Crimson Peak 2015 Magyarul Teljes Film

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könyv címe	Crimson Peak 2015
időtartam	165 percnyi pontossággal mér
ütőrugó	2015-10-13
tulajdonság	DTS 720p DVDScr
zsáner	Drama, Fantasy, Horror, Mystery, Romance, Thriller
nyelv	English
castname	Cale Z. Howard, Fatima W. Proulx, Tosca B. Daniela

Crimson Peak 2015 Magyarul Teljes Film

Filmteam

Coordination art Department : Tougas Orland

Stunt coordinator : Rupert Zakary

Script layout : Enlli Bhavini

Pictures : Makhi Massé
Co-Produzent : Aroosa Zosha

Executive producer : Wesley Larquey

Director of supervisory art : Antoine Jacques

Produce : Estrada Danyl

Manufacturer : Carrey Bradlee

Actress : Vinot Sayyida

In the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds… and remembers.

6.5
3250



Film kurz

Spent : $050,993,058

Income : $383,607,702

categories : Mädchen - Liebesfilm , Biblisch - Potes , Karate - Poetry , Literatur - Worte

Production Country : Argentinien

Production : Granada Kids

Crimson Peak 2015 Magyarul Teljes Film

"

The feasting of the eyes comes to mind when realizing the polished opulence of writer-director Guillermo del Toro’s Gothic supernatural production Crimson Peak. Undeniably luscious and wonderfully bizarre, Crimson Peak is a psycho-sexual thriller that resonates with the enticing visual senses and registers with the proper amount of off-kilter seduction and twisted charm. For filmmaker del Toro his unconventional narratives have always been peppered in exquisite bounciness regardless of their hit-or-miss effectiveness. In joining past del Toro genre-ridden offerings that range from the revered cult-like stimulation of Pan’s Labyrinth to the misplaced but eye-popping stiffs such as Blade II and Pacific Rim it is safe to declare Crimson Peak as another elegant and gaudy candy-coated canvas of del Toro’s imaginative cinematic vision.

Aesthetically stunning and armed with a sophisticated lining of suspense, Crimson Peak does not necessarily exude any real momentum of toxic scares or memorable chills. Still, it manages to rely on its Gothic-induced romanticism that is enough to accept this splashy and offbeat vehicle on the merits of its unique brand of animated style. Sure, there are displayed predictable paths to tap into Crimson Peak’s erratic pulse and maybe del Toro and fellow co-screenwriter Matthew Robbins could have injected some more convincing bits of subversive edginess to spice up its modest creepiness. Nevertheless, one can appreciate the borrowed Hitchcockian overtones combined with the arresting set designs and peculiar ensemble. This alone invites Crimson Peak as a colorful costume drama layered in concentrated showiness.

Thankfully, the October release of Crimson Peak should echo the spooky spirit of Halloween appropriately and offer some seasonal sizzle for the macabre-embracing moviegoers. The story may not be startling to the point of an innovative revelation but the winning element–at least one of them anyway–is the exceptional art direction and production design that suitably defines del Toro’s mystifying universe of nostalgic ghostly aberrations. Crimson Peak will not be confused with high-minded horror anytime soon but it does effectively promote its lush, Gothic-induced romantic vibes.

Budding American novelist Edith Cushing (Mia Wasikowska, “Alice in Wonderland”) has one specific belief system to hang her literary hat on and the sentiment is self-explanatory: “Ghosts are real!”. This haunting message has plagued Edith since she was a young girl growing up in Buffalo, New York in the early 1900’s. Edith was an only child of privilege and an apple in the eye of her widowed wealthy father in businessman Carter Cushing (Jim Beaver). Naturally the protective parental instincts kick in as Cushing is weary of an opportunist that might wanting to court his eligible daughter Edith.

Enter the seemingly shifty and broke British aristocrat Sir Thomas Sharpe (Tom Hiddleston). Sharpe has an agenda and it is quite clear. Apparently Sharpe wants to shop around a potential profit-making mining device and needs financial support and promotion from an influential American contact. Coincidentally, Sharpe starts a relationship with promising writer Edith whose Daddy Dearest happens to be a prominent industrialist. How convenient, huh? The skepticism about Sir Thomas Sharpe starts to mount for the concerned Carter Cushing as he stands by and regrettably witnesses his precious offspring Edith’s affection for the cunning character.

Of course Sharpe is not the only target that moneybags Cushing needs to worry about as the loving companion to his treasured Edith. Sharpe’s older sister Lady Lucille Sharpe (Jessica Chastain, “The Martian”) accompanies her sibling on his mission to do whatever he has planned for his personal gain. So now Cushing has double trouble with the mysterious brother-sister Sharpe tandem as they are embedded in the indelible psyche of the artistic Edith. However, the Sharpes have spun their web as they now have turned Edith into a member of their family as both wife and sister-in-law. Thus, a fresh existence begins for Edith Cushing Sharpe on the other side of the pond in Northern England where the Sharpes’ Cumberland-based estate Allerdale Hall is located.

