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The Titan movie synopsis The Titan the movie showtimes complete download online 2018 The Titan song, Watch The Titan full movie online now.On a bleak future Earth, a soldier endures a radical genetic transformation to save humanity. But his wife fears he's becoming more creature than man.,what are The Titan movies in order The Titan synopsis full movie The Titan 2018 HD Movies, Full Length Movie ========================ஜ۩۞۩ஜ==========================
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Title : The Titan The Titan genre : Science Fiction, Thriller The Titan crew : Carsten Richter, Gemma Fauria, Lars Ginzel, Jude Poyer, Rory Aitken, Brian Kavanaugh-Jones, Ben Pugh, Nicolas Chartier, Arash Amel, Arash Amel The Titan release date : 26 September 19 7 2 The Titan runtime : 97 Minutes The Titan Crew : Carsten Richter, Gemma Fauria, Lars Ginzel, Jude Poyer, Rory Aitken, Brian Kavanaugh-Jones, Ben Pugh, Nicolas Chartier, Arash Amel, Arash Amel The Titan movie cast : Sam Worthington, Taylor Schilling, Tom Wilkinson, Agyness Deyn, Nathalie Emmanuel, Corey Johnson, Aleksandar Jovanović, Steven Cree, Diego Boneta, Noah Jupe ========================ஜ۩۞۩ஜ==========================
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Title : Kin Kin genre : Science Fiction, Action Kin crew : Richard Henderson, Mark Day, Shawn Levy, Dennis Davenport, Mark Sheppard, Linda Drake, Joseph Fraioli, Joseph Fraioli, Nana Fischer, Gregor Hutchison Kin release date : 6 November 19 5 8 Kin runtime : 102 Minutes Kin Crew : Richard Henderson, Mark Day, Shawn Levy, Dennis Davenport, Mark Sheppard, Linda Drake, Joseph Fraioli, Joseph Fraioli, Nana Fischer, Gregor Hutchison Kin movie cast : Myles Truitt, Jack Reynor, Dennis Quaid, Zoë Kravitz, James Franco, Carrie Coon, Ian Matthews, Gavin Fox, Stephane Garneau-Monten, Lukas Penar ========================ஜ۩۞۩ஜ==========================
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The Rock movie synopsis The Rock the movie showtimes online stream 1996 hd The Rock song, Watch The Rock full movie online now.FBI chemical warfare expert Stanley Goodspeed is sent on an urgent mission with a former British spy, John Patrick Mason, to stop Gen. Francis X. Hummel from launching chemical weapons on Alcatraz Island into San Francisco. Gen. Hummel demands $100 million in war reparations to be paid to the families of slain servicemen who died on covert operations. After their SEAL team is wiped out, Stanley and John deal with the soldiers on their own.,what are The Rock movies in order The Rock synopsis full movie The Rock 1996 HD Movies, Full Length Movie ========================ஜ۩۞۩ஜ==========================
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Title : The Rock The Rock genre : Action, Adventure, Thriller The Rock crew : Heidi Levitt, Jerry Bruckheimer, Hans Zimmer, Sean Connery, Don Simpson, Don Simpson, Michael Bay, Jonathan Hensleigh, John Schwartzman, Michael White The Rock release date : 2 January 19 9 8 The Rock runtime : 137 Minutes The Rock Crew : Heidi Levitt, Jerry Bruckheimer, Hans Zimmer, Sean Connery, Don Simpson, Don Simpson, Michael Bay, Jonathan Hensleigh, John Schwartzman, Michael White The Rock movie cast : Sean Connery, Nicolas Cage, Ed Harris, William Forsythe, David Morse, John Spencer, Michael Biehn, Tony Todd, Gregory Sporleder, Vanessa Marcil ========================ஜ۩۞۩ஜ==========================
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FBI chemical warfare expert Stanley Goodspeed is sent on an urgent mission with a former British spy, John Patrick Mason, to stop Gen. Francis X. Hummel from launching chemical weapons on Alcatraz Island into San Francisco. Gen. Hummel demands $100 million in war reparations to be paid to the families of slain servicemen who died on covert operations. After their SEAL team is wiped out, Stanley and John deal with the soldiers on their own. The Rock 1996 review : Alcatraz. Only one man has ever broken out. Now five million lives depend on two men breaking in.
