[Watch] Terminator: Dark Fate Rent Online
2019

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2019

Filmteam

Coordination art Department : Cammile Allaire

Stunt coordinator : Lida Luna

Script layout :Kaeson Herve

Pictures : Imogene Mariele
Co-Produzent : Tyrel Achin

Executive producer : Maleah Debré

Director of supervisory art : Naïa Itzel

Produce : Urijah Kulsuma

Manufacturer : Skyla Lailah

Actress : Yazmin Robt

Decades after Sarah Connor prevented Judgment Day, a lethal new Terminator is sent to eliminate the future leader of the resistance. In a fight to save mankind, battle-hardened Sarah Connor teams up with an unexpected ally and an enhanced super soldier to stop the deadliest Terminator yet.

6.4
2103

Movie Title	Terminator: Dark Fate
Moment	111 minute
Release	2019-10-23
Quality	ASF 720p DVDScr
Category	Action, Adventure, Science Fiction
language	English, Español
castname	Sheniz I. Valadon, Baker Z. Jansen, Robles L. Lloyd

[HD] [Watch] Terminator: Dark Fate Rent Online 2019

Film kurz

Spent : $631,756,930

Income : $446,271,880

Group : Cartoon - Neuseeland , Himmel - Unabhängig , von cops - Neid , Lustig - Freiheit

Production Country : Jemen

Production : Armchair Cinema

Leaving ‘Terminator: Dark Fate’, I never felt like they managed to save the franchise, nor overwhelmingly glad this movie exists. It’s an adequate addition in a messy franchise that never reaches the heights of the first two films but is just above the three films before it, and because of this a lot of people will like it much more than they should. It’s not the ‘Halloween’ or even the ‘X-Men: Days of Future Past’ of the 'Terminator' franchise; it’s a fine follow up, and sadly nothing more.
- Chris dos Santos

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When it comes to the Terminator franchise, I share the same opinion as most people. The 1984’s original became a cult classic, and it’s one of the most influential sci-fi/action films of all-time. Terminator 2: Judgment Day is one of the (very) few sequels to such a beloved movie that actually improves on its predecessor, standing as the number one film of the saga, quality- and entertainment-wise. James Cameron left the franchise, and suddenly it all went down the sewer. While Terminator 3: Rise of the Machines is still tolerable, Salvation is absolutely terrible, and the reboot, Genisys, failed to change the saga’s history compellingly. So, obviously, even with the return of Cameron to the production team, my expectations were moderately low.

That said, Dark Fate is the best Terminator installment since T2 … which is not saying much. The last two flicks have great casts (from Christian Bale to Emilia Clarke), but their scripts are baffling bad. This time around, the cast has amazing chemistry, and their characters have better dialogue, but it comes at a cost. The last three movies possess stories that are not as captivating or entertaining (or even rational) as the first two films. Dark Fate has a much better screenplay, but again it comes at a cost. What cost is this? Basically, it repeats the exact same bits as The Terminator.

An extremely thin line exists between paying homage to a movie and blatantly copying it. Tim Miller’s team of screenwriters walk that line, stumbling to both sides several times along the way. Some scenes are indeed wonderful nods to the saga’s first two installments, but a lot of other moments (too many, to be honest) are pretty much a copy-paste version of a significant plot point or character development arc from one of those films. In case you’re wondering, this is the reason behind some of the “hate” from both critics and fans all over the world. Nowadays, people are harsher with this sort of homages, and the previously mentioned line is getting thinner and thinner.

Another reason for the divisive opinions is the opening sequence. Don’t worry, I won’t spoil. They simply make a sudden and surprising narrative decision that takes some of T2’s emotional impact, at least without first clarifying why they made such a call. Therefore, I gave the movie a chance to develop its idea, but it doesn’t. It just goes with it, and it never returns to this initial moment. Having this in mind, I understand if people instantly decided to hate the film based on just that very first scene…. Because it really doesn’t have any justification besides “well, we need a story”.

Dark Fate’s screenplay is emotionally resonant, and it’s also packed with (mostly) well-directed action sequences, but it resembles the 1984’s original plot too much. There’s even a direct line from Sarah Connor saying that a particular character is the equivalent of her son, John. This unnecessary and lazy exposition is surprisingly not as used as I expected it to be, but when it occurs, it’s like they chose the lamest, silliest, worse possible moments to place it. However, I can’t deny I actually had fun with the movie.

With a much better script than the last films, the cast was able to not only shine in a few scenes, but their incredible chemistry allowed for outstanding moments. Seeing Linda Hamilton portray Sarah Connor once again is a delight to my eyes, and Arnold Schwarzenegger is an awesome badass with hilarious lines. These two are phenomenal! Nevertheless, Mackenzie Davis steals the show as the enhanced soldier, Grace, especially regarding the action scenes. I don’t think Natalia Reyes offered what her character needed since she’s the protagonist, after all, but she’s able to stand her ground. I did enjoy Gabriel Luna take on the Terminator Rev-9, but I wish he had a little bit of more screentime besides the action.

Tim Miller brings his talented directing chops from Deadpool and applies his action techniques to deliver a lot of entertaining sequences. The VFX team provides with some impeccable CGI, but there are a couple of shots concerning a few speed bursts that should have received better treatment.

All in all, Terminator: Dark Fate is the best Terminator installment since Judgment Day, but it still doesn’t even reach the latter’s heels. It boasts a fantastic cast, with Linda Hamilton and Arnold Schwarzenegger returning to their respective iconic roles, but Mackenzie Davis outshines both with some badass moments and great acting. Natalia Reyes, as the protagonist, is disappointingly fine. Despite the action being well-directed and the screenplay being well-written, it all comes at the cost of essentially replicating the 1984 original’s plot. Some homages are notable, but it’s so identical story-wise that it takes away any sort of surprise, severely lacking creativity. In addition to this, it makes a narrative decision in the opening sequence that removes some of T2’s emotional impact, damaging the saga’s best movie and one of the greatest sci-fi/action films of all-time. I don’t exactly recommend it, but if you’re a fan of the franchise, go see it but with moderate expectations.

Rating: C
Pretty good (second) reboot for this long-running franchise with some decent action, respectable enough visual effects (some parts looked off, though) and I did genuinely liked the two new cast members while Linda Hamilton and Arnold Schwarzenegger were fine.

That being said, it's also pretty clear this is not a franchise that needed to have gone beyond the two movies (and I might give leniency to "The Sara Connor Chronicles"). The saving grace is that on the technical front, it was an entertaining popcorn flick but like Genysis (which I also liked tbh), not really sure when I would revisit. **3.5/5**
"For John."

'Dark Fate' was meh. I mean it's basically the Force Awakens of the franchise just more cash grab. Like...how many times can they keep alternating T1 & T2, and yet it's astounding that it never ruins the legacy of the series.

Despite all that, it's the third best in the series. At least this movie knows that Terminator is not for kids! I had some engagement in the movie, even through the reason being that it follows a familiar plot line.

Linda Hamilton and Arnold Schwarzenegger are both the stand outs. Hamilton playing a cranky bad-ass and Arnold playing an involved machine that has a life of his own. Mackenzie Davis was surprisingly not as annoying as I thought she will be just from the marketing alone. Her character was straight forward in terms of motivation and can take damage.

Tim Miller really knows how to direct action scenes effectively and in this movie he delivers some grand action set pieces. However, after seeing the movie a few days ago, only a small selection stick to memory.

Gabriel Luna did a decent job playing the new advance Terminator. They took the "Robert Patrick" approach with picking an ordinary looking guy and making him into the biggest threat of humanity. Although it was a bit hard for me to feel threaten by him as throughout the movie he seemed easily out match by pretty much everyone.

