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La pintoresca familia prehistórica de Los Croods vuelve a hacer de las suyas. Este divertido clan formado por la joven e inquieta Eep, su gruñón padre Grug, su comprensiva aunque despistada madre Ugga, además del friki Thunk y la bebé Sandi, regresan a la gran pantalla en una nueva aventura troglodítica, recordándonos la importancia de la familia... Y lo poco que hemos evolucionado. Esta vez, Los Croods se enfrentarán a su mayor amenaza desde que abandonaron la cueva: otra familia.

Lanzamiento: Nov 25, 2020 Duración: 95 minutos Género: Aventura, Fantasía, Familia, Animación Estrellas: Nicolas Cage, Emma Stone, Ryan Reynolds, Peter Dinklage, Leslie Mann, Kelly Marie Tran Crew: Chris Sanders (Characters), Kirk DeMicco (Characters), Paul Fisher (Screenplay), Dan Hageman (Screenplay), Kevin Hageman (Screenplay), Joel Crawford (Director)

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THE STORY After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him. THE GOOD / THE BAD Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice. Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects. Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences. Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story. Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson. In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes. There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there. This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary. What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch. The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal. The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative. FINAL THOUGHTS It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

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ver-pelishd-pelicula-online · 4 years ago

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próximamente / Ciencia ficción, Drama Dirigida por Denis Villeneuve Reparto Timothée Chalamet, Rebecca Ferguson, Oscar Isaac Nacionalidad EE.UU.

SINOPSIS

Un futuro lejano, en el que las familias de nobles se disputan el dominio del árido planeta Arrakis, también conocido como Dune por su geografía compuesta por desiertos de dunas. Arrakis es el único lugar donde se encuentra 'la especia', la sustancia más codiciada y valiosa del universo que producen gigantescos gusanos de arena. Debido a su rareza, y a su arriesgada extracción, quien controla la producción de la especia, controla el destino no sólo del Imperio, sino de toda la humanidad. El Duque Leto Atreides (Oscar Isaac) aceptará la administración de este peligroso planeta y será enviado a Arrakis junto con Lady Jessica (Rebecca Ferguson) y su hijo Paul (Timothée Chalamet). Será entonces cuando la familia Atreides corra un gran riesgo por estar en el punto de mira de fuerzas malvadas como las de su enemigo el Barón Vladimir Harkonnen (Stellan Skarsgård).

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THE STORY After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him. THE GOOD / THE BAD Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice. Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects. Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences. Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story. Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson. In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes. There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there. This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some Dunetime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary. What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch. The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal. The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative. FINAL THOUGHTS It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

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DETALLES DE PELICULA

Título original: Roald Dahl’s The Witches

Lanzamiento: 2020-10-23

Duración: 106 minutos

Género: Fantasía, Familia, Aventura, Comedia, Terror

Estrellas: Anne Hathaway, Octavia Spencer, Stanley Tucci, Jahzir Bruno, Chris Rock

Director: Alan Silvestri, Robert Zemeckis, Robert Zemeckis, Don Burgess, Roald Dahl

SINOPSIS

Basada en el libro clásico de Roald Dahl ‘Las brujas’, la historia cuenta la aterradora, divertida e imaginativa historia de un niño de siete años que se encuentra con una congregación de brujas liderada por la Gran Bruja. A pesar de que su abuela se lo llevó a un centro turístico, llegan al mismo tiempo que ella y sus amigos llegan para comenzar sus rituales

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THE STORY

After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.

THE GOOD / THE BAD

Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice.

Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects.

Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences.

Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story.

Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson.

In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes.

There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there.

This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary.

What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch.

The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal.

The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative.

