#I miss when Cain was our biggest problem

[acourtofquestions]

Chaol gave the wild men of the Fangs a small chunk of territory in South Anielle. His father had raged, refusing to acknowledge the trade, but no one had heeded him, to Aelin's eternal amusement.

Two days later, a small unit of those men arrived at the city's westernmost edge, near the gaping hole where the dam had been, and beckoned the way. Each of the bearded men rode a shaggy mountain pony, and though their heavy furs hid much of their bulky bodies, their weapons were on sharp display: axes, swords, knives all gleamed in the gray light.

Cain's people or they had been. Aelin decided not to mention him during their brief introduction. And Chaol, wisely, refrained from admitting that he'd killed the man.

Another lifetime. Another world.

Seated atop a fine Munigi horse Hasar had lent her, Aelin rode at the front of the company, as it marched from Anielle, Chaol on Farasha to her left, Rowan on his own Munigi horse to her right.

Their companions were scattered behind, Lorcan healed enough to be riding, Elide beside him.

And behind them, snaking into the distance, the army of the khagan moved.

The khagan's armies had crossed every terrain, though. Mountains and deserts and seas.

They did not balk now.

[goodluckdetective]

So, I’m going to take a moment to explain one of my great frustrations (of many) with the Supernatural finale (and the season in general to an extent). And that is the missed opportunity of using Chuck, a writer, as a villain.

I’m fine with Chuck as a villain and in fact I think it works great. Rob acts it perfectly (you’re doing amazing sweetie) and it makes logical sense. What’s a better final challenge for Team Free Will than a force that is literally trying to take that away from them?

But for a narrative about a writer as a villian, the show never quite seems to run with the metaphor as much as it should. Chuck has an obsession with one type of ending, but we never really (in my opinion) dive into why he’s so obsessed with that outcome other than personal style. There’s not a lot of examination of the roles Chuck casts everyone in, or the patterns throughout his “endings” other than the Cain and Abel angle.

As I see it, Chuck is obsessed with these types of endings because it’s the type of ending he originally wrote. In my mind, Chuck is an author who wrote a novel outline ahead of time, and halfway through the writing process went way off script. Which happens, anyone who has ever written a long piece of fiction knows that sometimes your story takes a left turn where you expected it to take a right. In Chuck’s case, “Swan Song,” the original ending is where he goes widely off script. Sam is supposed to stay in the cage, Dean is supposed to be busy being a domestic heterosexual and Cas and Bobby vanish from the plotline with a half assed hand wave of “they were busy.” But that’s not what happens. The story demands to keep going. And so it does.

In writing, when this happens, you got options. You can either go back and cut the part where stuff got off topic and write what you originally planned (which is sometimes the right choice: not all accidental plots are worth keeping.) Or you can go back to your outline, erase your original plan and write a new one to suit the direction the story is going now.

Chuck doesn’t do either of these. He tries to have his cake and eat it too. He lets his “characters” do things off his original plan, but he keeps trying to force his original ending: one brother dies, the other lives, everyone else is written out and unheard of again. His original ending no longer fits Sam and Dean as they are now. But he’s so obsessed with that ending he originally crafted, his Sean Song that he tries desperately to make it happen. Rock falls, everyone dies except one survivor.

And this is the biggest problem with the finale in my mind. Because even though Chuck is “defeated” he still “wins.” He stills gets his ending. One brother dies, the other lives listless without him. All the side characters vanish from the narrative (we saw this in the elseworlds too: Benny died, Cas got locked in a box, Jody and the girls are implied to have been killed off screen. In each one, only Sam and Dean remain). Sure, one doesn’t kill the other, but honestly I never truly bought that was what Chuck really wanted from his ending given Swan Song. He just wanted a tragedy. And he gets one.

Which is wild, because for a show that prides itself on being meta, it seems to fundamentally misunderstand what makes its villian, a villian. Chuck is not evil solely due to his brother murder obsession. It’s his obsession with TRAGEDY. His determination to stick to his own script even though it no longer fits. His unwillingness to see anyone other than his stars as important and everyone else as canon fodder. Chuck is evil not JUST because he treats Sam and Dean like his own favorite show, but because he treats THE WORLD like his own favorite tv show. Everyone exists, everyone lives and dies, solely to push Sam and Dean to their pre-written ending. No one else matters.

And that’s something that could have been wild to properly examine. Sam and Dean fighting back not only because they’re not down with murdering one another but because the world should be more than a stage for their Greek tragedy. That Castiel, Eileen, Jack and all their friends are more than ways to define the Winchesters. It’s a defiance to what Chuck ascribes as important in stories (especially queer ones which tend to be tragic) and says “happiness can be a good story too.” Hope and light and life are important. There is room in the world for stories like ours.

And that’s my beef. I don’t know if I made total sense but in short:

TLDR: Supernatural fundamentally misunderstood Chuck as a villian.

Also,

[rachelbethhines]

Tangled Salt Marathon - Lost and Found

Another plot episode and another mountain of missed opportunities, failed set ups, and foreshadowing that goes nowhere. But outside of that it’s pretty entertaining. Are we seeing a pattern yet? 

Summary: Rapunzel and Eugene go on a journey to retrieve the fourth and final piece of the scroll that will lead them to the Dark Kingdom. They receive help from Vigor the Visionary, who reveals himself to be Lord Demanitus himself, the author of the scroll depicting the purpose of the Sundrop and Moonstone. He leads them to the maze that he hid the last piece of the scroll in. Guiding them through the maze, they obtain the last piece, which united the four into one singular map. As they are about to leave, they are attacked by a stone monster.

Maybe That’s Why You Should Have Brought the Only Person Who Can Read It Along?!

Once again, having the characters acknowledge their stupidity in meta dialogue doesn’t alleviate the fact that the audience is going to think them stupid.

Regardless of your personal feelings towards Varian or what he has done in the past that does not change the fact that he is literally the only character in the show thus far who can translate the scroll. The mains knew that before leaving and they knew from the get go that they were going to need the scroll piece which is why they took it from him.  

Not bringing him along, not getting a translation key from him before leaving, nor even showing us a scene of Raps trying to ask him to translate the scroll for them before leaving and then having him refuse to do so, is a plot hole. 

Timeline Hint...Sort Of...

Rapunzel said last episode that it had been almost year since they left Corona, and it’s now close enough to her birthday again that Eugene could be tricked by it but not enough to actually be her birthday. 

So...when are we again? 

I’m going to guess 10 months after Secret of the Sun Drop? Maybe... It could also be 9 or 11 who knows... but I am still seeing fall like trees which is our only indication of a changing season in this show because the creators don’t understand climate apparently.  

Maybe cause we’re now further north of Corona we see fall/winter leaves even into early spring? 

Where Was This Rapunzel In Season 3? 

Rapunzel actually giving a crap about what Eugene wants is as rare as seeing a fawn in the woods. It happens, but most of the time you forget it's even there. 

While come season three, Rapunzel will just shoot the poor deer dead. 

Madame Canardist is a Wasted Character

I’ve already discussed at length the biggest problems with Madame Carnardist in my Vigor the Visionary and Curses reviews. So I won’t rehash those talking points here again. However what I spoke about were larger problems with the media industry and bigotry as a whole and not the specific impact the character has on the story. Which is next to none. 

The crew went through all of this trouble to make a deleted character from the film relevant to the series’s plot, and even there they failed. Madame Canardist is nothing more than a translator for Vigor when Demantius isn’t around. The story doesn’t utilize her properly despite her connections to one of the more plot important characters. 

What is her relationship to Demantius and Zhan Tiri? How did Vigor come into her care? Why is she the only person who understands him when Demantius isn’t in control? If Vigor is centuries old by this point than how old is she? What is her stake in all this and why does she bother with Rapunzel at all if she has nothing to gain from it? Why doesn’t she go along on this important quest through the maze seeing as how she is Vigor’s caretaker? 

