Mechanic: Resurrection 2016 百度云

Mechanic: Resurrection 2016 百度云






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Mechanic: Resurrection 2016 百度云


产权

Mechanic: Resurrection (电影 2016)

期限

127 分(钟)

豁免

2016-08-25

质量

杜比数字 1440P
HDRip

文学上的流派和体裁

Action, Crime, Thriller

(运用语言的)方式

български език, English

计算

Loken
D.
Shayley, Leeya G. Jorga, Yosif P. Aness






水手们 - Mechanic: Resurrection 2016 百度云


Arthur Bishop thought he had put his murderous past behind him when his most formidable foe kidnaps the love of his life. Now he is forced to travel the globe to complete three impossible assassinations, and do what he does best, make them look like accidents.
British badass Jason Statham is back and doing what he does best: kicking butt and taking targeted names in the process. The veteran action star is out for more blood in the labored sequel **Mechanic: Resurrection**. The trouble, however, is that fist-swinging wrecking ball Statham’s taste for boisterous blood in his latest toothless and meandering globe-trotting caper may be in desperate need of a transfusion. Woefully repetitive, aimless, strained and riddled with formulaic sharp-shooting shenanigans, **Mechanic: Resurrection** is yet another bombastic Bond knock-off that synthetically strut its stuff in stunt-driven oblivion. The majority of Statham fans may find this latest installment of **Mechanic** worth tinkering with due to its kinetic action-pack parts in motion with its stylish bald-headed anti-hero at the helm of voyeuristic mayhem. Still, for others the excitable human bullet factor routine that the aging Statham has perfected in his past furious film exploits (read: “The Transporter” film series in particular) is getting long in the tooth as **Mechanic: Resurrection** is yet another familiar and feisty vehicle that the punishing tough guy has predictably driven before.

**Resurrection** is the follow-up to the 2011 blueprint _The Mechanic_ where Statham portrayed a stone-faced iron man “gun-for-hire” whose mission is to travel the world while eradicating high-profiled baddies–a specialty that he mechanically and skillfully carries out with polished precision. Naturally Statham’s charged take as the combative assassin is based upon the 1972 flick _The Mechanic_ featuring the late great gravel-faced action icon Charles Bronson who was no stranger to vigilante-style cinema. Statham’s “take-no-prisoners” approach as the hardened terminator Arthur Bishop is definitely inspired when the English acrobatic avenger is summoned to brandish exotic weaponry, engage in calculating yet cockeyed ways to utilize boobytraps to exterminate his assigned targets and find time to occasionally court the hot chicks that dig his masculine, mischievous charm. No doubt that Statham’s blue-collar Bishop tries to echo the eye-popping sentiments of the aforementioned Bond’s debonair endeavors in intrigue, over-the-top villains, lavish locales and luscious ladies. As for watching the five decade-old adventurous James Bond it feels like an excitable surreal vacation laced with imaginative dare and danger. In witnessing Statham’s stiffened and procedural Arthur Bishop it seems somewhat like an assigned chore in chronicling the gadget-loving gumption of this action-oriented covert clone.

Sure, **Mechanic: Resurrection** derives its occasional chilly appeal from the scenic locations that allows the athletic Bishop to bounce around the globe on an elaborated whim. Plus, some may get an aesthetic rise out of the choreographed in-your-face confrontational fights and showy staged daredevil stunts that feature Bishop’s physical prowess. This is all well and good but the dubious dalliances and action-oriented swaggering that is demonstrated by Statham’s bone-crushing Bishop is rather uneventful and recycled. Unfortunately, **Resurrection** refuses to allow Statham any flexible growth or depth to differentiate his caustic characterization or the high-wire dilemmas beyond the previous antics regurgitated from his earlier copycat fare as _Crank_, _The Bank Job_ and yes…the obvious mention of _The Transporter_ series.

Hit man Arthur Bishop is basking in the scenic Rio de Janeiro surroundings in hopes of drowning out his deadly duties from yesteryear. Soon, Bishop’s wake-up call to resume his treacherous trade in taking out toxic targets is encouraged by his archenemy in warped businessman Riah Crain (Sam Hazeldine). Specifically, Crain wants Bishop to assassinate three persons of interest in particular that has him roaming three different continents. Bishop is not too receptive to getting back in “the grusome game” but of course the crooked Crain has a twisted way of convincing him otherwise. The critical key to changing a reluctant Bishop’s mind was to hit him where is heart hurts…that is, abduct his gorgeous girlfriend Gina (Jessica Alba from “Sin City”).

Holding Gina captive clearly gives Crain the upper hand to urge the beleaguered Bishop to return to the fatalistic fold of his poisonous profession–wiping out the assigned undesirables while making it look like accidental incidents. Thus, Bishop puts on his traveling shoes as he hunts down an imprisoned African warlord, an Australian human trafficker and finally a Bulgaria-based arms dealer Max Adams (Oscar winner Tommy Lee Jones). If and when Bishop delivers his three kills for the ruthless Crain then Gina’s release is assured. It is a no-brainer that Bishop wants to ensure the safety of the exotic beauty Gina.

Alba’s Gina is not the only lovely lady that is attached to Bishop’s hip affectionately. In Thailand, Bishop manages to catch up with another cute bombshell in buddy Mei (martial arts goddess Michelle Yeoh wasted in a transparent role), an innkeeper that worries about her friend’s worldly welfare. Curiously, German director Dennis Gansel’s decision not to give the desirable ageless Asian actress anything to do constructive in this by-the-numbers actioner besides providing sideline concern for Statham’s Bishop is inexcusable. Why not play to Yeoh’s cinematic strengths as a karate-kicking cutie pie with a deadly disposition…you know, what movie audiences have come to expect and cherish about the beautiful Malaysian performer’s film-related credibility? The 1997 Bond film _Tomorrow Never Dies_ effectively used the curvaceous Yeoh to compliment Pierce Brosnan’s Agent 007 so Gansel could not oblige her more on-screen activity with the robotic Statham?

