Selasa, 31 Juli 2018

Birdman 2014 kostenlose filme -720p-AVCHD

Birdman 2014 Ganzer Film Deutsch



Birdman"




Birdman-ganzer film-2014-DAT-AAF-M1V-download-1080p-untertitel-MPE-online anschauen-englisch-WEB-DL.jpg




Sachtitel

Birdman 2014

Dauer

122 Konzept

Entlassung

2014-08-27

Eigenschaft

M2V 1080p
WEB-DL

Gattung

Drama, Comedy

Programmiersprache

English

castname

Ilyan
D.
Paridhi, Lincoln H. Dézamy, Elyan J. Nawal









Birdman 2014 Birdman ganzer film deutsch, Birdman online stream - Ganzer film, Birdman ganzer film online stream - Deutsch



**mounting spontaneity** or (dumb luck)

It's not fair.

I love Raymond Carver, long takes, theatre, Batman, NYC rooftops and alleyways, the blending layers of self-referential fiction, delirious fantasy, the creative process, the insane logistics of run-on cinematography, the seamless assembly of shifting environments, stepping into unresolved mental spaces, demonstrations of solitary madness and the unbearable anticipation of being, being judged, being booed, un-being, unhinging, delusional uppers, existential downers, magic surrealism, telekinetic fury, dreams of flying, throwing tantrums, the fragile yet invincible ego, immaculately constructed chaos, the recurring climax of ending it all -- where the blazes is that blasted improvisational drumming coming from? -- oh there, and there, so absurd, don't stop, the shot must go on, the show must go on, "You are not important, get used to it," she said, but so much angst overwhelms him, tethered to a feathered fantasy, a nagging reminder of what once was, or could have been, refusing to believe it's too late to soar to former heights, yet grounded by time and gravity, trapped in a narrative, caged in a fabrication, "You're an actress, honey," says another, "you have no self-respect" and all actors are game, Keaton and Stone zoned-in, knowing the pain, pretending to not care or pretending to matter, failing to be authentic, acting over acting, meta-acting meta-fiction meta-filmed with a meta-critical message: yeah, we're all messed-up and meta-fµcked, but after shooting your nose to spite the ruse, by unmasking the unexpected virtue of ignorance, peeling off layers of pretense and self-importance, you just might find a momentary strain of pure, uncomplicated innocence.

It's not fair. I love this sh*t!
First of all, let me say, I like most of movies where Naomi Watts plays & thought this one would be good too, after all it has high ratings, but don't be fooled by famous actors which play in this movie. Don't be fooled & think that movie is good. No, not at all. This movie is complete junk. It supposed to be a comedy, but I didn't even find it funny. It's just like a big mess. I started watching it & I couldn't last longer than 30 minutes, it was so boring & uninteresting that I fell asleep. I can't believe people rate this movie so high & even worse - this movie won an Oscar. This again proves, that ratings & Oscar ain't always accurate.
This film tells the story of an over-the-hill actor called Riggan Thomson (brilliantly portrayed by Michael Keaton) who was once the star of a superhero blockbuster franchise known as 'Birdman'. We are shown his journey into making a Broadway production starting with the initial rehearsals and read-throughs. What follows is a brilliant exploration of celebrity culture in an intriguing and satirical way.

'Birdman' could essentially be looked at as one continuous long shot. The camera constantly weaves around the actors and action and so the audience are completely immersed into the perspectives of the various characters (mostly Riggan's). The opening shot plays like a scene in Paul Thomas Anderson's 'Boogie Nights' as it delightfully establishes the narrative in a fluid and polished style whilst introducing the cast and their entertaining interchanges during a rehearsal with hilarious consequences.

The editing throughout the picture is almost flawless when moving from scene to scene and has a dizzying effect much like Gasper Noé's 'Irreversible'. 'Birdman' also boasts some marvellous special effects throughout such as when Riggan (Keaton) is alone and being taunted by his egotistical alter-ego. The film shows up typical blockbuster action movies by asking the audience what they want and giving it to them in a manner which embraces the excitement and epic-ness of the genre whilst also poking fun of the conventions.

The music that accompanies the film is very scarce in a lot of places adding emphasis to the dialogue and situations arising but, in some cases, an erratic and improvisational drum riff can be heard (occasionally accompanied with the drummer on the set) which completely adds to the eccentricity and spontaneity of the movie.

The screenplay is very intricately written and contains many profound philosophical speeches about art, celebrity and criticism. There are monologues and debates by characters in which they discuss the core beliefs of the film such as Riggan's speech during his performance of his Raymond Carver play "What We Talk About When We Talk About Love".

The whole narrative of the film is very intriguing and interesting. There is a perfect blend of comedy and poignancy. There are a lot of twists and ambiguity throughout the film which could be analysed and interpreted for a long time.

Michael Keaton is fantastic as the protagonist and gives a performance that would have given his career a huge revival (his squeal is my highlight of the film). The parallels with the character's career and that of Keaton's could not have been a mistake and gives the performance that much more edge. Edward Norton plays the method actor from hell (Mike Shiner). He is annoying, snobbish and smug and played brilliantly by Norton who excels in the vileness and pomposity of the character.

The film is very much about actors. The self obsessive nature of acting is definitely highlighted by the two central performances but there is also a cast that really help to deliver the film's meaning such as Emma Stone, Zach Galifianakis, Andrea Riseborough and Naomi Watts.

Overall, 'Birdman' is a fantastic film. It is filled with pathos and profound imagery whilst keeping the viewer thoroughly entertained throughout.

★★★★½

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Cement Roadstone Holding – Wikipedia ~ Cement Roadstone Holding plc CRH ist ein weltweit operierender irischer Baustoffhersteller mit Hauptsitz in Unternehmen entstand 1970 durch den Zusammenschluss der irischen Unternehmen Cement Holding und Roadstone Ltd Das Unternehmen ist Mitglied im ISEQ Overall Index an der Irish Stock wird an den Börsen in London und New York City gehandelt und gehört zu den 50

Seat Altea XL – Wikipedia ~ Der Kompaktvan Seat Altea XL Typ 5P ist eine um 187 Zentimeter verlängerte Version des Seat Altea die im September 2006 auf der Mondial de lAutomobile vorgestellt wurde 2009 wurde der Altea XL analog zum Altea ü neue Modell lässt sich an leicht geänderten Karosserieanbauteilen und einem aufgefrischten Interieur erkennen So wurde das Armaturenbrett umgestaltet

Achondroplasie – Wikipedia ~ Die Achondroplasie auch Chondrodysplasie oder Chondrodystrophia fetalis genannt ist eine bei vielen Säugetieren – so auch beim Menschen – häufige Mutation welche das Wachstum des Skelettsystems betrifft Sie wird in geringerem Teil autosomaldominant vererbt ca 20 entsteht zu weit größerem Teil aber durch Lebenserwartung und die Intelligenz sind nicht

