#2019film

[ibelongtotheclassics]

i didn't know there was a 2019 movie reboot of ISWAK called "Fall In Love At First Kiss", so i decided to check it out~ no regrets!

although it's short, i love how this remake turned out~ this definitely is a modernized Xiang Qin & Zhi Shu 🎬📜💋❤️ 

[junmoriuchi-donut]

【今日の映画】WOWOWでリアム・ギャラガーのドキュメンタリー映画『アズ・イット・ワズ』を鑑賞。オアシス解散からプライベートのゴタゴタ、ビーディ・アイの空中分解を経て音楽活動を休止。そして今の恋人(兼マネージャー)と出会い、再び音楽シーンの最前へ戻ってくるまでのストーリー。自分の弱さを曝け出すリアムに批評家たちの称賛の声が上がるなか、ぼくはといえばスターは大変だという馬鹿みたいな感想とロックンロールしかリアムを救わないのだなということを再認識させられた。ソロアルバム『アズ・ユー・ワー』が何故とんでもなくいい作品に仕上がったのかもよくわかった。で、この映画を見てはっきりしたことは、ぼくは秋元や山﨑くんと共にこれからもDONUTを作るだろうということだ。素晴らしい音楽を照らすために棺桶に足を突っ込むまで頑張ろうと思った。柄にもなく。映画や音楽って、そうやって人の心にあかりを灯すことがある。 #LiamGallagher #AsItWas #2019Film https://www.instagram.com/p/CPV3WEOpNjK/?utm_medium=tumblr

[1103199xmovies]

90/100 - I Am Mother (2019)

In the wake of humanity's extinction, a teenage girl, who is the first of a new generation of humans was raised by Mother, a robot designed to repopulate the earth. But the pair's unique relationship is threatened when an injured stranger arrives with news that calls into question everything Daughter has been told about the outside world and her Mother's intentions.

Genre: Drama, Mystery, Sci-fi

[tepitome]

Tepitome’s 50 Favourite Films of 2019

1. Parasite (기생충) (Dir. Bong Joon-Ho) 2. Uncut Gems (Dir. Safdie Brothers) 3. Marriage Story (Dir. Noah Baumbach) 4. Toy Story 4 (Dir. Josh Cooley) 5. Portrait De La Jeune Fille En Feu (Dir. Céline Sciamma) 6. The Lighthouse (Dir. Robert Eggers) 7. Klaus (Dir. Sergio Pablos) 8. The Irishman (Dir. Martin Scorsese) 9. 1917 (Dir. Sam Mendes) 10. Atlantiques (Dir. Mati Diop)

[thepseudologoi]

[myhahnestopinion]

REVIEW: Avengers - Endgame

Unlike the many imitators that followed in its industry-redefining wake, the Marvel Cinematic Universe has always been clearly building towards something. Universal infamously attempted a shared film series centered on its famous monsters without considering what reason such monsters would ever have for coming together. DC unsuccessfully sought to start with crossovers to quickly inflate a universe before finding they were far more assured taking things in more individualized steps. Since that first post credits scene where Samuel L. Jackson’s Nick Fury pops in to namedrop the Avengers Initiative though, the MCU established the story it wanted to tell and, while suffering the occasional hiccup, meticulously expanded its scope in service of that singular pursuit. As the tagline for the culmination of said execution ominously states, part of the journey is the end. In Avengers: Endgame, it’s the most important part. In contrast to the careful worldbuilding of the 22-film saga leading up to the movie event a full decade in the making, Endgame throws caution, consistency, and clarity to the wind and does whatever it takes to bring the MCU to an epic end.

A satisfying ending does not need to be surprising. Even the distressing ending of the prior Avengers installment, Infinity War, was not successful as a twist of the villain winning, but as a fulfillment of the stakes promised by the Infinity Stones set-up thus far. Similarly, there was an unspoken understanding of that ending’s implications lingering under the surface through all the internet’s various responses to it. After all, the fact that there was a fourth Avengers film in the works (as well as sequels to Spider-Man, Doctor Strange, and box office all-timer Black Panther), and the fact that the cataclysmic snap was only ever the catalyst for the original comic book storyline, negated a certain ability to surprise. Yet, the anxiety around spoilers for Avengers: Endgame is entirely understandable, and perhaps necessary. Much like Infinity War, Endgame exists less as a film and more as a string of crowd-pleasing moments meant to elicit gasps and cheers from an indoctrinated crowd. To that end, practically any discussion of specific or vague plot points in a review would do a disservice to a review’s purpose; i.e. to suggest whether the make-up of a film will delight, inform, bore, or aggravate the reader.  The film’s delight stems from experiencing jaw-dropping events in the moment, even as these events only satisfy because the proper set-up is already available for ready viewing. It makes no effort to cater to anyone other than its anticipatory crowd. Therefore, a non-spoiler review of Avengers: Endgame exists only to make one statement: will the movie be a pleasing experience for those who have followed the saga thus far. And Endgame most assuredly is.

