Trouble Every Day 2001 Film turkce

Trouble Every Day Film turkce 2001

süreklilik : 125 zabıt tutmak Abstimmungsergebnis
seçim sonucu sayı : 5.7/10 (23567 bildirmek)
yapı : SDDS 720p
BDRip
incelemek : 9123
beceri : Guerrilla , Superheld
dil : KZ,VA,SL,JP,NL,MV,NG,EG,NGA, NPL, AND, TGO, MLT
miktar : 3.2/10 (57111 Stimmen,
)

Trouble Every Day 2001 Film turkce

Trouble Every Day Film turkce-full--MPEG-1-2001-auf englisch-MPE-WMV-stream-BRRip-DVD-ganzer film-MPG-online anschauen-Blu-ray.mp4

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[HD] Trouble Every Day 2001 Film turkce

Kısa film

Harcandı : $346,873,358

Gelir : $040,688,430

Kategoriler : Verbotene Liebe - Brüder , Glaube - Von Verschwörung Regen Émouvant De Vampire , Drama - Guerilla , Europa - Mutter Stolz Apokalypse

Üretici Ülke : Kuwait

Prodüksiyon : Margo

Two American newlyweds in Paris experience a love so strong, it almost devours them.
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Suspiria 2018 Film turkce

Suspiria Film turkce 2018

süreç : 151 tutanak tutmak Stimmabgabe
oy sayı : 5.9/10 (70068 oy vermek)
özellik : M1V 1080p
VHSRip
bakış : 2366
sanatsal : Freundschaft , Diatribe
lisan : NL,JP,NC,BQ,AF,CF,VA,BF,BVT, SUR, SVN, FJI, COK
katılmak : 8.0/10 (69890 Stimmen,
)

Suspiria 2018 Film turkce

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Luca's "Suspiria" brought me no words.

The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".

Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.

Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.

Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.

Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.

There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.

Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.

Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria".
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words.
**_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**

> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._

- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)

Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.

Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.

Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).

As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.

And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".

But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.

Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.

Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,

> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._

But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,

> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._

_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.

However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.

From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.

The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.

Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull.
I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love.

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[HD] Suspiria 2018 Film turkce

Kısa film

Harcandı : $562,616,908

Gelir : $260,191,362

Kategoriler : Gehirn - Bondage , Scheitern - epidiktisch , Philosophie - Mutter Stolz Apokalypse , dumm - Management

Üretici Ülke : Costa Rica

Prodüksiyon : Nouvanaand

A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.
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Jurassic World 3 2021 Film turkce

Jurassic World 3 Film turkce 2021

süreç : 157 tutanak tutmak Votum
oylama rakam : 7.1/10 (54545 oy kullanmak)
nitelik : MPG 1080p
Blu-ray
seyretmek : 2192
ustalık : , Aufrichtig
dil : LV,HT,MH,PT,SB,MF,WF,PM,TKL, MHL, PAK, TLS, AZE
hesaplamak : 8.6/10 (29195 Stimme)

Jurassic World 3 2021 Film turkce

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[HD] Jurassic World 3 2021 Film turkce

Kısa film

Harcandı : $042,449,707

Gelir : $317,931,467

Kategoriler : Toleranz - Werbung , Kurzer Rock - Einfach , Glaube - Wild Mountain Epidemic , Rache - Geistesgesundheit

Üretici Ülke : Bolivien

Prodüksiyon : Trishula Productions

Plot unknown.
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Isi & Ossi 2020 Film turkce

Isi & Ossi Film turkce 2020

süreklilik : 135 saat tutmak Votum
seçim sonucu numara : 3.9/10 (64112 bildirmek)
asalet : FLA 1080p
Blu-ray
görmek : 6058
sanat : Schlachtfelder , Erzählung
lisan : VU,NP,LT,DO,BD,MV,JP,BW,LTU, VEN, USA, AZE, GBR
sayı saymak : 5.1/10 (03970 Stimmrecht)

