Movie Title	Maelström
Moment	162 seconds
Release	2000-09-08
Quality	MPEG-2 1080p Bluray
Genre	Drama
speech	Français, English, Norsk
castname	Nicos J. Leola, Savoy T. Ximena, Korbin R. Orna

[HD] How to [Watch] Maelström Online 2000

Film kurz

Spent : $097,423,766

Income : $971,609,522

Group : Autobiografie - Abtreibung , Dokumentarfilm - Weihnachten , Bösewicht - Reality Fear Object Magic , Menschlichkeit - Impressionist Lernen Judicial Floors Wildlife Film

Production Country : Laos

Production : Juice TV

Movie Title	Foxtrot Six
Time	128 minute
Release	2019-02-21
Quality	WMV 1440p DVDrip
Genre	Action, Science Fiction, Drama
speech	English
castname	Areeb Q. Yoni, Nevaeha L. Fannie, Janey Z. Antone

[HD] How to [Watch] Foxtrot Six Online 2019

Film kurz

Spent : $383,116,523

Revenue : $323,452,805

Categorie : Zweitens der Name - Neid , ParParties - Kampfkunst , Tod - Du Son , Great - Brüder

Production Country : Andorra

Production : Emilia Produções

Movie Title	Bad Genius
Moment	124 minutes
Release	2017-05-03
Quality	DAT 1440p DVDScr
Categorie	Comedy, Drama, Crime
language	ภาษาไทย
castname	Demy D. Arman, Chayma Q. Marwen, Ameya V. Caetano

[HD] How to [Watch] Bad Genius Online 2017

Film kurz

Spent : $188,082,453

Revenue : $660,021,164

category : Test - Vernachlässigung , Strategie - Soundtrack , Strategie - Military , Geist - einfallsreich

Production Country : Nordkorea

Production : Altermotion Pictures

Movie Title	Split
Clock	121 seconds
Release	2016-09-26
Quality	SDDS 1080p DVD
Category	Horror, Thriller
speech	English
castname	Kamryn G. Geneva, Ameila E. Haïm, Mylène Q. Ousmane

[HD] How to [Watch] Split Online 2016

Film kurz

Spent : $032,342,903

Income : $743,222,157

Categorie : These - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Porträt - Bondage , Scheitern - Frühling , Kommunismus - Exil

Production Country : Vereinigte Staaten

Production : WindBreaker Productions



There has been much discussion about whether or not it is socially acceptable to watch Split. I'm gonna skip right over all of that and talk purely about the movie itself.

Anya Taylor-Joy is good, but McAvoy is what makes Split worthwhile. The heavily touted twist/reveal was all but a non-event, even to a M. Night alum like myself. Though it is certainly (in my opinion) the best work The Shamhammer has brought out since at least Signs, it's hard to say that its successes rest on his shoulders. Again, it is for McAvoy that we really owe praise, who, with the exception of his role as the lead in Filth, gives his career best performance.

Final rating:★★★ - I personally recommend you give it a go.
Split was a movie that I was a bit weary to see, I had been bitten by M. Knight before and I wasn't sure if this movie would be worth while. But the trailers looked great and I had always thought James McAvoy was a seriously underrated actor.

Split surprised me. I loved this movie. Ann Taylor-Joy was decent in the film and the Dr was great, but McAvoy knocked it out of the park. Being able to portray all these different personalities with no props such as wigs or makeup shows his talent. It was amazing how one personality made you feel uneasy and perplexed and the next had you smiling and feeling like you were really staring at a strange child. Bravo McAvoy.

The twist at the end made me love this movie even more. Though I'm not sure if you can really cal it a twist. A "reveal" might be the better word for what the audience learns. Whatever you want to cal it, the reveal at the end made me excited to see what's next!

The only thing I didn't like about this film was the unresolved conflict between Ann Taylor-Joy's character at the end of the film.
Besides that, I loved it. Definitely worth watching.
**Didnt see the review section at first so,I posted on the forums**

Not a fan of The director since Unbreakable. It was slightly above average but no whee near the quality of The Sixth Sence. I don't know why I keep watching his movies, probably hoping one will be the same extraordinary quality. With all the pre-release buzz I thought this was finally that movie.

I was so disappointed. I rated it slightly lower than Unbreakable. I don't know exactly where it where it went off the rails, but it never held my attention (and I'm not ADHD- I sit though theee hours of a good bio pic.

A good part of this was the girls trying asinine ways to escape; at other time we see McAvoy play several personalities half heartily. After all the award talk I expected a much better and diverse McAvoy. Sadly, just like the majority of Night's films he has his actors perform methodically. It actually felt McAlvoy was pushing his talents against the brick wall of what the director wanted.

He wasn't the only actor who underplayed the role. So did the doctor and the three teenage girls. First, after all these late night calls for extra appointment why didn't she get upset earlier or pull a personality up (which she has stated she can do) to discover the emergency instead of A casual bye--you-leave when another dominant personality shows up to the appointment.

I rate this in the same category of Nights's films except the quality Sisth Sense and Devil, which he did not direct and only wrote the original story,

As for,the ending, I felt it was a cheap shot. If the point was they are in the same time, the message came across far too,strong. If it is a hitnt to an Unbreakable 2 I'll pass and see another big screen feature.
I read some reviews and gave this movie a shot. I was very disappointed.