She’s not completely useless, but like with Lady Caine, Xavier, and Hector before her, she has far more potential than the series is willing to explore with her.  

So Much For Caring About What Eugene Wants 

Welp that lasted all of five seconds. 

Man, Rapunzel is a shit girlfriend.  

The Pay Off Works, But It Then Serves No Purpose Afterwards 

I don’t mind the idea of Demantius being the monkey. I mean it is one of the very few plot points in the show with proper foreshadowing and follow through. And yes, Demantius does accomplish one thing here, by helping Raps obtain the last scroll piece. 

The problem is, nothing changes with this revelation. 

No one’s perceptions or interactions with Demantius/Vigor are altered after this reveal. No one changes their plans, goals, or motivations afterwards. Things carry on more or less afterwards the same as if they had never met. The only thing of importance here is the scroll pecice and that’s only relevant in Cassandra's Revenge and is then forgotten about completely for the rest of the series. 

What’s the point of having a plot twist if the status quo still remains?    

If the information being revealed doesn’t alter the story then why keep it secret to begin with? 

How Could You Research Them If You Never Found Them?

So did Demantius write the incantations or not? 

He is the one who put them on the scroll, so it’s natural to conclude that he did create them, but he couldn’t have done that unless he had studied both the moonstone and sundrop to see the effects the two macguffins had to the spells. 

Now according to this exposition dump, the sundrop and moonstone had been around for ages before Demantius and had become legends by his time. It is possible that someone else studied the two macguffins before him and came up with those incantations, but who? 

The ancient people of the Dark Kingdom might have studied the moonstone since they were tasked with guarding it, but no one knew where the sundrop was until Gothel found it. 

The audience needs to know this sort of information in order to understand the motivations driving the conflicts of the characters. 

Imagine a Lord of the Rings trilogy that never bothered to say where the one ring of power came from or how it came into Gollum’s possession. You’d be left wondering why everyone was fighting over what amounts to an invisibility spell that once belonged to a small deformed hobbit who used to catch fish.   

This Explanation Goes Nowhere 

Why did the disciples betray Demantius? What did they gain from siding with Zhan Tiri? Why was Gothel with them? Did she betray everyone once she found the sundrop? What was Demantius and Zhan Tiri fighting over to begin with? 

Don’t expect any of those questions to be answered. The series inexplicably makes a big deal over Gothel being connected to Zhan Tiri, but then never actually explains what that connection is, what they’re relationship dynamic was, nor how it connects back to Rapunzel’s and Cassandra’s current conflict. 

That’s the real failing of the show’s lore and backstories. They don’t connect back to the current conflict. It’s just there. 

In a well constructed show, Demantius would have been a parallel to Rapunzel who was also ‘betrayed’ by people she trusted. It would have been revealed that it was Demantius’ own actions that drove away his followers and caused them to side with Zhan Tiri. Thereby serving as a warning to Rapunzel herself and forcing her to realize in the end that in order to save everyone she’s have to apologize to those she hurt. We also would have gotten three betrayals instead of two since that’s more thematically impactful. 

But this isn’t a well constructed show and the characters in it don’t ever evolve.   

This Contradicts What We Find Out In Season 3

We find out in the last season that Zhan Tiri was originally from this world and that the only reason she was ‘bent on destruction’ was because of Demantius ticked her off somehow.  She also had no magical powers of her own until after Demantius had banished her to that other realm where she was imprisoned. 

Also Demantius didn’t use any powers. He just chucked her into a portal he had built without any warning or trail, with zero idea if it would kill her or not, all because she just stood there yelling at him. Like there wasn’t even any physical fighting, so it wasn’t a case of in defense either. 

Demantius should have been revealed to be the real antagonist all along but that would require the showrunners to be actually clever for once and not misogynistic towards their female characters. 

This Makes Zero Sense

First off, when was Zhan Tiri ever looking for Demantius? She’s been too busy trying to escape from her prison and it’s been centuries. She has no reason to suspect that he’s still alive nor does she care. Zhan Tiri’s plans are not dependant upon whether or not Demantius still exists. 

Secondly, how is the host body still alive after centuries? Why go with monkey when I’m sure there are actual human beings out there who would agree to living forever. Does the transfer actually destroy the mind? Cause if not you could have had an actual coherent host that could have helped out when Demantius was dormant.   

And don't give me any guff about ‘ethics’ because this is the man who played judge, jury, and executioner to his supposed friend/possible lover and probably killed one of his disciples as Sugarbee’s spirit was trapped in his device.  

Not the Best of Plans My Dude

So Demantius is basically committing suicide here for no real reason. 

Unless he was just already dying anyways when he made the transfer, then Demantius is drastically shortening his conscious life span. The monkey will live on, but he won’t. 

So why? He had no way of knowing that the sundrop would become a person in the future, it’s completely coincidental that he met Rapunzel just at the right place and time to help her, and as stated above, Zhan Tiri was no longer a threat to him or the world since he imprisoned her and defeated his disciples. 

Like what was his thought process here? “I just really, really want to be a monkey?” 

Eugene Isn't Wrong 

Look, I am a deeply religious person and I have faith in many things, but even I know that critical thought is necessary for basic survival and that scepticism is just plain common sense. Believing in something doesn’t mean shutting your brain off and never thinking for yourself. 

Demantius has yet to give any reason for why Eugene and Rapunzel should trust him. Him saying ‘have faith’ repeatedly does nothing to instill confidence and in fact does the opposite. If you want to people to believe in you, especially in a dangerous situation that you dragged them into, then you need to earn that trust. 

There’s a world of difference in assuming the best in people and being a fool, and Rapunzel is not the better person just because she blindly goes along with anything because she stubbornly wants to do whatever she wants and assumes she’s always right. 

Eugene is Still Right

Is ‘Faith’ the new ‘Destiny’ now? Are we just assigning different meanings to random words in order to push the story’s narrative along? 

This entire maze only involves solving puzzles, answering riddles, and a bit of running and climbing here and there. ‘Faith’ has absolutely nothing to do with it. 

This theme doesn’t even work when you take into account the reveal that it’s Eugene who needs to have faith in Rapunzel. Because Rapunzel isn’t the only one doing these things and getting them through here. 

In fact Demantius being here, and being the one who built the maze in the first place, kind of negates Rapunzel’s importance in this area. Secondly, Eugene is doing half the work anyways so it should be a message about having faith in each other. But they already have that so...yeah what’s the point of Demantius constantly bringing it up? 

Why Are You Caring About Money While Stuck In a Death Trap?

You’re rich now, Eugene. You’re the future prince consort and live in a palace. As soon as you get back to Corona or a place that recognizes Corona as a kingdom you’ll have plenty of money to spare. But you can’t do that if you’re dead inside a maze. 

Moreover, Rapunzel still has money on her. She just threw two coins in to the well; one for her and one for Demantius. You two live together! You’ve been traveling inside a caravan together for over a year now and neither of you work. Ergo, you should logically be sharing your finances at this point in time. Especially since that is what you’ll be doing anyways once you’re married for real, as you’ll both be heads of state.   

That’s Now How Faith Works

Faith is evidence for things unseen, or to put it more accurately the evidence for things that are unprovable. God, death, the future, creation, souls, the meaning of life, ect, are all concepts that can’t be proven nor disproven. No one upon this earth will ever know for certain what happens after death, how the universe was made, or if there is any intelligent life out there beyond ourselves.

People don’t like the unknowable.

Believe systems of all kinds, whether they be religious or not, exist to bring us comfort when face with the dread of such existential questions. Even if that belief system is agnosticism itself.