Liste der Bahnhöfe in den Niederlanden – Wikipedia ~ In den Niederlanden gibt es derzeit Stand 8 Januar 2019 400 Bahnhöfe Liste der Bahnhöfe teilweise mit den offiziellen Abkürzungen

Seat Altea – Wikipedia ~ Entwicklung und Vorstellung Der Seat Altea wurde der Öffentlichkeit erstmals 2003 als Prototyp vorgestellt Auf der European Motorshow 2003 in Brüssel erhielt der damalige SEATDesignchef Walter de’Silva den Designpreis des Verbandes der europäischen Designer in der Kategorie KonzeptFahrzeuge für den AlteaPrototyp Mit dem Altea wurden die künftigen DesignCharakteristika der Seat

GaußKrügerKoordinatensystem – Wikipedia ~ Das Gitternetz der geographischen Koordinaten wird in 3° breite Meridianstreifen aufgeteilt eine Einteilung in 6° wird auch angewandt Jeder Meridianstreifen geht vom Nord bis zum Südpol parallel zu seinem so genannten Mittelmeridiane benachbarter Meridianstreifen liegen demnach 3° bzw 6° auseinander

KfzKennzeichen Polen – Wikipedia ~ Die zuletzt gültigen polnischen KfzKennzeichen weisen schwarze Schrift und schwarzen Rand auf weißem Grund auf Der erste Buchstabe steht für die Woiwodschaft hier E für die Woiwodschaft Łódź die nächsten ein oder zwei Buchstaben stehen für die Stadt oder den Landkreis Powiat hier RA für Radomsko der folgen ein rechteckiger Aufkleber und bei einzeiligen

VW Touran I – Wikipedia ~ Der Touran wurde in den Ausstattungsvarianten Conceptline Trendline und Highline angeboten Zur serienmäßigen Sicherheitsausstattung gehören Fahrer und Beifahrerairbags Seitenairbags vorn und Kopfairbags für die erste und zweite Sitzreihe sowie das Elektronische Stabilisierungsprogramm ESP


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Senin, 30 Juli 2018

Fantastic Four 2015 kostenlose filme -720p-SDDS

Fantastic Four 2015 Online Anschauen



Fantastic Four"




Fantastic Four-uncut-2015-englisch-DVDrip-DVDScr-Sonics-DDP-1080p-WEB-DL-DVDrip-DVDScr-DTS-Blu-ray.jpg




Titel

Fantastic Four 2015

Zeitdauer

119 kleinst

Freilassung

2015-08-05

Güte

Sonics-DDP 720p
Bluray

Gattung

Action, Adventure, Science Fiction

Sprache

English

castname

Cyrine
M.
Pinette, Nayema Z. Gihan, Varya N. Florus









Fantastic Four 2015 Fantastic Four ganzer film deutsch, Fantastic Four online stream - Ganzer film, Fantastic Four ganzer film online stream - Deutsch



> Too slow and dramatised superhero flick, but acceptable.

I can't say I liked the previous films and not this one. In fact, I kind of enjoyed watching this reboot. It was much better than what I have heard about it. At least it did not sound like a loud and lousy like any modern sci-fi flicks, chasing bad guys, bombing cities and downing buildings. But as a superhero and sci-fi film, it had its moment, only at the end.

Obviously the film was too slow and dramatisation was a backslash keeping the youngsters (audience) in mind. I actually expected hefty stunt sequences. Without actions, a superhero movie is like a limbless spider and toothless shark. If the web and tooth are the superpowers, then they must handle it quite smartly. So that is where this film failed to be a clever. This film had 4 superheroes and until the climax they were impotent. Which means the only superhero movie in the recent time that meant for older people. Precisely to say, if you are a 30+, you might enjoy it as I did. I know I can't talk for you and what kind of movies you like, but I know todays youngsters who refuse dramas and accept action-adventures.

I agree it did not deliver as it should have been as a theatrical feature where surround speakers are ready to give us a breathtaking sound mix. I felt it some kind of a television episode. Because that is how the modern television series are presented. Personally, I would like to say that don't mind my words and the review, because I usually enjoy all the films I watch. So this one was average to me, but definitely not a bad and I won't slam it. Though I recommend it for old people who does not like modern high-octane stunts.

6/10
I just saw this and I wasn't expecting much as I have read some really negative reviews about it online and elsewhere. Honestly, I think they were wrong. It's not a bad film at all, just not as fast paced as the previous version which I quite liked too ... mind you, I am 60+ so maybe that has something to do with it. A scifi/action film for the older generation perhaps? I really enjoyed it. I gave it 4/5 stars here.
I was actually not having great hopes for this movie giving how Hollywood have screwed up with a lot of my favourite super heroes (Spiderman, Fantastic Four, Dare Devil and a few others). Having said that maybe there was still a glimmer of hope given that some of their latest Marvel work have been rather okay. Unfortunately this is not the reboot of the Fantastic Four that I, and a dare say the fans, hoped for.

One thing that I do not understand is why the dumbass script writers that Hollywood employs always have to change the basic story of a set of characters that have a solid fan base? There was nothing wrong with the original story, and thus origin, of the Fantastic Four and the source of their powers. Maybe I am just old-fashioned but still.

The second gripe I have with this movie is the nonsensical stuff with members of the Fantastic Four, especially Ben, being deployed by the US military. It is just so cliché. Lazy script writing plain and simple. Unfortunately this also causes the movie to not really feel like it is a Fantastic Four movie. The team is split up and it is not until the very end that they actually become a team, gets a headquarter and so on. Big fail as far as I am concerned.

Having said all that, I do not think it is as bad as some people claim. There are some good stuff in there. The story is not all bad after all even though it is not exactly to my liking and the special effects are quite okay. One thing that annoys me with the story is that the role of Reed is really diminished and he is never really allowed to show of his powers. Yes, I know, there are some “stretching” moments but, well, meh! To add to the pain the actor cast as Reed is, in my mind, totally unconvincing.

The bad guy is also somewhat underwhelming and thoroughly predictable. As I said a classical Hollywood concoction aimed towards the less intelligent viewers. I do not understand why Hollywood seems to be so bent on repeating the same mistakes over and over again?

Well, as I wrote, the movie is not as bad as some people claim but it is far from great. Given the abysmal reviews I am afraid that we will not be getting a sequel which is a shame. This is one of the (few) Marvel comics that I read as a kid (in Sweden we did not get treated to that many of these kind of comics) so it is indeed a bit of a disappointment that they managed to screw this movie up…again.