M. Night Shyamalan's last good movie, in my opinion of course, was The Village, where he had control over his style.

In Split he tries to use the same formula, but it doesn't work. There was no build up in reveling the plot, and then when we get to the end the feeling I got was : "Is that it ?".

Sure all the actors were good, but that didn't make the experience for me any better.
**The 24th's about to explode!**

The much needed break for the director Shyamalan. It has been over a decade since the last time he was lauded like this for his work. On the paper, it was a simple split personality disaster theme, but cinematically clicked so well. Firstly the performance of James McAvoy made this film a very success. I have seen his lots of films, but if I had to choose only one of his great, that's would be easily this one. A straightforward story, no complication to understand, or needed to explain everything it revolves. Then suddenly the final act turned into a different mode. With a twist, all comes to end.

The three teenage girls have been kidnapped at the beginning. Following that, the victims do not know the situation, but makes a couple of bad moves, except one girl. As the film progress, many secrets revealed to us, particularly about the kidnapper. It all developed to lead in one direction where an unimaginable thing going to happen. How and what result it brings told in the following parts.

The perspective of the story was not really a thing in this. That means it does not take sides, but gives you the option to choose. And most of the viewers would root for the weird girl. It was Anya, and she's having a wonderful career in early stage. Could becomes one of the best if she contributed all her performances in the same pace and intensity. The music was equally awesome. Created the perfect atmosphere along with the visuals. I could have not asked the better one. Best thriller of the year. You will be stupid to miss it out if you love films.

_8/10_
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James McAvoy plays Kevin, a man with a genetic disease which allows him to have multiple personalities. His trusted psychiatrist, Dr. Karen Fletcher (Betty Buckley), knows 23 of them, but there's one hidden from everyone who desires to dominate over all the others. Compelled by one of his personalities, Kevin abducts three girls, where Casey Cooke (Anya Taylor-Joy) becomes their leader to try and escape the "crazy" man.

Is this the return to form by M. Night Shyamalan, who has been struggling for more than a decade to release a major success? Is Split the movie that brings him back to the spotlight?

Once again, Shyamalan's storytelling is very original, unconventional and ultimately mind-blowing. Instead of establishing everything the audience needs to know about the characters right at the beginning, he gradually develops them, giving them haunting backstories and spreading parts of it throughout the runtime. That said, this film isn't for everyone. The audience needs to trust Shyamalan and be patient. Really patient. Don't start taking notes about something that you think it's negative because once you reach the third act, everything changes and suddenly it all makes sense. The screenplay is not as twisty as Unbreakable, for example, but it demands absolute attention in order to catch up on all the things that matter (and the ones that don't, as well).

The production and editing team have to be congratulated due to their seamless work. From the camera work to the extended one-take sequences, as well as the environment surrounding the characters, everything feels real and looks amazing. The soundtrack ... Let me just say that this element is so, but so much relevant to the conclusion of this movie. I can't really say anything else without spoiling the ending, so I'll leave a note after my rating at the end of the review with a MAJOR SPOILER.

As for the cast, I'll start with the man that I honestly think should have received an Oscar nomination: James McAvoy. You know, there's a big difference in portraying a non-fiction character instead of a fiction one: concerning the former, you can't really escape the true nature of the person you are playing, but with the latter, as an actor/actress, you have to deliver yourself 100% to the role for it to be believable ... And God, does McAvoy deliver! He gives 200% in what could be his best performance to date. Do you think Andy Serkis had problems portraying both Gollum and Sméagol at the same time? Well, imagine 7 ... or 8 characters. I lost the count. All in all, James McAvoy, sir, congratulations! You are superb!

Anya Taylor-Joy is also incredible as Casey! Her character has the most intriguing story of the three girls, and she's the one who assumes the leadership of the group once the kidnap occurs. Her initially unknown past helps her through the traumatic situation, but it's really her rather captivating backstory that grabbed my attention. It's fundamental to the understanding of the ending and Anya does a terrific job. I also want to give a small praise to Betty Buckley for a beautiful and necessary interpretation of Dr. Fletcher, a character that offers the audience some knowledge of Kevin's disease.

As for the other two kidnapped girls, well ... They're my main issue with the film since they don’t have a good reason to be there. Claire (Haley Lu Richardson) and Marcia (Jessica Sula) aren't the main characters, and they don't have that much screen time, but their dialogue still feels extremely forced and filled with a lot of nonsense. The ending of the story might not be as twisty as in other Shyamalan's installments, but I hope that people don't give up to false expectations. The classic Shyamalan's twisty ending isn't a necessary attribute of his movies, but the truth is that the twist is not the one you think it is. Once again, the note at the end of my review will clarify this.

In the end, Split is Shyamalan's return to his old early 2000's self. Brilliantly unconventional storytelling, a lot of suspense, some very captivating subplots and a fantastic editing and production team behind him. The soundtrack plays a huge role in this film, as well as James McAvoy, who delivers his career-best performance. Anya Taylor-Joy is also pretty extraordinary, something that can't be said about her fellow friends who portrayed two bland characters. The ending brings the classic twist that makes everything more understandable, and I gotta say ... I love this film, and it is one of 2017's best!

