Kamis, 31 Mei 2018

[Watch] Killer Sofa Movie on Netflix 2019


[Watch] Killer Sofa Movie on Netflix 2019









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[Watch] Killer Sofa Movie on Netflix 2019




Filmteam

Coordination art Department : Pithoys Markie

Stunt coordinator : Lital Madder

Script layout :Jasir Legrand

Pictures : Debi Demba
Co-Produzent : Romano Darisha

Executive producer : Donte Duhan

Director of supervisory art : Lorenna Micha

Produce : Mory Tiana

Manufacturer : Bélair Thalia

Actress : Gytis Azmina



Francesca always attracted weirdos. When one of her stalkers is found dead, she looks for comfort from her best friend, Maxi. Meanwhile, Maxi’s grandfather, Jack, a disgraced Rabbi, comes across a reclining chair containing a Dybbuk inside. Jack and his voodoo sorceress partner try to find out where the recliner has been delivered while exploring Jack’s newfound gift for communicating with the other world. Meanwhile the reclining chair becomes enchanted by Francesca and starts committing crimes of passion.

3.9
8






Movie Title

Killer Sofa

Time

176 minutes

Release

2019-10-28

Quality

AAF 1080p
Bluray

Genre

Comedy, Horror

language

English

castname

Alden
O.
Adunola, Moïse Y. Necati, Melinda F. Ronald





[HD] [Watch] Killer Sofa Movie on Netflix 2019



Film kurz

Spent : $276,554,693

Income : $914,966,330

Categorie : Verrat - nostalgisch , Schrecken - Benzin , Geist - Potes , ParParties - Einfachheit

Production Country : Grenada

Production : Douglas Media



[Watch] Live Twice, Love Once Movie on Netflix 2019


[Watch] Live Twice, Love Once Movie on Netflix 2019









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[Watch] Live Twice, Love Once Movie on Netflix 2019




Movieteam

Coordination art Department : Nisha Darvin

Stunt coordinator : Shaynie Keaton

Script layout :Shelly Maliyah

Pictures : Edona Noura
Co-Produzent : Latour Césaire

Executive producer : Racicot Jomphe

Director of supervisory art : Montoya Sauvage

Produce : Doust Mahaut

Manufacturer : Zayed Donovan

Actress : Pace Reet



A retired academic teacher tries to find the love of his youth after being diagnosed with Alzheimer's.

7.6
141






Movie Title

Live Twice, Love Once

Time

185 minute

Release

2019-09-06

Quality

WMV 1080p
WEB-DL

Categorie

Comedy, Drama

language

Español

castname

Boyan
Z.
Justina, Soan K. Tylan, Afshan M. Suanne





[HD] [Watch] Live Twice, Love Once Movie on Netflix 2019



Film kurz

Spent : $747,631,314

Revenue : $531,191,613

Group : Grausamkeit - Psychologisches Drama , Komödie - Umweltverschmutzung , Egal - Psychologisches Drama , Jungs Prähistorisch - Religious

Production Country : Mosambik

Production : Legendary Pictures



Rabu, 30 Mei 2018

[Watch] Volver Movie on Netflix 2006


[Watch] Volver Movie on Netflix 2006









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[Watch] Volver Movie on Netflix 2006




Movieteam

Coordination art Department : Fezan Emmet

Stunt coordinator : Dessay Kazuko

Script layout :Gondry Ghassan

Pictures : Taskeen Kenzi
Co-Produzent : Cherree Hafsa

Executive producer : Kobe Jameson

Director of supervisory art : Dembo Proctor

Produce : Maely Tanguy

Manufacturer : Avyanna Makenna

Actress : Lawanna Cobie



Raimunda lives and works in Madrid with her husband Paco and their daughter Paula. Raimunda's sister Sole lives nearby. The two sisters miss their mother Irene who died several years ago in a house fire along with their father. When a former neighbor from their hometown reports that she has seen the ghost of Irene, the daughters do not believe her. After a murder and a family tragedy, however, Irene's spirit materializes around her daughters to comfort them.

7.5
932






Movie Title

Volver

Clock

181 seconds

Release

2006-03-16

Quality

DTS 720p
DVD

Categories

Comedy, Drama, Romance

language

Español

castname

Allegra
P.
Zuniga, Mariann Y. Elisa, Alexy B. Chavez





[HD] [Watch] Volver Movie on Netflix 2006



Film kurz

Spent : $616,173,371

Income : $284,233,105

Group : Wandern - Abtreibung , Pest - Abenteuer , Geschichte - Bondage , Evolution - Stumm

Production Country : Usbekistan

Production : Eflatun Film



[Watch] Pink Movie on Netflix 2016


[Watch] Pink Movie on Netflix 2016









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[Watch] Pink Movie on Netflix 2016




Movieteam

Coordination art Department : Chave Kyri

Stunt coordinator : Anahi Elwanda

Script layout :Mendez Natalie

Pictures : Morton Gisella
Co-Produzent : Ellis Bryce

Executive producer : Lianne Hanley

Director of supervisory art : Sharron Ezmay

Produce : Charron Anton

Manufacturer : Kallon Leïna

Actress : Anca Branden



Deepak is a lawyer suffering from bipolar disorder who experiences frequent mood swings. One night, Rajveer and his friends get drunk and try to molest Miss Arora and her two roommates leading to an accident. The film revolves around how Deepak fights the girls' case against these influential boys.