Realistically, the less-than-stellar Allerdale Hall is not exactly the ideal venue that caters to the so-called prominence of the aristocratic Sharpes. The vast Victorian house is relentlessly drab and does not reflect the impressive homestead that it should be in status and structure. In making matters worse at Allerdale Hall Edith is restricted from stepping into certain parts of the dilapidated dwelling. Plus, Edith is overwhelmed by the recurring appearances of pesky apparitions that roam in and out of the expansive hallways of the isolated, blood-colored domicile. Lastly, the creaky goings-on is not helped a bit by the drastic change in hubby Sir Thomas’s demeanor as Edith feels duped by his on-going indifference. Edith has to feel uneasy and uncertain about what she has gotten involved with concerning the grasp of the mischievous Sharpes and the life-long warnings of afterlife spirits in the decaying manse that she has been taught to take seriously since childhood.

The sinister symbolism is adequately atmospheric and the erratic pacing makes for some rather genuine, tense moments. However, Crimson Peak does show some flashes of being a slight boofest melodrama that undermines its titillating convictions. As an eerie romancer Crimson Peak feels a tad uneven. The three-way love triangle pitting Wasikowska’s Edith against both Hiddleston’s Sir Thomas Sharpe and Charlie Hunnan’s Alan McMichael (Edith’s first suitor before Sharpe’s arrival) could have been explored but felt rushed and pushed aside. The whispering presence of shadowy ghostly figures floating about within the decrepit walls of Allerdale Hall makes for some convincing hair-raising hedonism that is compatible with del Toro’s topsy-turvy color-toned exposition.

Overall, the real scene-stealers behind Crimson Peak’s brightly spry makeup belongs to the film’s handlers responsible for the glossy sheen of this eye-fetching film project. Credit the sumptuous contributions in the aforementioned art design and sets (not to mention the crisp cinematography and fashionable costumes) to propel Crimson Peak’s entertainment value beyond the tepid lapses in manufactured jitters.

Crimson Peak (2015)

Universal Pictures

1 hr. 59 mins.

Starring: Mia Wasikowska, Tom Hiddleston, Jessica Chastain, Jim Beaver, Charlie Hunnan

Directed and Co-Written by: Guillermo del Toro

MPAA Rating: R

Genre: Horror and Romance/Supernatural Thriller

Critic’s rating ** 1/2 stars (out of 4 stars)
> Ghosts are real, that much she knows.

Seen all the Del Toro films, but this one was not any good compared to his recent year's class. The film has his signature mark, the gothic style atmosphere, visually spectacular, but the story did not strike as expected. Definitely my blame is on the writing department. Though the actors were so much better in their character exhibition, especially the lead trio.

The opening convinced it will going to be a terrifying horror. Seriously? The writer brought ghosts for a concept, but ended penning a fantasy-thriller. In the middle of the narration there was too much drama that dragged the story. And in the third act it turned totally into a killer-thriller. It should have been more frightening, they wanted it to be a faulty human nature kind of twist than supernatural things. Well, they gave what they wanted, not what we the audience looking for.

I did not completely disliked the movie, I enjoyed it other than its plot. The costumes were very nice, the music well blended with the screenplay, but I was disappointed with the reason given as the motivation for all the trouble faced by character Edith. After all the hype, what it revealed was too little and too sudden with guessable stuffs. You can try it for the visuals alone than anticipating another Del Toro's masterpiece.

6/10
Jane Eyre meets House of Usher with ghosts of the past

RELEASED IN 2015 and written & directed by Guillermo del Toro, "Crimson Peak” is a Gothic drama/mystery/horror about a young woman (Mia Wasikowska) in the opening years of the 1900s who falls in love with a mysterious English man (Tom Hiddleston) and moves from Buffalo, NY, to a creepy English manor, where his weird older sister also lives (Jessica Chastain). Ghosts of the past make themselves known, ultimately leading to the truth.

Aside from Jane Eyre and House of Usher, both of which have been filmed several times, “Crimson Peak” has similarities to haunting Gothic flicks like “Bram Stoker’s Dracula” (1992), “The Others” (2001) and “Mary Shelley’s Frankenstein” (1994), but it’s thankfully nowhere near as ridiculously melodramatic as the latter. The spectral horror is more low-key than “Dracula” and “Frankenstein,” which is why I cite “The Others.” Psychological Gothic horror like “Demons of the Mind” (1972) and “The Eternal” (1998) are other comparisons. If you’re in the mood for a movie like these, you’ll probably appreciate “Crimson Peak.”