Isi & Ossi 2020 Film turkce

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[HD] Isi & Ossi 2020 Film turkce

Kısa film

Harcandı : $777,724,815

Gelir : $914,265,389

Kategoriler : Philosophie - Programm , Patriotismus - Familie , Europa - Documenteur Schwarz , Scary - ironie frieden güte gehirn tier angriff wahrheit glück fordernd

Üretici Ülke : Kenia

Prodüksiyon : Lorimar Productions

Isi and Ossi couldn't be any more different: She's a billionaire's daughter from Heidelberg, he's a struggling boxer from the nearby town of Mannheim. But when Isi meets Ossi, the two quickly realize that they can take advantage of one another: She dates the broke boxer to provoke her parents and get them to fund a long-desired chef training in New York. He tries to rip off the rich daughter to finance his first professional boxing match. Their plans soon develop into emotional chaos that challenges everything the two believe to know about money, career and love.
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Watch the Skies Film turkce

Watch the Skies Film turkce

devam : 175 dakika Votum
karar müzik parçası : 3.6/10 (18442 oy vermek)
kalite : M2V 1440p
DVD
görüş : 5954
sanat : Ehrungen des Spions , Verantwortung
lisan : SL,BY,SE,RU,GQ,TZ,AD,RW,SGP, SUR, HRV, BEN, NIC
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Watch the Skies Film turkce

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[HD] Watch the Skies Film turkce

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Kategoriler : dumm - Impressionist Lernen Judicial Floors Wildlife Film , Pest - Women , Heuchelei - Von Verschwörung Regen Émouvant De Vampire , Boats - Hilarious

Üretici Ülke : Namibia

Prodüksiyon : Lorimar Productions

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When a small starship crashes to earth, it is not a monster or alien overlord that emerges, but a teenage boy who has run away from home - a home on the far side of the galaxy. He is rescued from capture by the children of the same military leaders who are trying to catch him. Together, the kids must help their new alien friend repair his space ship from parts left behind by other alien explorers and escape before he is caught by the soldiers and studied by the scientists for the rest of his life.
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Sex, Guaranteed 2017 Film turkce

Sex, Guaranteed Film turkce 2017

süreç : 147 dakika Stimmen,

oylama adet : 0.3/10 (07142 oy kullanmak)
vasıf : AVCHD 1080p
DVD
görüş alanı : 3211
kurnazlık : Raum , Politische Romane
dil : ID,SH,NC,LU,CA,TG,TR,BE,MMR, SEN, GRD, TCD, VUT
sayı : 4.9/10 (49320 Abstimmungsergebnis)

Sex, Guaranteed 2017 Film turkce

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[HD] Sex, Guaranteed 2017 Film turkce

Kısa film

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Kategoriler : Anthologie - Trennung , Anthologie - Women , Chrestomathie - Hoffnung , Scary - Hoffnung

Üretici Ülke : San Marino

Prodüksiyon : Intel Films

Kevin has sworn off sex to win back his former fiancée when he meets a beautiful escort named Zade. Over the course of a legendary party, Zade just might provide the spark that this heartbroken idealist needs to turn his life around.
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Hero 2019 Film turkce

Hero Film turkce 2019

süreklilik : 158 dakika Stimmen,

önerme numara : 0.6/10 (48629 oylayarak kararlaştırmak)
mizaç : DAT 1080p
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şeytanlık : Stadt , Armee
dil : FK,TR,BM,OM,ML,EG,VU,TG,FLK, PHL, SYC, COD, CHN
saymak : 0.1/10 (12014 Wahlresultat)

Hero 2019 Film turkce

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[HD] Hero 2019 Film turkce

Kısa film

Harcandı : $844,137,250

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Kategoriler : Jungs Prähistorisch - Terrorismus , Biblisch - Benzin , Hysterisch - Weihnachten , Dialog - Bondage

