Silhouette is a movie that will air on 2019-01-28 which is 114 Minutes duration, will star April Hartman, Tom Zembrod, Savannah Solsbery, Jessica Dawn Willis. This film is genre Horror, Drama.
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is a site for free movies to stream Silhouette online movies in HD quality. syinopsis this film Silhouette is the story of Jack and Amanda Harms who, after the passing of their young daughter, set out into seclusion to begin their lives anew. Quickly upon their arrival, things go awry when the sins of their past come back to haunt them.

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Snakeman at 23:37 No comments: Read More

Pokémon Detective Pikachu is a movie that will air on 2019-05-03 which is 105 Minutes duration, will star Ryan Reynolds, Justice Smith, Kathryn Newton, Bill Nighy, Ken Watanabe, Chris Geere, Suki Waterhouse, Josette Simon, Alejandro De Mesa, Rita Ora. This film is genre Action, Adventure, Fantasy.
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is a site for free movies to stream Pokémon Detective Pikachu online movies in HD quality. syinopsis this film In a world where people collect pocket-size monsters (Pokémon) to do battle, a boy comes across an intelligent monster who seeks to be a detective. If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

I’m going to write it straight away: I didn’t enjoy Pokémon Detective Pikachu as much as I wanted to. In some ways, it disappointed me. Now, you’re probably thinking “oh, he’s one of those people who never saw or played Pokémon in his life, and now he’s going to destroy the film because he never understood it”. Not even close. There are always three groups of people when it comes to these famous franchises that have massive fandoms: the hardcore fans who follow the respective saga since it was created and never once stopped supporting it; the fans who like or even love it, but either skipped or gave up at a certain point in time; the non-fans who never really got into it and don’t relate to any of what the previous two groups do.

I belong to the second group. I’m a fan of Pokémon, but since the end of the last decade that I stopped playing its video games and watching any series or movies about it. Nevertheless, I’m always as fair and impartial as possible to films and to the people who gave their all to deliver a great story. For hardcore fans, this movie might have everything you’ve ever wished for. Even I was able to understand that some scenes are filled (and I mean literally the whole screen) with references and Easter Eggs that the most dedicated fans will absolutely love. These moments alone can make you enjoy this film way more than fans like me.

However, we all know that while these sequences look fantastic and offer a lot of excitement, they are not enough to hold a narrative together or make it captivating. The Pokémons are gorgeous, and I found myself constantly in awe! Live-action will always have that crowd of haters that think the animated versions should stay animated, no matter what. There will always be people hating on these type of movies solely by the fact that they’re live-action. Honestly, I try very hard, but I can’t understand how people find an incredibly realistic Pikachu ugly or disgusting when it looks absolutely adorable and visually impressive. This will be such a long and exhausting debate throughout the 2020s, every time a live-action remake or adaptation is released, but I have faith people will come to accept it or even love it eventually.

Detective Pikachu main issues are the screenplay and most of the characters, no doubt about it. I understand that the production team had to shift the primary focus to the VFX regarding the actual Pokémons since a lot of the viewers will buy the ticket only to watch a beautiful real world filled with them, but the two pillars of any film should never be kept aside for too long: story and characters. Justice Smith portrays the only human character that has a compelling backstory and a likable personality. Yes, Kathryn Newton (Lucy Stevens) delivers a good performance, and she also might interpret a character that a lot of people can relate to, but from the moment Lucy has more to do in the movie, it’s like her development stagnated. However, Smith is brilliant as Tim and he showed a great range of emotions, making me not only laugh but also feel a bit emotional.

Sadly, these two are the only human characters that aren’t either a cliche villain who wants to rule the world or a paper-thin police or scientist who only serve as exposition devices. Honestly, this might be one of the most exposition-driven films of 2019. The amount of cheap and lazy information dumps spread across the runtime is too much to handle, especially when the same info is repeated several times. It unbalances the pacing and even the tone of the movie, making it dull during some periods. I’m rarely the guy who “wants more action”, but Detective Pikachu really needed more thrilling moments, preferably involving Pokémon. Of the few action sequences, most are just our protagonists running from something and jumping from cliffs. Very rarely we see actual Pokémons doing anything until the last act.

Rob Letterman shows that he has a lot of great qualities that a director should have, but he needs to work on his flaws and leave the screenwriting role to more experienced people. For such a mystery-driven story, the “mystery” part is pretty evident from the get-go, with a notable exception at the very end that I didn’t saw coming and ended the film on a high note. Pikachu is beautifully voiced by Ryan Reynolds and if you were worried that his voice wouldn’t blend with the yellow fellow, don’t be. Pikachu is extremely funny and charming, carrying the whole show on its shoulders with a little help of Psyduck. Cubone and Ditto also have some great moments, but Mewtwo is a beauty to behold, as expected. Even though I’m not a hardcore fan, I felt the “immersiveness” of the incredible Pokémon world that Warner Bros. built and that’s the best compliment I can give: I felt like I was in a real Pokémon universe.

All in all, Pokémon Detective Pikachu is fine. For hardcore fans, it might be everything you’ve ever wished for, but for fans of the 2000s Pokémon, who stopped following the franchise after the beginning of the new decade, the numerous Easter Eggs and references might not be enough to overcome the undeniable narrative issues. Justice Smith delivers an outstanding performance, and Ryan Reynolds nails Pikachu‘s voice, being extremely funny and unbelievably adorable. The CGI is ground-breaking, making the Pokémons astonishingly realistic and their world remarkably immersive. However, even if the movie ends with a terrific touch, the shallow characters, the heavy exposition dumps, and the not-that-mysterious mystery bring the pacing down and turn this live-action adaptation into just an okay one.

PS: regarding the curse of the video games cinematic adaptations, I already believe that Tomb Raider broke it with a good margin, but both Warcraft and Pokémon Detective Pikachu managed to just scratch the positive side of my reviews. You’re on the right track, but step up Hollywood!

Rating: B-
The core story is just... So dumb. And the dialogue between genuinely any two characters that doesn't involve the titular Pikachu made me **real** uncomfortable.

But I adore the world that holds it up. Watching _Detective Pikachu_ was like drinking hot chocolate by the campfire in winter. Even my roommate who had to be dragged to the thing kicking and screaming ended up having a wholesome good time.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
The movie did not have the best story, it was very much like the original Pokemon the Movie where Ash dies, in the hands of Mewtwo, just switched up a little. The animation and visual affects were really well done. There were some funny parts, although a lot of it seemed really dry.
Having never played the "Detective Pikachu" game, I can't attest as to the film's faithfulness to the source material. As a movie on its own merits and with a passing knowledge of Pokemon, I found that I enjoyed this more than I thought I would going in. It has a decent narrative structure (although the villain reveal is a little out-of-left-field; they probably could have used a little more buildup) and likable if somewhat cookie -cutter characters. But, WOW, is the tone inconsistent! Most of the movie gets surprisingly serious and dark early on, and for parts of the film Ryan Reynolds feels more like comic relief. Expect emotional whiplash from this one. Still, it's a fair movie that at least fans of Pokemon will likely enjoy.

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Snakeman at 21:17 No comments: Read More

The Possession Diaries is a movie that will air on 2019-06-04 which is 93 Minutes duration, will star Katherine Munroe, Eileen Dietz, Delilah Cotto, Johnny Ortiz, James Russo. This film is genre .
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is a site for free movies to stream The Possession Diaries online movies in HD quality. syinopsis this film Playing with a Ouija board is dangerous, and college student Rebecca Clarkson is now documenting the proof, as day by day a demon takes possession of her while a webcam audience watch the horrific event.