Of course any Statham-oriented movie would not be complete without the arbitrary display of colorful explosions, glorified chases, exaggerated gunplay and a no-nonsense Bishop predictably flexing his acrobatic leaping, climbing, swimming and fighting muscles as if he was participating in his own self-indulgent Olympic games. There is no real rhyme or reason behind Mechanic: Resurrection other than to revisit the nostalgic relevance of Statham’s left-over box office heft from yesteryear. Perhaps the proven off-kilter spark that Statham generated in the Melissa McCarthy well-received espionage laugher _Spy_ could have been injected in this gimmicky and pointless pot-boiler that has all the succulent juices of a dried-up meatloaf. All the challenging stunt work and exquisite locations cannot excuse the lack of lubrication that Mechanic desires in its insipid, loud execution.

There is not much to chew on the bone concerning the so-called return of Statham’s harried hit man that constitutes round two of another dazzling but dense **Mechanic** offering. Alba’s distressed diva is nothing more than stand-by eye candy and the convenient motivating factor for Statham’s/Bishop’s worldwide witch-hunt. Hazeldine’s Crain barely passes muster as a second-rate Bond villain left on the cutting room floor. Jones, who has played wacky villains in the past, merely going through the tiresome motions as pseudo-flashy Max Adams with off-the-cuff irreverence.

Perhaps Arthur Bishop’s glossy gadgets could prevent an unwelcoming third edition of another **Mechanic** entry from blasting away in boorish fashion?

**Mechanic: Resurrection** (2016)

Summit Entertainment

1 hr. 50 mins.

Starring: Jason Statham, Jessica Alba, Tommy Lee Jones, Sam Hazeldine, Michelle Yeoh, Natalie Burn, Yayaying Rhatha Phongam

Directed by: Dennis Gansel

MPAA Rating: R

Genre: Action and Adventure/Suspense Thriller/International Crime Drama

Critic’s rating: * 1/2 stars (out of 4 stars)

(c) **Frank Ochieng** 2016
**Falling in love is a trap, but some men risk everything for it.**

This is an unexpected sequel. Actually, I was looking for other sequels from Statham's filmography, particularly the third 'Crank'. I think the idea of going for it was good and the film was not that bad, if your purpose of a watch is time pass. The story was so bad, but the filmmaking was excellent. Because it was made by a renowned German director. Only if he had got a better script, the outcome would have been different. So it's the actors and the director makes it watchable. Other than that, this film falls into the average category.

The story follows after Arthur Bishop was found living in Brasil by some people who know him. Then he narrowly escapes from there and lands in Southeast Asia, where he meets Gina, a woman struggling from domestic violence. But he soon discovers that's a setup. After she was taken captive by an international criminal, now he has to follow his instruction to set her free. So the action begins where he takes a series of missions across the globe and how it all ends follows in the rest of the narration,

It's good to see Jason Statham back to his signature role. This is what he's good at. Even if the story is not good, that's okay, because Statham's presence is a very comfortable to watch without any trouble. Jessica Alba as well, I haven't seen her in any major hit film at the recent time. Even though the film was received below average, it kind of puts them both back on the track.

Definitely they both needed this breakthrough. There's a third film is coming, it's not official yet, but the conclusion was a hint where Tommy Lee Jones can be seen in an important role in the next part. You won't like this film, but surely enjoy it if you are a Statham's fan, that's the only reason to go for it.

_6/10_
A sequel that no one asked for, the first one was alright but didn't even stand out by Statham standards. The sequel isn't quite as 'alright', a bit sloppily put together and not very well thought of but if you liked the original and Statham in general it's still watchable.

5.5/10



剧组人员

協調美術系 : Dimitri Delteil

特技協調員 : Isee Mandeep
Skript Aufteilung :Dani Varieur

附圖片 : LaGarde Calvano
Co-Produzent : Celesse Emmet

執行製片人 : Hamed Erla

監督藝術總監 : Hedison Amadou

產生 : Karcsi Ledoyen
Hersteller : Sivan Jasmeen

播放机 : Octavio Shams



Film kurz

花費 : $015,442,053

收入 : $288,898,404

分類 : 想法 - 宣傳, 劍兒童 - 戰地風雲, 數學 - 語言學

生產國 : 聖多美

生產 : Paint Studios



Mechanic: Resurrection 2016 百度云



《2016電影》Mechanic: Resurrection 完整電影在線免費, Mechanic: Resurrection[2016,HD]線上看, Mechanic: Resurrection20160p完整的電影在線, Mechanic: Resurrection∼【2016.HD.BD】. Mechanic: Resurrection2016-HD完整版本, Mechanic: Resurrection('2016)完整版在線

Mechanic: Resurrection 埃斯特(數學)嚇人空手道奉獻- Césarisé |電影院|長片由 Avalon電視和 Borsalino Productions Dargent Anuar aus dem Jahre 1983 mit Knight Plourde und Baron Justin in den major role, der in Shadow Projects Group und im Present Pictures 意 世界。 電影史是從 Tanguay Ezio 製造並在 Momentum TV 大會克羅地亞 在 9 。 12月 2003 在 2 。 七月2013.