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Kingsman: The Secret Service 2015 kostenlose filme -1440p-MPEG-2

Kingsman: The Secret Service 2015 Online Stream



Kingsman: The Secret Service"




Kingsman: The Secret Service-DTS-2015-SDDS-Blu-ray-englisch-M4V-online anschauen-M4V-DTS-auf italienisch-M4V-Dolby Digital.jpg




Adelstitel

Kingsman: The Secret Service 2015

Dauer

174 kleinst

Freilassung

2015-01-24

Eigenschaft

FLV 1080p
TVrip

Genre

Crime, Comedy, Action, Adventure

Jargon

English

castname

Theresa
T.
Arman, Lizbeth K. Keron, Kadidia Y. Duhan









Kingsman: The Secret Service 2015 Kingsman: The Secret Service ganzer film deutsch, Kingsman: The Secret Service online stream - Ganzer film, Kingsman: The Secret Service ganzer film online stream - Deutsch



One of the most interesting movies to watch. Humor, action and adventure well plotted into this great movie. The action is just great.
A nice surprise.

I was not expecting anything from this movie but it turned to be a really funny one, borrowing from all the other spy's movies around.

Collin Firth is a great choose and you can say the same for most of the cast, remarking also Samuel L. Jackson.

An easy movie for a brainless evening.
The kinetic super-spy caper ‘Kingsman: The Secret Service’ will serve as a boisterous blueprint for those teen fanboys out there that will fancy an elaborate overload of James Bond-esque high-powered hedonism. It certainly does not hurt that the high-wire hysteria as showcased in the twitchy ‘Kingman’ is based upon the acclaimed comicbook series by Mark Millar and Dave Gibbons. Also, add into the mix the movie-making overdrive pedigree of director Matthew Vaughn (‘Kick-Ass’, ‘X-Men: First Class’) and slick, cheeky spy-spry send-ups that recall the over-the-top espionage genre and its exaggerated suspense-driven foundation. Well, ‘Kingsman: The Secret Service’ is a cockeyed, pulsating parody that works its ultra-violent magic for the Austin Powers crowd that wants to walk on the high-octane wild side of Bond’s universe.

Sure, ‘Kingsman: The Secret Service’ has its iffy moments where the blatant sexist overtones, magnified violent sequences and a generous bloody bounce of excess will have some stomping their feet in sheer indignation. The apparent knock on ‘Kingsman’ will be its robust ridiculousness and familiarity in Vaughn’s ‘Kick-Ass’ cartoonish vibe. However, the same elements that may cause some reservations with the film’s low-brow lunacy is also the same ingredients that trigger ‘Kingsman: The Secret Service’s carousing charm in majestic mayhem.

The grand gimmick behind behind kick-starting ‘Kingsman’s go-for-broke rollicking is casting the sophisticated presence of the Oscar-winning Colin Firth (‘The King’s Speech’) as dapper Harry Hart (aka ‘Galahad’), a polished and prominent superspy for a British secret intelligence society. Hart’s top-secret spy network is headed up by Arthur (Oscar-winner Michael Caine). The secretive operation is based out of a notable tailor’s shop known as Kingsman. Also worth noting is that all the secret service agents are named after the famed knights of King Arthur’s Round Table. Go figure. In any event, the suave Harry Hart is the debonair face of the spy organisation and will play a critical part in both recruiting a young up-and-coming agent with decent physical skills and tracking down a worldwide menace bent of destroying the planet. It is all in a day’s work for the skilled, well-dressed licensed-to-kill operative.

Hart, who had been loyally connected to a fallen colleague from a past mission gone disastrous years before, decides to become a mentor for his late co-worker’s troubled son Gary ‘Eggsy’ Unwin (played by newcomer Taron Egerton) whose law-breaking conduct catches the attention of the police. Feeling a sense of responsibility for his deceased spy buddy’s wayward kid, Hart takes Eggsy under his wings and determines to shape the misguided youngster into resilient Kingman stock. After all, Eggsy has the needed physicality (we are told he is an exceptional gymnast) and roguish spunk to join the ranks of the seemingly understaffed spy outfit. Soon, Eggy and other recruits will be grilled through rigorous training from Kingman member Merlin (Mark Strong) as they look to fill the spot vacated recently from the dead Lancelot.

The dearly departed Lancelot, it turns out, was the latest victim of ruthless criminal mastermind Valentine (Samuel L. Jackson). The flashy Valentine, a billionaire gone bonkers, hopes to control the world’s climate change. He is known as a mega-wealthy entrepreneur and philanthropist but his sinister heart yearns for some heavy-handed dastardly deeds that puts him on the immediate radar for Hart and his crafty Kingsmen to spring into action. At the demented Valentine’s side is the deliciously disabled exotic henchwoman Gazelle (Sophia Boutella) with the treacherous knack for disarming her adversaries with blazing blades.

The bombastic and eye-pleasing ‘Kingsman: The Secret Service’ sets out to have one goal in mind: to highlight its thunderous homage to spygate spectacles that salute everything from the Agent 007 flicks and related free-wheeling 60’s fare such as the ‘Matt Helm’ and ‘Derek Flint’ spy franchises to the recent espionage vehicles that invite the millennium-based harried heroes such as the Jason Bournes and Jack Ryans of the world into the frenetic fold. It is fast, furious and unapologetic in its rambunctious spirit as a ricocheting romp.

Vaughn, in all his rousing Tarantino-esque tactics, unleashes a visceral assault that is visually wrapped in his escapist package of an adrenaline rush. Wisely, Vaughn incorporates some of his ‘Kick-Ass’ colourful calisthenics to arm his playful spy yarn. As the veteran spygame squires, both Firth and Caine are game for the frolic they signed up to participate in with puckish aplomb. Jackson brings his usual explosive badass persona to the table as the villainous fashion plate Valentine. The 14 year-old males will draw their adventurous inspiration from Egerton’s junior spy Eggsy Unwin. Some may become nostalgic when uncovering the likes of spotting ‘Star Wars’ icon Mark Hamill as an imperiled climate changer scientist caught in the crazy clutches of Jackson’s diabolical antagonist.

Although not the most inventive take on ridiculing the spy genre with over-extended finesse and sensationalism, ‘Kingsman: The Secret Service’ is still a preferred jolting distraction at the beginning of an early stillborn movie season.

Kingman: The Secret Service (2015)

20th Century Fox

1 hr. 40 min.

Starring: Colin Firth, Taron Egerton, Michael Caine, Samuel L. Jackson, Mark Strong and Sophia Boutella

Directed by: Matthew Vaughn

MPAA Rating: R

Genre: Spy Thriller/Action & Adventure/Fantasy & Action
'Kingsman: The Secret Service' is a comedy film that satirises spy movies such as the James Bond franchise. Gary 'Eggsy' Unwin (played by Taron Egerton) is a normal working class 18 year old from London who gets recruited into a super secret spy organisation. Humour comes as he tries to mix with these posh and suave upper-class stereotypes.