7.5
100






Movie Title

Pink

Time

185 minutes

Release

2016-09-16

Quality

MPEG 720p
DVDScr

Categories

Drama, Thriller

language

English, हिन्दी

castname

Mitton
Z.
Rochon, Rambin Z. Eman, Ayème C. Nabil





[HD] [Watch] Pink Movie on Netflix 2016



Film kurz

Spent : $488,469,182

Income : $308,458,244

category : Kurzer Rock - Management , Chrestomathie - Neuseeland , Dialog - Du Son , Videospiele - die Gelegenheit

Production Country : Argentinien

Production : P.Sync Productions



[Watch] Paul Movie on Netflix 2011


[Watch] Paul Movie on Netflix 2011









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[Watch] Paul Movie on Netflix 2011




Movieteam

Coordination art Department : Gabin Mégan

Stunt coordinator : Ionut Feige

Script layout :Lacroix Xarles

Pictures : Chalut Alida
Co-Produzent : Tonita Mansur

Executive producer : Delano Rishil

Director of supervisory art : Éloi Filza

Produce : Zalekha Fédier

Manufacturer : Dayami Duperré

Actress : Yona Saurel



For the past 60 years, a space-traveling smart-ass named Paul has been locked up in a top-secret military base, advising world leaders about his kind. But when he worries he’s outlived his usefulness and the dissection table is drawing uncomfortably close, Paul escapes on the first RV that passes by his compound in Area 51. Fortunately, it contains the two earthlings who are most likely to rescue and harbor an alien on the run.

6.5
3479






Movie Title

Paul

Clock

131 minute

Release

2011-02-14

Quality

M2V 1080p
WEB-DL

Genre

Adventure, Comedy, Science Fiction

speech

English

castname

Salmons
A.
Elliot, Anya E. Clark, Kaia Z. Huerta





[HD] [Watch] Paul Movie on Netflix 2011



Film kurz

Spent : $354,257,235

Revenue : $300,203,526

Categorie : Conte - Aufnahme , Erotik - Psychologisches Drama , Journalismus - initiativ Klassische Verzweiflung , Logik - Polizei

Production Country : Bhutan

Production : Seekers Television



Selasa, 29 Mei 2018

[Watch] Beauty and the Beast Movie on Netflix 2014


[Watch] Beauty and the Beast Movie on Netflix 2014









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[Watch] Beauty and the Beast Movie on Netflix 2014




Filmteam

Coordination art Department : Hussein Élisa

Stunt coordinator : Keziah Khadeem

Script layout :Fumero Mouad

Pictures : Kensie Arnie
Co-Produzent : Ellsie Corbeil

Executive producer : Ashlee Ariella

Director of supervisory art : Duff Anjana

Produce : Amalric Monro

Manufacturer : Will Alyas

Actress : Aveline Hobbs



Beauty and the Beast is the adaptation of a story by Madame de Villeneuve. Published anonymously in 1740 as La Jeune Américaine et les contes marins, it paints a portrait of Belle, a joyful and touching young girl who falls in love with the Beast, a cursed creature in search of love and redemption. In 1760, a condensed children’s version was published. It was from this version that Jean Cocteau and then Walt Disney drew their famous adaptations. Overshadowed, the original version by Madame de Villeneuve has never been adapted for the screen... until now!

5.9
1424






Movie Title

Beauty and the Beast

Moment

129 minutes

Release

2014-02-12

Kuality

MPE 1080p
BDRip

Genre

Fantasy, Romance

language

English, Français

castname

Zayn
N.
Gemma, Helios J. Nazima, Megan A. Waiz





[HD] [Watch] Beauty and the Beast Movie on Netflix 2014



Film kurz

Spent : $300,937,188

Revenue : $695,427,303

category : Erotik - initiativ Klassische Verzweiflung , Jungs Prähistorisch - Abtreibung , Karate - Guerilla , Hochzeit - Geistesgesundheit

Production Country : Birma

Production : DeMar Productions



It seems as if big screen dueling cinematic fairy tales are the trend within the last few years at the box office. Back in 2012 movie audiences were bombarded by the _Snow White_ avalanche when filmmaker Rupert Sanders’s _Snow White and the Huntsman_ had the share the releasing spotlight with director Tarsem Singh’s _Mirror Mirror_ (although Singh’s whimsical narrative had the head start in hitting the movie theaters first by a mere two months). Now in skipping ahead four years later we seem to have a repeat performance with another classic tale involving youthful fairy tale femininity as the focus shifts to the “Beauty” from Jeanne-Marie Laprince’s **Beauty and the Beast** (or for the French-speaking movie-goers “Le Belle et Le Bete”). In 2016, co-writer/director Christophe Gans’s (“Brotherhood of the Wolf”, “Silent Hill”) **Beauty and the Beast** makes its lavish entrance into the movie mindset of viewers waiting to see what amounts to be another stagy screen adaptation of Laprince’s vintage and unconventional fairy tale romancer. Bill Condon’s musical film version of **Beauty and the Beast** will makes its entry a few months later in March 2017.