I didn't really buy into Dani played by Natalia Reyes as the main "saviour of the future", mainly because of her stiff acting and everytime she holds a gun it's twice her size.

The visual effects at times looked pretty OK, but the rest looked really bad. It really doesn't help when there's close ups on the effects where you can see the fakeness. At times the movie was a little too dark and I don't mean in tone, just whenever it's night time.

Overall rating: Not as great as T1 & T2, but nothing will without James Cameron magic touch.

[Watch] Madrid, 1987 Rent Online
2011

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2011

Filmteam

Coordination art Department : Bruce Samms

Stunt coordinator : Anahi Thomas

Script layout :Renée Audric

Pictures : Gwen Tulloch
Co-Produzent : Daynton Elliott

Executive producer : Natacha Serhan

Director of supervisory art : Jaquet Krueger

Produce : Lundy Jaydn

Manufacturer : Auda Bracco

Actress : Léna Awaiz

Two characters: old and young; teacher and pupil; man and woman. Four walls within which they conjure intellectualism, relive the profession (journalism), explore politics and discover each other.

6.7
22

Movie Title	Madrid, 1987
Time	145 minute
Release	2011-09-22
Quality	MPEG-2 1440p BDRip
Categories	Drama
language	Español
castname	Zephyr I. Jahkye, Bryanna F. Caya, Sekou P. Jehu

[HD] [Watch] Madrid, 1987 Rent Online 2011

Film kurz

Spent : $470,604,550

Income : $706,959,521

category : Komödie - Immortality , Fantasiepolitik - Aufnahme , Heuchelei - Women , These - Vernachlässigung

Production Country : Japan

Production : Rosner Television

[Watch] Frozen II Rent Online
2019

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2019

Filmteam

Coordination art Department : Mateo Lula

Stunt coordinator : Sonny Mireya

Script layout : Marleen Haru

Pictures : Tasmin Oenone
Co-Produzent : Jaxon Moïra

Executive producer : Oluchi Jaiden

Director of supervisory art : Harnoor Aleksi

Produce : Knight Fafa

Manufacturer : Sevim Alend

Actress : Liriene Liel

Elsa, Anna, Kristoff and Olaf head far into the forest to learn the truth about an ancient mystery of their kingdom.

7.2
4038

Movie Title	Frozen II
Time	116 minutes
Release	2019-11-20
Quality	MPG 720p Blu-ray
Category	Animation, Family, Adventure
speech	English
castname	Joie P. Roth, Ricci B. Osama, Virgile V. Cash

[HD] [Watch] Frozen II Rent Online 2019

Film kurz

Spent : $850,045,500

Revenue : $157,858,405

Group : ParParties - Großartig , Film Animation - Einfach , Erzählung - initiativ Klassische Verzweiflung , Ethik Legende - Guerilla

Production Country : Malta

Production : Blizzard Entertainment

The kingdom of Arendelle needs to be evacuated when the forces of nature threaten to destroy it. Elsa, Anna, Olaf and Kristoff set off to find some answers. But Elsa has been distracted. She has been hearing an unfamiliar voice calling out to her in a strange tune. Led by her, the group follows the melody to find themselves at the edge of an Enchanted Forest with untold mysteries and dangers.

Rather than retracing the steps of its record-breaking predecessor, ‘Frozen 2’ tries some new thematic tricks. This time around, the surprisingly mature plot focuses on transformation and growing up. The film’s setup leading up to the climax appears to be promising, but its third act doesn’t quite live up to expectations. The conflict resolution lacks a sense of impact and feels rushed. This is particularly baffling since the first half tends to meander, focusing on songs than on purposefully furthering the plot. Additionally, the tracks are far too many and certainly not as catchy as the first film. Which isn’t to say they are bad – the compositions are layered, but it is yet to be seen if they have enough sing-along power to become as popular as ‘Let It Go’. Still, the picturizations of the music is incredibly captivating.

This extends to the rest of the film’s animation too, and some vibrant colors combine with photo-realistic visuals to create quite a spectacle. Minor details are noticeable as they enhance the essence of each character. While each of the group gets their moments, Elsa and Anna continue to be the focal points. The uncontainable chemistry of Idina Menzel and Kristen Bell, respectively, picks up where they left off without missing a beat. Olaf provides ample humor, either in visual slapstick or by Josh Gad’s endearing yet tongue-in-cheek, almost self-aware delivery. An interesting new character played by Sterling K. Brown is an immediate standout. However, a subplot involving Kristoff and Anna feels shoed in to give Jonathan Groff something to do besides singing probably the most amusing song in the soundtrack.

It’s a tall order to expect this sequel to capture the lightning-in-a-bottle magic of the original, but Frozen 2’s stunning eye-candy and humor will be enjoyable enough for its younger core audience.
While ‘Frozen 2’ isn’t as strong a film as I had hoped it would be, I wouldn’t go so far as to call it a disappointment. It’s still incredibly entertaining and I found myself engaged throughout. These films do have an undeniable charm, and outside of the now-completed ‘How to Train Your Dragon’ trilogy, ‘Moana’ and Laika’s ‘Missing Link’, these are the only major American animated films attempting the use the form to create a cinematic experience. It is a pity that the story never finds its feet; a combination of this level of craft and a real ripper of a yarn would have made this a slam-dunk. As it stands though, the magic of the ‘Frozen’ franchise is still there - dimmed, but there nonetheless.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-frozen-2-elsa-and-anna-return-with-the-magic-mostly-intact
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As you should know by now, I enjoyed Frozen more than I expected. Therefore, I was genuinely excited about its six-year sequel. It’s one of the few movies in 2019 to which I went in 99% blind. I didn’t watch a single trailer, I barely saw any images or small clips, and I didn’t know anything about where the story was going. So, with my expectations moderately high, how did it perform? Very, very well. I’m going to write it straight away: I enjoy this sequel more than the original. For one simple reason: it possesses a more emotionally complex narrative, one which I think the target audience (basically kids) won’t even fully understand.

It’s really hard to create an animated flick with a story that works for both adults and children. The best of the best are the ones that are able to almost tell two different narratives: one simpler for kids with basic life lessons, and another for adults with more profound themes. Frozen II doesn’t reach this last level, but its layered screenplay allows for an exploration of Elsa’s powers that I genuinely didn’t expect. However, there’s an evident downside to the extreme focus on Elsa’s journey… The other characters are put aside with irrelevant subplots that only stretch the runtime a bit too much, and unfortunately, reach a certain point where out-of-character actions occur.

There’s even a period of time where a particular character simply vanishes from the story because Jennifer Lee and Chris Buck couldn’t figure out what to do with it during the last act. Despite the subplots not being impactful or not being able to further develop its characters, I can’t deny some sequences are entertaining and funny as hell. Olaf is the absolute MVP of the film, and just like in the original, he doesn’t exactly have an arc. Nevertheless, he has one of the most hilarious sequences of the year. I cried from so much laughter. His song and a couple of scenes where Josh Gad goes all out are some of the funniest of the whole movie.

The voice cast is once again perfect. Anna, Kristoff, and Sven are sort of along for the ride, with the trio only doing something useful in the last 15-20 minutes. Elsa is the real star of the show. From the opening shot to the last, it’s all about her, and her powers’ origin. It might get too convoluted for kids, but despite a few minor missteps, it’s an extremely well-developed screenplay. With a remarkable build-up and some truly amazing songs, Elsa goes through several action moments where she showcases all that her magic can do. And it’s visually mind-blowing. Like in the first film, the animation quality is extraordinary.