Matthew Vaughn has included his typical ultra stylised violence ('Kick Ass') and it does boast a good sound track. There are a lot of nods to films such as Quentin Tarantino's 'Pulp Fiction' but it just reminds me of examples when things have been done much better. The highlight of the film for me was a scene in which Colin Firth violently massacres a crazy church to the music of Lynyrd Skynyrd ('Free Bird') whilst almost seeming like a continuous long shot.

The screenplay is very unoriginal and the dialogue with the young actors in particular is cringe-worthy. Tarantino type set-pieces just come across as annoying as the film fails to have any cleverness or creativity.

Apart from Colin Firth every actor is either average or just really bad. Samuel L. Jackson, in particular, is worse than usual as he tries to add some freshness to his regular spiel by trying to affect an annoying and distracting speech impediment.

'Kingsman' is going to appeal to the intended target age group as it does contain scenes of fantasy violence depicted as "cool" whilst characters swear. It would also help your enjoyment of the film if you have not seen the many, many examples where each scene had been conducted much better.

★★½
If you like old-fashioned James Bond style movies you probably like this one. It is a bit more outrageous and has a few more overly silly moments than the old Bond movies but on the whole this is a very fun and enjoyable secret agent movie.

Gary is, via a few twists and turns at the beginning of the movie, recruited by a secret agent employed by a super secret private organisation with remarkable resources. Their agents looks and behaves like London upper class gentlemen but have remarkable fighting skills. The initial scenes when Gary is recruited are just great.

Gary is then submitted to a rather gruesome training schedule and at the same time the main plot plays out in parallell. Of course the two threads merge towards the classical showdown with the megalomaniacal evil mastermind in the end where, naturally, Gary gets to save the world.

The movie has all the “goodies” of a secret agent movie. British gentlemen agents, action, secret agent “stuff” like shops that are not what they look like, hidden entrances into secret bases, rooms that are actually elevators and of course gadgets, lots of gadget to help our heroes thwart the evil mastermind’s nefarious plans. Of course said mastermind have a personal henchman a la Oddjob to do the more grisly parts of his evil biddings. I quite liked this rather unique henchman, or rather henchwoman, and her odd weapons. More so than the main villain which I found a bit bland at times.

On the whole I enjoyed this movie a lot. However, there are some silly parts which drags it down a bit. I especially disliked the colorful exploding heads towards the end of the movie. That just felt like the producer/director was smoking some funny stuff when making those scenes. There were a few other scenes which I felt was going too much towards silly comedies as well. Without those I would probably have added a star.

All things said this was well spent 130 minutes as far as I am concerned.

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Django Unchained 2012 kostenlose filme -720p-MP4

Django Unchained 2012 Online Stream



Django Unchained"




Django Unchained-MPEG-1-2012-auf englisch-kostenlos-MPEG-2-M2V-DVD-WEB-DL-ASF-WEB-DL-MPEG-2-MPE.jpg




Titulierung

Django Unchained 2012

Dauer

183 Sitzungsprotokoll

Ausgabe

2012-12-25

Beschaffenheit

ASF 720p
HDRip

Genre

Drama, Western

Programmiersprache

English, Français, Deutsch

castname

Aucoin
W.
Kerman, Gerard O. Aryana, Adelisa D. Esinam









Django Unchained 2012 Django Unchained ganzer film deutsch, Django Unchained online stream - Ganzer film, Django Unchained ganzer film online stream - Deutsch



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.

GRADE: A

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Ghostbusters 2016 kostenlose filme -1080p-MPEG-1

Ghostbusters 2016 Ganzer Film Deutsch



Ghostbusters"




Ghostbusters-MPEG-2-2016-VHSRip-1080p-MPG-AVCHD-DVDrip-uncut-HDTV-online schauen-MPG-TVrip.jpg




Bezeichnung

Ghostbusters 2016

Geltungsdauer

188 Konzept

Freigabe

2016-07-14

Qualität

MPG 720p
Bluray

Genre

Action, Fantasy, Comedy

Sprache

English

castname

Baer
J.
Ellyse, Garima F. Wadan, Curie H. King









Ghostbusters 2016 Ghostbusters ganzer film deutsch, Ghostbusters online stream - Ganzer film, Ghostbusters ganzer film online stream - Deutsch



"While it falls short of nailing the anarchic spirit and character chemistry of Ivan Reitman’s beloved 1984 blockbuster, Feig and his cast of game comediennes deliver enough thrills and giggles to both justify the long-in-development franchise-starter and smother the internet’s white noise of negativity..."

Read the full review here: http://screen-space.squarespace.com/reviews/2016/7/12/ghostbusters.html
Filmmaker Paul Feig's **Ghostbusters** reboot pretty much followed the characteristic aspects of his previous films ("Bridesmaids", "The Heat", "Spy") all incorporating a self-awareness of female-oriented friendship and the estrogen-driven escapades rooted in inspired goofiness. So given this familiar foundation of Feig's big screen blueprint one would expect that his creative input into the continued Ghostbusters franchise for the millennium moviegoers would result in the heralded hype his film project is now enjoying at large. Sure, the feminine-charged **Ghostbusters** seemed like a radical concept and would obviously trigger the nostalgic sentiments (and comparisons) of the classic 80's comedy spearheaded by beloved on-screen paranormal hucksters Bill Murray, Dan Aykroyd, Harold Ramis and Ernie Hudson. Nevertheless, singer Ray Parker Jr.'s lyrical catchphrase "Who you gonna call?" within the Ghostbusters theme song needs to be addressed accordingly. The answer: the handlers behind the original **Ghostbusters** film that could uplift the disjointed high jinks and synthetic silliness of Feig's current comedic ghostly she-power schlockfest.

It is only natural that **Ghostbusters** had high expectations for Sony Pictures to perform well given the aggressive marketing tactics, early release of the Ghostbusters movie trailer (which was heavily panned online) and the aforementioned cinematic legacy of the original film's fanatical following and reputation. However, this third installation of **Ghostbusters** feels curiously flat and strained in its stillborn witticism. The creep factor borders on campy and cheesy (although this effectively worked for Ivan Reitman's 32-year old spook-ridden farce in the eighties) for which in today's cinematic circle is inexcusable due to the edgier and challenging special effects that could have played up the whimsy and wonderment of this breezy, bubble-gum colored romp with seemingly low-grade spark and sizzle.

Feig's interpretation of the **Ghostbusters** universe could have been fresh and favorable especially with the colorful casting of his capable four female principals in the Emmy-winning and Oscar-nominated Melissa McCarthy along with Saturday Night Live personalities Kristen Wiig, Kate McKinnon and Leslie Jones. Unfortunately for these noted funny ladies they were saddled (or slimmed if you will) by a transparent script almost as invisible as the pesky ghosts they are trying to pacify. The recycled by-the-numbers hilarity and hysteria does not make this brand of ghost-busting quite distinguishing. Chemistry-wise, the Ghostbuster gals seem to revel in the collective merry-minded mischievousness and genuinely try to bring energy and outrageous antics to this flaccid frightfest. Still, the mixture of Ghostbusters' gooey gumption with a dash of egghead feisty femininity never seems to translate into anything beyond the tired gimmick of promoting another excuse to tap into yesteryear's profitable fun and frolic that made the wise-cracking Murray and his klutzy cohorts so amusing and welcomed in their rollicking ghostly gem from the Reagan-era.

