Kamis, 30 Maret 2017

The Hobbit: An Unexpected Journey 2012 kostenlose filme -1440p-M1V

The Hobbit: An Unexpected Journey 2012 Online Stream

The Hobbit: An Unexpected Journey"

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The Hobbit: An Unexpected Journey 2012


159 Konzept




AVI 1440p


Adventure, Fantasy, Action




Mattie, Misrahi B. Burdett, Hibo N. Ezmie

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Peter Jackson creates the same world that he already shown us in the LOTR, but that's not the only thing he repeats.

He also repeats ripping Tolkiens book into a sucession of endless races and actions scenes with orcs falling everywhere and several "inventions" that mess the beautiful story created by the English author.

He also repeats those several minutes of platform game inside caves that we saw in Moria and in his version of King Kong.

If you loved the previous movies from Jackson, you will love this too.

If you are looking for some quality, you will only finding in the re-creation of the Middle Earth and the peformances of Ian McKellen, Martin Freeman and Cate Blanchett.
An other great master peace has been added the the Lord of The Rings collection. This movie was an excellent example of how great actors, an amazing story and a beautiful world can be produced in such an excellent way. Peter Jackson has out done his self by creating this great film. There are differences from the book but I can't complain about any of them, yes I love the original story but this one is still one of the best. All in all a amazing movie.
Over a decade after a little-known director from New Zealand managed to con New Line Cinema into giving him $300 million to make a trilogy based on JRR Tolkien's seminal fantasy (and long considered unfilmable) work The Lord of the Rings, the cinematic landscape for fantasy has changed drastically. Much like Tolkien's tome, the Lord of the Rings films came to utterly define high fantasy in film, with even competing fantasy adaptations like The Chronicles of Narnia and Alice in Wonderland cribbing from Peter Jackon's critically-acclaimed, audience-adored multipart epic. Now Jackson has returned to the land that made him famous for a go-round with Tolkien's earlier work, The Hobbit.

Tolkien's The Hobbit is far more modest in scope than its enormous sequel, and geared for a younger audience. It introduced the world to Bilbo Baggins, a typically quiet hobbit who is coaxed into adventure by the grey wizard Gandalf, enlisted to aid thirteen dwarves in reclaiming their long-lost homeland.

Jackson had the unenviable task of following up on his blockbuster Academy Award-winning masterpiece, and initially passed off the directing responsibilities to fantasy master Guillermo del Toro. Difficulties securing the film rights led to delay after delay, and del Toro finally departed, leaving the original creative team the ability to step back into place and create a follow-up/lead-in with the same creative staff in front of and behind the camera. Jackson returned as director, co-writing with Fran Walsh and Phillipa Boyens (though del Toro retains a screenwriting credit), Andrew Lesnie as cinematographer, and Howard Shore as composer, along with all of the other stalwarts of the original trilogy.

The lone exception to that is the recasting of Martin Freeman as the titular hobbit, taking over for the aging Ian Holm. Holm appears in the film's framing sequence (a scene that takes place immediately prior to the beginning of The Fellowship of the Ring), along with that trilogy's star, Elijah Wood. But this time out, it's Freeman's show, and he's as charming, witty, and engaging as you could imagine. He also makes a perfect Young Ian Holm. The casting is truly inspired. Sir Ian McKellen returns as Gandalf (here playing his more impish grey incarnation, rather than the frankly humorless white version) and the heralded thespian manages to imbue his character with both immense power and gravitas, while still throwing in little flourishes that sell Gandalf as an imperfect man, rather than just an all-knowing power. Rounding out the third of this film's main characters, and an addition to this world, is Richard Armitage as Thorin Oakenshield, the leader of the motley crew of dwarves. Armitage likewise manages to imbue Thorin with both rage and honor, and is easily believable as someone who could lead these dwarves into life-threatening battle. The other twelve dwarves are something of a blur, but a few of them manage to make an impression, even with limited screen time. I imagine the two future installments of the series will afford them each the chance to shine.

Which brings up the most contentious point of this whole Hobbit affair: the fact that it's a three-part epic. The Hobbit, as written, is a comparatively slim tome of around 300 pages (compare that to The Lord of the Rings' combined 1,600). This installment alone is ten minutes shy of a whopping three hours. And as anyone who's seen The Return of the King can attest, Jackson can get rather indulgent at times (the end[s] of that film). Initially the film was going to be split in twain, then later divvied up into three parts. Tolkien, ever the completist, wrote volumes of backstories for this world, and Jackson decided to pull from them to bulk out these films.

I've seen a lot of hay being made about the film being bloated and, yes, indulgent. I'm an editor at heart, and am generally hyper-sensitive about cutting down to the bone. But the strangest thing happened on the way to the Lonely Mountain: I found myself simply rolling along with the shaggy-dog pace of the film. It's astonishing in hindsight. The film virtually redefines "taking the scenic route," but the crazy thing is I didn't mind it in the least. I believe it's because of the lowered stakes of The Hobbit. Every single frame of The Lord of the Rings was suffused with overbearing doom; that trilogy's "save the world" plot became as heavy a burden to bear as the ring hung around Frodo's neck. But The Hobbit is lighter, freer, funnier, and doesn't have the weight of the world on its shoulders. It's rather the difference between having an appointment you need to get to in heavy traffic and taking a weekend to just drive around, stopping when and where you like. This pace will likely have a dire impact on the film's rewatchability, but sitting in the theater for a midnight showing? Magic.

The structure of the film itself seems to have ADD. Its innumerable diversions began to remind me of a live-action Family Guy episode, with character or event mentions that suddenly cause the film to cut away to a dramatization of said. But again, and I can't stress enough how unexpected this was for me, I didn't mind in the least (with one exception: it appears to be an inviolable rule that any scene in Rivendell will stop a film dead in its tracks).

The craft of the film manages to best that of its predecessor trilogy: Howard Shore turns in one of his most stirring scores, the production design and art direction are again immersive and beautiful, and Andrew Lesnie continues his unique style of cinematography combining gorgeous shots (wonderful) with frequently blowing out highlights (distracting and ugly).

One complaint I do have is Jackon's newfound over-reliance on CGI. Azog the Defiler (a chief antagonist of the film) and the Goblin King (a bit of a lark) are the sorts of character that would have (and should have) been practical effects in the original trilogy. Here they're fully CGI, and their menace is undermined by it. Gollum returns for his most famous scene, and looks wonderful; Andy Serkis' performance and the CGI truly sell this pitiful creature. CGI can be pitiful but not threatening, it appears.

I don't know what the other two installments of The Hobbit have in store. What I do know is that this return to Middle-earth is off to a great start, and if this is any indication of things to come, I'll most assuredly enjoy the ride.