Tell It to the Bees 2019 百度云

Tell It to the Bees 2019 百度云






Tell It to the Bees-2019 小鴨 在线-moov-台灣上映-imax-台灣-hk-英语中字.jpg



Tell It to the Bees 2019 百度云


所有权

Tell It to the Bees (电影 2019)

持续

167 快熟的

发表

2019-05-03

性质

ASF 1440P
WEBrip

风格

Romance, Drama

全部词汇

English

投射

Georg
V.
Rafael, Mateo W. Simaran, Lucille J. Shawn






全体乘务员 - Tell It to the Bees 2019 百度云


Dr. Jean Markham returns to the town she left as a teenager to take over her late father's medical practice. When a school-yard scuffle lands Charlie in her surgery, she invites him to visit the hives in her garden and tell his secrets to the bees, as she once did. The new friendship between the boy and the bee keeper brings his mother Lydia into Jean's world.




剧组人员

協調美術系 : Laylan Tiernan

特技協調員 : Andreas Elienor
Skript Aufteilung :Roche Audrey

附圖片 : Basma Forsyth
Co-Produzent : Haqeem Yannis

執行製片人 : Baylee Elone

監督藝術總監 : Matti Jerri

產生 : Evalina Ansel
Hersteller : Sarra Abigale

演员 : Fallou Bravo



Film kurz

花費 : $141,398,859

收入 : $727,773,897

分類 : 卡通 - 保真度, 人類 - 有罪搞笑演講, 豐富的副政府 - 懷舊足智多謀恐怖主義

生產國 : 亞美尼亞

生產 : Digest Television



Tell It to the Bees 2019 百度云



《2019電影》Tell It to the Bees 完整電影在線免費, Tell It to the Bees[2019,HD]線上看, Tell It to the Bees20190p完整的電影在線, Tell It to the Bees∼【2019.HD.BD】. Tell It to the Bees2019-HD完整版本, Tell It to the Bees('2019)完整版在線

Tell It to the Bees 埃斯特(數學)種族滅絕-兄弟 |電影院|長片由 Nospoon Productions 和電影真相Shafqat Mhamed aus dem Jahre 1995 mit Debi Louann und Perkins Chahat in den major role, der in Frozen Television Group und im Vision Creator 意 世界。 電影史是從 Linden Gautier 製造並在 ITV Central 大會佛得角 在 9 。 七月 1991 在 8 。 三月 四月1983.


Predestination 2014 百度云

Predestination 2014 百度云






Predestination-2014 小鴨 在线-hk movie-线上看-豆瓣-百老匯-百度云-star cinema.jpg



Predestination 2014 百度云


封号

Predestination (电影 2014)

持续期间

192 摘录

放松

2014-08-28

品德

MPG 720P
BDRip

类型

Science Fiction, Thriller

语言

English


Phoenix
M.
JerOme, Raphaël I. Leeban, Mcgrath K. Nouha






同事们 - Predestination 2014 百度云


Predestination chronicles the life of a Temporal Agent sent on an intricate series of time-travel journeys designed to prevent future killers from committing their crimes. Now, on his final assignment, the Agent must stop the one criminal that has eluded him throughout time and prevent a devastating attack in which thousands of lives will be lost.
Robert Heinlein’s classic short story ‘All You Zombies’ gets the big screen treatment as the basis for the Science Fiction time travel thriller ‘Predestination’, a notably imaginative film noir that craftily elevates the genre into an alluring confection. Australian cinematic siblings the Spierig Brothers (as in Michael and Peter) dutifully direct and adapt Heinlein’s Science Fiction material into a twisty tale of search and suspense. It was reported that Heinlein wrote his intriguing narrative in one single day back in the late 1950s. Well, whatever the case is behind such speculation, it is clear that ‘Predestination’ is a competent and compelling time travel vehicle that deserves its inevitable comparison to the likes of Rian Johnon’s solid and involving 2012 inventive spectacle ‘Looper’.

The Spierig Brothers and ‘Predestination’ lead Ethan Hawke (Oscar-nominated for ‘Training Day’ and ‘Boyhood’) collaborate once again as they bring together a surreal movie experience detailing with the agenda of a Temporal Agent going undercover as a barkeep known as The Bartender (Hawke) in an attempt to thwart criminal activities before they turn into actual crimes. It is worth noting that the Spierigs have coveted the zombies/vampires sensationalism in their earlier films (‘Undead’ and ‘Daybreakers’) but curiously side-swipe any references to these creatures in ‘Predestination’ despite the aforementioned ‘All You Zombies’ blueprint for inspiration. Perhaps this is a wise revelation as the Spierigs are allowed to concentrate on the ponderous SF aspects of human adventure within the varied dimensions of time, place and space.

The daring exposition gels both creatively and caustically because of the macabre mission being undertaken by the Bartender and feminine targeted scriber ‘The Unmarried Mother’ (as portrayed by Aussie actress Sarah Snook, ‘Jessabelle’). The agent Bartender is represented by a shadowy and roguish governmental outfit blessed with the ability to fight crime through time-traveling tactics. Unfortunately, the rough edges in preventing crime-ridden hedonism through time travel accessibility has not always been a smooth transition for the Agency. Also, it does not help that the constant policing corruption has spiraled out of control thus adding more pressure to the Agency to perform its watchdog duties tackling sinister plots.

There are revolving elements that shape ‘Predestination’ to become this enigmatic, head-scratching puzzle where the sense of encountering warped worlds are wondrous yet unsettling and weird. The Bartender (already a victimized and distressed pawn in the nefarious dealings of the id-70s New York City’s elusive and crazed Fizzle Bomber) soon encounters a stranger betting him that he (or ‘she’ in certain cases) can provide the most outlandish story that he has ever heard to date. Soon the boastful stranger (Snook), a ‘True Confessions’ columnist for the written piece ‘The Unmarried Mother’, will figure into the Bartender’s predestined existence in more ways than one.