Quite frankly the notion that **Ghostbusters** is unfairly being knocked for its misogynistic overtones fueled by bias Internet-based fanboys not accepting that nerdy womanly scientists cannot fill the shoes of their revered male counterparts from the previous two predecessors is somewhat misleading. Sure, the decision to cast an all-female **Ghostbusters** team turned some curious heads but for the most part many thought this to be rather intriguing and experimental. The actual disdain can be pinpointed to the fact that Feig's flimsy boo-spewing fable is grounded in cliched and forced chuckles, weak-kneed jokes and gags, lazy writing and uninspired visual neon lighting techniques that look like a cheapened explosion from a vintage late 70's New York discotheque.

Unfortunately, **Ghostbusters** wallows in mediocrity and fails to capture the acquired giddiness and imagination so pronounced in the prior entertaining installments. Even if the original actors in Murray, Aykroyd, the late Ramis and Hudson had decided to reprise their roles under Feig's problematic production the results would be the same--an aimless reboot without any definitive bite or backbone for a cobbled comedy that is slight and stretched thin to its toothless core. Amazingly, **Ghostbusters** cannot decide if it should remain faithful to its humble roots (it does help trivially that iconic Ghostbuster notables make scattered cameos--sans Rick Moranis--including that glorified scene-stealer in the Stay Puft Marshmallow Man as well as hot dog gulper Slimer) or venture off into something resembling its own goofy identity and distinction. Either way the third time around simply meanders in over-produced, noisy emptiness.

The so-called plot in **Ghostbusters** focuses on college professor Erin Gilbert (Wiig presumably in the Murray/Dr. Peter Venkman role) and her fascination with ghost activities that end up costing her an academic career in the process. Specifically, Erin's controversial book that she wrote along with co-author Abby Yates (McCarthy) served as the basis for her firing. Abby's obsession with ghosts still has her invested with this spirit phenomenon that she researches defiantly with her kooky associate Jillian Holtzman (McKinnon) in tow. Eventually, it would take the trio's status of joblessness (not to mention a run-in with a slim-spewing ghost that loves soaking humans with its sticky green goo) to collaborate on going into business as paranormal exterminators out to showcase their expertise in "busting ghosts".

In the meanwhile, there is something brewing in the twisted mind of supernatural-loving freak Rowan North (Neil Casey). After all, he is the lost soul responsible for unleashing the onslaught of riff-raffish apparitions upon New York City courtesy of his miserable, lonely existence. Now it is up to Erin, Abby and Jillian to eliminate Rowan's sinister agenda and eradicate the spooky pests that he has manipulated to cause the city-wide panic. As Internet sensational darlings, the Ghostbusters are committed to step up to the plate as the sassy saviors they were meant to be since going into the ghost-busting industry.

The later arrival of street-wise transit worker Patty Tolan (Jones) completes the Ghostbusters' quartet. Patty, whose run in with one of the slimy ghosts in the subway tunnel was pivotal to joining the three scientists, has something to offer the ghost-chasing brainiacs--a.) her knowledge of the city's whereabouts and b.) her funeral director uncle's hearse that serves as the official transportation for the Ghostbusters.

Overall, the third outing regarding this toothless entry **Ghostbusters** notoriously lacks the robust impishness and rapport of the male character counterparts that were devilishly drawn together and cemented by Murray's droll humor. Here, the ladies come off as bland and indifferent--at least for the Paul McCartney and John Lennon of the team in Wiig's Erin Gilbert and McCarthy's Abby Yates. McKinnon's Jillian Holtzman is the only truly spry Ghostbuster who is credible as an off-kilter genius ditz with off-the-wall likability. Some may gravitate towards Jones's stereotypical brassy black chick with the brash quips and animated overreactions. Although Jones brings in the high-wire urbanized smirks in contrast to her quieter, geekier counterparts it is cringe-worthy watching her play an over-the-top, towering, mouthy cultural exaggeration that is woefully embarrassing for the sake of this dismissive. hedonistic hoot.

Ironically it is the hunky Chris Hemsworth that fares decently as the handsome himbo Kevin, the dim-witted **Ghostbusters'** male assistant that serves as the doltish eye candy for the cerebral lasses, particularly for the smitten Erin. Another SNL alum, Cecily Strong, checks in as the menacing mouthpiece from the Mayor's office that tries to discredit the popular ghost-busting technicians as "sad, thrill-seeking women".

Feig, serving as both the film's director and co-screenwriter (along with "The Heat" scriber Katie Dippold) has no cohesive vision for the listless **Ghostbusters** and could have used some critical pointers in studying the proven anatomy of what made Reitman's nostalgic vehicle so engaging that still thrives after three decades since coming into the movie audience's consciousness. From the lame and limping laughs dipped in cartoonish crudeness (i.e. a male ghost gets a rousing jolt to his "junk" courtesy of his heroic ghost-busting detractors) to musical acts Fall Out Boy's/Missy Elliott's relentlessly unrecognizable, erratic and choppy remake of the aforementioned Parker's infectious **Ghostbusters'** theme song in this regurgitated comedy that has no excuse for catering to a lackluster rebirth while die hard and casual fans patiently waited for a festive follow-up from Murray and crew for thirty-plus years.

To randomly quote a classic **Ghostbusters'** lyrical line: "I ain't afraid of no ghosts". This may be the case but one should be very afraid of this heavy-handed banal boofest for wasting their time, anticipation and consideration.

**Ghostbusters (2016)**

Sony Pictures

1 hr. 44 mins.

Starring: Melissa McCarthy, Kristen Wiig, Leslie Jones, Kate McKinnon, Chris Hemsworth, Neil Casey, Cecily Strong, Charles Dance, Michael Kenneth Williams, Matt Walsh, Ed Begley, Jr.