Gravity, weight, and basic physics however are all provable concepts that have been around since Ancient Greece, if not longer. Man has always known that if you drop something it falls, even if they didn’t have the math to back it. It’s just a fact of life.

‘Faith’ isn’t going to stop Eugene from falling. It’s not going to make the bridge more sturdy. It’s not going to magically make him as light as a feather. It won’t turn the acid below him into water. “Faith’ can’t literally give you wings and make you fly; that’s just a metaphor.

What Demantius is promoting here isn’t faith. What he’s asking Eugene to do is to blindly follow his orders without question.

This is especially jarring when you consider that Demantius is supposed to be a famous scientist. He should know very well the importance of critical thought and that having faith doesn’t mean shutting your brain off.

The Scroll is Such a Let Down

We’ve spent a season and a half finding the pieces for this thing and it won't actually be relevant until the halfway through season three. Mostly because the one person who can translate it isn’t here.

On top of that, it’s no longer important outside of  one episode. It’s an example of  the payoff not living up to its hype.

So This Is a Lie

The scroll only contains four incantations on it, and one is on the back in invisible ink and not the fourth pecice itself. None of those incantations involve combining the moontsone and sundrop together. In fact, after using two of those incantations only once they’re never seen being used again for the rest of the series. Furthermore, once the moonstone and sundrop are combined they only allow the user to perform the healing and hurt incantations, which Rapunzel can do anyways without the moonstone. 

Demantius wrote the dang scroll himself! He should very much know what is on it and what it does. This is yet another case of the writers not planning things ahead. 

Being Good at Riddles Doesn’t Make You ‘Pure of Heart’ 

Being ‘pure of heart’ means that you are kind. One does not need ‘faith’ to be kind. Being kind is doing the right thing and helping others even if it doesn’t benefit you at all.

Not only does running through a maze not have anything to do with faith, it also has nothing to do with kindness.

The only thing it proves is that Rapunzel enjoys running through a maze, and will do so in addition to dragging others along with her regardless if those people want to do it or not.

That’s not being kind.

If anything Rapunzel has only proven thus far in the series that she is a very selfish person who shouldn’t be trusted with such grave responsibility.

But as already pointed out, Demantius doesn’t care about actual faith, kindness, or purity. He just wants blind obedience. He’s mistaken Rapunzel’s exuberant and stubborn nature for nativity; not realizing that her complancany is only because they both desire the same goal.

Had he asked Rapunzel to do something that she didn’t already want to do, she wouldn’t have been so ‘pure’ to his mind.

That Is a Very Valid Question 

Eugene has a point. There’s no reason to go on this quest. In fact knowing about season three in hindsight, turning around now and not going to the Dark Kingdom would be the better option for everyone.

Cass couldn’t steal the moonstone. Zhan Tiri would never be freed. Corona will never be destroyed and the brotherhood never mind trapped. As for the black rocks they will just sit there impotently not doing anything.

Even freeing Quirin, not that Rapunzel cares, only requires the hurt incantation, which she already has.

The only problem is that Cassandra has ZT trapped in her mind but without the moonstone that has no consequences outside of Cass hearing a annoying voice in her head that she is perfectly capable of ignoring. And even that wouldn’t have happen if they had turned around after the Great Tree.

SHOW DON'T TELL

Nothing in the show back up what Demantius is saying here. We haven’t seen the rocks being active since season one. Even when Rapunzel was lollygagging around or going off the path. 

When they do become active again in the next episode it’s to help her, and after that in season three it’s all Cassandra’s doing. 

Also in season three Rapunzel is able to rebuild Old Corona around the rocks with little problem even though she didn’t reunite with the moonstone. 

In a Competent Show This Would Be Foreshadowing. This Is Not a Competent Show. 

I genuinely thought this was hinting at Moon Eugene, when I first saw this. Now couple that with the talk of ‘three betrayals’ earlier and I thought Eugene would be the final ‘betrayal’ and that a true love's kiss, after Rapunzel had apologized to him, is what would reunite the two powers and save the day.

I’m not going to fault the show for not living up to my expectations and predictions, but I will fault the series for failing to utilize Eugene properly and not working him into the main conflict. He’s the duel protagonist of the franchise. He should have just as much weight in the narrative the same as Rapunzel has.  

Oh How I Hate Where This Arc Goes

What the show does wind up doing to Eugene however, is incredibly stupid and frustrating. 

Remember how I said that ‘faith’ in this show is just blind obedience? 

Yeaaaahhh.... 

That’s what Eugene takes from all of this. Not that he should support and believe in his partner, something that he already was doing by the way, but that he needs to be a doormat to her and her whims. 

Like with Rapunzel yelling at Hook Hand in Brother’s Hook, this is the point where Eugene’s character starts to break. You just wouldn’t know it until after watching season three. 

This Is Such a Lazy Cop-Out

Like the audience has these questions too. Neither us nor Rapunzel will ever have these questions answered. You just backed out of committing to any real answers because you didn’t have your story planned out like you should have.

Why Does Everyone Act Like There’s a Prophecy When There Isn’t Any Actual Prophecy? 

Once again, Demantius had no way of knowing that the sundrop would become a person. No one did. There’s no prophecy and there’s zero explanation for his psychic abilities, which are inconsistent at best.  In fact I don't think he does have such powers, otherwise he’d be more helpful inside the maze. I think those are reserved for Vigor only and we don’t know where he got them or if he even is a ‘real’ psychic. 

Tangled the Series wants to act like it’s running on a predestination plot. That events must occur and will occur regardless of what actions you take to prevent it. Now ignoring how that causes problems with the characters’ agency for a moment; you can not have any predestination if there’s no actual destiny. 

Chosen one plots often have prophecies for a reason. Predestination is there to evoke either tragedy that can’t be prevented or present consequences for  if/when the main hero doesn’t follow along. Either way it’s there to establish conflict. 

Everyone in TTS acts like there is a conflict when said conflict hasn’t actually been established! 

This is writing 101. You need conflict. You need to establish shit. You can’t just pretend that a conflict exists where it doesn’t. ‘Fake till you make it’ doesn’t work in long term storytelling and television animation. It has to be pre-planned.  

Also The Timeline Doesn’t Match

Demantius said that it was a millenia when the sundrop and moonstone fell.He also just said he’s been waiting for a millenia to ‘meet the sundrop’. Yet Demantius acted like the sundrop and the moonstone were already legends by the time he started to search for them. That means they had to be around longer than he has. It also brings us back to the first question of who wrote the incantations if he and Zhan Tiri never found them? 

Believing In Someone Does Not Mean Shoving All the Work Onto Their Shoulders

You’re supposed to be in this together. Couples should work as a team. Both of your lives depend upon getting out of here so you should both be coming up with ideas and working together.

Not only does this miss the entire point of what ‘believing in your spouse’ actually means, it’s also incredibly unfair to both of these characters. It’s unfair to Rapunzel for put so much pressure and unrealistic expectations onto her and to have her be the person to carry both of them through when Eugene is perfectly capable of physically doing things. It’s also unfair to shove Eugene to the side and make him a useless character all of a sudden.

Rapunzel Does Nothing To Earn Such Blind Devotion 

Rapunzel’s magical hair has nothing to do with Rapunzel as a person. It’s an entity separate from her being. Literally. The hair can move of its own accord as shown here and it’s possible to physically separate Rapunzel from her powers as seen in the finale.  

Believing in Rapunzel should be about believing in who she is as a human being, about her individual character. It should not be because she has magic glowing hair.  

Not only is this a betrayal of Rapunzel and Eugene’s relationship and why they came to love one another in the first place, but it’s also a betrayal of Rapunzel’s growth as a character. It’s not only Eugene who blindly kisses her ass after this point, it’s everyone, even though she gives them little reason too. 