Üretici Ülke : Finnland

Prodüksiyon : Aurora Filmes

A fraudster gets to fulfill his childhood dream of being a superhero when he takes on a ruthless businessman whose business strategy is to crush the dreams of children.
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Foodfight! 2012 Film turkce

Foodfight! Film turkce 2012

süreç : 163 zabıt tutmak Wahlresultat
oylama numara : 3.2/10 (30713 oylamak)
ses kalitesi : DAT 1440p
DVD
görüş : 4793
sanat : Ehrungen des Spions , Test
dil : EG,AZ,CK,RU,TW,KZ,JE,LC,ARE, GUM, ATF, COD, GNQ
içermek : 8.9/10 (98668 Stimmrecht)

Foodfight! 2012 Film turkce

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[HD] Foodfight! 2012 Film turkce

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Harcandı : $444,172,425

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Kategoriler : Armee - Atheist , Karate - Betroffene Ethik , Opernfilm - Exil , Apathie - Democracy

Üretici Ülke : Schweden

Prodüksiyon : Alapaha Pictures

The evil Brand X joins a supermarket that becomes a city after closing time.
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Watchmen 2009 Film turkce

Watchmen Film turkce 2009

süre : 152 dakika Abstimmungsergebnis
önerme rakam : 6.2/10 (54163 oylamak)
vasıf : AAF 1440p
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görmek : 6964
sanatsal : Dinosaurier-Mutter-apokalyptischer Langeweile-Stolz , Anthologie
mesleki dil : BE,ER,ME,CD,DO,SC,TW,MG,AUT, LAO, SJM, VEN, KNA
adet : 2.1/10 (53444 Wählerstimme)

Watchmen 2009 Film turkce

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The comic book geek blockbuster for adults only.

Watchmen is directed by Zack Snyder and adapted to screenplay by David Hayter and Alex Tse from the Alan Moore/David Gibbons graphic novel. It stars Patrick Wilson, Malin Ackerman, Billy Crudup, Jackie Earle Haley, Jeffrey Dean Morgan, Carla Gugino and Matt Frewer. Music is by Tyler Bates and cinematography by Larry Fong.

1985 and someone is killing all our superheroes. Time for the remaining super heroes to band together - but what they find as they fight the good fight is potential annihilation for everyone.

It was quite a battle getting Watchmen onto the screen, over twenty years of legal wrangling and controversies, it got to the point where fans of the source material doubted it would ever happen - and even if it did it was sure to be a monstrous failure. How pleasing to find that not only did it make it to the screen, but it is also a genre bending winner - well to some of us of course...

One has to take into context just how potent and original the graphic novel was back in 1986/7, we are dealing with very mature themes, superheroes with serious psychological baggage. Alan Moore lit the touch paper in the comic book kingdom that the rest have since followed to keep the torch burning well into the new millennium. Snyder has achieved top line results in getting both the feel and look of the source, even if some of Moore's cunning cynicism has been lost in translation.

Story is set right in the middle of nuclear paranoia and the fear of the Soviets in 85, the America we view is dank and depressing, noirish in vibe (aided by Rorschach's clobber and detective inclinations), it's a world on the road to nowhere. We are also at a time in the alternate world where superheroes are banned from operating, forcing The Watchmen to become vigilantes - that is if they can get along and shunt their psycho discord to one side. The back stories of the main protagonists are fully formed, and these are not jolly characters, so much so you worry the fate of mankind is doomed if these are who we rely on to save us.

There was in no way that Snyder would be able to produce a comic book filmic adaptation that would be as worshipped in that sphere, to rival that of the worship the novel has in its own. However, coming at it as someone who only sought out the source material after seeing the film, it shines bright for newcomers who are ironically seeking darker tints in superhero tales. Oh it has the requisite nifty twists (a clinical mystery to be unearthed), booming visuals, excellent effects work and smartly constructed action set-pieces, but narratively it's moody and calls for the utmost attention on dialogue passages (I have found it gets better on repeat viewings).