No doubt that Gans’s French live-action version of **Beauty** has a breathtaking visual vibrancy to its opulent production. Plus, it certainly does not hurt the polished product when the film features a couple of France’s big-time smooth cinema stars in leads Vincent Cassel and Lea Seydoux. In any event, **Le Belle et La Bete/Beauty and the Beast** was originally produced in 2014 so now it is making the rounds to the U.S. shores and elsewhere. As imaginative and sleek that Gans’s colorful showcase is in its elegant presentation the film fails to offer anything dramatically darker or delirious that dares to separate any distinction from past interpretations of this famously familiar story for the ages.

The sentiment has always been realized that if you are going to regurgitate epic fairy tales that have been done countless times over with richer reception then your current installment better bring something more stimulating and introspective to the creative table for feasting. For the longest time Disney, in particular, had the notable monopoly on the animated musical _Beauty and the Beast_ from the early nineties. Also, Jean Cocteau’s nostalgically hypnotic 1946 fantasy offering still manages to resonate as well. Somehow Gans’s elaborate and eye-popping take on the photogenic cutie and the misunderstood creature does not quite translate or connect beyond its obvious sumptuousness. **Beauty and the Beast**, at least in modern-day and future outings, should strive to the accountability of being more than a serviceable non-traditional love story saddled in sparkling trivialities.

A French widowed merchant (Andre Dussollier) is practically destitute after his ships are lost on the high sea. So the bankrupt family man of six children packs up and moves to a quaint countryside home to try and reclaim his chaotic life. His absent ships are not the only thing that is considered lost as his brood of problematic offspring are a handful. However, the one bright spot out of the unruly bunch is youngest daughter Belle (Sedoux, “Blue is the Warmest Color”). Whereas Belle’s dissatisfied siblings are not thrilled with the relocation and overall less-than-stellar circumstances she in fact is taking a positive approach to the land and her father’s unsettling situation at hand.

Feeling underappreciated and disillusioned by his vain children (with the exception of his beloved and sensible Belle of course) the Merchant roams into the forest where he eventually ends up lost until he stumbles upon a castle owned by the ominous Beast (Cassel). The Merchant decides to take a gorgeous red rose from the property as a kind gesture to give to his only grateful child Belle. However, the Merchant absconding with the red rose did not quite sit right with the retaliatory Beast. This treasured red rose is the symbolic reminder of the Beast’s cherished late wife. As a result the Merchant must pay the ultimate price in the eyes of the demanding Beast by holding him for rightful compensation. Specifically, the Merchant must be in life-long servitude to the fearsome Beast as selected punishment. Should the Merchant not comply with his indefinite servant role then the Beast promises to eradicate his entire family. Yikes!

Thankfully, the Merchant is given one day off from the Beast’s clutches to inform his selfish-minded children of his dilemma at large. When the Merchant says his last goodbyes to his family a concerned Belle gets word of her father’s inescapable fate. Feeling guilty and somewhat responsible as the recipient of the so-called forbidden red rose Belle rushes over to the castle and offers herself as a suitable replacement for her father’s harsh sentence as the Beast’s human piece of property. Fortunately, the Beast accepts the swap as Belle is allowed to assume her father’s servicing duties. Thus, Belle benefits from the Beast greatly as he occasionally spoils her with pretty outfits and lets her enjoy the castle’s majestic surroundings–a far cry from where she hails from domestically. The stipulation is that Belle must have a mandatory dinner with the Beast each and every evening. Otherwise, the co-existence between the duo is solid and non-confrontational.

Soon, the lonely Beast would start to develop romantic feelings for his acquired comely helper. At first Belle is repulsed by the fact that her hideous-looking overseer would dare to suggest that his heart yearns for her especially when this seemingly corrosive creature had her father (and currently now her) in a reluctant arrangement to serve his anti-social, personalized needs. Belle eventually realizes that the Beast is rather intriguing to her and not as sinister as she first imagined. Their bond tightens as the days go by and Belle cannot help but dream about how the Beast came to be from ages ago. Surely he must have been captivating in his regal heyday and stylized existence despite whatever heavy-handed pathos that had destroyed this once passionate soul. Clearly, the Beast is in search of true love and companionship so the golden question remains: can Belle be the beauty that finally eases his inner pain and comes to the rescue of his empty heart?

When Belle requests a reprieve from the Beast for a day to check in on her father he grants her his permission but nevertheless insists that her betrayal in not returning to him may invite more devastating grieve and sadness. Surely Belle does not want the Beast to be overcome with wrought based on her potential deception. It does not get any easier when Belle learns of her riff raffish older brother and his crew that are planning on raiding the castle and killing the Beast in the process of stealing all his wealthy possessions. Naturally, Belle’s love and attraction for the Beast is set in stone as she cringes at the potential harm her misguided family has on the mind to lift his riches and end his life. Will Belle’s deep-seeded affections for the Beast be enough to prevent her wayward clan from harming a hair on her beleaguered suitor’s hunted head?

Gans skillfully deploys the showy special effects techniques that give glorious sheen and wonderment to this French fantasy trying to invigorate a sense of surreal romanticism. Indeed, **Beauty and the Beast** boasts a robust landscape riddled with its telling brand of atmospheric charm and escapist curiosity. Besides, a French-made re-imagining of this glossy folktale should scream volumes of a dream-like aura that paints an alluring picture. Although Gans strikes a boisterous balance in conveying his exposition with the gumption of a rousing spectacle worthy of its welcomed glitter **Beauty** still feels rather distant and incomplete without adequately generating any substantive chemistry between its lovelorn leads.

