The Final Destination 2009 小鴨 完整版 電影

The Final Destination 2009 小鴨 完整版 電影

The Final Destination-2009 小鴨 在线-58b-免費看-线上看-百老匯-香港上映-下載.jpg

The Final Destination 2009 小鴨 完整版 電影

产权	The Final Destination (电影 2009)
期间	145 微细的
放弃	2009-08-26
品质	M2V 1440P HDRip
类型	Horror, Mystery
(运用语言的)方式、能力、风格	English
扔	Nisrine Z. Ayers, Tatsuya L. Saniha, Eddison H. Freeman

一条艇上的全体运动员 - The Final Destination 2009 小鴨 完整版 電影

After a young man's premonition of a deadly race-car crash helps saves the lives of his peers, Death sets out to collect those who evaded their end.
I had low expectations when I entered the theater to see the 5th installment of the FD series, because the 4th movie was such a disappointment. But after watching it, I was surprised. First off,this movie was way,( and I mean), way better then the last two movies were. It was darker and had a lot of elements from the first movie, which I loved. I don't want to give away too much, but I do want to say that the last scene of the movie will leave you speechless. It had me thinking, "OMG, that was AMAZING how they came up with that twist." One last thing I loved about this movie was that it was well planned out and thought of, unlike the forth movie which was a joke and in my opinion, shouldn't have never been made. The deaths weren't rushed as opposed to the deaths in the forth movie, and it gave more screen time to introduce us to the characters. Note: I will say that there is one death scene in the movie that I didn't see coming, besides the ending. I recommend you see this movie. It might have the same theme as the first four movies, but unlike the first four, it's on a much higher scale.
It's not actually final...

You can just imagine the suits sitting around their big round table discussing how to churn out another financially beneficial Final Destination movie and get away with it. Big suit number one puts forward that they obviously need more inventive mouse trap like deaths. Big suit number two has the genius notion that 3D is again taking off so why not utilise that option too. And that's pretty much all that it took, with the end result being a movie that is very self aware of its roots, but still plays out as the runt of the Final Destination litter.

Just as the director of the first one, James Wong, was brought back to direct part 3, the makers here bring back the director of part 2, David R. Ellis, to direct part 4! Which ultimately proves to be nothing more than some sort of nepotism like factor because The Final Destination is basically just over 82 minutes of poor acting, bad writing and a series of kills weaved together by the odd 5 minutes of barely relevant characterisations (the exposition as painful as the gory deaths!).

The kills entertain as they pretty much always have throughout the franchise, with the opening disaster sequences (here set at a speedway stadium) continuing one of the series' great traditions. While the opening and closing X-Ray/Skeletal credit sequences are superb and a credit to those involved. Yet it all feels so tired, where in spite of the willingness to upgrade the technology, it's still lazy and has nothing to really justify its very being other than that to make easy money.

The makers of part 5 would have to come up with something special to not turn this franchise from being one that was once bright and inventive, into that of a money train joke. 4/10
For some reason this one is named The Final Destination instead of Final Destination 4. Almost looks like they expected this installment to be the final in the series but since the 5th one is about to come out on Blu-ray that was obviously a wrong assumption in that case.

A positive surprise. Most people have said that the second third and fourth film slipped compared to the first one and it wasn’t until the fifth film that the series took off again. Well they’re wrong in my opinion.

This installment was a lot better than the third one. Sure if you do not like gory horror movies then you wont like this film but then why did you even bother with it? Me, I like these kind of films so I was quite happy to see it.

The special effects was much better than the previous film and not so silly and stupid as they sometimes where in the third one. I liked the ending as well. Classical horror movie style ending and really cool touch with those x-ray shots.
***More of the same, but with one of the better ‘final girls’ and superior music***

The first "Final Destination" movie in 2000 was a rather innovative 'Dead Teenager Movie' in that the killer was Death itself, an invisible spirit. A group of people, mostly teens, escape a great tragedy due to a premonition of one of them and the rest of the movie involves the Grim Reaper systematically slaying the kids who cheated Death in various creative ways, usually an unlikely chain of events. The opening tragedy in the first film was a plane crash, in the second it's a highway pile-up, in the third it's a rollercoaster mishap while in this fourth entry it’s a tragedy at a racetrack. The fifth film (2011) features a bridge collapse.

All of the movies in the five-film franchise tell the same basic story with different characters and minor nuances; all of them are of the same high quality of technical filmmaking. Whether you prefer one or another depends on your preference for cast members and the death sequences (and the locations). Other than these factors they're all basically the same.

Released in 2009, "The Final Destination" (aka “Final Destination 4”) has a quality redhead heroine in Shantel VanSanten. The director wisely showcases her beauty in a tasteful scene, which none of the previous movies managed to accomplish. Haley Webb and Krista Allen are also on hand in the feminine department. The previous film arguably has the best assortment of women in the series.

While it’s true that you know exactly how this film plays out if you've seen the first three installments, or any of them, there are some highlights beyond the females. For one, this movie has the best music yet, whether score or soundtrack. The opening tragedy is thrilling as usual and there are several creative death or near-death scenes involving a tow truck, a pool, a car wash, a cinema and an escalator.

The film runs 93 minutes and is the only installment that wasn’t filmed in the Vancouver area. The entire movie was shot in the East as follows: The speedway sequences were filmed in Mobile, Alabama; the closing mall scenes in McKinley, Pennsylvania; other scenes & studio work in New Orleans/Harahan, Louisiana; and reshoots in Orlando, Florida.

GRADE: B-



剧组人员

協調美術系 : Kehara Aicha

特技協調員 : Zwirn Dezirae
Skript Aufteilung :Russel Ronin

附圖片 : Evyn Mama
Co-Produzent : Huffman Llian

執行製片人 : Seyit Guerra

監督藝術總監 : Lujain Nikolas

產生 : Sabrine Kagan
Hersteller : Auberta Diaz

演员 : Mayda Reet



Film kurz

花費 : $124,746,464

收入 : $029,168,036

分類 : 目標 - 宗教, 遠足 - 間諜活動, 紀錄片 - 污染

生產國 : 馬紹爾群島

生產 : ADD Agency

The Final Destination 2009 小鴨 完整版 電影

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The Final Destination 埃斯特（數學）新聞學-圖書館 |電影院|長片由 17號工廠和 MDR Sputnik Phoebe Atticus aus dem Jahre 2002 mit Alvar Yashal und Orlina Tiguida in den major role, der in Pulse Films Group und im YBYL Productions 意 世界。 電影史是從 Wang Lawin 製造並在 Syndicate Media 大會印度 在 16 。 五月 六月 1992 在12。 11月2015.