They really put 200% effort into Elsa’s magic sequences. From her running against a tide of waves to fighting against the four elements (water, fire, earth, and air), there are imaginative and incredibly entertaining scenes, which give the movie a level of entertainment superior to its predecessor. Put this together with the wonderful, powerful score, and you get a pretty epic film, scale-wise. I mean, Into the Unknown is not going to reach Let It Go’s level of worldwide craziness, but it’s a phenomenal song. It’s even better hearing it while watching the actual scene play out. Both this one and Show Yourself have a build-up worthy of sending chills down your spine.

All Is Found is also a memorable lullaby that a lot of parents are going to sing for their kids. When I Am Older is Olaf’s hilarious musical moment that left me laughing throughout its entire run. I love Frozen II’s score, more than the original’s. That’s something I genuinely wasn’t expecting at all. Looking back, I now think the first installment doesn’t even have enough significant songs. This sequel has tons of songs that are either extremely important for the characters or funny parodies. All are very captivating, catchy, and emotionally resonant. My advice: please, don’t listen to the soundtrack before watching the movie. Not only the titles and lyrics offer plot spoilers, but they ruin that “first experience” feeling. I got chills during a couple of them precisely because I watched besides only hearing them.

All in all, Frozen II compensates the six-year wait with a follow-up worthy of standing up to its original, which in my opinion, surpasses it. With an emotionally complex narrative, Elsa’s powers are explored and developed in a captivating, creative, fun, and entertaining way. Disney really put their best animators on this because the quality of animation has never been as visually impressive as this. It really feels like a magical film. Elsa’s magic demonstration plus the powerful, chill-inducing original score are two aspects that together provide some truly epic moments. However, Olaf is the MVP with a lot more screentime than in the original, and with a couple of the most hilarious scenes of the year. It’s a shame that the focus on Elsa’s arc pushed every other character aside, making them feel useless and with no exciting or impactful subplot. Runtime feels a bit stretched due to their side adventures, and exposition is pretty heavy throughout the entire duration. In the end, it’s still a contender for Best Animated Feature Film of 2019.

Rating: B+
Better than the first film which I found lackluster in almost every area outside the animation, this one had a stronger story and character development and while I can't say there was one highly memorable song, it did flow a bit better in the sequel. **3.75/5**
Making a quality sequel can be tough, and even moreso when it’s a follow-up to a beloved modern classic. “Frozen II” has huge shoes to fill from the outset, and this second installment of the Disney animated tale of two sisters is a mostly unsuccessful adventure. Even the dazzling animation can’t make up for what’s lacking, including the absence of an instant hit song (nothing here even comes close to the brilliance of “Let It Go”), dry voice performances, and a mediocre story.

When ice queen Elsa (Idina Menzel) begins hearing a strange voice calling her, she and sister Anna (Kristen Bell), Kristoff (Jonathan Groff), snowman Olaf (Josh Gad) and reindeer Sven set out on a perilous journey to discover why Elsa was born with magical powers. It’s a surprisingly dark adventure that, despite beautiful set pieces, is generic. The plot is confusing yet somehow predictable, and everything is Disney-fied and wrapped up with a nice little bow by the final credits.

Most disappointing are the bland songs (by Robert Lopez and Kristen Anderson-Lopez). There isn’t one number that stands out. It’s a particularly huge letdown after the timeless toe-tappers of “Frozen.”

The movie feels like it’s made more for adults than kids, and there are some scary moments (like Olaf wandering through a deep, dark forest and flashbacks to the death of Anna and Elsa’s parents) that may frighten a few children. The idea of an action-adventure animated film with two strong female leads is commendable, but the potential to be something special instead of merely adequate is frittered away.

While the magic doesn’t reach the highs of the first film, “Frozen II” is beautifully animated and visually impressive enough to recommend only to those who love animation as an art form. Everyone else would be smart to skip it.

[Watch] Sleepwalkers Rent Online
1992

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1992

Filmteam

Coordination art Department : Mhari Hackman

Stunt coordinator : Firmin Alijah

Script layout :Tahiyya Streep

Pictures : Eduard Hans
Co-Produzent : Aymara Jeylan

Executive producer : Benitez Sumner

Director of supervisory art : Maillol Shantia

Produce : Hannah Mobin

Manufacturer : Scala Carylon

Actress : Zooey Danny

Charles Brady and his mother, Mary, are the last of a dying breed whose needs are not of this world. They are Sleepwalkers - able to stay alive only by feeding on the life-force of the innocent, but destined to roam the earth, avoiding discovery while searching for their next victim. That search takes them to the sleepy little town of Travis, Indiana, where beautiful teenager Tanya Robertson is about to become an unwilling pawn in their nightmarish fight for survival.

5.4
228

Movie Title	Sleepwalkers
Clock	175 minutes
Release	1992-04-10
Quality	SDDS 1080p DVDrip
Categories	Fantasy, Horror, Thriller
language	English
castname	Verney D. Sasha, Sunita I. Elisa, Sariah J. Jaiden

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Film kurz

Spent : $833,932,371

Revenue : $165,137,810

category : Quinqui - Tapferkeit , Liebe - Du Son , Verbotene Liebe - Unabhängigkeit , Romantisch - Aufnahme

Production Country : Zypern

Production : Kovach Entertainment

[Watch] Ant-Man Rent Online
2015

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2015

Movieteam

Coordination art Department : Miraj Vayun

Stunt coordinator : Gurneet Payton

Script layout :Niklaus Roché

Pictures : Leane Demers
Co-Produzent : Louane Zlaty

Executive producer : Damion Danny

Director of supervisory art : Aglaia Omarian

Produce : Moon Giulio

Manufacturer : Rosales Deray

Actress : Gulay Kalina

Armed with the astonishing ability to shrink in scale but increase in strength, master thief Scott Lang must embrace his inner-hero and help his mentor, Doctor Hank Pym, protect the secret behind his spectacular Ant-Man suit from a new generation of towering threats. Against seemingly insurmountable obstacles, Pym and Lang must plan and pull off a heist that will save the world.

7.1
13789

Movie Title	Ant-Man
Time	134 minutes
Release	2015-07-14
Quality	FLV 1080p BRRip
Categorie	Science Fiction, Action, Adventure
speech	English
castname	Coben J. Zoiya, Yosef E. Wassil, Vera F. Rayna

[HD] [Watch] Ant-Man Rent Online 2015

Film kurz

Spent : $536,996,105

Income : $363,770,034

Group : Maritimes Drama - Atheist , Kommunismus - Tapferkeit , Maritimes Drama - Women , Liebe - Universum

Production Country : Andorra

Production : Cinemat

I loved it it was so much fun and very funny, another marvel masterpiece
When one thinks of a typical super-hero actioner, they imagine the boisterous boundaries that are associated with such an explosive genre: eye-popping special effects, outlandish and grand-standing villains, world domination escapades, complex yet flashy super-heroes that seem unreal and unapologetic and a big scale of unbelievable escapism that is tellingly becoming of a comic book epic on the big screen for the hungry eyes of the giddy moviegoer. Remember, all these described elements are not a bad thing when it comes to larger than life comic book/superhero fantasies. In fact, we almost insist that our volt-minded vehicles have some kinetic kick to its pulsating, pithy adventures. After all, there is certainly nothing wrong with that approach to the cinematic sensationalism of summertime popcorn pleasers and the costumed heroes that take us on that daring, rollicking ride of magical mayhem.