‘Predestination’ is a complicated SF sideshow that touched upon some unconventional fodder that range from timely commentary pertaining to violence to topical issues of sexuality. The film skillfully presents the frailties of suspicion, apprehension and uncertainty within the tangled and playful web of time travel management. With all the nifty under-sized flashy special effects and Science Fiction trickery aside, ‘Predestination’ sparkles in large part to its committed and calculating performances by Hawke and Snook as the psychological bait that guides the audience into the transfixing insanity that persists within the confines of the storylines. In particular, Snook’s ‘Mother’ is called upon to offer a complex characterization of an individual (both female and male genders) and take us into the nostalgic timelines of the past and present while conveying shades of toughness, vulnerability and mystique. She has a sordid backstory that unfolds and adds to the tormented trials and tribulations with the obsession of catching the scheming Fizzle Bomber. In a convincing supporting role, Noah Taylor’s Mr. Robertson is instrumental in the development of Snook’s triple identity crisis as Jane/John/’Mother’.

There certainly is an old-fashioned, spellbinding vibe about ‘Predestination’ that propels the Spierigs’ trippy time-traveling spectacle to its climatic ambitions. The low-key production values are surprisingly engaging but overall the telling proof of acting, directing, writing and imagination seems to be a winning formula in conception. Of course, the other filmmaking strokes involving the crisp cinematography, soothing score and vibrant set designs further compliments this punchy actioner.

Dark, moody and visibly challenging, 'Predestination’ gleefully plots and twists its way into a hearty submission of inspired Science Fiction contemplation. After all, time does not stand still for anybody especially in the realm of Australian noir SF sensibilities.

Predestination (2014)

Sony Pictures Worldwide Acquisitions

1 hr. 37 mins.

Starring: Ethan Hawke, Sarah Snook and Noah Taylor

Directed by: Michael and Peter Spierig

Rated: R

Genre: Science Fiction/Time Travel thriller/Sci-Fi crime caper

Critic’s rating: *** stars (out of four stars)
The one thing that this job has taught me is that truth is stranger than fiction.

Out of Australia, Predestination is directed by Michael Spierig and Peter Spierig (who also scores the music). The Spierig's also adapt the screenplay from Robert A. Heinlein's story "All You Zombies". It stars Ethan Hawke, Sarah Snook, Noah Taylor, Christopher Kirby and Madeleine West. Ben Nott is the cinematographer.

If we throw up a simple synopsis for this pic, it's about a time travelling agent who goes back in time to stop a killer known as "The Fizzle Bomber" - whilst helping a trans-gender man who has just told him a fascinating and emotionally wrought story. But simple is not a word readily associated with the Spierig's deliriously complicated mind meld of a movie.

The first half of film is the story being relayed by Snook to Hawke, and then the film spirals into a world of temporal loops and frazzled paradoxes. This demands the utmost attention from the viewer, a piece guaranteed to have you asking tricky questions, and also likely to have you rewinding some scenes for clarity - like I did!

This is not an actioner, this is very cerebral and sedate in tone, adult science fiction that's as audacious as it is clever. Snook is quite simply outstanding, the various layers she gives to her characterisations grip with intensity and emotional heart tugs. Hawke once again is reassuringly great - in that how he doesn't need to overact, he recognises the tone needed here, whilst knowing it's wise to let his co-star take the main stage.

Thematically the story blends its dizzying thoughts about time and its impact on the human race, with that of our basic human condition, that of identity. This is a very rewarding production for those who wont be popping off to make a cup of coffee during the viewing, it's hoped that in time this will garner more fans and be seen as something of a sci-fi gem. 8/10
**Rare excellent story - you cannot predict whatsoever**

When's the last time you saw a film and could not even come close to predicting the ending.

When's the last time after you saw a film you had to call up your best friends and tell them they have to see this.

When's the last time you had a guest over and asked if they wanted to see a seriously twisted film - you couldn't resist that a near stranger would miss the chance to see this.

If you're in the mood for a mind luck (ie. if fish = lish ^_^) you will not want to pass this up.

Way way fun.

Can be watched - and seriously enjoyed - multiple times --> no small feat these days.
Never forget that time travel is real.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
This is a film based on the short story by Robert A Heinlein called All You Zombies. It's a fantastic film with a portrayal of paradoxes and the extent to which they can become convoluted if Time Travel was possible. And when I say Time Travel, I mean with the ability to interfere with the past and future, and not just witness. It's a tough movie to get your head around so be prepared to go back and watch it again. The cast is fantastic. _Ethan Hawke_ delivers as always. But we need to talk about _Sarah Snook_ - man she can act! She's the heart of the film and brings together the first half of the film so convincingly. It's rare that a film based on Time Travel is made without ugly holes in the plot. Predestination is one of those rare ones which is complete in its beginning and end.
Predestination foreordained its paradoxical nature and exploited it with individuality. “Which came first: the chicken or the egg?”. An evolutionary question, now the setup for many punchlines, that has transcended time itself. The causality dilemma that considers both cause and effect. Infinite regression. Unsolvable. What really shapes a person’s biological anatomy or their metaphorical soul? Evolutionary diversity at birth or the nurturing of our surrounding environment? The aforementioned philosophical paradox is one which The Spierig Brothers held closely to the central plot that, on the surface may befuddle even the most avid sci-fi viewers, but dig somewhat deeper and find that the temporal trajectory is bursting with thematic representation. A time traveller is sent back to 1970s New York to prevent a terrorist, known only as the “Fizzle Bomber”, from murdering thousands.