FINAL THOUGHTS

It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

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Alternative link ➡ https://t.co/wtqpHo8WhS?amp=1 Título original Our Efectos !Colaterales del Amor Efectos !Colaterales del Amor Año 2020 Duración 93 min. País Estados Unidos Estados Unidos Dirección Richard Tanne Guion Krystal Sutherland, Richard Tanne Música Stephen James Taylor Fotografía Albert Salas Reparto Lili Reinhart, Sarah Jones, Austin Abrams, Bruce Altman, Adhir Kalyan, Coral Peña, Shannon Walsh, Meg Gibson, Kara Young, C.J. Hoff, Jon Lemmon, J.J. Pyle, Anzi DeBenedetto, Maxmillian Robinson, Lan Zhong, Aleksander Dinic Productora While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful. Storyline Seventeen-year-old Henry Page (Austin Abrams) has never been in love. He fancies himself a romantic, but the kind of once-in-a-lifetime love he's been hoping for just hasn't happened yet. Then, on the first day of senior year, he meets transfer student Grace Town (Lili Reinhart) and it seems all that is about to change. When Grace and Henry are chosen to co-edit the school paper, he is immediately drawn to the mysterious newcomer. As he learns the heartbreaking secret that has changed her life, he finds himself falling in love with her - or at least the person he thinks she is. Written by Amazon Studios

Plot Summary | Add Synopsis Plot Keywords: school | See All (1) » Genres: Drama | Romance Motion Picture Rating (MPAA) Rated R for language, sexuality and teen drug use | See all certifications » Parents Guide: View content advisory tag :

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Cuevana The Tax Collector 2020 Pelicula Completa Latino HD

HAGA CLICK AQUI : https://bit.ly/33Lw9UB

Production companies: Fast Horse Pictures, Kodiak Pictures, Cedar Park Entertainment Distributor: RLJE Films (select theaters, VOD, digital) Cast: Bobby Soto, Cinthya Carmona, George Lopez, Shia LaBeouf, Elpidia Carrillo, Lana Parrilla, David Castañeda, Conejo, Cheyenne Rae Hernandez, Cle Sloan, Noemi Gonzalez, Juan Carlos Cantu, Chelsea Rendon, Rene Moran Director-screenwriter: David Ayer Producers: Chris Long, David Ayer, Tyler Thompson, Matt Antoun Executive producers: Douglas Duncan, Buddy Patrick, Steve Matzkin, Misook Doolittle, Sarah Schroeder-Matzkin, Mickey Gooch, Jr., Doug McKay, Cindy Bond, Todd Williams Director of photography: Salvatore Totino Production designer: Andrew Menzies Costume designer: Kelli Jones Music: Michael Yezerski Editor: Geoffrey O'Brien Casting: Mary Vernieu, Lindsay Graham-Ahanonu

SINOPSIS No se sabe nada acerca del argumento de esta cinta de acción y crímen que, aparentemente, seguirá la línea de dos de los trabajos anteriores de David Ayer: Training Day y Sin Tregua (End of Watch).

La cinta está dirigida, pues, por David Ayer (Escuadrón Suicida, Bright) y protagonizada por Shia LaBeouf (Honey Boy, The Peanut Butter Falcon), Bobby Soto (For the People, S.W.A.T. Los hombres de Harrelson), Chelsea Randon (Nueve vidas, Urgencias), Cinthya Carmona (The Fix, Greenhouse Academy) y Lana Parrilla (Érase una vez, Chase).

'The Tax Collector': Film Review Violent Los Angeles street culture on both sides of the law has been an abiding fascination in David Ayer's output, notably in his bruising screenplay for Training Day and his nervy, documentary-style cop drama, End of Watch. The buddy dynamic and gritty milieu of that 2012 film invigorate the best elements of The Tax Collector, the writer-director's return to a smaller-scale project after taking a critical hammering with the big-budget, high-concept outings of Suicide Squad and Netflix's Bright. "So why another L.A. crime movie?" asks Ayer in his Director's Statement. Why, indeed.

Despite a lot of admirable aims, such as creating layered roles for the Latino acting community and spending production dollars in areas that could benefit from the economic boost, this grim bloodbath feels too routine to be of much interest.

The well-acted film is shot by Salvatore Totino with impressive dexterity, capturing the urban sprawl of L.A. with a sharp eye and deft ability to build textured atmosphere, and Geoffrey O'Brien's editing shows an equally propulsive hand. But almost everything about this mean-streets action thriller feels familiar and a touch self-important, starting with its heralding of the sacred code blasted over a portrait of protagonist David (Bobby Soto) with his beautiful wife and angelic kids: "Love. Honor. Loyalty. Family."

The vaunted authenticity legitimized by Ayer's upbringing in South L.A. in the 1970s and '80s in this case doesn't mean he has a fresh perspective. The conflict of a loyal lieutenant in a criminal organization who compartmentalizes his life into hard-core career thug on one side, devoted paterfamilias on the other — "God allows me to walk from the darkness and come back into the light," says David — by now seems a standard gangster trope. As soon as that's established, we know exactly where he's going to feel the pain.