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Snakeman at 21:17 No comments: Read More

John Wick: Chapter 3 - Parabellum is a movie that will air on 2019-05-15 which is 131 Minutes duration, will star Keanu Reeves, Halle Berry, Ian McShane, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Anjelica Huston, Saïd Taghmaoui, Jerome Flynn. This film is genre Action, Thriller, Crime.

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is a site for free movies to stream John Wick: Chapter 3 - Parabellum online movies in HD quality. syinopsis this film Super-assassin John Wick returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn. Just like the Matrix series, the John Wick series is the child of; interesting concepts, mediocre direction, bad writing, bad dialogue, fine (ok) acting and good to great fight choreography...

John Wick 3 outstays its welcome and becomes tedious with all the boring twists and uninspired resolutions.

you'll watch it once, forget it ever existed and then never watch it again.
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

I don’t have a written review for each of the previous films, but I did watch both and thoroughly enjoyed them! John Wick (2014) is one of the best movies of that year and one of the best action films ever. However, John Wick: Chapter 2 (2017) is a bit more convoluted and messy regarding its story and how it brings our protagonist back into the game, but the franchise’s outstandingly choreographed fight sequences still make it tremendously entertaining.

And it’s precisely the mind-blowing, bone-crushing, jaw-dropping, extraordinarily long and brutally choreographed action scenes that make John Wick one of the most badass characters in the history of cinema! The Academy has been looking for something new to make the Oscars more popular, and the creation of new categories has been their number one idea. Well, nothing fits the show better than Best Stunt Work. Obviously, franchises like this one or Mission: Impossible would become major successes at this award show. These two sagas are undeniably the most important and crucial for the survival of truly real action. What you see, it’s what you get.

Nowadays, viewers already have their eyes set to acknowledge everything as CGI or some sort of visual effect. I’ll never forget when I left my Mission: Impossible - Fallout screening and while getting out of the theater, a group of friends was laughing around saying something along the lines of “of course that scene is fake and this moment is CGI, how can you believe that?! You’re such a moron!” They were roasting one of their friends, thinking he was the dumb one when he was probably the one who was laughing the hardest. This definitely leaves me sad. Sad that people won’t realize how incredible movies like these are. How they genuinely work like crazy to provide the audience with real and authentic stunts.

Yes, it’s over-the-top. Yes, CGI and visual effects are still applied, but just to little details like bullets, blood, falls or knife throwing, which never distract you. And yes, it requires the audience to suspend their knowledge of physics in a few particular moments. But that’s the thing: if you’re pumped to watch a third film of a franchise, you’re a fan. You know what it’s about and what’s its tone. John Wick established itself in 2014 as a pure revenge story and an unbelievably realistic action movie, the closest we will ever get to an assassin origin tale. John Wick: Chapter Two deeply explored the institution that governs these assassins and all of the rules that they are bound by. It’s a bit messier than the first one, but it’s still a blast of entertainment.

Parabellum has the best of both installments. It has the best-choreographed action ever seen on a big screen and some of the most impressive camera work I’ve ever witnessed. In addition to this, the narrative makes more sense, and the characters decisions are logically or emotionally justifiable, contrary to the second film. The sound design is powerful, and the cinematography plus the set design look stunning. I would still argue that the pacing could have been better controlled. The transitions between long action sequences and the respective pauses to move the plot forward aren’t always smooth. Some comedy bits that I don’t think they really belong in this saga were added, and while some work just fine, others really don’t fit this world.

Besides that, I don’t really have much to complain about. The cast is absolutely impeccable. Keanu Reeves is battling with Tom Cruise for the biggest action movie star alive. While Cruise puts his life more in risk by performing especially dangerous stunts, Keanu has the resiliency and agility of a beast, providing us with high-speed and hard-to-do fight sequences. Halle Berry (Sofia) is one hell of a surprise! I had no idea she was (still) capable of moving as she does in this film. The stunts that she performs are crazily good! Laurence Fishburne (Bowery King), Ian McShane (Winston) and Lance Reddick (Charon) also have their own shining moments, but Sofia‘s dogs are deadly cute, and they steal the show.

Regarding the action stunts, they’re all pretty memorable. From a throwback to Chapter Two‘s mirror room to an astonishingly riveting chasing scene through the streets of New York, everything Chad Stahelski and his talented crew throw at the audience is absolutely perfect. I also love how the final act resembles the experience of playing a videogame. You know when you have several levels, each of them with their respective boss, but the final boss is at the top of them all? It’s kind of like Legend of Zelda: Ocarina of Time when Link has to eliminate an enemy in each floor in order to move up to the next one until he reaches Ganondorf. It might be the must nonsensical analogy that I have, but it’s what my memory triggered. In the end, there are tons of set pieces for everyone to enjoy.

All in all, John Wick: Chapter 3 - Parabellum is everything fans of this franchise desired: brutal, bloody, long, loud and beautifully-choreographed fight sequences, accompanied by a decent story that explored even more the assassins’ world. Chad Stahelski is a master filmmaker, who knows how an action movie should be filmed. There are no sloppy editing or quick cuts here. Only extensive one-take scenes, filled with outstanding stunt work from a phenomenal cast. Keanu Reeves is one of the most incredible action film stars ever and Halle Berry surprises with her physical abilities. With better control of its pacing and tone (and a bit less defiance of physics), this could have easily been the best action movie of the century. “One of the best” it’s still one hell of a tagline.

Rating: A-
Strong contender for best John Wick movie to date. And that ain't faint praise. I've been strong invested in the franchise ever since it was first announced John Wick would be a playable character in _Payday 2_. Then when I actually watched that first movie? Forget about it. I fuckin' love this guy. And now, here we are with a trilogy cappin' _Parabellum_. Strength to strength to goddamn strength.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
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Not the best of the three movies (so far), but still one hell of a ride and excellent fight sequences. Keanu Reeves once again is in his element, though emotionally not much is asked of him from his character.
**_The franchise keeps getting better_**

>_Igitur qui desiderat pacem, praeparet bellum._

- Publius Flavius Vegetius Renatus; _De re militari_ (4th or 5th century AD)

>_It wasn't just a puppy._

- John Wick (21st century AD)

Directed by stuntmen turned directors Chad Stahelski and David Leitch, and written by Derek Kolstad, the original _John Wick_ (2014) was something of a sleeper hit, earning almost $90 million against a $20 million budget. The 2017 sequel, however, was a bona fide blockbuster, earning $171 million against a $40 million budget. And now we have _John Wick: Chapt__er 3 - Parabellum_, which has maintained the franchise's monetary trajectory, earning $230 million against a $75 million budget. Indeed, _Parabellum_ earned more in its opening weekend in North America ($57 million) than the original did in its entire North American theatrical run ($43 million). The three films were also critical successes, and have come to form the basis for the "Wickiverse"; an expanded universe that includes the forthcoming _Chapter 4_, a spin-off prequel film (_Ballerina_), a TV show (_The Continental_), and two video games (_John Wick Chronicles_ and _John Wick Hex_).

Not bad for a franchise that began life as a story about a guy getting revenge on the thugs who killed his puppy.

Except, of course, it wasn't just a puppy.