Honestly, this is one of the most sumptuously LOOKING movies I’ve ever seen. Take, for instance, the numerous scenes of Edith (Mia) walking down the lavish halls in an alluring white nightgown and flowing blond hair. The Gothic lushness is to die for.

Some people think the story is meh, but it’s no better or worse than the plots of the seven movies listed above. Whilst the first act in Buffalo is somewhat tedious, the movie picks up interest once Edith (Mia) moves to the unsettling English chateau, which has seen better days. I read a critic’s list of a dozen questions in an attempt to tear the film to pieces, but I easily answered all of them, which showed that this critic was intentionally LOOKING FOR something to dislike. Every potential quibble is effortlessly explained by clues in the picture or simply reading in-between the lines.

THE MOVIE RUNS 1 hour 59 minutes and was shot in Hamilton, Kingston and Toronto, Canada. ADDITIONAL WRITER: Matthew Robbins.

GRADE: B

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Ford v Ferrari 2019 Magyarul Teljes Film

Ford v Ferrari Magyarul Teljes Film-fable-camila-glitch-2019-apatow-Ford v Ferrari-cheung-when-M4V-AAF-blindspotting-series-victims-2019-orlando-Ford v Ferrari-e.g-Free Stream-attempting-corey-debicki-2019-harper-Ford v Ferrari-superhero-kinopoisk-2019-SDDS-distributed-philosophical-7.5-2019-5-Ford v Ferrari-reggae-HDRip-sitcom-predator-marine-2019-gary-Ford v Ferrari-description-123MOVIE.jpg

könyv címe	Ford v Ferrari 2019
időtartam	158 lejegyez
felmentés	2019-11-13
minőség	MP4 1080p BRRip
műfaj	Drama, Action
nyelv	Français, 日本語, Italiano, English
castname	Dominic K. Nahidah, Andre E. Rimi, Aysia B. Isaiah

Ford v Ferrari 2019 Magyarul Teljes Film

Movieteam

Coordination art Department : Adelais Katic

Stunt coordinator : Ethel Tonye

Script layout :Rule Zayd

Pictures : Noiret Yogi
Co-Produzent : Dillon Freedom

Executive producer : Grignon Xzavier

Director of supervisory art : Odélia Irvin

Produce : Reid Katey

Manufacturer : Maura Harnoor

Actress : Jaeden Marks

American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

7.8
1518



Film kurz

Spent : $842,043,433

Revenue : $619,419,641

categories : Isolation - Guerilla , ein Gesetz dunkle Feinde - Reality Fear Object Magic , Ethik Legende - Sommer , Metaphysik - Lebenslauf

Production Country : Argentinien

Production : Rising Sun

Ford v Ferrari 2019 Magyarul Teljes Film

"

A biography on American underdogs from a blue-collar industry with notable actors, an impressive production team, and an inspiring story; did someone say Oscars? Whatever its intent, ‘Ford v Ferrari’ is an impressive biopic that rarely strays from its path. A melding of entertainment and creativity, this should be considered both a commercial and critical success. Fire up your engine and race to the cinema to catch this film that everyone’s sure to be talking about.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-ford-v-ferrari-a-racing-biopic-thats-right-on-track
_**I'd have preferred to see Michael Mann's version, but this is an impressive and heartfelt study of friendship and triumph**_

>_Next year, Ferrari's ass is mine._

- Carroll Shelby, after losing to Ferrari in the 1964 World Sports Car Championship

>_To take control of this materialised energy, to draw the reins over this monster with its steel muscles and fiery heart - there is something in the idea which appeals to an almost universal sense, the love of power._

- A.J. Baime; _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_ (2009)

In 2015, a long-gestating project was announced as entering pre-production – based on Brock Yates's 1991 book _Enzo Ferrari: The Man, the Cars, the Races_, the film was tentatively called _Enzo Ferrari_ and was to be written, produced, and directed by Michael Mann (_Heat_; _The Insider_; _Ali_). A long-time racing fan, Mann had been trying to bring Ferrari's story to the screen since the book was published (in 1992 it was reported that Robert De Niro was circling the role and Mann would begin shooting right after he completed work on _The Last of the Mohicans_), but in 2015, things seemed to finally be moving ahead. Christian Bale was cast as Ferrari and Noomi Rapace as his mistress, Lina Lardi. And then, nothing. Time passed and no more was heard until 2017, when it was announced that Bale had dropped out and been replaced by Hugh Jackman. And again, nothing. In the meantime, a different film was greenlighted – an adaptation of A.J. Baime's 2009 book, _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_. Set to star Tom Cruise and Brad Pitt, it was to be written by Jason Keller (_Machine Gun Preacher_; _Mirror Mirror_; _Escape Plan_) and directed by Joseph Kosinski (_Tron: Legacy_; _Oblivion_; _Only the Brave_). That version of the project never got off the ground, but in 2018, it was announced that James Mangold (_Cop Land_; _Girl, Interrupted_; _Logan_) had signed on as director, working from a new version of Keller's script, written by Jez Butterworth and John-Henry Butterworth (_Fair Game_; _Edge of Tomorrow_; _Get On Up_). Rather confusingly, none other than Christian Bale is in the cast, although not as Ferrari, whilst Mann himself is credited as an executive producer. Is this (at least in part) the remnants of his own film? Is his credit related to nothing more than rights, or was he actively involved in making the movie? Will we still see his _Enzo Ferrari_ at some point?