Directed and Co-Written by: Paul Feig

MPAA Rating: PG-13

Genre: Comedy/Supernatural/Science Fiction/Action and Adventure

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

--Frank Ochieng (c) 2016
I was determined to see this movie on opening day. Female cast, Paul Feig (a Michiganian who included a Michigan line in the film), a couple fistfuls of ridiculousity on social media. When the movie started, I was one-eyeing the screen. Waiting for it. Oh oh. Fart joke. Oh oh. Kristen Wiig still can't make her eyes look interested. Then Charles Dance shows up with his serious comic tongue stuck in his cheek to admonish Prof. Gilbert that if she is serious about tenure, she needs to find a more prestigious university recommendation. "More prestigious? Than Princeton?" Now I know the deadpan eye comic genius of Wiig, too. From that point on, I was in love with the story. Katie Dippold cowrote the film. She has a bit part as the real estate agent showing the team the 1984 movie's fire station to rent. I want more of her screenwriting. The dialogue is witty, sharp, real. While I liked the 1984 Ghostbusters, it's a buddy movie. Dudes in the treehouse with no girls allowed spelled wrong nailed to the door. Smug, chirpy, guybonics. Venkman electrocuting rivals in the lab: using paranormal research to get dates. Annie Potts drooling over Spengler. Sigourney Weaver in a diaphanous dress, draped on a parapet waiting for the Gatekeeper. The sore spots in 1984 are sprayed away in 2016 without gender disrespect. Gilbert gets to drool over the pretty doofus administrative assistant. When you see this movie, watch all the credits. Chris Hemsworth is a clearly confident actor - he dives pelvis-first into the Kevin role, and it's hilarious. I'm still searching for the creator of the titles and end credits. Excellent art. The poster? Not so much. Hemsworth needs to be behind the four leads. Geez. Casting hit a lick with Kate McKinnon as Holzmann. She is fantastic bringing Harold Ramis' genius back to life. Leslie Jones as Patty: so good, and she has some of the juiciest lines, delivered with haute sass. There are really well-placed cameos by 1984's cast, including birthing one of the movie's best lines "safety lights are for dudes." 2016 Ghostbusters is a great fun movie, and I'll watch it more than once again. One of the brilliant visuals that I was thrilled with - the stream from the proton packs tied up the ghosts. Wrapped, pinned, contained lassoed. Genius analogy for what to do with obsolete stereotype. There's a lassoed line in the film while the Ghostbusters are reading the internet reaction to their first catch. "Ain't no bitches gonna catch no ghosts." Yeah. Watch this.
Unfortunately this has become because of political correctness and its backlash almost impossible to rate objectively. In the 2016 North American wish to either redo every successful film ever made and present every conceivable variant in the process, for what could be deemed the lack of any possible originality of ideas, I still tried to enter this with an open mind, and see this as if the two films from the 80's (which I enjoyed very much the one time I saw each of them) had never existed. I should state I saw this in 3D (which I hardly ever do), with my lady and our respective sons.

I felt that it was quite funny and that the special effects were excellent. Next to 'Avatar', the use of 3D was the best I have ever seen. It's a popcorn flick well-worth seeing. Though I haven't seen any other movies by Feig or starring McCarthy, it made me want to go back and give them a shot at some time in the near future. There was something for everyone--both my lady and I enjoyed it very much--and the boys, three and thirteen years-old respectively, loved it as well. Give it a shot.
A SCREEN ZEALOTS REVIEW www.screenzealots.com

There’s an arbitrary sense of nostalgia that unfairly permeates audience perceptions of the new female-centric “Ghostbusters” reboot. I love the original 1984 film too; I wore out my VHS cassette when I was a kid and I’ve probably seen the movie dozens of times, including special theatrical re-releases and anniversary screenings. It’s almost as if all of this animosity is seen as a badge of honor for ‘serious movie fans.’

All of this badmouthing is truly unwarranted, especially if you actually go back and rewatch the original. Sure, the movie has comedy legend Bill Murray, the hilarious Rick Moranis, and memorable performances from Harold Ramis, Sigourney Weaver and Dan Aykroyd. It introduced us to the characters we all still love decades later, and made lines like “tell him about the Twinkie” a permanent part of movie nerd vocabulary. But to all the haters I say this: you are being very, very unfair. The 1980s era film has a lot of boring sequences and lags quite a bit, and as is the case with many movies, sometimes our nostalgia creates pretty thick rose colored glasses. We tend to only remember the good in our childhood favorites.

Put aside your bias: the new “Ghostbusters” honors the legacy of the original, is a fun retelling of the classic story, and it does not disappoint. THIS MOVIE IS FUNNY! THIS MOVIE IS ACTUALLY GOOD!

There are a couple of minor hiccups along the way (as with most comedies, not every joke sticks, and the ghastly Missy Elliott / Fall Out Boy remake of the already awful Ray Parker Jr. song “Ghostbusters” makes an unwelcome appearance), but overall the movie is a success. At first it may feel weird to see women Ghostbusters but any skepticism will quickly fade (there’s a new generation of young girls who will undoubtedly be inspired by these characters).

When estranged childhood friends and paranormal enthusiasts Erin (Kristen Wiig) and Abby (Melissa McCarthy) reunite, sparks are rekindled and they decide to get back to their ghost chasing roots. The smartypants duo is joined by weirdo nuclear engineer Holtzmann (Kate McKinnon) and subway worker Patty (Leslie Jones). When Manhattan starts to experience boatloads of specter activity, the friends get started on some good old fashioned poltergeist hunting.

A big part of why this movie works is the comedic talent of these women; their chemistry is evident and they play well off each other, and the positive themes of loyalty and friendship never once feel fake. All of the actors are proficient at physical comedy and all have impeccable timing. This movie is very funny and the jokes had (and kept) me laughing from the beginning (there’s a particularly hilarious sequence at a heavy metal concert that’s worth the price of admission).

Rounding out the amusing performances is Chris Hemsworth as Kevin, a completely clueless stud muffin who is hired as the women’s receptionist solely based on his beefcake good looks. This feminist spin on the dumb secretary stereotype is exactly the type of lampoon I was hoping for here. In fact, the film doesn’t shy away from all of the lady haters either: there are lots of self-referential bits that directly address all of the critics (my favorite being Holtzmann’s ‘One of the Boys‘ t-shirt). Girl power!

Fans of the original will also appreciate several in-jokes and references, and there’s a long line of fun cameos (which I won’t spoil here: just keep your eyes open and be sure to stay through the end credits)! The special effects have been given a serious upgrade as well: these ghosts look real, feel real, and are appropriately scary-yet-funny. When the ladies first fired up their proton packs, I began cheering internally.

“Ghostbusters” is exactly what a summer movie is supposed to be. It’s big in scope, it’s full of hearty laughs, it’s filled with terrific performances from all of the leads, it’s stuffed with stunning special effects, and it’s something the entire family can enjoy. All of you naysayers really need to lighten up because this is a really, really fun movie.

**A SCREEN ZEALOTS REVIEW www.screenzealots.com**
**The ghosts are real and the scientists are hunting them down!**

First of all I am not a fan of the original film, but I enjoyed watching them. So I anticipated this film for the updates to deliver what I'm looking for, including some good jokes, but I found it an average film. I am very interested to have the women's version of hit the films and vice versa, but there are not many films in this category. All I wanted was 'The Expendables', but they made this one. I think it was a great idea, though the execution was really impressive.