Endgame takes full advantage of everything at its disposal in order to create this delightful experience. Like previous crossovers, the film’s major success is in watching its ensemble set of well-defined personalities quipping, tiffing, and co-operating with one another. The best of that success for the MCU has always been Iron Man and Captain America, played by Robert Downey Jr. and Chris Evans respectively. Born of differing heroic philosophies, but always inevitably brought together by overwhelming threats, the dynamic between the two heroes has long been the most captivating and insightful aspect of the entire cinematic universe. Downey and Evans bring their all to their performances here, each clearly fueled by a gratitude for everything the MCU has given them. The MCU, in turn, rewards them for seeing its planned 10 year story to completion. The heroes outside of that duo have more mixed results, stemming from their more inconsistently written roles, namely Thor (Chris Hemsworth) and Black Widow (Scarlett Johansson). Yet even without the added benefit of a consistent foundation, most of the material is gratifying, with only one or two small bits ringing false.

The film also builds off its own filmmaking language in some rewarding ways. The MCU has never been know for its technical bravery, with the composition of most of their films best described as “surprisingly competent given how much it has to juggle when combining numerous characters that rely on technology, magic, and technology so advanced it seems like magic into one palatable visual style.” Cinematography has no inherent meaning in the MCU; shots exists solely to give audiences a clear view of the plot points and characters beats that have meaning within them. However, Endgame still finds a way to utilize this past visual language to wring out plenty of emotional reactions; directors Anthony and Joe Russo finally implement callbacks as well as their returning screenwriters Christopher Markus and Stephen McFeely. Endgame thus feels like a proper celebration of the MCU’s grand success. The most sublime of such moments come through getting to poke a little fun at some of the expansive universe more maligned elements. It’s some well needed self-awareness for a franchise that can cop to a few mistakes considering everything it has created.

The scale of the MCU, both in-story and on the real-world production side, is what makes the most surprising part of Endgame its willingness, and perhaps even eagerness, to blow up everything that came before in service of this singular film. Part of what makes a story reaching its endgame so thrilling is the potential to make massive upheavals to the status quo, and Endgame embraces such opportunity. The film’s logic, even internally, is utter hogwash, playing fast and loose with storytelling rules whether they were established 5 films ago or 5 minutes. Its plot (which, again, shall remain unspoiled here) is the most convoluted of any the universe has offered, utilizing numerous contrived conveniences to keep fans cheering. The film is far more thematically muddled than its predecessor, ignoring many of its more complicated implications and forsaking rich narrative material in order to pack in as many fan-requested moments as possible into its three-hour runtime. The extent to which any of this matters is debatable; there is absolutely value in a film that exists solely to provide as widespread of laughter and applause as possible. But for all its marketing and subsequent perception as an endpoint, the MCU will live on as soon as July, when Sony releases Spider-Man: Far from Home. The film’s devil-may-care destruction of continuity and cohesion, while absolutely entertaining, can’t help but feel ill-advised if the Marvel Studio experiment is to continue. Maybe Avengers: Endgame should have made its part of the journey the end. Or, perhaps, after a decade of entertaining adventures and inspiring characters leading to a movie this epic and affecting, we can trust that, even if Marvel chooses not to protect its universe, it’ll be damn sure to avenge it.

Avengers: Endgame is in theaters now.