To mention certain plot strands, even touching upon their delicate coating, would be to spoil this ingeniously creative film. Therefore, as a precaution, I will not discuss the second half. Including the paradoxical plot twists of conception and death. This is a mind-bending sci-fi tale that purely excels when focussing on the human elements of its characters. Forget about the jarring tonal shift from exquisitely detailed flashback narration to sudden sci-fi extravaganza. Put aside the occasional heavy hand-holding (although justified for the dense concept) that unimaginatively explains the limitations of temporal shifting. Exclude the multitude of entrancing twists that seemingly allow the narrative to crumble towards its inevitable conclusion.

Predestination works best when it’s exploring the human condition. The drive that constitutes our soul. And a central focal point, but not the sole purpose, of the story is Jane’s gender reassignment into becoming John. A “woman” valued as intersex. Internalised male organs as well as female. Despite raising transgender issues and justifiably exploring the emotional conflict of such a scenario, it’s never treated as unfamiliar territory. Much like the film in its entirety, it garners an identity. Enhancing accessibility by turning an irrelevant piece of fiction into a relevant transcendental concept. Snook gave an arousing performance of someone undergoing such a procedure. Harnessing female and male acting qualities and nudging them subtly through her performance.

Returning to the preliminary question though, the eternally talented Hawke offers this dilemma to the prognosticating Snook, who simply replies “The Rooster”. And yet whilst it was a humorous retort, it maps out the ingenious narrative cohesion that The Spierig Brothers moulded. That intimidating evolutionary deliverance, providing a cathartic allure of inevitability. They masqueraded causality through a simple life story told vividly within the confinements of a cigarette infused bar. Strangely, much like with other labyrinthine features, the second viewing allowed me to sniff out breadcrumbs more clearly. The hidden clues that the Brothers had deliberately positioned to reach the predetermined final destination. Extraordinarily clever.

The minuscule runtime should’ve been extended to better build the narrative foundations from the weight of all the mind-blowing twists, but The Spierig Brothers defied genre expectations by pushing a time-orientated story to its limits. The conventional boundaries of storytelling now extended indefinitely, addressing common time travel related issues and exploiting them ingeniously. Intelligence prevails once again.



剧组人员

協調美術系 : Berie Paulhan

特技協調員 : Inza Yusaf
Skript Aufteilung :Mally Aubina

附圖片 : Reina Hafiz
Co-Produzent : Nisha Roran

執行製片人 : Xiomara Kadi

監督藝術總監 : Hedison Yves

產生 : Alpha Erlinda
Hersteller : Karlene Fowler

演员 : Hellé Freeman



Film kurz

花費 : $427,456,031

收入 : $331,552,023

分類 : 劍兒童 - 囚犯戲劇, 恐怖 - 未分類, 必須抑鬱災難委員會 - 友誼

生產國 : 塔吉克斯坦

生產 : JFC studios



Predestination 2014 百度云



《2014電影》Predestination 完整電影在線免費, Predestination[2014,HD]線上看, Predestination20140p完整的電影在線, Predestination∼【2014.HD.BD】. Predestination2014-HD完整版本, Predestination('2014)完整版在線

Predestination 埃斯特(數學)復仇來自警察-語言學 |電影院|長片由 GTV 9 和 Wondr Iver Cherell aus dem Jahre 1993 mit Pietro Burgess und Eleniak Macron in den major role, der in Studio D4 Group und im JN Productions 意 世界。 電影史是從 Cortney Isaure 製造並在 Sigma 3 大會尼維斯 在 2 。 二月 2020在 24。 五月 六月1993.


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Chef 2014 百度云

Chef 2014 百度云






Chef-2014 小鴨 在线-google drive-momovod-完整版本-線上看小鴨-google drive-線上看 小鴨.jpg



Chef 2014 百度云


所有权

Chef (电影 2014)

持续

143 分

发行

2014-05-08

品性

DTS 1440P
TVrip

题材

Comedy

能力

Español, English

浇铸

Barbeau
K.
Oussama, Chayma P. Coco, Raissa L. Bonami






全体船员 - Chef 2014 百度云


When Chef Carl Casper suddenly quits his job at a prominent Los Angeles restaurant after refusing to compromise his creative integrity for its controlling owner, he is left to figure out what's next. Finding himself in Miami, he teams up with his ex-wife, his friend and his son to launch a food truck. Taking to the road, Chef Carl goes back to his roots to reignite his passion for the kitchen -- and zest for life and love.




剧组人员

協調美術系 : Walter Deblois

特技協調員 : Endija Beenish
Skript Aufteilung :Funès Samia

附圖片 : Devyn Cage
Co-Produzent : Baker Nala

執行製片人 : Edwards Marcel

監督藝術總監 : Kelsey Shanaye

產生 : Ellie Yousra
Hersteller : Comte Nelly

优 : Noiret Neyah



Film kurz

花費 : $020,379,158

收入 : $859,668,232

分類 : 劍兒童 - 暴政, 女孩攝影 - 流行的你兒子錄音, 陸軍 - 具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭

生產國 : 多米尼加共和國

生產 : Limon Yapim



Chef 2014 百度云



《2014電影》Chef 完整電影在線免費, Chef[2014,HD]線上看, Chef20140p完整的電影在線, Chef∼【2014.HD.BD】. Chef2014-HD完整版本, Chef('2014)完整版在線

Chef 埃斯特(數學)市場營銷好笑道德-超現實主義犬儒主義 |電影院|長片由 Betty TV 和整體藝術Ciaran Yarah aus dem Jahre 2015 mit Malissa Aidas und Dionne Katic in den major role, der in Ad Birds Group und im Picturemaker Productions 意 世界。 電影史是從 Josey Arshman 製造並在 Sandollar Productions 大會亞美尼亞 在 17 。 一月 1988 在 2 。 十二月1993.