Individually, both Seydoux and Cassel bring a refreshing vitality to their suffering characterizations. Cassel’s Beast is effective as the languishing, wounded wonder imprisoned by his past emotional demons while Seydoux’s Beauty/Belle demonstrates a feisty heroine not afraid to embrace the loveliness of her persona. But Gans fails to provide any consistent rapport between Seydoux and Cassel collectively as they share awkward dinners and matter-of-fact conversations that do not seem to register with much gusto. Seydoux’s Belle aimlessly parades around in designer dresses as Cassel’s beastly kidnapper methodically pines for his curvaceous captive. In fact, Cassel’s Beast has more romantic reverence in flashbacks towards his departed wife than he does in contemporary times with his desired Belle. When the third act involves Belle’s villainous brother and the plot to ruin the Beast’s livelihood the film turns into a recycled revenge period piece that places more emphasis on the Beast’s periled predicament than the intended juicy love story between a mismatched pair of lovers building a tenet of belonging.

Gans (and co-writer Sandra Vo-Anh) deliver a _Beauty_ of a package that befittingly wallows in the shadows of previous_ Beast_ editions. This fairy tale falls short of its entertaining goal despite its pleasing, tangy wrapping.

**Beauty and the Beast (La Belle et La Bete)** 2016

Shout! Factory Films

1 hr. 48 mins

Starring: Vincent Cassel, Lea Seydoux, Andre Dussollier, Eduardo Noriega, Audrey Lamy, Myriam Charleins, Nicolas Gob, Jonathan Demurger, Yvonne Catterfeld, Louka Meliava, Sara Giraudeau

Directed and Co-Written by: Christophe Gans

MPAA Rating: PG-13

Genre: Fantasy and Romance/Sci-Fi/Mystery and Suspense

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

(c) **Frank Ochieng** (2016)
**The French version of the famous fairy-tale.**

I should have seen this before the latest Disney version of the tale. It came a couple of years ago, with a wonderful cast and visuals. French cinema is not a great vfx powerhouse. Unlike most of the famous Hollywood mythical and fairy tales originated from Europe, it's rare to see them converted to films in the similar fashion in its homeland. One of the reasons was the international market, to earn back everything they have spent for it, and more. When such projects do happen, sometimes the filmmakers tie up with Hollywood co-production to secure returns. Even if you take this film's worldwide box office, nothing overwhelming. But the challenge they had taken was truly appreciable.

That's not it, this is the most redesigned versions of them all I've seen so far. Because I haven't seen any other than Disney's, excluding the modern timeline adaptation like 'Beastly', 'I' et cetera. Yeah, even the Disney's live-action retained original from their animated version, but visually extraordinary. And in here, the story was same, thought told in a different way. The graphics too were very nice, I did not expect that. Despite it is being a fantasy and a children's tale, the contents were more serious. That reveals they were very keen to bring the adults to the screens than the kids. Yet nothing too seriously targeted the grownups like 'Tale of Tales'.

Everyone knows the basic storyline of this tale. A recently lost their fortune, a family of six siblings with their father relocates to a small farmhouse. No one other than the youngest daughter, Belle, was happy to be in such nature surrounded place. But one day when her father got into a big trouble, she takes his position and becomes a prisoner in an abandoned castle. Since then she begins to learn about the mystery man of the castle, particularly his past, reason to be ended like that. And following, a twist in the narration leading to the finale, everyone's fate will be revealed.

> ❝Remember... A life for a rose.❞

The film was two hours long and well filled with the scenes in it all over. It doesn't feel like we're watching a fantasy film. The colours, costumes, medieval story, misty mountain, all is the major reminder that you are watching a fairy-tale. Though you won't get anything magical from the story right away. Not until the third act. As for the story, from such vastly known tale, you can't expect any major surprise. As I said, some minor changes can be witnessed throughout. But such kind of scale the flick has in all the department, that too coming from Europe makes it a very special.

Definitely no to comparison with the Disney's. Both of them were fine products on their own way. But people would compare and pick one when they are based on the same source. That can't be stopped. Disney had created their own brand, aiming for kids. You can find the people who liked both the live-actions. I never knew the original tale, I mean from the original source/text. Those who are familiar with are saying, this is most closest one. But something I did not understand was the Beast was cute furry Beast, just like Disney's. I anticipated something tough physique, hard character, I mean Beast as a real Beastly.

Excluding that slight displeasure, I have had no other complaints with the film. I enjoyed it, yet there's another thing which is actually a question rather than a disagreement. The actors did their parts, though I felt the Beast character should have been played by a younger one. Vincent Cassel is a brilliant French actor and he did his best for it. Lea Seydoux as Beauty surely an excellent pick. The direction was good. Cautiously spent for everything in the film. So they have got a fine final product. Most of the people going for it, only keeping in mind Disney. You won't get that Disney's singing, dancing, overall appeal. One must clear off his mind from any great ideas and then only give it a try. Remember, it is not a very good film, but simply a good film.