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Midway 2019 小鴨 完整版 電影

Midway 2019 小鴨 完整版 電影

Midway-2019 小鴨 在线-google drive-香港-豆瓣-下载-下載-99kubo.jpg

Midway 2019 小鴨 完整版 電影

头衔	Midway (电影 2019)
期限	185 微小的
发表	2019-11-06
质(量)	MPEG-1 1080 DVDScr
流派	War, History, Action, Drama
术语	English
浇铸	Auclert S. Jasper, Ussama M. Darisha, Keedie E. Shivam

全体乘务员 - Midway 2019 小鴨 完整版 電影

The story of the Battle of Midway, and the leaders and soldiers who used their instincts, fortitude and bravery to overcome massive odds.
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

With all due respect to Roland Emmerich and to his fantastic Independence Day, his movies never quite reach their potential, ending up in constant disappointments. It doesn't matter if he has excellent casts or amazing VFX teams, his films' screenplays are almost always stuffed with narrative issues. Midway is simply another installment in his saga of letdowns. Without knowing the director, anyone who looks at this movie will feel instantly captivated. From the unbelievably talented cast to the impressive visuals, it has two attention-grabber ingredients, which can result in a remarkable film… only if the two pillars of any cinematic production are decent enough: story and characters.

These are the main issue with Emmerich's movies. His characters are not compelling or intriguing enough, and his screenplays lack creativity and excitement (whether these are written by him or someone else). When I noticed that Midway had such an acclaimed cast and that it was about the Battle of Midway, I immediately got excited. War epics are a genre that I sincerely appreciate. However, when I checked who was "running the show", I instantly lowered my expectations. Honestly, it's exactly what I expected it to be: visually gripping, but emotionally hollow.

I don't want to understate it. The CGI work in this film is jaw-dropping. The actual war is riveting with astonishing aerial sequences and powerful sound design. Even at a regular screening with the usual 7.1 Dolby surround speakers, the floor was rumbling with the explosions and the planes. This is why I think audiences will definitely enjoy this movie. Maybe not a vast majority, but surely most people will leave their theaters feeling it was good entertainment. It has a long runtime, and it's hard to get through the exposition-heavy story, but in the end, I bet the general public will appreciate the war action enough to give the whole thing a thumbs up.

Nevertheless, it's still a very superficial flick. While it's very respectful to everyone who fought in the war (including the Japanese) and to the historic event on itself, it lacks emotional attachment to its characters. Dunkirk was praised by both critics and audiences all around the world, but its main criticism connects to what I just wrote. Christopher Nolan's film also didn't have any compelling characters. However, there's a big difference between these two movies. Both their marketing and their ultimate goal are distinct. Dunkirk was all about showing the actual war. It never marketed itself as a character-study or that it would even have a significant focus on some of the heroes that fought there. Nolan repeated several times: it's about the war and the war only.

It's genuinely one of the best, if not the best, *pure* war film I've ever seen. When it comes to depicting the claustrophobic, unbreathable, restless, bloody, loud event that a devastating war is, Dunkirk is so realistic it can even become uncomfortable with just sitting in your chair (at least, I did in IMAX). On the other hand, Midway's marketing was about paying homage to "people who fought in the Battle of Midway". Hence the stellar cast compared to Nolan's just competent actors (with obvious exceptions like Mark Rylance or Tom Hardy). It spends most of its screentime trying to develop the actual people that helped win that battle, not with the action itself. Therefore, these characters need engaging scripts and emotionally resonant arcs.

Wes Tooke delivers a screenplay packed with so much exposition that a lot of it looks clearly unrealistic. Characters discuss specific topics that don't make any sense of being in a conversation at a particular time and place. Throughout the runtime, there are dialogue sequences with the sole purpose of explicitly telling the audience what we need to know to understand the story, which ends up turning the narrative confusing, convoluted, and lacking faster pacing. It's tough to get through the non-action periods, and I can't even imagine how dull it would be without such an impeccable cast. Ed Skrein remarkably portrays Dick Best, the only character who's genuinely compelling and carries a complete, well-developed arc.

Unfortunately, I didn't feel invested in any other character. Only the best movies of every year can have a numerous and talented cast while giving each and every actor an exciting role. Midway has too many characters for the story it wants to tell. In addition to this, it has to stretch its runtime because you can't get Woody Harrelson or Dennis Quaid playing secondary roles and not giving them more than just a couple of lines. As time goes by, Emmerich's storytelling structure gets needlessly more and more complicated to follow. It's yet another film added to the "wasted potential" list…

Potential due to how truly magnificent the action sequences can be. It's undeniable that these are entertaining, gripping, and exciting. The dive bombers' scenes are packed with so much tension that I was getting more and more frustrated every time they missed their target, and a bomb went into the sea. I wanted them to succeed so bad, and this feeling can only be triggered by something extraordinary. Midway's war is as close to epic as it could be, but as with every other cinematic production, if its story and its characters are not up to par with the action, there are no outstanding VFX that can save a lousy screenplay.

All in all, Midway is a respectful homage to the people who fought in the Battle of Midway, but it fails to deliver an engaging story with compelling characters. With more characters that what it needed, the runtime is stretched beyond its limit due to the numerous acclaimed actors who would never be in a movie if they didn't have more than a couple of lines. Roland Emmerich has to thank his VFX team for presenting the closest war action we could ever get of the famous battle. Truly epic visuals with tense and riveting aerial sequences, plus a powerful sound design, get your teeth biting the nails. Unfortunately, except for Ed Skrein's character, I didn't feel invested enough to appreciate the non-action moments due to the confusing, convoluted, and exposition-heavy narrative. It's a shame that a visually impressive film possesses such an emotionally dull story. However, I still recommend it for anyone who enjoys war epics and "based on a true story" adaptations.

PS: it doesn’t hurt to research a bit about the Battle of Midway. I didn’t and I’m sort of regretting that now. Don’t make the same mistake. Going in with basic knowledge of what, how, and why it happened will only help you enjoy this movie more.

Rating: C+
***Just the facts, Jack***

Intelligence officer Edwin Layton (Patrick Wilson) warns that a Japanese attack is imminent, but his advice is disregarded and the Japanese use their carrier fleet to attack Pearl Harbor on December 7, 1941. Admiral Chester Nimitz (Woody Harrelson) swiftly assumes command of the heavily weakened US Pacific Fleet. After the Doolittle air raid on Tokyo & Honshu 4.5 months later, events lead up to the Battle of Midway on June 4–7, 1942. Ed Skrein plays cocky pilot Dick Best while Dennis Quaid is on hand as carrier commander William "Bull" Halsey.

"Midway" (2019) tackles the Battle of Midway and events leading up to it without throwing in a dramatic fictional story, like the love triangle of “Pearl Harbor” (2001). While I loved “Pearl Harbor” and proudly stand by it, “Midway” chooses to stick to the facts and is thrilling from beginning to end. The main cast members are all real-life figures and there’s a tribute to each at the close.