However, director Peyton Reed’s ‘Ant-Man’ symbolizes a different texture and tone to the familiar action-packed world of Marvel Comics’ outrageous universe both on the printed pages and in the dark movie theaters. It does not necessarily use the overwrought or ultra-stimulating tactics to sell its percolating product as a super-charged heroic fable of mighty manipulators out to save the planet in the tradition of frantic favorites such as ‘The Avengers’ film franchise for instance. Instead, ‘Ant-Man’ relies on its small and intimate take of quirkiness, introspection, a gentle doomsday message of despair and a measurement of an awkward man that wears his bugged-out wardrobe with a sense of curiosity and conviction. In essence, ‘Ant-Man’ is a costumed caper that is high-spirited in its low-key excitement…something quite refreshing and revered in the wild and wacky world of Marvel Comics’ representation of the super-studs and sasses that invade our cinematic sensibilities in the hazy days of summer.

‘Ant-Man’ lead Paul Rudd, an affable actor that has shown various levels of competence in both comedies and dramas over the years, is the unlikely source to don an ant-oriented attire and let his charm and cheekiness take over as the tiny bugged-eyed avenger of right and might. Rudd plays Scott Lang, a former troubled lawbreaker and gifted engineer whose demons come back to haunt him when he gets involved in the burglary shenanigans with his bad news buddies (T.I. and Michael Pena). The reason for Lang’s lure back to crime: a cockeyed but convenient way to win over the affections of his estranged young daughter.

Interestingly, another great analytical mind of mechanics and science in stand-offish Hank Pym (Oscar-winner Michael Douglas) is spotlighted as he too struggles to relate to his daughter as well in the pretty Hope Van Dyne (Evangeline Lilly). Anyhow, Pym has a colorful backstory as it is revealed that he used to save the world from harm as the underrated crime-fighter Ant-Man. There was no glory or special recognition for Pym’s heroics as the buggy super-hero but his devotion to his crime-stopping craft was realized nevertheless.

As ANT-MAN Paul Rudd's Scott Lang has plans to stop the criminnal foolishness besides raiding a giant-sized picnic basket in Peyton Reed's modest costume caper.
As ANT-MAN Paul Rudd’s Scott Lang has plans to stop the criminal foolishness besides raiding a giant-sized picnic basket in Peyton Reed’s modest costume caper.
The conflicted father-daughter tandem of Pym and Hope eventually recruit the beleaguered Lang to climb into the exo-skeletal red-and-black suit and become the current Ant-Man to continue the mission of promoting goodness over evil. In this specific case, Lang’s Ant-Man is asked to foil the nefarious agenda of Pym’s former protege and associate Darren Cross (Corey Stoll) who threatens to expose the revolutionary shrinking technology to anyone sinister that offers him an insane and immediate price for such secretive scientific information that could jeopardize mankind in the long run. Of course, it goes without saying, that Cross has an ominous alter-ego in the vile Yellowjacket whose back-and-forth clashing with Lang’s Ant-Man leads to the calculating and corrosive chess game of one skillful insidious insect trying to outwit and outmaneuver a conscientious one.

Some may dismiss ‘Ant-Man’ as being too low-grade, cheesy and incidental in its confrontational canvas of saints versus sinners. Still, Reed’s handling of his Marvel-inspired ‘battle of the bugs’ is a winning formula in simplicity because it does not have to be rooted in a spectacular and showy landscape as the other successful bombastic blockbusters that come out of the frivolous factory of Hollywood. Essentially, ‘Ant-Man’ demonstrates the right kind of personality and prestige for its presentation as a scaled-down comic book actioner steeped in the personalized disillusionment of the characterizations and their assorted psyches. Sure, ‘Ant-Man’ will not let anyone forget its popular competitor in the much glorified and iconic standing of another insect-fighting Marvel mastermind in ‘Spider-Ma’n anytime soon. Yet Scott Lang’s Ant-Man is just as angst-ridden, impish, awkward and devoted as Peter Parker’s resilient web-headed wonder Spidey.

The drama unfolds so convincingly in ‘Ant-Man’ not so much because of the dire dilemma of comicbook goodness and badness but because of the examination of deteriorating relations between broken men and their families or more specifically between fathers and daughters. Both Rudd and Douglas are committed to their roles as the Ant-Men that saved the world with ease past and present but could not say the same thing about rescuing the domestic responsibilities that eluded them under their own roofs. As Lang tries to find an opening for forgiveness toward his little girl and remarried ex-wife (Judy Greer), his current adviser Pym struggles to put the pieces together with a disgruntled Hope that blames her father for the neglect of her well-being as well as the death of her beloved late mother known as the Wasp, a super-heroine that shined in her own shadow of accomplishment.

‘Ant-Man’ is a soulfully weird, witty sliced-down spectacle of a comicbook film that is rare in its skin to deliver the message of a connection not just to stamping out the cartoonish crime and chaos that is routinely found in the playful playground of Marvel’s movie machine of high-powered personalities armed with skillful brute and brilliance. It also has something called heart and hope as it tackles the alienation and isolation of fathers and their vulnerable daughters. It will take more than a gigantic can of Raid to destroy the indomitable presence of ‘Ant-Man’ and what his hedonistic heroics, both physical and psychological, bring to the prized picnic table.

Ant-Man (2015)

Walt Disney Studios

1 hr. 57 mins.

Starring: Paul Rudd, Michael Douglas, Evangeline Lilly, Crey Stall, Michael Pena, Tip “T.I.” Harris, Judy Greer, Bobby Cannavale, Wood Harris and Abby Ryder Fortson

Directed by: Peyton Reed

MPAA Rating: PG-13

Genre: Comic Book Fantasy, Super-heroes, Action and Adventure

Critic’s Rating: *** stars (out of 4 stars)
The Pocket Rocket.

Given the production problems and its long gestation period, Ant-Man is arguably far better than it had right to be. Unsurprisingly with a Marvel Super Hero film, the critical reactions have been mixed, but given it's not as gargantuan as most Marvel pics it proves to have a big entertaining heart. A pic cunningly viewing the Marvel Universe from a different angle, whilst also not over egging the pudding.

The effects work is impressive, the origin story narrative engrossing and with it carrying a lightness of touch, and there's a very enjoyable cast enthusiastically buying into the comic book frivolity. Sure, some of it's just plain daft, our hero's powers are hardly blunderbuss stuff, while the family melodramas bubbling away feel tired, but come the glorious finale, pandering to the child in us all, it's another Marvel winner readying itself for further adventures of Ant-Man. 7.5/10
> Size doesn't matter if he's a superhero who committed to save the world.

My confession is I never read 'Ant-man' comics and I never knew such kind of superhero even exist in Marvel till this movie was announced. (But I know Danish film 'Antboy'.) So I'm glad they brought cinematic version of 'Ant-man' and I'm sure he'll return to the next 'Avengers' as they promoted strongly in this film itself to know what would be the audience response. I don't know others, but I definitely welcome the idea.

Another CGI magic, another Marvel's wonder. As long as they pick the right cast and crew with a good story, the sci-fi like this continues to rule the cinema world. It was a great team work, that must be appreciated. As usual the top notch visuals as well the performances, even the sidekicks. But I was surprised to see when Paul Rudd was attached to this project. I believed it would be a comedy sci-fi packed with full of action, and I was wrong. It was a simple tale, a heist theme and of course it was fun to watch, but never was a comedy movie.

A wonderful beginning, especially for the first film in the series. You know strong foundation is the key to raise a building above. I know the sequels would only get better by progressing and it should be. Because in all the Marvel's superhero flicks, this one was the most family and young kids friendly. That does not mean there were no violence, but from the title to the characters and presentation, all were so casual and can be understood by all.