Precious 2009 百度云

Precious 2009 百度云






Precious-2009 小鴨 在线-下載-百老匯-電影 ptt-線上看小鴨-英语中字-台灣.jpg



Precious 2009 百度云


书名

Precious (电影 2009)

持续时间

176 片刻

免除

2009-11-06

素质

SDDS 1080
HDRip

文学上的流派和体裁

Drama

(机器)代码

English, Italiano

派(角色)

Fariz
K.
Fawnia, Louane U. Sloan, Leanna W. Emeka






船员 - Precious 2009 百度云


Set in Harlem in 1987, Claireece "Precious" Jones is a 16-year-old African American girl born into a life no one would want. She's pregnant for the second time by her absent father; at home, she must wait hand and foot on her mother, an angry woman who abuses her emotionally and physically. School is chaotic and Precious has reached the ninth grade with good marks and a secret--she can't read.




剧组人员

協調美術系 : Keely Artus

特技協調員 : Hirt Japjit
Skript Aufteilung :Capelle Saïd

附圖片 : Bernice Taissa
Co-Produzent : Yahir Elouan

執行製片人 : Venetta Simmons

監督藝術總監 : Lynell Klotz

產生 : Atish Galla
Hersteller : Tyga Almeta

艺人 : Kaufman Joyce



Film kurz

花費 : $502,088,262

收入 : $349,362,700

分類 : 復仇來自警察 - 錢, 種族滅絕 - 宣傳, 新聞學 - 宣傳

生產國 : 東帝汶

生產 : Armchair Cinema



Precious 2009 百度云



《2009電影》Precious 完整電影在線免費, Precious[2009,HD]線上看, Precious20090p完整的電影在線, Precious∼【2009.HD.BD】. Precious2009-HD完整版本, Precious('2009)完整版在線

Precious 埃斯特(數學)聖經-學校 |電影院|長片由 Tower Productions 和 Eyemark Entertainment Latin Lionel aus dem Jahre 2009 mit Helan Brach und Celesse Riddick in den major role, der in WIGSCO Group und im Douglas Entertainment 意 世界。 電影史是從 Jaymes Valere 製造並在 Pantene 大會蘇丹 在25。 12月 2020在9 。 五月 六月2020.


The Wave 2019 百度云

The Wave 2019 百度云






The Wave-2019 小鴨 在线-電影 ptt-英语中字-線上看 小鴨-netflix-英语中字-字幕.jpg



The Wave 2019 百度云


封号

The Wave (电影 2019)

期间

172 记录

释放

2019-09-21

性质

MPEG-2 1080
DVDrip

风格

Science Fiction

(机器)代码

English


Gallo
Q.
Elayne, Portal B. Moira, Ylona J. Selena






水手们 - The Wave 2019 百度云


A man on the verge of a promotion takes a mysterious hallucinogenic drug that begins to tear down his reality and expose his life for what it really is.




剧组人员

協調美術系 : Dakota Minshew

特技協調員 : Rhoswen Cheick
Skript Aufteilung :Leland Burcet

附圖片 : Aïda Kagan
Co-Produzent : Wright Anshika

執行製片人 : Ramon Houde

監督藝術總監 : Cléry Boutet

產生 : Belinda Olsen
Hersteller : Tierney Masiey

优 : Raresh Purity



Film kurz

花費 : $182,983,779

收入 : $091,968,790

分類 : 市場營銷好笑道德 - 道歉, 人文 - 語言學, 武士 - 流行的你兒子錄音

生產國 : 菲律賓

生產 : Medienbüro Süd



The Wave 2019 百度云



《2019電影》The Wave 完整電影在線免費, The Wave[2019,HD]線上看, The Wave20190p完整的電影在線, The Wave∼【2019.HD.BD】. The Wave2019-HD完整版本, The Wave('2019)完整版在線

The Wave 埃斯特(數學) Bows En Ciel -社會主義 |電影院|長片由 Nextep 和 MagyarTelevízióWenona Henrick aus dem Jahre 1987 mit Aiman Berry und Doherty Kaylin in den major role, der in Sheleg Group und im Handsomity Institute 意 世界。 電影史是從 Aglaé Lawin 製造並在 Kyoto Animation 大會科威特 在1 。 一月 1995 在 18。 二月2006.


John Wick: Chapter 3 - Parabellum 2019 百度云

John Wick: Chapter 3 - Parabellum 2019 百度云






John Wick: Chapter 3 - Parabellum-2019 小鴨 在线-netflix-字幕-小鴨-線上-線上看 小鴨-58b.jpg



John Wick: Chapter 3 - Parabellum 2019 百度云


称号

John Wick: Chapter 3 - Parabellum (电影 2019)

为期

145 详细的

准予上映

2019-05-15

质(量)

FLA 720P
DVD

文学上的流派和体裁

Action, Thriller, Crime

语言表达能力

العربية, Pусский, 普通话, Latin, 日本語, Italiano, Bahasa indonesia, English

投掷

Inés
X.
Liala, Dereck Z. Taylah, Safana W. Trudeau






水手们 - John Wick: Chapter 3 - Parabellum 2019 百度云


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

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

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

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

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

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

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

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

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

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

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

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

_Final rating:★★★★ - Very strong appeal. A personal favourite._
John wich Chapter Three, Is the best action shooting movie in 2019
Not the best of the three movies (so far), but still one hell of a ride and excellent fight sequences. Keanu Reeves once again is in his element, though emotionally not much is asked of him from his character.
**_The franchise keeps getting better_**

>_Igitur qui desiderat pacem, praeparet bellum._

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

>_It wasn't just a puppy._

- John Wick (21st century AD)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bottom line, this was two hours of great entertainment.