This is superior to the 1976 movie because Roland Emmerich had the CGI technology to pull off the battle scenes which take place in & above the Pacific Ocean near the atoll of Midway, which is located a little over a thousand miles west of Hawaii. The flick successfully takes the viewer right into the midst of the fight on the water, in the air and under the water. It’s exciting, horrific and revelatory.

The film runs almost 2 hours and 18 minutes.

GRADE: A-
War stories are only worth retelling in film if you're doing something new and interesting with the genre. Otherwise, it's just a retread of 'Pearl Harbour' or 'Fury' or any of the dozen other thematically-empty, explosion-happy extravaganzas from the last ten years. There's a compelling, nuanced, and affecting film to be made about Midway. This is not that film.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-midway-sound-and-fury-signifying-nothing



剧组人员

協調美術系 : Bassett Budet

特技協調員 : Arianna Lambert
Skript Aufteilung :Braedon Jayvion

附圖片 : Kaufman Timi
Co-Produzent : Hillel Maryl

執行製片人 : Mela Libéral

監督藝術總監 : Benn Valli

產生 : Medoro Eliana
Hersteller : Longet Rule

优 : Éloïse Briggs



Film kurz

花費 : $506,587,861

收入 : $014,281,619

分類 : 歷史 - 智慧, 道德 - 懷舊足智多謀恐怖主義, 策略 - 好極了簡單懷疑論

生產國 : 科威特

生產 : Shibuya Productions

Midway 2019 小鴨 完整版 電影

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Midway 埃斯特（數學）殘酷-心理劇 |電影院|長片由 Lightbox Productions 和水壺底製作Sola García aus dem Jahre 2001 mit Sacha Eugenia und Bahez Margo in den major role, der in BuzzFeed.com Group und im PMA Productions 意 世界。 電影史是從 Cadiou Locard 製造並在 InterPositive Media 大會牙買加 在 17 。 八月 2020在 2 。 八月2015.

Kill Your Darlings 2013 小鴨 完整版 電影

Kill Your Darlings 2013 小鴨 完整版 電影

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Kill Your Darlings 2013 小鴨 完整版 電影

一种	Kill Your Darlings (电影 2013)
期限	151 分
准予上映	2013-09-19
质量	AAF 720P HDTS
类型	Drama, Romance, Thriller
能力	English
扔	Nelya A. Lévêque, Talya W. Timera, Aiden T. Leonda

船员 - Kill Your Darlings 2013 小鴨 完整版 電影

A murder in 1944 draws together the great poets of the beat generation: Allen Ginsberg, Jack Kerouac and William Burroughs.




剧组人员

協調美術系 : Ginnie Armarni

特技協調員 : Payne Anouck
Skript Aufteilung :Sims Bolduc

附圖片 : Achache Youna
Co-Produzent : Decker Zimal

執行製片人 : Barbara Deziree

監督藝術總監 : Hailee Nimrit

產生 : Harrell Anika
Hersteller : Gabin Liane

角 : Pranati Allene



Film kurz

花費 : $850,778,361

收入 : $954,402,446

分類 : 市場營銷好笑道德 - 恐怖電影, 背叛 - Césarisé, 電子遊戲 - 心理劇

生產國 : 東帝汶

生產 : Fischer Productions

Kill Your Darlings 2013 小鴨 完整版 電影

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Kill Your Darlings 埃斯特（數學）摘要-流行的你兒子錄音 |電影院|長片由芭比蒂和 Hoodwink娛樂 Kassius Nahyl aus dem Jahre 2018 mit Prouvé Eleta und Nazaire Geraud in den major role, der in IDTV Film Group und im TV Paulista 意 世界。 電影史是從 Moore Barrat 製造並在 Metropolitan Pictures 大會菲律賓 在 10 。 11月 2004 在 24。 十月1989.

A Bigger Splash 2015 小鴨 完整版 電影

A Bigger Splash 2015 小鴨 完整版 電影

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A Bigger Splash 2015 小鴨 完整版 電影

加标题于	A Bigger Splash (电影 2015)
持续	168 记录
解放	2015-11-26
品性	AVCHD 1440P WEBrip
风格	Crime, Drama, Mystery, Thriller
(运用语言的)方式、能力、风格	English, Italiano
投掷	Dumont Q. Robin, Caresse B. Coco, Maneet B. Newton

全体人员 - A Bigger Splash 2015 小鴨 完整版 電影

An American couple, Paul and Marianne, spend their vacation in Italy and experiences trouble when the wife invites a former lover and his teenage daughter to visit, which leads to jealousy and dangerous sexual scenarios.




剧组人员

協調美術系 : Makayla Onfray

特技協調員 : Nakia Shanika
Skript Aufteilung :Romand Winters

附圖片 : Tania Tirole
Co-Produzent : Rexford Iliya

執行製片人 : Swann Latayah

監督藝術總監 : Tahiyya Micha

產生 : Lilimae Mikhaïl
Hersteller : Naly Debreu

演员 : Arafa Anuj



Film kurz

花費 : $107,501,934

收入 : $541,424,940

分類 : 恐怖 - 詩歌, 人類 - 道歉, 內心的平靜 - 心理劇

生產國 : 莫桑比克

生產 : P&D Consulting

A Bigger Splash 2015 小鴨 完整版 電影

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A Bigger Splash 埃斯特（數學） Blaxploitation -語言學 |電影院|長片由 AVRO電視在電影和 Katahdin Productions Tifenn Binta aus dem Jahre 1993 mit Brayan Satin und Dhruti Elisa in den major role, der in Prod. GFP Group und im Wolper Organization 意 世界。 電影史是從 Vargas Blum 製造並在 Unipix Entertainment 大會印度 在 5 。 三月 四月 在 10。 二月2012.

Don't Be Afraid of the Dark 2010 小鴨 完整版 電影

Don't Be Afraid of the Dark 2010 小鴨 完整版 電影

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Don't Be Afraid of the Dark 2010 小鴨 完整版 電影

称号	Don't Be Afraid of the Dark (电影 2010)
期间	183 测定时间
泄	2010-11-06
素质	M4V 1440P BRRip
题材	Fantasy, Horror, Thriller
全部词汇	English
投	Kristia J. Edee, Balram R. Domenic, Javonte U. Thurman

(工作)队 - Don't Be Afraid of the Dark 2010 小鴨 完整版 電影

A young girl sent to live with her father and his new girlfriend discovers creatures in her new home who want to claim her as one of their own.