This the Last We’ll See of Vigor and Madame Canardist

Three episodes spent establishing these characters and now they’re just gone for no reason. They’re never seen of nor mentioned again beyond a single meta joke. Despite the main conflict revolving around Demantius and them both having the closest connection to that character.  

This Is Bad Foreshadowing, But At Least It’s Actual Foreshadowing  

Up till now any ‘foreshadowing’ we got for Cass’s villain arc has been confined to poorly thought out background images; the painting of the moon, the broken mirror in Gothel’s tower, and I won’t even dignify Chris’s bullshit about her handmaiden dress being blue. 

Not to mention all of that was only in season one. Outside of her conversation with Eugene about their parents, way back in Cassandra vs. Eugene, we haven’t had any real foreshadowing until we hit the Great Tree. 

Since the Great Tree we’ve only had a couple of bitch fights with Raps, which I personally don't consider real foreshadowing since no ill will was attached to those, and her glaring angrily at Rapunzel after escaping the shell house. 

In light of that, this scene is at least genuine foreshadowing, it’s just poorly done foreshadowing. 

While the other attempts at foreshadowing were too subtle, this one is too obvious. It gives the game away too early because there’s no other viable options within Rapunzel’s group. Adira comes closest and she’s not actually here and not really considered a friend by Rapunzel herself.  

So what winds up happening is that Cass’s arc feels rushed despite being planned since the beginning.  

Conclusion 

I spent three days fighting tumblr to get this review posted! Appreciate it! 

As for the episode itself, it’s fun to watch in isolation, but it’s such a let down knowing what’s to come from it all. 

[f9-teljes-film-2021]

Halálos iramban 9 Teljes Film Magyarul - HD 2021

Halálos iramban 9 Teljes Film Magyarul - HD 2021

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        Halálos iramban 9 2021         8.2/10 által 95 felhasználók Dom Toretto visszahúzódva él egy félreeső helyen Lettyvel és fiával, a kis Briannel, de tudják, hogy a veszély állandóan ott les rájuk a békés horizonton. Ezúttal ez a veszély arra kényszeríti Domot, hogy szembenézzen múltbéli bűneivel, ha meg akarja menteni azokat, akiket a legjobban szeret. Összehozza csapatát, hogy megakadályozzanak egy olyan tervet, amely megrengeti a világot. A terv kiötlője a legképzettebb bérgyilkos és legprofibb sofőr, akivel valaha találkoztak – és aki történetesen Dom elveszett öccse, Jakob

felszabadított: 2021-05-19 Runtime: 145 percek Műfaj: Dráma, Akció, Kaland Csillag: Vin Diesel, Michelle Rodriguez, Jordana Brewster, John Cena, Charlize Theron Rendező: Sanja Milkovic Hays, Clayton Townsend, Gary Scott Thompson, Neal H. Moritz, Vin Diesel

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Kulcsszavak : F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nelőzetes magyarul, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á ningyen letöltés, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nnetmozi, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nmagyar premier, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nfilm online, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nteljes film, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nteljes film videa, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nindavideo, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nmagyarul online, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nteljes film magyarul indavideo, F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nonline filmek ingyen F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nonline 2021 filmek magyarul F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nfilmek magyarul F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nonline videa 720p 1080p F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nfilm letöltés F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á n2021 teljes filmek magyarul videa F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nonline sorozatok F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á ningyen filmek F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á n2021 film letöltés ingyen F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nfilmek online magyarul F9: The Fast Saga  [ Halálos iramban 9 ] 2021   á nmagyar filmek online

Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2021 movie audiences are going to be suffering from ‘~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  ánis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~F9: The Fast Saga  [ Halálos iramban 9 ] 2021  án at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard

[smokeybrand]

What Comes Next

My brother posted something about the new Wonder Woman from Didio’s failed 5G initiative, Yara Flor. New Wondy is, apparently, a literal Amazon; She’s from the Amazon in South America. I think she’s Brazilian, specifically. My brother, who doesn’t even give a sh*t about comics like that, had no kind words for this odious turn of events. Didio’s fever dream of a live wide reboot, the third one in a decade, was rightfully killed and he, himself, fired when the ATT buyout went through. Look, i love comics. I think they are one of the purest forms of storytelling outside of actual novels, that we have today. They’re an infinite well of creativity and inspiration so it boggles my mind why the two major comic houses can’t seem to write a compelling f*cking narrative to save their lives and always resort to this reboot bullsh*t. Marvel is much less guilty about this, the less said about All New-All Sh*t, the better, but three times in ten years? Really? What the f*ck was Didio doing?

I mention All New, All Different because DC’s Future State, the re-branded moniker of 5G, is exactly the same goddamn thing but with a DC twist. That means it’s going to be worse. We already see this sh*t happening. New Wondy. Johnathan is replacing Clark. Batman is presumed dead but is really on the run, like in the vastly superior Court of Owls arc, replaced by an unknown vigilante wearing his symbol. It’s Luke Fox. DC already spilled the beans about that sh*t. Force that diversity directly into your books because that sh*t worked SO well for Marvel, right? It’s not like that disaster didn’t take until now for them to get back to good, even if sales don’t reflect the good will because comics are a whole ass dying industry. It’s dying because no one tells great stories anymore and companies rely too heavily on desperate, ill conceived reboots like this or thousands of variant covers. Future state is doomed to fail. DC has no faith in it, no faith in the actual work, proven by the fact that Jim Lee announced the books will be returnable. Who the f*ck makes comics returnable?? When has that ever been a thing?

I give DC so much sh*t because their product is sh*t. It’s been terrible for a long while now, with the exception of a few Flash arcs, DCeased, most of Earth-2 before it got canned, and The White Knight run. I’ve written at length about my love for that sh*t. Hell, even Joker War turned out to get it’s sh*t together in a hurry and end on a ridiculously compelling note. I even found myself intrigued by where Punchline was left and i hate that b*tch. I also hate The Batman Who Laughs. This Gary Stu ass mass of originality is everything wrong with DC and comics as a whole. Dude is a try hard, edgelord, OC character getting an unearned push, forcing him down our throats as readers. It’s f*cking ridiculous. Marvel is dong this same sh*t with f*cking Knull but he’ll eventually be forgotten. TBWL is around to stay because casuals love this f*ck. We’re in the middle of another Crisis event that he orchestrated which is the lead-in to the entire Future State slate. The biggest boner in recent DC history is going to be the direct result of the worst character DC has pushed in twenty years. If that isn’t the most flaccid poetry, i don’t know what is.

I know I'm giving this Future State a lot of sh*t, and it might be fully warranted, but there aspects of this nonsense that i do, in fact, like. I like that Cassandra Cain is Batgirl again, even if that means the other one i don’t like, Stephanie Brown, gets the same treatment. I like the look of Latina Wondy and that Gotham City seems to be super Cyberpunk now. I don’t think I've ever seen that in the books before. Gothic Cyberpunk? Can it really be everything i dream of? Manta’s kid is, apparently, taking the Aquaman mantle with Curry’s daughter inheriting the Aquagirl title. Luke Fox shouldn’t be Batman, Damian Wayne should be. If Artemis can be Egyptian, then Latin Wondy is fine. I’m even borderline okay with John Kent being “Superman.” I like the fact that there is more diversity coming to DC’s books, overall, i just don’t think this is the way you go about doing it. Non of this feels organic or competently executed. This sh*t feels so goddamn miserable, it hurts. Everything i just said. I've seen before. Cass had an entire series to herself as Batgirl, same as Stephanie. Gordon was the first to don a high tech Batsuit when Bruce was missing, not Luke. F*cking Nubia is a thing. I watched Aqualad hit all of these same beats in the Young Justice show and Johnathan is literally Superman in DCeased. That book may or may not still be running alongside these Future State titles, man! That’s my biggest issue with all of this; It’s just more of the same, but worse. Even f*cking Red X, that asshole identity Robin took on when he worked for Slade in the old Teen Titans cartoon, has a part to play in these books. If that doesn't clarify my problems with this event, I don't know what can.