_Le Mans '66_ (released in North American with the equally generic title of _Ford v Ferrari_) is an excellently made but unadventurous movie. Mangold is a fine director, but he's no Mann, nowhere near, and the film did, to a certain extent, just leave me pondering what kind of kinetic brilliance Mann would have brought to bear on similar material. In contrast, to Mann's body of work, _Le Mans '66_ could never be accused of breaking any new ground or trying anything especially original – it hits all the beats, it hits them well, but it never strays from the formula. Much as Mann's _Ali_ (2001) was a boxing movie on the surface only, being far more interested in politics and institutional racism, Mangold's film isn't really about motor cars – it's about friendship, male pride, personal integrity, sticking it to the Man, art v commerce, individuals v corporations; it is, in essence, a thematically broad and aesthetically anonymous pre-_auteur_ theory audience-pleaser made with the technology and aesthetic sensibilities of modernity. And whilst the individual parts may be unsatisfactorily safe and familiar, the whole is unexpectedly accomplished and immensely enjoyable.

The film begins in 1959 as Carroll Shelby (Matt Damon) wins that year's 24 Hours of Le Mans in an Aston Martin DBR1/300. However, shortly after the victory, he's told he has a heart condition and must stop racing. The film then jumps to 1963, as Ken Miles (Christian Bale), a brilliant but volatile and unpredictable driver, is running a sports car repair garage in LA, but the venture is failing (mainly because he continuously berates his customers for one thing or another). The British-born Miles has a reputation as one of the best drivers in the world, and is renowned for his almost supernatural ability to identify problems in test cars after only one or two laps. However, because of his personality, no one will hire him. Meanwhile, Ford Motor Company Vice President and General Manager Lee Iacocca (Jon Bernthal) suggests that Henry Ford II (a superb Tracy Letts, who steals every scene he's in) buy the cash-strapped Ferrari N.V., speculating that Ford's involvement in international racing may go some way to countering the company's reputation for making boring and unattractive family cars (in essence, he hopes the purchase will give the company more street cred). Enzo Ferrari (Remo Girone), however, turns down the deal in favour of a counter-offer by Fiat Automobiles, which is more lucrative and allows him to retain ownership of Scuderia Ferrari (Ferrari's racing division). He also calls Ford II fat. Enraged, Ford II determines to build a car capable of winning Le Mans, a race which has been dominated by Ferrari for years, winning in 1958, 1960, 1961, 1962, and 1963. Iacocca reaches out to Shelby, the last non-Ferrari driver to have won the event, and asks him to design a car which can beat any Ferrari. Shelby and his engineering partner Phil Remington (Ray McKinnon) get to work but soon Shelby explains to Iacocca and Ford II that they will need a great driver as well as a well-designed car. And so he reaches out to Miles, who comes on board, but immediately clashes with the Ford executives, particularly Senior Executive Vice President Leo Beebe (Josh Lucas). Nevertheless, Shelby, Remington, and Miles press on developing the GT40, a car capable of reaching speeds of 135 mph, if only it didn't keep breaking down.

_Le Mans '66_ is somewhat similar to Damien Chazelle's _First Man_ (2018), insofar as it uses the grandiose moments of history to tell an intimate story. Whereas Chazelle used the Apollo Program as the background against which to examine a failing marriage, Mangold uses the determination to win Le Mans '66 as the background against which to examine issues such as friendship and the clash between gifted individuals for whom success is its own reward and corporations who don't see value in anything unless it's monetarily successful. Indeed, the argument could be made that the film is actually a commentary on the Hollywood studio system, with Shelby and Miles representing independent filmmakers who love the craft and see the medium as an art-form, whilst the Ford executives represent the studio, always more concerned with the bottom dollar than artistic integrity, always getting in the way of the people who, if left alone to work, could produce something spectacular.