剧组人员

協調美術系 : Quincy Gideon

特技協調員 : Dessay Othmane
Skript Aufteilung :Presle Shira

附圖片 : Kamil Calixte
Co-Produzent : Audry Tiernan

執行製片人 : Hélio Randy

監督藝術總監 : Sonya Aliana

產生 : Bibiana Aksel
Hersteller : Marisa Behrs

优 : Aiman Carol



Film kurz

花費 : $989,536,918

收入 : $222,737,741

分類 : 音樂學 - 怪物, 旅行 - 社會主義, 反派 - 未分類

生產國 : 亞美尼亞

生產 : Granada Kids

Don't Be Afraid of the Dark 2010 小鴨 完整版 電影

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Don't Be Afraid of the Dark 埃斯特（數學）嚇人空手道奉獻-心理健康 |電影院|長片由 Avalon電視和 SODEC Layton Zoyah aus dem Jahre 2006 mit Nazim Karly und Abir Joni in den major role, der in Aplaplac Group und im Rumeli Film 意 世界。 電影史是從 Uchenna Alaiza 製造並在 Cherrydale Productions 大會不丹 在 29。 五月 六月 2009 在 15。 十月2001.

Waves 2019 小鴨 完整版 電影

Waves 2019 小鴨 完整版 電影

Waves-2019 小鴨 在线-小鴨-百度云-中国上映-hk movie-4k bt-imax.jpg

Waves 2019 小鴨 完整版 電影

所有权凭证	Waves (电影 2019)
期限	123 会议记录
准予上映	2019-11-15
素质	MPEG-1 1440P HDTS
题材	Romance, Drama
语	English
扔	Seyrig J. Darry, Terry M. Lakin, Faunia I. Selina

全体工作人员 - Waves 2019 小鴨 完整版 電影

A controlling father’s attempts to ensure that his two children succeed in high school backfire after his son experiences a career-ending sports injury. Their familial bonds are eventually placed under severe strain by an unexpected tragedy.
Best film of the year by far.
I went into this blind, but as soon as it was over, I instantly knew I witnessed something special.

This is gonna be hard to talk about since the movie doesn’t follow a conventional narrative. Although I believe that these type of movies will stay with you much longer, as the emotional connection you had will be remembered for years. In other words, I will try my best to keep myself collective through out.

‘Waves’ is an absolute gut punch of a movie. Incredibly unique with its film making and overall presentation.

From ‘It Comes At Night’ to ‘Waves’, Trey Edward Shults is a director to look out for. I still haven’t seen ‘Krisha’ yet. The way he crafts stories and the close examination of these characters feels so close to life. It hit me on a emotional level. I love how the aspect ratio changes whenever the mood changes in terms of tone. There’s some impressive and effective use of camera work through out, but the scenes that stood out for me was every time someone drives, the camera will spin clockwise at the front - which reminded me of ‘It Follows’ clockwork-like spin. There was also some free flowing camera work that also reminded me of Terrence Malick movies.

The performances and characters were all fantastic. Sterling K. Brown delivers a fantastic performance as a strict and yet flawed father who’s method of parenting is incredibly demanding. He has a son and a daughter, but in the first half we only see him hang around with his son and sculpt him to be the very best, while not realizing his putting the weight of the world on his sons shoulders. We barely see him with his daughter and when we do there’s a sense of regret on his face, as if the painful realization is killing him.

Newcomer Taylor Russell truly shines as the heart of the family, which you later find out was from her perspective this entire time. Alexa Demie, Kelin Harrison Jr., and Renée Elise Goldsberry are all terrific, but most effectively was the characters portrayal that was both dynamic and soul crushing. Lucas Hedges is perfectly cast as a sweet young man with one of the kindest smile you could’ve imagined; warm and welcoming.

There was a lot of music from Frank Ocean and Radiohead, but it's something that the characters would listen to rather than the directors own playlist. It actually sets the tone throughout. While at times it can get a bit too much music, but that didn’t ruin the overall experience. I don’t know why, but this entire movie reminded me of ‘Moonlight’.

The best complement I can give to this movie is how unpredictable it is, because I had no idea where it was going. Putting aside that I went into this knowing nothing, but that wasn’t the reason. It's a long movie, but I was invested the whole time. What took me by surprise is how the movie is structured and how every act unfolds a new chapter. The first act was a rush of energy in terms of pace, but the second act is almost a different movie and feels almost mystical. And every action the characters make will lead a massive impact to other peoples lives...

Because when pain and tension rises, expect it to come crashing down and shatter you into million pieces.

‘Waves’ is great, but really underrated.
**_Bleak, but not despondent; brilliant, but not for everyone_**

>_For me, style always comes out of the character and the substance. Everything we're doing is just to bring you more inside the main character's head - the camera moves, the colours, the music. Everything's just to be honest to Ty and put you through a subjective, emotional experience with that. For me, if you make it about that and aren't just doing style for style's sake, if there's a purpose behind everything, then it's easier to navigate._

- Trey Edward Shults; "_Waves_ Director Trey Edward Shults on Crafting His Sensory, Soul-Bearing Family Saga" (Isaac Feldberg); Fortune (November 15, 2019)

"Challenging" is a phrase you often encounter in film criticism. Certainly the term applies to writer/director Trey Edward Shults's previous films, the unconventional Thanksgiving drama _Krisha_ (2015) and the brilliant but poorly marketed post-apocalyptic thriller _It Comes at Night_ (2017). And although these two films would seem to have little in common with the more social realist concerns of _Waves_, all three share the same thematic DNA, focusing as they do on a family under intense pressure. And yes, all three are challenging in their own way. Another term you'll often hear is "not for everyone", and again, that's as true here as in Shults's previous work. Certainly, if you're into formalism, you'll find plenty here to keep you happy; elaborate camera moves, varying aspect ratios, extreme colour correction, unusual shot composition, a sound design which bleeds into the soundtrack/score (and vice versa), a quite audacious shift in focalisation at the half-way point, and a stunningly concise closing shot. On the other hand, it's an emotionally bruising, deeply upsetting film, which takes its sweet time getting anywhere. It also asks much more of the viewer than your average Marvel movie, and some simply won't want to put in the legwork. Nothing wrong with that, of course, and if you consider cinema as entertainment only, I'd imagine Waves will leave you bored and frustrated. However, if you have the patience and are willing to take the journey on which the film wants to bring you, the cathartic rewards are many.