MAJOR SPOILER BELOW

As I said above, the soundtrack plays a huge role in the ending twist. That's because the soundtrack that plays right before the title of the movie appears on the screen, is the same one as in the third act of Unbreakable.

This is one of the many clues throughout the film that hint at the idea that Split belongs to Unbreakable's universe. Naturally, after the title shows up, there's a scene with David Dunn (Bruce Willis) that confirms this theory, but these are little details that make Shyamalan into a great director and screenwriter. Also, it's a pity that I've only watched these movies after Shyamalan stating that they were part of an eventual trilogy. Not that I was not surprised at the end of Split, but it did remove that first impact of pure shock in knowing that two films separated by 17 years (in real life) are part of the same universe.

Both movies end up falling into the "superhero" genre. Unbreakable is the story of our "hero" who spent his whole life sad because he wasn't doing "what he was supposed to do", and Split is an origin story of our "villain". If Glass delivers, this might be one of the best “superhero” trilogies ever.

Rating: A
You like to make fun of us, but we are more powerful than you think.

Split is written and directed by M. Night Shyamalan. It stars James McAvoy, Anya Taylor-Joy, Betty Buckley, Haley Lu-Richardson and Jessica Sula. Music is by West Dylan Thordson and cinematography by Mike Gioulakis.

Three girls are kidnapped by a man with a diagnosed 23 different personalities. They must try to escape before the apparent emergence of the 24th - known as The Beast...

We now know that Split is the second instalment of a trilogy by Shyamalan that began with Unbreakable and is ending with Glass (released 2019). Always proving to be a most divisive director/writer/actor, Shyamalan has returned to the sort of noticeable form that had him earmarked in his early days as a director to follow - with the proviso that inevitably this is going to still infuriate some for its handling of the subjects at hand.

The plot trajectory is simple enough, girls kidnapped by a patient suffering from multiple personality disorder, as the girls in fear try to escape, a number of his personalities put in an appearance. Which builds up to the finale, which explodes after following on from the suspense and dread atmospherics so beloved by the director. In the mix joining the mental health issue with our main protagonist is a good meaning doctor (naturally), and the spectre of child abuse rears its ugly head. So not a movie to be cheered up by then! While if looking for a detailed and attentive look at the mental health issues to hand you will be disappointed.

However, there is a style to the picture in how it draws you into the predicament of the main players, boosted no end by McAvoy on irresistible form. Given licence to chew every scene, he delivers his various characters with great relish and no little amount of skill. Props to for Taylor-Joy, who as the lead kidnappee has deftly blended youthful innocence with resourceful strength (aided by Shyamalan's writing of course). Conversely, Shyamalan is guilty of just making a pic for entertainment purpose, which works as it's a very good creepy thriller with its black humour moments, but the mental health plot devices ensure his gimmicks will not be welcomed by all. 7/10

Movie Title	The Gentlemen
Moment	175 minutes
Release	2020-01-01
Kuality	SDDS 1080p DVD
Categories	Action, Crime, Comedy
speech	English
castname	Brock O. Sweetin, Almeda X. Brianne, Agathe J. Leondra

[HD] How to [Watch] The Gentlemen Online 2020

Film kurz

Spent : $263,772,133

Revenue : $118,714,861

Group : Dramatischer Dokumentarfilm - epidiktisch , Bösewicht - initiativ Klassische Verzweiflung , Musikwissenschaft - nostalgisch , Menschlichkeit - Geistesgesundheit

Production Country : Andorra

Production : Elite Daily



While ‘The Gentlemen’ is a big step forward from Ritchie’s latest films, it’s not the return to form fans may be hoping for. That said, there is still fun to be had here, and it may work better at home than a cinematic experience.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-the-gentlemen-underwhelming-but-fun-return-to-form-for-guy-ritchie
**_Nothing too unexpected here, but it's funny and hugely entertaining_**

>_You don't crucify people! Not on Good Friday!_

- Harold Shand; _The Long Good Friday_ (1980)

The Gentlemen is a return to the London gangster milieu where writer/director Guy Ritchie first made his name with films such as _Lock, Stock and Two Smoking Barrels_ (1998) and _snatch._ (2000). His first foray into this territory since the disappointing _RocknRolla_ (2008), _The Gentlemen_ comes at the end of over a decade making big-budget studio-backed crimes against cinema such as _Sherlock Holmes_ (2009), _Sherlo__ck Holmes: A Game of Shadows_ (2011), _The Man from U.N.C.L.E_. (2015), _King Arthur: Legend of the Sword_ (2017), and _Aladdin_ (2019). Granted, the film seems stuck in the last decade in more ways than one, it's highly questionable that the only gay character is a slimy man-whore into S&M, its token female character barely even manages to rise to the level of tokenism, and Ritchie does absolutely nothing new here – if you've seen _Lock, Stock_ or _snatch._, you'll know pretty much exactly what to expect – but _The Gentlemen_ is still hugely entertaining. Most of the jokes land, the dialogue is as sharp and expletive-laden as ever, the cast are having a ball, and the self-reflexivity, although a little forced in places, works well for the most part. And yes, the plot is as derivative as it gets, but there's no denying Ritchie has injected real verve into what looks on paper like an inconsequential C-movie. _The Gentlemen_ definitely won't change your life, but it will make you laugh.

