. I haven't seen "Birdman" yet but will do soon, but I finally had the chance to see Whiplash and my god this movie was just so spectacularly flawless in many ways. Whiplash is the best move of 2014.

J.K. Simmons in this movie probably pulls of the best performance in his career. Every word that came out of his mouth didn't feel like he was reading from the script then act it out. I felt every angry punch of words that came out of him, because it was so real. I didn't see J.K. Simmons just playing a movie character in this movie, no he was the freaking Fletcher.

Now let's talk about Terence Fletcher: The best way to describe Fletcher to those who haven't seen the film yet, well his like Sgt. Hartman from "Full Metal Jacket". When he's on screen your locked on and he's also the kind of person that would be somebody's worse nightmare to have for a boss. This guy doesn't just like music, he breaths music and he wants his band to do perfect. His opinion and his look on music is another thing why I didn't flat out just hated him, I actually understood him. He made a very good point about how people will comment on you act and say "You did a good job", and yes I did use the words "you did a great job", in my past reviews but now I'm never going to use it ever again after this movie.

Miles Teller was another stand out performances in this movie, and just like "Foxcatacher" where Channing Tatum was so over looked by his performance, well Miles Teller has proved himself to be more then a teen in a movie that will be forgotten and so would he, but no Miles Teller played this character so brilliantly he could become the next big thing. Now his character in this movie has the love of the true art of music and you can see that he wants to tell people his love for music, but when the harsh life of reality comes crashing into him it's truly heartbreaking to see his struggle and effort just not being good enough. Teller played this character so realistic and so brilliantly flawless.

The directing and the writing in this was just....perfect. Damien Chazelle gave this movie style and passion to tell a story about two strong music buffs battling out and he freaking nailed it.

This movie also had probably the best finale that I've seen in years. My nails were digging into the seat. I didn't dare to look away not for one moment, not for one second. I was simply locked on and when it was over... I'm kidding you I actually clapped towards the end of this movie. Now the biggest cliche that I always hear from critics when their talk about a different movies and their use words like "You will clap at the end", but you don't, or "You will feel inspired after the film", and I you don't. But Whiplash actually did make me feel inspirited towards the end and made me clap. It's message of not giving up and the dream that you been chancing for isn't just going to come to you. Movies like Pride, freedom Writers and all that such never ever give me that inspiring feeling inside of me, until I watched this movie.

Overall rating: Whiplash is a movie that everybody needs to see. This isn't just a popcorn movie where you come and put you legs up and laugh a couple of times, no this movie reaches out to people out there that have the same problems that these character's have, with their passion of what their what to do in life get's over shadowed by something you don't want to do and this movie get's it right. So go and see if you have the chance.



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Shithouse Full Movie Download

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100 Minutes | Comedy, Drama, Romance |


Shithouse


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The Departed 2006 Full Movie Download

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151 Minutes | Drama, Thriller, Crime | 2006-10-05


The Departed


📥 The Departed 2006
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I decided to celebrate the Summer Solstice by watching 'The Departed'. Don't ask me why. I had previously loved the Hong Kong-made 'Infernal Affairs' trilogy on which this is based. Usually I hate when international masterpieces get remade, but this was a sterling exception. This was controversial when it took in a cartload of Oscars, particularly finally a directorial nod for Scorsese, but don't be misled--it's easily one of his finest works.

This is my Golden Rule on both remakes in general, but especially American remakes of international (particularly foreign-language) great films. When in doubt, check the label:

1. Director? (check)
2. Cast? (check)
3. Script? (check)

'The proof is in the pudding!'
The only one that can do what I do is me. Lot of people had to die for me to be me. You wanna be me?

The Departed is directed by Martin Scorsese and written by William Monahan, Alan Mak and Felix Chong. It stars Jack Nicholson, Matt Damon, Leonardo DiCaprio, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Mark Rolston and Alec Baldwin. Music is by Howard Shore and cinematography by Michael Ballhaus.

An Irish gang in South Boston becomes aware there is a rat in their midst, whilst the police force has a mole to contend with - with each one trying to out each other before the other does...

Martin Scorsese remakes Hong Kong thriller Infernal Affairs (2002) for the English speaking world, and promptly bagged his first Best Director Oscar in the process. It's a thrilling picture packed with suspense and edginess, a psychological gangster picture driven by two men leading double lives that is leading them to the abyss. When the violence comes it erupts in thunderous strokes, all while the narrative pulses with paranoia. There are some irksome contrivances, but with a uniformly strong set of turns from the cast, great musical accompaniments, and a director returning to gangster form, The Departed is a sure fire winner. 8.5/10



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Friday, August 14, 2020

Ottolenghi and the Cakes of Versailles Movies Online Free Websites

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75 Minutes | |


Ottolenghi and the Cakes of Versailles


📥 Ottolenghi and the Cakes of Versailles
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Saint Maud 2020 Movies Online Stream