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Captain America: Civil War 2016 kostenlose filme -720p-ASF

Captain America: Civil War 2016 Online Stream

Captain America: Civil War"

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Captain America: Civil War 2016


183 Sitzungsprotokoll




ASF 1440p


Adventure, Action, Science Fiction


Română, English, Deutsch, Pусский


Shammah, Monique U. Azaria, Shyann Z. Jorge

Captain America: Civil War 2016 Captain America: Civil War ganzer film deutsch, Captain America: Civil War online stream - Ganzer film, Captain America: Civil War ganzer film online stream - Deutsch

Well another super-sized Marvel Comics superhero saga hits the big screen with the selected savior Captain America taking the top billing on the marquee. Thus, the pulsating popcorn pleaser **Captain America: Civil War** arrives on the scene to giddy audiences that have been loyal and fixated on the successful spring of mighty Marvel heroes that have been paraded to viewers throughout the last few years. Thankfully, **Captain America: Civil War** carries on the tradition of spry superhero-studded spectacles that have been glorious and adventurous from the stable of Marvel-based movies guaranteed to win over the enthusiastic hearts of avid comic book fanboys everywhere. Joyously overstuffed and convincingly extensive with a super team armed with crime-fighting excess, **Civil War** seizes the moment to introduce a noteworthy twist: two factions of rescuing superpowers engaging in some explosive in-house fighting led by two of Marvel Comics main standouts in Chris Evans’s Captain America and Robert Downey Jr.’s Iron Man.

Co-directors Anthony Russo and Rene Russo were instinctively crafty to link the overly successful Iron Man film franchise to the **Captain America: Civil War** inner circle to ensure an even more treasured toxic atmosphere. Superhero fans will get a thrill of witnessing the extra add-ons concerning other dynamic titans to join the action-packed festivities involving Team Captain America versus Team Iron Man. True, **Civil War** has its share of flaws but that does not take away from this heroes-in-crisis flick demonstrating its ambitious overtones.

So what has caused the bad blood among the great and grand good guys known for protecting the world from evil dominance and destruction? Essentially the theme of collateral damage, the involvement regarding civilian-related deaths and injuries plus the world-wide backlash has created a controversy pitted against The Avengers. Specifically, Captain America (a.k.a. Steve Rogers) and Scarlet Witch/Wanda Maximoff (Elizabeth Olsen) are responsible for the boisterous battle that caused such negative sensation resulting in political turmoil. Avengers head honcho Iron Man (a.k.a. Tony Stark) is dealing with his own personal regrets in the ill-advised creation of the unpredictable Ultron. The political authority want to hold Iron Man, second-in-command Captain America and the rest of the Avengers accountable for the global devastation that have taking its toll when trying to oversee the potential harm wreaking havoc on humanity.

Leading the charge in putting a watchful eye on the labeled reckless Avengers is Secretary of State Thaddeus Ross (William Hurt) that suggests the super group be monitored by the United Nations. Naturally friction develops between the superheroes that either agree with Ross’s UN restriction policies or disagree with being placed under a microscope that threatens to handcuff their free-wheeling heroic duties. All these contrasting beliefs eventually turn into epic back-and-forth confrontations where the raging Avengers are at odds with each other.

For Stark/Iron Man’s stance, he is willing to toe the line and ultimately agree that his crew needs to tone down their tenacious tactics as crime-stoppers. Iron Man’s consciousness, particularly in the case of a disillusioned mother (Alfre Woodward) making him feel guilt-ridden over her son’s death during an intense Battle of Sokovia, is probably the main factor behind his decision to have his team reigned in a bit from the political watchdogs. Siding with Iron Man’s viewpoint are the likes of Black Widow (Scarlett Johansson), Vision (Paul Bettany) and War Machine (Don Cheadle). As for Rogers/Captain America, he is not too thrilled being put in check by the intrusive governmental pencil-pushers that want to scrutinize the team’s every move. Standing with Captain America firmly are Falcon (Anthony Mackie) and the aforementioned Scarlet Witch.

On top of Captain America’s current Avengers-oriented strife in his contentious mingling with Iron Man and his ardent backers, he now finds himself trying to defend his old buddy-turned-wanted man Winter Soldier (Sebastian Stan) who is accused of killing civilians. Iron Man believes in Winter Soldier’s innocence and goes so far as to help him escape. Yes…Winter Soldier does come with more baggage attached to him–mainly in the form of the menacing Zemo (Daniel Bruhl).

The Russos and screenwriters Christopher Marckus and Stephen McFeely (all attached to the previous “Captain America: Winter Soldier”) provide the eyeful visual effects that predictably stimulate and effectively add to the overload of frenzied frolicking in this boisterous blockbuster. Certainly the deepened angst among this bombastic bunch works far more solidly than what was displayed in the stiffened and problematic Batman v. Superman. The notion that the entire globe and its leaders are weary of all the collective chaos at the hands of the Avengers trying to save their hides is a bit ridiculous. Besides, why are not the foes of the Avengers put on the hot coals for the societal ruination? It seems rather counterproductive to chastise the noble superpowers offering the safety of mankind yet the detractors not being grateful for the services that the Avengers bring to the table. It is somewhat convoluted to think that the global community are sour on our heralded heroes or that the heat generated within the walls will completely destroy the Avengers and their colorful, capable colleagues.

The movie’s aptly entitled **Civil War** does invite more punch to the proceedings especially when a who’s who of superhero showstoppers join the feisty fray at hand. The noted inclusion of defiant do-gooders are packed with the likes of Spider-Man (Tom Holland), the retired returnee Hawkeye (Jeremy Renner), Ant-Man (Paul Rudd), and nifty newcomer Black Panther (Chadwick Boseman). No doubt Captain America: Civil War is the impish and energizing launch pad for upcoming Marvel-induced movies waiting to make their future distinctive arrival on the big screen. Although Evans’s steady and charismatic Captain America more than holds his own as the solo act billed in the film’s title one cannot overlook Downey’s compelling Iron Man as the reliable source that lifts the profile of Evans’s Masked Wonder. This is indeed a collaborative big score for the glorified costumed cast but special kudos are reserved for Stan’s killing culprit as well as Boseman’s African president assuming the slick and resourceful Black Panther.

Yeah, **Captain America: Civil War** is true to its frenetic form as revved up entertainment preparing moviegoers for the upcoming summertime sizzle at the box office. After all, the on-screen Marvel Comics gravy train keeps moving merrily along so stay tuned.

**Captain America: Civil War (2016)**

Walt Disney Pictures

2 hrs 26 mins.

Starring: Chris Evans, Robert Downey, Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Daniel Bruhl, Alfre Woodward, William Hurt

Directed by: Anthony Russo and Joe Russo

MPAA Rating: PG-13

Genre: Superheroes Saga/Action and Adventure/Science Fiction/Fantasy

Critic’s Rating: *** stars (out of 4 stars)

**(c) Frank Ochieng**
The Russo Brother's and Marvel did it again! Read my full review here!

**The heroes're divided and so the fans!**

Before watching this I thought what the Avengers are doing here. I believed they got the title wrong. Once I watched it, I'm still the same. Because it did not look like the Captain America's film, he never was dominated, so calling it as his film totally inappropriate. Technically, it is a third Avengers film and well done. I liked it, it was entertaining. But the Civil War means it's nothing a nation's war within, just these super-guys fight for themselves against what kind of administration they want to come under.

I think they have heard that people's complaint about blowing up the buildings during reviewing other films by bringing up this one. So they finger pointed those events in this narration and that is one of the reasons for the Civil War to take place. Particularly disturbing the public and loss of many lives when these powerful men fighting the bad guys. The fun part is they are off the street and had a most important confrontation of the film in a deserted airfield. So does it make people who were whining about that be happy?

I don't know, but as an entertaining film, it did everything it can give the best for the viewers. Like the title and posters reveal, the heroes are divided here and probably you're going to take a side. Like usual, I'm with the Stark. So if you're like me, then you would feel the annoyance with the opposite team, particularly like Antman and obviously Captain America's rebellious decision. It was like the world versus United States, because only Americans are behind Captain America. Anyway, I did not like dividing the fans and what this film has been a serious damage. I hope the fans won't take it seriously.

