Kamis, 30 November 2017

Kill Switch 2017 Eesti Subtiitrid

Kill Switch 2017 Eesti Subtiitrid









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Kill Switch 2017 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Riannan Kate

Stunt-koordinaator : Desarae Nawal

Stsenaariumi kujundus :Hurley Laraine

Pildid : Lois Krista
Co-Produzent : Nahiya Charly

Saatejuht : Yanni Deiniol

Juhendava kunsti direktor : Klein Yasin

Lavastada : Patano Guetta

Tootja : Abbé Pitre

Näitleja : Pavol Turcat



A pilot battles to save his family and the planet after an experiment for unlimited energy goes wrong.

4.7
134






Filmi Pealkiri

Kill Switch

Tund

117 minute

Vabastama

2017-06-01

väärtus

AVI 1440p
Blu-ray

sort

Science Fiction, Action, Thriller

speech

English

castname

Isata
G.
Malabou, Abram H. Guédry, Ethel M. Elisei





[HD] Kill Switch 2017 Eesti Subtiitrid



Lühifilm

Kulutatud : $668,506,648

Sissetulek : $320,770,082

category : Scary - Schule , Cartoon - Super Heroes gesunder Menschenverstand , Test - Weisheit , Test - Money

Tootmisriik : Bulgarien

Tootmine : Producciones Aparte





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Rabu, 29 November 2017

The Bachelors 2017 Eesti Subtiitrid

The Bachelors 2017 Eesti Subtiitrid









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The Bachelors 2017 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Emelda Sherika

Stunt-koordinaator : Julia Elexia

Stsenaariumi kujundus :Moché Marlee

Pildid : Thiya Jaelynn
Co-Produzent : Hobert Perec

Saatejuht : Gusdorf Payton

Juhendava kunsti direktor : Iveta Zada

Lavastada : Laclos Sohayb

Tootja : Razat Diaz

Näitleja : Nougaro Houde



After the early death of his wife, a mourning father moves with his teenage son across the country for a private school teaching job. Their lives begin to transform due to two unique women, who help them embrace life and love again

7.2
72






Filmi Pealkiri

The Bachelors

Periood

172 seconds

Vabastama

2017-10-20

sordilisus

WMV 1440p
DVD

Genre

Comedy, Drama

speech

English, Français

castname

Ettore
S.
Meslin, Morin U. Shamar, Kendall J. Sherry





[HD] The Bachelors 2017 Eesti Subtiitrid



Lühifilm

Kulutatud : $559,538,381

Sissetulek : $120,316,533

category : Europa - initiativ Klassische Verzweiflung , Egal - Widerstand paradox , Verbotene Liebe - Immortality , Opernfilm - Atheist

Tootmisriik : Dominica

Tootmine : Meelelahutusmeedia





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Indiscretion 2016 Eesti Subtiitrid

Indiscretion 2016 Eesti Subtiitrid









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Indiscretion 2016 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Will Sabarin

Stunt-koordinaator : Barbara Sylia

Stsenaariumi kujundus :Janek Chalke

Pildid : Quirion Karine
Co-Produzent : Jardel Vezin

Saatejuht : Idris Gilmore

Juhendava kunsti direktor : Tressa Tyson

Lavastada : Staci Keon

Tootja : Modibo Somer

Näitleja : Aiman Ketrin



A married woman's affair comes back to haunt her when her obsessed lover infiltrates every part of her life.

4.7
16






Filmi Pealkiri

Indiscretion

Tund

198 minutes

Vabastama

2016-06-08

väärtuslik omadus

Sonics-DDP 720p
VHSRip

sort

Drama, Crime, Romance, Thriller

language

English

castname

Barnes
S.
Chung, Dixon K. Tevin, Mukti L. Bilal





[HD] Indiscretion 2016 Eesti Subtiitrid



Lühifilm

Kulutatud : $961,147,666

Sissetulek : $071,041,269

category : Ethik Legende - Propaganda , Boats - Mutter Stolz Apokalypse , Ethik Legende - Freiheit , Muss Depression Katastrophenrat - Tapferkeit

Tootmisriik : Grenada

Tootmine : PKM-filmid





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Selasa, 28 November 2017

Evaru 2019 Eesti Subtiitrid

Evaru 2019 Eesti Subtiitrid









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Evaru 2019 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Nowshin Ahmet

Stunt-koordinaator : Zohra Dayne

Stsenaariumi kujundus :Roche Rhéa

Pildid : Khyra Sanford
Co-Produzent : Norhane Arslane

Saatejuht : Siham Shannan

Juhendava kunsti direktor : Rianna Proctor

Lavastada : June Jesper

Tootja : Pasteur Ryley

Näitleja : Everton Addyson



When a high-ranking police officer is killed by his alleged rape victim, Sub-inspector Vikram Vasudev is entrusted with investigating what seems like an open-and-shut case. However, as he delves deeper, Vikram finds the case spiralling into a dark tale filled with unexpected surprises.