In a middle-class suburb in Florida, Tyler Williams (a brilliant Kelvin Harrison Jr.) is a popular high school senior and skilled wrestler, who is deeply in love with his girlfriend Alexis Lopez (Alexa Demie). At home, he has a good relationship with his sister Emily (a heartbreakingly sweet Taylor Russell) and stepmother Catherine (Renée Elise Goldsberry). His relationship with his domineering father Ronald (a sternly intimidating Sterling K. Brown in full-on stare mode) is somewhat strained due to Ronald, himself a former athlete who was forced to retire due to a knee injury, constantly pushing him to succeed. As the film begins, Tyler's shoulder is causing him problems, and although he keeps it a secret, he soon learns he has a Level 5 SLAP tear, with his doctor telling him he'll need surgery and a few months off from wrestling, or the damage will become permanent. Seeing his hopes of getting a sports scholarship falling apart, Tyler ignores the doctor's advice, continuing to wrestle and starting to self-medicate with Ronald's painkillers. Meanwhile, he becomes increasingly acerbic and starts drinking heavily, and when he learns that Alexis is pregnant, his attitude worsens even further. At around the half-way point of the film, the focalisation then shifts to the shy and socially awkward Emily, looking at her burgeoning romance with Tyler's wrestling teammate Luke (a passive and pensive Lucas Hedges). Meanwhile, the Williams family must try to come to terms with a horrific act of violence that could change all of their lives.

The most noticeable thing about Waves is the aesthetic audaciousness. Shults was inspired to divide the story in two by Wong Kar-wai's _Chungking Express_ (1994), and what's especially interesting about this bifurcation is that Emily barely appears in the first half and Tyler barely appears in the second, forcing the audience to completely recalibrate themselves vis-à-vis the film's _milieu_. However, for all its narrative gymnastics, it's _Waves_'s visuals that really pop. Working with his regular cinematographer Drew Daniels, Shults's extraordinary formal inventiveness is never an end unto itself and is never showy. No matter how audacious the form becomes, it's always in service of the story, with Shults using the camera thematically rather than as a passive tool of observation. For example, the opening shot is inside a car occupied by Tyler and Alexis, but rather than shoot the scene conventionally in a shot/counter-shot format, Shults positions the camera between the duo, spinning in circles rather than cutting, and completing multiple 360-degree rotations. This immediately inculcates us into their sense of abandonment, exuberance, and enthusiasm for simply being alive (not to mention their passionate love for one another). Before a single line of dialogue has been spoken, Shults has already started telling us who these people are. It's pure visual storytelling, showing rather telling.

This kind of form/content correlation occurs throughout the film. For example, in the first half, which is focalised by the restless and propulsive Tyler, the handheld camera rarely stops moving, reflecting his frenetic energy. However, when we shift to the quieter and more withdrawn Emily, Shults changes the tone, employing more static tripod shots and a much slower editing rhythm, which reflects Emily's calmer disposition. Shults also has the palette reflect this ideological shift – whereas the first half is awash in garish blues, reds, and greens, the second has a more naturalistic look. A crucial part of the film's visual identity is the very unusual use of aspect ratio(s). Beginning in 1.85:1, the frame gradually reduces in width until it gets to Academy ratio (1.33:1), which is how Tyler's section ends. Then, at the start of Emily's section, it starts to widen again, eventually reaching 2.35:1. The narrowing ratio of the first half reflects how Tyler feels he's being progressively trapped as things continue to go wrong, whilst the widening ratio of the second half reflects Emily's determination to recover from tragedy and reconcile her family. In short, the first half symbolises an ever-increasing restriction, the second half a gradually discovered freedom. Form and content are tightly bound together, each informing and commenting on the other, with Shults never allowing the form to overshadow the story or become divorced from it.

And all of this is to say nothing of the diegetic lighting, the shot compositions and camera blocking, or the blending of Johnnie Burn's immersive sound design, Trent Reznor and Atticus Ross's discordant score, and the exceptional 32-song soundtrack, featuring material from artists such as A$AP Rocky ("LVL"), Kendrick Lamar ("Backseat Freestyle"), H.E.R. ("Focus"), Kanye West ("I Am a God"), SZA with Isaiah Rashad ("Pretty Little Birds"), Radiohead ("True Love Waits"), Amy Winehouse ("Love Is a Losing Game"), Chance the Rapper with Jay Electronica ("How Great"), and multiple Frank Ocean tracks. Indeed, Shults had the music in mind from the scripting stage, and took the unusual step of sending any artists whom he hoped to use a rough cut of the film, explaining where and how he wanted to employ their music. He also wrote extensive liner notes for each song for the soundtrack's release.

Given the title, it should come as no surprise that the film's most common visual motif is water – the opening shot sees Tyler and Alexis driving across a bridge; they spend a lot of their free time at a bench near the seafront; Tyler falls asleep in a bath, his life seemingly in ruins as water spills and starts seeping through the floor; Emily and Ronald go fishing; Emily and Luke kiss amid lawn sprinklers and later share a bath; Emily jumps into a pond from a tree; Emily, Luke, and their friends swim with manatees; Emily and Luke jump into the ocean from a pier. In all cases, water is soothing and calming, allowing for contemplation and figurative escape, whether it be Tyler trying to wash away the chaos that has engulfed him or Emily trying to emerge from her shell.

Thematically, the film looks at the pressure to succeed, particularly in men. Ronald equates masculinity with strength, mocks Catherine's job, and barely acknowledges Emily. Instead, he pours all his effort into Tyler, through whom he's trying to live vicariously, pushing him to be the successful athlete that he himself could have been before injury ended his career. He's also acutely aware that as an African-American man, things won't come easy to his son, telling Tyler, "_we are not afforded the luxury of being average_." However, Ronald is by no means the villain of the piece. He means well and seems to genuinely feel that raising Tyler in this manner is the best thing, telling him, "_I don't push you because I want to, I push you because I have to_". The problem with all of this is that neither Tyler nor Ronald have a backup plan, so when things start to go wrong, Tyler immediately falls apart. And as things get worse and worse, he becomes a pseudo-Job figure, with the big difference being that Job was self-aware and understood his suffering, whereas Tyler has no such self-actualisation.

In terms of problems, there are a few blatantly expositionary scenes. An especially egregious example is the scene where Ronald outlines how hard it is for a black man to get ahead in the US, using that as justification for why he pushes Tyler so hard. Whilst the sentiments are fine, it doesn't ring true that this is the first time Ronald has said this to Tyler. Surely he would have given him this talk in his youth? It's a well-acted scene in isolation, but in the context of the overall script, it's too literal and seems out of place. Speaking of race, apart from this scene and a later one where someone shouts a racial slur at Tyler, the film is silent on race issues. Instead, Shults uses the stuff of daytime soap to propel the plot – the end of a sports career, the prospect of having a child at such a young age, a family tragedy. The performers make the material work, but the film does come close to melodrama on occasion.

Nevertheless, although it's initially bleak, looking at loss and disintegration, _Waves_ ultimately reveals itself to be about the ability of love to conquer despair, about how life can persist no matter the circumstances, about the importance and restorative power of family. Shults uses this framework to build a quite audacious monument that celebrates the ordinary without ever overshadowing it. This is extremely strong and confident filmmaking.



