The Nun 2018 en Cine

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The Nun 2018 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Levinas Lauren


Coordinador de acrobacias:
Wall Mijanur


Diseño de guión:
Osborne Horia


Imágenes : Ernis Yuna
Co-Produzent : Avijot Madic


Productor ejecutivo : Wotling Cahill


Director de arte supervisor:
Rajvir Anaiya


Produce|Producir : Cody Laurine


Fabricante: Konnie Alana


Actriz : Baylen Wolf

5.6
3289

Título de la película	The Nun 2018 en Cine
Reloj	127 segundos
Lanzamiento	2018-09-05
costo	MPEG-2 720p HDTV
Género	Horror, Mystery, Thriller
lenguaje	English, Français, Latin, Română
nombre de reparto	Braun G. Emilee, ZinifilmPiers O. Andria, Asenath B. Omara

[HD] The Nun 2018 en Cine

Appallingly cliched. Slow and boring. Not even the Conjuring hype could save this film. It moves forward at a painful pace, brings nothing new to the table, and is not even scary.
Overall I liked The Nun it was a spooky fun movie with some pretty good shots and scenes (lighting, camera angles, and such). The transitions from one scene to another was a bit off and the story overall had a more fantasy tone over the more grounded and realistic tone The Conjuring and Annabelle movies had. Much of the story felt like it was just forced to setup a shot or scene which does hurt it. It isn't a perfect movie but I'd watch it again. It is like Indiana Jones meets Silent Hill. None of the character actors felt out of place or superficial either, I really appreciate that. Everyone felt believable and natural to their roles and environment, not forced.
Horror is baaaaack!
And with a vengeance.

The Nun is not for people that don’t like horror movies or burnt out on them. Don't expect character development either. Don't expect to be shock like you were when you watched The Exorcist. I’ve read several critic reviews were they just don’t get it. They use words to describe it like “using every trick in the horror trope” or “predictable”, “throwing the kitchen sink at”, or “not enough character development”. Well forget what you heard because there is more bite to this movie than you’d expect.

Okay, so we begin with a spooky opening sequence where two nuns are fighting to save humanity from a malevolent presence that is about to enter our world. One is dragged into a room and the other commits suicide by hanging. Suicide is a sin, right? Makes you wonder what type of evil is powerful enough to destroy Catholic nuns?

Being the beginning of The Conjuring movie universe, this story begins like this, Father Burke (Demién Bichir) is summoned by the Vatican to investigate the suicide of a nun at The Abbey, a castle located somewhere in Romania. Apparently Father Burke has a trauma and a shameful past after having failed to save a teen from an exorcism he performed. Makes you wonder why The Vatican would send a priest like Father Burke on such a dangerous mission. The Vatican doesn’t send Father Burke alone on this task though. They assign Sister Irene (Taissa Farmiga), who hasn’t yet taken her vows. A nun that hasn't taken her vows yet, and not your typical nun either. She's contrary to the average nun. She seems so innocent.

Father Burke and Sister Irene are taken to The Abbey by a local delivery man, Frechie (Jonas Bloquet). (You may remember Frenchie as the first exorcism performed by The Warrens from the original The Conjuring. Lorraine Warren has the painting of The Nun at their home and references it in the film.) Sister Irene was chosen to go on this assignment because she experiences visions, these visions provide the information needed to uncover what actually occurred at The Abbey.

The Abbey has been the site of a malevolent force locked away for centuries. The Church took over The Abbey and placed a congregation of nuns to pray 12 hours a day to keep the evil force in control. However, after WW2 bombing weaken the structure of The Abbey, the evil locked inside of it found another way to escape, and using the guise of a nun, slowly grows in strength causing terror on those around it.

Yes, The Nun is a supernatural survival horror installment of The Conjuring universe. You don’t have to be a die hard fan of the horror genre in order to be scared. Yes, there is a lot of the same tropes from the most popular supernatural horror movies and that is because this is how demonic infestation happens.
Director Corin Hardy and screenplay writer Gary Dauberman do wonderfully.

What this film gives us is tricky camera and visual effects that showcase how the demon works. We find out that the demon’s name is Valak–an ancient demon from Hell that was summoned by the count performed sacrificial rituals.
If you are expecting character development then you’re not going to find it here. This story doesn’t need a lot of characters at all. You don’t need a lot of information about these characters because Valak is the only character this story is about.. One minute he’s behind the character’s back, the next his shadow appears on the wall, he reanimates dead corpses and even manifesting animals and the usual superhuman strength as well as taking on human form. He ghosts the characters as well. It’s always interesting to see how the director and screenwriter pull off these visual effects.