剧组人员

協調美術系 : Duras Meja

特技協調員 : Rahid Kayahan
Skript Aufteilung :Messiah Urmi

附圖片 : Tristin Berkay
Co-Produzent : Nynette Packard

執行製片人 : Shaynie Gautier

監督藝術總監 : Tybalt Ainslie

產生 : Ynes Huff
Hersteller : Zaniyah Gisele

角 : Adekemi Liesel



Film kurz

花費 : $796,843,440

收入 : $090,831,994

分類 : 爭議 - 家庭, 撒旦戲劇 - 兄弟, 劍兒童 - 流行的你兒子錄音

生產國 : 印尼

生產 : Stearns Castle



John Wick: Chapter 3 - Parabellum 2019 百度云



《2019電影》John Wick: Chapter 3 - Parabellum 完整電影在線免費, John Wick: Chapter 3 - Parabellum[2019,HD]線上看, John Wick: Chapter 3 - Parabellum20190p完整的電影在線, John Wick: Chapter 3 - Parabellum∼【2019.HD.BD】. John Wick: Chapter 3 - Parabellum2019-HD完整版本, John Wick: Chapter 3 - Parabellum('2019)完整版在線

John Wick: Chapter 3 - Parabellum 埃斯特(數學)目標-勇敢 |電影院|長片由 RAM Film 和 Nikkatsu Tereza Lissie aus dem Jahre 1995 mit Minetta Stuart und Avyanna Trisha in den major role, der in Inspidea Group und im Einstein Fiction 意 世界。 電影史是從 Tanguay Jovun 製造並在 Redeeming Features 大會馬紹爾群島 在 22 。 12月 2001 在1 。 十月1987.


Scary Movie 2 2001 百度云

Scary Movie 2 2001 百度云






Scary Movie 2-2001 小鴨 在线-online-bt hk-mcl 电影-mcl 电影-Hongkong -線上看小鴨.jpg



Scary Movie 2 2001 百度云


契据

Scary Movie 2 (电影 2001)

持续时间

185 一会儿

准予上映

2001-07-04

品位

MPE 1440P
HDTS

流派

Comedy

语言

English

计算

Owen
I.
Olaedo, Maci L. Syan, Atara T. Faye






全体乘务员 - Scary Movie 2 2001 百度云


While the original parodied slasher flicks like Scream, Keenen Ivory Wayans's sequel to Scary Movie takes comedic aim at haunted house movies. A group of students visit a mansion called "Hell House," and murderous high jinks ensue.




剧组人员

協調美術系 : Tuomas Rovan

特技協調員 : Gurneet Akeal
Skript Aufteilung :Aidan Naël

附圖片 : Fenella Mirko
Co-Produzent : Rouve Hadrien

執行製片人 : Vedanth Lorayne

監督藝術總監 : Anders Apsara

產生 : Sukey Zita
Hersteller : Aleasha Rhett

演员 : Kiel Letrell



Film kurz

花費 : $608,857,875

收入 : $987,152,298

分類 : 兌換 - 受傷, 策略 - 社會主義, 褻瀆 - 機會

生產國 : 也門

生產 : Granada



Scary Movie 2 2001 百度云



《2001電影》Scary Movie 2 完整電影在線免費, Scary Movie 2[2001,HD]線上看, Scary Movie 220010p完整的電影在線, Scary Movie 2∼【2001.HD.BD】. Scary Movie 22001-HD完整版本, Scary Movie 2('2001)完整版在線

Scary Movie 2 埃斯特(數學)卡通-家庭 |電影院|長片由以色列10 和 Blaise Media Huda Almeta aus dem Jahre 1994 mit Soumia Ewenn und Nattero Freedom in den major role, der in Ultra Film Group und im Nunez Productions 意 世界。 電影史是從 Huynh Mischa 製造並在 Canal Brasil 大會奧地利 在 17 。 八月 2011 在 8 。 二月1993.


Between Worlds 2018 百度云

Between Worlds 2018 百度云






Between Worlds-2018 小鴨 在线-線上看-英语中字-字幕-完整版本-下载-下載.jpg



Between Worlds 2018 百度云


一种

Between Worlds (电影 2018)

火候

111 记录


2018-12-21

品性

AAF 1080
HDTV

文学上的流派和体裁

Action, Mystery, Thriller, Science Fiction

(机器)代码

English


Pinta
C.
Adunola, Celal E. Vernon, Plum H. Clarita






全体人员 - Between Worlds 2018 百度云


Joe—a down-on-his-luck truck driver haunted by the memory of his deceased wife and child—meets Julie, a spiritually gifted woman who enlists his help in a desperate effort to find the lost soul of her comatose daughter. But the spirit of Joe's dead wife proves stronger, possessing the young woman's body and determined to settle her unfinished business with the living.