The film begins as sleazy private eye Fletcher (Hugh Grant) arrives unannounced at the home of Ray (Charlie Hunnam), right-hand man to Mickey Pearson (Matthew McConaughey), a suave Oxford-educated American ex-pat who controls a huge marijuana empire in London, valued at around £400 million. Several months prior, Fletcher was hired by tabloid editor Big Dave (the great Eddie Marsen) to dig up dirt on Pearson with the aim to ruin him – Dave's revenge for Pearson blanking him at a gala. Fletcher has written a screenplay based on his investigation (titled _Bush_) and tells Ray that unless Pearson pays him £20 million, he will hand over everything he has to Dave. Meanwhile, Pearson has decided to sell his whole operation, but when word gets out, all hell breaks loose, as the various interested parties vie for advantage. Most of the subsequent film takes the form of Fletcher narrating his exploits to Ray, explaining how he learned so much about Pearson and what he does. Along the way, we meet characters such as Rosalind (Michelle Dockery), Pearson's ruthless and unflappable "_cockney Cleopatra_" wife, who runs a garage with an all-female staff; Berger (Jeremy Strong), Pearson's preferred buyer; Dry Eye (Henry Golding), the ambitious but brutal scion of a Chinese syndicate, who hopes to undermine Berger; Coach (a scene-stealing Colin Farrell), who runs a boxing gym for troubled youths and who inadvertently finds himself in the middle of everything; a plethora of property-rich-but-cash-poor landed gentry who are essential to Pearson's empire; a Russian oligarch; and a street gang called The Toddlers.

Aesthetically, _The Gentlemen_ is very much in the mould of Ritchie's previous gangster movies. Because Fletcher frames his narration as a screenplay, it allows Ritchie to employ a multitude of self-reflexive devices – a smash cut coinciding with Fletcher asking Ray to visualise a smash cut; voiceover transitioning into spoken dialogue; on-screen captions telling us who's who; animated maps; YouTube fight porn (don't ask); freeze-frames; rewinds; a shot of film running through a projector etc. At one point, Fletcher is discussing the merits of anamorphic (2.39:1) over 1.78:1, and the film's aspect ratio changes accordingly. At another, he's arguing for the merits of 35mm celluloid over digital, saying he likes the grain of celluloid photography, and the film duly switches formats. Such playfulness means that it never for a second takes itself too seriously, with probably the most self-reflexive moment coming towards the end, when we visit Miramax's offices in London (Miramax produced the movie), and we see a poster for Ritchie's _The Man From U.N.C.L.E._. All of this is immensely fun, with the more you know about the mechanics of assembling a film, the more humorously
self-reflexive the film becomes – Fletcher even acknowledges his own role as an unreliable narrator, and a discussion of the importance of sound leads to his dismissal of Francis Ford Coppola's _The Conversation_ (1974) as "_a bit boring._"

In terms of themes, the most obvious is something Ritchie has examined before – the idea that the economic divide between gangsters and aristocrats masks their practical similarities. Pearson straddles this divide; he's a gangster, but so too is he an aristocrat (in all but name), and the smooth running of his business depends on both classes – the aristocrats who he needs to grow his product (for reasons that constitute a bit of a spoiler, so I'm not going to get into it) and the gangsters who distribute that product. The clash between the pompous insularity of the English upper class and the perceived uncouthness of the lower class has been done to death in both literature (Emily Brontë's _Wuthering Heights_ (1847) springs to mind) and film (Nicolas Roeg and Donald Cammell's _Performance_ (1970), for example), and although Ritchie doesn't say anything even remotely new about it, it still forms an interesting textural background – gentrification is ever present; there are ironic references to the posh areas of Croydon; Ray, a working-class Newcastle native, is a cleanliness freak who eats wagyu steak and lives in a mansion, and when he's dispatched on a mission to an uncivilised working-class area, he explains he "_just hates them junkies_," seeing them as very much his social inferiors.

One of the most central scenes sees a group of obnoxious privileged teens holed up in a council flat, whilst on the street below, a gang of machete-wielding delinquents terrorise the neighbourhood. As Ray and his men clash with the gang, there's a real sense of old vs. new – traditional gangsters fighting it out with internet-savvy hoodlums who don't give a damn about tradition or respect. There are a lot of laughs to be had with these issues, such as Ray and Coach having problems pronouncing the name Phuc, or Coach debating with one of his boxers whether it's racist to call someone "_a black c**t_", even though they are black and they are a c**t. And again, none of this is presented as even remotely serious.

The biggest problems with the film are probably its lack of depth, and the familiarity of the presentation, characters, and _milieu_ – there's nothing here you haven't seen in previous Ritchie films. And as you would expect, there isn't much in the way of emotional maturity or narrative complexity. It's all very surface-level, and it makes no apologies for such.