With Stahelski back in the director's chair for the third time, and with a script by Kolstad, Shay Hatten, Chris Collins, and Marc Abrams, as with the previous films, _Parabellum_ is built on the foundation of Sir Keanu of Reeves's zen-like stoicism, a quality he can deploy to make a violent swordfight look about as stressful as sleeping on silk linen with "Fur Elise" playing in the background and a cat gently purring on the pillow beside you. And although this third entry in the franchise does flirt with a few themes amidst the mayhem (honour, fealty, destiny), it's not trying to be something it isn't, well aware of its own identity as a completely over-the-top orgy of violence. This is a world wherein even the most innocuous of items can be rendered lethal, and where the endless deaths by gun, knife, fist, dog, horse, motorbike, sword, pencil, and book of 18th century Russian folklore, are so excessive as to transcend any possible accusations of irresponsibility or glorification of violence. In short, the film leans into its status as basically a live-action episode of _Itchy and Scratchy_. Sure, it can become a little repetitive at times, and there's next to no plot or character development, so if you want to be reductionist, you could argue that it essentially gives us more of the same, except bigger, louder, and more elaborate. But that's to ignore how aesthetically accomplished it is, how funny it is, how compelling it is, and how unapologetically entertaining it is.

Beginning only moments after _Chapter 2_ and about a week after _Chapter 1_ (it's easy to overlook the fact that the three _John Wick_ films span two or three weeks at most), _Parabellum_ opens with legendary assassin John Wick (Reeves) attempting to flee New York. Although known as the only assassin ever to have successfully retired from the Assassins' Guild, Wick was pulled back in when the puppy his dead wife Helen (Bridget Moynahan) left him was killed by Iosef Tarasov (Alfie Allen), son of powerful Bratva mobster Viggo Tarasov (the late great Michael Nyqvist). Having killed both Tarasovs, Wick's mission of vengeance ultimately led him to kill Santino D'Antonio (Riccardo Scamarcio), the Camorra crimelord who helped Wick retire several years prior. D'Antonio was a newly elected member of the High Table (the ruling body of the Guild, the members of which are considered off limits), and to make matters worse, Wick killed him on the grounds of the Continental Hotel (an assassins' hub in which violence is strictly prohibited). Declared "excommunicado" by the Table, and with a $14 million bounty on his head, Wick's friend and Continental manager Winston (Ian McShane) gives him one hour's grace before the contract goes live.

Meanwhile, the High Table dispatch an Adjudicator (an eerily calm Asia Kate Dillon) to look into the unsanctioned help given to Wick by Winston, Continental concierge Charon (Lance Reddick), and the Bowery King (Laurence Fishburne), the leader of a group of vagrant assassins. Chiding them for helping Wick, the Adjudicator gives them seven days to either resign their positions or face the consequences. To lead the pursuit of Wick, she hires Zero (a scene-stealing Mark Dacascos), a highly-skilled assassin (and part-time sushi chef), who hates guns and is a huge fanboy of Wick. With every assassin on the planet hunting him, Wick's travels bring him into contact with a litany of underworld characters - there's The Director (Angelica Huston), a former assassin who trained Wick and who currently runs a ballet academy; Sofia (Halle Berry), the manager of the Casablanca Continental, and an old friend who owes Wick a marker after he successfully hid her daughter away from the Guild; Berrada (Jerome Flynn), the assassins' Master of Coin and a member of the High Table; The Elder (Saïd Taghmaoui), the only person above the Table, and who Wick hopes may be able to clear the bounty; the Tick Tock Man (Jason Mantzoukas), an associate of the Bowery King; two of Zero's pupils (Cecep Arif Rahman and Yayan Ruhian), who insist on fighting with honour at all times; and Ernest (Boban Marjanović), a towering assassin and Dante Alighieri aficionado.

Okay, first things first, _Parabellum_ looks absolutely gorgeous. I mean really, really gorgeous. _Chapter 1_ and _Chapter 2_ both looked great, but _Parabellum_ is in another class altogether and is genuinely one of the best looking films I've seen all year. Part of the reason the film looks so good is the symbiosis between the various component parts of the aesthetic - the lush cinematography by Dan Laustsen (_Le pacte des loups_; _The League of Extraordinary Gentlemen_; _The Shape of Water_); the busy production design and complementary art direction by Kevin Kavanaugh (_The Dark Knight Rises_; _Nightcrawler_; _Only the Brave_) and Chris Shriver (_The Lovely Bones_; _The Wolf of Wall Street_; _Ocean's Eight_), respectively; the relatively slow editing by Evan Schiff (_Everly_; _Revolt_; _Proud Mary_); and the complex sound design by Martyn Zub (_Ghost in the Shell_; _Deadpool 2_; _Velvet Buzzsaw_). Everything looks and sounds amazing, working in immersive harmony to ensure the action grabs the viewer's attention and doesn't let go. The first half of the film, which takes place at night in New York, and is essentially one long almost real-time scene, is rain-soaked and bathed in glorious neon (mainly blues, greens, and reds), which reflect off the wetness on the road and bounce back towards their source, creating a dazzling display of light. When Wick nips inside a store, the vibrant colours are pulled out completely, with the brown of the store's walls and cabinets coming to dominate, so when he heads back outside, the richness of the palette really pops. The Moroccan section of the film is predominately gold, brown, and yellow, creating a sense of serenity that contrasts nicely with the hyperactive tone of the New York scenes which surround it.

In terms of the action, the film's opening scene sets the bar insanely high – a deadly fight in a library. The visceral brutality of this scene is emphasised both visually and aurally; when someone gets slammed against a wall or has a hardback book driven into their skull, you really feel the thump on the soundtrack, whilst the close-quarters nature of the combat makes for interesting shot compositions and editing rhythms (as does the fact that Wick is fighting someone over a foot taller than himself). The nature of the fight also leads to some inventive uses of the _mise en scène_, as the combatants are forced to improvise.

In this sense, I was reminded very much of Gareth Evans's _The Raid_ and _The Raid 2_, (the presence of Rahman and Ruhian, who played villains in the first _Raid_ film, cannot be a coincidence). These two films effectively redefined action cinema by shunning the frenetic editing that had become the norm over the previous decade, instead employing longer takes that showcased the performers' physicality. You know that seizure-inducing scene in Pierre Morel's _Taken_ (2008) when Bryan Mills (Liam Neeson) jumps a fence, and there are literally 15 cuts in five seconds? There's none of that in _Parabellum_, with the editing altogether calmer, allowing the audience to focus on the organic progression of the ballet-like hand-to-hand combat, creating what can only be described as a symphony of excessive violence. With Jonathan Eusebio's magnificent choreography paying homage to everyone from Harold Lloyd to Buster Keaton to Andrei Tarkovsky (seriously), _Parabellum_ doesn't just give us rote action scenes, it gives us immersive works of performance art.

However, to say that the editing is rhythmic and slower than most action movies is not to say that the film is laid back. It isn't, and it includes any number of scenes that really shouldn't work, so batshit insane are they. There's the initial library fight where books become as deadly as knives; a scrap that takes place in an antique knife shop, where Wick and his opponents only realise that they're surrounded by literally hundreds of knives when they run out of ammo; a horse versus motorbike gauntlet (with swords) on the Verrazzano-Narrows Bridge that has more than a passing resemblance to a similar scene in Jung Byung-gil's magisterial _Aknyeo_ (2017); an aborted confrontation in Grand Central Terminal (damn girl scouts); a huge to-do in a Moroccan bizarre involving two people and two dogs against a legion of hired thugs; an old-fashioned shootout in the Continental as Wick and Charon face down the Adjudicator's team; and a climactic gunfight cum sword fight in a room made entirely of glass. Subtle it isn't. Entertaining it most certainly is. And the fact that the film can pull off such ludicrous scenes without becoming a parody of itself is as good a testament to the craft on display as anything could be.