While Soto (Narcos: Mexico) makes a reasonably charismatic lead, the more magnetic character is his sidekick, a twitchy killing machine known as Creeper (Shia LaBeouf, reuniting with Ayer after Fury). Encased in figure-hugging skinny suits, Mafia-grade sunglasses and just the right amount of bling, LaBeouf goes full Method with his flavorful dialogue and wired physicality, whether Creeper is extolling the virtues of his smelly protein diet, musing on the value of morning meditation and the meaninglessness of God in his universe or simply itching to stop talking and spill some blood. The actor builds a fully formed character that suggests an intriguing backstory, giving off sparks in his every scene.

Regrettably, that's not so much the case with the more generically drawn David and his wife Alexis (Cinthya Carmona), who is perceived as being safely outside the family's criminal operations but has enough of a stake in the business to know what's what. She certainly has no qualms about calling on David to put the fear of death into the "Mexican Kardashians" holding up work on their daughter's quinceañera dress, and she oversees the weekly tally of protection money collected by David and Creeper from 43 different L.A. street gangs.

Alexis is also the point person who communicates directly with Wizard, the overlord of the crime organization whose current situation (along with the unbilled famous name playing the role) is revealed in the film's closing scene.

'Tax Collector' Trailer Reteams Shia LaBeouf and David Ayer David's connection to Wizard becomes apparent only gradually, once an old rival of the crime boss returns from Mexico intent on reshaping the street-gang landscape according to his own rules. That hostile interloper, Conejo (borrowing the rapper name of Jose Martin, who plays the role with maximum menace), takes pleasure in reminding David how he's still a glorified errand boy instead of a fully-fledged made man.

Conejo first extends a hand offering David an executive role in his burgeoning empire. When that offer is declined, Conejo sends a brutal message via David's drug dealer Uncle Louis (comedian George Lopez, bringing understated snarl to a dramatic role). "I'm the future and you're the past," Conejo warns David, later adding, "Everything you love is gonna die."

While David prays to Jesus to keep his family and their palatial Spanish-style home safe, Conejo's religious rituals make Santeria look like Sunday school. The movie veers into grotesquerie as he prays at an unholy altar for protection in the oncoming turf war, bathing in the blood of a human sacrifice in a room that looks like Keith Haring threw a Dia de los Muertos party.

This might have been lurid fun from a director who didn't take it all so seriously, even if it's in questionable taste at a time when the White House administration has done everything in its power to demonize Latin American immigrants. There's little leeway for dark humor in Ayer's world, though I did get a kick out of Conejo's lady friend Gata (Cheyenne Rae Hernandez). Licking her lips lasciviously, the aptly named feline fiend can lob explosives and rain bullets from a semi-automatic all while skipping about on vertiginous heels. And you don't even want to know about her skills with a hammer. But Gata is a figure out of a Robert Rodriguez grindhouse world stuck in a fundamentally realist realm.

The inevitable faceoff between Conejo's goons and Wizard's is plenty bloody, intercut with Conejo's Satanic prayers. But the sequence feels almost perfunctory, yielding few surprises for a director with the sinewy action command Ayer has shown in the past. Pretty much everything that follows becomes both predictable and a little too easy as David musters all his force to protect what's most precious to him, calling on help from the leader of a Bloods gang (Cle Sloan) in his showdown with Conejo.

Earlier scenes have sketched in David's strategic ability to accrue loyalty as well as the humanity he shows when one gang rep's payment shortfall is explained by the medical expenses of his chronically ill daughter. But Ayer seems to be laboring under the misapprehension that the family-oriented gangster is something new in movies, along with the conflicted cycle of intergenerational violence. When blood-drenched David starts spouting hackneyed dialogue like "For my family, I live. For my family, I die. For my family, I kill," it's hard to stifle a groan. And the incorporation of the Zen aspects of Jiu Jitsu into his climactic fight is too flimsy to add anything.

Ayer drives the action along efficiently enough to the churning dread of Michael Yezerski's score. But there's too little depth to make you care about the characters and too little imagination at work to make The Tax Collector pay.