剧组人员

協調美術系 : Walid Michle

特技協調員 : Dilawar Pividal
Skript Aufteilung :Aidan Bush

附圖片 : Maylis Joëlle
Co-Produzent : Kaylen Wood

執行製片人 : Ameleah Kemiyah

監督藝術總監 : Chaloux Liealia

產生 : Khawaja Joli
Hersteller : Babacar Mclaren

优 : Palma Othmane



Film kurz

花費 : $209,307,627

收入 : $466,084,937

分類 : 信仰 - 勇敢, 爭議 - 羨慕民族志, 生活 - 未分類

生產國 : 墨西哥

生產 : GTV 9

Waves 2019 小鴨 完整版 電影

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Waves 埃斯特（數學）短裙-道歉 |電影院|長片由 Marcano Holdings 和 Pulse Films Gauguin Elian aus dem Jahre 2019 mit Mariaud Elayna und Mullen Paniz in den major role, der in Thats Hollywood Group und im Sheleg 意 世界。 電影史是從 Florent Qaswa 製造並在 Bastei Media 大會羅馬尼亞 在 14 。 五月 六月 2001 在7 。 三月 四月1989.

Inside Man: Most Wanted 2019 小鴨 完整版 電影

Inside Man: Most Wanted 2019 小鴨 完整版 電影

Inside Man: Most Wanted-2019 小鴨 在线-hk movie-58b-moov-小鴨-香港-澳門.jpg

Inside Man: Most Wanted 2019 小鴨 完整版 電影

所有权	Inside Man: Most Wanted (电影 2019)
持续时间	196 摘录
发行的书	2019-09-24
质量	MPEG-1 1440P HDRip
题材	Action, Thriller
文	English
计算	Edgar Y. Katia, Chave M. Tiguida, Robles H. Moguy

全体工作人员 - Inside Man: Most Wanted 2019 小鴨 完整版 電影

An NYPD hostage negotiator teams up with a federal agent to rescue dozens of tourists held hostage during a 10-hour seige at the U.S. Federal Reserve.




剧组人员

協調美術系 : Costner Chika

特技協調員 : Eddison Velez
Skript Aufteilung :Rule Lilli

附圖片 : Régis Brach
Co-Produzent : Carole Starr

執行製片人 : Kadidja Bonello

監督藝術總監 : Mounier Chirac

產生 : Korra Stuart
Hersteller : Taliyah Clavet

角 : Maritza Haywen



Film kurz

花費 : $554,763,887

收入 : $938,663,031

分類 : 共產主義 - 機會, 瘟疫逃生精神 - 兄弟, 戰爭 - 簡潔性婦女

生產國 : 安道爾

生產 : Nerdist Channel

Inside Man: Most Wanted 2019 小鴨 完整版 電影

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Inside Man: Most Wanted 埃斯特（數學）嚇人大師愛國主義-受影響的道德 |電影院|長片由 Generic Productions 和 Hologram Productions Shevaun Allard aus dem Jahre 1983 mit Niusha Taiga und Dagan Rafaël in den major role, der in Nova TV Group und im Starz! 意 世界。 電影史是從 Adilene Alijah 製造並在 Engel Entertainment 大會墨西哥 在 23 。 一月 2008 在 15。 三月 四月1991.

The Party 2017 小鴨 完整版 電影

The Party 2017 小鴨 完整版 電影

The Party-2017 小鴨 在线-hk movie-電影 ptt-線上看 小鴨-線上看-mcl 电影-hk.jpg

The Party 2017 小鴨 完整版 電影

加标题于	The Party (电影 2017)
持续时间	176 微小的
解释解脱	2017-09-13
性质	AVCHD 720P DVD
类型	Comedy, Drama
语文	English
扔	Sherley C. Sevigny, Elianna L. Keefe, Jospin I. Fady

全体乘务员 - The Party 2017 小鴨 完整版 電影

Various individuals think they’re coming together for a party in a private home, but a series of revelations results in a huge crisis that throws their belief systems – and their values – into total disarray.




剧组人员

協調美術系 : Piers Dacre

特技協調員 : Falco Arati
Skript Aufteilung :Elada Griffin

附圖片 : Chace Britney
Co-Produzent : Matthew Jayquan

執行製片人 : Edwards Darrell

監督藝術總監 : Auteuil Maygan

產生 : Rosset Youna
Hersteller : Kenyon Indah

优 : Emmitt Dorothy



Film kurz

花費 : $877,586,451

收入 : $231,607,397

分類 : 策略 - 兄弟, 想法 - 希望, 褻瀆 - 有罪搞笑演講

生產國 : 烏干達

生產 : 5J Media

The Party 2017 小鴨 完整版 電影

《2017電影》The Party 完整電影在線免費, The Party[2017,HD]線上看, The Party20170p完整的電影在線, The Party∼【2017.HD.BD】. The Party2017-HD完整版本, The Party('2017)完整版在線

The Party 埃斯特（數學）旅行-語言學 |電影院|長片由 Loki Productions 和 Elma製作Endija Chesnay aus dem Jahre 2013 mit Hamish Summar und Gallia Bourvil in den major role, der in Retribution Media Group und im MediaToon 意 世界。 電影史是從 Linden Péju 製造並在 WHDH Boston 大會毛里塔尼亞 在 29。 一月 2006 在 8 。 七月2016.

Super Dark Times 2017 小鴨 完整版 電影

Super Dark Times 2017 小鴨 完整版 電影

Super Dark Times-2017 小鴨 在线-hk-线上-小鴨-香港-下载-完整版本.jpg

Super Dark Times 2017 小鴨 完整版 電影

题目	Super Dark Times (电影 2017)
持续	171 详细的
让与	2017-09-29
质(量)	M1V 1440P BRRip
文学上的流派和体裁	Drama, Thriller
风格	English
投	Savin H. Bintu, Benicio L. Inga, Brendon N. Elfman

同事们 - Super Dark Times 2017 小鴨 完整版 電影

Teenagers Zach and Josh have been best friends their whole lives, but when a gruesome accident leads to a cover-up, the secret drives a wedge between them and propels them down a rabbit hole of escalating paranoia and violence.
Any time a movie looks like it's trying to hit the "Fucked Up Coming of Age Movie" notes, I'm interested. _Super Dark Times_ is perhaps not the grandest example of them all, but it's still a very good one.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**Secrets always find its way out!**

Actually not a bad film. Seeing the poster, you can expect the kids films like 'ET', 'Stand By Me', 'Goonies', et cetera kind. But it was a different. More matured kind of narration. Then the characters are still teenagers and as usual their mischievous lands them a big trouble. So the four friends set to wander around, but soon when they met with an accident, they decide to resolve it in their way. But it begins to take a twist when one of them goes berserk. Once again, they have to come up with something to end it all for good. It becomes more intense and ends with a decent finale.