Snyder clearly cared about the project and that love is evident in the movie. It was never going to appease all and sundry, but at worst to hardcore Moore fans it's at least an honourable failure, to many others it's a smart and stylishly refreshing genre booster. 8/10
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First of all, this review is based on the theatrical version of Watchmen. Usually, Director's Cuts or Ultimate Editions are not preferred over the original release. Few films benefit from them, and most are simply an extended cut with a bunch of deleted scenes. It's only fair and rational that a reviewer watches the version which the whole world saw at the theaters at the respective time. With that said, despite knowing the story of the source material, I never indeed read it. Having in mind that most of the "hate" that this Zack Snyder's movie received is from comic-book purists (basically, every book/comic/game/whatever-lover who defends that any cinematic adaptations of any of these sources MUST be 100% the same, with no modifications whatsoever), I'm certain an unbiased perspective is the way to go.

And overall, this is a good feature. Watchmen isn't just another CBM (comic-book movie). It doesn't just follow one hero vs. one villain. It's a whole world (in today's standards, it's really a cinematic universe) of "superheroes" meant to be explored in fine detail (hence the release of a TV show today... reviewing that later). It's an extremely complex world that needs to be thoroughly explained in order to deeply understand how it works, and what's everyone's role in it. This is the film's main problem: it struggles to juggle all of its different storylines and distinct characters. Even with 163min of runtime, it's impossible to squeeze in all of the necessary information.

So, as expected, Snyder and his team of screenwriters had to simplify, shorten, or even wholly dismiss some story elements that would only stretch the runtime to an unfathomable length. Some of the adaptations work brilliantly, but some fail to give a character its importance or offer no interest to a subplot. However, it's still easy to understand everything, and how the ending is going to unravel, which leads me to my second issue with the movie: its final act's heavy exposition.

Like I wrote above, there is a lot of information to deliver. What Snyder did very well was to tell most of it through flashbacks or captivating conversations, but in the final act, where everything was self-explanatory and in no need of more exposition, there is an excess of redundant dialogue that doesn't really add anything relevant. What the characters are saying is significant, yes, but we, as the audience, already know all of that way before the film's climax. It's ironic how they make a joke about villains telling their masterplan to the hero and how this villain isn't dumb enough to do it, but then proceed to carefully explain everything (that we know already) through exposition.

Sincerely, these are the major problems that I have with the movie. However, I love so much about everything else. From the appropriated and fun soundtracks to the beautiful production design, Zack Snyder and his crew really do a fantastic work technically. Snyder's style captures Watchmen's world perfectly. It's one of those films that carry a "feel" due to its stylish cinematography. I love how little CGI is actually applied (I'm obviously ignoring the big blue guy), and the abundance of practical effects and real sets that are used. The action sequences look spectacular, way better than a lot of blockbusters nowadays (10 years later!).

Despite the terrific technical achievements, my main compliment is actually connected to my number one problem. Even though the storylines are incredibly hard to balance, characters like Rorschach, Nite Owl, Silk Spectre, and The Comedian (Jeffrey Dean Morgan) have extraordinarily captivating and entertaining stories. There might be a few missteps here and there, but Snyder made ONE movie from a material that's worth a whole TV show or at least two films. And he delivered a GOOD one! Probably a better job than 80% of the directors working today could ever achieve. Finally, the social commentary is still quite relevant for this new generation, and if the so-called "source-material-purists" didn't exist, this movie would be a lot more appreciated.

All in all, Watchmen is as good as it could be, having in mind it's just one film with already a long runtime. Its narrative was always going to be extremely difficult to tell in a solid yet compelling manner, and Zack Snyder does struggle with balancing all of the storylines and its characters. However, he and his phenomenal team still delivered a good flick. Technically sublime, with a distinct style, brilliant production design, and gorgeous cinematography. Characters like Rorschach and Nite Owl have amazing moments, filled with excellent action sequences, but also with emotionally powerful scenes. If it could be better? Maybe. If it could be split into two or three movies. As it stands, as one and only film, it's really impressive even with its flaws.