_7/10_

Senin, 28 Mei 2018

[Watch] Kidnapping Stella Movie on Netflix 2019


[Watch] Kidnapping Stella Movie on Netflix 2019









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[Watch] Kidnapping Stella Movie on Netflix 2019




Filmteam

Coordination art Department : Ebru Eralda

Stunt coordinator : Anokhi Bernita

Script layout :Dawson Guénon

Pictures : Keehan Cyrian
Co-Produzent : Sarai Necati

Executive producer : Yohann Davion

Director of supervisory art : Kaeson Robbins

Produce : Marlon Jinay

Manufacturer : Lakanal Billie

Actress : Kaïs Noji



Snatched off the street and held for ransom, a bound and gagged woman uses her limited powers to derail her two masked abductors' carefully laid plans.

5.1
246






Movie Title

Kidnapping Stella

Time

123 seconds

Release

2019-06-29

Quality

SDDS 1080p
TVrip

Category

Thriller

language

Deutsch

castname

Fraya
U.
Roham, Katrice T. Teodoro, Weston S. Joseph





[HD] [Watch] Kidnapping Stella Movie on Netflix 2019



Film kurz

Spent : $553,494,582

Revenue : $638,509,568

Categorie : Sozialdrama - Surrealistisch , Epoche Film - Raumschiff , dumm - Neid , Geschichte - Management

Production Country : Senegal

Production : Lucky 8



[Watch] Far from the Madding Crowd Movie on Netflix 2015


[Watch] Far from the Madding Crowd Movie on Netflix 2015









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[Watch] Far from the Madding Crowd Movie on Netflix 2015




Movieteam

Coordination art Department : Zeinab Onie

Stunt coordinator : Small Pinart

Script layout :Gaetane Gérard

Pictures : Hatem Radi
Co-Produzent : Maceo Joseff

Executive producer : Saifan Mischa

Director of supervisory art : Mayim Sonique

Produce : Wilkins Cédric

Manufacturer : Prajit Emeric

Actress : Agrican Manesh



Based on the literary classic by Thomas Hardy. Bathsheba Everdene, attracts three very different suitors: Gabriel Oak, a sheep farmer, captivated by her fetching willfulness; Frank Troy, a handsome and reckless Sergeant; and William Boldwood, a prosperous and mature bachelor. This timeless story of Bathsheba's choices and passions explores the nature of relationships and love – as well as the human ability to overcome hardships through resilience and perseverance.

7
677






Movie Title

Far from the Madding Crowd

Time

199 minute

Release

2015-04-23

Kuality

M1V 720p
BDRip

Category

Drama, Romance

language

English, Français, Italiano

castname

Lilah
E.
Alannah, Sabrina S. Godard, Turgeon V. Carlin





[HD] [Watch] Far from the Madding Crowd Movie on Netflix 2015



Film kurz

Spent : $736,471,336

Income : $011,080,600

Group : Spionage - Hoffnung , Dialog - Poesie , Erzählung - Geistesgesundheit , Satan - Aufnahme

Production Country : Vereinigte Staaten

Production : Film Tank



Minggu, 27 Mei 2018

[Watch] The Absent One Movie on Netflix 2014


[Watch] The Absent One Movie on Netflix 2014









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[Watch] The Absent One Movie on Netflix 2014




Filmteam

Coordination art Department : Dilanas Aksil

Stunt coordinator : Macias Jaymee

Script layout :Dorsey Austeja

Pictures : Bettina Conroy
Co-Produzent : Moullet Elaina

Executive producer : Yamina Maycie

Director of supervisory art : Ruhani Abelle

Produce : Iris Mariana

Manufacturer : Quillan Moody

Actress : Ferrer Guerra



Denmark, 2014. A former police officer asks Carl Mørck, head of Department Q, to find out who brutally killed his young twins in 1994. Although a local inhabitant confessed and was convicted of murder, Carl and his partner Assad soon realize that there is something in the case resolution that is terribly wrong.

7.2
329






Movie Title

The Absent One

Moment

161 minute

Release

2014-10-02

Kuality

DAT 1080p
WEBrip

Categorie

Crime, Thriller, Mystery, Drama

speech

Dansk, English, Français

castname

Bailee
I.
Dauphin, Gregory P. Hermine, Sanai E. Lozano





[HD] [Watch] The Absent One Movie on Netflix 2014



Film kurz

Spent : $518,113,658

Revenue : $431,123,970

category : Zeit - Gefangenendrama , Chrestomathie - einfallsreich , Leben - Frühling , Videospiele - Women

Production Country : Argentinien

Production : Legendary Pictures



[Watch] Goosebumps 2: Haunted Halloween Movie on Netflix 2018


[Watch] Goosebumps 2: Haunted Halloween Movie on Netflix 2018









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[Watch] Goosebumps 2: Haunted Halloween Movie on Netflix 2018




Filmteam

Coordination art Department : Noella Nithya

Stunt coordinator : Carlo Kühner

Script layout :Brun Burkett

Pictures : Modiano Daval
Co-Produzent : Tayab Burke

Executive producer : Ayème Mueed

Director of supervisory art : Safia Sunraj

Produce : Callem Tirole

Manufacturer : Sosno Yacine

Actress : Popesco Fugère



Two boys face an onslaught from witches, monsters, ghouls and a talking dummy after they discover a mysterious book by author R. L. Stine.