[xantthec]

#filmoftheday #jaccuse #romanpolanski #2019film #hff #louisgarrel #alfreddreyfus #jeandujardin #georgespicquart #dreyfusaffair #anofficerandaspy #emiliezola #melvilpoupaud #andrémarcon #random #liferecorder https://www.instagram.com/p/CWfb--KPSKh/?utm_medium=tumblr

[puja04]

2019 का मेरा सबसे पसंदीदा चलचित्र। छिछोरे। . . यह कहानि नहीं देखा तो क्या देखा? जिन्दगी को चलने दो अपने रफ्तार में। किसने कहाँ की लूस् हो आप.. जबतक खुद महन्त करते रहों तबतक कोई भी आपको निचा नहीं दिखा सकते है। चिंता खुद को कमजोर कर देता है। माक्र्स जरूरी है पर जिन्दगी के लम्हों जिना कयी ज्यादा जरूरी हैं। कभी खुद को किसी से कम नहीं समझना चहिए। हर एक कलाकार ने अपना किरदार बखूबी निभाया है। जहां एक तरफ़ पहले के कलाकार मां बाबा का किरदार निभाने से इंकार करते है वहीं इस चलचित्र में सबने अपना काम को उपर रखा। इज्ज़त। #tales #writeups #bypuja #writersofinstagram #indianfilm #film #chhichhore #bollywoodstylefile #bollywooddance #bollywood #favourite #favoritetimeofyear #2019film #movie #movies #inspirational #inspiration #sushantsinghrajput #shradhakapoor #varunsharma #NiteshTiwari #tahirbhasin #tahirarajbhasin #Naveenpolishetty #PrateikBabbar #TusharPandey #shraddhakapoor https://www.instagram.com/p/B6yIVUBHImC/?igshid=6ugyqyao8jvi

[awfulgrimbonez]

Movies I'm seeing for free being an A-list member #amctheaters #amcalist #itchapter2 #itchaptertwo #scarystoriestotellinthedark #horrormovies #2019films #2019film #upcomingmovies #movieevent (at Amc Dine-In Theatres) https://www.instagram.com/p/B0p7rSdHiG5/?igshid=xndloxcqe4ey

[chrishemsworht]

films watched in 2019 → Frozen 2 (2019) dir. Jennifer Lee, Chris Buck.

[adamwatchesmovies]

Noelle (2019)

Thanks to the ever-charming Anna Kendrick and some neat gags, Noelle is a pleasant watch. Will anyone remember it down the line? Even if Hollywood didn’t crank out innumerable Christmas specials every year, I don't think so. Still, you could do far worse.

Five months after their father has passed away, Noelle (Anna Kendrick) and Nick Kringle (Bill Hader) are having difficulty getting ready for Christmas. While detecting whether children are naughty or nice, flying the sleigh, and sliding down the chimney comes easily to Noelle, it’s Nick’s job to be the next Santa. When he elopes to Phoenix, Arizona and everyone at the North Pole blames her, Noelle and her childhood nanny Polly (Shirley MacLaine) go track him down. Meanwhile, Nick’s absence has forced the council of elf elders to appoint his cousin, tech-geek Gabriel (Billy Eichner), as the new-new replacement Santa.

You can foresee exactly where this story is going. It’s pretty obvious but that’s fine. Most Christmas-themed movies choreograph their final destination early on. In fact, seeing Kendrick as the new mascot of December 25th would be kind of nice. Who says Santa has to be a man? You might say history - since Saint Nicholas is based on a real person - but not in this movie! Not only is there no talk of Jesus' birthday or any of that, but this movie takes it a step further by claiming the Clauses have been flying around the world and handing out gifts to good children for over 2,000 years. I guess B.C. must stand for “Before Claus” in this universe. Not that I’m suggesting there’s any kind of agenda at hand; this movie's only objective is to be the new hotness to be watched during the 2019 holiday season and then get replaced by something else in 12 months.

But let’s not linger on the negatives. Overall, it’s a cheery (though not a musical, disappointingly) film. The film’s main conflict concerns Noelle and a private detective named Jake Hapman (Kingsley Ben-Adir), as they search for her brother. He doesn’t believe Nick’s the real Santa (in any movie no adults ever do; it’s an unofficial rule) but she’s so ignorant of the way the world works he begins suspecting her stories may be true. A little magic would certainly help him give his son, Alex (Maceo Smedley), get the holiday he desires. The scenes in which Noelle reaches out to ordinary people and does her best to fulfill their wishes are the film’s best. They’re sweet and combined with the actress's natural charisma, it’s hard not to crack a smile.