Michael Bay's best picture.
The sophomore effort from director Michael Bay, this $75 million dollar action film was released nationwide on June 7, 1996 - eventually earning $335 million. The particularly great R-rated premise sees a mild-mannered chemist teaming up with a resourceful ex-con who must infiltrate Alcatraz prison after a rogue group of military men, led by a renegade general, threaten a nerve-gas attack.
Constantly in over his head, and never one to use profane language, Nicholas Cage is excellent as the quirky chemist - often resorting to quips and jokes in lieu of violence. In a character that feels like a sort of spiritual successor to his portrayal of James Bond, Sean Connery is the patient but skilled MI6 operative.
After 30-years of false imprisonment, he's recruited from jail to help the feds sneak onto Alcatraz - as he's the only person to have successfully escaped from the prison facility decades earlier. When he's required to finally put his knowledge of the defunct prison to the test, the disbelief and amazement from his military companions is quite amusing.
The unlikely pairing of these two is honestly the best part of the film. Cage's zany behavior is a perfect foil for Connery's relaxed confidence. The British ex-con chastises his younger counterpart on 'doing his best'. "Your'best'? Losers always whine about their best. Winners go home and -bang- the prom queen." After a quick beat and a sly grin, Nicholas responds, "Carla was the prom queen." This isn't just a funny encapsulation of their relationship, but one of my all-time favorite exchanges in any action movie.
Ed Harris is phenomenal as the quote, "bad guy" - a disillusioned Marine General whose terrorist actions are only to secure reparations for his forgotten and fallen soldiers. It's honestly a perfectly understandable, and dare I say noble position; a man willing to commit treason and risk his life to help the families of his former troops.
Which is why the government's handling, and ultimate dismissal of his ransom request is so perplexing and frustrating. Before ordering a massive aerial kill strike on the entire island, the President gives an impassioned speech (seemingly to an empty Oval Office) about his 'impossible decision' - but this only highlights the aforementioned plot hole. Harris only asked for $100 million dollars... why not just give him the money?
The supporting cast is stacked with even more excellent talent; David Morse, William Forsythe, Michael Beihn, Xander Berkeley, and Phillip Baker Hall. Of particular note however is John Spencer - who does fantastic work as a conflicted FBI director who reluctantly recruits Connery, Tony Todd who has one of the best on-screen deaths ever, and John C. McGinley whose unrealistic performance as an over-eager Marine makes him seem miscast.
A trio of composers, including Hans Zimmer, bring some interesting and appropriate ideas to the soundtrack, utilizing synthesized themes and electric guitars. It feels reminiscent of the excellent score from the "Rainbow Six" video game that came out two years later.
While this feature never quite breaks the mold, it definitely represents the best possible version of your stereotypical mid-90s action film. For a rewatchable thrill-ride with plenty of excitement and memorable characters, look no further. "The Rock" is explosive fun that never takes itself too seriously. Perhaps Bay's best film, I thought it was AWESOME. Welcome to The Rock.
The Rock is directed by Michael Bay and written by David Weisberg, Douglas Cook & Mark Rosner. It stars Sean Connery, Nicolas Cage, Ed Harris, David Morse, William Forsythe & Michael Biehn.
When a highly decorated army general (Harris) decides that he's had enough of his men dying and not getting the credit they deserve, he commandeers Alcatraz prison with a crack unit of Mercs. The plan is to hold the government to ransom or he will unleash from the prison biological rockets to bring Armageddon down upon America. Enter chemical weapons expert Dr. Stanley Goodspeed (Cage), who is forced to team up with the only man ever to escape Alcatraz - the mysteriously incarcerated in secret John Patrick Mason (Connery) - to break into the Rock and thwart the plans of the Mercs.