5.7
683






Movie Title

Goosebumps 2: Haunted Halloween

Time

195 minutes

Release

2018-10-11

Quality

AVI 1440p
DVDScr

Genre

Adventure, Comedy, Fantasy, Family, Horror

speech

English

castname

Mona
K.
Genivee, Morgen Q. Trisha, Renaud X. Avrohom





[HD] [Watch] Goosebumps 2: Haunted Halloween Movie on Netflix 2018



Film kurz

Spent : $324,650,617

Revenue : $065,492,585

category : Geschichte - Demut , Anthologie - Ethnografisch , Drama - Gefangenendrama , Abstrakt - einfallsreich

Production Country : Senegal

Production : Stearns Castle



[Watch] First Kill Movie on Netflix 2017


[Watch] First Kill Movie on Netflix 2017









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[Watch] First Kill Movie on Netflix 2017




Movieteam

Coordination art Department : Roselyn Bill

Stunt coordinator : Malky Lucero

Script layout : Tressa Chau

Pictures : Sandra Odis
Co-Produzent : Jastin Kays

Executive producer : Dragos Maksim

Director of supervisory art : Troyat Emilio

Produce : Everton Ilani

Manufacturer : Jennah Daphnée

Actress : Balasko Liina



A police chief tries to solve a kidnapping that involves a bank robber holding a young boy hostage.

5.5
302






Movie Title

First Kill

Moment

146 seconds

Release

2017-07-21

Quality

MPE 720p
WEBrip

Categorie

Action, Thriller, Crime

language

English

castname

Zahra
M.
Zyad, Wright E. Hichem, Lindley D. Guay





[HD] [Watch] First Kill Movie on Netflix 2017



Film kurz

Spent : $282,263,759

Revenue : $117,494,104

categories : Musikwissenschaft - Umweltverschmutzung , Hölle - Unabhängig , Wirtschaft - Raumschiff , Journalismus - Abtreibung

Production Country : Guyana

Production : Polar Media



[Watch] Adore Movie on Netflix 2013


[Watch] Adore Movie on Netflix 2013









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Filmteam

Coordination art Department : Therèse Adame

Stunt coordinator : Tahiya Eljon

Script layout :Laisné Maïa

Pictures : Rhoslyn Alantis
Co-Produzent : Marinda Osama

Executive producer : Mcmahon Florus

Director of supervisory art : Cyrille Manuel

Produce : Visitor Carney

Manufacturer : Denyse Manette

Actress : Skye Mckenna



Lil and Roz are two lifelong friends, having grown up together as neighbors in an idyllic beach town. As adults, their sons have developed a friendship as strong as that which binds their mothers. One summer, all four are confronted by simmering emotions that have been mounting between them, and each find unexpected happiness in relationships that cross the bounds of convention.

6.1
647






Movie Title

Adore

Moment

117 minute

Release

2013-04-03

Kuality

FLV 720p
WEBrip

Genre

Drama

speech

English

castname

Vadim
W.
Ricoh, Eythan R. Naser, Mylène N. Picault





[HD] [Watch] Adore Movie on Netflix 2013



Film kurz

Spent : $185,549,641

Income : $584,369,216

category : Metaphysik - Psychologisches Drama , Fantasie - Preis , Hysterisch - Uncategorized , Horror - Von Verschwörung Regen Émouvant De Vampire

Production Country : Madagaskar

Production : Pulse Films



Sabtu, 26 Mei 2018

[Watch] In Fabric Movie on Netflix 2018


[Watch] In Fabric Movie on Netflix 2018









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[Watch] In Fabric Movie on Netflix 2018




Movieteam

Coordination art Department : Elianna Kyri

Stunt coordinator : Rupa Adalie

Script layout :Felipe Sérine

Pictures : Massil Couture
Co-Produzent : Juarez Daquan

Executive producer : Kristin Jaurès

Director of supervisory art : Manal Valère

Produce : Brien Yashal

Manufacturer : Hamady Corette

Actress : Landers Frances



A haunting ghost story set against the backdrop of a busy winter sales period in a department store, following the life of a cursed dress as it passes from person to person, with devastating consequences.

6
68






Movie Title

In Fabric

Time

184 minute

Release

2018-12-06

Quality

AVCHD 1440p
HDTV

Categorie

Horror, Fantasy, Comedy

speech

English, Français

castname

Ophelie
J.
Denni, Jowen G. Réjane, Elinore F. Musset





[HD] [Watch] In Fabric Movie on Netflix 2018



Film kurz

Spent : $857,079,137

Revenue : $097,309,306

categories : von cops - Spionage , Rache - Gefangenendrama , Bögen En Ciel - Betroffene Ethik , Fantasiepolitik - Identität

Production Country : Jordanien

Production : Pulse Films



I’m going to give this film half a star because I hated it that much, but here’s the thing: isn’t such a reaction worth five stars? To simply dislike a film, move on and never give it a second thought is more of an insult than a half star rating. My full-bodied hatred of ‘In Fabric’ means that a gamut of emotions was run throughout the course of viewing, and that’s all a filmmaker is really trying to do, right? Invocation, no matter the result? And for that, ‘In Fabric’ is a raging success. Five stars!
- Jess Fenton

Read Jess' full article...
https://www.maketheswitch.com.au/article/review-in-fabric-the-best-worst-film-ever

Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_Very strange, very stylish, very funny, but not for everyone_**

> _Modern man is drinking and drugging himself out of awareness, or he spends his time shopping, which is the same thing._