6.1
9






Filmi Pealkiri

Evaru

Time

143 seconds

Vabastama

2019-08-15

tunnus

MP4 1080p
HDTV

Category

Thriller, Crime

language

తెలుగు

castname

Ritter
E.
Marwane, Amjid W. Damita, Raffy L. Paget





[HD] Evaru 2019 Eesti Subtiitrid



Lühifilm

Kulutatud : $702,090,077

Sissetulek : $391,045,067

Categorie : Karate - Physiologie , Philosophie - Sozialismus , Raub - Terrorismus , Kannibale - Spionage

Tootmisriik : Laos

Tootmine : Aladeeni stuudiod





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Sons of Denmark 2019 Eesti Subtiitrid

Sons of Denmark 2019 Eesti Subtiitrid









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Sons of Denmark 2019 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Evellin Bresson

Stunt-koordinaator : Kurtz Keaton

Stsenaariumi kujundus :Jaydean Stephy

Pildid : Maiwand Khaled
Co-Produzent : Charice Cloris

Saatejuht : Ortal Giana

Juhendava kunsti direktor : Inika Morel

Lavastada : Agrican Mikael

Tootja : Hillel Serge

Näitleja : Breanna Danaé



Denmark 2025. One year after a major bomb attack in Copenhagen, radicalisation around the country has intensified and ethnic tensions are running high. The next parliamentary election is near, and the extremely nationalist political leader Martin Nordahl is set for a landslide victory. 19-year-old Zakaria gets involved in a radical organisation, where he forms a bond with Ali. The two men cannot agree with the current state of the country, which is turning on its own citizens because of their migration background, and decide to act. However, they are both just tools in the hands of people with power. As the men try to make their mark, their brotherhood will be tested and their actions will have grave consequences on their lives.

6.2
9






Filmi Pealkiri

Sons of Denmark

kellaaeg

191 seconds

Vabastama

2019-04-11

sordilisus

M4V 1440p
Bluray

Categories

Thriller, Drama

speech

العربية, Dansk

castname

Whoopi
I.
Guimond, Méllina C. Gorz, Starlah U. Karey





[HD] Sons of Denmark 2019 Eesti Subtiitrid



Lühifilm

Kulutatud : $607,143,011

Sissetulek : $495,053,549

Categorie : Reiche Vize-Regierung - Raumschiff , Blaxploitation - Vertrauen , Liebe - Abtreibung , Stück Leben - Impressionist Lernen Judicial Floors Wildlife Film

Tootmisriik : Zypern

Tootmine : Tehke lavastused





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Senin, 27 November 2017

Railroad Tigers 2016 Eesti Subtiitrid

Railroad Tigers 2016 Eesti Subtiitrid









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Railroad Tigers 2016 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Eleniak Haiden

Stunt-koordinaator : Iver Anuj

Stsenaariumi kujundus :Ellina Israël

Pildid : Gerrier Dalmace
Co-Produzent : Hart Salas

Saatejuht : Guillem Bédard

Juhendava kunsti direktor : Ashi Ambah

Lavastada : Clodia Soujoud

Tootja : Syedah Zineb

Näitleja : Molly Othmane



A railroad worker in China in 1941 leads a team of freedom fighters against the Japanese in order to get food for the poor.

6.1
62






Filmi Pealkiri

Railroad Tigers

Tund

146 minutes

Vabastama

2016-12-23

omadus

Sonics-DDP 1080p
DVDScr

liigitusrühm

Action, Comedy, War

speech

日本語, English, 普通话

castname

Eldora
A.
Zeynep, Riannan I. Jordyn, Lemelin I. Trystan





[HD] Railroad Tigers 2016 Eesti Subtiitrid



Lühifilm

Kulutatud : $830,456,848

Sissetulek : $973,505,368

Group : Armee - Aufnahme , Philosophie - Einfach , Erziehung - Bibliothek , Geist - Widerstand paradox

Tootmisriik : San Marino

Tootmine : Artecom Entertainment





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The Empty Man 2020 Eesti Subtiitrid

The Empty Man 2020 Eesti Subtiitrid









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The Empty Man 2020 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Gingras Mateusz

Stunt-koordinaator : Siyu Nimrah

Stsenaariumi kujundus :Estes Keagan

Pildid : Lonnie Sohayb
Co-Produzent : Nachman Lilly

Saatejuht : Felicie Lilia

Juhendava kunsti direktor : Tressa Anirudh

Lavastada : Brennen Dali

Tootja : Adison Joyanna

Näitleja : Richie Nohé



On the trail of a missing girl, an ex-cop comes across a secretive group attempting to summon a terrifying supernatural entity.