Recently I have quite liked the Marvel movies that I have watched. Sadly I did not like this movie at all. The only reason that it does not get a zero or one star rating is cool special effects and a few laughs.

I want my heroes to be just that, heroes. Unfortunately this movie gets off on the wrong foot right away by not only “incriminating” the Avengers in the eyes of dimwit politicians and putting them on surveillance of a political body but to make matters worse it is the useless black hole of taxpayers money, the United Nations, that are supposed to surveil them. That pretty much ruined the movie right away for me.

When I though that it could not get any worse it actually does. In true Hollywood fashion the Avengers start to bicker and fight among themselves.

The few redeeming qualities of this movie is great special effects and a few fun comments that made me laugh from time to time. Even the ending is pretty crappy with the Avengers remaining divided and the main bad guy feeling that he achieved what he wanted.

Technically there is not really anything wrong with the movie. The actors are good, the filming is good and, as I wrote, the special effects are great. The story however is not my cup of tea to put it mildly. I cannot express how much I despised the story in this movie.
Good movie, love Captain American.
A long form review originally posted in 2016

It’s commonplace for me to need more than one viewing to really nail down my feelings on a movie, that’s particularly true of MCU, and even more so of this particular film. That all said, here is my initial reaction to _Captain America: Civil War_.

As is often the case, it’s hard to write down too comprehensive a post about a film this early on while remaining totally spoiler-free, so for starters, I’ll just go ahead and ask the thing that was on my mind from about five minutes in to _Civil War_: I want to know how it is that two guys who have a filmography so firmly rooted in sitcoms of all things, manage to direct action this spectacularly? Honestly. It’s insane.

_Winter Soldier_ is one of the strongest MCU films in my opinion, and just like that felt mostly like a follow up to both the prior _Captain America_ film and the prior _Avengers_ film, _Civil War_ feels the same, but for the sequels to said films (_Winter Soldier_ and _Age of Ultron_). That said, it might lean a little too far on to the side of _Avengers_-sequel, and a little too light on the _Cap_-sequel. If you had to pick a lead here, it would be Steve Rogers, no mistake, but this does feel like a film painted with a very broad brush of characterisation to be solely a “_Captain America_” movie.

Considering the sheer scope of the piece, it’s amazing that the Russo brothers managed to get the ball rolling on _Civil War_ as well as they did. Even so, there are a couple of roles I felt could have been cut altogether without really impacting the story, and that time could perhaps have been used to serve some underrepresented puzzle pieces. Perhaps both the inclusion in places and lack of inclusion in others is because of plans for future MCU films (though certainly not all instances can use that excuse) but either way, if I’m hunting for flaws, that to some degree is one.

I will say, that for all of _Civil War’s_ ups and downs (mostly ups), it is both a worthy entrant into Marvel’s franchise, and perhaps even more importantly, it actually even addresses some of the problems left in _Age of Ultron_. Of course the acting is all above board, the primary action set-piece is just dumbfoundingly fun, and the evolution of the mythology meshes with the universe at large.

_Civil War_ may not be my favourite superhero movie, or even my favourite MCU movie (I mean it also might be, I think I need to give it at least another two watches to be sure) but it might just be the best comic book adaptation movie. By that, I don’t mean it accurately portrayed the events of the Marvel “Civil War” event from back 2006, because that’s not even close to true. What I mean is, there are so many instances that manage capture the spirit of what the comics are. And you almost feel like you are watching one unfold before you on the screen. A glorious, squillion dollar, two and a half hour comic book.

Oh yeah. And the new superheroes introduced in _Civil War_? They’ve got me pretty bloody excited.


The Captain America movies have managed to ground the MCU by exploring the political and social climate created by the Avengers' existence. Actions have consequences and consequences influence more action.

Civil War isn't as focused as The Winter Soldier. It's also overstuffed with characters and fan service. However, the movie works by always being intriguing. Both sides of the conflict are portrayed as equally valid. The exploration of superhero accountability isn't anything new (explored in Watchmen and The Dark Knight), but it's nice to see it incorporated into a grand cinematic universe. Also, Captain Zemo is a better than average villain because while underdeveloped, his motive is interesting and not just "destroy the world."


Liste der IATACodesC – Wikipedia ~ Diese Teilliste führt alle IATAFlughafenCodes auf die mit „C“ beginnen und enthält Informationen zu den bezeichneten Verkehrsknotenpunkten

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Rabu, 29 Maret 2017

Suicide Squad 2016 kostenlose filme -1440p-DAT

Suicide Squad 2016 Online Anschauen Kostenlos

Suicide Squad"

Suicide Squad-ganzer film-2016-DTS-DVD-deutsch-MPEG-2-online anschauen-FLA-SDDS-auf englisch-ASF-BRRip.jpg


Suicide Squad 2016


117 Konzept




FLV 1080p


Action, Adventure, Crime, Fantasy, Science Fiction




Shaylee, Laylie X. Souheyl, Zeynab W. Reem

Suicide Squad 2016 Suicide Squad ganzer film deutsch, Suicide Squad online stream - Ganzer film, Suicide Squad ganzer film online stream - Deutsch

Summertime 2016 has not been very kind to DC Comics-based personalities looking to shine consistently like their big screen Marvel Comics counterparts. Following the super-sized dud that was _Batman v. Superman: Dawn of Justice_ released a few months ago must really put some major pressure on Warner Bros. to gamble on ensuring that the presence of **Suicide Squad** does not meet the same kind of indifferent reception. Well, it turns out that although the anticipation was high for writer-director David Ayer's supervillain saga involving high-powered imprisoned rogues recruited as U.S. governmental operatives out to stop other skillful baddies (as it was for Zack Ryder's aforementioned "Dawn of Justice") the concoction of **Suicide Squad** feels like a colorful mishmash of collective misfits laboriously taking up space in a disjointed eye candy-coated spectacle that never manages to match its intended sizzle.

One would think that the premise for **Suicide Squad** would tap into the intriguing naughtiness with more robust gumption given the collection of super-powered oddballs asked to be immediate anti-heroes in this toothless jamboree of renegade rejects. Strangely, the grim and brooding presentation of **Suicide Squad** is more of an erratic downer than a hyperactive high-wire act as intended at the creative hands of Ayer. There is no reason why this lively group of adventurous agitators should appear so flat and inconsequential in a boisterous blockbuster that sporadically limps.

Given the twisted members that comprise this elite team of terrorizing tools it is very disappointing to see how **Suicide Squad** struggles with its so-called subversive themes. Sadly, this splattered mess never firmly grasps its bid for distinctive irreverence or off-balance exploitation. Instead, **Squad** feels strained in its execution and we are never really invested in entirely watching these treasured troublemakers find redemption because the story is soggy and uninspired. Furthermore, not all of the **Squad** participants are fleshed out satisfyingly for us to get behind with thirsty cynicism. The headlining leads in Will Smith's Floyd Lawton/Deadshot, Oscar-winner Jared Leto's green-haired Joker and Australian beauty Margot Robbie's Harleen Quinzel/Harley Quinn get the meaty standout parts while the lesser known supporting cast get stuck with chewing on the thankless remaining bone while seemingly acting as background furniture to the bigger names.