Noelle makes good use of its stars’ talent, has a fair number of laughs, and brings something sorta new to the equation by putting a lady in Santa's boots. It’s fine for little kids but the older you get, the more you’ll find yourself comparing it to truly well-thought-out, creative holiday endeavors. I guess it’s ok if you’re just looking for something to pass the time during the festive season. (December 13, 2020)

[sonic-cinema]

A preview of things to come- my absolute favorite performances of 2019. All Oscar-worthy. #rocketmanmovie #taronegerton #thefarewellmovie #awkwafina #shuzhenzhou #songkangho #parasitemovie #wavesmovie #taylorrussell #dolemiteismyname #eddiemurphy #usmovie #lupitanyongo #onceuponatimeinhollywood #bradpitt #filmcriticlife #favoriteperformances #bestof2019 #2019films https://www.instagram.com/p/B6pBK-TJQm8/?igshid=yniwlbrbv7nm

[1103199xmovies]

95/100 - 21 Bridges (2019)

An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. As the night unfolds, he soon becomes unsure of who to pursue -- and who's in pursuit of him. When the search intensifies, authorities decide to take extreme measures by closing all of Manhattan's 21 bridges to prevent the suspects from escaping.

Genre: Action, Crime, Drama

[coolbeansandgravy]

Creepiest shit I’ve seen in a long time. Been loving horror since I was a kid & those books made me so scared but they were so intriguing. Definitely not disappointed. 10/10 🎟🎥✨ #scarystoriestotellinthedark #childhoodbooks #scaryfilms #thriller #horror #guillermodeltoro #mexicanfilmmaker #2019films (at ShowPlace ICON Chicago) https://www.instagram.com/p/B0-dJVSg4OE1K7zs_IHH66UcOjfvNBK8lQlCMs0/?igshid=zblynm7xmx57

[mattearq]

It Chapter Two Review

It Chapter Two is the new film based off the second half of Stephen King’s novel which is once again directed by Andy Muschietti. The film stars Jessica Chastain, James McAvoy, Bill Hader, and Isaiah Mustafa as the adult version of the characters we were introduced to from the previous film. Bill Skarsgard also returns as the evil Pennywise for the second chapter.

Chapter Two takes place 27 years after the previous film and it sees the return of The Loser’s Club members as adults returning back to their hometown Derry and finally attempting to defeat the creature It, as it has returned and once again started its killing spree amongst the children of the town. Andy Muschietti’s first It movie was one of my favorite horror films for the year 2017 and I thought they did a much better job than the original television movie. The child actors were excellent and believable and Bill’s performance as Pennywise were my favorite things about that film. Chapter Two covers the second half of Stephen King’s novel where all of the characters are adults and in the new film I thought they did a great job with the adult actors taking over from their children counterparts. With the first film dealing with growing up I felt as if the second film dealt with what happens afterwards. Muschietti’s new film deals with more adult themes, and horrors as each of the characters are now adults and have to overcome their own past traumas in order to defeat It once and for all.

Each of the adult actors portraying The Loser club members did an excellent job with my favorite being James Ransome who portrays the older version of Eddie. Bill Hader was also really great in his performance as the older Richie as well. Bill Skarsgard also delivered another fantastic performance as Pennywise. I really enjoy how he made the character his own and didn’t try to mimic Tim Curry’s amazing performance from the original. His performance in these last two movies were some of the highlights and really helped make Andy Muschietti films stand out and improve on what has come before.

Overall I found myself having enjoyed the first It movie much more as I felt in Chapter Two the film kind of drags in the middle and it didn’t have enough of the kid actors to give it the spark that was there for the first movie. It Chapter Two is a worthy follow up to the first film and another great film put together by Muschietti and his crew. Overall I enjoyed both of these It films more than I did the original television movie.

4 Q’s out of 5

[myhahnestopinion]

REVIEW: The Lego Movie 2 - The Second Part

The Lego Movie's great success was not only how it managed to build its toy advertisement origins around an affecting emotional core, but the surprising use of its intricately animated world as an additional metaphorical layer for its celebration of creativity with its reveal the characters are acting out the fantasy of a young child. The Lego Movie 2: The Second Part, as the fourth installment of the cinematic universe, can no longer hide behind such charades, making much of the movie feel like a waiting game for the real-world shoe to drop. But while its far less fresh, funny, and free-spirited than its predecessor, The Lego Movie 2 still delights because it realizes this, and switches its focus from building up these walls to emphatically breaking them down, in an arc that miraculously manages the same emotional resonance as the original. The film has a clear message and just enough clever jokes and catchy songs to keep the audience engaged in order for it to land: everything can be awesome as long as we open our hearts to one another, toxic masculinity is just as cruel to ourselves as it is to others, and you should go out and buy some Lego Movie Branded Legos and the complementary soundtrack album.