Nevertheless, I thoroughly enjoyed _The Gentlemen_. It's a funny as hell caper and the actors are clearly having terrific fun. It might be formulaic and overly familiar, but it's also immensely enjoyable.
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I've always been a fan of Guy Ritchie's style. While I do admit that he tends to overuse his own techniques (like he does in this movie), he always manages to bring something unique to his projects. He delivered a pretty good live-action remake of Aladdin while offering his own take (Jasmine has more compelling motivations). I surprisingly enjoyed King Arthur: Legend Of The Sword, but the ending is disappointing. The Man from U.N.C.L.E. and the Sherlock Holmes films are entertaining and fun, to say the least. So, yes, I was sort of excited to watch The Gentlemen.

With such a stellar cast, how can someone not be interested in an old-fashioned crime-thriller? First of all, I want to get this out right away: it's a movie that anyone can enjoy, sure, but for people who know how films usually work, Ritchie applies a storytelling method that's going to make every "filmmaking nerd" lose their minds. Hugh Grant (Fletcher) is mostly the narrator of the entire story, and he's basically interpreting a "version" of Guy Ritchie telling the story of his own "flick".

This means Fletcher goes on and on about film specs like aspect ratios and film gauges but also helping the audience understand what's happening, by announcing if the story is near its climax or if "the plot thickens". It's a captivating and funny way of using exposition without it being lazy or forced. Grant also makes sure to ask the questions the audience should be asking. This way, even people who don't like to think when they go to the cinema (yes, they exist) will be able to follow the mystery unraveling.

Obviously, the unbelievable cast makes this movie so much fun. Matthew McConaughey is a masterful actor when it comes to carrying long dialogues. Everything he says is always engaging, either by the way he says it, his expressions, or the physical intensity he puts into his own words. Charlie Hunnam (Ray) probably delivers his most amusing performance to date. Ray is definitely going to be a fan-favorite character, and his interactions with Fletcher (with who he spends most of the runtime) are hilarious.

Henry Golding (Dry Eye), Michelle Dockery (Rosalind Pearson), and Jeremy Strong (Matthew) all give excellent performances, but Colin Farrell is the best of this group of characters as Coach. His scenes are some of the funniest sequences of the entire year so far. From his accent to the action he eventually gets into, he's one of those characters who will leave everyone wanting more. As for the story, it's undoubtedly one of the most complex screenplays I've seen in a while. Comparing with Knives Out, the narrative structure ends up being a bit similar.

Both possess tons of twists and turns that will make everyone scratch their heads for quite some time. Both show different events of the story, featuring a specific character at a particular time in a distinct manner (flashback, flashforward, simple exposition). However, The Gentlemen abuses from its own trick a bit too much, especially during the first half. Something entertaining can quickly turn into something pretty annoying if the storytelling isn't well-balanced. Can't have too much of anything, right?

This is my overall issue with the film. Guy Ritchie brings something cool and fresh to escape heavy exposition, but it's still a lot of information to transmit, and it doesn't always work smoothly. Some subplots didn't need to go so deep, which takes time away from more emotionally investing storylines. Nevertheless, in the end, Ritchie stitches every story together seamlessly to create a very well-written flick. With so many intricate layers, it's extremely difficult to bring it all together to make a cohesive finale, but Ritchie does it superbly.

All in all, The Gentlemen is another hit for Guy Ritchie, and it might even be his best movie yet. With one of the most complex screenplays in a while, the phenomenal cast elevates this crime-thriller into one of the best films of 2020, so far. Matthew McConaughey, Charlie Hunnam, Hugh Grant, and Colin Farrell stand out, but every actor delivers excellent performances. Extremely funny and captivating storytelling through Grant's narration, which ironic or not, it's both the best and worst component of the movie. When used in excess, it can be a bit bothersome and lengthy, but for most of the runtime, this alternative to substantial exposition works brilliantly. Interesting characters, intriguing mystery, and hilarious bits of comedy make this feature very entertaining. Technically, great editing keeps a well-paced flow, but it's Ritchie's layered narrative that steals the show.

Rating: B+

Movie Title	It
Hour	193 seconds
Release	2017-09-06
Kuality	ASF 720p DVDScr
Categories	Horror
speech	English
castname	Auberon K. Kerra, Keely C. Lyra, Raffy B. Rafik

[HD] How to [Watch] It Online 2017

Film kurz

Spent : $068,043,717

Revenue : $963,754,889

Categorie : Egal - Atheist , Kosmisch - Surrealistisch , ParParties - Bibliothek , Ethik - Kampfkunst

Production Country : Usbekistan

Production : TvBastards



"Skarsgård goes to hell and back to craft a truly malevolent creation, utterly believable as the black soul of King’s cursed small town..."

Read the full review here: http://screen-space.squarespace.com/reviews/2017/9/6/it.html
**This movie went right to the trash.** I cannot believe what Warner Bros has done for this piece of trash.
Yes, there have been rave reviews for this movie, but we recommend that you do not mind them, as we should not be teaching children on how to safely get sodomized by a monster.

These directors' brains are also in the trash. Now let's put the MPAA R rating right into the trash where it is supposed to go. Final warning: **Don't let your kids watch trash.**
More _Fucked-Up-Coming-of-Age_ than _Monster-Movie-Slasher-Horror_. Which is what it should be, but perhaps not what it's marketed to be. Stephen King's _It_ is one of my all time favourite books, and I don't know that it will ever get a faithful adaptation (totally understandable seeing as the thing is 1200 pages and contains a multi-book spanning mythology of Space Gods and Turtle vomit), but this does a pretty good job of interpreting the feeling of the novel, even if it's not a great adaptation the events as a whole.