Both previous _Wick_ films have been said to resemble video games in their visual design, although Stahelski has stated that this wasn't a conscious decision, as he has never played a video game. Conscious or not, _Parabellum_ is even more indebted to video games than the previous films, not just in its aesthetic, but in some of its narrative beats. For example, each fight is harder than the last (i.e., the difficulty level is increasing), with a few boss fights thrown in for good measure. A scene in a stable where Wick uses a horse to take out two thugs is essentially an environmental assassination straight out of the _Hitman_ franchise (and Wick dresses a lot like Agent 47 too). There's a single driving level (there's always a single driving level), and a non-combat level where Wick must reach his destination before dehydrating. To make it to the final battle, Wick must face down a platoon of heavily armoured soldiers, each of whom requires multiple hits before going down, whilst Wick himself has to pause at one point for a weapon upgrade. Then we have a mini-boss fight, followed by the real boss fight against Zero. The narrative is literally structured like a video game, and has a similarly insane kill ratio to the previous films (he killed around 80 in _Chapter 1_, about 130 in _Chapter 2_, and 94 in _Parabellum_). And this is not a criticism. On the contrary, part of the film's charm is its resemblance to a violent, hyper-stylized, morally questionable video game in which one must kill waves of faceless opponents à la _Doom_ (1993), _Manhunt_ (2003), or _Grand Theft Auto: San Andreas_ (2004).

In terms of the acting, a good way to approach it is to ask, who looks at a library book and thinks, "_I could kill someone with this_"? The answer, of course, is John Wick. And the fact that we go along with such insanity is a testament to both the film itself and Reeves's performance, which grounds even the most ridiculous of scenes, taking everything in his stride as if it's the most normal thing in the world. His serene monotone delivery is also responsible for easily the funniest moment of the franchise thus far. When a thug shoots one of Sofia's dogs (don't worry, it's a non-fatal hit), she goes ballistic, laying waste to everyone around her, despite knowing that there could be serious consequences. Looking at Wick, she points out, by way of explanation/apology, "_he shot my dog_." To which Wick replies, in that half-asleep and still stoned from the night before surfer-dude voice of Keanu Reeves, "_I get it_". That line prompted a few people to applaud at the screening I attended. Of course he gets it. And so do we.

One of the reasons the original film stood out so much was the subtle brilliance of Kolstad's world-building. It wasn't just a movie about a former assassin being pulled back into the trade. Instead, Kolstad created a fascinating underworld featuring an international Assassin's Guild, a hotel for assassins in which violence is prohibited, and even an assassins' currency. In _Chapter 2_, he expanded this further, introducing the person who helped Wick retire, the High Table as the governing body of the Guild, blood markers, and the Bowery King, who seems to operate slightly outside the purview of the Table. _Parabellum_ continues the expansion, introducing the person who trained Wick, the ballet school, the master of coin, the Elder, the adjudication process, excommunication, and deconsecration (when a hub such as the Continental is declared no longer a safe space and no longer protected by the Table). The mythology has deepened with each film, and the fact that it has so many religious overtones drives home the sense of old-world ideologies being applied to people who must be ultra-modern in how they conduct themselves.

Are there some problems? Well, any film this violent is going to have immediate detractors, who will oftentimes speak out against the film without actually seeing it, and of course, there will be cries of "_Hollywood preaches against the 2nd Amendment but then makes movies celebrating the destructive power of guns_." Fair point. But the thing is, the movie doesn't take itself too seriously, nor does it expect the audience to, so the question of its irresponsibility when it comes to violence is kind of a moot point. Of course it's irresponsibly violent. It's supposed to be irresponsibly violent. Does it treat guns and knives fetishistically? Yes, to a certain extent it does. But is it celebrating guns and violence in a realistic socio-political manner? No, not in the slightest.

Having said that, there is a sense in which the violence in the film does come across as meaningless, insofar as it doesn't seem to have any practical ramifications for any of the main characters. John Wick has literally killed over 300 people in the course of a few weeks, but there's not a hint of any kind of psychological consequence. Related to the disassociation that presenting violence like this can have, there's the problem that simply by virtue of logistics, almost all of Wick's opponents are nameless and faceless extras, anonymous hordes there to be killed. Indeed, at one point, Wick is literally pursued by two busloads of such villains (a bit of meta-commentary on the genre, which I personally thought was hilarious). The one criticism that I would definitely echo is that the structure of the narrative is a little awkward, and on several occasions, actions and decisions reached over the course of multiple scenes are simply undone just a couple of scenes later. However, this is a _John Wick_ film, not a Marcel Proust novel. The narrative structure is not really where your attention is supposed to be.

Generally speaking, I don't do blockbusters. I just don't like them, and can rarely get anything from them. I consider the medium of film to be an art form before it is entertainment, and I approach every film from that perspective. But attempting to parse a summer blockbuster in this manner doesn't tend to yield much in the way of interesting analysis. Nevertheless, every year, there are one or two blockbusters that I will go to see. The first such example this year is _John Wick: Chapter 3 – Parabellum_. And I absolutely loved it. Easily the best in the franchise thus far, it's more ambitious, more ridiculous, more violent, and more entertaining than its predecessors. It's also funnier, and the Wickiverse continues to provide a fascinating _milieu_. Sure, themes such as fealty, honour, fate, and religion come and go without much engagement. But, as I've said, that's not what the film is about. It simply doesn't follow the rubric to which others must try to adhere - character development and motivation, a well-structured plot, insightful dialogue, and thematic undercurrents. Instead, Stahelski has crafted an action film that features extraordinary aesthetic elements and a wonderfully vibrant visual design. _Parabellum_ doesn't just unapologetically revel in its excessive violence. It makes art out of its excessive violence.
Let’s make one thing perfectly clear. This is a movie you watch for the action and not much less. But then, that not really a surprise is it?

The movie takes off literally minutes after the last one ended. John Wick is on the run and that’s the story for most of the movie. Well, not entirely. He does have a plan but first he has to escape the many assassins trying to cash in the 14 million dollar bounty on his head.

This movie is all about action. The movie is R-rated although I honestly do not understand why. Sure there’s lot of action and a lot of killing but still, I wouldn’t say it merits an R-rating and apparently the French ratings organisation didn’t either since here in France it France it got a 12+ rating. That is, it is only restricted for those younger than 12 years.

Anyway, as I wrote above, this movie is all about Keanu Reeves and action. Lots and lots of action which usually ends up in one or more persons getting killed by John or some of his remaining friends.

Is the story and the action realistic? Hell no! But it is fun to watch even though most of the bad guys shoots as accurately as imperial storm troopers. Most of the time at least.

Towards the end I did think it got a bit silly. The fight against Zero and his last two students was pretty rubbish. It was kind of kick, hack and slash for a few minutes and then stand of and wait until the other guy got up again. Then rinse and repeat. Silly indeed.

Also, they could really tone down on the ludicrous survivability of John Wick. I mean, come on! He gets hit by cars and walks away. Not to mention the final scene were he falls something like six seven floors, bounces (and I mean bounces!) off a fire escape and a trash container and apparently survives.