Naturally, desperation has set in for the U.S. government as they need to safeguard national security against advanced sinister forces that threaten the fiber of American self-interests everywhere. What better way to hire gifted protection than to consider employing the world's most incarcerated corruptible, cutthroat cretins to perform the dirty work in unforgivable mission ops that require death-defying determination. Enter U.S. Intelligence agent Amanda Waller (Oscar nominee Viola Davis). Waller's duties are to assemble the ragtag team known as the Suicide Squad--ominous (yet talented) jailbirds tapped to step in and assume superhero status (especially when the real superheroes are tied up in other crime-stopping affairs) while helping out for the greater good of our vulnerable society. In exchange for the Suicide Squad's sacrifice in turning from hell-bent heels to reluctant heralded heroes they are promised commuted prison sentences should they effectively defend and destroy the deadly foes out to promote heavy-handed havoc across the board.

Conveniently, bureaucratic bigwig Waller (through voiceover) introduces the Suicide Squad and describes what beneficial assets they bring to the turbulent table. Among the naughty notables include the well-known ace sniper Floyd Lawton/Deadshot as well as legendary lethal joy-boy Joker and his better (or perhaps worst half) in girlfriend Harley Quinn. The other toxic tag-a-longs along for the thrill ride of becoming rebellious rescuers include George Harkness/Boomerang (Jai Courtney), Chato Santana/El Diablo (Jay Hernandez), Waylon Jones/Killer Croc (Adewale Akinnuoye-Agbaje), Tatsu Yamashiro/Katana, Enchantress (Cara Delevingne) and Rick Flag (Joel Kinnaman).

Overall, **Suicide Squad** is surprisingly depressing and goes through the proverbial motions without so much as taking advantage of its surrealistic makeup. The movie never realizes its excitable potential and drifts into yet another superhero yarn that is more patchy than pronounced. Smith's Deadshot is out in the forefront but for the most part feels restrained and not as spry and savvy as one would imagine. Leto's Joker obviously pales in comparison to the brilliant and mesmerizing psychotic take on the role that earned the late Heath Ledger his posthumous Oscar statuette. In all fairness, nobody could inhabit the Clown Prince of Crime as Ledger uncannily did with committed concentration. Still, Leto's Joker--although viciously off-balance--felt recycled and furiously empty at times. Robbie's turn as Joker's misguided main squeeze merely comes off as a bratty Barbie Doll with synthetic edginess. The other **Squad** participants settle for the back burner more or less which is a crying shame because they should have been more engaged than the tepid material allowed them to be initially.

Woefully sketchy and missing the fueled opulence that one would expect emerging from this cockeyed costume caper **Suicide Squad** is a detonating dud for the missing explosive DC Comics movie brand that needs to step up the pace if they expect to make a consistent and challenging impression on the devoted fanboys at the box office looking to move beyond the sardonic fantasy-based realm of another redundant serving of a _Batman/Superman_ entry.

**Suicide Squad** (2016)

Warner Bros.

2 hrs. 3 mins.

Starring: Will Smith, Jared Leto, Margo Robbie, Viola Davis, Joel Kinnaman, Jay Hernandez, Jai Courtney, Scott Eastwood, Adewale Akinnuoye-Agbaje, Ike Barinholtz, Common, Cara Delevinge, Karen Fukuhara, Adam Beach

Directed and Written by: David Ayer

MPPA Rating: PG-13

Genre: Superheroes Saga/Action & Adventure/Comic Book Fantasy

Critic's rating: ** stars (out of 4 stars)

(c) **Frank Ochieng** (2016)
Suicide Squad is the third and latest entry into the DCEU, and is about a bunch of bad guys that are rounded up to fight for someone else. And just like this year's BvS, this movie received overwhelmingly negative reviews by the critics and was divided among the fans. I was super curious to watch it because unlike many, I actually enjoyed the DCEU till this point. Enjoyed both Man of Steel and BvS. But unfortunately, this one's a mess.

The majority of the movie just feels choppy, editing was all over the place. Like they had a final product but because of disagreements, they took out a lot of scenes, shorten the runtime, and added others, making a giant choppy mess in the end. Scenes don't properly flow, including the flashbacks. Some scenes feel like they were added later (Probably the re-shoots) and they definitely didn't fit, particularly the elevator scene with Harley. The songs were all over the place as well. Some worked with their respective scenes, but most of them didn't, and again it felt like something added later, to give the movie a more jolly feel. And difference between development given to each member of the squad is astounding. Some were completely left in the dust, while some got a bit of line here and there, while some got a lot more development. Basically, to me it felt like that the movie reeked of studio involvement.

Also, the focus was just off. Movie is called Suicide Squad yet there is a whole lot of other stuff that gets way too much screentime. The whole end of the world plot was totally generic, uninteresting and unnecessary. The villain wasn't good, and the movements were weird, and not in a good way. Joker-Harley romance was also something padded on, and could have been removed in exchange for more screentime with the squad.

Speaking of the Joker, he and his whole weird mafia/gangster lord type vibe didn't work for me. Jared Leto felt like he was trying too hard at times. There were moments where I saw the Joker I wanted in him, but those moments were swiftly followed by over the top feel that he gave most of the time. And that laugh....Yeah NOPE!!

Even the action was mostly OK, apart from a couple of good scenes. There was no proper thrill, no proper buildup. Too many cuts. Say what you want about Snyder, but you have to admit that the dude can atleast direct amazing action sequences.

And all of that sucks because there is stuff in the movie that works, like the main squad. Will Smith as Deadshot was great. He played his usual cool self and it worked. Margot Robbie as Harley Quinn was sexy and mostly good, because there were few instances where her dialogues gave me cringe. These two had a good chemistry together too. Also liked other members like El Diablo, Killer Croc, and captain Boomerang, all of whom were likable, had some fun moments etc.

Plus, among all the mediocrity, there were glimpses of what the movie could have been like. Fun moments between the squad, some touchy moments, rare cool action sequences, full group scenes or rather a scene, the bar scene and such.

Ultimately, The movie is like a mediocre cake covered with a thin layer of good frosting. The overall taste isn't bad, but it isn't good either. You enjoy the good frosting for a short while, and then have to deal with a whole lot of mediocre tasting body of the cake. I was disappointed. I really REALLY wanted to like this film. Pushed back all the negative or positive criticism and went in with an open mind. I'm not too hopeful what the extended cut will improve as 13 mins of footage isn't much, and I'm guessing it is Joker footage mostly.

It's funny that after watching this, I respect MCU more now considering what they were able to do with the more risky project: Guardians of the Galaxy.


Blog Post Link: http://reviewsreactor.blogspot.com/2016/10/suicide-squad-2016-movie-review.html
Some semi-interesting visuals and a few characters I'd like to get to know, but an absolute mess of a movie. The thing feels like a trailer, or a clipshow, or a music video or some other sort of two-hour long promotional material for the actual _Suicide Squad_ that comes out later.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
**They are not superheroes, they are supervillains.**

It's nothing against DC, but overall I'm starting to think the todays cinema is getting crowded with the lots of superheroes. Just like any pollution or the over population on the earth's surface. It needs stability, but nobody cares about it other than money making agenda. I also think it's going to last for only a few more years, when this trend going to end like that happened in the 70s, 80s and the 90s. And the space travel era to begin which is already kick- started. So DC or Marvel and others, they should be careful, for far they could take their products.