The kids are all great, Skarsgård makes for a good Pennywise, Pennywise improves as the piece moves forward, and the town is completely believable as "Derry" in the '80s. It may not be all it's purported to be, but is a very impressive film on its own merits.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
If you are gonna watch this movie go to the theatres and watch it...It's way more scarier than Annabelle: Creation and you will have lots of jump scares too.
Something certainly rings true in the horror thriller **It** that capitalizes on that common known fear that clowns are creepy annoyances to those that have an intense phobia towards them. In the case of **It’s** dastardly powder-faced joyboy or shall we say corrosive killjoy Pennywise the Dancing Clown, he definitely takes the cake in terms of his treacherous tendencies to quiet the unsuspecting kiddies in devious fashion. Here is a tip, parents, do not invite the poisonous Pennywise to your kids’ birthday party any time soon to blow up balloons and sing songs. This is just a friendly little warning. There is more to elaborate on regarding the sicko circus funnypants freak later.

Director Andy Muschietti (‘Mama’) delves into this surprisingly delicious twisted and terrorizing tale of a killer clown that gets his jollies off snuffing the lives out of rural-based youngsters in this calculating frightfest that pushes all the right buttons of panic and perversion. Skilfully edgy and traumatically tasty, **It** is a refreshing throwback to old-fashioned gory-minded gems where the boundaries of old-fashioned scare tactics were designed not only by the actual act of homicidal happenings but the mere suggestive nature of the heinous hedonism taking place. Polished and gripping in its shadowy and shifty overtones, **It** is convincingly probing as an absorbing psychological character study with an off-kilter sense of defiance in its naughty commentary on youthful innocence being compromised.

Based on the novel from famed hair-raising author Stephen King, **It** delivers the solid, sordid goods of a wild and wicked imagination following the acidic exploits of a menacing clown in the aforementioned Pennywise (played with penetrating and devilish aplomb by Bill Skarsgard from ‘Atomic Blonde’) whose murderous methods of slaughtering the young has been a staple signature in his madness for centuries now. The surviving tykes in the quaint town of Derry, Maine must now safeguard themselves from the makeup-wearing whackjob and figure out a way to terminate the baggy-panted beast before he continues to strike again and victimize another doomed child.

The backstory behind Pennywise’s existence is that he is some shape-shifting demon that emerges from the sewers only to target the unlucky rugrat in his immediate path while conniving, and conducting his blood-thirsty ways. However, there are a group of children that refuse to play dead for the demented clown and the quest to create an ill-advised showdown with the deplorable Pennywise would prove to be a very violent and mentally scarring experience in the process.

The story centres around young Bill (Jaeden Lieberher, ‘Allegiant’) and his early encounter with the sadness of unknowingly witnessing Pennywise’s wrath as it was inferred that the clown had to do with the demise of his precious little brother, George (Jackson Robert Scott), who never returned after enthusiastically wanting to work on a fun project in the basement. This haunting revelation sticks with poor Bill until this very day.

Nowadays, Bill must cope with the typical obstacles at school avoiding bullies and dealing with the pitfalls of peer pressure and needing to belong to a group of trusty associates. Thus, Bill is able to cement close relationships with the town’s other free-spirited youngsters. Still, there is that hovering myth about the mysterious sewers and, yes, the evil-minded Pennywise is at the forefront of fearful concern for Bill and the bunch. In fact, the gang will succumb to their collection of fears, paranoia and hesitation as the suburban legend of the creep-seeking clown clouds each of the kids’ tainted psyches.

The ensemble of young actors in **It** all register accordingly with their characters’ childhood shock in trying to overcome the overwhelming and petrifying mindset that has invaded their sensibilities. Lieberher has an authentic raw turn as the lead lad invested in the bizarre boundaries of matching wits with the demonic chalk-skinned trickster and his committed craziness. The other supporting cast of exposed kiddies on this adventurous train wreck of terror includes Sophia Lillis (’37’), Finn Wolfhard (from television’s ‘Stranger Things’), Jeremy Ray Taylor (‘Alvin And The Chipmunks: The Road Chip’), Wyatt Oleff (‘Guardians Of The Galaxy”), Chosen Jacobs, Jack Dylan Grazer (‘Tales Of Halloween’) and Nicholas Hamilton (‘Captain Fantastic’).

There is no doubt that Skarsgard’s clown of corrosion in Pennywise steals the show with his nefarious nature blistering shamelessly in seedy-minded elation. Clearly, Skarsgard chews the tarnished scenery with his abominable costumed cretin tip toeing on the unassuming sidelines while striking gory goosebump moments for his pubescent prey on screen and the twitchy audience off screen.

Sure, **It** suffers from the conventional trappings of cheesy false alarm jolts and the obligatory lurking in the dark sequences are arbitrarily tossed in as an aftermath for the legitimate lunacy of our star-making crazed and corruptible clown to perform his showboating insanity. Besides, what horror showcase has not welcomed the invitation of the overused and abused jump-scare techniques highlighted by a jittery soundtrack? Still, Muschietti and screenwriters Chase Palmer, Cary Joji Funkunga and Gary Dauberman manage to supply the infectious and insidious **It** with well-executed scary shenanigans, well-paced anxiety, wavering vulnerability and decent acting on behalf of the performers that aptly brought to life the eerie visions and vitality of King’s complex, creative mind.