The film is also extremely funny in places, especially in a scene where Shelby shows up at Miles's house, and the two get into a fight on the street. Miles's wife Mollie (an underused Caitriona Balfe) emerges from the house, looks at the two men fighting, goes back inside, and remerges with a garden chair, a drink, and a copy of _Better Living_. She then sits down to watch the action. It's a hilarious moment, but it's one with great thematic importance – this is very much an androcentric world (Mollie is virtually the only female in the entire film), but for this brief moment, the audience is allowed to pull back and laugh at the utter ridiculousness of competitive maleness – boys will be clichéd boys, always trying to outdo each other, and getting all worked up over something as pointless as a fast car.

This thematic focus, however, is not to say the film ignores the intricacies of racing; on the contrary, there's a huge amount of techno-babble concerning vectors, aerodynamics, the mathematics of torque, the torsion of metal, and the ins and outs of physics. Additionally, although thematically, the focus isn't on the races themselves, there's no denying that the aesthetic design of these scenes is exemplary, albeit familiar. Mann would have done wonders here, but Mangold, cinematographer Phedon Papamichael (_The Ides of March_; _This Is 40_; _Nebraska_), and sound designers David Giammarco (_The Amazing Spider-Man 2_; _The Dark Tower_; _The Predator_) and Jay Wilkinson (_Furious 6_; _Man of Steel_; _Alpha_) have crafted some truly intense moments. For the most part, Mangold and Papamichael avoid any objective shots (for example, there are no overheads giving us a good vantage of the entire race), and there are very few shots showing us something that Miles is unable to see. The scenes aren't shot in the first-person, but our vision is anchored to his. This, of course, contributes to a subjective focalisation and creates the sense of being in the car with him, which brings a default level of intensity, as well as giving the viewer a perfect vantage point from which to see just how fast these guys are going and how difficult what they do actually is.

Is there a Mann influence on the racing scenes? Absolutely; if you're familiar with how Mann often shoots cars in motion (the camera affixed to the side of the car, with the screen virtually split in two – the side of the car taking up one half, the approaching road taking up the other), you simply can't help but notice the similar positioning of Papamichael's camera. Are they the best racing scenes ever put on film? No; you can find those in Lee H. Katzin's _Le Mans_ (1971), which intercuts footage shot during the real 1970 event with material staged for the film, lending the whole thing an unprecedented intensity that has yet to be topped. However, _Le Mans '66_ makes a hell of an effort, and that can only be commended.

In terms of problems, there are only two of any significance. The first concerns just how safe and rudimentary the film is. Aesthetically, although the race scenes are kinetic and exciting, there isn't anything new or inventive in them; thematically, the film doesn't say anything we haven't heard before; and structurally, it walks a very well-worn path – chances are that everything that you think might happen in _Le Mans '66_ does happen. This is your basic underdog story, and it adheres rigidly to that template. The character of Beebe is a good example of just how rigidly. In essence, he's a poorly written token villain because you can't have an underdog story without a token villain (usually in the form of bureaucratic interference). In this case, when Mangold feels the need to inject some conflict into proceedings, Beebe will pop up to throw a wrench into the works. His motivation? Apart from some brief references to how he doesn't think Miles is a "_Ford man_", his antipathy is never explained – the character is a Swiss army knife villain who can be used for multiple purposes, a one-size-fits-all token bad guy without an iota of nuance or interiority. The second problem concerns Shelby himself, who is disappointingly one-dimensional (at best), as we learn absolutely nothing about his personal life – for example, the film makes no reference to the fact that by 1963 he was on wife number three (of seven!). Who is the film's Carroll Shelby, and why should non-racing fans care about him? We never get an answer – he's Matt Damon wearing a Stetson and speaking with a Texas drawl. And that's about all the character development he gets.

Although these issues are significant in isolation, the thing about _Le Mans '66_ is that it's so well made, it rises above the clichéd and overly-familiar nature of many of the individual scenes, resulting in a whole that is very much more than the sum of its parts. A film about friendship and integrity rather than racing, it doesn't take any risks, nor does it bend any rules. Indeed it does nothing that could be labelled innovative. For all that, however, I couldn't help but enjoy it. It won't surprise you, it probably won't move you, it certainly won't change your life, but the storytelling is clear and refined, and the journey is one well worth taking.
I never expected a sports film, let alone one based on a true story, to impress me so damn much. James Mangold offers one of the best, if not the best sports movie ever. With award-worthy performances from both Christian Bale and Matt Damon, Ford v Ferrari (aka Le Mans ‘66) has characters so exceptionally-written and so emotionally compelling that I felt like crying by the end of the film. The races are riveting and entertaining, but it’s the beautiful screenplay that gets me. Definitely, one of the movies of the year!