So Cage as a chemistry expert who possible holds the fate of the world in his shaky hands? Connery, aged 66, as a tough prison escapee sporting a "Grunge" haircut? And Ed Harris, surely a bastion of patriotic Americana, turning bad and wanting to unleash hell on the Stars & Stripes? To expect nothing else but a berserker Michael Bayhem picture based on these facts is surely folly. He certainly has a varied CV does Bay, as do the leading actors on show here, but when on form, with writers prepared to put blood into the characters, Bay can deliver high octane entertainment if coupled with a cast clearly in tune with the material. Such is the case here. It's no award winner, naturally, but it does have some political smarts within the script. And if you want explosions, shoot outs and quips aplenty? Then this really will serve you well for a couple of hours. 7.5/10 The two lead characters' impact on the events of the move are pretty negligible, everyone and everything in it is laughably stupid, and you can see here begin to blossom the stereotypes that Michael Bay would go on you ruin everything he ever touched with, but I still kind of like _The Rock_. Maybe it's just in comparison to all of Bay's other films, or maybe it's because it's the only one of his works I saw when I was still single-digit aged, but I do enjoy it. I'm not willing to defend it, just to re-watch it once a decade or so.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go. _
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Title : 1917 1917 genre : War, Drama, Action, Thriller 1917 crew : Thomas Newman, Sam Mendes, Sam Mendes, Sam Mendes, Roger Deakins, Roger Deakins, Dennis Gassner, Lee Smith, Rahul Khanna, Nina Gold 1917 release date : 24 September 19 1 5 1917 runtime : 119 Minutes 1917 Crew : Thomas Newman, Sam Mendes, Sam Mendes, Sam Mendes, Roger Deakins, Roger Deakins, Dennis Gassner, Lee Smith, Rahul Khanna, Nina Gold 1917 movie cast : George MacKay, Dean-Charles Chapman, Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth, Benedict Cumberbatch, Daniel Mays, Adrian Scarborough ========================ஜ۩۞۩ஜ==========================
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At the height of the First World War, two young British soldiers must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers. 1917 2019 review : I really wanted to give this film five stars, but there is a curious introspection that prevents me from calling it perfection. Nevertheless, ‘1917’ is a brilliant piece of art, and clearly a personal project for Sam Mendes. Blending groundbreaking technology with detailed production components, it's sure to entertain audiences and garner respect from critics for its execution. Just don’t say I didn’t warn you when the Oscar nominations come out. - Charlie David Page
Read Charlie's full article... https://www.maketheswitch.com.au/article/review-1917-sam-mendes-personal-war-story Without a doubt, cinematically this is a visual tour de force. The one-shot approach becomes a distraction, at times, especially when one ponders "how did they do that?", but generally not enough to take away the wow factor.
The story, and dialogue, not to mention logic are the real problems that take this movie from great, to merely good.
The initial concept of sending two men on an imperitive mission to save 1600 men is ludicrous in itself, especially in a war where men were gassed and gunned down by the thousands. Sending only two of them into unknown situations, in no-man's-land was illogical.
Then there was the fact the hero seems to never get shot by enemy soldiers, despite being in dead-duck situations. When he does get injured, his wounds seem to magically heal and disappear instantly. Director Sam Mendes must have never had the concussive effects of explosions explained to him, because while some fall from explosions, the heroes seem immune to physics.
The most ludicrous scene involves booby-trapped explosives, and a collapsed ton of rocks leaving not only no visible injuries, but no effects at all on clothing or hearing. But there was dust in the eyes.
There are many more scenes involving lack of logic, or credibility.
Over-all, the movie is worth it for the cinematography, attention to detail, costumes and acting, but the trite story, and credibilty problems drag it down from what it should, and could have been. Finally yesterday I was able to experience 1917 and I ended up doing it at IMAX, something I didn't plan on, but after seeing it there, I can say this film deserves to be seen and heard in an IMAX room to remember why movies still need to be lived on a big screen.