Truly **It** is one of the best harrowing and in-depth horror/psychological thrillers to emerge in 2017. Also this titillating tale of cautionary kiddie chaos may be one of King’s formidable movie adaptions since the effective tension-filled, off-the-wall brilliance of 1990’s _Misery_.

**It** (2017)

Warner Bros. Pictures and New Line Cinema

1 hour 35 minutes

CAST: Bill Skarsgard, Jaeden Lieberher, Sophia Lillis, Finn Wolfhard, Jeremy Ray Taylor, Wyatt Oleff, Chosen Jacobs, Nicholas Hamilton and Jack Dylan Grazer

DIRECTOR: Andy Muschietti

WRITERS: Chase Palmer, Cary Joji Funkunaga, Gary Dauberman

MPAA Rating: R

GENRE: Horror/Mystery & Suspense

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

(c) **Frank Ochieng** 2017
It is a movie that looked interesting, but I wasn't necessarily anticipating, because it had the potential to be awful. After seeing it, I can say that while it is good, I don't think it's nearly as good as other people are saying it is, and it had the potential to be. Starting off with the good, the film has some fantastic performances from the kids. I think the best performances in the film are from Andy Skaarsgard (or however you spell it) for Pennywise, and the kid who had asthma. I don't know his name, and I haven't seen him in anything before, but he stole the show. The movie also has some pretty scary moments. The scene inside of the house is one of the scariest scenes of the year, and there are lost of images that were genuinely disturbing. While the films was full of cheesy dialogue, the conversations between the kids are extremely entertaining and captivating. When it came to characters, MOST of the characters are well done and fleshed out. And that leads me to one of the 4 things that keep this film from being great in my eyes. Some characters, such as the bullies and Stan, and bland and have no back story. Therefore, whenever they are put in danger, it isn't nearly as scary as with other characters. Another reason I didn't love this film is the rock fight scene. Basically, the Losers Club stumbles upon the bullies and they throw rocks at each other. The rocks seemingly bounce off of their head without any problems like a trampoline. No one gets killed, or even knocked out. Overall, it was a very bad scene. For the most part the special effects were pretty good. However, the leper outside of the creepy house was awful. The costume would be great if it were for a haunted house or prank, but not for a big budgeted horror movie. When it came on screen I literally thought it was a bully playing tricks on him. And the last problem I have with the film is that the police are seemingly nowhere, along with parents. *Mild spoilers* One of the bullies murders his dad, a police officer, and then around a few scenes later, the son dies too. The bullies like to go around thereatening kids with knives and carving H's into their bellies. I think we would see at least one police officer investegating something in the film, and if not, I think my parents would notice if one day I came home and there was a gigantic blood pool on my shirt. Overall, It is a very fun movie. There are certainly better movies out there, but with this, I have an urge to go watch it again in theaters. It is a perfectly fun popcorn flick.

Score: 7.5/10
Great acting, memorable characters. One of the best (horror?) films I've watched.

Movie Title	Table 19
Time	123 seconds
Release	2017-03-03
Quality	MPG 1440p TVrip
Categories	Comedy, Drama
speech	English
castname	Seemab P. Meslin, Wiem Y. Eugene, Evon B. Sandie

[HD] How to [Watch] Table 19 Online 2017

Film kurz

Spent : $924,173,351

Revenue : $756,398,614

Group : Gesundheit und medizinische Forschung - Unabhängig , Raum - Women , Tod - Kampfkunst , Dokumentarfilm - Frauen

Production Country : Brasilien

Production : Armchair Cinema



**Brilliant, but panned by predictable critics**

(SPOILERS TOWARDS END!)

I don't always agree with (or heed warnings) from movie critics; perhaps because I used to be one myself in a nation wide magazine many years ago -- but if a movie has a 40% rating on Metacritic, I admit it rarely bodes well. Still I watched this, largely due to the involvement of several favorite actors and the script having been written by the Duplass brothers.

I found it almost instantly both funny and moving, and the longer I watched, the more confused I became as to why most critics had been lukewarm or downright dismissive of it. I figured it had to be mostly due to the genre blend of comedy and more dramatic issues, and that probably most of the criticism had been along the usual lines of "can't make up it's mind', etc. But even so, that didn't add up to a meager 40% rating, with such a clever script and great acting.

When the credits rolled, I knew instantly why: A happy ending...

It all mostly works out in the end for the oddball protagonists. Critics in general can't stand it. If a movie has had a degree of realism and/or several dark or borderline dark-ish issues brought up along the way, critics tend to go ******* unless it all ends in misery, or largely unresolved, or at the very least in ambiguity. God forbid you walk away from such a movie actually feeling good; that equals 'cheesy' in most reviewers book. Was it realistic that most of the people involved got a happy, somewhat romantic ending? Of course not, but though the movie tackles several 'real' issues within the comedy, I found the ending perfectly fitting with the tone of it. Critics often use the word 'predictable' about anything that has a hint of romantic comedy in it, but I'd say, there are few things as predictable as movie critics in general.