Father Burke character plays like a detective searching the castle for any information he can use to exorcise the demonic spirit from the world while Sister Irene uses her visions to lead her to the truth about what occurred at The Abbey as well as discover anything that she can use to send the evil spirit back to Hell. If you like Ash from the Evil Dead horror series, then you’ll like Frenchie because he is the outsider in all of this providing necessary dark humor. Frenchie isn’t afraid to use a shotgun to blow off the heads of a couple of deadites disguised as nuns.

What also makes this film enjoyable to watch with a group, is the pacing. There are enough slow moments for you to make jokes about the characters or the visual bombarding your senses.

I give this film an enthusiastic 7/10 for its creepy mood and intense disturbing images. And those squeamish people, no worries. There isn't a lot of gore.

Definitely a great popcorn horror flick to watch in the dark with your friends. Definitely worth the movie ticket. You won't be disappointed as long as you keep what I've said in this review in mind.
If I were to rate its place among the other films in The Conjuring universe, I would rate as follows

1) The Conjuring
2) The Conjuring 2
3) The Nun

* 4) Annabelle Creation
I wanted to like this movie because it's connected to Conjuring movies, but it was awful, even from the start it was obvious.

It was a dull, boring movie with cheap jump scares. The only reason I'm giving it 4 and not 3, because it was shot nicely and acting wasn't that bad.
The Nunjuring!

When a young nun at a cloistered abbey in Romania takes her own life, a priest with a haunted past and a novitiate on the threshold of her final vows are sent by the Vatican to investigate...

So here we have the latest spin-off from the one time high quality "Conjuring" franchise. Sticking strictly to a formula that will either infuriate or satiate horror genre fans, "The Nun" delivers enough creepy boo-jump tropes to keep it above average. There's plenty of roaming about dark corridors and churchyards, with lanterns our only prominent saviours from the terrors of the dark. If, and it's a big if, you don't mind that Corin Hardy's film isn't trying to raise the bar for horror, and is in fact staying safe, then there's a decent enough good time to be had here. If you be one of those who constantly moans about bringing nothing new to the table, don't bother with this one, in fact, think of something new to bring to the table yourselves then...

The set-pieces hold up well enough (buried alive shiver shiver), the atmospheric dread only occasionally punctured by Abel Korzeniowski's bombastic score. The story is interesting enough, such as why the entity is bringing terror to the abbey, what is the link to the "Warren" family, and the backstory axis for Father Burke (Demián Bichir) brings another demonic layer to the plotting. While talking about "bringing something new to the table", for the first time in this series we actually get a bit of humour, mostly from Jonas Bloquet's likable Frenchie character. Taissa Farmiga holds the lead well, where she has a very appealing visual reaction style that will serve her well if she stays in genre mode. While Maxime Alexandre's cinematography (low lights and fogs) is a big improvement from "Annabelle: Creation" and is tonally compliant.

This formula has been done much better previously, such as Hammer's take on "The Woman In Black", but even then they were going on about new stuff being brought to the table etc etc etc. It is what it is, a boo-jump haunted house (buildings) picture that is there for those who like such things, who buy into it on that level. Is this a great film? Absolutely not, but it works on its intended terms and any expectation of a new branch of horror is going to have you crying over spilt blood. 6/10
When a young nun at a cloistered abbey in Romania takes her own life, a priest with a haunted past and a novitiate on the threshold of her final vows are sent by the Vatican to investigate. Together they uncover the order’s unholy secret. Risking not only their lives but their faith and their very souls, they confront a malevolent force in the form of the same demonic nun that first terrorized audiences in “The Conjuring 2” as the abbey becomes a horrific battleground between the living and the damned.

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Boonie Bears: Blast into the Past 2019 en Cine

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Boonie Bears: Blast into the Past 2019 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Valdez Nuytten


Coordinador de acrobacias:
Litzy Sablon


Diseño de guión:
Ronet Yehiel


Imágenes : Guyotat Fran
Co-Produzent : Bong Wamps


Productor ejecutivo : Nemo Margot


Director de arte supervisor:
Samrath Oralia


Produce|Producir : Bently Seydina


Fabricante: Cherree Payten


Actriz : Cayle Aphina

Título de la película	Boonie Bears: Blast into the Past 2019 en Cine
Hora	142 minutos
Lanzamiento	2019-09-19
costo	Dolby Digital 1440p BRRip
Categoría	Animation, Adventure, Fantasy
lenguaje	普通话
nombre de reparto	Sharp G. Corey, Germane CreativeAdelle O. Hale, Zwirn W. Anatole

[HD] Boonie Bears: Blast into the Past 2019 en Cine

Boonie bears and bareheaded Qiang blast into primitive times and experience a period of exciting and breathtaking time in a primitive tribe.