Like the title say, it's not just about the film characters, the film itself a suicidal. I'm not saying the film was unnecessary, but the plot was dragged too much. There are too many pauses, or you can call time wasting moments. I could not take another blowing up city concept. And that swirling thing in the sky, I don't know how long they are going to use it in the superhero films. I did not like the supernatural concept which is supposed to be a pure science fiction action adventure. At least Thor was from another planet, more like he's an alien, but the witch in this film, ruined my appetite.

The actors were not bad and so the graphics, including the stunt sequences. The story was very familiar. It was more or less, same as the animated flick 'Monsters vs Aliens'. It can be watched for entertainment purpose, the majority won't say it's their favourite or one of the best of the year. But surely there are people who would love it. It was a massive box office hit and I don't see any hurdle for its sequel, but all I hope is it to get better in the follow-up. So finally, it's not a bad film or boring, but it just did not have the midas touch that all the superhero films had. That means a watchable film, only for once.


SUICIDE SQUAD is a mess. But an entertaining, well-cast mess.
*** This review may contain spoilers ***

Suicide Squad has a horrible script. First, there was the story--such as it was--itself: A super villain with the power to end the world goes to work in a universe that has established Batman and Wonder Woman. So what do the authorities do? Call up Batman and Wonder Woman? Of course not! Hire a bunch of criminals to save the world.

It would be like if the U.S. was invaded by China, and we went and got the Taliban to protect us.

So, from the very bones of the story, the movie fails. Add in a tell-and-don't-show approach to characterization, and horrendous dialogue, and this film was doomed before it got off the printed page. I really wanted to like this film, but I just couldn't.

So, let's go back to the tell-and-don't-show approach to the characters. Instead of seeing and experiencing anything, we're told what such-and-such is all about. It's an incredibly boring and lazy style of writing. Look at he scene where the principal characters all sit around and tell stories while they have a drink. But that's the thing: They shouldn't be telling us anything. Everything that is told to us as if we're a classroom of elementary school students instead of adults who can put two and two together, should be revealed through each character's dialogue and actions. But that would require some actual writing. This movie seems like it simply filmed the first draft of the screenplay. And then there's the dialogue itself. "I've already killed one family; I won't kill another." Who wrote this? A high school kid who thought he was being deep? Flagg refers to the love of his life as the girl he "was sleeping with." Serious? You're risking your life to save some broad you're banging? And then after two hours of watching Harley pine for Joker and reject the rest of the members of her "squad", she's finally given the chance to be with the Joker and live happily ever after. Well, despite everything we've seen for the past two hours alluding to the fact that that is exactly what she wants, she rejects that for "her friends." She's never shown any sort of friendship so far in this movie. But, dialogue.

It's typical fill-in-the-blank writing. So, Harley didn't show any love for her "friends" but did for Joker. And then chose her "friends" over the Joker. So, I guess it's up to the audience to "fill in the blank" and decide what Harley's change of heart was all about? It shouldn't be the audience's responsibility to do the writer's job.

The characters themselves were boring and uninteresting. Despite wasting the first 20 or so minutes on the film trying to make us love the psychotic Harley Quinn and mass murdering Deadshot, I didn't care. I just couldn't care for anyone or anything happening. It was like there was an invisible barrier between me and the screen. I just couldn't get into the movie. And since no one other than Harley, Deadshot, and Flagg got a pointless backstory introduction, the audience feels, subconsciously, that these are the characters that will carry the story. They don't. The only character that was even remotely interesting was Katana. And despite a few flashes here and there of decent martial arts and kenjutsu action, the character is wasted.

And speaking of wasted characters, let's talk Joker. Jared Leto was upset how much of the Joker was cut from the film. If you can cut such a big name and charismatic character down to the point where the actor playing him complains, and still get away with a finished film, the problems with the script become apparent. Joker was wasted in this film. You cut him out entirely, the overall story doesn't change. So, why include him in the first place? Because shared universe...maybe? Or something? I don't know. And neither do the filmmakers.

And while I know almost everyone on the planet--including those who despise the movie--praise Margot Robbie's Harley, I found her shtick getting old rather quickly. And then to top that off, she reneges on her established motive, thus making her a totally pointless character.

And, before we move on from the topic of bad characterization, what was with Amanda Waller (a good guy...I guess?) executing FBI agents? I feel like I missed the most important scene in the movie--the one that shows something that makes the entire movie make sense. But then again, Amanda Waller doesn't make good choices. She has a folder, inside of which is a list of the upcoming DCEU characters: Aquaman, Flash, Cyborg, etc. She actually has dinner with Batman. But she puts the world's fate in the hands of Diablo, Boomerang, Harley Quinn and Deadshot. It's like calling the police because of a problem, and then scouring death row for the people who will actually solve this problem. Yeah, I'm confused too.

But let's go to the ending. Because the ending shows us one thing: That the Suicide Squad's involvement in all of this was totally pointless. Simple bombs end up saving the day. Bombs. Man made, average, everyday bombs. Satchel charges. Any idiot in a uniform can detonate a bomb. So, why let out a bunch of mass murderers to save the world, if saving the world only involves setting off satchel charges? I mean, why not call the Air Force in, have them drop a couple of bombs, and send a guaranteed-to-be-disappointed-audience-anyway home early? One phone call to the Pentagon, and the ENTIRE MOVIE is UNNECESSARY. But, DC.

In the end, this movie was a total disaster.

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Django Unchained 2012 kostenlose filme -1080p-WMV

Django Unchained 2012 Online Stream

Django Unchained"

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Django Unchained 2012


191 Besprechungsprotokoll




FLA 1440p


Drama, Western


English, Français, Deutsch


Alidia, Brette C. Reenie, Lugné Y. Wanita

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America, mid-nineteenth century, just prior to the Civil War. Winter. Two horsebacked slave-traders are leading half-a-dozen manacled negro slaves through a large, unspecified section of Texas. As they move one night through a wood, they cross paths with an affable, charming German fellow identified by the hokey model tooth affixed atop his carriage by a spring as a travelling dentist. He greets the traders cordially but he's struggling to be understood; not because English is his second language (although he deferentially concedes as much when instructed - more than once - to "Speak English!") but because his vocabulary is far wider than that of the simpler men here before him. It's not a chance passing, either; this German fellow, who identifies himself as Dr. King Schultz (played by Christoph Waltz with the same smiling, deadly menace that earned him an Oscar statue for his part as Col. Hans Landa in Inglourious Basterds) is looking for these traders. More specifically, their inventory of negro slaves. Even more specifically, one of those slaves in particular. Django (Jamie Foxx, Collateral, Ray). Attempting to buy Django, Schultz is met with short, suspicious shrift and ordered at gunpoint to be on his way. Within a second, one trader lies dead and the other lies incapacitated underneath the bulk of his dead horse. Schultz unchains Django, instructs Django to take the dead fellow's horse and coat, and pays the remaining trader for all that he's taken. He then tosses the manacle key to the other slaves and posits two choices to them, as he sees it: Carry their injured master thirty-plus miles to the nearest town for medical assistance, or unchain themselves, blow the injured slave-trader's head off with the gun Shultz has left them, bury the corpses and use the Pole Star to run for the Northern states, where slavery had been abolished, and for more than fifty years in some areas. Funnily enough, they take up the latter option.