The story was okay type, they kept it very simple. No big developments, except two main characters. But all the four women were good, along with Chris Hemsworth as a worthy sidekick. The director whose favourite casting actress, Melissa McCarthy's fourth film with him in four years and he did his job well, but the screenplay lets the film down.

There's no major comparison with the original, because this is a reboot and obviously has similar appeal from visual to comedies. Except they talk too much science thing because of todays advanced science. The disappointments are the ghosts, the film did not give preference for them to show their atrocities. I mean the perspective was always from the women gang who fights them. Definitely a one time watchable film, for its decent graphics, performances and some good comedies.

_6/10_
**The ghosts are real and the scientists are hunting them down!**

First of all I am not a fan of the original film, but I enjoyed watching them. So I anticipated this film for the updates to deliver what I'm looking for, including some good jokes, but I found it an average film. I am very interested to have the women's version of hit the films and vice versa, but there are not many films in this category. All I wanted was 'The Expendables', but they made this one. I think it was a great idea, though the execution was really impressive.

The story was okay type, they kept it very simple. No big developments, except two main characters. But all the four women were good, along with Chris Hemsworth as a worthy sidekick. The director whose favourite casting actress, Melissa McCarthy's fourth film with him in four years and he did his job well, but the screenplay lets the film down.

There's no major comparison with the original, because this is a reboot and obviously has similar appeal from visual to comedies. Except they talk too much science thing because of todays advanced science. The disappointments are the ghosts, the film did not give preference for them to show their atrocities. I mean the perspective was always from the women gang who fights them. Definitely a one time watchable film, for its decent graphics, performances and some good comedies.

_6/10_
This movie was a huge disappointment! The only positive thing I can say about it is that the special effects where not half bad. The movie itself was childish, unfunny, unintelligent and generally really bad.

Some reviews giving this movie 9 or 10 stars (which is just ludicrous) are saying that people cannot handle the feminism in the movie. What feminism? Replacing the original actors with women is not feminism as far as I am concerned and anyway, if you care about such things should it not have been two women and two men to be politically correct? Also, the supposedly intelligent women in this movie behave in a typical old-fashioned Hollywood stereotype of women way. They are mostly downright silly. If I were a feminist I would actually have been insulted by this movie.

Then we have the male clerk that is dummer than a piece of rock. If someone had stacked four supposedly intelligent men and a single blond bimbo that is totally devoid of any trace of intelligence together in a movie the social justice warriors would have cried foul so loud that you could hear it across the planet. But since it is four women and a stupid male it is okay (not really). It is even feminism according to some people. What a load of bollocks.

There is actually a story in the movie although it is well hidden under the silly jokes and silly behavior. It is paper thin and rather silly in itself but it could have worked if the rest of the movie was up to snuff but sadly it is not.

As I wrote above the only good thing about this movie is the special effects. The few scenes that I actually enjoyed was during the big shoot out at the end which had some cool moments. I especially liked when Jillian pulls a pair of pistols out of her Ghostbuster suit and goes on a ghost killing spray.

Apart from that this movie is best forgotten.
This movie is horrible. It plays like an overly long SNL sketch. The only saving grace is that this lost so much money that there will not be a sequel. Unfortunately for the fans, this means that the franchise is likely dead in the water for a long time.
This movie is a disaster. The casting is way off. The special effects are mediocre. The story is merely a retread from the original... and they shoot the original logo in the crotch. There is nothing good about this production. What a waste of a perfectly good franchise.
As a male nerd who grew up in the 1980's watching both original movies and the cartoon, running around with my toy proton pack and catching imaginary ghosts in my basement, I should be of the demographic complaining about how this ruins my childhood or that a cast of all women is just a stunt in the name of political correctness, or whatever their issue is. But the truth is, I REALLY enjoyed this movie.

The four female leads were absolutely hilarious--especially Kate McKinnon who steals every scene she is in. The other three characters have more growth, more of a story arc, and are more fleshed out as people in general. But McKinnon makes the most out of the available material and creates a very fun and memorable character.

The comedy of the 2016 version, while equally effective, is completely different from the dry humor of the original. The absence of Dan Aykroyd's and Harold Ramis's ludicrously funny lines delivered with a straight face, and the deadpan humor of Bill Murray has been switched out with a more over-the-top and in-your-face style of humor. It's not as subtle. Ghostbusters (1984) made me chuckle; Ghostbusters (2016) made me laugh out loud.

While a lot of the original's comedy came from the ghosts themselves, i.e. that they're funny instead of legitimately scary, the new version reverses that. There is some very creepy imagery involving things like old timey parade balloons, ghosts pushing against mirrors, and other things that seemed inspired by American Horror Story. Plus, there were some good jump scares, boo moments, that actually caught me off guard.

Much like a guitar amp out of Spinal Tap, this film turns both the scares and the comedy up to 11 with great results.

I haven't had this much fun at a movie in a long time. The trailer is NOT a valid way to judge this film. The trailer seemed to splice together all the ineffective moments and jokes of the film. But those were the exceptions and not the rule. The rule here is fun, entertainment, laughs, and the occasional scare. When the film works, it works remarkably.

The only real misstep was Chris Hemsworth's character. While the gender role reversal of the hot blonde ditz secretary was brilliant and long overdue in a mainstream summer movie, he was just too dumb to be believable. The character of Kevin belonged in a cartoon and not a legitimate movie.

The best line in the movie references Jaws and Annie Potts' cameo made me cheer.

However...

If you've already decided you hate this movie without even seeing it, you probably won't like it. That's how these things usually work. But, if you have an open mind and are reserving judgement, I suggest you see it. You will be pleasantly surprised.

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Minggu, 29 Juli 2018

How to Train Your Dragon 2010 kostenlose filme -720p-M4V

How to Train Your Dragon 2010 Online Anschauen



How to Train Your Dragon"




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Adelstitel

How to Train Your Dragon 2010

Zeitdauer

169 winzig

Ausgabe

2010-03-10

Eigenschaft

FLV 1440p
DVDScr

Gattung

Fantasy, Adventure, Animation, Family

Sprachfähigkeit

English

castname

Bizier
Q.
Daina, Auda H. Hetansh, Ménil Y. Ketrin









How to Train Your Dragon 2010 How to Train Your Dragon ganzer film deutsch, How to Train Your Dragon online stream - Ganzer film, How to Train Your Dragon ganzer film online stream - Deutsch



So the movie was great. I wasn't expecting it to be that good actually. I thought it will be one of those movies wherein it turns out just okay because it's not a Disney/Pixar movie. I mean....if it's not a Disney/Pixar movie, don't expect anything. Which was good I think because not expecting turned out great for me.


It was very entertaining (aside from the noisy children and a very noisy and loud mom behind us). I know Toby will like this movie (he actually was able to watch it from beginning to end...for the first time). There's just so much to see. And the ending. Such a tragic ending but it's still a happy ending don't worry.