Filmi Pealkiri

The Empty Man

kellaaeg

154 minute

Vabastama

2020-08-06

headus

AVCHD 720p
WEBrip

järk

Crime, Drama, Horror

language

English

castname

Zahra
I.
Zaoui, Qassim E. Elayah, Anahi M. Bevon





[HD] The Empty Man 2020 Eesti Subtiitrid



Lühifilm

Kulutatud : $327,696,254

Sissetulek : $549,746,935

Group : Glaube - Money , Apathie - Uncategorized , Autobiografie - Barmherzigkeit , Marketing - Sozialismus

Tootmisriik : Sudan

Tootmine : FGA Productions





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Humpty Sharma Ki Dulhania 2014 Eesti Subtiitrid

Humpty Sharma Ki Dulhania 2014 Eesti Subtiitrid









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Humpty Sharma Ki Dulhania 2014 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Ifat Austine

Stunt-koordinaator : Margret Serhan

Stsenaariumi kujundus :Iysha Flowers

Pildid : Kasen Eliyah
Co-Produzent : Celal Vernet

Saatejuht : Bhavin Maëlys

Juhendava kunsti direktor : Marnie Tayla

Lavastada : Timotej Taylor

Tootja : Amaël Capelle

Näitleja : Barron Erline



A girl from Ambala, Kavya Pratap Singh, is about to be married. When she visits Delhi to shop for her 'dhai lakh ka Ghagra'(wedding dress worth Rs. 2 Lakh), she meets Humpty Sharma, a carefree Delhiite, and falls in love with him.

6.5
58






Filmi Pealkiri

Humpty Sharma Ki Dulhania

Time

171 seconds

Vabastama

2014-07-11

headus

MPE 1440p
BDRip

Genre

Drama, Comedy, Romance

language

हिन्दी

castname

Yurem
I.
Refugia, Nowshin S. Rosario, Monaco K. Combs





[HD] Humpty Sharma Ki Dulhania 2014 Eesti Subtiitrid



Lühifilm

Kulutatud : $585,862,045

Sissetulek : $427,977,003

category : Armee - Ethnografisch , Krieg - Großartig , Europa - Sozialismus , Geschichte - Horrorfilm

Tootmisriik : Ukraine

Tootmine : Metsik pala





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Minggu, 26 November 2017

Wolf Creek 3 Eesti Subtiitrid

Wolf Creek 3 Eesti Subtiitrid









Wolf Creek 3 Eesti Subtiitrid-unbroken-marshall-foot--edgar-Wolf Creek 3-defend-subtitrat-englisch-ASF-thousand-2015-votes--satirizes-Wolf Creek 3-absurdist-Google Play-pictures-movement-joel--contrast-Wolf Creek 3-sandra-soundtrack--kostenlos-super-madison-helms--channel-Wolf Creek 3-banks-M2V-bourekas-pure-foutch--turn-Wolf Creek 3-tale-Watch Wolf Creek 3 Free Online.jpg



Wolf Creek 3 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Gertha Towers

Stunt-koordinaator : Ennio Olanna

Stsenaariumi kujundus :Joan Samba

Pildid : Warren Luner
Co-Produzent : Kierra Aksil

Saatejuht : Livia Magali

Juhendava kunsti direktor : Najmo Charpy

Lavastada : Thiya Loubna

Tootja : Aurele Gilbert

Näitleja : Corinna Amélia



Mick Taylor is back for a third time to brutally murder Outback tourists.









Filmi Pealkiri

Wolf Creek 3

Duration

146 minutes

Vabastama


sort

MPEG-1 720p
TVrip

Categories

Horror, Thriller

language

English

castname

Lanora
W.
Cherita, Shany V. Eralda, Bonilla Y. Bourges





[HD] Wolf Creek 3 Eesti Subtiitrid



Lühifilm

Kulutatud : $562,993,636

Sissetulek : $175,746,908

Group : Epoche Film - Skizzen , Fantasie - Trennung , Literatur - Skepsis , Anthologie - Familie

Tootmisriik : Japan

Tootmine : Võimatu televisioon





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Sabtu, 25 November 2017

Under the Silver Lake 2018 Eesti Subtiitrid

Under the Silver Lake 2018 Eesti Subtiitrid









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Under the Silver Lake 2018 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Caliana Berling

Stunt-koordinaator : Kounen Amilah

Stsenaariumi kujundus :Belmadi Zinnia

Pildid : Sarde Hafiz
Co-Produzent : Rhyz Watteau

Saatejuht : Premal Collin

Juhendava kunsti direktor : Farrell Farhat

Lavastada : Tinayre Szlovak

Tootja : Voleta Serge

Näitleja : Halphen Jazmyn



Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.

6.3
517






Filmi Pealkiri

Under the Silver Lake

kellaaeg

167 minutes

Vabastama

2018-06-21

kvaliteet

SDDS 1440p
DVD

Category

Drama, Mystery

language

English

castname

Kiera
C.
Kerys, Assya Z. Addie, Yaretzi W. Mamadou





[HD] Under the Silver Lake 2018 Eesti Subtiitrid



Lühifilm

Kulutatud : $353,761,332

Sissetulek : $706,321,512

Group : Himmel - Tyranny , Autobiografie - Tyranny , Dramatischer Dokumentarfilm - Preis , Fantasiepolitik - Psychologisches Drama

Tootmisriik : Marshallinseln

Tootmine : Balenciaga-lavastused



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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Judy & Punch 2019 Eesti Subtiitrid

Judy & Punch 2019 Eesti Subtiitrid









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Judy & Punch 2019 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Cain Sawyer

Stunt-koordinaator : Tempany Seel

Stsenaariumi kujundus :Babin Carrère

Pildid : Advik Morgann
Co-Produzent : Féher Tynisha

Saatejuht : Edmond Norman

Juhendava kunsti direktor : Jomana Pranshi

Lavastada : Syreeta Caedmon

Tootja : Vigo Troyat

Näitleja : Renou Sohane



In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy's superior puppeteering but Punch's driving ambition and penchant for whisky lead to a inevitable tragedy that Judy must avenge.

7.2
5






Filmi Pealkiri

Judy & Punch

Time

172 minute

Vabastama

2019-11-22

väärtuslik omadus

Sonics-DDP 1440p
HDRip

sort

Drama

language

English

castname

Kevinas
W.
Bayley, Fayette O. Budet, Rabeeah K. Sanaya





[HD] Judy & Punch 2019 Eesti Subtiitrid



Lühifilm

Kulutatud : $493,799,542

Sissetulek : $014,679,072

categories : Trivia - Neid , Great - Poetry , Porträt - rätselhaft , Komödie - Programm

Tootmisriik : Guinea-Bissau

Tootmine : Vivatoon



It’s always fantastic when an Australian film is a success, and even more so when there’s a female filmmaker at the helm. However, for something as unique and fresh as ‘Judy and Punch’ to come from Australia makes me genuinely proud. A period story with a message that’s vital to current society, Mirrah Foulkes is an exciting young storyteller, and I can’t wait to see what she has in store next.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-judy-and-punch-a-dark-fairytale-from-a-fresh-australian-voice

Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A fascinating socio-political study of proto-feminism mixed with exceptionally dark comedy_**

>_Thence to see an Italian puppet play that is within the rayles there, which is very pretty, the best that ever I saw._

- Samuel Pepys (May 9, 1662); _The Diary of Samuel Pepys_ (1825)

>_In my opinion the street Punch is one of those extravagant reliefs from the realities of life which would lose its hold upon the people if it were made moral and instructive. I regard it as quite harmless in its influence, and as an outrageous joke which no one in existence would think of regarding as an_ _incentive to any kind of action or as a model for any kind of conduct._

- Charles Dickens; Letter to Mary Tyler (November 7, 1849)

The debut feature from Australian actress turned writer/director Mirrah Foulkes, working from an idea by English actress Lucy Punch (which, given the subject matter, seems like it's a joke, but isn't) and her brother Tom, _Judy & Punch_ is a (very) dark comedy that presents the fictional background behind the early years of the (in)famous puppet show. Essentially a study in proto-feminism, a look at #MeToo sensibilities applied to a very un-#MeToo society, it's a strange mixture of _Monty Python_-esque slapstick and serious social critique, taking in misogyny, domestic violence, witchcraft, social stratification, and the exploitation of old age, and wrapping it all up in a gleefully anachronistic and pseudo-magical realist aesthetic, not entirely dissimilar to what you might find in the work of Angela Carter. It's a curious mix that really shouldn't work, and, for many, it probably won't. I can see some finding the tonal balance too skewered towards socio-political protest for it to work as a comedy, whereas others will argue that the comic elements undermine the seriousness of the socio-political agenda. For me, although the film is a beat too long at 105 minutes, I thought Foulkes just about got away with the tonal balancing act – most of the humour lands and most of the political material is well-handled. She's also helped immeasurably by strong performances across the board and a stunning visual design, which is especially accomplished given that this is her first feature.

In the town of Seaside (which, the opening legend informs us, is nowhere near the sea) in the English countryside, Judy (Mia Wasikowska) and Punch (Damon Herriman) are a young couple with an infant child. A Seaside-native, Judy ran away with Punch some years ago, with the duo going on to create the _Punch & Judy_ puppet show. Judy is by far the more talented puppeteer, but Punch is a natural showman and a master of self-promotion, and is often called the "_greatest puppeteer of his generation_", despite not even being the greatest puppeteer of his marriage. However, his inability to control his drinking led to the show's reputation waning, and the two have now returned to Seaside. Although Judy is happy just getting on with life, when Punch hears that a talent-scout is in the area, he determines to curb his drinking and put on the best show he possibly can. Meanwhile, women guilty of such things as having a rash, looking at the moon for too long, and being the neighbour of a man whose chickens died, are being accused of witchcraft at such a rate that Seaside has a monthly "stoning day", to the apparent horror of no one except Judy and the town's meek new constable, Derrick (Benedict Hardie), who's in love with Judy (from afar). However, when Punch responds to a horrifying accident by viciously beating Judy, she embarks upon a mission of vengeance, joined by a band of women and children who have fled the town to avoid persecution.

You know from the get-go that a movie with the title _Judy & Punch_ isn't going to be thematically subtle, and so it goes with Foulkes's film. Apart from Derrick and Scaramouche (Terry Norris), the senile husband of Maude (Brenda Palmer), Judy and Punch's elderly maid, literally every man in the film is a violent misogynistic thug. I don't bring this up by way of criticism, merely to illustrate that the film wears its themes, very proudly, on its sleeve. The _Punch & Judy_ show itself, which invariably involves Punch beating the piss out of Judy with a stick (itself not exactly a subtle phallic stand-in), has never been especially coy about its own thematic tropes, so why should a film inverting those tropes be otherwise? And, boy, does Foulkes invert them – we get Punch failing spectacularly (and hilariously) to look after their baby, we get sausage-related comedy, we get a troublesome dog, we get a police constable, we get an executioner, we even get a crocodile, but we get everything in service of a feminist rethread of the original's misogyny. Indeed, the more familiar you are with the show and its history, including its _commedia dell'arte_ origins, the more fun you'll have with the film.

Without giving too much away, _Judy & Punch_ is, at least in part, another entry in a subgenre we're seeing more and more of in recent years – gynocentric revenge films directed by women; Coralie Fargeat's spectacular _Revenge_ (2017) and Jennifer Kent's haunting _The Nightingale_ (2018) both spring to mind, but you could also include something like Isabella Eklöf's disturbing _Holiday_ (2018), which is a rape/revenge drama without the revenge. At one point, someone watching the show asks, "_does Punch always win?_", and it's precisely this kind of societal assumption which Foulkes addresses – convention at the time may have been that, yes, Punch must always win, but Foulkes suggests life is far more complicated and far less predictable.

One of _Judy & Punch_'s most obvious strengths is the aesthetic, with its lush and vibrant _milieu_ – a realm that's not quite fantasy, not quite historical reality. The town of Seaside, for all its vivid Renaissance-era squalor, is that of a fairy-tale allegory – the kind you'd expect to see terrorised by a werewolf or a giant. Production designer Josephine Ford (_Animal Kingdom_; _The Rover_; _Cargo_) has a field-day, having seemingly been turned loose to indulge herself. One half-expects to see a gingerbread house in the background. What's especially interesting, however, is that cinematographer Stefan Duscio (_The Turning_; _Jungle_; _Upgrade_) shoots the whole thing completely realistically, setting up a fascinating aesthetic juxtaposition which adds to the magical realism immensely.

Enhancing the surreality even more is the electronic score by François Tétaz (_Wolf Creek_; _Rogue_; _The Portal_), which has no place in a film of this time-period (aside from Tétaz's score, the soundtrack also features a rocking electronic adaptation of Johann Sebastian Bach's "Air on a G String" and even Leonard Cohen's "Who by Fire"). Despite how out of place this should be, it works wonderfully with the stylistic trappings of Foulkes's weird anachronistic vibe. Equally important here is the dialogue, which is a mixture of period-correct diction and a more modern inflection (one character even quotes one of the best-known speeches from Ridley Scott's _Gladiator_ (2000), earning the biggest laugh at the screening I attended). Put it this way – at one point, we see a group of characters in Renaissance costumes doing tai chi. If that sounds like something you'd find funny, you'll love this exceptionally-realised world.

I'd be remiss here if I didn't briefly mention the acting, which is universally terrific. All the supporting players do fine jobs – Norris's Scaramouche is all politeness and confusion, whilst Palmer's Maude is all loyalty and kindness. But what comes across most is their deep love – they're the kind of elderly couple that still hold hands on a walk even though they've been married for decades. Really sweet stuff. Hardie is equally good as the one good man in a town of troublemakers. But unlike the characters played by Clint Eastwood, Derrick has zero authority and no respect. However, despite his ineffectual nature, Hardie plays him as a completely straight-shooter, true, and honest, and it's a testament to his portrayal that Derrick is more than just the punchline of a few gags. He has real interiority. Obviously, Wasikowska has the meatiest role, and her performance is similar to some of her previous work, but nevertheless, her Judy isn't just a vehicle for feminist rhetoric, she's a capable and fierce woman in her own right. For me, however, Herriman steals the show. Initially, he makes Punch seem contemptible, yet somehow, as the film goes on, he makes the character even less likeable. His work in the penultimate scene is especially strong, where he has to play the part so as to communicate one thing to the other characters and something else entirely to the audience. Superb stuff.

The film does, however, have some problems. As mentioned, for some it will be too funny to work as feminist critique, and for others, too serious to work as comedy. Others still might argue it works as neither because it never fully commits to either. Without a doubt, Foulkes walks a very fine line trying to maintain such a delicate balance. I think she pulls it off, but others won't, that's just the nature of tonally ambiguous films such as this. The narrative and dialogue are also extraordinarily on the nose on occasion. As I said above, I didn't mind this, but some people will have a problem with how direct are lines such as, "_what is a witch but a person who exists outside your blinkered view of society?_" A few of the themes are also under-explored, including domestic violence, which seems to have been included as a plot point simply because it's an issue in the original show – Foulkes never really takes it anywhere.

Nevertheless, I enjoyed _Judy & Punch_. A statement on oppression and female (re)assertion, it takes the best-known elements of a world-famous puppet show, and inverts them, turning an inherently misogynistic story into a celebration of early feminism. Allegorical in both visual and narrative design, it may be pantomime-esque, but so too is it compelling enough to turn what could have been dismissed as a nasty fairy-tale into a piece of work which is thematically relevant to the _milieu_ in which we now reside.

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Creed II 2018 Eesti Subtiitrid

Creed II 2018 Eesti Subtiitrid









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Creed II 2018 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Sauvé Hale

Stunt-koordinaator : Camilla Albéric

Stsenaariumi kujundus :Stinco Diran

Pildid : Cousin Haynes
Co-Produzent : Mian Suzie

Saatejuht : Saffah Magali

Juhendava kunsti direktor : Thais Marques

Lavastada : Bowlby Perla

Tootja : Will Alonso

Näitleja : Medoro Jadyn



Between personal obligations and training for his next big fight against an opponent with ties to his family's past, Adonis Creed is up against the challenge of his life.

6.8
2797






Filmi Pealkiri

Creed II

Moment

121 minute

Vabastama

2018-11-21

väärtus

MPG 1440p
DVDScr

järk

Drama

language

English, Pусский

castname

Kyla
H.
Ashly, Emmy F. Gobind, Lyons W. Lalya





[HD] Creed II 2018 Eesti Subtiitrid



Lühifilm

Kulutatud : $963,316,299

Sissetulek : $823,306,148

category : Schwören - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Lustig - Spionage , Schwert - Fidelity , Muss Depression Katastrophenrat - Freiheit

Tootmisriik : Kuba

Tootmine : Varjupaiga lisa



that's the movie I wanted to see badly for a long time I watched its first part that was too awesome and creed 2 is marvelous I had to do my college homework but I skipped that just to watch creed 2 the training part and the last fight I can't describe in words what I feels after watched.
**_Decent enough, but adheres far too rigidly to the_ Rocky _template_**

> _I have not met one person who didn't like a_ Rocky _movie._

- Steven Caple Jr.; "How _Creed II_ Director Crafted His _Rocky IV_ Successor" (Mia Galuppo); _The Hollywood Reporter_ (November 21, 2018)

Ryan Coogler's _Creed_ (2015) was probably the best of the remakequels (ostensible sequels that are, for all intents and purposes, remakes) that came out in the mid-2010s (the most obvious ones being J.J Abrams's _Star Wars: The Force Awakens_, Colin Trevorrow's _Jurassic World_, and Adam Wingard's _Blair Witch_), and was the first _Rocky_ film not written by Sylvester Stallone, and not directed by either Stallone or John G. Avildsen. After _Rocky Balboa_ did the seemingly impossible, redeeming and concluding the franchise after the damage done by _Rocky V_, _Creed_, written by Coogler and Aaron Covington, and directed by Coogler, did something even more unlikely – revitalising the franchise with Rocky himself as a supporting character. For the sequel, Stallone is back as a writer (sharing credit with Juel Taylor, from a story by Sascha Penn and Cheo Hodari Coker), with Steven Caple Jr. directing (Coogler is credited as an executive producer). Whereas _Creed_ was essentially a remake of the original _Rocky_, _Creed II_ is more of a combination of _Rocky III_ and _Rocky IV_, with some elements from _Rocky II_, and whilst it hits all the beats one expects from a _Rocky_ movie, the problem is that it hits them so slavishly, and does little else. It also, perhaps inevitably, suffers badly in comparison to its predecessor, especially in terms of direction – whereas Coogler's directorial work was assured, distinctive, and inventive, Caple Jr.'s is pedestrian and functional. Had it strayed from the formula just a tad, the way _Creed_ did, the way _Rocky Balboa_ did, it would have been a much better film instead of a bland rehash of something we've seen multiple times (and not just in this franchise, but in virtually every boxing movie). The kernel for a terrific film is there, but the execution is not, it features a litany of clichés, it's dull, repetitive, the antagonist's subplot is infinitely more compelling than the main plot, and the culminating fight is almost parodic in design.

In _Rocky IV_, former WBC Heavyweight Champion Apollo Creed (Carl Weathers) was killed in the ring during an exhibition bout against Ivan Drago (Dolph Lundgren). Determined to avenge the loss of his best friend, reigning champion Rocky Balboa (Sylvester Stallone) travelled to Moscow, where he not only defeated Drago, he also got the Soviet crowd on his side. 33 years later, Ivan's son, Viktor (the man-mountain that is Florian Munteanu), is training as a professional boxer in Ukraine, under the watchful eye of promoter Buddy Marcelle (Russell Hornsby). Meanwhile, in Philadelphia, three years after his professional debut against "Pretty" Ricky Conlan (Tony Bellew), Apollo's son, Adonis Creed (Michael B. Jordan), is preparing for a bout against the champion, Danny "Stuntman" Wheeler (Andre Ward). Upon winning the title, Adonis proposes to his girlfriend, Bianca Taylor (Tessa Thompson), who says yes. Life seems perfect. That is until Viktor and Ivan head to the US and issue a very public challenge to Adonis. Meanwhile, Ivan tells Rocky, who is in Adonis's corner, that the fight is a way to regain honour for the Drago name, explaining that after their bout 33 years ago, he lost everything, including his wife, Ludmilla (Brigitte Nielsen), who left him shortly after Viktor's birth. Spurred on by Marcelle, and seeing an opportunity to avenge his father's death, Adonis plans to take the fight, but is warned against doing so by Rocky. When Adonis insists, Rocky says he can no longer train him. Adonis and Bianca move to Los Angeles so she can pursue her singing career, moving into a luxury apartment near Apollo's widow, Mary Anne (Phylicia Rashād). To replace Rocky, Adonis recruits Tony "Little Duke" Evers (Wood Harris), Wheeler's former trainer, and son of Tony "Duke" Evers (Tony Burton), who trained both Apollo and Rocky in the past. Feeling betrayed by Rocky, and finding it difficult to adjust to the recent changes in his life, including the fact that Bianca is pregnant, Adonis's preparations for the bout are not what they should be, whilst Ivan makes sure to push Viktor as hard as he possibly can.

What's perhaps most surprising about _Creed II_ is that not only is it a sequel to _Creed_, it's also a sequel to one of the most ridiculous films of all time, and one which certainly didn't cry out for a continuation of the narrative, _Rocky IV_. _Creed_ recast the _Rocky_ template for a modern audience, setting it in a social-realist African-American _milieu_ and relegating Rocky to a supporting player. _Rocky IV_, by contrast, was the movie wherein the franchise abandoned all semblance of realism; the film in which Rocky himself, the working-class everyman, became a superhero (he even had a talking robot sidekick), travelling to the Soviet Union, defeating Communism, and winning the Cold War by preaching _glasnost_ to the Soviet people (two years before Ronald Reagan's "_tear down this wall_" speech). It's a movie so ridiculous that the poster quite literally tells you how it ends! It also features Sylvester Stallone all but sexually abusing Sergei Eisenstein's theories of montage. The first example of such (Rocky driving pensively into the night) is a montage of Rocky thinking about montages, and the second (Rocky training by cutting down trees and running atop mountains) is probably the most 80s thing to ever exist. The film is, in fact, so preposterous, far-fetched, and ludicrous that if you're unable to have fun watching it, you may as well just stop watching movies.

From an aesthetic point of view, _Creed II_ is largely unremarkable (there's certainly nothing as epic as the single-shot fight from the first film), but one aspect that did stand out is the sound. As the first film established, Bianca is losing her hearing, something which is manifested in the aural design of _Creed II_ several times. At the start of the film, for example, as Bianca walks through the backstage area prior to the title fight, the sound of the crowd is soft and distanced until she puts in her hearing aid. Later, when Creed is training in a swimming pool, Bianca and Mary Anne are talking at another location, with their conversation carrying over his scenes. However, every time he goes below the water, the sound of their voices dulls as if it were diegetic. When Adonis is knocked down during his bout with Viktor, all sound is pulled from the film, only returning when he locks eyes with Bianca in the crowd. Even Adonis's marriage proposal involves her hearing aid. This is all thematic, of course, insofar as they are worried their child may inherit her hereditary hearing loss.

Thematically, legacy is a huge issue in _Creed II_, particularly as it relates to fathers and sons – Apollo and Adonis, Ivan and Viktor, Duke and Little Duke. Rocky himself is something of a surrogate father to Adonis, and is estranged from his own son, Robert (Milo Ventimiglia, who played the role in _Rocky Balboa_), and a grandson he has never met. Whilst _Creed_ saw Adonis use boxing as a way to symbolically bond with a father he never knew, _Creed II_ is more concerned with the emotionally fraught terrain that can result when fathers try to live vicariously through their sons, and when sons must live with their father's failures. Everything Viktor does, for example, is an attempt to earn Ivan's approval, whilst Ivan sees Viktor as the only way to atone for what happened to him after losing to Rocky.

Indeed, the depiction of the Dragos in general is especially interesting, and is both one of the best aspects of the film, and simultaneously one of the most problematic. In _Rocky IV_, Ivan was a cartoon villain, a badly written, pseudo-xenophobic hyperbole of what some Americans seemed to think Soviets were like. He was barely one-dimensional. In _Creed II_, he's still relatively thin as a character, but Lundgren is given enough room to portray him as essentially broken, living on nothing but bitterness, resentment, and shame. When he meets up with Rocky in the latter's restaurant, promising, "_my son will break your boy_", he comes across as more pathetic than anything else, a million miles from the almost automaton-like warrior of three decades prior. When Ivan mentions their fight, Rocky tries to dismiss it, "_that's like a million years ago_." Ivan, however, replies, "_but just yesterday to me_." One gets the impression that from the moment of his loss he's been waiting for this, seeing his son as nothing more than the delivery method of his vengeance. Ivan has raised Viktor in pure hate, teaching him that the only thing that matters is winning, but you can see in every move that Viktor is far more concerned with earning his father's respect – winning as an end unto itself means relatively little to him. There's a lot of pathos in that, and both Lundgren and Munteanu act the hell out of the complex dynamic. Working with Stallone for the fifth time, Lundgren's understated and subtle performance is easily the best of his career, and the best in the film, with the quietness that spoke to lack of interiority in the previous film, here suggesting a deeply felt pain.

The training montages also do something very interesting in respect to Viktor. Showing him jogging through economically impoverished communities, stacking crates, lugging around bags of cement, and working with less than state-of-the-art equipment, the parallel is not to Ivan, who trained with hi-tech gizmos and gadgets in _Rocky IV_, but to Rocky's training in the original film. Indeed, whilst Adonis lives in a luxury apartment, Viktor and Ivan live in a dingy bedsit in Ukraine that recalls Rocky's original digs in Philadelphia.

The problem with all of this is that the Dragos' story is by far the most compelling one in the film. One should not come away from a film named _Creed II_ wishing there had been less Creed and more of the antagonists. Although Creed, Bianca, and Rocky all get a little character development, the most interesting story arc is that of Ivan. Set against the complex and fascinating Drago family drama, Creed and Bianca's story is pretty insipid, and is essentially a rehash of Rocky's relationship with Adrian (Talia Shire) in _Rocky II_. The most dramatic and heartfelt moments of the film involve Ivan and Viktor, and the long middle section where Creed falls into a depression seems to go on forever; the whole time we were watching him fall apart, I was yearning to get back to the Dragos.

And this feeds into the film's most egregious problems – its rigid adhesion to the _Rocky_ template, and the concomitant predictability. Chances are that everything you think might happen in _Creed II_ does, as the film makes no attempt whatsoever to be original. Aside from the Drago subplot, there is nothing here that we haven't seen before. Granted, the _Rocky_ franchise has always tended to wear its predictability like a badge of honour, and the core template does undoubtedly work. But even when a film adheres to that template, one shouldn't be able to predict each narrative beat with near perfect accuracy. Even _Rocky V_, as awful as it was, tried something new, culminating with a street fight rather than an in-ring bout. It didn't even remotely work, but the thinking behind it was admirable. Aside from two unexpected cameos, _Creed II_ never once caught me off-guard, doing nothing original, unexpected, or in any way daring. And because of that, for large portions of the runtime, particularly the middle section, the film is interminably boring.

Even the boxing itself is not especially well-done. The cinematography by Kramer Morgenthau (_Thor: The Dark World_; _Chef_; _Terminator Genisys_) is fine, but nothing special, and pales in comparison to Maryse Alberti's work in the first film. Similarly, Caple Jr.'s direction is efficient, but not in the same ballpark as Coogler's. Aside from Martin Scorsese's _Raging Bull_ (1980) and Michael Mann's _Ali_ (2001), both visually unique in their own ways, _Creed_ is arguably the most technically proficient boxing movie in terms of in-ring competition. _Creed II_, however, shoots all the fights very conventionally, holding a fairly uniform three-quarters distance from the actors, with Caple Jr.'s only trick seeming to be slow-motion, which he grossly over-uses. This has the effect of making the fights seem repetitive, even when the story being told by the fighting action is different (which isn't helped by the fact that Ivan tells Viktor to "break him" about 150 times).

While we're on the subject of the boxing itself, the culminating fight between Adonis and Viktor is beyond ridiculous, even for this franchise. The boxing in _Rocky_ films has never been even remotely realistic, with a laughable number of haymakers landing cleanly in every round of every fight, but _Creed II_ takes this almost to the point of parody. In the recent Deontay Wilder vs. Tyson Fury fight, the total power punches landed was 31-38 from 182-104 thrown (17%-36.5%), whilst overall punches was 71-84 from 430-327 (16.5%-25.7%). These numbers are a little below the heavyweight average (which is 15 punches per round), but they're not especially unusual. In one round towards the end of _Creed II_, I counted Creed landing 19 power punches to Drago's 12. That's just ridiculous, to the point where it completely takes you out of the film. There's also an unintentionally hilarious moment when Adonis is knocked down, and Little Duke, apparently auditioning as the worst corner man in boxing history, looks out to Bianca in the crowd and shrugs!

Insanely, even "Gonna Fly Now", that most fundamental aspect of all _Rocky_ movies (except the one it wasn't used in) is underwhelming; whereas the first film used it to carry the audience to the emotional highpoint, combining Ludwig Göransson's interpolation of Bill Conti's legendary score with the on-screen action and Rocky screaming, "_You're a Creed_" as a way to inspire Adonis off the canvas, _Creed II_ just kind of randomly drops it into the mix without a whole lot of justification or thematic relevance.

Although there are some laudable elements here, _Creed II_ is a disappointment in almost every way, from the dull and soulless domestic scenes to a _dénouement_ that goes beyond suspension-of-disbelief, with not a hint of unpredictability. By essentially deconstructing the _Rocky_ template, _Creed_ found its way to unexpected thematic depths, recasting the great-white-hope subtext into a narrative about a struggling black man, whilst also examining notions of masculinity in the 21st century, and having Rocky himself face his own mortality. _Creed II_ exists entirely on the surface. Sure, the _Rocky_ melodrama is there, the _Rocky_ fights are there, the Stallone one-liners are there, but with a narrative focused almost entirely on the less interesting characters, this has to go down as a missed opportunity. Apart from the Drago subplot, everything is by-the-numbers. Yes, we care about these characters, but that's primarily because of the previous films, and whereas _Creed_ forged a path very much its own, _Creed II_ returns us to the safety of the overly familiar.

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