I probably should rate the movie a star less for that kind of stuff but I wont. This is something as refreshing as a Hollywood movie apparently meant to entertain and nothing else. There’s really no political or social preaching or any other such nonsense which is really rare today. That alone gives it a few extra stars in my book.

The movie has a 7.7 rating on IMDb at the time of writing this which is well deserved, even a bit low. Even the rubbish SJW site Rotten Tomatoes claims the movie is “fresh” which is surprising given what I wrote above.

Of course there is a whole bunch of “reviews” that claims it is so bad and so on and so forth. Some of these reviews are actually repeated several times. That really pisses me off since these people seem to write reviews just to complain. It’s the third movie in the Franchise for Christ sake! You knew what you were getting yourself into. Don’t watch the movie if you do not like these kind of movies. Claiming there is no story is bullshit since the first one didn’t really have much more story but then the concept was bit more new of course. Some “reviewer” claimed it was the worst movie he had ever seen. He cannot have seen many movies then. What a load och bollocks!

Bottom line, this was two hours of great entertainment.

This is a site for free movies to stream John Wick: Chapter 3 - Parabellum online movies in HD quality. This film site has a clean design and good navigation so that every new internet user can use this site easily without problems. This is one of the great sites for watching new movies online for free. You can find your favorite movie by using the search bar also you can search by genre. Here you are find to Stream John Wick: Chapter 3 - Parabellum best HD movie online. Or you want Watch John Wick: Chapter 3 - Parabellum (2019) : movie WEB-DL free. Super-assassin John Wick returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn.. Watch best John Wick: Chapter 3 - Parabellum HD movie online, Quality John Wick: Chapter 3 - Parabellum Movie HD, John Wick: Chapter 3 - Parabellum movie DVDSCR free, download John Wick: Chapter 3 - Parabellum movie DVDRip, watch John Wick: Chapter 3 - Parabellum movie BluRay, John Wick: Chapter 3 - Parabellum movie tv format, download John Wick: Chapter 3 - Parabellum movie 4kUHD, movie John Wick: Chapter 3 - Parabellum WEB-DL free, best movie John Wick: Chapter 3 - Parabellum HDTV to watch, download movie John Wick: Chapter 3 - Parabellum HDTVRip, streaming John Wick: Chapter 3 - Parabellum movie fullHD, download John Wick: Chapter 3 - Parabellum WEBRip movie, download John Wick: Chapter 3 - Parabellum BluRay movie, watch John Wick: Chapter 3 - Parabellum 1080 movie, HDTS movie John Wick: Chapter 3 - Parabellum free, download John Wick: Chapter 3 - Parabellum movie DVD, Streaming John Wick: Chapter 3 - Parabellum movie WEB-DL, Download John Wick: Chapter 3 - Parabellum BRRIP movie, download John Wick: Chapter 3 - Parabellum mp4 movie.

Snakeman at 20:34 No comments: Read More

Downton Abbey is a movie that will air on 2019-09-12 which is 122 Minutes duration, will star Hugh Bonneville, Maggie Smith, Michelle Dockery, Jim Carter, Laura Carmichael, Elizabeth McGovern, Phyllis Logan, Penelope Wilton, Brendan Coyle, Joanne Froggatt. This film is genre Drama.
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is a site for free movies to stream Downton Abbey online movies in HD quality. syinopsis this film The beloved Crawleys and their intrepid staff prepare for the most important moment of their lives. A royal visit from the King and Queen of England will unleash scandal, romance and intrigue that will leave the future of Downton hanging in the balance. ‘Downton Abby’s’ transition to film isn't going to make it onto any worst film-to-TV adaptions lists, but it is a mediocre film that offers two hours of fun for fans of the show. If you’re not a fan, there is absolutely no reason to see it. The film seems more like an extended TV special rather than a theatrical film, but fans won’t be mad to see it on the big screen.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-downton-abbey-transition-from-tv-to-film-not-as-classy-as-expected

This is a site for free movies to stream Downton Abbey online movies in HD quality. This film site has a clean design and good navigation so that every new internet user can use this site easily without problems. This is one of the great sites for watching new movies online for free. You can find your favorite movie by using the search bar also you can search by genre. Here you are find to Stream Downton Abbey best HD movie online. Or you want Watch Downton Abbey (2019) : movie WEB-DL free. The beloved Crawleys and their intrepid staff prepare for the most important moment of their lives. A royal visit from the King and Queen of England will unleash scandal, romance and intrigue that will leave the future of Downton hanging in the balance.. Watch best Downton Abbey HD movie online, Quality Downton Abbey Movie HD, Downton Abbey movie DVDSCR free, download Downton Abbey movie DVDRip, watch Downton Abbey movie BluRay, Downton Abbey movie tv format, download Downton Abbey movie 4kUHD, movie Downton Abbey WEB-DL free, best movie Downton Abbey HDTV to watch, download movie Downton Abbey HDTVRip, streaming Downton Abbey movie fullHD, download Downton Abbey WEBRip movie, download Downton Abbey BluRay movie, watch Downton Abbey 1080 movie, HDTS movie Downton Abbey free, download Downton Abbey movie DVD, Streaming Downton Abbey movie WEB-DL, Download Downton Abbey BRRIP movie, download Downton Abbey mp4 movie.

Snakeman at 22:49 No comments: Read More

Godzilla: King of the Monsters is a movie that will air on 2019-05-29 which is 132 Minutes duration, will star Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe, Zhang Ziyi, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds. This film is genre Science Fiction, Action.
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is a site for free movies to stream Godzilla: King of the Monsters online movies in HD quality. syinopsis this film Follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species - thought to be mere myths - rise again, they all vie for supremacy, leaving humanity's very existence hanging in the balance. ‘Godzilla II: King of the Monsters’ promises to build on the great work already laid out for this franchise, mixing popcorn fun and thrilling craft, but instead it relinquishes all of that to be a predictably dull and plodding bore. It doesn’t even manage to be a fun, brainless monster movie, assuming that a satisfying monster battle is all about being big and loud and doing nothing else. We waited five years for the follow-up to ‘Godzilla’, which only makes this new film even more of a disappointment, and doesn't excuse the badly-written screenplay or the poorly-executed visual effects. With Dougherty handing the reigns over to horror director Adam Wingard for 2020’s ‘Godzilla vs Kong’, here’s hoping the Monsterverse finds its feet again.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-godzilla-2-king-of-the-monsters-the-king-stumbles-in-this-loud-and-blundering-mess
Picking up after the events of the previous film; “Godzilla: King of the Monsters” deals with a world trying to assess what to do with the presence of the giant Titans. The Monarch Corporation wants the creatures studied and has established locales to study the ones they have found currently hibernating. The U.S. Government wants them destroyed as they do not want repeats of the destruction that was previously caused by Godzilla.

Dr. Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobbie Brown) have developed a device known as Orca that will allow them to communicate with the creatures using specific sonic frequencies.

After a successful test under duress; the duo are captured by a ruthless Eco Terrorist group who want to use the giant creatures for their own objectives.
This leads to a chase around the world with Monarch attempting to stop them and with Emma’s ex-husband Mark (Kyle Chandler) deeply involved though he is deeply divided as he blames Godzilla for the loss of their son.

When a gigantic creature is freed; Godzilla faces his greatest challenge as there is a race against time to save the world.

While the film has some very impressive visual effects, the film drags as aside from a couple of brief encounters; the audience is required to sit through roughly 90 minutes of plodding story to get to the action which is roughly only the last 15-20 minutes of the film.