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Border 2018 en Cine

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Border 2018 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Felton Dubarle


Coordinador de acrobacias:
Hanifa Fabre


Diseño de guión:
Issiah Noor


Imágenes : Dereon Nishita
Co-Produzent : Deandre Ruchi


Productor ejecutivo : Acosta Tymeo


Director de arte supervisor:
Kamille Albin


Produce|Producir : Nyan Woods


Fabricante: Ezana Liwsi


Actriz : Hebert Koben

6.7
304

Título de la película	Border 2018 en Cine
Momento	149 segundos
Lanzamiento	2018-09-27
objetos de valor	FLA 1080p HDTV
Categoría	Drama, Crime, Fantasy
lenguaje	svenska
nombre de reparto	Rinesa F. Gipsy, Berlanti ProductionsPerkins U. Ramir, Nolan P. Aurelia

[HD] Border 2018 en Cine

_Eraserhead_ who?

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
_**Supremely weird and morally ambiguous; certainly not for everyone**_

> _If the external physical examination didn't produce any results, she would apply for a warrant allowing a doctor to carry out a proper search. Check every orifice._

>_Robert came out, made a comment to the occupant of the room, and closed the door behind him. Tina hurried over. Her heart sank when she was only halfway across the hall; Robert was shaking his head._

>_"Nothing?" she asked._

>_"No," said Robert. "Well, nothing that concerns us, anyway."_

>_"What do you mean?"_

>_Robert drew her a little di__stance away from the door._

>_"Let me put it this way: you can rest easy. He did have something to hide, but nothing punishable by law. The problem is that we've now stopped him twice without..."_

>_"Yes, yes. Do you think I don't know that? So what is it, then?"_

>_The thought had struck her, but she hadn't seriously considered what Robert was suggesting: the fact that they might have been guilty of professional misconduct. Subjecting Vore to an examination on two separate occasions without any solid evidence for doing so. If Vore made a complaint, they would probably be reprimanded._

>_"The thing is," said Robert, "he's...he's a woman."_

>_"Come on, stop winding me up."_

>_Robert folded his arms and looked uncomfortable. With exaggerated clarity he said, "He...or rather she, does not have a penis but a vagina, to use the technical term._ You _should have carried out that search, not me."_

>_Tina stared at him open-mouthed for a few seconds._

>_"You're not joking?"_

>_"No. And it was rather...embarrassing."_

>_Robert looked so miserable that Tina burst out laughing. He looked at her, his expression furious._

>_"Sorry. Has he got...breasts as well?"_

>_"No. He must have had an operation or something. I didn't actually ask. He's got like a big scar just above his bum, by his tailbone. Whatever that might be. Now it's_ your _turn to talk to him and try to explain that -"_

>_"What did you say? A scar?"_

>_"Yes. A scar. Here." Robert pointed to the bottom of his back. "If you want to take this any further, you can do it yourself." He shook his head and headed off towards the cafeteria. Tina stayed where she was, looking at the closed door. When she had thought things through she opened it and went in._

- John Ajvide Lindqvist; "Gräns"; from the short story collection _Pappersväggar_ [_Paper Walls_] (2006), republished in _Låt de gamla drömmarna dö_ [_Let the Old Dreams Die_] (2011)

Based on the short story of the same name by John Ajvide Lindqvist, written for the screen by Lindqvist, Ali Abbasi, and Isabella Eklöf, and directed by Abbasi, _Gräns_ [_Border_] is an intimate character drama, a study of loneliness, a romance, a police procedural, a body-horror, an investigation into what gives us our humanity, a psychological thriller, and a crime movie, set in a half-realist/half-fantastical _milieu_ which sees a woman who can smell guilt and commune with animals working as a customs agent at a small Swedish port. Because, obviously! However, no matter how fanciful the plot becomes, it remains grounded in an emotional realism which serves to normalise the outrageous events we're witnessing.

Also a socio-political allegory and a mythological fable, _Gräns_ is indefinable, switching fluidly from one genre to the next and one idea to the next, taking in such issues as the Other, the tribe, social ostracisation, social assimilation, and our tendency to rush to superficial judgements of that which we don't understand or which is different. Superbly acted and directed, there are, of course, a few problems; a subplot that feels disconnected from the main narrative, a ridiculous coincidence (the likes of which only ever happens in films), a twist you can see a mile away, and a pronounced moral ambiguity which is extremely difficult to parse. Nevertheless, this is unique filmmaking, which raises all manner of questions about how we act towards others, a crucial theme in a political arena which has seen an unprecedented growth in casual racism and xenophobic hatred.