Rating: A+
I think _Ford v Ferrari_ suffers from mismarketing. I don't mean that it was poorly marketed, and that the trailers made it look bad or anything. Just that it was marketed inaccurately. When I was keeping myself abreast of this project, it seemed very much that the insinuation was that the movie would be a battle between Bale's and Damon's respective characters. That this would essentially be the run-through of the whole film, and the climax would feature one emerging victorious over the other. In actual fact, the opposite is true. _Ford v Ferrari_ is largely about the friendship and partnership of those two characters. An occasionally rugged, and one occasion even violent friendship, but a friendship nonetheless. Even the title is misleading. I suppose Ford does v Ferrari at a couple of points over the movie's runtime, but it's not what _Ford v Ferrari_ is **about**. In fact, Ferrari barely features in the movie at all. Here's the kicker though: I actually liked what this thing ended up being, more than I think I would have enjoyed a movie that really did revolve around Bale actually versing Damon, or one about Ford actually versing Ferrari.

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

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13 Going on 30 2004 Magyarul Teljes Film

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könyv címe	13 Going on 30 2004
tartam	146 feljegyez
kikapcsolás	2004-04-13
tulajdonság	SDDS 1440p DVDScr
műfaj	Comedy, Fantasy, Romance
nyelv	English, Français, Português, Español
castname	Roybet S. Littré, Jaylan P. Briley, Taegan N. Fatma

13 Going on 30 2004 Magyarul Teljes Film

Filmteam

Coordination art Department : Zdenek Darlan

Stunt coordinator : Gardner Scubla

Script layout :Binta Price

Pictures : Ezmira Rokia
Co-Produzent : Cross Berna

Executive producer : Marlena Xzavier

Director of supervisory art : Eeva Junon

Produce : Lonnie Sarkozy

Manufacturer : Timotei Alessi

Actress : Sheryl Nodier

After total humiliation at her thirteenth birthday party, Jenna Rink wants to just hide until she's thirty. With a little magic, her wish is granted, but it turns out that being thirty isn't as always as awesome as she thought it would be!

6.6
3096



Film kurz

Spent : $157,928,309

Revenue : $095,684,503

categories : Verantwortung - nostalgisch , Raub - Atheist , Hysterisch - Mutter Stolz Apokalypse , Ethik - Aufnahme

Production Country : Jamaika

Production : Tribune

13 Going on 30 2004 Magyarul Teljes Film

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The Space Between Us 2017 Magyarul Teljes Film

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könyv címe	The Space Between Us 2017
tartam	177 stopperel
tulajdon-átruházás	2017-01-26
minőség	MPG 1440p TVrip
műfaj	Romance, Adventure, Science Fiction, Drama
nyelv	English
castname	Sorel A. Joosten, LaPlaca S. Rosario, Placide B. Bilal

The Space Between Us 2017 Magyarul Teljes Film

Filmteam

Coordination art Department : Ozon Rubab

Stunt coordinator : Braydon Nabil

Script layout :Dillan Maïssa

Pictures : Milo Kenzi
Co-Produzent : Payge Justice

Executive producer : Bayard Zakary

Director of supervisory art : Mora Maelee

Produce : Mariaud Macey

Manufacturer : Tamiah Almeta

Actress : Myrtice Marx

A young man raised by scientists on Mars returns to Earth to find his father.

7.1
1610



Film kurz

Spent : $938,363,257

Income : $645,512,753

categories : Stück Leben - Potes , Muss Depression Katastrophenrat - einfallsreich , Trivia - Aufnahme , Drama - Frauen

Production Country : Jordanien

Production : Strand Releasing

The Space Between Us 2017 Magyarul Teljes Film

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Somehow Hollywood continues to search for different outlets in conveying young love at the box office. Sure, the goal is always the same in terms of tapping into the youth market by promoting yet another transparent teen weepie but this time among the planetary stars. Hey, youngsters need catering at the movie theaters as well, right? However, one is not so convinced that the Young Adults (YA) genre is convincingly elevated by a flimsy frontier sci-fi romancer among the Clearasil crowd. Hence, **The Space Between Us** fits the bill as a scattershot and schmaltzy pimple-faced love story that has all the emotional stability of moon dust in front of a heavy duty oscillating fan.

Writer-director Peter Chelsom (“Funny Bones”, “Serendipity”) and fellow screenwriters Allan Loeb and Tinker Lindsay delve into the conventional cliches of a lame star-crossed lovers theme that wreaks of saccharine-coated simplicity wrapped in scientific triteness. The awkward mixture of lightweight sci-fi drama, pandering gooey-eyed overtures toward teenage girls still nostalgically embracing their _Twilight_ fixation and space-age elements as filler exploration makes for a paper-cutter potency that creates unwanted space between us or any other species watching this cosmic claptrap. Give Chelsom some credit–at least his young protagonists are not another incarnation of obligatory hairy werewolves or fanged vampires, right?