The visual odyssey of Sam Mendes and Roger Deakins is an incredible journey. Yes, the story is very thin but that's something that made 1917 a somewhat different film It's not a war epic, nor does it try to be one. It's kind of a lone wolf war story, though at the beginning it wasn't like that, and that's good because despite everything that happens, the film doesn't lose that sense of camaraderie at the task that remains after the loss.
1917 is a story of survival and that although it could not be considered completely original, that's totally the least of its problems because after all the experience is just spectacular.
I admit the film has certain rhythm dropouts that I didn't like, especially the scene where Schofield loses consciousness, but at that point we are given the extraordinary night sequence, so my discomfort ended up disappearing.
1917 is not a perfect film, but it's a reminder of how wonderful is to enjoy a film as they should be, even if it's a film that deals with the horrors of war.
This is the kind of film that should be lived and experienced that way, otherwise it loses its resonance, so if you have the chance to see 1917 at a big screen do it. **_Although partly a technical showcase rather than a story, it's still a terrific Great War movie_**
>_In the newspapers you read: "Peacefully they rest on the spot where they have bled and suffered, while the guns roar over their graves, taking vengeance for their heroic death". And it doesn't occur to anybody that the enemy is also firing; that the shells plunge into the hero's grave; that his bones are mingled with the filth which they scatter to the four winds – and that, after a few weeks, the morass closes over the last resting-place of the soldier._
- Kanonier Gerhard Gürtler (Königlich Bayerisches 3. Feldartillerie-Regiment Prinz Leopold)
>_Bent double, like old beggars under sacks,_
>_Knock-kneed, coughing like hags, we cursed through sludge,_
>_Till on the haunting flares we turned our backs,_
>_And towards our distant rest began to trudge._
>_Men marched asleep. Many had lost their boots,_
>_But limped on, blood-shod. All went lame; all blind;_
>_Drunk with fatigue; deaf even to the hoots_
>_Of gas-shells dropping softly behind._
- Wilfred Owen; "Dulce et Decorum Est" (1921)
>_No tactical or strategic gain was made on the Somme front that was worth the cost in lives. Even had the British and French achieved their breakthrough on the Somme, the Germans had plenty of room to manoeuvre and, unlike the French at Verdun, no national interest in staying where they were. During the winter of 1916-17, the Germans simply withdrew to the Hindenburg Line, east of the Somme battlefield, and it all had to be done again._
- Robin Neillands; _Attrition: The Great War on the Western Front – 1916_ (2001)
>_In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialised death. This, at first, was indescribable._
- Robert Hughes; _The Shock of the New_ (2004)
My paternal grandfather fought during the Great War. Corporal Edward J. Campbell was with the 9th Battalion of the Royal Dublin Fusiliers, 48th Brigade, 16th (Irish) Division and took part in the capture of Ginchy on September 9, 1916 during the Battle of the Somme. My dad was born in 1933, and in all the years that came afterwards – even when he himself joined the RAF – his father never spoke about those years.
The Great War broke men in ways the likes of which had never been seen before, and perhaps have never been seen since. It exposed men to psychological horrors inconceivable to most people today. The nature of trench warfare and the concomitant use of artillery on a scale beyond anything in human history did such things to men's minds that even thousands of those who returned never really left the battlefields. We've all seen "Shell shocked soldier, 1916", one of the most haunting photographs ever taken, and the picture it paints is a disturbingly vivid one. But what makes the Great War, the so-called "war to end all wars", so much worse than it had to be was that it pitted old school tactics against modern weaponry. Generals on both sides believed the war could be won, as others had been, by sending wave after wave of men "over the top" in an attempt to overwhelm enemy positions. However, such tactics failed to take into account advancements in weaponry, with combatants defending their trenches with miles of machine-gun emplacements and fields of landmines, reinforced with the war's most successful killer – endless artillery barrages. The technology had advanced. The tactics had not. Which led to the nine-month stalemate of the Battle of Verdun (February 21 to December 18, 1916), during which the Germans lost 143,000 men and the French lost 163,000. Which led to the first day of the Somme (July 1, 1916), when the British suffered nearly 20,000 loses in less than 12 hours. Which led to the unimaginable slaughter of the hell-come-to-Earth that was the Third Battle of Ypres, better known today as Passchendaele (July 31 to November 10, 1917), where at least 400,000 men died, maybe as many as twice that.
Every soul who fought in those battles is gone now. The last surviving combat veteran, Chief Petty Officer Claude Choules, who joined the Royal Navy in 1915, aged just 14, died at the age of 110 in 2011. And unlike conflicts such as World War II or Vietnam, The Great War has largely dropped from the popular consciousness. Not just the reasons why it was fought, but the conditions in which it was fought. Even celebrated films such as Lewis Milestone's _All Quiet on the Western Front_ (1930) or Stanley Kubrick's _Paths of Glory_ (1957) aren't all that well known. And that's one of the reasons that films like 1917 are important – they ensure we don't forget.
Written by Sam Mendes and Krysty Wilson-Cairns, _1917_ is very loosely based on stories told to Mendes by his grandfather Alfred Hubert Mendes, who was a front line messenger during the war, and who, at 5'4", was able to use the low-lying No Man's Land mist as cover without having to stoop or crawl, and thus was much faster compared to other messengers. The film is directed by Mendes (_American Beauty_; _Revolutionary Road_; _Skyfall_), and unless you've been living under a rock, you'll know that it's done in such a way as to give the impression that it all takes place in two single shots (the marketing material says one shot, but it's two – there's a cut-to-black time-jump about midway through the film where no attempt is made to hide the transition). In reality, of course, there are a lot more than two shots (the longest single shot was just over 8 minutes), but the edits have been digitally 'hidden', much like Alejandro González Iñárritu's _Birdman or (The Unexpected Virtue of Ignorance)_ (2014) or Erik Poppe's _Utøya 22. Juli_ (2018). Working with legendary cinematographer Roger Deakins (_Kundun_; _No Country for Old Men_; _The Assassination of Jesse James by the Coward Robert Ford_; _The Reader_; _Blade Runner 2049_), Mendes wanted the film to be the most immersive war movie ever put on screen, with the story designed to take place in real-time so as to ensure the importance/relevance of the single-shot aesthetic. And although I have some issues with it, and I certainly don't think it's the greatest war movie ever made, by and large, I think Mendes has made an exceptional film, one in which form and content are unusually tightly matched, with the style extremely effective at delivering the story in a thematically justified manner.
April 6, 1917; the Western Front. Two young British Lance Corporals, Will Schofield (George MacKay), a veteran of the Somme, and the younger, more idealistic Tom Blake (Dean-Charles Chapman) are summoned to a meeting with General Erinmore (Colin Firth). Recently, German forces have fallen back, and Colonel Mackenzie (Benedict Cumberbatch) of the 2nd Battalion, Devonshire Regiment believes that if he attacks now, he will break the line and turn the tide of the war. However, he's unaware that the retreat is a tactical gambit – the Germans have fallen back to the heavily fortified Hindenburg Line and are lying in wait. With communication lines cut, Schofield and Blake, who has a brother in the 2nd, are given a simple but dangerous mission – to physically carry an order from Erinmore to Mackenzie calling off the following morning's attack, a mission which will involve them crossing into No Man's Land and traversing the Germans' former position. If they fail, 1,600 soldiers will be slaughtered. Mackenzie is six miles away. They have ten hours.
So, the film's big selling point is its aesthetic design. The use of the single-shot format is such a noticeable and idiosyncratic type of form that whenever it's used, it automatically places pressure on the content, which must justify why the film is shot this way, why it would lose something inherently thematic if shot conventionally. If the content can't do that, in other words, if the content can't justify the form, the form becomes gimmicky, drawing attention to itself. Think of, for example, Alfred Hitchcock's _Rope_ (1948), which was edited to look like one shot, or Sebastian Schipper's _Victoria_ (2015), which was legitimately one shot. Very little in either film justifies the stylistic design – shoot them conventionally and they're still broadly the same film thematically. Compare this with genuine one-shot films such as Mike Figgis's _Timecode_ (2000) or Alexander Sokurov's _Russkij Kovcheg_ (2002), and edited one-shot films such as Gustavo Hernández's _La casa muda_ (2010) or the aforementioned _Utøya 22. Juli_. Whether it's the spiralling nature of events in _Timecode_, the elegant cause-and-effect historical sweep of _Russkij Kovcheg_, or the real-time pressure and escalation of _La casa muda_ and _Utøya 22. Juli_ these films tie form to content in such a way that they become indistinguishable – form _is_ content, content _is_ form. And I think Mendes achieves like synergy.
Is the one-shot effect distracting? At first, yes, it is a little, especially if you're playing the game of trying to spot where editor Lee Smith (_Master and Commander: The Far Side of the World_; _Elysium_; _Interstellar_) has hidden the transitions. But after sussing two edits in the first twenty minutes, I stopped looking, because I realised I was just pulling myself out of the film unnecessarily. In essence, once you go with the aesthetic on its own terms, you forget about trying to spot the edits and asking yourself, "_how did they do that_", instead of letting the cinematography do exactly what it's supposed to do – immerse you. This is a film that wants to try to convey what it was like to live and fight in those trenches, with Mendes stating, "_I wanted people to understand how difficult it was for these men. And the nature of that is behind everything_". And, it does about as good a job as any war film I can think of in evoking the psychical reality, if not necessarily the psychological (more on that in a moment).
Generally speaking, the majority of the film is shot in one of two ways – either the camera is behind Schofield and Blake, following their path, or it's in front of them, facing back towards them as they 'follow' its path. There are some minor deviations from this (a few drone shots, some side-on footage etc), but irrespective of that, the film never for one second leaves their presence. And because the two men are almost perpetually in motion, it means that the camera is almost perpetually in motion, lending not only a tremendous fluidity to the blocking, framing, and movement, but so too a natural motivation – if they're walking along a trench, we're walking along a trench; if they're moving stealthily through a bombed-out town, we're moving stealthily through a bombed-out town. Almost everything the camera does is because one or both of the protagonists are doing the same thing, further emphasising the correlation between form and content.
The opening scene serves as a superb introduction not just to the visual design, but to the reasons for employing that visual design and the effectiveness of doing so. The film starts with a shot of a daffodil field, before pulling back and revealing Schofield and Blake taking a break against a tree before being summoned to the meeting with Erinmore. They rouse themselves and begin walking, first past more resting soldiers, then a camp where food and laundry are being prepared, then down a ramp into the trenches, the bucolic opening moments giving way to barbed wire and dirt. Geographically, it's a short walk, but thematically, it covers considerable ground. In a film that's all about scale and scope, this sequence perfectly encapsulates one of the main thematic reasons behind the single-shot – to accurately convey the importance of geospatial relations. We see the tactile transition from Edenic to hellish because we're moving in real-time through the _milieu_ with the characters; we see the boundary between peace and war because the characters walk along that boundary. You shoot this opening sequence conventionally, and you undercut this sense considerably.
Along slightly more conventional lines, one also has to commend the work of production designer Dennis Gassner (_Bugsy_; _Waterworld_; _Into the Woods_). Every location is visually unique – from a German bunker to an abandoned farmhouse to the bombed-out remnants of Écoust-Saint-Mein, and every location feels authentic and lived in. His design of No Man's Land is especially laudable, not just in terms of the expected mess of barbed wire and debris, but in the use and positioning of dead bodies, dead animals, and semi-destroyed machinery, with the whole thing having an almost post-nuclear desolation feel. Indeed, the film's No Man's Land is designed thematically. Mendes has said, "_the first World War starts with literally horses and carriages, and ends with tanks_", and this is mirrored in Gassner's designs. When the men first crawl into No Man's Land, they immediately encounter a rotting fly-covered horse carcass. Gradually, however, the battlefield becomes more mechanised, until they eventually pass through a German artillery position.
Also in a slightly more conventional sense, one has to mention Deakins work during the nighttime scenes in Écoust-Saint-Mein. The entire village has been reduced to nothing but the shells of buildings, and as we pass through the town, the only source of light is from the flares arching through the sky, which create very hard shadows in constant motion. The whole thing is almost otherworldly, and as the garish light traverses the sky, it's as if the ground itself is in motion, almost liquid-like, with the protagonists desperately trying to time their movements to ensure they stay hidden in the constantly shifting shadows. It might be a little too aesthetically beautiful for a film aiming for such gritty realism, but for aspiring cinematographers, you won't find a better study in how to compose an image using light and shadow.
Thematically, by its very nature, _1917_ is far more focused on the micro than the macro – you might learn something about life on the front, but you'll learn nothing about the politics behind the conflict, or even a sense of who's winning. Partly because of this, the film avoids, for the most part, the overwrought patriotism found in so many American World War II movies, the kind of cartoonish jingoism that made Steven Spielberg's _Saving Private Ryan_ (1998) so obnoxious. Indeed, it's relatively unimportant which side the protagonists are even on – their mission could have come from any of the combatants. Their nationality is largely anonymous, which is not something you can usually say of a war film, but which does illustrate just how irrelevant lofty political issues were at ground level, with everyone simply trying to survive as best they can.
On the other hand, however, because the film is so tightly focused, you shouldn't expect too much psychological insight. If you're anticipating an existential treatise along the lines of Terrence Malick's _The Thin Red Line_ (1998), you'll be severely disappointed. Malick's masterpiece is, for my money, the greatest war picture ever made precisely because it subverts at every moment what a war picture is supposed to be. It's about the war within rather than the war without, about nature's indifference to humanity's self-destruction, about the damage war does not to the mind or the body, but the soul. _1917_ is nowhere near this kind of thematic complexity, it's not even playing the same game, but I would value its simple individualised insights above something like the empty temporal trickery of Christopher Nolan's _Dunkirk_ (2017), which leans far too heavily into the "keep a stiff upper lip chaps" style of British filmmaking for my liking.
In terms of problems. I've seen some critics argue that the one-shot structure is a gimmick which draws attention to itself, and thus, rather than being immersive actually has the opposite effect. I admit that the film does take a little getting used to, but you soon settle into its rhythms (or lack thereof). I would agree that the story is paper-thin, but that's pretty much by design. One criticism I did have, however, is how well-groomed Scholfield and Blake constantly are, each with a perfect set of teeth. One only need watch Peter Jackson's _They Shall Not Grow Old_ (2018) to see how unrealistic this is. Indeed, for most of the runtime, the duo look like they've just stepped out of the makeup trailer, and it's glaring enough on a couple of occasions to pull you out of things.
All things considered though, I thoroughly enjoyed _1917_. I thought the single-shot strategy worked exceptionally well, and even if the film is weak from a character/storyline/theme perspective, it didn't really matter when the form and content are this well matched. This could have become an empty technical exercise predicated on nothing, but Mendes hasn't allowed that to happen, and instead, it's a war film that does justice to its subject. The more one knows about the Great War, the more one realises that it was hell on Earth. _1917_ doesn't make us feel what that hell was like. Because no film, no art form, can do that. But it's a damn good approximation. If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
Let me just take a deep breath... Wait, one more... Uff, I have no idea how I survived this IMAX screening of 1917. Usually, I don't delve deep into technical stuff since most people don't know or don't care about these attributes, but it's impossible not to address Roger Deakins' cinematography. It's not the first time a film has been edited to appear as "one shot" (a continuous take), but it never fails to impress me.