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84 Minutes | Horror, Drama, Mystery | 2020-11-20


Saint Maud


📥 Saint Maud 2020
📥 DOWNLOAD HERE



'Saint Maud' is an insight into a very modern, very lonely existence that is sadly only too recognisable. It's a testament to how effective the film is that Glass aligns us closely with Maud to the grisly end, because she's really just acting on her own twisted nature, still looking for that elusive personal connection that will relieve a lifetime of loneliness. Glass delivers on so many levels as a writer/director that it's hard to believe this is her debut, establishing unease through suffocating mood, she finds fright in stillness, quiet, and isolation.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-saint-maud-religious-fervour-and-psychological-horror
**_Emotionally ambiguous, thematically complex, aesthetically daring – an exceptionally accomplished directorial debut_**

>_Qui est en droit de vous rendre absurde est en droit de vous rendre injuste._ [_Anyone who has the power to make you believe absurdities has the power to make you commit injustices._]

- Voltaire; _Questions sur les miracles_ (1765)

> _We all have a tendency to think that the world must conform to our prejudices. The opposite view involves some effort of thought, and most people would die sooner than think._

- Bertrand Russell; _The ABC of Relativity_ (1925)

> _Gli uomini non fanno mai il male così completamente ed entusiasticamente come quando lo fanno per convinzione religiosa._ [_People are never so completely and enthusiastically evil as when they act out of religious conviction._]

- Umberto Eco; _Il cimitero di Praga_ (2010)

Is religious fanaticism a form of mental illness? Certainly the "Four Horsemen" of New Atheism (Richard Dawkins, Daniel Dennett, Christopher Hitchens, and Sam Harris) would argue it is. However, from the perspective of the fanatic, such fanaticism is often not only logical and justified, but unavoidable; they don't choose to be fanatical, they are compelled to be fanatical, no matter how insane their behaviour may seem. The disparity between what a fanatic believes and what other people believe is the main issue examined in _Saint Maud_, the stunning debut feature from writer/director Rose Glass. Part-horror, part-psychological thriller, part-character drama, part-ecclesiastical treatise, _Saint Maud_ can be read in a variety of ways – an analysis of the interaction between faith and self; a threnody for the life of a young woman suffering a mental breakdown; a drama about loneliness; a study of the importance of friendship; a tale of possession; a tragedy about the frailty of the human body. Told mainly (although not entirely) from the perspective of a fanatical Christian, the story makes room for the possibility that, however unlikely, such fanaticism isn't mental illness at all and that God really is communicating with this person. And this magnificently handled ambiguity is the film's trump card. Disturbing, horrifying, challenging, unpredictable, emotional, and occasionally very funny, this is a film that forges a path entirely its own, and is as impressive and daring a directorial debut as you're ever likely to find.

The film takes place in a thoroughly depressing English seaside town (it was shot in Scarborough, but the town in the film is unnamed). There we're introduced to Maud (an incredibly physical performance from Morfydd Clark), a recent convert to Roman Catholicism. Exceptionally devout, Maud believes that all of mankind is amoral, lustful, and wicked, and that only by way of a true saviour can we be saved. Is she that saviour? It's possible, because God has explicitly told her that he has very special plans for her in the near future. Before being called upon to save humanity, however, Maud is working as a private palliative care nurse, explaining to God (we hear her prayers in voiceover) that she feels tending to a dying person and treating them with kindness and dignity in their last days is akin to saving their soul. The story begins as Maud arrives for her first day with Amanda Köhl (the always brilliant Jennifer Ehle); a formerly world-famous American dancer and choreographer suffering from end-stage spinal lymphoma. Amanda has a reputation for being acerbic, but she and Maud get on well – Maud admires her strength of character and zest for life, whilst she wants to help Maud let her hair down a little. However, there are certain elements of Amanda's life of which Maud does not approve – her smoking and drinking, for example, or the frequent visits from Carol (Lily Frazer), Amanda's much younger lover, and as time goes by, Maud starts to exert more and more control over Amanda's life. Meanwhile, although God continues to promise Maud that the time is coming when she will be called upon, she's started to get a little frustrated waiting. And so, facing the possibility that something hideous from her past could resurface, Maud decides to prove to Amanda, God, and everyone else just how far mankind has fallen and just how sanctified she really is.

Although Maud is a hard-line fundamentalist, Glass refuses to dismiss her as an irredeemable monster, arguing instead that such individuals genuinely believe they really are communicating with the Divine. It's the old thing about how a crazy person doesn't know they're crazy, but manifested in a more complex form – Maud may be mentally ill, but even if that is the case (and the film is in no rush to confirm that it is), then surely she deserves compassion and kindness, so completely has her mind bent reality to support her delusion. As will be discussed in a moment, Glass tells much of the story from Maud's subjective perspective, and in this sense, it's almost understandable when she sees signs of God's presence in everyday things (an inexplicable whirlpool in a glass of beer, for example) and when she's occasionally rendered almost catatonic as the Holy Spirit flows through her. As the subjective perspective communicates brilliantly, this may be delusion, but if it is, it's a total delusion that she is powerless against. In a very real sense, she cannot be held accountable for her actions.