Tina (a superb Eva Melander, acting under heavy prosthetics) is a customs officer with the ability to smell guilt, which makes her exceptionally good at her job. Suffering from deformities that give her a somewhat Neanderthal-like appearance, she lives an isolated life with her boyfriend Roland (Jörgen Thorsson), who is more interested in his pet Rottweilers that he is Tina. Unable to have sex because it hurts her too much, she and Roland sleep in separate beds. As the film begins, Tina intercepts a man (Viktor Åkerblom-Nilsson) carrying child pornography on his SIM card. It transpires that the police have been attempting to crack a prolific child porn ring for several months without any luck, and needing all the help she can get, the lead detective, Agneta (Ann Petrén), asks Tina to assist on the case. Meanwhile, Tina is shocked to encounter Vore (an extraordinarily physical performance by Eero Milonoff), who has the same deformities as herself. Although she smells something on him, she isn't sure what it is, and she lets him through customs. A few days later, he passes through again, this time volunteering to be searched. Her colleague, Robert (Andreas Kundler), conducts the body search, but quickly discovers that Vore has a vagina. When he tells Tina that Vore also has a large scar on his back, at the base of his spine, she is shocked, as she too has such a scar. She visits her father, Birger (Sten Ljunggren), who is suffering from early stage dementia, to ask about her scar, which he says she got from a fall when she was three. Intrigued by Vore, Tina meets up with him and offers to let him stay in her guest house, much to Roland's chagrin. Back on the trail of the child porn ring, Tina is able to identify the apartment in which the filming is taking place, and although they bust those in the apartment, they are unable to find anything on who may be trafficking the children. Meanwhile, back at Tina's house, she and Vore begin to grow closer, until a fierce thunderstorm brings them together in ways they never expected.

Given the fantastical elements of the plot, one of the most interesting things about _Gräns_ is how grounded in realism the aesthetic is. According to Abbasi, the

> _story is stylised, it's not realism; there are other elements, and it's elevated. So we thought instead of going with that, with stylised shots or framing that kind of signals something_ special _is going on, we tried to go the_ other _way. Instead of going with the magical, we went with the realism in our cinematic language, which I think was the right thing to do because it kind of anchors the realism. Because if it wasn't_ real_, you probably wouldn't care about Tina._

Abbasi has a point here - one of the strongest elements of the film is how emotionally engaging and relatable Tina's arc is; the events are fantastical in places, but the emotions are very much grounded in the everyday - loneliness, shyness, fear, love, disgust etc. The magic realist aesthetic allows the more unusual elements to exist without seeming (too) ridiculous, whilst also establishing that the world of the film is essentially the real world, just with some garnish added (in a strange way, it actually reminded me of Phil Alden Robinson's _Field of Dreams_ (1989), a film set in a realistic _milieu_ that also features, without commentary or explanation, ghosts, communication with the afterlife, and time travel).

Abbasi does set up a contrast, however, between the scenes in the forest which surrounds Tina's home and the rest of the locations. The forest is presented as a somewhat magical place from the start - it is where Tina is most comfortable (an early scene in which she chills with a gigantic moose is both illustrative of her psychology and extremely beautiful), where she goes when life starts to overwhelm her, often taking her shoes off so as to feel better connected to the natural world. Later, the forest is where Tina and Vore spend a lot of their time, where they give in to their attraction to one another (in what is easily the most bizarre sex scene outside a Lizzy Borden film you're likely to see all year), and where they explore their history. Whilst everything else is filmed with a cold palette dominated by grey and washed out light blues and greens, with relatively unattractive locations, the forest is presented very differently - the colours are richer and deeper; the design elements are more imaginative; the camera work is more fluid; even the sound design is different, heightening the crunch of feet on the forest floor, the scurrying of insects, the wind blowing through the trees, the crash of water at a small waterfall, suggesting the whole place is vibrant and alive, in stark contrast to the cold stolid concrete and steel world seen elsewhere.

Thematically, _Gräns_ functions as both a straightforward narrative about loneliness and morality _and_ as a political allegory about the Other, belonging, tribalism, hatred based on difference. The opening scene establishes Tina as the emotional lynchpin of the story, showing both her kindness and her attraction to the animal world, as she gently handles a bug, before carefully placing it back into the grass. This theme continues throughout the film - there's the aforementioned scene with the moose, a scene with a fox at Tina's window in the middle of the night, a scene in which she is rushing her neighbour to hospital to give birth and stops to let a family of deer cross the road. These scenes are shot by cinematographer Nadim Carlsen with a sense of wonder, and an almost ethereal quality that wouldn't have been out of place in something like Ridley Scott's _Legend_ (1985) or Rob Reiner's _The Princess Bride_ (1987). It's as far removed from the mundanity of the customs desk or the brutality of the child porn ring as you can imagine. This is also reflected in the sex scene, which Abbasi and Carlsen shoot in such a way as to imply that Tina and Vore attain an emotional and spiritual transcendence far removed from the commonplaceness of an orgasm. The fact that immediately afterwards, as they lie side by side in the forest, he tells her the history of their "species", solidifies the role the forest plays in the themes of the film, as their bond serves to deconstruct societal norms.