Future State is the most transparent, unoriginal, corporate pandering effort i have ever seen. It smacks of desperation. I know that because, aside from the return policy, instead of this being an entire line wide reboot like Didio wanted, it’s only supposed to be a two month run. Two months and then the status quo returns. This tells me that, the only reason we’re seeing any of these books, is because DC lacks content. The Wuha f*cked up A LOT of sh*t and it seems DC was wounded more than we thought. Before Didio's firing and the jumbling of the comic hierarchy, work was already complete on some of the 5G sh*t. I imagine, maybe, speculation on my part, about two months worth of content? Sub-par content at that? It’s insane to me that DC is floundering this much. Marvel is killing it with their X-Titles and Thor is gaining ground quickly but there is nothing currently being published but DC that even comes close to those books. Rehashing a failed idea that was already canceled once, ain’t the answer. As much as i what the comics industry to be okay, as much as i want DC to tell great stories, and as much as i want to see Cass back behind that symbol, this ain’t it, chief. I would love to go into this event with cheery optimism but, if DC’s recent history has proven anything, it’s that optimism in their content is for fools. This entire run seems like an obvious mistake.

[curioussubjects]

come be a season 12 truther, baby, with me

In honor of tonight’s Berens/Glynn episode (!!!!), I’d like to take y’all on a magical journey in which I share why I think Dean and Cas got together in season 12. 

Keep in mind that this post takes for granted that Dean and Cas are in love with each other and that their relationship has been increasingly coded as romantic with each passing season. Consequently, what this post does is point out some key moments in their relationship and argue why they don't get together before 12. I'll also go briefly over 13 and 14 for reasons I'll explain later in the post. First, though, let me go over seasons 4 through 11, with some pit stops along the way:

Seasons 4 & 5: this isn’t the destiel you are looking for. the ust is delicious, yes, and i, too, got sucked in posthaste immediately groped by an angel lj community style. At this point Cas is still too alien for anything beyond the development we see on screen happen. HOWEVER, season 5 is the first time we get to see Cas being human (The End) and Cas being less connected to heaven and how that affects his behavior. This will matter. 

Seasons 6 & 7: the pining omg the pining. The notable things I want to point out with these seasons is a. this is the beginning of Cas doing things to spare Dean and it not ending well (Cas dies #1, soulless!Sam); b. Dean is v. sad; and c. we also start noticing the emotional toll of Cas’s divided loyalties and how human he has actually become since s4. Hurty feels all around.  

Season 8: purgaytory babes aw yeah! Still lots of terrible awful pining. This is a turning point with the addition of the bunker as tfw hq: we have a home in play now, a static emotional center. Cas is still off doing his own thing, Dean still wishes Cas would just let him (+ Sam) help out. Cas going off on his own leads to disaster #2 (Angels fall, Cas loses his Grace). For all deliciously angsty get together purgatory fics and spec, there’s too much of a gap between Dean and Cas on Cas’s part due to his guilt over betraying the Winchesters in s6 & slaughtering angels & leviathan. On the other hand, we do see Dean being more emotionally open, but to no avail. Bad timing. This is a trend. [oop also worth noting we get Dean being kinda done with the one night stand thing because always with the adios and ahem also hint hint Cas refusing to stay put]

Seasons 9 & 10: aka Dean and Cas make bad decisions, but mostly Dean. The biggest turning point here is Cas being human for an extended period of time. There is still plenty of spec over the effects of being human on Cas’s Grace and his Soul. What we can say for sure, though, is that Cas is much more human once he becomes an angel again. In contrast to s8, s9 sees Cas being vulnerable and Dean pushing him away (first because of Gadreel, which he didn’t want to do really and that’s even sadder kdjfgksdfj & later because he was pushing everyone away due to the mark).  

9.06 Heaven Can’t Wait: there’s been so much amazing fic and spec about this episode with its fanfiction gap, but I can’t see a deancas get together here, folks. I know, it’s terrible. The lying from Dean and the hurt from Cas, imo, make the distance between them quite insurmountable at this point. While the episode is amazing (Bobo’s debut, too! So ♥) and has some notorious subtext throughout, I just can’t see the character bridging that gap into anything physical, much less emotional. Nevertheless, this episode does show perhaps the first intentional romantic tableaux with Dean and Cas, and that’s not nothing. 

10.16 Paint it Black: from the point Dean gets the mark of cain until the end of season 10, anything between him and Cas is quite impossible. But one of the reasons I’m bringing up this episode in particular is because of the confession scene. For one, it’s a rare bit of emotional honesty from Dean and for two, it tells me that while he and Cas may be well aware of the thing between them, it’s still uncharted waters. Makes sense, too, there’s been A LOT going on since s6.  Anyway, he’s the full confession, so we can put a pin on it:

You know, the life I live, the work I do…I pretty much just figured that that was all there was to me, you know? Tear around and jam the key in the ignition and haul ass until I ran out of gas. I guess I just thought sooner or later, I’d go out the same way that I live – pedal to the metal, and that would be it. [...]  Now, um… recent events, uh… make me think I might be closer to that than I really thought. And…I don’t know. I mean, you know, there’s – there’s things, there’s…people, feelings that I-I-I want to experience differently than I have before, or maybe even for the first time. [...]  Yeah, I’m just starting to think that… maybe there’s more to it all than I thought.

Do you ever see a character having an epiphany and find yourself wanting to cry because this is it right here. Dean is just blatantly admitting he wants more, which all culminates in season 11, so...

Season 11: The pining is still here, but it’s worse now since it’s the whole plot? It’s been *checks calendar* 5 years of this. How are any of us still kicking I don’t know. Your slow burns could never. Cool worth noting points: Cas says yes to Luci (bad decision #2.5, lots of mitigating effects_I don’t actually hold it against him that much but Dean is another story & not entirely rational at this point); for the first time since the early days, Dean and Cas are on equal grounds: they’ve both fucked up a lot and have hurt each other. The issues this season are outside their dynamic. Amara and Lucifer here serve as externalizing forces for Dean and Cas’s problems and by the end of the season we’re getting a clean slate. We’re also getting a new showrunner, so. No wonder. What this season does that is also super important is that it sets up the stage for the possibility of an actual relationship between Dean and Cas, something that has, up until this point, been pretty much impossible. 

11.04 Baby: Y’all know what I’m about to quote here, right? The convo between Dean and Sam about having something with someone who understands the life. Here we still have Dean reverting to the idea that it’s impossible, which is a direct contrast to the openness in 10.16. It’s understandable, though, considering there’s been little reason to think anything like that would be possible (see all the mess and poor timing from seasons past). The quote in question, though, marks a continuing development in on of the things Dean is struggling with this season:

DEAN: Piper? That's awesome. Heather. One-night wonders, man. Shoot, we're lucky we still get that at all.  SAM: Really? You don't . . . Ever want something more? DEAN: I'm sorry, have you met us? We're batting a whopping zero in domestic life, man. Goose eggs. SAM: You don't ever think about something? Not marriage or whatever. But . . . Something? You know, with a hunter? Somebody who understands the life?

Compare this exchange with what we get from 11.11 and 11.19:

11.11 Into the Mystic: I’m bringing this episode as a crossreference to 10.16 and to show again that for all the closeness between Dean and Cas there’s still a marked distance they haven’t yet bridged. Thanks Mildred for the delicious exposition:

Darlin'...If there's one thing I've learned in all my years on the road, it's when somebody's pining for somebody else. [...]  Oh, don't try and hide it now. Follow your heart. Remember?