The human characters were very disinteresting and many of the international cast looked at times like they were sleepwalking though their lines as they seemed to have a real lack of passion for what they were given to work with.

The human characters were also very annoying and I found myself hoping that they would be taken out by the creatures as I had no connection to them and they did not inspire any sympathy.

While it may possibly appeal to hardcore fans, this was a miss for me as there simply was not enough creature action to counter-balance having to sit through the human characters and plodding plot to get to the good stuff.

2.5 stars out of 5
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As some of you might know, Godzilla: King of the Monsters is one of my Most Anticipated Movies of 2019. Not because I expected it to be a beautifully written, heartfelt story with fully-developed characters who I would immensely care about. I was incredibly excited because it’s freaking Godzilla and from the few images that I had seen, it looked absolutely stunning. I didn’t need an Oscar-worthy screenplay or amazing performances. I just wanted a decent and logical (this last word is important) narrative with reasonable characters, and tons of monsters fighting to the death against each other. So, my expectations were neither complex or as high as some other people might have.

Unfortunately, I left the theater extremely disappointed. I can’t deny the impeccable VFX and the infinite amount of wallpaper-worthy images spread across the entire film. Some scenes are filled with jaw-dropping cinematography, astonishingly gorgeous monsters, and the fights feel so real that the sound design alone takes you to the edge of your seat. However, when the two pillars of any movie (story and characters) are so far away from even remotely working, there are no technically perfect aspects that can save the film from a disaster. I wrote this exact last sentence a few weeks ago regarding Game Of Thrones, and I will stand by it. I’m always the first guy to praise exceptional filmmaking skills, but if I have to choose between a technically seamless movie, and a film with a fantastic story and fully-developed characters, I have no doubts that the latter is the indisputably right choice.

Ultimately, that’s the huge problem here. The screenplay is loaded with some of the laziest exposition scenes I’ve seen in the last few years. Characters continuously have some sort of presentation to explain something in a completely unpredictable conversation randomly. Generally, a movie like this always has some kind of cliche secondary characters who are either a nerdy scientist, a comic-relief guy, a duo of bantering personalities or a military general who always wants to attack something, even though everyone knows it’s not the most intelligent decision. King of the Monsters has all of these types and more! More?! Seriously, Michael Dougherty and Zach Shields overstuff the narrative with so many unnecessary, useless, stereotypical characters who stretch the overall runtime and extend the periods between the massive fights, turning them into minutes of complete boredom.

I yawned during a Godzilla blockbuster. Yawned. How sad is that?! I really enjoyed Gareth Edwards’ 2014’s Godzilla. At the time, the most common complaint was that there wasn’t enough Godzilla in it. Most of the characters were well-written, despite that some could have been more fleshed out. King of the Monsters is (kind of) the other way around: there are dozens of monsters and bone-crushing, titanic fights, but they literally forgot to write a captivating story with compelling characters. In the first installment, even though I also wanted more Godzilla, when he actually shows up, I was so freaking excited! Since I had to wait for the third act to watch the Titans fight, the build-up that was generated and its payoff actually made the time spent with the human characters worthy.

This sequel was doomed from the moment the characters were written. There are a lot of fight sequences, and I wrote above that unnecessary characters extend the periods between these scenes. The dilemma is that those periods need to exist, making the whole thing look like a double-edged sword that the director is trying to avoid. On one hand, you can’t have an action set piece after another action set piece consecutively, otherwise, these will lose impact over time and become monotonous, so you need to spend time with the horribly-written human characters. On the other hand, you can’t have dumb characters with unclear motivations on-screen for long periods, otherwise, the audience will fall asleep of tediousness or get annoyed, so you have to insert a massive fight sequence again, hence making the audience gradually lose interest in those scenes.

King of the Monsters continuously repeats this cycle of going from one situation to the other. No one wants to have back-to-back fights because they’ll lose the impactful energy, but no one wants to waste their precious time listening to exposition-heavy PowerPoint presentations from characters no one is going to remember their name. I can’t even remember the main characters’ names, and I watched the movie yesterday! I can’t blame the cast, everyone gives good performances. Millie Bobby Brown (Madison Russell) continues her path to become one of Hollywood’s biggest stars (in less than 10 years, she’ll have an Oscar in her hands, I guarantee you that). Kyle Chandler (Mark Russell) does more than what was expected of him with such a lousy script, and Ken Watanabe (Dr. Ishiro Serizawa) is the only one who delivered a solid performance AND had a suitable character (fruit of the previous film). Vera Farmiga (Dr. Emma Russell) is connected to the worst character of the movie (atrociously irrational decisions made by Emma), and everyone else is pretty much one of the vast cliche secondary characters.

They had five years to write a straightforward narrative with simple characters. No fan neither wanted or needed a brilliant, groundbreaking screenplay. Dougherty and Shields delivered one of the worst scripts of the year, one filled with exposition, cliche characters, and a runtime that turned out to be way too long for someone to tolerate all of the dreadful dialogue. I don’t know if it will clearly end up as one of the worst films of 2019, but it’s definitely one of the biggest letdowns. All in all, Godzilla: King of the Monsters didn’t meet my expectations (and mine were pretty fair), not even close. Visually, it’s one of the most striking movies I’ve seen this year, and that can’t be dismissed. From the massive fights with the Titans to the impressive wide shots, Dougherty had a gorgeous diamond that he just needed to polish with a rational and simplistic story, like it was a soft, clean cloth. Instead, he used a hammer…

Rating: C-
It's dumb. Really dumb. And I don't mean "Oh it's a big, noisy action movie and it doesn't engage you very much mentally so that means it's stupid", I'm talking like, the rules contained within just this movie are frequently broken, and a big chunk of the ideas make no sense by the end. Dumb. But I still had a pretty good time with _King of the Monsters_ (kind of a weird title to give Godzilla when the tagline for the sequel is "God VS King", and Godzilla is not the king in that matchup, but I digress). The quality of the CGI varies _drastically_, but when it's good, it's **just** enough to get me over the line to enjoying it to the point I can give the movie a positive review.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_Very loud, very dumb, and very entertaining_**

>_And four great beasts came up from the sea, diverse one from another. The first was like a lion, and had eagle's wings: I beheld till the wings thereof were plucked, and it was lifted up from the earth, and made stand upon the feet as a man, and a man's heart was given to it. And behold another beast, a second, like to a bear, and it raised up itself on one side, and it had three ribs in the mouth of it between the teeth of it: and they said thus unto it, "Arise, devour much flesh." After this I beheld, and lo another, like a leopard, whic__h had upon the back of it four wings of a fowl; the beast had also four heads; and dominion was given to it. After this I saw in the night visions, and behold a fourth beast, dreadful and terrible, and strong exceedingly; and it had great iron teeth: it devoured and brake in pieces, and stamped the residue with the feet of it: and it was diverse from all the beasts that were before it; and it had ten horns._

- Daniel 7:3-7

>_Behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to the earth_ [...] _And I stood upon the sand of the sea, and saw a beast rise up out of the sea_ [...] _And they worshipped the dragon which gave power unto the beast: and they worshipped the beast, saying, "Who is like unto the beast? Who is able to make war with him?"_ [...] _And all that dwell upon the earth shall worship him, whose names are not written in the book of life of the Lamb slain from the foundation of the world._