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#Cuevana The Tax Collector 2020 Pelicula Completa Latino HD

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yourelstanddelosbesos2blog-blog · 4 years ago

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[MEGA-HD]™ "El stand de los besos 2" Pelicula Completa (2020) Online Español Latino

Ver El stand de los besos 2 Pelicula Completa (2020) Gratis en línea ➽ https://t.co/bDrtK3Vs2B?the-kissing-booth-2 [Ver-HD]™ - El stand de los besos 2 (2020) Película Completa Online En Español Latino Subtitulado Ver El stand de los besos 2 2020 Película Completa Online En Español Latino Subtitulado , El stand de los besos 2 2020 Película Completa Online , El stand de los besos 2 2020 Película Completa En Español Latino Subtitulado , Ver El stand de los besos 2 2020 Película Completa Streaming En Español Latino Subtitulado , El stand de los besos 2 2020 Película Completa En Español Latino Subtitulado , El stand de los besos 2 2020 Película Completa Streaming En Español Latino Subtitulado El stand de los besos 2 película completa g r a t i s Descargar sub español™ 4K ULTRAHD | FULL HD (1080p)

Lanzamiento: Jul 24, 2020

Duración: 132 minutos

Género: Comedia, Romance

Estrellas: Joey King, Jacob Elordi, Joel Courtney, Molly Ringwald, Taylor Zakhar Perez, Maisie Richardson-Sellers

Crew: Linda Cohen (Music Supervisor), Anastas N. Michos (Director of Photography), Michele Weisler (Producer), Joey King (Executive Producer), Patrick Kirst (Music), Jay Arnold (Screenplay)

El Stand de los Besos 2, Mi primer beso 2, Kyss meg igjen, Delidolu 2. Elle, que debe tomar decisiones sobre la universidad, afronta su relación a distancia con Noah, su cambiada amistad con Lee y lo que siente por un compañero de clase.

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❍❍❍ Thanks for everything and have fun watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.

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verhdelstanddelosbesos24ky · 4 years ago

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Ver Película — “El stand de los besos 2″ Online en Español HD

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El stand de los besos 2 (Mi primer beso 2 en españa) Película Netflix original 2020 sacudió el cine español y latinoamericano.

SINOPSIS Título original The Kissing Booth 2 Año 2020 Duración 130 min. País Reino Unido Reino Unido Dirección Vince Marcello Guion Jay S Arnold, Vince Marcello Fotografía Anastas N. Michos Productora Distribuida por Netflix. Coproducción Reino Unido-Estados Unidos; Komixx Entertainment Género Romance | Comedia romántica. Adolescencia. Secuela

Reparto Joey King, Molly Ringwald, Jacob Elordi, Maisie Richardson-Sellers, Joel Courtney, Carishma Basday, Joshua Daniel Eady, Meganne Young, Kai Luke Brummer, Frances Sholto-Douglas, Camilla Wolfson, Taylor Zakhar Perez, D. David Morin, Michelle Allen, Bianca Bosch, Bianca Amato, Nathan Lynn, Morné Visser, Chase Dallas, Judd Krok, Toni Jean Erasmus, Motsi Tekateka, Shana Mans, Carson White, Noa Milan, Matthew Dylan Roberts, Dylan Edy, Grant Ross

Resumen Elle Evans, que debe tomar decisiones sobre la universidad, afronta su relación a distancia con Noah Flynn, que se marcha a Harvard, su cambiante relación con su mejor amiga Lee y lo que siente por un nuevo y carismático compañero de clase de nombre Marco (Taylor Zakhar Perez).

HISTORIA Y CRITICAS

El stand de los besos (The kissing both) 2018 Pelicula

‘The Kissing Booth’: Netflix’s Teen Comedy Sensation Is Sexist and Outdated — Review

Netflix might be trying to corner the market on big-budget spectacles from some of Hollywood’s hottest names — from the $90 million “Bright” to its multi-picture deal with Adam Sandler and Martin Scorsese’s much-hyped “The Irishman” — but the streaming giant has quietly planted its stake in a less ambitious place: romantic comedies. So far this year, Netflix has released six original films that are classified as rom-coms, with at least three more on the way before the year closes out. And it’s on to something here: 2017’s “A Christmas Prince” was such a smash hit for the outfit that it has already prepped a holiday sequel.