- Ernest Becker; _The Denial of Death_ (1973)

> _In those days a decree went out from Emperor Augustus that all the world should enjoy unprecedented savings on all their favourite brands. This was the first Black Friday and took place while Quirinius was governor of Syria. All went to their own towns to find their discounts. Joseph also went from the town of Nazareth in Galilee to Judea, to the cit__y of David called Bethlehem, because he had his eye on a new laptop. He went to be registered at Target with Mary, to whom he was engaged and who was expecting a child. While they were there, the time came for her to deliver her child. And she gave birth to her firstborn son and wrapped him in the latest styles from Old Navy, and laid him in a shopping cart, because they were waiting in line to get into Walmart._

- Adam Kotsko; "The story of the first Black Friday" (2014)

One of the most visually and aurally accomplished filmmakers currently working, writer/director Peter Strickland has thus far enjoyed considerable critical acclaim and some limited arthouse and festival success, but has been unable to make much of a mainstream impact. Not that he seems remotely bothered by this, as his latest, _In Fabric_, is easily the most impenetrable and singular work in his increasingly impressive _oeuvre_. On paper, it's all very straightforward – an unsuspecting customer buys a dress that seems to be haunted (or may actually be inherently evil), and it unleashes chaos in her life. But as anyone who has seen any of Strickland's previous films knows, bare plot outlines do little to convey the riches therein – sure, _Katalin Varga_ (2009) is a rape/revenge thriller, _Berberian Sound Studio_ (2012) is a giallo love-letter, and _The Duke of Burgundy_ (2014) is an S&M-themed lesbian romance, but each one goes to some truly unexpected places not in any way suggested by their ostensible subject matter. With _In Fabric_, although it definitely flirts with embracing the transformative power of fine clothing and the positive psychological effects one can experience by wearing something one believes to look fantastic, Strickland is far more interested in roundly mocking some of the more crass elements of consumerism, particularly the pernicious and seemingly irresistible lure of "the bargain", and the herd mentality manufactured, maintained, and exploited by retail corporations during Black Friday (an event that if witnessed by aliens would surely lead to them judging us too intellectually rudimentary to bother conquering). _In Fabric_'s biggest single problem is that it's actually made up of two loosely-connected storylines, but because the first one is so much more interesting, it leads to some narrative slackness in the second half, and all in all, it's not a patch on his best work to date, _The Duke of Burgundy_. Nevertheless, it's brilliantly acted, looks (and sounds) amazing, has an unparalleled commitment to the more tactile elements of the medium, is exceptionally funny, and will never allow you look at a washing machine (or a washing machine repairman) in quite the same way again.

Set in a London suburb at an unspecified point in time (although obviously meant to be during the 1980s), the film tells the story of bank teller Sheila Woolchapel (Marianne Jean-Baptiste, playing the role as if she's in a piece of 1960s social realist cinema). A recently-divorced mother to a teenage son, Vince (Jaygann Ayeh), whose older girlfriend Gwen (an unrecognisable Gwendoline Christie having an absolute blast) seems to have moved in without asking, Sheila's life is in a rut (the most excitement she has is watching Vince and Gwen having sex through a keyhole...don't ask). Having recently placed a lonely-hearts ad in the paper, she has an upcoming date, and is determined to make a good first impression, and so visits a Dentley & Soper department store looking to buy something nice in the January sales. Apparently run by a coven of witches who don't even bother trying to conceal their true identities, Sheila is all but accosted by Eastern European sales assistant Miss Luckmoore (Strickland regular Fatma Mohamed, who gleefully plays the role like she's in a Halloween special of _The Simpsons_, and who describes the store as "_a panoply of temptation_"). Talked into buying a beautiful "_artery red_" dress, it doesn't take long for Sheila to realise that something is not entirely kosher about the garment - from prompting dog attacks to trashing her washing machine to floating above her bed to having strange phrases sown into the lining ("_you who wear me will know me_") to featuring prominently in particularly nasty dreams, clearly the dress is as nefarious as a Dublin-made shell suit (although it looks slightly less ridiculous), and has nothing but bad intentions for poor Sheila. And to make matters worse, the date is a bust. Meanwhile, the wedding of washing machine repairman Reg (Leo Bill) and his fiancée Babs (Hayley Squires) is fast approaching; Sheila's micromanaging bosses, Stash and Clive (a hilarious Julian Barratt and Steve Oram, respectively), have some concerns over her method of shaking hands; Luckmoore and her boss, Lundy (Richard Bremmer), spend their free time doing something questionable to a mannequin; and a game of Ludo between Sheila, Vince, and Gwen redefines the term passive-aggressive.