The Lego Movie 2: The Second Part, like the cheeky title implies, connects directly to the end of the first film, opening with the invasion of Bricksburg by Planet Duplo, a representation of a young boy’s playscape becoming suddenly shared with his younger sister. The film cuts to five years later, the same passage of time experienced by viewers, and the Lego universe has become a dark-and-gritty riff on the high-octane world of Mad Max, with its citizens in a constant state of panic of another invasion. This fear is soon proven right when ever-cheery Emmet (Chris Pratt) accidentally attracts the attention of the intergalactic General Mayhem, who kidnaps his friends and departs for the Systar System, raising the threat of a foretold “Our-Mom-Ageddon.”

Just as the young boy’s world is upended, the sequel immediately has a noticeably different rhythm to it, with directorial duties shifting hands from Phil Lord and Chris Miller to Trolls’ Mike Mitchell. Lord and Miller remain screenwriters, stacking their script with another round of manic energy and irreverent jokes, but the abundance of poppy musical numbers and a more absurd visual styling bear the trademark of its director.

The eclectic cast of characters returns, including Allison Brie’s Unikitty, Charlie Day’s Benny the Spaceman, and Will Arnett’s Batman, with several winks to the character’s amusing Lego Movie spin-off. His personal growth from that film is lightly retconned to make his story work here, just as most of the cast are just along for the ride this time, striped of larger complexity and roles to compensate for several prominent new additions. These new characters include Stephanie Beatriz as the aforementioned General Mayhem, and Watevra Wa-Nabi, a shapeshifting alien queen played by Tiffany Haddish, thriving in the madcap world of animation and shining in several songs

While the cast is packed, notably absent from any of those major behind-the-scenes roles is a woman, an odd choice for a film all about the conflicts of a brother and sister learning to build a creative vision together. The Lego Movie 2’s toy-ad origins bleed through in the film’s targeted approach to male viewers, and targeted approach overall. In contrast to his lore-traversing spin-off, Batman spends much of the film out of his classic comic book suit and in pieces likely available for purchase as soon as one leaves the theater. Similarly, Aquaman returns in a cameo role, but with a face-lift and voice-lift to promote corporate synergy with Warner Bros. Pictures shiny new billion-dollar-grosser. The film gorgeous animation continues to reflect true-to-life Lego pieces, but for all of its satire, there’s no comment of Lego’s practice of making distinct figurines for its girl-marketed sets that subtly widens the divide the movie wants its viewers to bridge, because certainly the parent company needs those toys sold as well. The first Lego Movie also had this imperative to contend with and managed its task far more gracefully, though The Second Part is additionally forced to deal with “Lego Movie” becoming a brand onto itself.

As the plot progresses, however, the movie’s laser-focused targeting slowly shifts from frustrating to powerful, with a message directly addressed to young boys being pressured to close themselves off emotionally to be perceived as grown-up and masculine. Marketing images such as these switch from being pushed to being lampooned, most prominently in Chris Pratt’s secondary role as Rex Dangervest, a parody of those tough action-heroes that dominate cinema and the actor’s recent career. Dangervest is contrasted with the affable Emmet, a holdover from Pratt’s comedic origins, in a bit of meta-commentary so brilliant it might even go over the actor’s head. The first Lego Movie was about creation, the second about destruction; specifically, the destruction of self and social bonds that results from the damaging desire to exorcise one’s self-expression and reject the effort needed to ensure that “everything being awesome” is all-inclusive. With no need to maintain that original duel-world façade, The Lego Movie 2 hits this message hard, but that message hits hard because of its importance. If The Lego Movie 2 wants to speak to young boys in order to sell more toys, it certainly found a noble method with which to do it.

Like Ralph Breaks the Internet, which combined the intrusiveness of internet advertisements and Disney cross-promotion with a surprising examination of toxic relationships and unhealthy insecurity, The Lego Movie 2: The Second Part lies in a very peculiar realm of late-stage capitalism. It’s a confrontation of societal ills packaged inside a brightly-colored, melodious product, and is quite proudly, and effectively, both. The major musical number of the film is entitled “Catchy Song,” with lyrics proclaiming the inevitability of it getting stuck within your head, and, while far from the show’s best tune, its frustratingly correct. The film is clearly commercial, but never crass. The Lego Movie 2: The Second Part replicates, to varying degrees of success, the zany humor, quirky characters, and gorgeous animation that made the first film such a hit, but also doesn’t forget to properly place its most important piece: the heart. And maybe there’s room for a shiny new box of Legos right beside it.

The Lego Movie 2: The Second Part, also starring Elizabeth Banks, Nick Offerman, and Maya Rudolph, is in theaters now.