Even irrespective of mental health issues, however, Maud is all-in on the whole Catholic thing. She tells God about how important her work is, as it allows her to "_save souls_", which is the greatest task she can imagine; she credits her recent conversion to Catholicism as reversing the downward spiral of her life, explaining that she always felt "_there was more than this_", but it was only when she became a Catholic that she was allowed to see what that "more" was. She's also a firm adherent of the Job school of faith-by-suffering, cheerfully telling a beggar, "_never waste your pain_" and later engaging in some truly gnarly DIY shoemaking.

Along the same lines, she tolerates Amanda's little digs about her life and how lonely she seems, but when Amanda turns her caustic wit to Catholicism, Maud is unable to let that stand without offering rebuke. Of course, her relationship with Amanda forms much of the film's narrative backbone, and is deeply nuanced and layered, with neither woman allowed to occupy the moral high-ground. Ehle plays Amanda as profoundly bored with her failing body, whose isolation and inability to leave the house mean she must find amusement where she can, and so she seizes on this strange, ultra-serious young woman who has come to look after her. Amanda is never portrayed as a villain, but she does regard Maud as something of a plaything and Maud's reverential and humourless attitude as something to be joked about, not with the intention of hurting Maud, but with the intention of amusing herself. Amanda, however, fails to understand that these are not mutually exclusive intentions.

As strong as _Saint Maud_ is thematically, however, where it really excels is in its aesthetic design. Glass directs the hell out of it and there's not a weak link amongst her crew – from Ben Fordesman's murky cinematography to Paulina Rzeszowska's detailed production design to Paul Davies's oppressive sound design to Adam Janota Bzowski's creepy score to Mark Towns's ambiguous editing (including a shocking slam cut right at the end that's as brilliantly jarring and thematically crucial as anything in the work of Nicolas Roeg).

Crucial to the overall aesthetic is how Glass handles perspective; most (although, crucially, not all) of the film is told from Maud's perspective, so we encounter her visions not as an objective third-party would, but as she herself does. So, for example, when she sees a small whirlpool spontaneously appear in a glass of beer, we see the same thing, and there's no cutaway to show us Maud staring at a normal glass, _sans_ whirlpool; when a towel placed near a crucifix falls to the ground for no obvious reason, we see it fall just as she does, and there's nothing to objectively suggest why it may have fallen; when God talks to her (in Welsh, no less), we hear His voice as she does, and there's no portion of the scene where we see Maud answering a voice we cannot hear.

Similarly, is it just a coincidence that so many shots of Maud are blocked with windows or lights in the background that create a halo effect, and is the shot of her walking on the beach, with a thin layer of water covering the sand, intentionally framed in such a way that it looks like she's walking on water? One particular scene near the end of the film, which I won't go into as it would be a spoiler, is especially important in the construction of a subjective point of view – what we're seeing couldn't possibly be anything other than psychosis, and yet the film has given us very little to confirm such a reading. Could it be that what Maud is experiencing is real? Is this scene confirmation that her mind has irreparably snapped, or is it confirmation that she was completely sane all along? Constructing a scene based on two literally inverse interpretations can't be easy, yet Glass does it so smoothly, you won't even realise the sharp dichotomy until it's all over. At the very least, even if we don't accept Maud's view of things, the film encourages us to sympathise with a woman undergoing a mental breakdown. There's no cynicism here – either Maud is truly in contact with God or she isn't, and if she isn't then her story is as much of a tragedy as Amanda's, and she deserves help, not condescension or ridicule.

Running only 84 minutes, it's extraordinary how much Glass squeezes into her debut feature; from the arresting performances by Clark and Ehle to the thematic complexity to the extraordinarily well-handled perspectival ambiguity to the haunting aesthetic design. Looking at issues such as trauma, faith, fundamentalism, sexuality, and human impermanence, the film has much more going on than the generic horror elements one might expect. Either a depiction of the mental collapse of a young woman or a study of the supernatural, the ambiguity might frustrate those who prefer their narratives with solid answers, but for the rest of us, there's much to embrace and celebrate here. One of the best directorial debuts I've seen in a long time, I was only half-way through the movie and I was already looking forward to whatever Glass might do next. _Saint Maud_ probably won't break any box-office records, but as a calling card, it's second-to-none, and we are going to be hearing a lot from Rose Glass in the future.



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Thursday, August 13, 2020

The Father 2020 Movies Online Free Websites

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97 Minutes | Drama | 2020-01-27


The Father


📥 The Father 2020
📥 DOWNLOAD HERE





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Wednesday, August 12, 2020

Rocks 2020 Movies Online Stream

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94 Minutes | Drama | 2020-09-09


Rocks


📥 Rocks 2020
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