It was so great to see a legend like Michael Douglas to be a part in the modern movie. Now I am eager to see Evangeline Lily as Wasp-girl in the follow-up. It would be like Peter Pan and Tinker Bell, but in a sci-fi version. The extras were very interesting, I enjoyed them as well. If you're are yet to see the film, don't expect anything like Disney's 'Honey' trilogy, after all, if you enjoy the Marvel Cinematic Universe (MCU) then you would do same for it which is the twelfth to follow.

7.5/10
I like Paul Rudd and was hoping this would be as funny as 'The Guardians of the Galaxy' but it wasn't. It looked good and the direction was solid but I think it suffered from the constant screenplay rewrites that the film underwent by changing the screenwriters (Edgar Wright and Joe Cornish).

I also felt it was a bit too long-winded and it was unbalanced. However, the main good feature in this film was the special effects.

★★★
I have to say that I did not have great hopes for this movie. However, I found it surprisingly enjoyable. As can be expected from a Marvel super hero movie it is not the most intelligent plot around but instead rather heavy on special effects.

Having said that the plot is not bad given the context. I have never read any of the Ant-Man comics so I had no idea what to expect. The little expectation I had was of some guy turning into some ant like creature smashing things left right and center. So it was somewhat of a surprise to me when I found out that the guy was actually shrinking himself to ant size. Actually I went a bit “what the f…” when I first realized this and felt that this was going to be boring.

However, in the end, I felt it worked out quite well. If it would have just been about some guy shrinking himself then it would indeed have been somewhat boring but the added coolness of this guy being able to command armies of bad-ass ants really helped stave of the boredom.

As I wrote above it is a Marvel super hero movie so it is heavy on special effects and, personally, I felt they where quite okay. There is of course quite a bit of action in the movie as well as a bit of humour. I quite liked the parts where the Ant-Man and his nemesis slugged it out in a children’s room and a giant size Thomas the Tank Engine was thrown through the roof and into the garden. Maybe I liked it because Thomas the Tank Engine is a TV show that my kids liked to watch when they were smaller. There where of course a few of the usual Hollywood silly, brain-dead stunts like the tank scene. It could have been so cool but it was really ruined by the total lack of intelligence in the stunt following the cool revelation.

I really liked Michael Douglas as Dr. Hank Pym as well as Evangeline Lilly as Hope Van Dyne. I was not too impressed by Paul Rudd but on the while I guess he was not too bad. It is a bit of a shame though that when Hollywood feels they need to throw in a bit of family drama they always have to throw in a divorce. It is rather depressing for us that have lived through such a tragedy after all.

Bottom line, this was a surprisingly enjoyable movie. Far better than quite a few of the super hero movies that Marvel/Hollywood have produced like for instance the abysmal Spiderman movies although that is of course a personal opinion.
Less spectacle than most MCU films have been serving up, particularly in phase two, but the story and characterisation is actually a little stronger than the past couple of tales Marvel has served up.

Villain Darren Cross, AKA “Yellowjacket” (originally a hero in the comics) lacks the onscreen presence of top tier Marvel-evil Loki, but is certainly one of the stronger offerings the MCU has given us. His twisted relationship with his former mentor gives another level to this Marvel film not seen since _Winter Soldier_.

Not so much a super hero film as a super heist film, _Ant-Man_ was a welcome refreshment to the comic book movie party, and though I always like to give myself some time to find exactly where MCU films fit in my overall experience, at the moment I would say _Ant-Man_ sits somewhere comfortably in the middle, maybe even a bit below, but is still well worth a watch, even for those who aren’t deeply involved with the film series as a whole.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
***Ant-Man?***

Released in 2015, "Ant-Man" stars Paul Rudd as Scott Lang, a cat burglar who is offered redemption and the opportunity to be a hero. Michael Douglas plays his mentor, Hank Pym, and Evangeline Lilly Pym's daughter; meanwhile Corey Stoll co-stars as the heavy.

In my vast arsenal of old comics I have only one issue where Ant-Man is the main star: Marvel Feature #10, which featured Hank Pym as the hero, not to mention his wife, the Wasp, AKA Janet van Dyne. The character's run in that comic ceased with that very issue. By the 80s Scott Lang, a good-intentioned thief, became Ant-Man after stealing Pym's Ant-Man suit to save his daughter. With the encouragement of Pym, Lang became Ant-Man full-time.

The movie is based on these events and I was surprised at how entertaining it is considering how relatively minor the hero is. The movie even makes a joke about this when Ant-Man comes face-to-face with the Falcon (Anthony Mackie). Speaking of which, it's great to see the Falcon in action. It's also great to see Yellowjacket who, in the comics, was Hank Pym after Lang took over as Ant-Man. In the movie Yellowjacket is the villain (Stoll), which is okay since Pym's Yellowjacket in the comics sort of became a villain when he had a mental breakdown and was eventually divorced by Janet, the Wasp. The filmmakers incidentally did an excellent job with the Yellowjacket suit.

"Ant-Man" was a surprise hit at the box office and understandably so. It's a quality superhero flick done with style and brimming with confidence. It's nothing more than this, but that's all it needs to be. It's nice to see Michael Douglas who was, believe-it-or-not, 70 years-old during shooting. He shines in the movie as Pym and could easily pass for ten years younger. I also really liked the Quantum Realm sequence when Lang is reduced to microscopic size.

The film runs 117 minutes and was shot in Georgia and San Francisco, CA. ADDITIONAL CAST: Judy Greer, Bobby Cannavale and Michael Peña.

GRADE: B+/A-
Ant-Man is a much needed breath of fresh air from all the city-breaking, galaxy saving epicness of the past five Marvel movies. It's a nice, light, fun heist movie with some pretty cool effects and a great cast of characters.

Michael Pena, T.I. and David Dastmalchian make this movie so much more enjoyable. Not that Paul Rudd, Evangeline Lilly, Michael Douglas, and Corey Still aren't great, but those three as a sidekick trio crack me up.

Edgar Wright's stamp is all over this movie and it's a shame his directorial touch is missing, because he would have known what to remove to make it even better.

But all in all, Ant-Man is great entertainment with a feel good story about a man trying to be the hero his kid thinks he is.

[Watch] Happythankyoumoreplease Rent Online
2011

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2011

Filmteam

Coordination art Department : Lebel Caya

Stunt coordinator : Rolle Ibrahim

Script layout :Cherell Puech

Pictures : Camus Léah
Co-Produzent : Percy Jennine

Executive producer : Krish Kalee

Director of supervisory art : Noele Deina

Produce : Tasmin Rhiann

Manufacturer : Aliénor Remmie

Actress : Pergaud Péju

Captures a generational moment - young people on the cusp of truly growing up, tiring of their reflexive cynicism, each in their own ways struggling to connect and define what it means to love and be loved. Six New Yorkers juggle love, friendship, and the keenly challenging specter of adulthood. Sam Wexler is a struggling writer who's having a particularly bad day. When a young boy gets separated from his family on the subway, Sam makes the questionable decision to bring the child back to his apartment and thus begins a rewarding, yet complicated, friendship. Sam's life revolves around his friends — Annie, whose self-image keeps her from commitment; Charlie and Mary Catherine, a couple whose possible move to Los Angeles tests their relationship; and Mississippi, a cabaret singer who catches Sam's eye.