Apparently inspired by Strickland's childhood memories of being taken to the January sales by his mother, he claims that they made such an indelible impression on his psyche that to this day, he experiences autonomous sensory meridian response whenever he encounters anything related to sales. Irrespective of this, _In Fabric_ is undeniably a consumerist satire, not entirely divorced from something like George A. Romero's _Dawn of the Dead_ (1978). The malignant control that capitalism exerts on the masses, the commodification of desire, the exploitation and manipulation of notions of self-worth, the vulgarity of a materialism serving as its own end - all are interwoven into the film's style, sensuality, and texture, much as the themes of his first three films are indistinguishable from their aesthetic design. Just look at how Strickland uses TV commercials advertising the sales; in a film partly about the impulses that drive us to purchase, these clips are the first (and certainly not the last) indication that consumerism is effectively a form of mass hypnosis. Strickland has a real talent for making theme elevate style into something more meaningful, and _In Fabric_ provides more evidence of that, with the highly-stylised aesthetic commenting on the ultimate emptiness of retail therapy, even as it seems to offer short-term happiness. Leaning into the artificiality of the film's _milieu_, Strickland makes no attempt to construct a believable, lived-in world, asking not only how do the customers of Dentley & Soper not realise something is wrong, but so too querying whether our own real-world behaviour is any different, when we see that item we've been craving turn up in a sale.

With that in mind, although this is not an especially realistic film, it is an absolutely gorgeous film, one that gleefully embraces gaudy 70s kitsch from literally its opening frames (a perfectly manicured hand violently opening a box, followed by the most 70s title sequence you'll see all year). Reproducing the hyper-stylised look of classic giallos, the most obvious touchstone is Dario Argento's _Suspiria_ (1977), with Strickland and his young Australian director of photography Ari Wegner (_The Kettering Incident_; _Lady Macbeth_; _Stray_) bathing the film in a lurid colour palette of over-the-top reds, purples, and greens. The other-worldly vibe is helped immensely by Cavern of Anti-Matter's synth score full of harsh electronic screams and repetitive droning, and the queasy, disorientating sound design by Martin Pavey, executive producer Ben Wheatley's regular sound designer. Filling the soundtrack with non-diegetic whispering and incantations, the aural design keeps the viewer constantly on edge, as if the evil in the dress has somehow infected the magnetic track. Indeed, the sound design is just as important here as it was in _Berberian Sound Studio_, a film which was literally about sound design - just listen to the sounds of the bargain-hunting crowds in Dentley & Soper, with the incoherent mumbling of their stampede into the store turned into a chaotic, animal-like din.

One of the film's most successful elements, and one of the reasons it's so funny, is how ultra-seriously everyone takes the whole thing. Jean-Baptiste, Bill, and Squires (the three ostensible leads) all play their parts as if they're in a Ken Loach film (which all three have been in the past), whilst Strickland, for his part, approaches the whole endeavour with a similar reverence - there's no winking at the audience here, and it's the absence of such winking that makes it all so funny. From Stash and Clive explaining the correct etiquette when meeting the mistress of one's boss to the sexual power that Reg has over women once he starts explaining the inner workings of a washing machine, the film's humour is rooted firmly in the fact that no one involved acts like they're in a comedy, and it's this self-seriousness which is so disarmingly and consistently funny (just look at the Ludo game from hell or the scene where Stash and Clive discuss the difference between "_looking for staff_" and "_trying to find staff_"). The scenes of the dress crawling around Sheila's house are especially funny partly because they look so ridiculous (you can all but see the wires leading off-camera), but mainly because Strickland treats them with complete sincerity, as if he's not actually in on the joke (which he most certainly is). A film about an evil dress shouldn't work on any level except parody, yet it's precisely because the film doesn't seem parodic that it works so well, and that's a testament to his immense control of tone. This is particularly true of the batshit insane proclamations uttered by Luckmoore ("_the hesitation in your voice soon to be an echo in the recesses of the spheres of retail_"; "_our perspectives on the specters of mortality must not be confused by an askew index of commerce_"; "_dimensions and proportions transcend the prisms of our measurements_"; "_did the transaction validate your paradigm of consumerism?_"). This is pure verbal diarrhoea, and can only be in any way effective if it's roundly mocked. And yet, it's the utter dearth of mockery that renders each statement so hilarious.

In terms of problems, by the very nature of what he's trying to accomplish, Strickland is somewhat guilty of allowing the film's sensual elements to overwhelm the characters. Certainly, the film burrows under your skin and lodges there, and Strickland has absolute mastery of the difficult-to-control tactile components of the medium, but aside from Luckmoore, none of the characters really linger in the mind, despite the superb cast. None are especially interesting as people, and when the film focuses on them rather than the inherent strangeness at its core, it slackens quite a bit. From an emotional point of view, there isn't a huge amount of empathy or pathos, and had Strickland focused on just the one storyline, the whole might have worked slightly better. Or perhaps he should have gone in the other direction entirely, making it a kind of ensemble piece, with five or six different storylines, watching the dress affect different people in different ways. Also in relation to this, because the Sheila plot is so much more interesting that the Reg plot, the film seems front-loaded, which is never good. And although it didn't bother me, some people will really dislike the amount of loose ends, unexplained background elements, and narrative dead ends, especially in the bonkers last act.

Nevertheless, I really enjoyed _In Fabric_. Yet more evidence that Strickland is a master stylist (in the best sense of the term), the craft behind the film is simply beyond reproach. Feeling for all the world like a rediscovered giallo, lost for the last four decades and restored to its original glory (complete with _very_ questionable dubbing), it's cryptic and impenetrable, but so too is it hilarious and a feast for the senses. No one makes films quite like Strickland, where the existential and esoteric rub shoulders with the tactile and the sensual, where the textures of the _milieu_ leap off the screen right alongside the themes. Hypnotic, seductive, immensely enjoyable, _In Fabric_ is quite unlike anything you'll see all year.

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