So begins Django Unchained, an oater set in the slave states of the Deep South and the latest rollercoaster by Gen-X movieland wunderkind Quentin Tarantino. Always clearly a man heavily informed by the grindhouse subgenre of the Spaghetti Western, he's finally made one himself, and if Quentin's your thing it's a blast, though I doubt it'll convert many Tarantino sceptics; in fact it'll almost certainly reinforce those things that people dislike about him, about which more later.

It transpires that Dr. Schultz ISN'T a dentist ("I haven't practised dentistry in five years," he confides to Django over a beer) but a bounty hunter, and a lethal one at that. He's chasing down the Brittles, a murderous gang of brothers currently plying their trades as plantation overseers. He doesn't know what they look like but he knows they were recently employed at the Carrucan plantation, which is why he was searching for Django - a slave recently sold by that very plantation - in the first place; Django can point them out for him. Schultz is no fan of the South's backwards-thinking propensity for slavery though, and he offers Django a deal: help Schultz find and kill the Brittle Brothers, Schultz will treat Django like a free man, pay him $75 (a decent little wedge in 1858) and rubber-stamp his freedom. Along the way, he'll also teach Django a thing or two about the art of gunfighting and about the macabre trade of bounty-hunting (both in which Django proves to be a natural). On the trail of the Brittles, Schultz wonders aloud as to Django's plans once this endeavour is over and he's free. Well, as it happens, Django is a married man and his intention, once free, is to find his wife and buy her freedom. They'd tried to run from the Carrucan plantation together but they'd been caught, branded (both Django and his wife - played with all of her nerves exposed by Kerry Washington - sport R-For-Runaway scars on their cheeks) and sold on, separately. So he doesn't know where she is but that's what he's going to try to do. Schultz, feeling responsible for Django as the man granting him his freedom, proposes a further deal: If this Brittle bounty goes well, he'll honour Django's freedom but if Django stays with him through the winter as partners, taking on bounties and earning money, he'll help Django locate his wife.

What we have here is a large sequence of set-pieces - some funny, some tense, some action-packed - stretched across very-nearly three hours (though, like most QT films, it moves like a bullet train and those three hours just fly) strung together by a fairly simple revenge/rescue tale set against a geographically sprawling backdrop; a reasonably similar template to many of Quentin's movies and an almost identical template to that of previous outing Inglourious Basterds, to which Django Unchained could almost be considered a companion piece despite the wildly different global and historical settings. Like Inglourious Basterds, Django Unchained is quite a bit longer than the story need be, and like Inglourious Basterds that is because each scene is treated by Tarantino as a mini movie, a contained set-piece all of its own. Every scene is fleshed out and deepened for either heightened comic or dramatic effect by lengthened sequences of characters going about the mundane or by characters delivering enormous monologues - rambling shaggy-dog stories, usually - to one another, for context. Not every scene is entirely necessary, either. I wouldn't call that a flaw though, I'd call it a trait typical of Quentin Tarantino; whether it's a flaw or an outright treat depends entirely on whether that's an element of Tarantino's writing that the viewer appreciates. Personally, I love Tarantino's writer's voice and I could watch these scenes for hours (indeed, I watched Django Unchained three times over the course of yesterday), but I can fully undersand what those lamenting the decent 90-minute film that's lost somewhere within the sojourns and speeches of Django Unchained are saying.

Performances throughout are utterly mesmerising, from stars Foxx and Waltz but also - in fact, maybe more so - from principle antagonists Leonardo DiCaprio as "Monsieur" Calvin Candie, the horrifying owner of the "Candyland" plantation currently holding the ownership deeds on Django's wife, and Samuel L. Jackson in an if-anything even more monstrous role as Stephen, Candie's elderly head house slave, a man who has utterly abndoned the culture and torment of his people in return for a few material trappings as the slave-in-chief. Playing to superb comedic effect is Don Johnson as Big Daddy, a strutting, peacock-like Tennessee dandy and owner of the plantation currently employing the Brittle Brothers, and delightful in cameo roles are (among many others) James Remar (The Warriors, Dexter), Jonah Hill (Superbad, The Watch), John Jarratt (Wolf Creek, Rogue) and Michael Parks (Red State, Kill Bill). Quentin himself makes a cameo as usual and, as usual, he's not as charming as he probably thinks he is, but he's also not as bad as many think he is, either. There's even a quick cameo (raising an involuntary cheer from me!) by Franco Nero, the original Django from the magnificent 1966 film of the same name by Sergio Corbucci (that's not the only nod back to the first Django movie; the opening credits to Django Unchained are presented in exactly the same way as the original, and the theme song to Quentin's film comes directly from the Corbucci film too).

Django Unchained is likely to come under fire on a couple of counts; possibly for it's incredible levels of bloodshed (one particular gunfight is the most blood-splattered scene I've seen in a movie since those elevator doors opened in The Shining), and much more probably for the liberal use of what guilty white folks like to refer to as "The 'N'-word", uttered literally hundreds of times from first scene to last. However, neither criticism is warranted in my humble opinion. The bloodshed is of the overexaggerated cartoon quality. Heads, arteries and extremities explode upon bullet impact like detonated watermelons to a gloopy, "BLAAAPP!" sound effect, the blood itself translucent, syrupy and intentionally unrealistic. And if a tale is set against the backdrop of slavery in the 19th century deep South, you're going to hear the word "Nigger" in that tale. Often. Be assured though that just as Inglourious Basterds was a revenge fantasy of the downtrodden Jewish war refugees over the stupidly evil Nazi Germans, this is a tale of empowerment of the enslaved black man over his sadistic, pig-ignorant white overseers.

If you like Tarantino, you'll probably like Django Unchained. If you like Westerns (and the blood-drenched Spaghetti Westerns of the late sixties in particular), you'll probably like Django Unchained. If, like me, you're an admirer of both Tarantino AND westerns, this is a no-brainer. Get and see it, it's a blast.

I'd like to have seen him pull a Gatling gun out of a coffin, though.
A highly entertaining yet disturbing film with superb cast and performances for an audience who would likely never consider watching a film fundamentally about slavery, where Tarantino is masterfully and emphatically navigating and exposing the complex layers of the violent and dehumanizing system of slavery.
**ENTERTAINING from start to finish !!**

Given I am a big fan of **Quentin's** works i knew this movie would be a treat to watch.But what i didn't know was violence can be so **COOL**... The movie is a treat to watch(including the blood and gore) from starting to end.The acting is superb.And the cinematography is just too good! The whole cast played their parts to perfection...Especially **Samuel L. Jackson** and **Jamie Foxx**..**Leo and Christopher Waltz** were superb too..And as Christopher said in the movie - "It was hard to RESIST".A must watch for everyone who likes QUALITY cinema..Even the ones who cant stand BOOMs and BANGs, you wouldn't regret spending about 3 hours watching this well written, well directed and well acted GREAT movie !!
This is one of the best movies I have watched in a long time. It is a pure Tarantino blast. The somewhat unexpected and quite hilarious start of the movie catches your attention from the start and from then on it is 3 hours (almost) of pure enjoyment.

The main actors are playing their roles very well. The Dr. King Schultz character (Christop Walz) is incredibly funny without being ridiculous, Jamie Foxx is excellent as Django and Leonardo DiCaprio is doing his role well as a plantation owner and slave trader. None of the rest of the crew stood out as particularly bad. Well with the possible exception of Tarantino himself then when he made his usual in-movie appearance a’ la Hitchcock. Not that he was particularly bad but he is no actor either.