11.19 The Chitters: Continuing our trek regarding Dean wanting certain things we have this gift of an episode with Jesse and Cesar, and this exchange:

Dean: [with realization] Oh, so … [points back and forth to Jesse and Cesar] Cesar: Yeah. Dean: Okay, that’s… Cesar puts his beer bottle on the table and looks at Dean, while Jesse is being silent. Dean: What’s it like, settling down with a hunter? Cesar: Smelly, dirty. [turns to Jesse] Twice the worrying about getting ganked.

I’d like to point out, too that the fear of getting ganked is thematic when it comes to the tension between Dean and Cas. More on this when we hit s13. 

Alright, now having said that, let’s take a look at season 12. Bear in mind, this is the official start of Dabb’s era, even if he kinda began taking over in 11, and the change in vibes is obvious. In fact, 12 jumped out at me as a turning point in retrospect, after getting smacked by the domesticity of 13 and 14. Under the cut because I can’t shut up, and things are long enough as is. 

Season 12:  Finally, the promise land, y’all. So, what s11 was for Dean in terms of setting up the relationship stage, s12 was for Cas. In its initial beats, any way. Important to keep in mind that until the Kelly debacle, this was the longest Cas has been around the bunker. Things seem remarkably chill. Of course, we’ll notice that there’s still a lot of baggage hanging around because despite Dean and Cas being in a more stable place, they haven’t actually dealt with their interpersonal problems. I didn’t single out directly this episode, but do keep in mind Cas’s declaration in 12.09 First Blood as far as how much the Winchesters matter to Cas & how we also see Dean and Cas be particularly singled out with them seating together in the backseat of the Impala. 

12.10 Lily Sunder Has Some Regrets: This episode, oh my god, the goodness. In the wake of 12.09 we have Dean and Cas in a tiff because Cas mistake #3 (killing Billie and “cosmic consequences”), this is a pattern. Twice the worry of getting ganked, etc etc. But where this episode really shines is through the contrast between Ishim’s obsession with Lily and Cas & Dean’s mutual affection for each other. Ishim sees no difference here and, to him, Cas’s feelings for Dean are a human weakness. Returning to my point about human!Cas, this episode underscores that Cas’s increasing humanity is what puts him in the place where he can want what Dean wants instead of either being too alien to get it (see s4 & 5) or unable to experience it properly (Ishim). 

12.12 Stuck in the Middle (With You): Cas’s trajectory culminates here with the whole I love you (@ Dean), I love all of you (@ Winchesters). Let’s note too that Cas is dying here, in a way that is much more human than going up in light. This declaration of different types of love is entirely human. It’s also a definitive step wrt to Cas and Dean’s relationship because of what happens in 12.19. This. is. it.

Offscreen happenings: Mixtape, how Cas knows the Colt is under Dean’s pillow. This is hella suspicious. 

12.19 The Future: This episode changes everything, y’all (bobo and meredith, folks, bobo and meredith ksjdhfakjshlfksd). Consider watching this episode again and pay attention to some weird things: 1. Dean’s reaction to Cas going awol. Compare it to Sam’s, who is like whoa Dean chill. Now, thought experiment, imagine something happened between Dean and Cas, and then just radio silence from Cas. Imagine how Dean would react with getting ghosted by Cas specifically after something happened between them.  2. Cas comes back to the bunker with the specific goal of stealing the Colt, which he already knew was under Dean’s pillow -- something Sam didn’t even know.  3. “He came into my room and he played me.” So, this quote right there, makes it seem like some seduction for personal gain, right? But Cas clearly knew where the Colt was already, which means something happened before  Cas came back to the bunker. Cas played Dean in seeming to have reconsidered not working with Sam and Dean wrt Kelly. This is still a point of drama, but it leads somewhere else (see s13 & s15). 4. WHEN DID DEAN GIVE CAS THAT MIXTAPE OMG 5. Dean and Cas’s brief convo in Dean’s room is clearly Dean just wanting Cas to stay, so they can work (and be) together -- because they’re better that way. Which, yeah, truth. 

Sequence of events: Cas tells Dean he loves him -- Dean is clearly shook by it -- Dean gives Cas a mixtape (romantic gesture, often a declaration of feelings; in true Dean speak too lolsobs) -- Cas somehow knows the Colt is under Dean’s pillow -- ???? -- Cas goes awol -- Dean acts like he got ghosted by his partner.

Like. Y’all realize they probably had some emotionally constipated getting together moment, right? Something that Dean clearly initially thought meant things were gonna change, now. Something that Cas couldn’t allow to happen until he could give Dean a win. Y’all are seeing this, yeah? I’m not saying they slept together and were full of feelings, except that’s kind of what I’m saying. But ymmv, there are other possibilities beyond sex. The full of feelings isn’t up for debate, though, even if the whole thing is informed by ridiculous amounts of miscommunication. 

Ok, maybe the narrative is still too subtle (?????), but as I said before, looking at 12 with the knowledge of 13 and 14 does offer a new perspective because of the difference in dynamic between Dean and Cas. I know lots of people look at 14, mainly, as having dialed back on the destiel side of things, but I always thought that was a strange take. Largely because they’re so domestic and their dynamic, ie, the lack of tension, reads like an established relationship. It’s a different kind of beast than we have been used to so far, so it does look alien on screen, especially since we “skipped” the conventional getting together cue that would let us change gears. Let’s take a look at 13 and 14, then.

Season 13: Ah, yes, the season of shit gets domestic. The pining? Gone? What? Deancas now reading like an established couple? It’s more likely than you think.

13.1-13.5: Dean’s grief mini-arc. Dude’s acting like a widower. We all know this. I want to gesture towards the reunion moment though with “it’s never too late to start all over again.” To. Start. All. Over. Again. I’m just saying. 

13.6 Tombstone: hi this episode is pure love and Dean is so happy his sweetheart is back from the dead? He’s even ok being Jack’s third dad now? What a time to be alive. Also? apparently Dean and Cas were just having movie night together? Dates? Mutual Pining dates prior to shit going to hell in 12? Do you ever cry? What else are they getting up to offscreen? What else will they get up to off screen? MUCH TO THINK ABOUT. 

Season 14: MORE DOMESTICITY. With some pining because Michael. But...heart eyes when Dean comes back? Watch that scene again with Dean going off to shower. Suspicious. But then shit hits the fan and we’re all sad again. boo. 

14.15 Peace of Mind: Look me in the eye and tell me Dean and Cas talking in the kitchen about Jack doesn’t read like husbands talking about their child. Look me in the eye and tell me Cas just texting Dean to gossip about Sam isn’t coupley asf. 

14.18-14.20: Ah, yes, the divorce arc. Awful. Terrible. The culmination of Dean’s problem in all this: he lashes out, he pushes Cas away, his anger is alienating. Cue all of us suffering. But while Dean is clearly in the wrong in how the deals with his feelings, let’s not pretend some of his anger doesn’t come from a long established issue between him and Cas, which had its last traumatic turn when Cas died in s12. Dean isn’t being rational here; he saw Cas doing something on his own, and he saw that his mother is dead. What else could happen? Why won’t Cas just trust they can work as a team? Divorce arc was entirely too literal. 