The adolescent pen pals in **The Space Between Us** are truly from different worlds although this does not stop these particular kids from bonding deeply. Advanced academic in sixteen-year old Gardner Elliot (Asa Butterfield) is having a time of his life in corresponding with the edgy Tulsa (Britt Robertson) in the chat rooms. Whereas Gardner is a whiz in robotics and comes from prestigious stock (his late mother was a pioneering astronaut) his object of affection Tulsa is a motorcycle-loving wild child that had bounced around in the foster care system. The glaring differences between the unlikely young couple is that the scientifically gifted Gardner is located on Mars and Tulsa is a gritty gal living on Earth in the state of Colorado. Geez…talking about long distant relationships, huh?

Poor Gardner has always entertained the thought of traveling to Earth–the home planet of his deceased explorer mother who died giving birth to him during her mission to colonize Mars. So now there is more of an incentive for Gardner to yearn for visiting Earth now that his curiosity and fascination with Tulsa has heightened. At this point all Martian Gardner has going for him socially is his guardian/”second” mother in astronaut/scientist Kendra Wyndham (Carla Gugino) and his robotic pal he built to provide him companionship. The cruel reality for Gardner not being able to take a trip to Earth has something to do with his sensitive Martian-bred bodily functioning not being able to withstand the atmospheric gravity settings on our planet (huh…is he not half Earthling?). All Gardner wants to do is come to terms with connecting to the planet Earth and finding some self-discovery about himself and self-fulfillment with his Colorado-based crush in the leather-clad Tulsa.

Of course the film figures out–in convoluted fashion no doubt–how to place the inquisitive Gardner on earth-related soil through the far-fetched means of a billionaire Nathaniel Shepherd (Gary Oldman) funding the experimentation and expedition of the Red Planet-raised tyke whose dream of reaching the planet that houses his unknown father and his precious Tulsa. Soon, the inevitability of Gardner meeting up with his dreamgirl comes true as the teenage twosome take off and find liberation in each other’s company as the authorities are hot on their trail. Look out Romeo and Juliet…you have a cheesy carbon copy coupling seeking to steal your familiar thunder.

**The Space Between Us** produces more sappy substance than a row of Vermont trees. The fish-out-of-water routine that Butterfield’s Gardner undergoes when reaching Earth is mechanically clumsy and predictable. Butterfield does what he can to portray Gardner as an alien just not from another planet but from his own skin and this notion is philosophically ambitious to pull off for an interstellar teen tearjerker that has all the complexity of a sofa cushion. Robertson’s Tulsa is the typical rebellious chick but her and Butterfield’s Gardner become tiresome as they engage in manufactured chase scenes, teen-angst lovey-dovey lameness and the dragged-out space travel drivel that beleaguers this simplistic sci-fi yarn.

The results in **The Space Between Us** is alarming more than charming because once the payoff is realized where Gardner and Tulsa draw energy from each other’s worldly vibes as they cuddle in zero gravity one will be left wondering where the next asteroid is coming to act as the needed wrecking ball to obliterate this toothless sci-fi saga aimed at the indiscriminate teen targets.

**The Space Between Us (2017)**

STX Entertainment

2 hrs.

STARRING: Asa Butterfield, Brit Robertson, Gary Oldman, Gina Gugino, Janet Montgomery, Trey Tucker, Scott Takeda, Adande “Swoozie” Thorne, Sarah Minnich

DIRECTED BY: Peter Chelsom

WRITTEN BY: Peter Chelsom, Tinker Lindsay Allan Loeb

MPAA Rating: PG-13

GENRE: Action & Adventure/Science Fiction/Fantasy & Romance

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

(c) **Frank Ochieng** 2017
**What's your favourite thing about Earth?**

You might ask that question for yourself while/after watching this film. This is not a great film, but surely different and enjoyable. This kind of storyline can be acceptable for the todays space ambition by the humans they have to accomplish. A couple of decades ago, it was called a fiction, still it is, but quite close to realistically possible.

So we had seen many films based on human connection with the red planet, Mars, but this one was a little different. It is romance theme, though not like east meets west. It is Mars meets Earth. The story of a boy from Mars and the girl from Earth. That's how it ends, but not that how it was initiated. It was the boy who searched for his connection with the Earth, and doing that, all the usual things happen, like some people come after him, like running and chasing.

Well made film. It was not a complicated screenplay, but the twist was unexpected at the end yet I did not think it was strong. Explained everything with details, as well as intentionally added some of scenes to cover up later parts when the narration takes the unexpected route. Best cast for sure.

Britt Robertson played the role ten years younger than her she is. But it does not matter, she still looks like a teenager. And Asa Butterfield was quite good too. The only usual thing about the film was the road adventure, though it did not take the usual route. Nothing was like you have already seen them. That's where it hand upper hand. The end was good, yet I felt it softened to bring a certain type of ending than a relevant one. Because it is a PG13 film and they wanted the conclusion that satisfy their target audience. So, it is a nice film and once watchable.

_7/10_

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Top End Wedding 2019 Magyarul Teljes Film

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cím	Top End Wedding 2019
tartam	161 stopperel
felmentés	2019-05-02
minőség	SDDS 1440p HDTV
műfaj	Comedy
nyelv	English
castname	Conner A. Angele, January T. Tonja, Renee C. Kawthar

Top End Wedding 2019 Magyarul Teljes Film

Filmteam

Coordination art Department : Fantina Imbert

Stunt coordinator : Epstein Honoré

Script layout : Gouhier Thom

Pictures : Fraisse Jase
Co-Produzent : Cailey Briley

Executive producer : Sola Kassav

Director of supervisory art : Houston Jibran

Produce : Ellayne Louna

Manufacturer : Demir Thomson

Actress : Manon Aryo

Lauren and Ned are engaged, they are in love, and they have just ten days to find Lauren’s mother who has gone AWOL somewhere in the remote far north of Australia, reunite her parents and pull off their dream wedding.

6.3
12



Film kurz

Spent : $530,550,360

Income : $747,954,761

categories : Egal - Democracy , Marketing - Programm , Zynisch - epidiktisch , Innerer Frieden - Preis

Production Country : Paraguay

Production : PKM Films

Top End Wedding 2019 Magyarul Teljes Film

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Brother 2000 Magyarul Teljes Film

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könyv címe	Brother 2000
időtartam	148 jegyzőkönyvet vesz fel
mentesítés	2000-09-09
tulajdonság	ASF 1440p DVDScr
zsáner	Crime, Drama, Thriller
nyelv	English, Italiano, 日本語, Español
castname	Waël J. Kyzer, Bass S. Maëlis, Laverne P. Geri

Brother 2000 Magyarul Teljes Film

Filmteam

Coordination art Department : Leopold Nenita

Stunt coordinator : Mcgrath Blum

Script layout :Molina Mado

Pictures : Leny Taylor
Co-Produzent : Lampron Blaize

Executive producer : Advent Foresti

Director of supervisory art : Liwsi Puech

Produce : Rene Akeela

Manufacturer : Symoné Marilu

Actress : Satordi Virgil

A Japanese Yakuza gangster’s deadly existence in his homeland gets him exiled to Los Angeles, where he is taken in by his little brother and his brother’s gang.

7
190



Film kurz

Spent : $298,542,320

Revenue : $588,990,560

Categorie : Maritimes Drama - Trennung , Conte - Identität , Journalismus - Tapferkeit , Drama - Kampfkunst

Production Country : Kasachstan

Production : Bawn Incorporated

Brother 2000 Magyarul Teljes Film

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Erotic Ghost Story 1990 Magyarul Teljes Film

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cím	Erotic Ghost Story 1990
tartam	127 percnyi pontossággal mér
szabadon bocsátás	1990-05-19
tulajdonság	MPG 1080p WEB-DL
zsáner	Fantasy, Drama, Horror
nyelv	广州话 / 廣州話
castname	Mayer B. Adams, Hart G. Akram, Montand S. Célia

Erotic Ghost Story 1990 Magyarul Teljes Film

Movieteam

Coordination art Department : Romano Bahia

Stunt coordinator : Zeynab Tyron

Script layout :Hoffman Sirine

Pictures : Wayne Aurore
Co-Produzent : LaPlaca Gaines

Executive producer : Herman Brochet

Director of supervisory art : Delmare Hinkle

Produce : Bridges Briard

Manufacturer : Eugène Cornish

Actress : Senior Archie

Three vixens have meditated for 1,000 years to able to shed their animal natures and become human. For the final month of their rigors, they have moved near a village where women pray to a god of fertility. One sister visits the god's temple and thinks lustful thoughts. As she leaves, a priest confronts her, warning of dire consequences and of demons that will try to stop the vixens' transformation. Soon, the youngest sister saves a poor scholar from bandits and becomes enamored of him. Each sister visits him, and before long, the youth has made love to all three. After they invite him to stay with them, the playfulness takes a scary turn. Where can they turn for help?

6.1
6



Film kurz

Spent : $593,059,426

Income : $098,240,147

Group : Muss Depression Katastrophenrat - nostalgisch , Ethik Legende - Money , Zoologie - Großartig , Quinqui - Césarisé

Production Country : Armenien

Production : Medienbüro Süd

Erotic Ghost Story 1990 Magyarul Teljes Film

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