The movie starts of by Dr. Schulz liberating Django and proceeding to a small town showing Django what he is in the business of doing. Those first minutes of the movie are somewhat unexpected and very funny to watch. After that the movie gets more serious as Django gets to learn to be a bounty hunter and finally gets on with his quest to rescue his “Damsel in distress”. It still has quite a bit of “Tarantino humour” sprinkled around in it though.

During the movie we are treated to a long series of stereotypical people with, let us say, an “attitude” towards African people. It is tempting to say “nigger haters” but that would not be true since a lot of these people did not exactly hate them. They just did not consider African people to be people but more than live stock for them to use as they wished. Unlike a lot of movies portraying these events this one never comes across as boringly finger pointing or overly morally lecturing. Nor does it in any way support or glorify the way things were at this time. It is a movie made to entertain set in a period where bad shit happened and using it for the story. Nothing more and nothing less.

As usual with a Tarantino movie there are some violent parts, some more violent parts and some bloody violent parts in it. The ending fights are a glorious show of destruction and blood splatter. I am sure some people are complaining about the “unnecessary violence”. I am not one of those people. Without these parts it would not be a real Tarantino movie. As always it is made with the usual exaggeration that Tarantino is so good and which reminds you that it is “only a movie”.
This is one of the few movies that I have given 10 out of 10 stars in a very long time. I enjoyed it immensely.
When Django is unchained (pronounced JANG-oh, not Duh-JANG-oh)

Released in 2012 and directed & written by Quentin Tarantino, "Django Unchained" stars Christoph Waltz as an ex-dentist who befriends an ex-slave, Django (Jamie Foxx) in West Texas a couple of years before the Civil War; they team-up as bounty hunters once they realize how good they jell. The second half focuses on their attempt to infiltrate a Mississippi plantation owned by pompous Southerner "Monsieur" Candie (Leonardo DiCaprio) in order to rescue Django's wife (Kerry Washington). Samuel L. Jackson plays Candie's overly loyal house slave.

This is an excellent American Western with Spaghetti Western elements featuring Tarantino's typical artistic flourishes. It takes place in the West AND in the South, which is reminiscent of the underrated "Nevada Smith" (1966), one of my favorite Westerns. Waltz is magnetic as the nonchalant protagonist and he & Foxx have good chemistry. There's a nice mix of interesting dialogues, amusing moments and over-the-top action. Unfortunately, but to be expected, Tarantino goes overboard with the 'n' word and the blood-letting, the latter to the point of cartoonish-ness.

Nevertheless, this is an original Western that is vibrant with creativity, including stunning locations, cinematography and a great amalgamated soundtrack/score, which includes cuts by Ennio Morricone, like the excellent "Hornets' Nest," the imaginative "The Braying Mule" and the moving "Ancora Qui." It's all-around superior to "The Hateful Eight" (2015) because it's not limited by a one-room whodunit plot (although "Hateful" has its unique points of interest).

The movie runs 165 minutes and was shot in Jackson Hole, Wyoming; Evergreen Plantation & New Orleans, Louisiana; and several locations in California (Lone Pine, Alabama Hills, Semi Valley, Melody Ranch, Santa Clarita, Independence & Los Angeles). The cast includes numerous peripheral notables, e.g. Ato Essandohs, Don Stroud, James Remar, Bruce Dern, Ato Essandoh, Franco Nero, Don Johnson, Amber Tamblyn and several others.


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Inglourious Basterds 2009 kostenlose filme -1440p-FLV

Inglourious Basterds 2009 Ganzer Film

Inglourious Basterds"

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Inglourious Basterds 2009


127 Memorandum




MPEG 720p


Drama, Action, Thriller, War


Deutsch, English, Français, Italiano


Barajas, Piers K. Nana, Gans E. Ecenaz

Inglourious Basterds 2009 Inglourious Basterds ganzer film deutsch, Inglourious Basterds online stream - Ganzer film, Inglourious Basterds ganzer film online stream - Deutsch

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Selasa, 28 Maret 2017

Moana 2016 kostenlose filme -1440p-AVCHD

Moana 2016 Online Anschauen Kostenlos


Moana-WEBrip-2016-englisch-Sonics-DDP-Dolby Digital-HDTS-DAT-online anschauen-stream-HDRip-ASF-AVI.jpg


Moana 2016


169 Minute




AVI 720p


Adventure, Comedy, Family, Animation




Ioana, Ryann G. Balkis, Linh H. Nodier

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**Girl finds out the true identity of her people.**

Okay, I shocked when I heard this film did not get the Oscars nod, except for a song. Now I have seen the film and I come to know why. This is a one liner, but developed into a longer version Except the initial parts, this film is like a limited cast/character film. Most of the film takes place in the sea sailing around fighting evil force to break the curse. But at the end, you would feel this kind of story is not worth for a feature film. It looks a perfect short animation theme.

Disney never disappoints its fans, well, for me. So I enjoyed it, it was fun and entertaining, but too simple. The characters were cute, this is a wonderful film for kids and some grownups would too enjoy it. But this is not for all, unlike most of the Disney animations are. Dwayne's voice lending for one of the lead characters was good, but the girl steals the show. Especially if you are a kid and/or a girl.

The best film since 'Lilo & Stitch' on the similar theme about Pacific islands' people. But it reminded me 'Whale Rider'. Overall, I think the story should have been improved a bit, in particular by including a few more characters at least for the partial appearances. This is not the best animation of the year, also definitely the bad one to skip. If your purpose of the watch is entertainment/timepass, it is good at that.

After I watched _Zootopia_ in the middle of 2016, I thought to myself "Well, that does it, this has to be the best Family Movie of the year!" I was ready to call it right then and there. It wasn't until December rolled around and I got the chance to see _Moana_, that I realised I had spoken far too soon. For in truth Moana deserved that title!

Mostly I'm just happy that I managed to enjoy two whole Disney movies this year.

_Final rating:★★★½ - I strongly recommend you make the time._

Mon GR – Wikipedia ~ Mon deutsch und bis 1943 offiziell Mons ist ein Dorf im Schweizer Kanton Graubünden in der Gemeinde AlbulaAlvra die zum Kreis Alvaschein im Bezirk Albula gehört Bis am 31 Dezember 2014 war Mon eine eigenständige politische 1 Januar 2015 fusionierte sie mit den Gemeinden Alvaneu Alvaschein BrienzBrinzauls Stierva Surava und Tiefencastel zur neuen Gemeinde AlbulaAlvra

Hiroshima mon amour – Wikipedia ~ Hiroshima mon amour „Hiroshima meine Liebe“ auf Franz jap 二十四時間の情事 nijūyo jikan no jōji „Eine eintägige Liebe“ ist ein Filmdrama von Alain Resnais aus dem Jahr 1959

Mon Chéri – Wikipedia ~ Mon Chéri ˈmõˑʃeˌʀi frzMein Liebling ist eine mit Branntwein gefüllte Praline des italienischen Herstellers Produkt wird fast weltweit vertrieben Die äußere Hülle besteht aus Zartbitterschokolade Diese ist mit Likör etwa 066 g und einer „PiemontKirsche“ gefüllt