Netflix’s newest hit-in-the-making, “The Kissing Booth,” is kicking up similar attention. Unfortunately, the high school-set rom-com is a sexist and regressive look at relationships that highlights the worst impulses of the genre. Netflix isn’t new to the sub-genre of teen rom-coms, and it has already succeeded with other picks. Later this month, Craig Johnson’s delightful “Alex Strangelove” will arrive on the streaming service, and last month saw the introduction of Olivia Milch’s “Dude,” a female-driven comedy in the vein of other raunchy features like “Bridesmaids” and “Mean Girls.”

Films like that are indicative of the outfit locking down yet another piece of Hollywood magic and serving its viewers something they want to see, even if the traditional studio system isn’t giving it to them, but “The Kissing Booth” is a strange blight on that run. The film combines classic narrative tropes of the genre — think a low-budget mishmash of “Pretty in Pink,” “Never Been Kissed,” “Mean Girls,” and “10 Things I Hate About You” — but is also hobbled by a gross understanding of gender dynamics and what makes a healthy relationship.

And that’s to say nothing of its approach to depicting sexual harassment, frequent slut-shaming of its leading lady, and attempting to romanticize a “bad boy” love interest who mainly seems interested in getting in physical fights and then loudly mouthing off about his possessive tendencies. Cute, huh?

The movie, written and directed by Vince Marello (best known for his film versions of stories from the “American Girl” doll franchise), is an adaption of the Beth Reekles novel of the same name, and starts off with a relatively sweet premise. Elle (Joey King) and Lee (Joel Courtney) have been best friends since birth, “raised like twins” by their mothers, who also happen to be life-long best friends. (One of the moms is even played by Molly Ringwald, to give the film further rom-com bonafides.) They’ve been obsessed with Dance Dance Revolution since they were tiny, and while their private high school appears to be a clique-y kind of place, they’ve grown into popular-ish kids who are grounded by their bond.

The first act of “The Kissing Booth” plays out in predictable fashion, as Elle wrestles with her growing feelings for Noah as he alluringly teases her, engaging in the kind of push-pull will-they-won’t-they dynamic that’s always been a hallmark of the genre. And yet, even in its earliest moments, “The Kissing Booth” is preoccupied with sexist rhetoric and a willingness to apologize for Noah’s alarming behavior.

Elle (who, it must be noted, is just charming, thanks to King’s bubbly performance) has a lot going for her, including a plucky personality that manages to find all kinds of solutions for weird problems. Early in the film, Elle tears her last pair of school-issued pants, and unable to rustle up any other options, is forced to head off to school wearing a two-year-old skirt (too small, but at least part of the dress code). The moment she hits campus, she’s assaulted by catcalls from nearly all of her fellow male students (a real “boys will be boys” moment that imagines that all teenage boys are simply unable to do anything beyond scream epithets at pretty girl they’ve known for years, if she’s wearing a short piece of clothing).

It gets worse, as Elle is groped by another student, leading Noah to physically assault him (predictable). Elle lands in the principal’s office — an awkward enough twist, given she’s the actual victim here — and things only get worse from there. Both Lee (again, her best friend and typically a sweet guy) and the school’s principal tell Elle that she was “asking for it” by wearing the skirt. It’s a laughably regressive moment, such obviously outdated thinking, but “The Kissing Booth” just keeps plugging along.

The parking lot-set fisticuffs helps pave the way for Elle and Noah’s tentative romance, with Noah first brushing off his behavior as springing from a place of familial affection for Elle, while she wonders if it’s a sign that he has deeper feelings for her. Despite this run-of-the-mill and wholly relatable high school romance (who has never felt like Elle?), “The Kissing Booth” remains enamored of Noah’s defining characteristics: he’s got a seriously violent streak who gets turned on by jealousy and demonstrates some weirdo possessiveness that never abates.

This is not an exaggeration. Noah’s affection for getting into fights — often very brutal ones — becomes a large part of the film. Elle even lays down a rule that he can’t fight anymore if he wants them to be together (His response: “You know, you’re cute when you’re bossy”), and later gets him to admit that his family has struggled to deal with it, even sending him to counseling with no lasting impact. It’s “kinda just how I’m wired,” he muses, and that’s all there is. Later, Lee briefly worries that Noah has hit Elle, a jarring moment in a film marketed as a fluffy rom-com for teens. And Elle constantly acquiesces to him, even when it feels dangerous.