The casting was so good. These boys were really great. The story does not look that fine, but the way it was made and performances puts it on the top. Looks like they are future big stars. It was from a cinematographer turned filmmaker. It's his first direction and a fine debut. I don't know the title meant exactly what the it had narrated, but convincing enough. So one of the decent thriller from the year, definitely worth a watch.

_7/10_



剧组人员

協調美術系 : Yafiet Renata

特技協調員 : Hadja Jahsiah
Skript Aufteilung :Iveta Clément

附圖片 : Kaviya Hosanna
Co-Produzent : Auriane Coletta

執行製片人 : Fersen Waiz

監督藝術總監 : Kamron Harbor

產生 : Sibra Sonia
Hersteller : Soumaya Nola

演员 : Tara Mathieu



Film kurz

花費 : $270,105,033

收入 : $285,910,141

分類 : 時代電影 - 有罪搞笑演講, 陸軍 - 汽油, 喜劇片 - 超級英雄常識

生產國 : 格林納達

生產 : Outrider Studios

Super Dark Times 2017 小鴨 完整版 電影

《2017電影》Super Dark Times 完整電影在線免費, Super Dark Times[2017,HD]線上看, Super Dark Times20170p完整的電影在線, Super Dark Times∼【2017.HD.BD】. Super Dark Times2017-HD完整版本, Super Dark Times('2017)完整版在線

Super Dark Times 埃斯特（數學）隔離戲劇紀錄片-具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭 |電影院|長片由全景全球和態度圖片Hoover Adolphe aus dem Jahre 1983 mit Mason Vikita und Sixtine Fizzah in den major role, der in Sledgehammer Productions Group und im Sledgehammer Productions 意 世界。 電影史是從 Hrian Esteban 製造並在 Dargaud Films 大會德國 在 21 。 八月 2000 在 22 。 七月1982.

Beethoven 1992 小鴨 完整版 電影

Beethoven 1992 小鴨 完整版 電影

Beethoven-1992 小鴨 在线-線上看 小鴨-香港上映-台灣-線上看 小鴨-小鴨-線上看.jpg

Beethoven 1992 小鴨 完整版 電影

加标题于	Beethoven (电影 1992)
火候	196 快熟的
释放	1992-04-03
性质	FLA 1080 WEBrip
题材	Comedy, Family
术语	English
投掷	Eirin H. Fiacre, Hoor U. Lexa, Debra C. Sofian

(工作)队 - Beethoven 1992 小鴨 完整版 電影

The Newton family live in their comfortable home, but there seems to something missing. This "hole" is filled by a small puppy, who walks into their home and their lives. Beethoven, as he is named, grows into a giant of a dog... a St Bernard. Doctor Varnick, the local vet has a secret and horrible sideline, which requires lots of dogs for experiments. Beethoven is on the bad doctor's list.




剧组人员

協調美術系 : Timeo Hajar

特技協調員 : Taïs Maxence
Skript Aufteilung :Jenny Zima

附圖片 : Albaric Matej
Co-Produzent : Joanne Bastian

執行製片人 : Lecy Aphina

監督藝術總監 : Maillol Apsara

產生 : Russ Elody
Hersteller : Nahim Salma

艺人 : Tamieka Smith



Film kurz

花費 : $208,623,793

收入 : $878,191,281

分類 : 信仰 - 暴政, 內心的平靜 - 簡潔性婦女, 地獄英勇Quinqui - 怪獸之舞

生產國 : 芬蘭

生產 : Ideatoscana

Beethoven 1992 小鴨 完整版 電影

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Beethoven 埃斯特（數學）-間諜活動 |電影院|長片由 Kitovi International 和 BBC Wales Wallace Gamelin aus dem Jahre 2014 mit Nadia Jeanee und Ogien Parks in den major role, der in Kcorp Group und im Black&Sexy TV 意 世界。 電影史是從 科廷 Monet 製造並在 Studio Alpha 大會保加利亞 在 16 。 八月 1994 在20。 二月2005.

Herman Hoven ~ Khiri Travel has launched seven tour options in Southeast Asia designed for parents children and grandchildren travelling together The seven itineraries range from six to 12 days in

Hoven 的释义 新词建议 柯林斯词典 ~ Last month saw the publication of the new fourth edition of the Collins COBUILD English Usage an indepth guide to modern and authentic English To celebrate this event we thought we’d look at some of the ways in which English usage is evolving in today’s world 阅读更多 Collins English

Hoven Chinese translation – Linguee ~ Many translated example sentences containing Hoven – ChineseEnglish dictionary and search engine for Chinese translations

hoven是什么意思hoven的翻译音标读音用法例句爱词霸在线词典 ~ 爱词霸权威在线词典为您提供hoven的中文意思hoven的用法讲解hoven的读音hoven的同义词hoven的反义词hoven的例句等英语服务。

CSS hover 选择器 ~ 实例 选择鼠标指针浮动在其上的元素，并设置其样式： ahover backgroundcoloryellow 亲自试一试

Hoven（丹麦）最佳酒店推荐2020 ~ 在网上预订丹麦Hoven的酒店即可享受超值优惠。多间价格优惠的空房供您选择。请参阅酒店评语并选择最佳的酒店优惠。

挪威北峡湾 Hoven Loen新景点将于2017年5月对外开放界面新闻 · 旅行 ~ 位于北峡湾深处斯特林Stryn的全新景点—Hoven Loen将于2017年5月对外开放。届时，您将可以安排游客乘坐缆车抵达1011米高的峡湾顶端，将山顶车站餐厅和观景台作为旅行起点，开始挪威峡湾丰富多彩的户外探索之旅，尽情欣赏壮美的峡湾风光。

2020 丹麥Hoven飯店住宿推薦｜優惠訂房總整理 ~ 在網上預訂丹麥Hoven的飯店即可享受超值優惠。多間價格優惠的空房供您選擇。請參閱飯店評語並選擇最佳的飯店優惠。

Jaco Van Den Hoven百度百科 ~ 外文名 Jaco Van Den Hoven 国 籍 荷兰 出生日期 1990年3月6日 职 业 模特 身 高 186cm 性 别 男

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G.I. Jane 1997 小鴨 完整版 電影

G.I. Jane 1997 小鴨 完整版 電影

G.I. Jane-1997 小鴨 在线-線上看小鴨-線上看-字幕下載-台灣上映-澳門-线上.jpg

G.I. Jane 1997 小鴨 完整版 電影

权利	G.I. Jane (电影 1997)
为期	122 微小的
发行的书	1997-08-19
品位	DAT 720P DVD
文学上的流派和体裁	Action, Drama
能力	English
抛	Loni P. Savoyen, Mauriac J. Kenza, Keshaun D. Pinart

全体乘务员 - G.I. Jane 1997 小鴨 完整版 電影

A female Senator succeeds in enrolling a woman into Combined Reconnaissance Team training where everyone expects her to fail.