But what about what we’re building up in 15? That seems like it could be a getting together plot, too, right? Well, yeah. It could very well be. But I’d argue the tension we’re seeing isn’t a will they or won’t they because they already have. The tension is instead will they or won’t they use their words to talk about the baggage that has kept them from truly being confident about their relationship. There’s a crucial step in their togetherness that they’re still missing, which is also the bedrock of the divorce arc that spanned TWELVE FRIGGIN’ EPISODES. Y’all. Y’all that’s half a season. And we’re not even entirely done with it yet because Dean was cut short in purgatory, and they haven’t dealt with Cas’s side of blame in this mess yet either -- that Cas keeps going off on his own and getting hurt (and getting other people hurt), and Dean has to deal with the fallout. The deep emotional understanding, the truly being on the same page is what we’re on the edge of our seats for. And, you know, that’s a whole lot more exciting than witnessing their for realsies first kiss. I’m also confident Dabb & co will deliver the conclusion to this emotional arc and it will be a whole mess of feelings on all our parts. 

For the moment, though, it’s looking a lot like Dean and Cas had a rocky start to their ~involvement, then DEATH, then they got together feat. sweet sweet domestic fluff, then DIVORCE. So, yeah. Season 12, guys; it’s where it’s at. 

As for the more performative aspect of Dean and Cas’s relationship…that’s a whole other thing and all I can say is they got the green light for something, but I don’t know what it is and it’s driving me bananas, but it’s definitely something and we can talk about that, too. Place your bets, etc.  I’m clowning on the “I love you” pay off because it’s a glaring missing piece in this whole story. See also: holding hands? Carving Cas’s initials on the table? Saileen endgame parallels? All supported by the narrative. Like a lot. So. *finger guns*

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its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Tenet more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Tenet is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Tenet. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘~Tenetis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Tenet” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Tenet”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Tenet’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Tenet invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Tenet. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Tenet not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Tenet is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly

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导演: 王昊 主演: 书亚信 / 马栗 / 王群石 / 尤亦泽 类型: 剧情 制片国家/地区: 中国大陆 语言: 汉语普通话 上映日期: 2020-08-20(中国大陆) 片长: 77分钟 又名: Monster Hunter

怪兽猎人的剧情简介 · · · · · · 　　民国上海，帅气怪兽猎人宇文凭着猎人一族特有的本领预感到了上豪大饭店有怪兽现身。怪兽袭击了花旦顾青，宇文从天而降英雄救美，打断富少警探天明的公开表白。三人卷入连环灵异案件。酒会贵客连遭毒手，顾青身陷绑架危机，三人小队相爱相杀，啼笑破案，所有线索都指向尘封千年的传说——巨兽重现人间，背后神秘操控者浮出水面⋯⋯

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Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see Black Box more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Black Box actually. (Black Box had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. Black Box is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with Black Box. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: “”&G2&”” movie audiences are going to be suffering from ‘Black Boxis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “Black Box” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “Black Box”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of Black Box and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Black Box”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: Black Box’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that Black Box invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Black Box) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Black Box for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with Black Box. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came away from Black Box not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. Black Box is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. Black Box is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Black Box look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, Black Box at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard.

[juhanati]

||HD.Voir|” — L’origine du monde [|2021|] Film Complet — ((“STREAMING VF”)) — En Francais │ L’origine du monde (2021) HD `Complet

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Synopsis Jean-Louis réalise en rentrant chez lui que son coeur s’est arrêté. Plus un seul battement dans sa poitrine, aucun pouls, rien. Pourtant, il est conscient, il parle, se déplace. Est-il encore vivant ? Est-il déjà mort ? Ni son ami vétérinaire Michel, ni sa femme Valérie ne trouvent d’explication à cet étrange phénomène. Alors que Jean-Louis panique, Valérie se tourne vers Margaux, sa coach de vie, un peu gourou, pas tout à fait marabout, mais très connectée aux forces occultes. 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It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see L’origine du monde more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. L’origine du monde is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with L’origine du monde. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘L’origine du mondeis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “L’origine du monde” there are McGuffins nested in McGuffins. So much of this is casually waved L’origine du monde as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “L’origine du monde”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of L’origine du monde and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: L’origine du monde’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that L’origine du monde invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with L’origine du monde. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came L’origine du monde from L’origine du monde not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. L’origine du monde is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. L’origine du monde is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, L’origine du monde at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work

[juki227]

{||~1080p-HD~ ]] Regarder C'est la vie  film complet [[2020]] en Franacais

29 avril 2020  / 1h 43min / Comédie De Julien Rambaldi Avec Josiane Balasko, Léa Drucker, Alice Pol Nationalités Français, Belge 29 avril 2020  / 1h 43min / Comédie De Julien Rambaldi Avec Josiane Balasko, Léa Drucker, Alice Pol Nationalités Français, Belge

PLAY==> http://ver.yess-movie.com/movie/tt9162090/c-est-la-vie.html

Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see C’est la vie more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. C’est la vie is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with C’est la vie. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘C’est la vieis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “C’est la vie” there are McGuffins nested in McGuffins. So much of this is casually waved C’est la vie as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “C’est la vie”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of C’est la vie and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: C’est la vie’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that C’est la vie invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with C’est la vie. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came C’est la vie from C’est la vie not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. C’est la vie is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. C’est la vie is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, C’est la vie at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work

[mandalisa]

|*HD.Voir” — C’est la vie [-2021-] Film Complet — ((“STREAMING VF”) — En Francais │| C’est la vie (2021) HD `Complet

[[Regarder**|]] C’est la vie ((-2021-)) Film Complet en Français,Voir C’est la vie en streaming version française directement sur Films VF . Film gratuit en streaming.

PLAY==> http://ver.yess-movie.com/movie/tt9162090/c-est-la-vie.html

C’est la vie (~2020~) U 10/02/2021 (FR) Comédie 1h 43m Note des utilisateurs Synopsis Cinq femmes s’apprêtent à accoucher. Elles ne se connaissent pas, ne se ressemblent pas, mais vont se retrouver dans la même maternité pour vivre le plus beau jour de leur vie. Des premières contractions à la naissance, le film retrace leur parcours, entre rires et larmes. Julien Rambaldi Director, Writer Regarder C’est la vie film complet, Regarder C’est la vie Streaming vf, Regarder C’est la vie Streaming Vostfr, Regarder C’est la vie Streaming vf gratuit, Regarder C’est la vie Streaming YouRegarder, Regarder C’est la vie Telecharger, Regarder C’est la vie Film Complet en streaming, Regarder C’est la vie Uptobox, Regarder C’est la vie Film complet en français, Regarder C’est la vie Streaming vf gratuit complet, C’est la vie film complet C’est la vie 2021 film complet C’est la vie film complet en français C’est la vie streaming vostfr C’est la vie film streaming C’est la vie streaming vf C’est la vie film complet en ligne C’est la vie film complet en ligne gratuit C’est la vie film complet en ligne gratuitement C’est la vie film complet télécharger C’est la vie film complet sous-titre C’est la vie film 2021 streaming vf C’est la vie bande annonce vf C’est la vie 2021 film complet en francais C’est la vie 2021 Film Complet Streaming VF Entier Français, C’est la vie 2021 Regarder Film en Streaming en Français, C’est la vie 2021 Stream Film Complet Entier VF en Français, C’est la vie 2021 streaming VF film en entier gratuit, C’est la vie 2021 film complet streaming Vk gratuit, C’est la vie 2021 Regarder Film en Streaming, C’est la vie 2021 Film télécharger Torrent, C’est la vie 2021 film complet en Français, C’est la vie 2021 regarder en streaming, C’est la vie 2021 youtube film entier, C’est la vie 2021 streaming vf youwacth, C’est la vie 2021 streaming en entier, C’est la vie 2021 Regarder Gratuitment, C’est la vie 2021 regarder film streaming, Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see C’est la vie more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. C’est la vie is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with C’est la vie. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘C’est la vieis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “C’est la vie” there are McGuffins nested in McGuffins. So much of this is casually waved C’est la vie as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “C’est la vie”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of C’est la vie and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: C’est la vie’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that C’est la vie invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with C’est la vie. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came C’est la vie from C’est la vie not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. C’est la vie is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. C’est la vie is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, C’est la vie at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work