- Revelation 12:3-13:8

I really enjoyed Gareth Edwards's 2014 _Godzilla_. Sure, there were plot holes through which you could drive an entire fleet of trains carrying nuclear weapons, it featured coincidences that stretched believability even by Hollywood's standards, the human characters were paper-thin, and it took itself very, very seriously. But I enjoyed it. As Edwards had already proved with his debut film, the superb _Monsters_ (2010) and as he would subsequently prove with _Rogue One: A Star Wars Story_ (2016), he has a knack for wedding large-scale CGI grandiosity to stories that feel contemplative and personalised. And I don't care how long this franchise may run, and how many films get churned out, Godzilla's mic-drop moment, when he holds the female MUTO's mouth open and breathes blue fire down its throat will never be topped in its "holy shit"-ness. Ironically enough though, what I admired most about the film is the same thing that a lot of people disliked - the fact that Edwards kept Godzilla's appearances so fleeting; it took over an hour before we first saw him, and then he got only seven minutes total screen time. Personally, I thought it was a masterclass in directorial restraint, and it had the effect that when the big final fight came, it hit home on so many levels because here, finally, we were getting to see the big guy throw down. Remember when Hulk Hogan was the WWF champion for three years running? He didn't wrestle on every show, he didn't even appear on every show. So when Wrestlemania came around, and we knew the Hulkster would be headlining, it meant more than if we'd just seen him the week prior. Same thing with _Godzilla_. However, I understand why some people were unimpressed that a film called _Godzilla_ featured so little, well, Godzilla!

The third film in Legendary Entertainment's "MonsterVerse" franchise, _King of the Monsters_ is a direct sequel to Edwards's film (although sadly, he doesn't return as director), and sets up Adam Wingard's _Godzilla vs. Kong_, which has already wrapped shooting, and is scheduled for release next summer. However, whereas Edwards held Godzilla back and made the action feel smaller by focalising it through the human characters, new director Michael Dougherty (_Trick 'r Treat_; _Krampus_) essentially inverts that formula, putting Godzilla front and centre for pretty much the entire runtime (there are four big fight scenes within the first half-hour alone), and shooting the action in such a way as to make it seem as grandiose as possible. Indeed, he told Collider, "_I would call it the_ Aliens _to Gareth's_ Alien." And although Dougherty isn't half the director that Edwards is, _King of the Monsters_ works pretty well in a braindead summer action movie that's wall-to-wall giant monsters fighting one another kind of way. Sure, there are significant problems (all the best shots are in the trailer, the plot is beyond laughable, the characters are so thinly sketched as to make those in the first film feel Shakespearean, clichés abound, the talented cast is wasted), but all things considered, I enjoyed it, as it accomplished exactly what it set out to accomplish, and you really can't fault a film for succeeding at its primary objective.

Five years since Godzilla defeated the MUTOs, many more creatures (newly dubbed Titans) have been found throughout the world, all in various forms of hibernation. In charge of studying and protecting them is the private company Monarch Sciences (introduced in a fledgeling state in Jordan Vogt-Roberts's _Kong: Skull Island_, which took place in 1973). As the film begins, Monarch employees Dr. Ishirô Serizawa (Ken Watanabe) and Dr. Vivienne Graham (Sally Hawkins), both returning from the previous film, are attempting to convince the Senate that under no circumstances should control of the Titans be turned over to the military, something with which Admiral William Stenz (the great David Strathairn, also returning from the first film) strongly disagrees. Meanwhile, in China, paleobiologist Dr. Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) watch the awakening of the larval form of Mothra. However, when Mothra becomes distressed, Emma is able to calm it using the ORCA, a device which monitors the Titans' bioacoustics and transmits a dominant "alpha signal" capable of placating them. Soon thereafter, eco-terrorist Jonah Alan (Charles Dance) and his private army storm the facility, stealing the ORCA, and kidnapping Emma and Madison. In response, Monarch track down Dr. Mark Russell (Kyle Chandler), Emma's estranged husband, and co-designer of the ORCA, hoping he might be able to help find Jonah. Mark and Emma lost a son in San Francisco during the fight between Godzilla and the MUTOs, and whereas Emma came to feel the Titans could help humanity, Mark became convinced they should all be eradicated. Meanwhile, Jonah heads to the Monarch facility in Antarctica and unleashes the only non-terrestrial Titan, a fearsome three-headed dragon codenamed "Monster Zero", but whom ancient humans knew as King Ghidorah. Arguing that humanity has brought the planet to the point of destruction, Jonah believes that if the Titans are awoken, the ensuing conflict would wipe out most of human civilisation, allowing the planet the time it needs to heal. And so, with Ghidorah awakening the various Titans throughout the world, Godzilla emerges to stand against him.

With production wrapping on _King of the Monsters_ in 2017, and with two release dates scrapped, the film was beginning to accrue some pretty bad buzz. Then that magisterial first trailer dropped, showing Mothra spanning her glorious wings scored with a remix of Claude Debussy's "Clair de Lune" from _Suite bergamasque_ (1890) and promising a film of pensive apocalyptic goings-on. It was the sort of trailer to turn even the biggest naysayer around. The good news is that all the best bits from the trailer are in the film. The bad news is that most of the best bits from the film are in the trailer.

Godzilla was originally created by Tomoyuki Tanaka, Ishirô Honda, and Eiji Tsuburaya, and first seen on screen in 1954's _Gojira_ (released in North America in 1956 as _Godzilla, King of the Monsters!_, a reedited version of the original with additional scenes and new actors). Over the last six decades, he has appeared in all manner of films and TV shows, from action flicks to eco-metaphors to kid's cartoons to comedy to whatever the hell Roland Emmerich's 1998 version was. Conceived in the wake of Hiroshima and Nagasaki, as well as the Daigo Fukuryū Maru incident, Godzilla was intended as a metaphor for the destructive power of nuclear weaponry. Thematically speaking, the highpoint of the "Kaiju" (Japanese for "strange beast") genre thus far is probably Hideaki Anno's _Shin Gojira_ (2016), which was a political satire inspired by the Japanese government's response to the 2011 Tôhoku earthquake and tsunami, and the subsequent Fukushima Daiichi nuclear accident.

_King of the Monsters_ has one eye on its themes too (a dire warning of oncoming eco-disaster, biodiversity, co-existence with other species, military impulsiveness, the insignificance of humanity compared to the vastness of nature), but really, the sermonising, exposition-heavy script by Dougherty and Zach Shields, from a story by Max Borenstein, is so badly put together, with the characters' motivations so poorly delineated, that any thematic concerns dissipate into nothing. Part of this is that the narrative simplifies Godzilla's 'morality'. Traditionally, Godzilla is inherently benevolent. However, in the 2014 version, Edwards muddied this concept brilliantly, depicting a monster that was fairly indifferent to humanity and was far more concerned with the biological drive to reassert his alpha status. In _King of the Monsters_, both Godzilla and Mothra are fundamentally good, and they wish to protect humanity from Ghidorah, which is more binary and not nearly as interesting a position to take.

And yes, the film does address the fact that through inattention and greed, humanity is on the brink of ensuring its own extinction. Jonah, of course, believes that giving the earth back to the Titans is all humanity deserves, and is exactly what the planet needs (it's revealed early in the film that the Titans leave behind biomatter which results in the rapid growth of vegetation). For her part, Emma compares humanity to a virus, and the Titans to a "fever" that could eradicate it. Elsewhere, obviously with one eye on the issue of American isolationism under Trump, as well as the unstable geopolitical situation, Serizawa states, "_sometimes, the only way to heal a wound is to make peace with the demon who caused it_". The problem with all of this is that the script is so ham-fisted and poorly structured, the eco themes so preachy, and the organic integration of those themes into the action so lacking, that they come across as background irrelevancies at best, and distracting moralising at worst. And in any case, the film ultimately undermines all of this in favour of reaffirming the clichéd old notion of human perseverance in the face of adversity.