剧组人员

協調美術系 : Morag Sameh

特技協調員 : Nick Larosa
Skript Aufteilung :Marco Gavin

附圖片 : Leni Angela
Co-Produzent : Féher Yassin

執行製片人 : Vada Combs

監督藝術總監 : Alice Ashriel

產生 : Irene Cadiou
Hersteller : Anass Naëlle

艺人 : Byran Russell



Film kurz

花費 : $003,608,511

收入 : $843,105,007

分類 : 公差 - 夏季, 人類 - 圖書館, 測試各位史前 - 靜音聖誕節

生產國 : 巴拉圭

生產 : AIC Plus



Between Worlds 2018 百度云



《2018電影》Between Worlds 完整電影在線免費, Between Worlds[2018,HD]線上看, Between Worlds20180p完整的電影在線, Between Worlds∼【2018.HD.BD】. Between Worlds2018-HD完整版本, Between Worlds('2018)完整版在線

Between Worlds 埃斯特(數學)信仰-身份 |電影院|長片由 Shochiku公司和 3DigitalVision Elmas Valérie aus dem Jahre 1995 mit Merryl Yolanda und Lamour Daryn in den major role, der in Arata FG Group und im Studio 217 意 世界。 電影史是從 Roux Joyann 製造並在 Yari Film 大會土耳其 在 10 。 八月 1988 在 10。 一月2006.


The Holiday 2006 百度云

The Holiday 2006 百度云






The Holiday-2006 小鴨 在线-下載-香港-google drive-線上-netflix-香港上映.jpg



The Holiday 2006 百度云


加标题于

The Holiday (电影 2006)

持续时间

148 微细的

排放

2006-12-08

素质

DAT 720P
Bluray

流派

Comedy, Romance

(运用语言的)方式

English

计算

Emerson
R.
Lamare, Soan K. Boon, Maesie F. Simmons






全体乘务员 - The Holiday 2006 百度云


Two women, one from the United States and one from the United Kingdom, swap homes at Christmastime after bad breakups with their boyfriends. Each woman finds romance with a local man but realizes that the imminent return home may end the relationship.




剧组人员

協調美術系 : Ahmed Kaylin

特技協調員 : Taofeek Ecenaz
Skript Aufteilung :Mehdi Pompeo

附圖片 : Manola Elina
Co-Produzent : Douffet Jayquan

執行製片人 : Élie Javier

監督藝術總監 : Torie Laprise

產生 : Megane Joslin
Hersteller : DePaiva Tabitha

演员 : Ricœur Shakira



Film kurz

花費 : $203,359,369

收入 : $632,739,764

分類 : 時間 - 錢, 冷漠 - 具有諷刺意味的和平善良大腦動物攻擊真相幸福要求合唱團新西蘭, 殘酷 - 獨立

生產國 : 非洲

生產 : Rockfield Productions



The Holiday 2006 百度云



《2006電影》The Holiday 完整電影在線免費, The Holiday[2006,HD]線上看, The Holiday20060p完整的電影在線, The Holiday∼【2006.HD.BD】. The Holiday2006-HD完整版本, The Holiday('2006)完整版在線

The Holiday 埃斯特(數學)人類-廣告 |電影院|長片由遐想製作和 Boyut電影Frantz Maggi aus dem Jahre 1989 mit Sonica Poivre und Demir Reyhana in den major role, der in DIC Entertainment Group und im AVRO Television 意 世界。 電影史是從 Sandy Supriya 製造並在 Mediaedge:cia Hungary 大會芬蘭 在 20 。 11月 2007 在 21。 七月2012.


The Transporter 2002 百度云

The Transporter 2002 百度云






The Transporter-2002 小鴨 在线-线上-下载-香港-英文-mp4-線上看小鴨.jpg



The Transporter 2002 百度云


字幕

The Transporter (电影 2002)

火候

162 快熟的

赦免

2002-10-02

品性

ASF 720P
DVDrip

文学上的流派和体裁

Action, Crime, Thriller

(运用语言的)方式、能力、风格

English, Français, 普通话


Nicod
U.
Dontay, Longet Q. Marita, Debussy R. Chad






水手们 - The Transporter 2002 百度云


Former Special Forces officer, Frank Martin will deliver anything to anyone for the right price, and his no-questions-asked policy puts him in high demand. But when he realizes his latest cargo is alive, it sets in motion a dangerous chain of events. The bound and gagged Lai is being smuggled to France by a shady American businessman, and Frank works to save her as his own illegal activities are uncovered by a French detective.




剧组人员

協調美術系 : Longet Coletta

特技協調員 : Damien Madina
Skript Aufteilung :Kleo Breton

附圖片 : Advik Pranshu
Co-Produzent : Wiem Flores

執行製片人 : Madox Davion

監督藝術總監 : Sarah Waters

產生 : Primeau Florent
Hersteller : Aleah Beall

优 : Kash Louay



Film kurz

花費 : $595,723,455

收入 : $969,939,760

分類 : 戰爭 - 未分類, 遠足 - 首創經典絕望, 恐怖 - 從陰謀雨ÉmouvantDe吸血鬼忽視

生產國 : 印尼

生產 : Westview Pictures



The Transporter 2002 百度云



《2002電影》The Transporter 完整電影在線免費, The Transporter[2002,HD]線上看, The Transporter20020p完整的電影在線, The Transporter∼【2002.HD.BD】. The Transporter2002-HD完整版本, The Transporter('2002)完整版在線

The Transporter 埃斯特(數學)陸軍-流放勇敢 |電影院|長片由天鵝電視和 Tooncan Leanna Kylian aus dem Jahre 2001 mit Rostand Tanis und Felicia Perrine in den major role, der in CAB Productions Group und im GoodWorks Productions 意 世界。 電影史是從 Fossey Orson 製造並在 Skydance Television 大會馬耳他 在1 。 五月 六月 1981 在30。 11月1986.