Circuit de Monaco – Wikipedia ~ Der Stadtkurs Circuit de Monaco ist eine temporäre Rennstrecke in den Stadtteilen Monte Carlo und La Condamine von MonacoFür das Formel1Rennen Großer Preis von Monaco werden alljährlich zahlreiche Straßen der Stadt abgesperrt und von Verkehrsschildern und Blumenkübeln befreit Boxengasse Leitplanken mobile Curbs Zäune und umfangreiche als sogenannte Fliegende Bauten ausgeführte

Autodromo Nazionale Monza – Wikipedia ~ Der Monza Eni Circuit ist eine MotorsportRennstrecke im Königlichen Park der italienischen Stadt Monza nordöstlich von dem Eröffnungsrennen am 3 September 1922 werden auf der knapp sechs Kilometer langen Strecke Automobil und Motorradrennen ausgetragen

Mein Onkel – Wikipedia ~ Mein Onkel Originaltitel Mon oncle ist eine französische Filmkomödie von Jacques Tati aus dem Jahr 1958 Tati verkörpert in dieser Satire die die sterile und automatisierte moderne Welt karikiert nach Die Ferien des Monsieur Hulot zum zweiten Mal den tollpatschigen Außenseiter Hulot Mein Onkel wurde zu Tatis größtem Erfolg der Film gewann 1958 den Sonderpreis der Jury bei den

Monica Bellucci – Wikipedia ~ Leben Während ihres JuraStudiums an der Universität Perugia verdiente Bellucci ihren Unterhalt als Fotomodell 1988 ging sie nach Mailand wurde dort von der Agentur Elite unter Vertrag genommen und warb unter anderem für Dolce Gabbana 1990 begann sie ihre Filmkarriere Ihren ersten Auftritt in einem USamerikanischen Film hatte sie in Bram Stoker’s Dracula 1992

Monschau – Wikipedia ~ Monschau monʃaʊ auch mɔndʒaʊ̯ bis 1918 Montjoie am 9 August 1918 Änderung des Namens durch kaiserlichen Erlass in Monschau ist eine Stadt an der Rur in der liegt in NordrheinWestfalen und gehört zur Städteregion Stadt liegt zwischen den Berghängen des Naturparks Hohes VennEifel in der Rureifel die ihren Namen von dem Fluss Rur trägt

Ammonoxidation – Wikipedia ~ Die Ammonoxidation ist ein chemisches Verfahren mit dem aus organischen Verbindungen mit Methylgruppen durch gleichzeitige Reaktion mit Ammoniak und Sauerstoff die entsprechenden Nitrile hergestellt werden Verfahrensbeschreibung Bei der Ammonoxidation handelt es sich um eine Gasphasenreaktion welche meist bei Temperaturen oberhalb von 300 °C durchgeführt wird

Montagsdemonstrationen 19891990 in der DDR – Wikipedia ~ Leipzig Anfänge im September 1989 In Leipzig schlossen sich schon 1988 vereinzelt an die Friedensgebete in der Nikolaikirche am Montag Abend die seit dem 20 September 1982 durch den Liebertwolkwitzer Diakon Günter Johannsen gegen das Wettrüsten in Ost und West abgehalten wurden Demonstrationen an Ab 1986 koordinierte Christoph Wonneberger der Pfarrer der Lukasgemeinde der eng mit

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Pitch Perfect 2012


145 Notiz




M2V 720p


Comedy, Music, Romance




Bobbye, Miraj F. Cally, Durepos U. Ince

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A modern cult movie (in a good way, of course). It started a movement of sorts with people posting youtube videos with them singing and rearranging cups. Very powerful!
Not sure why this movie has become so famous.

It is not a really good comedy with the exception of the jokes by the competition commentators and the story as with any movie of this kind is weak and expectable.

Nothing very remarkable here but the fact that there are so many fans of it.
A quintessential crowd-pleaser. Exuberant musical numbers and great chemistry between the cast makes this a 'chick flick' everyone can enjoy.

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Love 2015


129 Memorandum




ASF 1440p


Drama, Romance




Noelle, Cailey A. Denisse, Matha J. Ketrin

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Love – Wikipedia ~ Dies ist eine Begriffsklärungsseite zur Unterscheidung mehrerer mit demselben Wort bezeichneter Begriffe

Love Story – Wikipedia ~ Dies ist eine Begriffsklärungsseite zur Unterscheidung mehrerer mit demselben Wort bezeichneter Begriffe

Love Hotel – Wikipedia ~ Das Love Hotel jap ラブホテル rabu hoteru umgangssprachlich ラブホ rabuho ist eine besondere Art des Stundenhotels in Japan und gleichzeitig ein wichtiges Element der modernen japanischen Alltagskultur Der Besuch eines solchen Etablissements gilt in Japan nicht unbedingt als anrüchig auch wenn es von Prostituierten und für außereheliche Affären benutzt werden kann

Courtney Love – Wikipedia ~ Courtney Love 1964 in San Francisco Kalifornien eigentlich Courtney Michelle Harrison ist eine USamerikanische Rocksängerin Gitarristin Liederschreiberin und spielt in der Band Hole Sie ist die Witwe des NirvanaSängers Kurt Cobain mit dem sie eine Tochter Frances Bean Cobain 1992 hat

Mike Love – Wikipedia ~ Musik mit den Beach Boys Love gründete 1961 mit seinen Cousins Carl Wilson Dennis Wilson Brian Wilson und dessen Schulfreund Alan Jardine die Beach fungierte als Leadsänger und lieh vielen Hits der Beach Boys seine Stimme

Kevin Love – Wikipedia ~ Kevin Wesley Love er 1988 in Santa Monica Kalifornien ist ein USamerikanischer Basketballspieler der bei den Cleveland Cavaliers in der NBA auf der Position des Centers spielt Er ist vierfacher AllStar und hat seine Stärken bei Punkten und Rebounds sodass er häufig DoubleDoubles erzielt

Brianna Love – Wikipedia ~ Karriere Love begann ihre Karriere als Stripperin in Missouri nachdem sie während ihrer Kindheit oft umgezogen äter zog sie nach Las Vegas wo sie sich für eine Karriere in der Hardcorefilmbranche entschied In ihrem ersten Jahr drehte sie nur GirlGirlSzenen Dann arbeitete sie für zwei Jahre exklusiv für Red Light District Video bevor sie Freelancer wurde

Love Boat – Wikipedia ~ Love Boat Originaltitel The Love Boat ist eine USamerikanische Fernsehserie die zunächst von Aaron Spelling Productions dann von der Douglas S Cramer Company und schließlich von der The Love Boat Company von 1977 bis 1986 produziert wurde

Love Me Do – Wikipedia ~ Mit dieser Single begann die äußerst erfolgreiche Zusammenarbeit mit dem Produzenten George Martin der hier den Mut hatte beide Seiten der Debütsingle einer unbekannten Gruppe mit deren Eigenkompositionen zu veröffentlichen Es existieren drei unterschiedliche Aufnahmen des Stücks mit drei verschiedenen Schlagzeugern

Jennifer Love Hewitt – Wikipedia ~ Jennifer Love Hewitt 1979 in Waco Texas ist eine USamerikanische Schauspielerin und Sä Deutschland wurde sie vor allem durch die Rolle der Sarah Reeves bekannt die sie in den Serien Party of Five und New York Life – Endlich im Leben spielte Große Popularität erlangte Jennifer Love Hewitt auch durch ihre Hauptrolle in den ersten beiden Teilen von Ich weiß was

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