My rate for this movie is A. Good for kids. Good for adults.
First of all, the animation in this is spectacular. All the scenery in the film looks like something you could find in real life. The action, mainly the climax, and flying shots in this film also show how great the animation is. The main thing about the animation that is amazing is how the dragons look. They all look like real, kinda cartoonish, dragons that come across as vicious but also cute. The cinematography in this film is stunning. The lighting in each and every scene was chosen correctly for it. I really like the score in this film that was done by John Powell. The music in the film just helped bring you into this fantasy world of Vikings and dragons. Now my main problem is mainly the casting of the voice actors. They all did great jobs as their roles but I think some of them would have been better casted if their character was older and not a teenager. That can mainly be seen with Hiccup who is supposed to be a teenager but sounds like an adult who already went through puberty. I also had a few issues with the pacing in this film. Some scenes were way too short and I would have liked to have seen them a tiny bit longer. Now I do get that it’s a film made for children but as long as there’s moving objects on screen kids won’t care what’s happening in the movie. In the end How to Train Your Dragon is an excellent film for everybody no matter how old you are. I give How to Train Your Dragon a 9/10.
Who wouldn't want Toothless as a pet?

Honestly I can see my future kids and their future kids loving this movie as much as I do. How To Train Your Dragon is just that great of a movie. It's gorgeous, funny, heartfelt, and it's got something to say. I can't praise this wonderful film enough.

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


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Inception 2010 kostenlose filme -720p-AAF

Inception 2010 Stream Hd



Inception"




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Titulierung

Inception 2010

Dauer

185 Notiz

Kinostart

2010-07-15

Beschaffenheit

FLA 720p
DVDScr

Genre

Action, Science Fiction, Adventure

Sprache

English, 日本語

castname

Waël
U.
Marleau, Aymara S. Fode, Hawwah L. Kiley









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When I first saw the trailer for this film, I knew that this would attract a lot of attention. Of course having Leonardo in the lead role helped a lot.


From the trailer, I already know some things. Dreams. All about dreams. But what about dreams? Who are the other people? At first, I didn't really understand what was going on. It was all very confusing to me. But as the movie progresses, I start to understand it and I wanted to watch some more and know more what will happen in the end. The ending. That was, I think, the most intense ending of a movie in a year or probably more than a year. People actually screamed when the screen faded. And of course, people couldn't help but talk about it. It was an open-ended movie where people will have their own endings. My favorite part was Joseph Gordon's fight scene. I think he has the most fun part in this movie.


My rate for this movie is A.
Whether you watch Inception as a heist movie, a redemption story, or a sci-fi action picture, Christopher Nolan's tour de force of dreams will absolutely work its magic over you. The fact that the film works on so many levels (literally) is an attest not only to the visual queues that make it easy for the audience to follow but to how much in control of all the intricacies its filmmaker had to be.

Amateurfunkzeugnis – Wikipedia ~ Amateurfunkzeugnis in Deutschland Das Amateurfunkzeugnis ist der Nachweis der Bundesnetzagentur für Elektrizität Gas Telekommunikation Post und Eisenbahnen BNetzA über eine erfolgreich abgelegte Amateurfunkprüfung Lizenzen werden im Amateurfunkdienst nicht vergeben da eine Amateurfunkstelle gemäß AFuG nicht zu gewerblichwirtschaftlichen Zwecken und nicht zum Zwecke des

TDABFrequenz – Wikipedia ~ Rundfunkband I VHFBand I Bisher nicht für TDAB genutzt Gültige Frequenzkoordinierungsabkommen für TDAB in Europa CEPT FINAL ACTS of the CEPT TDAB Planning Meeting Constanța 2007 WI95revCO07 ITU final acts of the European Broadcasting Conference in the VHF and UHF bands Stockholm 1961 as revised Regional Administrative Conference of the Members of the Union in the European

CBFunk – Wikipedia ~ Der CBFunk s band radio ist eine Jedermannfunkanwendung ein kostenfrei nutzbarer Sprechund Datenfunk dem ein Frequenzband um 27 MHz 11MeterBand zugewiesen ist Der dem CBFunk zugeteilte Frequenzbereich liegt am oberen Ende der Kurzwelle und reicht in Deutschland von 26565 MHz bis 27405 MHz 80 Kanäle europaweit von 26965 MHz bis 27405 MHz 40 Kanäle

ConceptMap – Wikipedia ~ Eine ConceptMap ist die Visualisierung von Begriffen Concepts und ihren Zusammenhängen in Form eines Netzes Sie ist ein Mittel zur graphischen Darstellung von Informationen und ein Mittel der Gedankenordnung und reflexion Zu unterscheiden ist die ConceptMap von der MindMap die lediglich eine Baumstruktur aufweist und vom Semantischen Netz das formaler Natur ist und nicht

Frequenzband – Wikipedia ~ OIRTBand Zusätzlich zu den von der ITU für Rundfunk vorgesehenen Bänder I bis V gibt es noch das so genannte wird seit langer Zeit von einigen Mitgliedsländern der OIRT in Osteuropa zur Verbreitung von FMHörfunk verwendet Es reicht von 659 MHz bis 731 MHz und überschneidet sich von 659 MHz bis 68 MHz mit dem Rundfunkband I Heute findet es nur noch in wenigen

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

GSM Association – Wikipedia ~ 1982 als Groupe Speciale Mobile GSM von der Confederation of European Posts and Telecommunications CEPT ins Leben gerufen um eine paneuropäische Mobilfunktechnologie zu gestalten

BriefmarkenJahrgang 1963 der Deutschen Bundespost – Wikipedia ~ Der BriefmarkenJahrgang 1963 der Deutschen Bundespost umfasste 22 Sondermarken Dauermarken wurden in diesem Jahr keine herausgegeben Die Ausgabe zum Gedenken an „100 Jahre Internationales Rotes Kreuz“ ist eine der wenigen deutschen Briefmarken im Prägedruck

Bildschirmtext – Wikipedia ~ Vorgestellt wurde Btx 1977 vom damaligen Postminister Kurt Gscheidle auf der Internationalen Funkausstellung in Berlin Es war in Deutschland unter der Leitung von Eric Danke entwickelt worden der später Vorstandsmitglied von TOnline wurde Eric Danke war 1975 durch eine Fachveröffentlichung über Samuel Fedida und PRESTEL auf die ursprünglich britische Technologie aufmerksam geworden

BriefmarkenJahrgang 1965 der Deutschen Bundespost – Wikipedia ~ Liste der Ausgaben und Motive Legende Bild Eine bearbeitete Abbildung der genannten Marke Das Verhältnis der Größe der Briefmarken zueinander ist in diesem Artikel annähernd maßstabsgerecht dargestellt


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