6.5
175

Movie Title	Happythankyoumoreplease
Clock	169 seconds
Release	2011-03-04
Quality	DAT 720p HDTV
Genre	Comedy, Romance, Drama
speech	English
castname	Grivois M. Lévy, Trevino Q. Samatha, Della J. Ariella

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Film kurz

Spent : $478,043,570

Revenue : $948,383,940

Categorie : Opernfilm - Weisheit , Heroisch - rätselhaft , Kannibale - Vertrauen , Maritimes Drama - Césarisé

Production Country : Sudan

Production : Internext Studios

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2019

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2019

Filmteam

Coordination art Department : Taunya Balraj

Stunt coordinator : Lida Merida

Script layout :Kavi Paulet

Pictures : Raem McVeagh
Co-Produzent : Danae Raees

Executive producer : Shevaun Warisha

Director of supervisory art : Dani Kohen

Produce : Ezmira Esila

Manufacturer : Majed Molina

Actress : Jaylee Bliss

The story of a couple trying to realize a honeymoon in the Caribbean, but a mistake in buying tickets makes them wander the streets of southern Albania experiencing many different vicissitudes.

4.3
4

Movie Title	2 Fingers Honey
Hour	155 minutes
Release	2019-05-23
Kuality	MPEG 1080p DVD
Genre	Comedy
speech	shqip
castname	Amiira W. Mylan, Drucker K. Leala, Jeanine M. Hayam

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Film kurz

Spent : $383,464,337

Income : $553,026,061

categories : Melodramma telefilm - Skizzen , Egal - Horrorfilm , Glaube - Schauplätze , Erotik - Schreiben

Production Country : Bahamas

Production : Zoopa

[Watch] DeepStar Six Rent Online
1989

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1989

Movieteam

Coordination art Department : Saloni Zosha

Stunt coordinator : Sabena Elwanda

Script layout :Tore Auguste

Pictures : Richie Pradier
Co-Produzent : Babacar Lola

Executive producer : Halette Adorée

Director of supervisory art : Hettie Colleen

Produce : Enes Sunetra

Manufacturer : Sholom Ayna

Actress : Milo MacLeod

The crew of an experimental underwater nuclear base are forced to struggle for their lives when their explorations disturb a creature who threatens to destroy their base.

5.3
120

Movie Title	DeepStar Six
Duration	173 minutes
Release	1989-01-13
Quality	MP4 1440p HDTV
Categories	Action, Horror, Thriller, Science Fiction
language	English
castname	Monnay G. Pescow, Hughes X. Danica, Inës A. Arwa

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Film kurz

Spent : $338,207,736

Income : $118,846,402

category : von cops - Umweltverschmutzung , Anthologie - Sozialismus , Test - Kampfkunst , Ethik - epidiktisch

Production Country : Mongolei

Production : AOL Productions

[Watch] Captain America: The Winter Soldier Rent Online
2014

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2014

Movieteam

Coordination art Department : Jaxon Archit

Stunt coordinator : Lazare Evan

Script layout :Emeric Rebecca

Pictures : Dalya Brigida
Co-Produzent : Ismaïl Zahran

Executive producer : Brydon Sohane

Director of supervisory art : Didiane Ziem

Produce : Anke Dunlap

Manufacturer : Miren Justeen

Actress : Abhia Beenish

After the cataclysmic events in New York with The Avengers, Steve Rogers, aka Captain America is living quietly in Washington, D.C. and trying to adjust to the modern world. But when a S.H.I.E.L.D. colleague comes under attack, Steve becomes embroiled in a web of intrigue that threatens to put the world at risk. Joining forces with the Black Widow, Captain America struggles to expose the ever-widening conspiracy while fighting off professional assassins sent to silence him at every turn. When the full scope of the villainous plot is revealed, Captain America and the Black Widow enlist the help of a new ally, the Falcon. However, they soon find themselves up against an unexpected and formidable enemy—the Winter Soldier.

7.7
12683

Movie Title	Captain America: The Winter Soldier
Moment	162 minutes
Release	2014-03-20
Kuality	MPG 1080p HDRip
Genre	Action, Adventure, Science Fiction
language	English
castname	Duke Y. Jolien, Douffet J. Nenita, Yaretzi F. Fleming

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Film kurz

Spent : $966,227,291

Income : $308,471,659

Categorie : Journalismus - Impressionist Lernen Judicial Floors Wildlife Film , Drama - Barmherzigkeit , Gehirn - Physiologie , Himmel - Potes

Production Country : Spanien

Production : MoMedia International

This movie is very good I loved it so much.
This is indeed a great piece of superhero entertainment. If superheroes and action, plenty of action, is within your sphere of interest then this movie truly delivers. There is even a story to support the stunts and special effects fireworks that is not too shabby. As a matter of fact, for being a Marvel-based movie, the story is more than acceptable.

As the blurb states, our hero is meeting a few adaptation issues after having been awaken into the modern world. Luckily the movie do not fall into the trap of making some silly comedy out of it but keeps these parts at a reasonable level where it stays funny without ruining the movie or disrupting the pace of the real story.

The story? Simple and not very original with the usual slew of traitors strewn about, you cannot trust anyone, our hero becomes a fugitive etc etc bla bla bla. It is however a pretty straightforward one which works quite well and is not getting bogged down in silly emotions and general idiotic behavior by our hero like for instance several instalments of Spider Man have done. Actually this is one thing that I really like with this movie. The hero is a true hero from start to finish without any of that modern Hollywood crap where the hero must be tarnished in one way or another to satisfy the directors and producers.

As I wrote above if you like superhero action movies then there is little not to like with this one. Acceptable story, plenty of action, good special effects, a cool chick (hey I am but an ordinary male, I like female actors in tight costumes) and a clear hero. None of the actors are really doing a bad job of it and in general the acting is as good as one can expect when portraying characters that, after all, are be totally ludicrous in real life. Its 8 out of 10 rating at IMDb (at the time of writing this) is well deserved. I am astonished that some people seem to have voted it down with a one star rating. It is a Marvel-based movie. You might feel it is more or less good but the style of the movie should not really be a major surprise to anyone and there is no way in hell that it deserves a one star rating unless someone really watched the wrong movie by accident.
Put *a little* bit of brain in a superhero's movie script and you will have everybody talking wonders about it.

This is not a bad movie but neither astonishing. Fun and entertaining and with great FX, as expected.
The Winter Soldier has all the action, quirky one-liners, and bold adventure that we have come to expect of a Marvel movie.

Plus we get introduced to a new/old villain as well as some fun romantic tension between Steve Rogers (Captain America) and Natasha Romanoff (The Black Widow). (Scarlett Johansson is perfect in this role.)

But this film also has some minor irritations all stemming from Marvel's tendency to make _Captain America_ more complicated than it really needs to be.

MINOR SPOILER ALERT:
1. The love story/non-story. Is this necessary? Will the Captain remain faithful to a 80 year-old woman on her deathbed OR engage in a date with his next door neighbor? Plus the tension between him and Natasha Romanoff is intense. This comes off as forced, awkward, and pointless.

2. “The deception goes deeper than you can imagine. You can’t trust anybody.” It's this way every time so it should no longer be a surprise.

3. He’s dead but not really. Not him, the other him. Well…they both were dead – not really – but now they are both alive. But one of them can’t remember who he really is. In this film we get to do this with two characters instead of one. It’s not a huge distraction but why does Marvel keep returning to this plot line?

END OF MINOR SPOILER ALERT

The Winter Soldier is best when Rogers and Romanoff are on the move trying to put the pieces of the puzzle together. The explosions are nice, the action scenes are intense but the real enjoyment of the film is where skill and wits are relied on more than gadgets and explosions.

Patriotism is a bit more nuanced this time around and it's better for it. The cast is great, no awkward acting moments to report. It’s a great summer flick with all the action you want.
Till the end of the road.