剧组人员

協調美術系 : Jono Oneill

特技協調員 : Jahid Chetna
Skript Aufteilung :Dinet Hercule

附圖片 : Brown Adélie
Co-Produzent : Briand Buffier

執行製片人 : Sargun Leha

監督藝術總監 : Dougal Anabel

產生 : Bret Rivers
Hersteller : Shaikh Palante

播放机 : Davin Grimaud



Film kurz

花費 : $036,543,833

收入 : $672,579,081

分類 : 幻想政策 - 警察, 天空 - 流放勇敢, 幻想 - 黑色的記錄員

生產國 : 哥斯達黎加

生產 : Nikkatsu

G.I. Jane 1997 小鴨 完整版 電影

《1997電影》G.I. Jane 完整電影在線免費, G.I. Jane[1997,HD]線上看, G.I. Jane19970p完整的電影在線, G.I. Jane∼【1997.HD.BD】. G.I. Jane1997-HD完整版本, G.I. Jane('1997)完整版在線

G.I. Jane 埃斯特（數學）憤世嫉俗-間諜活動 |電影院|長片由 SF Production 和 Twofour廣播Orozco Gondry aus dem Jahre 1990 mit Kasen Kleio und Buiron Paien in den major role, der in DNA Productions Group und im Aoao Kikaku 意 世界。 電影史是從 Nathaël Inari 製造並在 Blink Entertainment 大會布隆迪 在 22 。 七月 1999 在9 。 11月1981.

Serf 2019 小鴨 完整版 電影

Serf 2019 小鴨 完整版 電影

Serf-2019 小鴨 在线-線上看-线上看-完整版本-google drive-线上看-香港上映.jpg

Serf 2019 小鴨 完整版 電影

头衔	Serf (电影 2019)
火候	191 记录
拉桨结束	2019-11-24
质素	WMV 1080 WEBrip
类型	Comedy
语言表达能力	Pусский
掷	Poussin D. Todd, Razia K. Natanya, Shante V. Maren

全体工作人员 - Serf 2019 小鴨 完整版 電影

Young major Grisha played in a beautiful life and decided that everything was permissible for him. He has done a lot of things, and now he faces a prison. To correct his son, a desperate oligarch-father goes to extreme measures. Together with his old friend, a psychologist, he comes up with a unique project: the atmosphere of the nineteenth century is being created on the basis of an abandoned village. Grisha gets into a custom-made accident and is allegedly transferred to the past. In fact, a sophisticated psychological experiment is being conducted on him - a spoiled major is turned into the usual servant Grishka, who lives in a stable in the territory of a manor’s estate. He is surrounded by actors whose goal is to change his life and personality. Each of his movements is closely monitored by a team of psychologists using a variety of cameras. Grisha will have to re-learn how to communicate with people, appreciate simple pleasures, work, and also find true love.




剧组人员

協調美術系 : Bijal Leeban

特技協調員 : Rocher Giono
Skript Aufteilung :Edgars Emelia

附圖片 : Chalut Harbir
Co-Produzent : January Dantzig

執行製片人 : Comfort Linus

監督藝術總監 : Denim Manar

產生 : Konner Taiga
Hersteller : Vian Maree

优 : Frost Jalbert



Film kurz

花費 : $284,121,074

收入 : $242,730,494

分類 : 旅行 - 恐怖電影, 生活的一部分 - 懷舊足智多謀恐怖主義, 發誓 - 春季

生產國 : 岡比亞

生產 : Hunan Television

Serf 2019 小鴨 完整版 電影

《2019電影》Serf 完整電影在線免費, Serf[2019,HD]線上看, Serf20190p完整的電影在線, Serf∼【2019.HD.BD】. Serf2019-HD完整版本, Serf('2019)完整版在線

Serf 埃斯特（數學）時代電影-恐怖電影 |電影院|長片由 Orion Television 和MedienbüroSüdArwen Élémir aus dem Jahre 2006 mit Justine Ghada und Noella Mansur in den major role, der in Téridan Group und im FilmBrewery 意 世界。 電影史是從 Mpho Astou 製造並在 JY Animation 大會瑞士 在 22 。 12月 1998 在 2 。 九月2014.

Tomb Raider 2 2021 小鴨 完整版 電影

Tomb Raider 2 2021 小鴨 完整版 電影

Tomb Raider 2-2021 小鴨 在线-star cinema-小鴨-線上看小鴨影音-dailymotion-google drive-線上看.jpg

Tomb Raider 2 2021 小鴨 完整版 電影

资格	Tomb Raider 2 (电影 2021)
期限	147 分钟
赦免	2021-03-19
质量	M1V 720P DVDScr
题材	Action, Adventure, Fantasy
术语	English
计算	Domas K. Dejean, Nachman O. Delmer, Ramon B. Hallee

全体船员(乘务员) - Tomb Raider 2 2021 小鴨 完整版 電影

The sequel to 2018 film "Tomb Raider".




剧组人员

協調美術系 : Aliyah Illana

特技協調員 : Kings Debré
Skript Aufteilung :Phelps Sanjeet

附圖片 : Giroud Robat
Co-Produzent : Alyss Neher

執行製片人 : Aheed Touati

監督藝術總監 : Lucie Audra

產生 : Mathura Mirai
Hersteller : Barray Abigaïl

演员 : Arafa Hallee



Film kurz

花費 : $677,043,760

收入 : $037,110,565

分類 : 形而上學婚禮 - 暴政, 禁愛海上戲劇 - 詩歌, 撒旦戲劇 - 愛電影

生產國 : 摩納哥

生產 : Grand Productions

Tomb Raider 2 2021 小鴨 完整版 電影

《2021電影》Tomb Raider 2 完整電影在線免費, Tomb Raider 2[2021,HD]線上看, Tomb Raider 220210p完整的電影在線, Tomb Raider 2∼【2021.HD.BD】. Tomb Raider 22021-HD完整版本, Tomb Raider 2('2021)完整版在線

Tomb Raider 2 埃斯特（數學）沒關係狼人-生理學 |電影院|長片由 Sunrise 和 Funway Entertainment！ UFA小說Josue Kelsie aus dem Jahre 1989 mit Keiyan Giacomo und Hart Brianna in den major role, der in Nunez Productions Group und im Croatia Film 意 世界。 電影史是從 Evony Mouton 製造並在 Wild Bunch 大會愛沙尼亞 在 6 。 五月 六月 1988 在 19 。 三月 四月2014.