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felszabadított: 2021-04-01 Runtime: 145 percek Műfaj: Akció, Thriller Csillag: Vin Diesel, Michelle Rodriguez, John Cena, Charlize Theron, Jordana Brewster Rendező: Sanja Milkovic Hays, Clayton Townsend, Gary Scott Thompson, Neal H. Moritz, Vin Diesel ================๑۩๑================ Halálos iramban 9 Teljes Film 2021 Online Videa. Halálos iramban 9 [Bluray] | Nézd meg Halálos iramban 9 Online Film 2021 ingyenes HD.1080P | Nézd meg Halálos iramban 9 Online Film 2021 HD ================๑۩๑================

Kapcsolódó cikkek: Halálos iramban 9 2021 elozetes Halálos iramban 9 2021 port HU Halálos iramban 9 2021 premier Halálos iramban 9 2021 teljes film Halálos iramban 9 2021 mozicsillag Halálos iramban 9 2021 megjelenés Halálos iramban 9 2021 bemutató Halálos iramban 9 2021 film online Halálos iramban 9 2021 indavideo Halálos iramban 9 2021 magyar elozetes Halálos iramban 9 2021 magyar premier Halálos iramban 9 2021 online film Halálos iramban 9 2021 online filmek Halálos iramban 9 2021 online magyar Halálos iramban 9 2021 szereplok Halálos iramban 9 2021 online film, online filmnézés Halálos iramban 9 2021 teljes film online Halálos iramban 9 2021 teljes film magyarul Halálos iramban 9 2021 youtube Halálos iramban 9 2021 Teljes Film Magyarul online filmnézés Halálos iramban 9 2021 Film letöltés és ingyen sorozatok Halálos iramban 9 2021 mozicsillag Halálos iramban 9 2021 szereposztás Halálos iramban 9 2021 Magyar szinkron Halálos iramban 9 2021 Magyar Felirat Halálos iramban 9 2021 letöltés nélkül Halálos iramban 9 2021 efilmek Blockbuster Halálos iramban 9 2021 teljes film magyarul letöltés Halálos iramban 9 2021 teljes film magyarul indavideo Halálos iramban 9 2021 letöltés Halálos iramban 9 2021 online mozicsillag Halálos iramban 9 2021 online teljes film magyarul Halálos iramban 9 2021 elozetes Halálos iramban 9 2021 teljes film magyarul mozicsillag Halálos iramban 9 2021 szereplok Halálos iramban 9 2021 Teljes filmadatlap Halálos iramban 9 2021 Filmezek Halálos iramban 9 2021 online letöltés Halálos iramban 9 2021 online filmek Halálos iramban 9 2021 elozetes Halálos iramban 9 2021 teljes film Halálos iramban 9 2021 teljes film magyarul Halálos iramban 9 2021 teljes film Halálos iramban 9 2021 teljes film videa Halálos iramban 9 2021 teljes film magyarul videa Halálos iramban 9 2021 teljes film indavideo Halálos iramban 9 2021 teljes film magyarul indavideo Halálos iramban 9 2021 online filmek Halálos iramban 9 2021 teljes film Halálos iramban 9 2021 teljes film magyarul Halálos iramban 9 2021 teljes film Halálos iramban 9 2021 teljes film videa Halálos iramban 9 2021 online film Halálos iramban 9 2021 teljes film online Halálos iramban 9 2021 teljes film magyarul online Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Halálos iramban 9 more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Halálos iramban 9 is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Halálos iramban 9. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2021 movie audiences are going to be suffering from ‘~Halálos iramban 9is’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Halálos iramban 9” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Halálos iramban 9”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Halálos iramban 9 and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Halálos iramban 9’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Halálos iramban 9 invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Halálos iramban 9. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Halálos iramban 9 not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Halálos iramban 9 is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~Halálos iramban 9 is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~Halálos iramban 9 at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard

[teljesmagyarulfilm21]

Nézd !720p~ Online! Ördög a részletekben teljes film magyarul HD.Videa

Ördög a részletekben Teljes Film Magyarul — 2020 [ VIDEA]「HU」 [MOZI]2020~“Ördög a részletekben” TELJES FILM VIDEA HD (INDAVIDEO) MAGYARUL Ördög a részletekben (INDAVIDEO) Teljes Film Magrayul Filmek Online |Videa

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Runtime: 0 percek Műfaj: Thriller, Bűnügyi Csillag: Denzel Washington, Rami Malek, Jared Leto, Sofia Vassilieva, Natalie Morales Rendező: Thomas Newman, John Schwartzman, Mark Johnson, Michael Corenblith, Daniel Orlandi Deke, a burnt-out Kern County, CA deputy sheriff teams with Baxter, a crack LASD detective, to nab a serial killer. Deke’s nose for the “little things” proves eerily accurate, but his willingness to circumvent the rules embroils Baxter in a soul-shattering dilemma. Meanwhile, Deke must wrestle with a dark secret from his past.

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Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Ördög a részletekben more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Ördög a részletekben is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Ördög a részletekben. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘~Ördög a részletekbenis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Ördög a részletekben” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Ördög a részletekben”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Ördög a részletekben and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Ördög a részletekben’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Ördög a részletekben invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Ördög a részletekben. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Ördög a részletekben not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Ördög a részletekben is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~Ördög a részletekben is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~Ördög a részletekben at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard

[bjkdsiuiu45]

Lelki ismeretek (2020) teljes film magyarul videa

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Joe Gardner középiskolai tanár, aki szereti a jazz zenét. Egy balesetben a lelke elszakad a testétől és egy olyan központba kerül, ahol a lelkek fejlődnek és szenvedélyeket szereznek, mielőtt újjászületnek. Joe-nak segítséget kell szereznie a többi képzésben részt vevő lélektől, például 22-től, egy lélektől, aki örök időket töltött a Te szemináriumon, hogy visszatérjen a Földre. felszabadított: 2020–12–25 Runtime: 102 percek Műfaj: Animációs, Vígjáték, Kaland, Családi, Zenei, Fantasy Csillag: Jamie Foxx, Tina Fey, Ahmir-Khalib Thompson, Phylicia Rashād, Daveed Diggs Rendező: Trent Reznor, Bobby Podesta, Steve Pilcher, Pete Docter, Pete Docter Kulcsszavak : Lelki ismeretek előzetes magyarul, Lelki ismeretek ingyen letöltés, Lelki ismeretek netmozi, Lelki ismeretek magyar premier, Lelki ismeretek film online, Lelki ismeretek teljes film, Lelki ismeretek teljes film videa, Lelki ismeretek indavideo, Lelki ismeretek magyarul online, Lelki ismeretek teljes film magyarul indavideo, Lelki ismeretek online filmek ingyen Lelki ismeretek online 2020 filmek magyarul Lelki ismeretek filmek magyarul Lelki ismeretek online videa 720p 1080p Lelki ismeretek film letöltés Lelki ismeretek 2020 teljes filmek magyarul videa Lelki ismeretek online sorozatok Lelki ismeretek ingyen filmek Lelki ismeretek 2020 film letöltés ingyen Lelki ismeretek filmek online magyarul Lelki ismeretek magyar filmek online Image for post Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Lelki ismeretek more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Lelki ismeretek is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Lelki ismeretek. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘~Lelki ismeretekis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Lelki ismeretek” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Lelki ismeretek”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Lelki ismeretek and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Lelki ismeretek’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Lelki ismeretek invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Lelki ismeretek. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Lelki ismeretek not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Lelki ismeretek is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~Lelki ismeretek is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~Lelki ismeretek at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard.