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To rent movies online, is as easy as adding movies to your Netflix queue in your account. Your movie is then shipped right out of the closest distribution site and delivered from United States Postal Service in as little as one business week. Netflix have a large selection of classic movies, new releases and television series.
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A strange video tape with eerie footage that seems to kill the viewer in seven a short time. Seconds after the video ends, a mobile phone call, 1 week later you die a horrible death. Originally a 1998 Japanese film called 'Ringu". I needed to add this flick on the top horror movies list.
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There are various movies that made for children. And kids do enjoy them and study them furthermore. Many different animation movies are conveniently obtainable. To name a few, down the road . get your kids, Kungfu panda, Finding nemo, Peter pan, Marmaduke and and much more. You can find many more movies online, that are fantastic for kids.
Complicated movies- twists and turns would be the most exciting and interesting parts for this movie giving up cigarettes feeling okay. When hungover, avoid any movie who makes you think harder than "ginger ale or gatorade?". You've recently been nursing the aspirin bottle all morning hours. If you choose to challenge yourself to figure out what the hell is certainly in brother ql-570 comes with at the end of Seven, you're running possible legitimate brain explosion. The better the more complete.
Basically these movies are ones that don't get released in playhouses. Instead they are fashioned on limited budget and are also meant for TV unharness. Many of these movies are good and worth time you spend watching them at home.
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Action films ranked third overall at 15%. As might be expected gomovies was highest with all the young crowd at 20%, twice that the older demographic. Science fiction was fourth with 10%, but 22% of the 30 to 39 group selected one. Musicals barely made the list; however, 13% of New Seniors chose them.
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The Hangover - what exactly a gift to hungover-kind. Hilarious at every turn, The Hangover reassures you that no matter how terrible you're feeling in this hungover moment, it's not nearly as bad as this option have the program. You can relate to their perils, yet feel proud that despite the fact that left your cell phone in the cab on your way home, you've kept all your teeth along with the closest tiger is still safe at the zoo. Despite being connected with a movie about drinking, there are essentially at work scenes ultimately entire movie, so your gag reflex can uncomplicated.
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The the truth is the aim of movies is actually by scare you. So, why are old horror movies popular? Maybe, the thing is in adrenalin using a pump. Besides, old thriller make haven't got the time laugh because individuals who watch them find these movies unrealistic. Movies just do not touch the sentiments of service station . who watch them.
Then it is a cost assessing Movies Capital vs. Netflix which is actually to me as I'm on a hard and fast income. To get unlimited downloads of movies from Netflix the cheapest you perhaps away with is a strategy costing $8.99 per month charged in your credit card or financial institution automatically. For two years of unlimited downloads this calculates to electric powered of $215.76.
However, online movie rental services offer a wider range of DVDs than your local store. Online businesses don't need to have worry about shelf space and have huge distribution centers.
When you are renting online movies, you'll have the movie type of available. It's not more convenient than to be able to keep back in your local store to ascertain if your movie is existing.
Everybody wants a happy and prosperous family that stays together and enjoys together. Quite a few movies that will you gain great health, wealth also prosperous life with your friends and family. Your thoughts obviously have the energy which provides power and passion that assists you achieve whatever matter in life-time. If you are happy with your then you're able to certainly be prosperous in a person do in your life.
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When searching your movie collection, to be able to to keep track of movies end up being to make sure you exactly what you are the owner of. This is the most mind-numbing step of organization, but the most beneficial. By taking a few days to enter all of one's movies right into a movie organizer system, you'll be able discover what really should be done and exactly you may want to approach business. For some with a selection of digital and physical movies, using a show organizer software system might create sense. For others, any series of movie organizers might selection. But you won't know what you need until there's more you have.
The demerits of online rentals are that can not carry within the movies towards next month which in college not rent. There are many DVD vending machines available in a few metropolis. They cost you less than3$ per movie plus do not charge late fee.
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South Korea was ruled by the military until the 1980s. Institutional violence was not the exception back then, it was the rule. The injustice committed and suffered at that time is clearly reflected in the genre of the South Korean revenge thriller from "Oldboy" to "I Saw the Devil". With war epics like "Brotherhood" and the equally booming agent films à la "Shiri", the ongoing state of emergency between North and South Korea is thematized on the screen. The economic boom of the 1990s and 2000s was also viewed through the genre lens - to be precise, through those of the gangster film critical of capitalism. In films like "Streets of Violence" or, most recently, "The Yellow Sea" the focus is always on real berserkers who go up with fists, knives or aluminum baseball bats, defeat their enemies and finally have to fall themselves - "Scarface" drops Yun Jong-bin is now contributing another outstanding thriller to the new South Korean gangster film, which has what it takes to become a classic, with his highly exciting and bold "Nameless Gangster".
Choi Ik-hyun (Choi Min-sik) does not seem born to be a successful gangster. In return, the plump greyhound simply lacks guts and cunning. But the greasy crook is by no means lacking in ruthlessness and greed. His career began when he got into conflict with smugglers as a dock worker in the 1980s. He finds out that he is largely related to the gangster daredevil Choi Hyung-bae (Ha Jeong-woo). He takes advantage of that and hangs on the top of the skirt of the successful climber. Soon Choi will also be a big player and will be involved in the hotel and casino business. With his sense of dirty business and Hyung-bae's iron fist, the company flourished until the government declared war on organized crime in 1990. For a slick opportunist like Choi, however, this is just another opportunity to climb the next career step ...
You have never seen a movie gangster like Choi Ik-hyun. He neither exudes the dignity of Michael Corleone ("The Godfather") or the raw energy of Tony Montana ("Scarface"), nor is he a tragic hero like Alain Delon in "The Ice Cold Angel" or such a multi-faceted figure as Tony Soprano. Choi is the sleazy and intrusive representative among the great gangsters in film history. Whenever he tries to plan criminal moves himself, the shot backfires and degenerates into a beating, which Choi endures with stoic equanimity. Where Martin Scorsese discovered the petty bourgeoisie in the crook in "GoodFellas", director Yun Jong-bin is now exposing the criminal fellow traveler in the petty bourgeoisie - a type of gangster who does not prevail through cleverness and willingness to use violence, but is simply flexible enough to always be on the winning side to land.
This gangster is a sheep in wolf's clothing, a tasteless braggart, a talentless intriguer and in many ways above all a fool - and an enormous acting challenge. Choi Min-sik, who played his way into the hearts and nightmares of many fans of South Korea cinema with electrifying performances in "Oldboy", "Lady Vengeance" or "I saw the Devil", proves once again that he is One of the bravest genre actors of the present day. As repulsive as his Choi may be, the diabolical joy with which Choi Min-sik breathes life into the windy weasel is fascinating. Like an eel, he winds through the scenes, humps and sneaks through the scenes or practicing embarrassing boss poses. He would be ridiculous if it weren't for such an ice cold, calculating survivalist lurking beneath his terrific, silly hairstyle.
Choi Min-sik's performance is the highlight in a film rich in highlights. "The Chaser" and "The Yellow Sea" veteran Ha Jeong-woo as a brutal companion Hyung-bae has some wonderful appearances as that cool alpha animal that Choi simply cannot be. In addition, Yun Jong-bin brings up some well-written minor characters that cover a broad spectrum from comedy to tragic. When describing their entanglements, the newcomer to the genre does not rely on excessive violence, as one is used to from other South Korea thrillers. Rather, the director, who has so far specialized in dramas, looks here with great curiosity and amazement at the martial goings-on in the criminal milieu.
In a montage that shows Choi's entry into the world of gangsters, the camera hovers through smoky back rooms in which crooks poses and bills are counted while thick cigar smoke floats through the air. Here the sworn community is both stylized and ridiculed. Yun Jong-bin
Life is comparable to a carriage ride two hundred or three hundred years ago: exciting, but rarely comfortable, here and there with unpleasant stumbling blocks or shocks, and yet again and again with great views and unexpected encounters. The journey does not always go according to plan and straight ahead: detours have to be accepted in order to reach the destination. With this metaphor, the presenter at the Zurich Film Festival, Andreas Dresens, announced the drama "Halt on open track", which premiered at the Cannes Film Festival - and hit the nail on the head. The Gera-born director sketches life in 95 moving minutes a happy family, who just wanted to tackle the future together in their new home, can fall apart overnight due to a severe blow of fate. In doing so, he manages the feat of releasing the viewer from his film with a good feeling at the end, although his semi-documentary film is in places really tough.
Frank (Milan Peschel) and Simone Lange (Steffi Kühnert) have just moved into a new house with their 14-year-old daughter Lilli (Talisa Lilli Lemke) and their eight-year-old son Mika (Mika Nilson Seidel) when the familiar family life suddenly suddenly happened is over. The doctors diagnose Frank with a malignant brain tumor that is already so large that it can no longer be surgically removed. The doctors estimate his life expectancy, which can be extended a little with strong medication and chemotherapy, at two to three months. A world collapses for the long one. While Frank is overwhelmed by the fear of approaching death and mentally deteriorates from day to day, Simone and the two children are faced with existential fears and the agonizing question of what the future will bring without a husband and father ...
Andreas Dresen ("Summer in front of the balcony") once again relies on the semi-documentary style typical of him for "Halt on a free route", which particularly distinguished his multi-award-winning improvisation film "Halbe Staircase": The viewer never gets the feeling , The events in the Langes' house follow a script. Thanks to the extremely reserved camera, which rarely adopts more than a neutral observer's perspective, impressively authentic-looking dialogues and a conspicuously reserved lighting, "Halt on open track" never gives the impression of being well constructed To be subject to script guidelines. The dramaturgy results directly from Frank's increasingly weaker state of mind: While initially only occasional dropouts and the forgetting of smaller everyday occurrences indicate his suffering, the terminally ill soon confuses his daughter's nursery with the toilet and is hopelessly overwhelmed when buying bread rolls. This inevitably leads to problems that make life with wife Simone and the children more difficult from day to day. And YesMovies is these difficulties that soon grow into the central conflict of the film.
The fact that "Halt on the open track" feels so oppressively realistic is due to the natural, sensitive staging and above all to the fantastic performance of the trained theater actor Milan Peschel ("What A Man", "The Wild Life"). At first he mimes one quick-tempered, irascible sick person who refuses to admit his mental decline, and in the next moment a crying little boy who is terribly afraid of dying. Peschel proves to be an excellent choice for the lead role: he brings Frank's extreme mood swings credibly to the screen without exaggerating. In one of the strongest sequences of the film, the overwhelmed family man kneels in his son's room and stares helplessly at the simple instructions for an IKEA loft bed that his eight-year-old child could assemble himself. When he finally loses his composure completely, will his helplessness is frighteningly palpable for the viewer.
Andreas Dresen does not make the mistake of aligning his story too much with Frank and the creeping process up to his inevitable death. On the contrary: the director and screenwriter also gives the other family members a profile and depth. While Steffi Kühnert ("The White Ribbon") Simone, despite her unconditional love, reacts increasingly irritably to the increasingly obvious weaknesses of her husband and at some point even wishes for a moment of redemption, daughter Lilli takes refuge in diving and is soon ashamed of it, her peers Having to bring girlfriends to the house of the sick, socially unfit father. In addition to Talisa Lilly Lemke as Lilli, the second screen debutante Mika Nilson Seidel deserves special praise: He shines above all
Autumn 2015 will show whether the train has finally left - then “Black Mass” by “Eye for an Eye” director Scott Cooper, in which Johnny Depp plays the legendary Boston violent criminal Whitey Bulger, will be released. And we're already holding our breath: Will Depp actually deliver a grounded performance at the side of Benedict Cumberbatch and Sienna Miller or can he only be cranky and nothing else? But before that happens, the "Pirates of the Caribbean" superstar really rages on when it comes to quirkiness: In the crime comedy "Mortdecai - Der Teilzeitguner" Depp plays the dissolute Lord Charlie Mortdecai, who along with his "Mustache “Is drawn into an international conspiracy. Depp himself brought the underlying trilogy of novels by Kyril Bonfiglioli, published in the 1970s, to director David Koepp (the two of them have already filmed “The Secret Window” together) - and this passion for the subject can also be felt: After Depp was most recently in Flops like "Transcendence" or "Lone Ranger" seemed downright listless, this time he is spraying with joy again.
Actually, Charlie Mortdecai (Johnny Depp) already has enough problems on his neck: The personal bankruptcy is only days away and his new, beloved mustache provokes nausea in his wife Johanna (Gwyneth Paltrow). But then everything gets much worse: After the insidious murder of an art restaurateur, everyone is suddenly chasing after a painting by Goya, believed to be lost, on the back of which the number of the secret account of Nazi Propaganda Minister Goebbels is said to be noted. And because Movies and TV Shows Online in Full HD is considered THE expert in not entirely legal art deals, the British secret service MI5 in the person of Inspector Martland (Ewan McGregor) turns to him immediately. After that, it doesn't take long before international terrorists and angry Russians are after him. Fortunately, in the whole mess, Mortdecai can always count on his loyal servant Jock Strapp (Paul Bettany), who knocks him out of any hairy situation. Incidentally, Jock has fewer problems with the bad guys than with his own clumsy boss - he keeps accidentally knocking him over ...
The filmmakers make no secret of their role model, after all it is by far not the worst: "Mortdecai" is clearly in the tradition of the legendary "Pink Panther" series: Johnny Depp orients himself on the egomaniacal planlessness of Peter Sellers' inspector Clouseau and David Koepp watches the slapstick action at Blake Edwards. It always gets particularly funny when the viewer, who has just been weighed down by the old-fashioned, aristocratic charm of the film, is suddenly confronted with a particularly biting punchline: Mortdecai's servant is a real womanizer, who puts down any woman who does not show up at three the trees is - so far, so harmless. But then Jock has spontaneous sex with a woman in the airplane toilet, who then returns to her seat, kisses her husband and takes her baby back into her lap. Such black humor tips are in contrast to the classic elegance of the staging and therefore work particularly well.
While one hardly needs to say another word about the interchangeable crime thriller (it is just the pretext to send Mortdecai on an adventure around the globe), the actors deserve even greater praise: Johnny Depp is in his role as a naive, carefree bon vivant as good as he has been since “Sweeney Todd” - this is still a bit removed from his best times in the 1990s, but at least you can feel again that he really wants a part (and of course his "Mustache"). At his side, Paul Bettany (“Master
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Cult movie sequels usually have a tough time and are often doomed to fail. Richard Linklater proves that this basic rule does not always have to apply with the gorgeous romance “Before Sunset”, the sequel to the Generation X hit “Before Sunrise”. Ten years after the surprise success, Linklater provides answers to the questions that the original deliberately left open. “Before Sunset” is not a copy, but a consequent further development of the story, stylistically using the same means, but with a more mature tone in terms of content.
It has been nine years since the young American Jesse (Ethan Hawke) and the French student Celine (Julie Delpy) met on a train ride. They immediately liked each other and decided to stroll through Vienna for a day and night before Jesse started his flight home to the USA and Céline her return trip to Paris. Half a year later, they wanted to meet again in the Austrian capital. https://flixtor.top/genre/crime/IjDbDw0I hadn't exchanged addresses or phone numbers. Because the meeting in Vienna never came. It wasn't until almost a decade later that the paths of the two soul mates cross again. Both are now in their early 30s, Jesse is a successful writer who has processed the experiences of this extraordinary night in a novel. He is on a promotional tour for his book in Paris. Celine, who lives in Paris after studying in New York, has read an announcement in her favorite bookstore that Jesse is coming to town for a reading and decides to meet him there. When he discovered her among the visitors at the end of the event, he was thrilled to see her again. But he doesn't have more than an hour of free time before his return flight. Take a stroll through romantic Paris and pick up where you left off nine years ago. Because they have a lot to tell each other ...
Independent director Richard Linklater, who recently landed his first US blockbuster with “School Of Rock”, had his breakthrough with “Before Sunrise”. His first films “Slacker” and “Dazed And Confused” were critically acclaimed, but there were still no distributors in Germany. “Before Sunrise”, on the other hand, became an independent cult film and won the Silver Bear at the 1995 Berlinale. The spontaneous romance had so much heart and soul and spontaneity that it - far removed from all Hollywood clichés - effortlessly captured the hearts of the audience. With the ending kept open, the sequel had been up in the air for years. But it took about ten years before Linklater and his two fantastic leading actors Ethan Hawke ("Training Day") and Julie Delpy ("Killing Zoe") dared to implement it.
In contrast to Hollywood's higher-faster-further mania in terms of sequels, Linklater takes a different path. Filmed in just 15 days, the sequel's budget is even below that of the low-budget original. The filmmaker developed the script together with his two main actors, but still gave them space for spontaneous ideas during the shoot. The plot is focused on the essentials - Jesse and Céline. All minor characters have been deleted. Linklater accompanies the two with the camera on their Paris walk. The 80 minutes of film, which run on the screen in real time, consist exclusively of the entertainment of the protagonists. With the exception of a short opening sequence, Linklater does without a score, he concentrates on the dialogues.
The tone of the film has changed a bit compared to its predecessor and has developed just as much as the characters. The carelessness can still be felt, but in the meantime both have gained experiences that they absolutely need to exchange. Restlessly and without breathing, they talk about the old days, politics, ideals, family, sex, Buddhism, relationships, God and the world. The real highlight of it all is the fact that the trio of authors succeeds in captivating the audience with almost one and a half hours of continuous dialogue. Even if the characters have become more sedate and mature, they have not lost their fire and enthusiasm. It's just fun to listen to the great playing Ethan Hawke and Julie Delpy, even if the boundless charm of the Vienna excursion is not quite achieved. As with "Before Sunrise", Linklater deliberately dispenses with a strict dramaturgy in order not to ruin the spontaneity. All it offers is a content orientation within the dialogues, which get along without editing for as long as possible.
While Jesse and Celine still seem exactly the same at the beginning as they were ten years ago, this gradually turns out to be a protective facade. They have not lost their attraction to one another
With his outstanding debut film “Pusher”, the later “Drive” director Nicolas Winding Refn caused a sensation in 1996: his tough low-budget thriller with the two dealers Frank (Kim Bodnia) and Tonny (Mads Mikkelsen) hit like a bomb - and the Danish filmmaker insisted on staging the sequels "Pusher II: Respect" and "Pusher 3", which are hardly less worth seeing. If watch movies flixtor liked the much-praised trilogy, you should definitely not miss the similar genre pearl “Dealer - Trip to Hell”: The French newcomer Jean-Luc Herbulot (“The Bends”) tells a very similar story in his tough gangster thriller This surpasses Luis Prieto's “Pusher” remake from 2012. Herbulot's feature film debut, which was screened at many international film festivals and will be released directly on DVD in this country, is a visually exciting and highly suspenseful trip to hell through the streets of Paris.
The eponymous "dealer" - that is the criminal Dan (Dan Bronchinson), who like his partner Salem (Salem Kali) is at home in the drug scene of the French metropolis. “I'm the one at your parties that nobody knows, but everyone wants to invite,” Dan imagines: the man can simply get everything that is on the market. The contextual and stylistic similarity to “Pusher” is palpable: Jean-Luc Herbulot relies almost exclusively on shaky handheld camera images, which give the action an incredibly high level of authenticity. And like Refn's film, “Dealer” also begins with an unbeatable offer: Dan, who can never be found without a red “CCCP” jacket, is supposed to get a kilo of coke in three hours and pocket 50,000 euros for it. He agrees because he wants to emigrate with his daughter Léna (Maïa Bonami), who lives with her mother Katia (Fatima Adoum), and leave his life as a dealer behind. It comes as it has to: the deal goes wrong. Dan has the material stolen from his apartment with the prostitute Chris (Elsa Madeleine) and is in the chalk with gang boss Delo (Bruno Henry) and his henchman Cartouche (Hervé Babadi).
Hammering electro beats whip the hustle and bustle on the Parisian streets and backyards: In the best "crank" manner, Dan goes on an adrenaline-filled trip through the big city and does not take any prisoners. As if you were in an episode of the video game “Grand Theft Auto”, your current cash account is faded in: If Dan has raised a few thousand, the count rattles up. Despite the short total length of 75 minutes, Herbulot's thriller is by no means lacking in substance: The twisty plot is skillfully reduced and performed at a murderously high speed of editing and narration. The tough drug thriller, which doesn't have to hide from “pushers” in terms of brutality and body count, would have been a bit more independent. A lot of the ideas obviously come from other films. We know Dan's off-screen tips from the anxious Columbus (Jesse Eisenberg) in “Zombieland”, while the “Put the backrests upright” metaphor is used in the crucial twist in David Fincher's masterpiece “Fight Club”.
Conclusion: Jean-Luc Herbulot's tough drug thriller “Dealer” is France's answer to “Pusher” and doesn't need to shy away from comparison with Refn's classic.
Gambling, fast cars, alcohol and drugs: that was the life of French cult author Francoise Sagan. After the publication of her revealing debut novel "Bonjour Tristesse", she lived according to the motto "Sex, Drugs and Rock 'n' Roll". Every year, she invited the Parisian avant-garde to the previously sleepy fishing village of St. Tropez, making the nest a haven for the rich and beautiful. She quickly spent her early windfall on her father's advice. Over time, however, Sagan sank deeper and deeper into a swamp of drugs and debt. A material that seems made for a biopic. But director Diane Kurys gambled away the chance to create a gripping film from these ingredients. After an amusing first half about the glamorous life of the scandal writer, the turnaround to tragic decline is only partially successful.
The film summarizes Francoise Sagan's (played by Sylvie Testud) exciting life in short episodes. He jumps from one scene to the next without showing the viewer what time periods lie in between. Anyone who reads a short biography of the author beforehand has a clear advantage. The first half of the film deals with the first successes. The writer reacts to sudden wealth with a panic when spending money. On the wave of her fame, which continues to ebb and flow in the course of her life, she is a permanent guest in expensive restaurants and bars. Constantly looking for love, the young woman despairs of her loneliness. The parasites surrounding her are of little help. Sagan can gather at least a small circle of people she trusts. But when her addiction to cocaine followed her addiction to morphine, her life finally went down the drain ...
“Bonjour Sagan” suffers from the typical symptoms of a biopic. There is so much to tell. Instead of concentrating on specific episodes (such as Aviator by Martin Scorsese), Kurys tries to cover as wide a range as possible. Of watch movies online hd , she still leaves out certain elements of Francoise Sagan's life - such as her political commitment. In an interview, the director said that she simply had no desire to film the much-cited episode in which Sagan drove the Maserati to a student revolt. Hiding some things is quite legitimate in a biopic. Nevertheless, the film lacks a clear structure in the second half. Every scene tells something, but cuts in this part would have done well and made it more stringent.
Because after the amusing first part, in which Sagan's decline only cautiously emerges, a very sad second half finally follows. In this, the viewer watches with horror as the increasingly sicker-looking author kills herself. Even if entertaining scenes keep popping up, the film now takes on the ex-successful author, who is visibly ill with drugs and whose books are only selling poorly. She purposely gambled away all the money and invested it in luxury goods. Now she is sitting in front of a mountain of debt. Her stubborn view that she did everything right is impressive. Real doubts only come to her when her loved ones gradually leave her. She will never feel a fulfilled love in her life, instead deep sadness, which she tries to cover up with sex and alcohol.
This lonely life is also reflected in her books. Her fictional characters are just like herself, her debut “Bonjour Tristesse” even had autobiographical traits. The sexually revealing story of a young girl suffering from her father's lover became a worldwide bestseller. The first edition of a few thousand copies was quickly sold out in 1954. In five years it has sold four million times worldwide. From this point onwards, Sagan was one of the most famous French writers for decades. Her works, which were soon decried as light fare by the critics, were generally considered provocative. In this respect, her successes can be compared a little with that of Charlotte Roche's disgusting novel "Wetlands".
The most worth seeing thing about “Bonjour Sagan” is without a doubt the impressive performance of Sylvie Testud, who gained notoriety in Germany especially for her role in “Beyond Silence”. She manages to portray the multi-layered figure Francois Sagan in a believable way, which is tantamount to a true masterpiece due to the author's ambivalence. Director Diane Kurys cast the supporting roles equally well. But in the end, even the wonderful actors do not save the film from mediocrity.
Conclusion: “Bonjour Sagan” is an interesting film that tells an impressive life story. But the decision to ultimately focus primarily on d
The fourth film in the Legendary series pits the franchise's two heavyweights against each other. However, after a frustrating third installment, it is the spectator who triumphs.
MonsterVerse from Legendary Entertainment isn't playing around: After seven years and four films, the franchise is already delivering the kind of epic battle royale that other series will take decades to develop. Adam Wingard's "Godzilla vs. Kong" pits two of cinema's most beloved overgrown villains (with hearts of gold, sorta) against each other in a bombastic franchise entry unafraid to borrow liberally from each other film that came before, while still creating its own distinct vibe.
There’s already a mishmash attraction to the MonsterVerse, which has jumped and skipped through directors, characters, and time spans to produce a series that makes sense, sorta, at least if you don’t look at it too hard. Wingard approaches such messy material with a hearty sense of respect and an eye for what truly makes this thing work. From Gareth Edwards' "Godzilla" (the elegant one) to Jordan Vogt-Roberts' "Kong: Skull Island" (the fun ones) and even Michael Dougherty's "Godzilla: King of the Monsters" (the terrible one), "Godzilla vs. Kong" fuses and tweaks the series into an amusing fourth (and final?) feature.
Wingard's film picks up after "Godzilla: King of the Monsters," with the remaining "Alpha Titans" — presumably, Godzilla and Kong (remember when these things were called MUTOs?) — at a loose end. Godzilla once thought to be humanity's savior, now roams the ocean alone; Kong is stranded on Skull Island, trapped under a futuristic bubble intended to prevent the raging sea (and future foes) from crushing what appears to be the giant ape's fragile life. Both have human defenders — Millie Bobby Brown reprises her role as Godzilla superfan Madison Russell, with Kyle Chandler making a brief appearance as her father; Kong is guarded by “Kong Whisperer” Dr. Ilene Andrews (Rebecca Hall), and her charming deaf daughter Jia (Kaylee Hottle) — and, man, are Godzilla and Kong going to need them.
When Godzilla threatens the (evil) Apex Corporation's Pensacola, Florida outpost, he sets off a chain reaction that traps a variety of humans and even Kong himself. Despite beginning with Godzilla and the mystery of why the former good guy Titan is breaking up corporate strongholds, “Godzilla vs. Kong” is much more invested in Kong's involvement in this epic adventure. Skull Island can't keep him in, and based on his contempt for the fancy bubble that surrounds him, he'll be free in weeks. When Apex brass (including Demián Bichir and Shun Oguri) devises a plan to a) sorta free Kong and b) use him to find an energy source capable of fighting Godzilla, even Ilene is intrigued. even Ilene goes for it.
She’s joined by Dr. Nathan Lind (a low-key Alexander Skarsgård), who believes in the “Hollow Earth theory” (i.e., all Titans were originally the inhabitants of the literal center of the Earth), young Jia (the sole surviving member of Skull Island’s Iwi tribe, who has a deep bond with Kong), and an oddly pissed-off Maia Simmons (Eiza González, as Bichir’s daughter). A few convoluted twists and turns aside, the venture at the heart of the film is relatively simple: Apex will use Kong as their guide into Hollow Earth. There, they will find an energy source that will allow Apex and Kong to take out Godzilla and return Earth to the humans.
While “Godzilla: King of the Monsters” delivered plenty of inter-Titan battles, most of them were almost impossible to see (and sopping wet to boot). Wingard literally stages his first Titan face-off in the middle of the sea, but he also assembles a far more coherent assortment of battles for his baddies to partake in. He also doesn’t tease them out too long either: Within the first 40 minutes of “Godzilla vs. Kong,” the duo are battling it out. The film’s final act is almost entirely devoted to fighting, which includes a super-powered foe for both of them. (Godzilla fans can likely guess where this is going and they won’t be disappointed.)
Deep knowledge of the previous films is not necessary to enjoy “Godzilla vs. Kong,” since some confusion is inevitable; even film fans who know the wild history of secret government agency Monarch might find themselves at a loss. Still, the build-up to this showdown is certainly more pleasurable if you’ve watched three films’ worth of character evolution. We’re talking about Titan character evolution, the one element nailed by each film in the franchise. All MonsterVerse movies have been forced to thread a strange needle: How much do audiences want to see classic monsters bonding with regular humans? Moreover, how much does the audience want to see of said humans?
Wingard’s film does well with that ask, particularly when it comes to building Kong’s coterie, including adorable Jia (whose sign-language skills come in handy), staid Ilene, and even the cagey Nathan. Godzilla’s team isn’t as fleshed out, but franchise fans already know Madison and they’ll likely enjoy her comedic-leaning compatriots, including Brian Tyree Henry as a podcaster who infiltrated Apex and Julian Dennison as her dorky best pal.
In the end, though, it’s all about the battles, and Wingard’s film offers some of the franchise’s best. That ocean-set face-off is a master class incoherent CGI extravaganzas that a) take place at dusk and b) often underwater. The action-packed final act is crammed with plenty of fan catnip — what is a Godzilla film without a nighttime battle set in a neon-colored city? — that maintains momentum and furthers the story with every big-pawed swipe. The tantalizing final frames hint at more to come, but “Godzilla vs. Kong” does something rare: It offers a satisfying story that can stand alone, even when its monstrous heroes demand more exploration.
A Warner Bros. release, “Godzilla vs. Kong” will be available in select theaters and streaming on HBO Max on Wednesday, March 31, 2021.
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