The Revenant Online Subtitrat in Romana – [1080p]

calitate : The Revenant
a slobozi  : 2015-12-25
arhivare : 157 Minutes
compoziţie : Western, Drama, Adventure

The Revenant, a ravishingly violent Western survival yarn from Alejandro González Iñárritu, has a healthy few, scattered like acorns across its two-and-a-half-hour canvas….. no matter how extended, the film’s tense story is under the director’s complete control…DiCaprio’s performance is an astonishing testament to his commitment to a role. cinematographer Emmanuel Lubezki done a great job..as a supporting actor tom hardy is brilliant..must watch…
I thought this was a great movie. Seemed like it was a very physically demanding role for Leo.
Good performances by DiCaprio and, even more, Hardy.

Good directing, specially the initial attack, photography, landscapes and soundtrack but the story is, at some points, unnecessarily violent and the action scenes are, sometimes, somehow stupid; people letting others to kill them, or ignoring foes close by …

A good movie all in all, but not one of the greatests.
> The one who came back from the dead to avenge.

The movie was inspired by the real event that sets in the year 1823, United States. When one of the crew members of the hunters left behind after he was severely hurt from a bear attack, he desperately looks for a way to get back to the camp alive, especially to avenge for the death of his close one. The whole film was about survival in the wilderness and to avoid the native Americans. But the introduction in the opening was very brief and in the final act, it was another brief man hunt. Overall, it was an enjoyable movie for adults with some gruesome scenes.

The movie was made on a grand scale. Well written screenplay, good direction, the cast, music and the locations, but it would have been even awesome if it was true to the original occurrence. I felt it was cinematically overdosed, especially for the commercial purpose. The fans of Leonardo Dicaprio’s overwhelming celebration created a huge buzz. In fact, it looks like the entire Hollywood is his fan and the Oscars given to him out of sympathy, because I have seen his best performances better than this in the past.

The length of the movie was a big concern, should have been at least 15 minutes shorter. But the visuals were fantastic, the CGI bear was almost flawless. There are plenty of reasons why this should not be missed, at a time the narration lacks the realism. Otherwise, it would have made a wonderful semi-documentary film. So don’t have high hope on this, especially if you’re no ones fans, but just love watching movies like me. A little bit overrated everywhere, but still this movie is good, just good, that’s it, not a masterpiece.

7/10
There’s nothing really to complain about the acting but their praise and this movie is overrated. Read my full review here.

http://www.hweird1reviews.com/allreviews//therevenant
This is the best film I have seen all year (since ‘Birdman’, in fact, the previous film by Innaritu). It was expertly directed. The use of natural light really adds to the danger of the environment that surrounds Hugh Glass (Leonardo DiCaprio). Innaritu loves the camera to pan around objects and people to create a sense of awe and spectacle.

Leonardo DiCaprio really did deserve all the awards that he got for this role. I thought it was his best film by far. The realism and intensity of his performance really comes through.

The story was gripping throughout the whole film and I found the twists and turns very interesting.

★★★★½
**The following is a long form review that I originally wrote in 2015.**

From a technical point of view, _The Revenant_ is one of the most masterful pieces of cinema I’ve ever seen. This made its one technical failure all the more jarring. The ADR. I don’t know how or why this was allowed to happen, but the dubbing of the Native Americans is some 70’s style shit, it’s awful, and it’s awful every single time. In your average film this would be only a minor annoyance, but in _The Revenant_ which A) pretty much nails everything else in the AV department, and B) Takes itself so goddamn seriously, this issue is painfully distracting.

I also found myself continuously rooting for the antagonists (first the bear, and later Hardy) subconsciously, and scolding myself for it. The good aspect of this is that it was rooted in the fact that all the characters are humanised (even the bear) and fallible, which I like, but the flip-side to that is I was less sympathetic to Leo’s character, which takes up the majority of the screen time, and thusly I did not feel fully engaged for a large portion of the movie.

In fact the whole second and third acts underwhelmed me in that exact way. That’s not to say that they were bad, but they were invariably weaker than the first act. After its end the rest of the film did feel like it was stretched a mite thin.

That all said, I knew within about 90 seconds that I was going to give _The Revenant_ a favourable review. Visually, it has this ethereal effect. It feels **too** real. So real that it must be a trick, the world of _The Revenant_ is alien in its realness. A bizarre contradictory nature that struck a chord with me immediately. For the average cinema-goer, I would say _The Revenant_ is worth your time, but for a movie aficionado or film student, I would say _The Revenant_ isn’t anything short of a must.

75%

-_Gimly_
“My heart bleeds. But revenge is in the creator’s hands”.

The Revenant is set in the 1820s, in the uncharted wilderness of America, Hugh Glass set out with a hunting party on an expedition. Glass was mauled by a bear and left for dead but through sheer will and to get back to his family, Glass survived – but that wasn’t the only thing on his mind as he set out to payback the men who left him behind.

I remember last year around January time when I saw the two images for The Revenant, with Leo holding a Kentucky Flintlock Rifle looking like he’s not playing around. Those two images straight away caught my interest. I then found out it was directed by the magnificent Alejandro González Iñárritu who did the Oscar wining “Birdman” (a movie that I personally loved). The Revenant quickly became my most anticipated movie of 2015, as I was looking forward to this movie more than Star Wars, and yes I said it. And after finally seeing the movie myself, I can safely say that I was not disappointed. The Revenant is one of the most stunning, brutal, intense, grizzly movie experience I’ve ever had. The movie isn’t for everyone, but I loved it.

Alejandro González Iñárritu is starting to become my 3rd favorite director working today, because he’s such an old school director when it comes to storytelling by the use of art. There’s been a lot of drama happening behind the scenes of this movie, with the weather stopping the production or if someone made a mistake while filming, the crew must stop for the day and wait until tomorrow, because one mistake could lose a lot of day light for a scene (It was shot in natural lighting). One of the studios suggested that the movie should be shot using computer generated to make things much easier, but luckily Iñárritu said no to the idea by stating, “If we ended up in greenscreen with coffee and everybody having a good time, everybody will be happy, but most likely the film would be a piece of shit.” And after seeing the movie I gotta say that it was the perfect decision, because it’s very rare for a director today to take that risk and avoid what the studio says. Yes there are some CGI scenes, but the way that the animated effect’s blended together with the practical effect’s is handled incredibly well. This is one of the best directed movies I’ve seen in 2015 and I know Iñárritu already won an Oscar already, but I hope he wins another one for this, because never before have I seen a revenge tale presented so unique and utterly magnificent.

I respect Leonardo DiCaprio as an actor, but in this movie, he sleeps inside of a dead horse naked and eats raw food from animals, now if this doesn’t get him an Oscar, nothing will. He’s performance in this movie is what a call ‘a silent performance’, because Leo barley has that much lines in the movie and the only time he dose get to talk is in a different language (which Leo has said it was tricky to learn the language). DiCaprio has proven time and time again that he’s more than a pretty face, but in this movie I only saw Hugh Glass, not DiCaprio. That’s my biggest praise I have to give to Leo, as he had to deliver all the emotions, the pain and the tortured soul that Hugh Glass. All of that was all through his face and eyes and trust me when I say this, but it’s not easy as you think. We are so use to seeing Leo as the angry, pretty boy billionaire in every movie he’s in, but in this movie I thought he was fantastic. He played the man who lost everything. With very little lines he had, he still manages to make a powerful performance that’s so far his best. I really hope Leo gets an Oscar for this.

Tom Hardy also gave an Oscar worthy performance in this movie. I’ve heard that some people had trouble understanding him in this movie (or just in everything that he’s in really). Sometimes I didn’t understand what he said but for the most part I did. But all that a side, I still think he was fantastic in the movie. He really added a lot to his character, because sometimes you understand the things that he dose in movie and yes the things he dose in the movie are wrong, but in a rough environment that these people are in, you would likely do the same. I’m not sure if he would get in for best supporting actor, but I hope he dose.

I’m running out of things to say about Emmanuel Lubezki breathtaking cinematography. The camera work and how he makes the camera feel like a character of it’s own is seriously impressive. Lubezki captures nature on film, that shows it’s beauty and it’s unpredictable surprises. The people running the Oscars should just give Lubezki his third Oscar right now, because he’s going to take that third trophy home.

For flaws I had with the film it that some of the character logic towards the end of the movie didn’t make that much senses to me. And that’s it.

Overall rating: “The Revenant” is one of most intense and stunning movies I’ve seen in 2015. The score is haunting, the editing was top notch and that bear attack scene was just terrifying. I mean how the hell did they do that? I don’t know about you, but I honestly can’t stop thinking about this movie. It’s one of those movies that sticks with you after it’s over and it isn’t going away anytime soon.
Utterly riveting.

It’s no surprise this one got/gets rave reviews – it’s outstanding! ‘The Revenant’ isn’t necessarily edge-of-your-seat viewing, though it’s still a massively impactful watch as you feel every hit of Hugh Glass’ journey. It’s rather gruesome and bloody, while it also has a few top notch action sequences.

Leonardo DiCaprio is easily one of my favourite actors of all-time, the man is simply a sensational actor – I’m yet to see an anything less than tremendous film involving him. I wouldn’t even say this is his greatest performance, and that’s saying something as DiCaprio is absolutely superb here.

Away from the main man, Tom Hardy is also part of this film. He is great, as I always expect from him. He and DiCaprio are fantastic actors. Hardy portrays John Fitzgerald, brilliantly. However, his character isn’t written perfectly – not poorly by any stretch, he’s just a bit flip-floppy at the beginning. The way the story creates itself involving Fitzgerald being where he is isn’t as amazing as it could’ve been – very minor criticism, mind.

Another small complaint is the ending, there’s nothing truly wrong with it at all but I, personally, would’ve concluded things about 10-15 minutes prior – there’s a quality, almost Quentin Tarantino-esque, scene involving horses that would’ve made for a more thrilling end shot.

To finish, everything’s beautifully crafted together visually, from a filmmaker’s viewpoint, too. A marvellous film no doubt, certainly a must-watch!

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Under the Silver Lake Online Subtitrat in Romana – [1080p]

colontitlu : Under the Silver Lake
lansare : 2018-06-21
arhivare : 139 Minutes
gen muzical : Crime, Drama, Mystery

Relatable? Hell no. But a little bit of weirdness helps the medicine go down and _Under the Silver Lake_ is a fine sort of movie to just let happen. The performances are decent, and sure, there’s a lot of wank happening here, but some originality too, and that goes a long way.

_Final rating:★★★ – I liked it. Would personally recommend you give it a go._
I loved It Follows and I’m loving this.

The collaboration between Mitchell and Disasterpeace is fantastic once again. (This is what an impressionistic soundtrack sounds like Mr Nolan). Visually it is very stimulating without smacking you about the face with technique.

Might not be for everybody. I imagine it might hit too close to home for a lot of young men aged between 22 and 35.

If it appears that the movie concerns itself with a flimsy predicament enhanced by arguably shallow pop culture aspects then that’s because it’s precisely what a significant proportion of the male population, like the main character,(played by Andrew Garfield who is superb too) preoccupy themselves with. “It’s as common as tits and hamburgers.”

“Your art. Your writing. Your culture, is the shell of other men’s ambitions. Ambitions beyond what you will ever understand.”

Time will tell on this. I’m sure of it.
**_Just like Mulholland Drive. Except really, really, really awful_**

>_I got sent the script for_ Under The Silver Lake _and it was as mind-bending in word, as it was, in deed, as it were. It was 160-odd pages, which is about 30 or 40 pages more than the usual script, and it was like as if Sean Astin’s character, Mikey, from_ The Goonies _is far too old to still be going on adventures, but he still wants to. But now he’s in a David Lynch film that’s set in a Los Angeles that’s like the antithesis of the_ La La Land _Los Angeles. The deep, dark underbelly of L.A. And I read it and I just th__ought, this is totally marvellous and totally unique, and it’s very, very rare that you get a unique piece of cinema in this day and age. I thought, well, I love_ The Goonies_, and I love David Lynch, and I love Los Angeles._

>_Also I loved it because it was quite skewering of Hollywood and a kind of patriarchal abusive system. I think Sam sees himself as a Travis Bickle. He sees himself as this liberator, he’s fully deluded in this self-assessment. He sees himself as this vigilante liberator of the divine, sacred feminine in Hollywood. But actually he has a tendency to perpetuate the same abuse in an unconscious way perhaps. I just found it really, really interesting, and it’s a mystery, within a mystery, within a mystery, and there’s no getting to the centre of it. I think that’s maybe the point – we’re on a constant quest towards the centre of things. And perhaps that’s enough, just being on the quest is enough._

– Andrew Garfield; “Andrew Garfield Interview: _Under the Silver Lake_, Pop Culture Obsessions, and Spider-Verse” (Ben Travis); _Empire_ (March 19, 2019)

In 2001, an unknown 26-year-old filmmaker named Richard Kelly released a film called _Donnie Darko_. Filmed on a tight budget over a few weeks, it made little impact at the box-office, but was critically championed as heralding a genuinely unique and exciting voice in genre filmmaking. The following year, the film was released on VHS and DVD, earning twice as much as it did at the cinema, and giving Kelly virtual _carte blanche_ for his next project. In 2006, that hotly-anticipated project was premièred in a rough-cut form at Cannes. The 160-minute _Southland Tales_ was savaged by critics, and went through multiple re-edits before a 144-minute version was released theatrically in North America in 2007. Grossing less than $1 million against a $7 million budget, the film was released straight-to-DVD in most international territories. Kelly’s career has yet to recover, and he has made only one film since. In 2014, David Robert Mitchell released his second feature, _It Follows_, which he shot on a tight budget over a few weeks. A box office and critical success, the film was championed as heralding a genuinely unique and exciting voice in genre filmmaking, giving Mitchell virtual _carte blanche_ for his next project. In 2018, that hotly-anticipated project was premièred at Cannes, where it was savaged by critics.

Okay, the analogy isn’t perfect – _Southland Tales_ was Kelly’s second film, whereas _Under the Silver Lake_ is Mitchell’s third; _It Follows_ was nowhere near as good or as celebrated as _Donnie Darko_; and _Under the Silver Lake_ isn’t quite as bad as _Southland Tales_, nor have the negative reviews from Cannes been quite as damning or universal. However, the sequence of events is undeniably similar – a young filmmaker riding high on an unexpected success dusts off an ambitious older project he had been unable to make at the time, and is given far too much autonomy and leeway, resulting in a pretentious, self-indulgent, convoluted, overlong mess. It’s like no one has learnt from the hubris of Michael Cimino!

Positioning itself as equal parts neo-noir and genre subversion, _Under the Silver Lake_ is essentially a cross between David Lynch’s _Mulholland Drive_ (2001) and Thomas Pynchon’s _Inherent Vice_ (2009). With the major difference being that it’s absolutely, unrelentingly terrible. As with Mitchell’s previous films, _Silver Lake_ works as both an example and a subversion of genre – _The Myth of the American Sleepover_ (2010) was a homage to films such as Peter Bogdanovich’s _The Last Picture Show_ (1971), George Lucas’s _American Graffiti_ (1973) and the work of John Hughes, whilst also deconstructing the coming-of-age subgenre; and _It Follows_ recalls films such as William Friedkin’s _The Exorcist_ (1973), Wes Craven’s _A Nightmare on Elm Street_ (1984) and the work of John Carpenter, whilst also satirising the tropes of such films. _Silver Lake_ is no different – a mystery noir à la Robert Aldrich’s _Kiss Me Deadly_ (1955), Robert Altman’s _The Long Goodbye_ (1973), and Roman Polański’s _Chinatown_ (1974), the film is also at pains to undermine and critique many of the generic markers found in such films. A 140-minute labyrinthine, paranoia-laden shaggy-dog story full of MacGuffins, false leads, narrative dead ends, and unexplained details, the film relocates the detective stories of Raymond Chandler and Dashiell Hammett to the chaotic postmodern era of cognitive semiotics where the relationship between signifier and signified is now so arbitrary that meaning-making itself has become a protean commodity. However, it is easily the most self-important piece of garbage I’ve seen in a long time; a philosophically juvenile rumination thoroughly convinced of its own portentousness. Fundamentally misogynistic (it’s not misogyny, apparently, because Mitchell is being super-ironic when he presents no less than six female characters as literal sex toys for the protagonist), it’s at least 45 minutes too long, with an unfocused narrative, poorly thought-out metaphors, an insipid protagonist, about 377 themes, and a laughable screenplay. The cinematography is pretty though.

Set in contemporary LA, _Under the Silver Lake_ follows Sam (Andrew Garfield), a 33-year-old man-child with no job, no ambition, and no direction, whose day consists of sitting on his balcony watching his neighbour (Wendy Vanden Heuvel) parade around topless, having unfulfilling NSA sex with a friend-with-benefits (Riki Lindhome), and visiting his drinking buddy (Topher Grace) to use a drone to spy on women (it should tell you a bunch about the film that none of these three characters are even assigned a name). Out of the blue, he meets and instantly falls in love with Sarah (an admittedly radiant Riley Keough), but when he visits her apartment the day after meeting her, he finds her gone and the apartment empty, apart from a shoebox with a photograph and a few trinkets, and a strange symbol painted on the wall. Although he later identifies Sarah as one of three women killed in a car crash alongside billionaire media mogul (and professional stuntman) Jefferson Sevence (Chris Gann), having recognised a hat found at the scene to be hers, he refuses to believe she’s dead. And so begins an odyssey to track her down that ultimately involves, amongst other things, a parrot who keeps repeating the same meaningless phrase, a hipster pirate, secret codes hidden in everyday objects such as statues, song lyrics, _Nintendo Power_ magazines, and cereal boxes, a glam rock band named Jesus and the Brides of Dracula, the July 1970 issue of _Playboy_, a dog murderer, a conspiracy theorist comic book writer (Patrick Fischler), the Hobo Code, a vast network of underground tunnels, an actual literal homeless king (David Yow), a helpful coyote, an unhelpful skunk, an escort agency staffed by former child-stars, a balloon dancer (Grace Van Patten), a walled-off Xanadu-like mansion, a mysterious songwriter (Jeremy Bobb) with a strange claim, a female serial killer who enters men’s apartments wearing nothing but an owl mask, and a New Age cult lead by super-wealthy men.

And if this makes it sound convoluted, unwieldly, and overly plotted, believe me, you don’t know the half of it.

Perhaps the most immediately obvious aspects of _Silver Lake_ is the sheer range of homages that Mitchell includes at both plot and formal levels. Some of these homages are impressively handled, some not so much. The music by Rich Vreeland, for example, and the cinematography by Mike Gioulakis are both extremely retro, serving to situate the film firmly in the formal styles of yesterday. Vreeland’s score (although I didn’t like it in and of itself) is a solid imitation of the work of composers such as Franz Waxman (_Sunset Boulevard_; _A Place in the Sun_; _Rear Window_) and Bernard Herrmann (_Citizen Kane_; _Vertigo_; _Psycho_), whilst Gioulakis’s photography, with its overly dramatic camera movements and crash zooms that seem to come out of nowhere, recalls the work of Robert Burks (_Rear Window_; _To Catch a Thief_; _Vertigo_) and Sam Leavitt (_The Defiant Ones_; _Anatomy of a Murder_; _Cape Fear_).

Most of the other homages come at plot level, and although some are well integrated into the narrative, many feel shoehorned in, as if Mitchell is showing off his range of reference, so much so that the film essentially becomes pastiche. Examples include Sam’s mother’s obsession with Janet Gaynor, particularly Frank Borzage’s _7th Heaven_ (1927); Sam sitting on his balcony using binoculars to spy on people, á la L.B. Jefferies (James Stewart) in Alfred Hitchcock’s _Rear Window_ (1954); Sam’s fascination with Don Ornitz’s picture of Janet Wolf from the cover of the July 1970 issue of _Playboy_; a Nirvana poster above Sam’s bed; Sam and Sarah watching Jean Negulesco’s _How to Marry a Millionaire_ (1953); a brief glimpse of an _Amazing Spider-Man_ comic (intertextual and self-reflexive, given Garfield’s appearance as the titular character in two films); a visual quotation of Marilyn Monroe in a swimming pool from George Cukor’s unfinished _Something’s Got to Give_ (1962); the Brides of Dracula doing a cover of Lulu’s “To Sir with Love” (1967) from James Clavell’s film of the same name; R.E.M.’s “Strange Currencies” (1994) playing at a party; a visit to Griffith Observatory from Nicholas Ray’s _Rebel Without a Cause_ (1955); references to the original _Legend of Zelda_ (1986); a very on-the-nose shot of a gravestone with the word “Hitchcock” on it; and a scene that references songs as varied as The Arrows’ “I Love Rock ‘n’ Roll” (1975), Gary Portnoy’s “Where Everybody Knows Your Name” (1982) from the TV show _Cheers_, Foreigner’s “I Want to Know What Love Is” (1984), Harold Faltermeyer’s “Axel F” (1985) from the film _Beverly Hills Cop_, Pixies’ “Where is my Mind?” (1988), Nirvana’s “Smells Like Teen Spirit” (1991), and Backstreet Boys’ “I Want it That Way” (1999). The most consistent referential touchstone, however, is David Lynch, particularly _Mulholland Drive_, an infinitely superior mystery thriller also set in the darker environs of LA involving a sprawling cast of strange characters.

Thematically, the film is all over the place, never settling on any one issue (or even a few issues), instead jumping around like a hyperactive puppy trying to be in eight different places at once. Characters say things such as “_who isn’t being followed these days?_” and “_the ideology you thought you adopted through free will was actually subliminal messaging_”, but it’s all meaningless in a narrative chaos where nothing is ever examined for more than a couple of minutes before the film leaps onto something new. Positing that pop culture has profound hidden meaning (in direct contrast to most cultural-anthropological thinking), the film is so imprecise and scattered that it’s impossible to tell if Mitchell actually buys into the notion that schizophrenic conspiracies are all around us or if he’s being facetious.

And yes, I understand what he’s doing here – presenting the film from the point of view of a pop culture-saturated Millennial who’s easily distracted and hence keeps losing the run of his own story. However, just because it’s apparent what the director is trying to do doesn’t mean he has succeeded. Oliver Stone did a far better job of depicting a similarly media-soaked shortened-attention span over 20 years ago with _Natural Born Killers_ (1994). Easily the most interesting issue touched on is the concept that much of what has defined generations and been the artistic impetus behind and symbol of cultural revolutions throughout the 20th century all comes from the same corrupted and cynical place; the music that has most embodied rebellion and freedom is actually even more manufactured than the worst boy band could ever be. This is a fascinating and fundamentally postmodernist way of thinking, but mere moments after introducing it, Mitchell abandons the theme entirely in favour of a piece of absolutely gratuitous violence which says nothing of interest about anything.

The most troubling thing about the film from a thematic point of view, however, is how it depicts women. Yes, it’s partly about the male gaze and how Hollywood has a track record of objectifying women, especially in films of this nature, so a degree of objectification is necessary. But Mitchell does it to the point where critique simply becomes content – he doesn’t need six women (only two of whom are even given names, and none of whom receive much in the way of characterisation) to throw themselves at Sam to adequately deconstruct the trope. Granted, his intentions may be noble; he is obviously side-lining the female characters with the goal of satirising male entitlement, but he is unable to distinguish between replication and repudiation. All the best intentions in the world don’t alter the fact that the women in the film are wallpaper, and his attempt to critique Hollywood’s tendency to depict women as such ends up as simply another example of the very trope he is setting out to critique. So all the unnecessarily topless shots aren’t exploitative you see, because irony!! Additionally, it’s worth mentioning that Sam doesn’t initiate a single sexual encounter; every one of them is initiated by the woman. How does that fit into Mitchell’s deconstruction of Hollywood’s depiction of men using women, if the women are essentially allowing themselves to be used? If his critique was in any way consistent, Sam would be seducing them, not the other way around, thus allowing Mitchell to directly engage with the notion that men look at women as playthings. It’s a facile attempt to critique a theme that cries out this is a filmmaker attempting something that he simply doesn’t have the requisite ability to pull off.

And if only these thematic issues were the film’s only problems, it mightn’t be so bad. Unfortunately, there is so, so much else wrong here. This is a (supposed) satire, yet there is practically no humour. There are a couple of funny scenes (such as when Sam beats up two children for egging his car), but they are few and far between. Additionally, Mitchell completely fails to make us care about Sam or his quest to find Sarah; there is no emotional connection whatsoever. As for the quest itself, it soon becomes obvious that we’re following Sam down a rabbit-hole which Mitchell has filled to the brim with pointless digressions, meaningless distractions, and derivative clichés. Whereas in _Mulholland Drive_, Lynch creates a beautiful and complex tapestry where everything has precise meaning, with no wasted motion, no weirdness simply for weirdness sake, in _Silver Lake_, Mitchell just lobs anything and everything at the viewer whether it’s ultimately significant or not. A pirate? Sure. A female serial killer? Why not. A dog murderer? Of course. A story that makes sense and deals with its themes coherently? Don’t be ridiculous. It’s like the worst type of student film where the filmmaker has been allowed to shoot whatever he wants, and ends up making something so convoluted that any meaning it may have becomes subsumed amongst self-important pretension. And the more needlessly complex and bloated the plot becomes, the less interesting it is. The whole thing smacks of Mitchell shouting “_look at me. Look how wacky I am._”

_Under the Silver Lake_ is a tiresome, self-important, overlong, intellectually juvenile mess. If Mitchell actually has anything to say about subliminal messaging, the commodification of women, wealth buying privileges even in the afterlife, the pervasiveness of pop culture, or conspiracy theories, it’s lost within a painfully dull and self-indulgent plot. With _It Follows_, Mitchell was constricted by a tight budget. With _Silver Lake_, he has been allowed to play relatively unsupervised in the sandbox, and the results are disastrous; a swollen, self-admiring film that can’t follow through on anything, thematically or narratively, a film that is totally and completely in love with itself.

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A Merry Christmas Wish Online Subtitrat in Romana – [1080p]

generic : A Merry Christmas Wish
a lansa  :
arhivare : 85 Minutes
gen : TV Movie, Comedy, Romance

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I’m Thinking of Ending Things Online Subtitrat in Romana – [1080p]

calificativ : I’m Thinking of Ending Things
a achita  : 2020-08-28
arhivare : 135 Minutes
gen : Drama, Mystery, Thriller, Fantasy

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Charlie Kaufman is undeniably one of the greatest writers of the 2000s. Being John Malkovich and Eternal Sunshine of the Spotless Mind are some of his most notable works, but it’s Synecdoche, New York that’s considered by many as one of the best films of the respective decade. Therefore, I was obviously excited about his return to live-action movies (since 2008, he’s only made the animated feature, Anomalisa). I’m Thinking of Ending Things boasts an incredibly talented cast, capable of seating me down and make me watch any film they participate in, even though Jessie Buckley (Dolittle) is sort of a new face to me. My expectations were moderately high, so how did it go?

I’m not going to lie, I found this movie so intricate that I had a really hard time figuring it all out. As soon as it ended, I knew I didn’t understand it in full, which generated an unusual yet refreshing feeling inside me. I felt the need to not only think about the film all night but since I didn’t have the time to watch it again, I returned to a few specific scenes in the next morning. I also researched a bit and talked with a fellow critic to settle some of my mind’s internal debates. I write this to imply that this is not an easy movie to decipher, which will definitely throw some people off. It’s a film that requires all of the viewer’s attention and self-questioning capability. Otherwise, things will get complicated.

As usual, I’m not sharing any spoilers, so I’ll keep my opinion about the story’s multiple interpretations to the bare minimum. Of all the numerous ways of explaining this movie, I found two: either from Jessie Buckley’s character’s perspective or from Jesse Plemons’. I like both for different reasons. In terms of logic, which every viewer will struggle to find, Plemons’ character is the key to understand the remarkably complex, multi-layered narrative. Looking at the film from his perspective, everything makes much more sense. However, it’s surprisingly from Buckley’s view that I find the movie’s message to be more interesting and likely to resonate with most people.

Making an impactful move in life requires determination, courage, decisiveness. Moving to another country, switching jobs, ending a relationship… all can be extremely demanding and psychologically painful. I’m Thinking of Ending Things brilliantly demonstrates how one can delay these actions sometimes indefinitely. From the excruciatingly long car drives (almost an hour of the runtime is spent inside the car listening to the main characters debating apparently random philosophical themes) to the enigmatic transitions of time passing by, Kaufman’s screenplay keeps transmitting a message of how people are stationary and time just keeps flowing.

This film takes ambiguousness and metaphoric filmmaking to a whole other level. Not only everything the viewer is seeing has, in some shape or form, a philosophical meaning, but the dialogues between the main characters are themselves about cultural, intellectual, sophisticated matters. Some of these conversations have an eventual impact in the narrative or in the characters, some just feel like Kaufman needed to express his thoughts on several subjects. With a runtime of slightly over two hours, this movie overstays its welcome a bit due to the insistence in delivering repetitive, similar scenes with the same goal.

The time shenanigans performed in the parents’ house is undoubtedly intriguing, but it’s more distracting than helpful story-wise. Having in mind the already puzzling narrative, the confusion associated with understanding how time works only creates even more doubts. It also deviates the viewer’s attention from the real focus, which didn’t help my first viewing. In fact, I was so concentrated trying to comprehend the purpose behind the old-young versions of the characters that I completely lost track of the runtime, ultimately thinking the film was near its ending when it still had forty minutes to go…

There’s a limit to how abstract and implicit a movie can be without becoming genuinely hard to understand, and Kaufman walks that threshold. Successful sometimes, not that much in other moments. Nevertheless, I can only share compliments from now on. Firstly, the cast. I’ve been in love with anything Toni Collette does since Hereditary, and once again, she’s weirdly captivating as an amusing yet disturbing mother. David Thewlis offers a subtler performance, as well as Jesse Plemons, even though the latter explodes with emotion in the third act.

However, Jessie Buckley steals the spotlight in impeccable fashion. Like I mentioned in the beginning, I know very little of her as an actress, but I’ll make sure to add her to the list of “actresses to follow closely”. With one of the biggest emotional ranges seen this year, she delivers an incredibly captivating display, one that should guarantee her name in future contender’s list for the awards season. From citing entire poems to fiercely debating any topic thrown at her by Plemons, her commitment to the role is palpable. An astonishing performance that I will remember for a long time. However, it’s in the technical realm that this film achieves perfection.

Without the shadow of a doubt, this is the best movie of the year when it comes to the technical attributes (until the date of this review, obviously). Almost every filmmaking element carries a tremendous impact in either the narrative or its characters. The purposefully rough editing (Robert Frazen) adds to the perplexing atmosphere. The lighting plus the production (Molly Hughes) and set design (Mattie Siegal) help identify “where” a particular event is happening. The detailed costume design (Melissa Toth) and the impressive makeup are vital to the understanding of everything that occurs in the parents’ house. The distinct cinematography (Łukasz Żal) elevates every single action performed by the characters. It’s a technically flawless film, and I wouldn’t be surprised to see it being nominated for several categories when the time comes.

I’m Thinking of Ending Things might be a Netflix original movie, but it screams A24 all the way. From the incredibly perplexing narrative told through bizarre storytelling to its distinctly unconventional technical characteristics, Charlie Kaufman offers a remarkably complex film that can take different interpretations (and may require more than one viewing). His insistence in transmitting one of the film’s messages through never-ending philosophical conversations and confusing time-bending distractions stretch the story to an unnecessary long runtime that hurts the overall piece. Nevertheless, all messages are successfully delivered through an intriguing, head-scratching, weirdly captivating story packed with cultural debates and unique characters. An absolutely outstanding Jessie Buckley elevates every single line of dialogue, showing tremendous emotional range, but the impressively talented cast also improves the multi-layered screenplay. Technically, it is and it will remain as one of the best movies of the year. Every technical aspect is close to perfection, and almost all have a massive impact on the story and how the viewer interprets it. It will undoubtedly create a gap between critics and audiences since it has all the ingredients that usually place these groups at opposite extremes. I can only recommend it to people who are able to dedicate their full attention to what they’re watching while being capable of self-questioning. It’s not your usual Netflix flick to pop during tedious home tasks to help pass the time, so make sure you know what you’re getting into!

Rating: B
If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https//www.msbreviews.com

Charlie Kaufman is undeniably one of the greatest writers of the 2000s. Being John Malkovich and Eternal Sunshine of the Spotless Mind are some of his most notable works, but it’s Synecdoche, New York that’s considered by many as one of the best films of the respective decade. Therefore, I was obviously excited about his return to live-action movies (since 2008, he’s only made the animated feature, Anomalisa). I’m Thinking of Ending Things boasts an incredibly talented cast, capable of seating me down and make me watch any film they participate in, even though Jessie Buckley (Dolittle) is sort of a new face to me. My expectations were moderately high, so how did it go?

I’m not going to lie, I found this movie so intricate that I had a really hard time figuring it all out. As soon as it ended, I knew I didn’t understand it in full, which generated an unusual yet refreshing feeling inside me. I felt the need to not only think about the film all night but since I didn’t have the time to watch it again, I returned to a few specific scenes in the next morning. I also researched a bit and talked with a fellow critic to settle some of my mind’s internal debates. I write this to imply that this is not an easy movie to decipher, which will definitely throw some people off. It’s a film that requires all of the viewer’s attention and self-questioning capability. Otherwise, things will get complicated.

As usual, I’m not sharing any spoilers, so I’ll keep my opinion about the story’s multiple interpretations to the bare minimum. Of all the numerous ways of explaining this movie, I found two: either from Jessie Buckley’s character’s perspective or from Jesse Plemons’. I like both for different reasons. In terms of logic, which every viewer will struggle to find, Plemons’ character is the key to understand the remarkably complex, multi-layered narrative. Looking at the film from his perspective, everything makes much more sense. However, it’s surprisingly from Buckley’s view that I find the movie’s message to be more interesting and likely to resonate with most people.

Making an impactful move in life requires determination, courage, decisiveness. Moving to another country, switching jobs, ending a relationship… all can be extremely demanding and psychologically painful. I’m Thinking of Ending Things brilliantly demonstrates how one can delay these actions sometimes indefinitely. From the excruciatingly long car drives (almost an hour of the runtime is spent inside the car listening to the main characters debating apparently random philosophical themes) to the enigmatic transitions of time passing by, Kaufman’s screenplay keeps transmitting a message of how people are stationary and time just keeps flowing.

This film takes ambiguousness and metaphoric filmmaking to a whole other level. Not only everything the viewer is seeing has, in some shape or form, a philosophical meaning, but the dialogues between the main characters are themselves about cultural, intellectual, sophisticated matters. Some of these conversations have an eventual impact in the narrative or in the characters, some just feel like Kaufman needed to express his thoughts on several subjects. With a runtime of slightly over two hours, this movie overstays its welcome a bit due to the insistence in delivering repetitive, similar scenes with the same goal.

The time shenanigans performed in the parents’ house is undoubtedly intriguing, but it’s more distracting than helpful story-wise. Having in mind the already puzzling narrative, the confusion associated with understanding how time works only creates even more doubts. It also deviates the viewer’s attention from the real focus, which didn’t help my first viewing. In fact, I was so concentrated trying to comprehend the purpose behind the old-young versions of the characters that I completely lost track of the runtime, ultimately thinking the film was near its ending when it still had forty minutes to go…

There’s a limit to how abstract and implicit a movie can be without becoming genuinely hard to understand, and Kaufman walks that threshold. Successful sometimes, not that much in other moments. Nevertheless, I can only share compliments from now on. Firstly, the cast. I’ve been in love with anything Toni Collette does since Hereditary, and once again, she’s weirdly captivating as an amusing yet disturbing mother. David Thewlis offers a subtler performance, as well as Jesse Plemons, even though the latter explodes with emotion in the third act.

However, Jessie Buckley steals the spotlight in impeccable fashion. Like I mentioned in the beginning, I know very little of her as an actress, but I’ll make sure to add her to the list of “actresses to follow closely”. With one of the biggest emotional ranges seen this year, she delivers an incredibly captivating display, one that should guarantee her name in future contender’s list for the awards season. From citing entire poems to fiercely debating any topic thrown at her by Plemons, her commitment to the role is palpable. An astonishing performance that I will remember for a long time. However, it’s in the technical realm that this film achieves perfection.

Without the shadow of a doubt, this is the best movie of the year when it comes to the technical attributes (until the date of this review, obviously). Almost every filmmaking element carries a tremendous impact in either the narrative or its characters. The purposefully rough editing (Robert Frazen) adds to the perplexing atmosphere. The lighting plus the production (Molly Hughes) and set design (Mattie Siegal) help identify “where” a particular event is happening. The detailed costume design (Melissa Toth) and the impressive makeup are vital to the understanding of everything that occurs in the parents’ house. The distinct cinematography (Łukasz Żal) elevates every single action performed by the characters. It’s a technically flawless film, and I wouldn’t be surprised to see it being nominated for several categories when the time comes.

I’m Thinking of Ending Things might be a Netflix original movie, but it screams A24 all the way. From the incredibly perplexing narrative told through bizarre storytelling to its distinctly unconventional technical characteristics, Charlie Kaufman offers a remarkably complex film that can take different interpretations (and may require more than one viewing). His insistence in transmitting one of the film’s messages through never-ending philosophical conversations and confusing time-bending distractions stretch the story to an unnecessary long runtime that hurts the overall piece. Nevertheless, all messages are successfully delivered through an intriguing, head-scratching, weirdly captivating story packed with cultural debates and unique characters. An absolutely outstanding Jessie Buckley elevates every single line of dialogue, showing tremendous emotional range, but the impressively talented cast also improves the multi-layered screenplay. Technically, it is and it will remain as one of the best movies of the year. Every technical aspect is close to perfection, and almost all have a massive impact on the story and how the viewer interprets it. It will undoubtedly create a gap between critics and audiences since it has all the ingredients that usually place these groups at opposite extremes. I can only recommend it to people who are able to dedicate their full attention to what they’re watching while being capable of self-questioning. It’s not your usual Netflix flick to pop during tedious home tasks to help pass the time, so make sure you know what you’re getting into!

Rating: B
I’ll be honest, I didn’t fully have a clue what was happening for large portions. Yet, I still weirdly enjoyed watching ‘I’m Thinking of Ending Things’.

I think the main reasons for that are the two leads: Jessie Buckley and Jesse Plemons. They kept everything feeling fresh and intriguing to me, both have their moments in this. Toni Collette and David Thewlis also do very well. I like the cast, for sure.

As for the plot, it didn’t do anything for me but it did keep me thinking which I appreciated. I, personally, would’ve preferred a shorter run time and clearer meaning – the latter is just me though, I’m sure others will adore the way the film is portrayed.

Some other reviewers have put it perfectly in terms of matching me: not nous enough to ‘get it’, but it still comes across as a good film. I’m fine with that, each to their own as always.

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Dear Evan Hansen Online Subtitrat in Romana – [1080p]

calitate : Dear Evan Hansen
a răspândi  : 2021-09-24
arhivare : 137 Minutes
compoziţie : Drama

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National Theatre Live: Skylight Online Subtitrat in Romana – [1080p]

titular  : National Theatre Live: Skylight
lansare : 2014-07-24
arhivare : 128 Minutes
gen : Drama

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Hell or High Water Online Subtitrat in Romana – [1080p]

titlu  : Hell or High Water
a răspândi  : 2016-08-11
arhivare : 102 Minutes
gen muzical : Crime, Thriller, Drama

**Early bird gets the worm.**

From the British director of ‘Starred Up’ fame, it was like another ‘The Place Beyond the Pines’. Feels like a modern western kind, because of where this story takes place, I mean Texas. There’s no digital world like phones, computers et cetera, just an old fashioned storytelling. This is the story of two brothers and their series of bank robbery job. They are doing it for a reason, but on the other end, two cops make their effort to find who they are and nab them red handed. So when they meet, that’s where the story gets to its end part.

It has a strong opening, then slows down. Actually, it was approached like a classic crime film, which mean no high-tech. The story was a one liner, but the events in that story were extended. A simple screenplay, yet very effective presented on the screen. Of course the story ends with this film, but feels like there’s more. It is very unlikely, though I’m thinking of a sequel.

The people will remember this film for Ben Foster and Chris Pine. One of the best duo on the screen. Easily one of the best films of the year, but just it is a different theme and genre. I watched it not knowing the meaning of the title, and then I googled it. It is nothing like a must see, but I believe that you might regret if you miss it or delay your watch. So I suggest you make a right choice.

_8/10_
A strong neo-Western that gets everything right, with good pacing, a simple but effective screenplay, great cinematography, sneaky humor and a solid cast.

8/10

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The Dirt Online Subtitrat in Romana – [1080p]

titulatură  : The Dirt
a slobozi  : 2019-03-22
arhivare : 108 Minutes
compoziţie : Drama, Music, History

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Escape Room: Tournament of Champions Online Subtitrat in Romana – [1080p]

subtitlu : Escape Room: Tournament of Champions
lansare : 2021-07-01
arhivare : 88 Minutes
gen muzical : Horror, Thriller, Mystery

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Paddington Online Subtitrat in Romana – [1080p]

campionat : Paddington
a răspândi  : 2014-11-24
arhivare : 96 Minutes
gen : Comedy, Adventure, Family

**Keeps getting funnier each time I see it.**

The kind of perfect family film that has something for all ages, not just kids. There is plenty of sly adult humour that isn’t dodgy, and enough slapstick so the kids will laugh at the silly bear’s antics.

On top of that it is well animated, and full of heart.

8/10
So fuckin’ cute. I mean the whole aspect of this movie’s “villain” was a disaster, but what a delight it was to watch Paddington go.

_Final rating:★★★ – I liked it. Would personally recommend you give it a go._

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