As we're discussing the script, another problem is repetition. For example, on several occasions, Godzilla is getting his ass handed to him, only to make an 'unexpected' comeback, whilst not one, not two, but three characters sacrifice themselves for the greater good (all at different times), resulting in none of the sacrifices really meaning anything. There are also some hideous clichés. At one point, on their flagship the ARGO, the Monarch people are listening to Godzilla's heartbeat, which is becoming weaker and weaker, and Dr. Rick Stanton (a criminally underused Bradley Whitford) implores, all earnest-like, "_c'mon big guy_." It's supposed to be a moment of great pathos, tapping into the audience's empathy for Godzilla. Instead, at the screening I attended, everyone laughed, so clunky and self-serious was the moment.

Another scene that doesn't work, although in a completely different way, is the death of a major character; it happens so suddenly, amidst so much chaos, with the camera not even focused on them, that in the very next scene, the film has to show us their face on a monitor with the word "Deceased" written underneath. Not exactly the best way to handle a major death. There's also a (predictable) twist based on what could charitably be called ill-defined character motivations. The character of Mark is also peculiarly written. Played by the top-billed Kyle Chandler, he has precious little to do for most of the film other than look at monitors with a concerned expression, coming off more as a fed-up dad than the protagonist of a Kaiju film. There are also far too many scenes of characters standing on the bridge of the ARGO, spouting expositional word-dumps at one another, oftentimes even narrating their motivations. In any case, not a single character in the film comes across as three-dimensional, with not a hint of interiority amongst the lot of them. Additionally, because the scale of the fights is so massive, and the humans so poorly written, Dougherty is unable to make the characters seem even remotely significant. This was another area where Edwards did well, marrying the spectacle with smaller human drama, but Dougherty allows the spectacle to overwhelm everything else.

There are also some hilarious spatial hijinks going on. I get that the ARGO is supposed to be a super-advanced high-tech mobile fortress, but it seems capable of flying from one side of the planet to the other in about ten minutes. From Colorado to China to Bermuda to Antarctica to Mexico to Massachusetts, unless the ARGO is capable of transportation, there's some _Game of Thrones_-level compression of distances going on. Related to this is that Zhang Ziyi plays twins (Dr. Ilene Chen and Dr. Ling Chen), who we never see together. Except I didn't even realise there were two of them until I read a few reviews. Sure, I noticed what I thought was a singular character appear to be in two places at once, but because the ARGO had already been globe-hopping all over the place by that point, I just put it down to the film's lack of geographic realism. The fact that it's so easy to miss that there are twins is spectacularly bad writing, especially considering they're supposed to be a modernised version of the Shobijin, two fairies that speak for Mothra. Also, Aisha Hinds as Colonel Diane Foster, O'Shea Jackson Jr. as Chief Warrant Officer Jackson Barnes, and Thomas Middleditch as Dr. Sam Coleman may as well not be in the film at all, so little are they given to do. The same could be said for most of the Titans. Apart from the central tag-teams of Godzilla and Mothra facing off against Ghidorah and Rodan, most of the rest (including those newly created for the film - Baphomet, Typhon, Abaddon, Bunyip, and Methuselah) are seen only in news reports and a montage that plays behind the closing credits, although a few do turn up for one scene.

But for all that, however, I thoroughly enjoyed _King of the Monsters_. Although the trailer does promise what the film can't deliver, aesthetically, there's a lot to admire. The sound design by Erik Aadahl (_I, Robot_; _The Tree of Life_; _A Quiet Place_) Brandon Jones (_13 Hours_; _The Shallows_), and Tim Walston (_The Incredible Hulk_; _Pacific Rim_; _Chronicle_) is suitably deafening, and the cinematography by Lawrence Sher (_The Hangover_; _War Dogs_; _Joker_) has a well-judged sense of scale, especially in the 2.39:1 3D IMAX format. This is complemented by the editing by Roger Barton (_Gone in 60 Seconds_; _Pearl Harbor_; _The Grey_), Bob Ducsay (_Season of the Witch_; _Looper_; _Rampage_), and Richard Pearson (_The Bourne Supremacy_; _Quantum of Solace_; _Iron Man 2_), who maintain the rhythm of even the most chaotic action scenes. And even though pretty much the entire film takes place at night in the midst of a storm of the Titans' own making, it never becomes difficult to follow or see what's happening.

The film also does some interesting things with colour. Whereas the palette is predominantly mixed when we're with the human characters, the Titans are coded in binary elemental colours: Mothra glows blue as a larva and gold in her final form, Rodan reflects the hardened red of the lava from which he emerges, Godzilla is the green of nature, Ghidorah is a neutralising dark brown. There are also some extraordinary individual shots (most of which have unfortunately been spoiled by the trailer); Mothra spreading her wings for the first time, Ghidorah perched atop an erupting volcano with a crucifix looming in the foreground, the reveal of Godzilla's lair. And the final shot is a goosebumps moment with which no Kaiju fan could possibly be dissatisfied. Purely at the level of craft, this is a hugely impressive film.

_Citizen Kane_ it most certainly isn't, but who expected (or wanted) it to be. The key to really parsing the film is to consider the context, looking at what it was trying to be. And in this sense, it's a success. Sure, the script is hideous, and Dougherty is no Edwards, struggling to accomplish what Edwards seemed to do with ease; bring his own personality to the spectacle. However, if you approach it for what it is, a dumb summer blockbuster about large monsters punching each other, you'll like it just fine.

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Dora and the Lost City of Gold is a movie that will air on 2019-08-08 which is 100 Minutes duration, will star Isabela Moner, Danny Trejo, Jeffrey Wahlberg, Benicio del Toro, Eugenio Derbez, Temuera Morrison, Eva Longoria, Michael Peña, Nicholas Coombe, Madeleine Madden. This film is genre Adventure, Comedy, Family.
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is a site for free movies to stream Dora and the Lost City of Gold online movies in HD quality. syinopsis this film Dora, a girl who has spent most of her life exploring the jungle with her parents, now must navigate her most dangerous adventure yet: high school. Always the explorer, Dora quickly finds herself leading Boots (her best friend, a monkey), Diego, and a rag tag group of teens on an adventure to save her parents and solve the impossible mystery behind a lost Inca civilization. This is legit Indiana Jones/Tomb Raider/National Treasure for kids - nothing and no-one is sexualised and there’s no violence, aside from the slapstick kind. Plus the humour is fantastic and friendly, and the film even pokes fun at the original TV show in a really great way. Everything is vibrant and exciting, and who doesn’t love a monkey sidekick and a thieving fox? Dora is annoyingly positive every step of the way (don’t worry, it’s a thing) and she sings about everything from her backpack to pooping (don’t be alarmed, I swear it’s still a thing). ’Dora’ also boasts great messages about fitting in and being yourself as only a teenager still rocking the same haircut, pink t-shirt and orange shorts can do.
- Jess Fenton

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https://www.maketheswitch.com.au/article/review-dora-and-the-lost-city-of-gold-dora-meets-indiana-jones-and-a-song-about-poop

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