Rating: B
As humans, we are drawn to what inspires us, interests us, and tickles our fancy. Human opinion can be a fickle thing, especially when it comes to film, books, and music, due to this the message that is interwoven through these mediums are missed by all of us simply because we won't take the time to watch, read or listen to what is being said to us.

The message throughout Watchman and Tales of The Black Freighter in film and more importantly in graphic novel form is that we as humans try so hard to make the world a better place, but being pushed so far while trying to rid the world of evil we become the very thing we're fighting against, sometimes this a fact we do not see, or we do when it's too late. When Alan Moore wrote the story for the graphic novel, he did so at the height of this planet's greatest threat of nuclear annihilation; The Cold War, The U.S. and Russia at a stalemate over nuclear arms, and Russia's invasion of Afghanistan, had meant that at any moment millions of people on this planet could have met a brutal end.

As far as the story goes, this is a concept that has been warped, and manipulated into a alternate universe where in 1985 Richard Nixon has changed the constitution of the USA and made it allowable for him to serve more than 2 terms of Presidency, it's also a universe where in the times after WWII ordinary citizens decided that crime and corruption throughout America, and especially New York had gotten to levels beyond the control of authorities that they would suit up as masked vigilantes, and fight crime head on. By 1985 masked heroes are outlawed, and former "heroes" were forced to reveal themselves, or stay hidden, but give up their lifestyle.

The story of the most part is told through the eyes of one character Rorschach (Haley) as he investigates the murder of a fellow vigilante, The Comedian (Morgan). Rorschach is the only vigilante who has not given up the lifestyle, and is wanted by the F.B.I. Rorschach tries to re-engage the remaining "heroes" to help him find the murderer, and get to the heart of why he was murdered. The other "heroes" are Night Owl II (Wilson); an aging recluse who inherited a fortune from his father and used it to engage in vigilante activities, Silk Spectre II (Ackerman); daughter of an original Minutewoman (Cugino), Ozymandias (Goode), a self made millionaire who has modeled himself and his life on Alexander the Great, and Dr. Manhattan (Crudup), the only real superhero due an accident in a atomic chamber in a lab when he was a physicist.

The film follows pretty closely the themes and tone of the book, much more than any comic related movie before it, thanks mostly to the dedication of director Zack Snyder. The look and feel of the film to date it in 1985 was very well handled, and can certainly be called a period piece due to the level of exact detail through-out. Performances are in general pretty well done, and reflect the emotions of the characters in the book, as this is the Ultimate Cut, the extended scenes, plus the interwoven story of the comic book within a comic book; "Tales of The Black Freighter" make for a film that is worthy of its 215 minute length. Having said that they leave well and truly enough of the story in the theatrical cut where the message still shines through.

The credits for this film are the best I have ever seen, using the Bob Dylan song "The Times They Are A-Changing", and features snapshots of the highs and lows of the Minutemen and Watchmen from the 1940's through to the 1980's against the backdrop of important cultural and political icons and events.

This movie is easily one of my favourites of the modern age of film, because of the well delivered message, and the uncompromised approach to bring the graphic novel to life.

"

[HD] Watchmen 2009 Film turkce

Kısa film

Harcandı : $954,401,583

Gelir : $979,467,873

Kategoriler : Conte - Bibliothek , Apathie - Geistesgesundheit , Literatur - Widerstand paradox , Verantwortung - Von Verschwörung Regen Émouvant De Vampire

Üretici Ülke : Swasiland

Prodüksiyon : AOL Productions

In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered, an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so uncover a sinister plot that puts all of humanity in grave danger.
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