For all her closeness to animals, however, Tina is just as distant from humans; she has a good relationship with her father, with Robert, and with a young couple who live nearby (Tomas Åhnstrand and Josefin Neldén), but her relationship with Roland is dysfunctional at best, and she's desperately lonely, in a society that shuns based on appearance. Indeed, one of the most salient themes in the film is the question of how we treat the Other, people who don't fit into our definition of normal, or whom we don't understand. Vore himself is introduced as something of a rebel against social norms; whereas Tina is ashamed of and tries to hide her differences from everyone else, he is proud of and leans into his - seen most clearly at a buffet, where he takes all the smoked salmon, and then hungrily eats it with little concern for social etiquette (or buffet etiquette).

The film also touches on issues such as what gives us our humanity, suggesting that in a world populated by humans lacking in humanity (seen most clearly in the child pornographers), maybe Tina and Vore are the most human characters, or certainly the most humane. Tied to this is the notion of finding one's tribe, and what kind of sacrifices and subversions of one's moral code, if any, are acceptable in that search. However, the film is also interested in the audience's morality as well as that of the characters'. In short, it ends in an extremely morally ambiguous manner, and, to be honest, I found it very difficult to parse what Abbasi (or Lindqvist) is trying to say with it. I don't want to give any spoilers, but in essence, Tina is forced to make decisions based on her own morality, at the expense of her emotional instincts, whilst Vore must attempt to justify something horrific (actually several things horrific) by way of arguing that humans have always persecuted beings like them. I'm not sure if the film had a happy ending or not, and although I got most of the symbolism and the allegories and the socio-political critiques, I've rarely come out of a movie with such a pronounced case of "what was the director trying to say with that?"

Elsewhere, the whole child porn subplot is troubling from a narrative point of view. For starters, it's not very convincing in its concrete details (for example, Tina is allowed sit in on a suspect interrogation), whilst the idea of a couple running a child porn ring from their apartment seems a little unlikely. Additionally, for the most part, the subplot serves to do little but detract from the main plot. I get that it's there to show us Tina's abilities and her moral code, but too much time is given to it without it being made to seem in any way urgent or important. And when it is finally integrated into the main narrative, it does so with a plot twist so telegraphed, if you don't see it coming, you've never seen a thriller before. Also, when we learn how the two plots connect, and when we backtrack in our mind to the start of the film, we find that the entire house of cards relied on a monumental coincidence which none of the characters could possibly have predicted, which cheapens both plot strands.

These missteps aside, _Gräns_ defies and subverts genre at every turn, remaining impossible to classify. Positing a message about how being different isn't that bad when you still have your morals and self-respect, it also suggests to those of us that consider ourselves normal, that we shouldn't be so quick to judge the Other, whether that Other is physically different, of a different ethnicity, a different religion etc. Exposing the layers upon which our society is built, the film is unafraid to suggest that hypocrisy and exclusion are major facets of Western civilisation. At a time when there are increasing calls for closed borders, increasingly irrational fear of the Other as represented by normal men and women who practice Islam, and increasingly jingoist and xenophobic hatred of anything not perfectly in line with established societal norms, the fact that Tina wants to integrate into normal society, but is essentially prevented from doing so, speaks volumes for our social ethos. The plot does go off the rails in the third act, and the morality of the _dénouement_ is a little questionable, but this is still a fine piece of work with a lot on its mind.
When a border guard with a sixth sense for identifying smugglers encounters the first person she cannot prove is guilty, she is forced to confront terrifying revelations about herself and humankind.

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The Hundred-Foot Journey 2014 en Cine

The Hundred-Foot Journey 2014 en Cine- teatro -DTS-Dolby Digital- Cómo para ver The Hundred-Foot Journey en línea - largo -año- descargar .jpg

The Hundred-Foot Journey 2014 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Vincent Necati


Coordinador de acrobacias:
Carraud Atelian


Diseño de guión:
Tabitha Uyiosa


Imágenes : Alia Luce
Co-Produzent : Prisha Latanya


Productor ejecutivo : Fabiano Arshman


Director de arte supervisor:
Terisa Dastous


Produce|Producir : Jaylee Baqir


Fabricante: Evelin Blayze


Actriz : Mahfooz Beenish

7.3
852

Título de la película	The Hundred-Foot Journey 2014 en Cine
Hora	122 minuto
Lanzamiento	2014-08-06
valor	Sonics-DDP 1440p TVrip
Género	Drama
habla	हिन्दी, English, Français
nombre de reparto	Lainnie I. Fortier, Letterbox FilmproduktionCogniet V. Denisse, Nguyen R. Marks

[HD] The Hundred-Foot Journey 2014 en Cine

A story centered around an Indian family who moves to France and opens a restaurant across the street from a Michelin-starred French restaurant.

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My Brother the Time Traveler 2017 en Cine

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My Brother the Time Traveler 2017 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Paulson Julien


Coordinador de acrobacias:
Rachael Beck


Diseño de guión:
Daphnée Philipe


Imágenes : Léna Jaccob
Co-Produzent : Nattero Sheen


Productor ejecutivo : Mimosa Jupiter


Director de arte supervisor:
Edgars Boileau


Produce|Producir : Momnah Eliza


Fabricante: Goulue Alix


Actriz : Xifaras Aïdan

Título de la película	My Brother the Time Traveler 2017 en Cine
Hora	139 segundos
Lanzamiento	2017-12-02
valor	AVCHD 1080p DVDrip
Categorías	Comedy, Family
lenguaje
nombre de reparto	Moniqua J. Eggert, Kaffe HausVoleta M. Loula, Maidie N. Shahla

[HD] My Brother the Time Traveler 2017 en Cine

Two estranged brothers try to reconnect at Christmas but there's something that one of them can't get past...the other think's he's a time traveler.

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Like Stars on Earth 2007 en Cine

Like Stars on Earth 2007 en Cine- calificación -FLA-WMV- 123MOVIE - lana -año- stre en línea.jpg

Like Stars on Earth 2007 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Buddug Darisha


Coordinador de acrobacias:
Syra Lynette


Diseño de guión:
Téchiné Djenna


Imágenes : Tandy Hocine
Co-Produzent : Didier Calumn


Productor ejecutivo : Fanning Jena


Director de arte supervisor:
Jaydean Halimah


Produce|Producir : Joud Verona


Fabricante: Berniss Lazar


Actriz : Leone Bernita

8
450

Título de la película	Like Stars on Earth 2007 en Cine
Reloj	126 segundos
Lanzamiento	2007-12-21
precio	MPG 1440p TVrip
Género	Drama
habla	English, हिन्दी
nombre de reparto	Asifa A. Wong, Daniel MartFabion C. Fortun, Lamia W. Aroha

[HD] Like Stars on Earth 2007 en Cine

Ishaan Awasthi is an eight-year-old whose world is filled with wonders that no one else seems to appreciate. Colours, fish, dogs, and kites don't seem important to the adults, who are much more interested in things like homework, marks, and neatness. Ishaan cannot seem to get anything right in class; he is then sent to boarding school, where his life changes forever.

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Horns 2013 en Cine

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Horns 2013 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Naly Fleury


Coordinador de acrobacias:
Kaylyn Lanika


Diseño de guión:
Jolene Sydney


Imágenes : Matis Lamblin
Co-Produzent : Rushane Blanché


Productor ejecutivo : Lawson Mercier


Director de arte supervisor:
Capelle Nikitas


Produce|Producir : Andrei Lipton


Fabricante: Didier Liwsi


Actriz : Nolann Erla

6.2
1486

Título de la película	Horns 2013 en Cine
Momento	123 minutos
Lanzamiento	2013-09-06
objetos de valor	Dolby Digital 1440p HDRip
Categoría	Thriller, Horror, Drama, Fantasy
lenguaje	English
nombre de reparto	Yekcan L. Suzette, Eveready PicturesBlanch I. Conn, Raquel D. Rayne

[HD] Horns 2013 en Cine

> Expected a very little, but delivered very hugely.

The first word I said after the watch was 'unbelievable'. That means the movie is not bad, but how come I missed it for this long. This is the best dark-fantasy movie I have seen recently. But earlier, I thought it would be like the movie 'Tusk' which made me a little uncomfortable to watch. So in the end, what's the difference between the tusk and/or the horn. Both come in a pair and animals have it to defend themselves from the threat. When I watched that movie, I lost interest in this. Yep, it is a silly reason and now I feel bad for that.

This movie dominated by the British cast, especially for having Daniel Radcliffe and Juno Temple I thought it was British film, actually it was not. It was a Canadian-US jointly produced, adapted from a book of the same name and directed by 'Mirror' director. The story was so good, not genuine, though explored the theme very well. For every few minutes later, the narration was taking a turn and that made the plot to get lot tighter before heading for the concluding part.

Maybe this the best movie of Radcliffe that I've seen after his goodbye to 'Harry Potter' movie series. I don't think he's a chocolate boy type, but this kind of movie suits him well. I think he should get muscles for more movie like this, but his height is another negative factor. The film was entirely shot in Canada, the photography was great, music as well as performances. Even those settings like woods, tree house feels kind of wet English and Scottish atmosphere that fits for a devilish mythical charactered movie like this. I regret for reviewing it so delayedly, but anyway I did it and over it, so I hope you watch it very soon as well if you haven't seen it yet.

7/10
I was looking forward to this film going into it, based on a highly entertaining book, but ultimately it was just okay.

Well shot and directed, Daniel Radcliffe is the best thing about it, but it lacked the punch and dark humour of the novel. Juno Temple's character feels painfully underwritten, as do most of the 2nd tier characters. The worst part is it takes itself way too seriously for such a silly premise. There is some destructive chaotic fun, but not enough of it. The creature design for the finale is very cool, then the film just sort of stops rather than giving a satisfying wrap up.

Could have, should have been much better, maybe that's my fault because I was expecting more. Still watchable, even if not memorable.
In the aftermath of his girlfriend's mysterious death, a young man awakens to strange horns sprouting from his temples.

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High Strung 2016 en Cine

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High Strung 2016 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Iché Lauryn


Coordinador de acrobacias:
Ravenna Lanika


Diseño de guión:
Marny Mariko


Imágenes : Aymé Efan
Co-Produzent : Emmy Vishay


Productor ejecutivo : Malky Dexter


Director de arte supervisor:
Barr Rojas


Produce|Producir : Mattia Avis


Fabricante: Ameila Serge


Actriz : Meunier Bédard

7.1
695

Título de la película	High Strung 2016 en Cine
Hora	133 segundos
Lanzamiento	2016-04-08
valor	ASF 720p VHSRip
Categorías	Drama, Music, Romance
habla	English
nombre de reparto	Morghan X. Guimond, Atlantis FilmsCasta O. Orlena, Marria T. Ryder

[HD] High Strung 2016 en Cine

When a hip hop violinist busking in the New York subway encounters a classical dancer on scholarship at the Manhattan Conservatory of the Arts, sparks fly. With the help of a hip hop dance crew they must find a common ground while preparing for a competition that could change their lives forever.

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The Purity of Vengeance 2018 en Cine

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The Purity of Vengeance 2018 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Baker Jack


Coordinador de acrobacias:
Odile Juvraj


Diseño de guión:
Didiane Moati


Imágenes : Maiwand Jerry
Co-Produzent : Maiya Élise


Productor ejecutivo : Idris Briac


Director de arte supervisor:
Lynell Sienna


Produce|Producir : Dubé Manil


Fabricante: Morse Garaudy


Actriz : Urijah Kline

7.3
134

Título de la película	The Purity of Vengeance 2018 en Cine
Reloj	148 minuto
Lanzamiento	2018-10-04
valor	AVCHD 1440p HDTV
Categoría	Crime, Thriller, Mystery, Drama
habla	Dansk, Español, العربية, Italiano
nombre de reparto	Diannah G. Antonia, Attitude PicturesGeary Q. Zaynab, Quiron J. Harnek

[HD] The Purity of Vengeance 2018 en Cine

Copenhagen, Denmark, 2018. A frightening discovery is made in an old apartment. The subsequent investigation of Department Q members leads them to an infamous institution for girls that was suddenly closed in the early sixties.

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Captain Phillips 2013 en Cine

Captain Phillips 2013 en Cine- 2019 - italienisch -FLA- Película completa HD - significado -año-stream .jpg

Captain Phillips 2013 en Cine

Equipo De Filmación

Coordinación Departamento de arte:
Percy Agace


Coordinador de acrobacias:
Tubeuf Hiba


Diseño de guión:
Moses Boyd


Imágenes : Basile Émilie
Co-Produzent : Sunita Dilem


Productor ejecutivo : Javonte Heloise


Director de arte supervisor:
Haddy Yves


Produce|Producir : Love Alberto


Fabricante: Filicia Flori


Actriz : Jaheim Savanah

7.6
4181

Título de la película	Captain Phillips 2013 en Cine
Hora	167 minutos
Lanzamiento	2013-10-10
precio	MPEG-2 1080p DVDrip
Género	Action, Drama, Thriller
habla	English, Somali
nombre de reparto	Barbeau C. Gentian, Donnolo ProductionsPink Y. Rotger, Keenan R. Adorée

[HD] Captain Phillips 2013 en Cine

Allow me to start with what you likely have already read — this film is well-crafted and tense procedural about a true story. The fact that I still found it tense and exciting, even when I already knew the ending (including the oft-mentioned Captain Phillips ending scene) is a high compliment.

So why tell this story? I took it as a meditation on powerlessness, a film that didn't deal with heroes or villains, only victims. There's a shipping crew that is easily sought out by pirates, and there are the pirates that ultimately fail. In either case, it's not as if either side feels in control of their destiny. They're just playing to some largely unseen authority. After the crew deflects the first attempted piracy in the film, one character says that as a union member, he didn't sign up for this kind of danger. The reaction? He chose to work on a ship that went around the horn of Africa. "What did you expect?" he's asked. Later, when one of the pirates steps on broken glass and injures he foot, he's asked the very same question by his leaders. Even the two competing captains — the pirate and the title character — ultimately are swayed (or saved) by the power of the state. What did they expect? To be the one in control?
Well done movie, good script and exceptional performances. Specially by Hanks and Abdi but also the rest of the pirates crew.

Hanks could have won the Oscar for this one.
Let me begin by saying that Captain Phillips, as an action film, turned out to be much more than I had initially anticipated. I was expecting half drama / half moderate action film with likely a good dash of political hopscotch. It's probably a good thing then, that I knew next to nothing about the actual story, because I love a good surprise. Captain Phillips is two hours of absolutely intense and absolutely uncompromising physical and psychological anxiety. At the end of it, I literally had to sit for a minute and just breathe, because this story gripped me by the throat like few films in recent memory have.

For those still unfamiliar with the story – this is a retelling of a historical event; the first US cargo ship in 200 years to be hijacked by pirates. During which, its captain Richard Phillips is taken hostage by the pirates, on his own lifeboat no less.

I got the sense that, somewhere in between the lines it was the director's intention to perhaps create an opening for a different story to be told: that of the Somali pirates, and why they do what they do. We are told that they are fishermen, and sheer poverty has driven them to these desperate acts. However, I don't know for sure if I'm supposed to feel any sympathy for these men, if I was supposed to 'understand' their motives – if this was Paul Greengrass' intention, it didn't work. Because no matter which way you swing it, these pirates are the bad guys and that's as clear as day. No degree of poverty or despair should be held as an excuse for such gruesome acts. Then again, if this was at all the point, I'm glad it wasn't hammered down in any way. It was merely a thought, and one conveyed subtly enough for anyone to make up their own mind about this issue.

What is clear here, is that these men (only four of them, surprisingly) committed a terrible crime. Not even so much the piracy itself, but the kidnapping and abuse of one individual. This individual is played by Tom Hanks, and he delivers one of his most eloquent and restrained performances to date. Here is a man, a captain of a large cargo ship, who is usually very much in control of his life and a clearheaded leader of his crew – but who, in the heat of reality, is just as human as any of us and simply does the best he can, even when (in spite of overwhelming protocol) one simply doesn't know what to do. Because protocol doesn't apply to the emotions that take control of both the captain and his captors, when they face a situation none of them anticipated. This is immediately one if my favourite performances by Tom Hanks, whose strength here lies mostly in the quiet moments in between all the chaos surrounding him. You can tell that he never stops thinking, never stops analyzing his situation, no matter what the pirates do to intimidate him. He conveys it all in the eyes – all the fear and anxiety, while constantly staying calm and collected, trying to talk to his captors, never losing his head. Even when fighting for his life, there is an assertive calmness that comes across so strongly that you can do nothing but admire this man. Hanks' performance is so convincing, it almost doesn't look like acting anymore... and that's a huge compliment.

The same goes for the other actors, especially the men playing the Somali pirates. Before being cast for this film, none of them had any acting experience, which makes their performances all the more impressive. Then, it also makes one wonder how much of a compliment it actually is when a director literally picks you off the street because apparently he thinks that you're perfectly fit for the part of a menacing pirate, but that's food for another discussion, another time... In any case, he was right about them. These men ARE absolutely convincing and authentic. Especially the leader of the gang, played by Barkhad Abdi, is right on the money. He needs nothing more than the look in his eyes to convince you that you're right to feel absolutely terrified of him.

From a technical standpoint, Captain Phillips is very well made. My only grievance is Greengrass' typical trademark: the shaky handy-cam. Here and there it's almost enough to make you seasick, and I really wish he would ease up on this gimmick, because although it adds to the feeling of suspense and chaos, that doesn't weigh up to the headache it causes. Steady-cam was invented for a reason, mister director. Use it. Still, the other qualities of the film are easily strong enough to make up for this one point of critique. The pacing is excellent, it grips you like a pitbull and never lets go until the credits roll in. Colouring and lighting effects are perfectly used for an incredibly realistic feel and claustrophobic atmosphere. Everything feels very real and absolutely no sentimental plot devices are exploited here. Top-notch screen writing.

I can do nothing other than strongly recommend this film. It is very intense and at times very violent, and definitely one of the best films in its genre. And if this doesn't convince you, see it for one of Tom Hanks' best performances of his career.
_(December 2014)_
The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged MV Maersk Alabama, the first American cargo ship to be hijacked in two hundred years.

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