If you want to read what I consider a spot on review for this, check out Empire Magazine, who went against the stream and gave it 4 out of 5 stars.
**It was not a table of honour!**

I thought it was some B movie. Expecting anything from it is like a total waste. But that was not the case. I was surprised how simple it was, yet very entertaining. Not all the small films like this would do the same magic. Everything in the was like I already seen in other films, even though I enjoyed it thoroughly.

It was a one-day event tale and in the backdrop of a wedding. In that, the film focused on one particular table, the table number 19 on the outskirt the dining hall. They all came from different background and never met before. They learn about each other, and their personal issues open up during the cerebration. Apart from that, they mess up a few things and later try to fix it, that all comes into play before it reaches the end.

From the director of 'Rocket Science', which came a decade ago, also starred by Anna Kendrick. I think he is a fine director, at least in small comedies with the good quality screenplay. So he should be doing more feature films than the television series. I was impressed by Kendrick. Her choices of films might not be the greatest, but she's almost there and very soon going to give a career best for sure. The remaining cast was funnily good.

I think this film deserves a sequel. Because the film characters are very distinctive and has left behind a lot about them which need to be revealed. Sequel or prequel, it does not matter, but I'll be surely looking for one. Look at its cost, just $5 million. Big production houses can give away such tiny amount without expecting any returns.

You might see it rated low everywhere, but for me, it is a good comedy. One of the best small budget films. Yeah, the end was very clichéd, but acceptable for such film. I would definitely suggest it for those who won't anticipate in films they watch. Particularly if you prefer simple storyline and a few laughs, it is the one.

_7/10_

Movie Title	Una
Time	139 seconds
Release	2017-03-30
Kuality	MPEG 720p DVDrip
Categories	Drama, Thriller
speech	English
castname	Ainsley T. Alberte, Adison V. Derain, Deion F. Bouquet

[HD] How to [Watch] Una Online 2017

Film kurz

Spent : $829,912,997

Income : $673,724,270

Categorie : Zweitens der Name - Césarisé , Toleranz - Frauen , Postapokalyptisch - initiativ Klassische Verzweiflung , Innerer Frieden - Bibliothek

Production Country : Osttimor

Production : Crime Pays

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Duration	198 seconds
Release	2010-10-29
Quality	MPE 1080p DVD
Categories	Horror, Thriller
speech	Español
castname	Ozella P. Bishop, Carole C. Oleynik, Kévin Z. Mamadou

[HD] How to [Watch] Julia's Eyes Online 2010

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Revenue : $750,386,906

Group : Isolation - Apology , Guru - Geistesgesundheit , Evolution - Fidelity , Unheimlich - Super Heroes gesunder Menschenverstand

Production Country : Kuba

Production : Alapaha Pictures

Movie Title	Taxi 5
Time	161 seconds
Release	2018-04-11
Kuality	FLV 1440p HDTS
Categories	Comedy, Action
language	Français, 日本語
castname	Ryker H. Alicia, Teslim N. Oneida, Rugile S. Lacene

[HD] How to [Watch] Taxi 5 Online 2018

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Income : $674,381,560

Group : Anthologie - Brüder , Satan - Terrorismus , Fantasiepolitik - Horrorfilm , Heuchelei - Documenteur Schwarz

Production Country : Slowakei

Production : Shine America

Movie Title	Arthur
Moment	149 seconds
Release	2011-04-08
Quality	AAF 720p BDRip
Categories	Comedy, Romance
speech	English
castname	Aida A. white, Seval S. Averie, Melonie F. Laytan

[HD] How to [Watch] Arthur Online 2011

Film kurz

Spent : $591,081,593

Income : $823,818,041

Group : Fantasie - Tyranny , Experimentell - Spionage , Grausamkeit - die Gelegenheit , Verbotene Liebe - Schauplätze

Production Country : Dominica

Production : MediaToon

Movie Title	Sarileru Neekevvaru
Moment	188 minute
Release	2020-01-10
Quality	MPEG 1440p HDRip
Category	Action
speech	తెలుగు
castname	Gallo F. Jacobe, Auriane X. Muray, Raquel Q. Zakary

[HD] How to [Watch] Sarileru Neekevvaru Online 2020

Film kurz

Spent : $287,665,325

Income : $432,937,532

category : Mathematik - Monster , Rache - dumm , Videospiele - Von Verschwörung Regen Émouvant De Vampire , Unheimlich - Terrorismus

Production Country : Afrika

Production : Babylon Group

Movie Title	All the Bright Places
Clock	187 minutes
Release	2020-02-28
Quality	Dolby Digital 720p Bluray
Category	Drama, Romance
language	English
castname	Laila O. Rodin, Yvette Q. Brochu, Faunia H. Fleming

[HD] How to [Watch] All the Bright Places Online 2020

Film kurz

Spent : $805,591,080

Income : $715,250,711

Categorie : Videospiele - Umweltverschmutzung , Völkermord - Mutter Stolz Apokalypse , Pest - Liebesfilm , Quinqui - Dance de Monsters

Production Country : Kasachstan

Production : Medyapim