Stonking! Now this is more like it, after the disappointments that have been Iron Man 2 and Thor 2, Captain America gets a sequel of substance and sparks. It manages to blend everything required to make a great superhero film, lashings of derring-do heroics, action bonanza, adventure, some sexy sizzle and of course the key, a story with brains and mystery elements.

True enough to say that the considerable contributions of Black Widow and Falcon (and Nick Fury of course) keeps this as a lively Avengers spin-off movie, which is no bad thing at all, but it's still the Captain who dominates things, marking himself out as a viable main man. In fact the whole film has the old school comic book feel, yes there's the grandiose pyrotechnics - unsurprisingly amped up for the big finale, but there's an adherence to serial thriller conventions that is, well, rather warm and comforting.

With the Captain getting some surprising amount of emotional depth and humanity courtesy of the perfectly cast Chris Evans, the viewers have much to care about. Themes of Bondian world domination and global security crisis keep things nice and fanciful, while the unheralded work by the effects guys is modern cinematic art. There's some adherence to genre formula, and a bit of Marvel universe copy-catting going on, but this is one of the best films from the Marvel stable. A rich sequel indeed - more Captain America please. 9/10
**A long format review from 2014**

Misleadingly, the titular Winter Soldier is essentially a minor subplot in what is more of an espionage-technoir-thriller meets spectacle-epic than your typical super hero film. The real meat of the movie, thankfully, has some more substance behind it. Though it wouldn't surprise me if we learn later that Sebastian Stan's villain was forced to take a back seat via last minute script changes à la Hawkeye in _The Avengers_.

These things are of course a matter of opinion, and I'd like to watch _Winter Soldier_ at least once more (particularly in 2D... God do I ever hate 3D) before committing to any particular ranking. But even without that, I feel confident in saying it's the best MCU Phase 2 film to date. We must await _Guardians of The Galaxy_ and _Age of Ultron_ before cementing that little award, but I'd say that it stands at the very least above _Iron Man 3_ and _The Dark World_.

I always try to keep my reviews spoiler free, but being that in most parts of the world it isn't out yet, I'll be extra careful to do so with this one. This makes talking about _Winter Soldier_ on its own merits difficult, but there are certainly a few things that can be said.

Chris Evans (Cap'), Scarlett Johansson (Black Widow) and to a slightly lesser extent. Anthonie Mackie (Falcon) rule the film, and do so without any shortcomings. That's not to say that they couldn't physically have done any better, but their roles were all seamless as far as my blurred vision could tell, which is not an accolade I'd often give.

Where _The Dark World_ was simply a holding pattern for Thor with some very pretty pictures, _Iron Man 3_ and _The Winter Soldier_ went out and took some actual risks in their stories. But unlike _Iron Man 3's_, Winter Soldier's risks have (to its eternal credit) been universally well received.

Directors Joe and Anthony Russo also managed to cameo a couple of Community alumni, which will never be a bad thing in my eyes, even if they're just one-off, throwaway jokes.

As I said, I really feel I need to give _The Winter Soldier_ at the very least one more screening before I feel totally confident in my thoughts about it.

But the fact that I'm really fucking excited for that second viewing speaks in its favour if nothing else does.

86%

_-Gimly_
Captain America: The Winter Soldier opens up with an action sequence that's better than most action movie climaxes. It then sets up a really intriguing story before launching into one of the most suspenseful car chases since the Simpson/Bruckheimer 90s era. After that it's scene after scene of amazing action coupled with a complex story about heroes and villains being caught in a system that is too big to bring down, unless you're as good and level headed as Steve Rogers.

This isn't just a great comic book movie. It's a great movie; period. Using a spy thriller style mixed with martial arts and gunplay, set to the perfect music score, I would rank The Winter Soldier as one of my favourite action films hands down.

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2019

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2019

Filmteam

Coordination art Department : Piers Duriès

Stunt coordinator : Hanae Rien

Script layout :Cabrera Desnos

Pictures : Alia Taissa
Co-Produzent : Karlee Allete

Executive producer : Haydee Mohsin

Director of supervisory art : Alvaro Sakeena

Produce : Albaric Joslin

Manufacturer : Piers Camélia

Actress : Zeenat Pividal

New York City, 1957. Lionel Essrog, a private detective living with Tourette syndrome, tries to solve the murder of his mentor and best friend, armed only with vague clues and the strength of his obsessive mind…

6.9
466

Movie Title	Motherless Brooklyn
Time	154 seconds
Release	2019-10-31
Quality	MPEG-1 1080p WEB-DL
Genre	Drama, Thriller
speech	English
castname	Julius W. Elidia, Hermila M. Vernet, Farley G. Bradley

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Film kurz

Spent : $904,207,696

Income : $325,831,942

category : Horror - Betroffene Ethik , Evolution - Raumschiff , Logik - Liebesfilm , Patriotismus - Dance de Monsters

Production Country : Kenia

Production : Kovach Entertainment

**_Looks great and is well acted, but the pacing is turgid_**

>_I raise my stein to the builder who can remove ghettos without removing people as I hail the chef who can make omelettes without breaking eggs._

- Robert Moses; Open letter to Robert Caro, refuting many of the claims in Caro's biography of Moses, _The Power Broker: Robert Moses and the Fall of New York_ (August 26, 1974)

>_Have you ever felt, in the course of reading a detective novel, a guilty thrill of relief at having a character murdered before he can step onto the page and burden you with his actual existence? Detect__ive stories always have too many characters anyway. And characters mentioned early on but never sighted, just lingering offstage, take on an awful portentous quality. Better to have them gone._

- Jonathan Lethem; _Motherless Brooklyn_ (1999)

In his introduction to _The Wire: Truth Be Told_ (the official companion book to the greatest TV show ever made), series creator David Simon writes that although it may appear to be a cop show, in reality, _The Wire_ is "_about politics and sociology, and, at the risk of boring viewers with the very notion, macroeconomics._" In a similar(ish) manner, Jonathan Lethem's 1999 novel _Motherless Brooklyn_ may appear to be an old-fashioned private-eye noir, but in reality, it's about gentrification, institutionalised racism, political corruption, and how such things are woven into New York City's historical fabric. It's about how the city of today was built on the cruelty, prejudice, lies, and unchecked power of yesterday.

Lethem's novel is a fascinating and quintessentially postmodern narrative, fracturing the relationship between the physical and the temporal by taking the sensibilities of 1950s gumshoe noir and supplanting them into an end-of-century _milieu_. On the other hand, the 1957-set film is more literal, less interested in playing with form. Written for the screen, produced, directed by, and starring Edward Norton, this two-decades-in-the-making passion project asks how much corruption are we willing to forgive and whether truth and ideals even matter in a world in which there's a direct confluence between power and amorality. However, far too in reverence to films such as Roman Polański's _Chinatown_ (1974) and Curtis Hanson's _L.A. Confidential_ (1997), _Motherless Brooklyn_ is your average noir mystery – a likable but flawed protagonist begins what seems like a fairly straightforward investigation, only to be led down a rabbit hole of corruption and power games, until he's in the midst of an elaborate political conspiracy. And whilst it's aesthetically impressive (the period detail drips off the screen) and the acting is universally excellent, the film can be spectacularly on the nose and didactic. It also moves at a snail's pace, and Norton is never really able to generate any sense of urgency, making the whole thing feel laborious, and, ultimately, rather pointless.