El stand de los besos 2 Pelicula completa Netflix

Una escena de El stand de los besos 2 Netflix: El stand de los besos 2, una confusa comedia adolescente

El stand de los besos 2 (Estados Unidos, 2020). Dirección: Vince Marcello. Guion: Vince Marcello, Jay S. Arnold, basado en las novelas de Beth Reekles. Elenco: Joey King, Jacob Elordi, Joel Courtney, Taylor Zakhar Perez. Duración: 130 minutos. Disponible en: Netflix. Nuestra opinión: mala

La experiencia de ver El stand de los besos 2 es desconcertante. Se trata de una secuela del film estrenado en Netflix en 2018 que resultó ser un enorme éxito, según los datos de la plataforma. Basadas en las novelas escritas por Beth Reekles a través de la aplicación colaborativa Wattpad, ambas películas tienen como protagonista a Elle (Joey King), una estudiante de secundario que vive en un mundo de fantasía digno de una historia animada de Disney. La escuela a la que asiste, sus compañeros, sus actividades y sus amigos tienen el espesor dramático de una hoja de papel y sus intenciones, matices o pasiones entrarían en una carilla de esa misma hoja.

Inverosímil y sin un atisbo de realismo o actualidad, la trama parece estar dirigida al público adolescente o preadolescente pero, y ahí es dónde comienza el desconcierto. Difícilmente le interesen los constantes montajes que resumen los mejores momentos de los personajes a un grupo etario que baila en TikTok y se comunica a través de Instagram, ni tampoco los artificiales diálogos que abundan en el film. O tal vez sí. Pero con una puesta en escena más cercana a ciertos telefilms apuntados al público infantil y una historia que se ocupa de tratar a los cuerpos de sus personajes como objetos para admirar y a sus cerebros como un accesorio resulta complicado identificar al espectador ideal de El stand de los besos 2.

Es posible que sus realizadores hayan tenido la misma dificultad. Puestos a adaptar la historia escrita por una joven mujer de 16 años, los dos guionistas adultos reinterpretaron la fantasía adolescente en sus propios términos y terminaron con una película de dos largas horas y diez minutos que nunca se preocupa por hacer de su protagonista un personaje mínimamente interesante, que exista más allá de su relación con los hombres de su vida, a los que en esta vuelta se suma Marco (Taylor Zakhar Perez), el chico nuevo de la escuela. Construido, aparentemente, utilizando la información provista por una encuesta, el muchacho tiene un poco de Noah Centineo (A todos los chicos de los que me enamoré), una pizca de el propio Elordi y algo de los protagonistas de Elite y su exótico atractivo latino filtrado por el algoritmo de Netflix.

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freshpeacewizard-blog · 5 years ago

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{{365 dni}} - Película Completa en Español

VER AHORA: https://bit.ly/39CHPYZ

Título : 365 dni Titulo Original : 365 dni Títulos Alternativos : Dirigida por : Barbara Bialowas Reparto : Michele Morrone, Anna Maria Sieklucka, Magdalena Lamparska, Bronisław Wrocławski, Otar Saralidze, Natasza Urbańska Géneros : Drama, Romance Países : Poland Compañías de Producción : Fecha de Estreno : 2020-02-07 Tiempo de Ejecución : 116 min.

114 min / Drama Barbara Bialowas, Michele Morrone Anna Maria Sieklucka, Bronislaw Wroclawski, Otar Saralidze

SINOPSIS

Massimo is a member of the Sicilian Mafia family and Laura is a sales director. She does not expect that on a trip to Sicily trying to save her relationship, Massimo will kidnap her and give her 365 days to fall in love with him. La cinta está dirigida por Todd Phillips (R3sacón, Salidos de cuentas), que co-escribe el guión del filme junto a Scott Silver (La hora decisiva). Joaquin Phoenix (En realidad, nunca estuviste aquí) lidera el elenco principal, y completan el reparto los actores Robert De Niro (The Irishman), Zazie Beetz (Deadpool 1), Brett Cullen (Narcos), Shea Whigham (First Man (El primer hombre)), Douglas Hodge (Gorrión rojo), Glenn Fleshler (Barry) y Frances Conroy (Castle Rock).

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#365 Days (2020)#Pelicula Completa Mexicano

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verpelis-mortalkombat2021-online · 4 years ago

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