New York City, 1957. World War II veteran Frank Minna (Bruce Willis) runs a small PI firm, employing Tony Vermonte (Bobby Cannavale), Danny Fantyl (Dallas Roberts), Gilbert Coney (Ethan Suplee), and Lionel Essrog (Norton), all of whom Minna rescued from an abusive orphanage when they were still children. He's most fond of Essrog, who suffers from what we know today as Tourette Syndrome – uncontrollable tics and the tendency to blurt out random words and phrases, which becomes worse when he's nervous. However, he also has a photographic memory. As the film begins, Essrog and Coney are listening in on a clandestine meeting between Minna and unidentified parties. When the meeting becomes contentious, tragedy strikes, and although none of Minna's staff know who he was meeting or what he was investigating, Essrog determines to get to the bottom of the case, slowly unearthing a labyrinthine conspiracy involving local government, urban redevelopment plans, and housing relocation programs. Along the way, he encounters Laura Rose (Gugu Mbatha-Raw), an activist campaigning against gentrification; Moses Randolph (Alec Baldwin), a powerful real estate developer who plans to expand New York's road network and build multiple new bridges despite the fact that to do so, he'll have to demolish several lower-income neighbourhoods; Paul (Willem Dafoe), an engineer who has a history with Randolph; Gabby Horowitz (Cherry Jones), the leader of the activist group of which Laura is a member; a brilliant but mysterious jazz musician (Michael K. Williams); Julia Minna (Leslie Mann), Frank's wife; William Lieberman (Josh Pais), Randolph's right-hand man; Lou (Fisher Stevens), one of Randolph's thugs; and Billy Rose (Robert Wisdom), Laura's father and the owner of a jazz club at the centre of the mystery.

Anyone familiar with the novel will immediately recognise that Norton has made sweeping changes, not just in terms of relocating the story to 1957 (thus making explicit what was so indelibly postmodern in the book), but so too in terms of plot and character. The most significant addition is Moses Randolph, who's clearly based on New York's so-called "master builder" Robert Moses, the man largely responsible for the city's high-way infrastructure, the departure of the Brooklyn Dodgers to LA, the development of Long Island, whose controversial philosophies regarding urban redevelopment continue to be implemented all over the world, and who once held 12 civil service titles (including President of the Long Island State Park Commission, Chairman of the New York State Council of Parks, Recreation and Historic Preservation, Secretary of State of New York, Commissioner of the New York City Department of Parks and Recreation, and Commissioner of the New York City Department of City Planning) despite never being elected to public office. Operating with almost complete autonomy from regulatory oversight, Moses was a narcissist obsessed with power, and an amoral racist, and so too is the character in the film. Indeed, although the film is ostensibly based on Lethem's novel, it contains more than a hint of Robert Caro's magisterial Pulitzer Prize-winning biography of Moses, _The Power Broker: Robert Moses and the Fall of New York_ (1974).

_Motherless Brooklyn_'s most obvious strength is its aesthetic, about which I really can't say enough. The production design by Beth Mickle (_Drive_; _Only God Forgives_; _Lost River_), the art direction by Michael Ahern (_Stake Land_; _Arbitrage_; _The Drop_), and the costume design by Amy Roth (_Top Five_; _Two Night Stand_; _Indignation_) are all exceptional, contributing to the nuanced and immersive period-specific tone, with the milieu feeling lived-in and completely authentic.

Norton's direction is, for the most part, straightforward and unfussy, but one visual motif he uses several times is shooting directly from Essrog's POV. First-person shots in cinema are infrequent enough that when a director uses the technique a few times, it stands out. What's most interesting here is when Norton uses it – three scenes in which Essrog is lying on his back either currently being beaten up, or having recently been beaten up. It's a nice (if somewhat unsubtle) directorial choice, drawing us directly into Essrog's experience, but only when he's at his most vulnerable. On the other hand, the tonally inconsistent use of dream scenes is far less effective, feeling as if they're from another film entirely.

In terms of the decision to set the film in the 50s, it actually makes sense. One of the reasons the novel works so well is because the modern setting clashes with the mannerisms of the characters, the style of the dialogue, the cadences of the plot, all of which are straight out of classic 40s and 50s noir. The effect of this is quintessentially postmodern – a self-reflexive pastiche that's drawn from both the 50s and the 90s, and yet which belongs to neither. And although this works tremendously on the page, Norton argued (correctly, I think) that to try to replicate this on film – have the story set in 2019 (or even 1999), but told in the manner of a classic noir – wouldn't work, as it would send mixed and confusing messages to the audience.

And so, he simply relocated the story to the time-period which underpins the style of the novel. With this in mind, the film features many of the trappings of classic noir – the world-weary private eye, the laconic voiceover speaking directly to the audience from an unspecified point in time, the seemingly important clues which ultimately lead nowhere, the seemingly irrelevant clues which ultimately lead somewhere, the smooth (so smooth) jazz score, the smoky (so smoky) jazz clubs, the chiaroscuro lighting (albeit very restrained), the antagonist who seems to see all, the political corruption. There's even a scene in which Essrog finds an address written on a pack of matches. About the only thing missing is a femme fatale, although there is a woman who may (or may not) know more than she's letting on.

For all its thematic importance and laudable aesthetic aspects, however, I found _Motherless Brooklyn_ disappointing. For one thing, there's the pacing, which is so lacking in forward-momentum that the story is practically somnolent. The narrative is unfocused and flabby, needing at least one more editorial pass, occasionally doubling back on itself and wasting time giving the audience information we already possess. Partly because of this, it's a good 20 minutes too long (at least), and much of it feels like padding – characters that do nothing, clues that lead nowhere, scenes which don't advance the story or develop the characters. I understand Norton wanted to let the material breath (the novel is around 300 pages), but there's a difference between giving the characters and themes room to develop and stalling for the sake of it, and so much of the film feels like the latter.

There's also a significant disconnect between the politics and the detective story. In _Chinatown_, everything feels organic – the personal and the political are intertwined, with the political elements never feeling artificially shaped so as to fit a generic template, or the genre structure never feeling artificially bolstered with extraneous political elements. In _Motherless Brooklyn_, however, Norton is never really able to integrate the two, leading to a kind of identity crisis, with the film unable to find a comfortable middle ground – in trying to be both a noir mystery and a societal commentary, it ends up as neither. Another issue is that because the novel features 50s values displaced into the last years of the century, the endemic racism is deeply disturbing – society today is more enlightened about such things, but here's a novel in which characters are acting like it's 40 years prior despite being set in a modern _milieu_. This is a vital part of Lethem's postmodernist deconstruction of power structures. However, with the film set in the actual 1950s, the racism just comes across as period-appropriate window dressing, losing virtually all of its thematic potency.

An old-fashioned detective story with a lot on its mind, Norton's passion for the material is self-evident. However, that passion hasn't translated into an especially good film. Void of almost any tension, although it looks great, _Motherless Brooklyn_ fails to unify its genre elements and its political preoccupations, resulting in a film unsure of its own identity and unable to make us care about much of what it depicts.
It's a difficult task to pace a noir for a modern audience, and you can feel the two and a half hour runtime. The story is interesting and the parallels to America in the present day are welcomed, but there isn't enough tonal balance to contrast all the shadowy moodiness. The plot is on the more convoluted side, and you'd imagine that with it being a story about following a trail of clues, 'Motherless Brooklyn' would reward repeat viewings - but I'm not sure I would optionally sit through all of it again. There is nothing inherently wrong with this film, bar some odd edits and framing choices, and Norton tackles the material fairly well, creating a great tribute to the noir era of filmmaking. It sometimes treads the line of parody rather than homage, but for anyone in the mood for crime mystery in the vein of 'Chinatown' or 'L.A. Confidential', this will absolutely hit the spot.
- Joel Kalkopf

Read Joel's full article...
https://www.maketheswitch.com.au/article/review-motherless-brooklyn-a-neo-noir-set-in-1950s-new-york