Alejandro G. Iñárritu's Birdman, Silent House starring Elizabeth Olsen, or the famous Rope from the one and only Alfred Hitchcock... all produce the same trick. Even Mr. Robot and The Haunting of Hill House have brought us two phenomenal "one shot" episodes, edited as well with the so-called "stitches," meaning that the actual cuts are made to look invisible to the viewer, hence giving that feeling that it's all just one continuous take. Cuts are often applied when a random character is passing in front of the camera; when the latter "pans" (movement similar to a head-turn) over a wall or an object that occupies the whole screen; or when the characters are simply going through a dark area.
Sam Mendes, Roger Deakins, and Lee Smith (editor) all work together to deliver the most immersive war movie (probably) ever. Yes, it has a simple premise, and the main narrative is basic, but the remarkable technical achievement elevates this film so freaking much. Even if you don't know the slightest thing about filmmaking or how movies are made, it's impossible to watch this film and not think "something feels different about this one." This is a movie meant to be watched at the biggest, best screen possible. Watching 1917 at home on a TV or a laptop is not going to work at all.
Throughout the whole runtime, I felt like I was there with Schofield and Blake. It feels like we are a third soldier going with them on a vital mission to save thousands of lives. I believe 1917 is the best "one shot" film to date (I've been using the quote signs for a reason, don't mistake it for an actual one shot movie), with Birdman as a close second. If the latter deals with a lot more dialogue and acting, the former has dozens of nail-biting sequences featuring shootouts, explosions, and a lot of running/walking/swimming through mud, dead corpses, blood, and way too many nasty rats.
I really have no words to describe Roger Deakins' cinematography. It's not merely a film, it's a whole experience. It's not just another cool technical achievement. It's the entire foundation of 1917, and the main reason why so many people are rushing to the theater. However, a lot of people are completely ignoring Lee Smith's work. Don't forget, this isn't an actual one shot movie. If it's been edited to look like one continuous take, and if it actually does appear to be a single take, then the editor should get as much recognition as everyone else. Yes, he doesn't have to work with thousands of cuts (I counted 14, but I'm sure there's more), but they still exist, and he has to make sure no one feels them. And he did so perfectly.
My last paragraph concerning the technical aspects has to go to Sam Mendes and Thomas Newman. As the director, Mendes is able to deliver precisely what he envisioned and seamlessly coordinate his actors. Not only has he directed my favorite Bond film (Skyfall), but he also offers one of my favorite war movies of all-time. As for Newman, I just wish that Joker had been released in another year because 1917's score is fantastic. Hildur Guðnadóttir is likely taking the Oscar for Best Original Score, but if Thomas Newman takes it, I'll still be delighted.
A lot of comparisons are being made with Christopher Nolan's Dunkirk. They're similar films regarding the fact that their main goal is to provide the most immersive war experience. Story and character-wise, both movies don't really develop that much. Nolan's film is loved by most critics and audiences all around the world, but one common complaint about it is the lack of character building. I didn't mind that at all because the movie never actually tried to make their characters important. They were just soldiers caught in the worst of situations, similar to 1917. However, I do think the latter does a better job of making us care for the protagonists.
George MacKay and Dean-Charles Chapman's characters have small arcs, but they exist. In the beginning, Blake is the emotional-driven character, while Schofield seems to be the rational one. We, as the audience, care about the mission first, but as time goes by, we learn about their personal traits and motivations. By the end of the film, I was crying. Both play off of each other really well, but it's their dialogue that impresses me the most. What seems to be just a random talk while strolling through an open field of grass, it truly isn't. If it's not meaningful at the time, it's going to be. The acting is more physical than anything, and both deliver outstanding performances.
I would say I love 1917 as much as I love Dunkirk. I might be tempted to choose the former due to the "recency effect," but there's one small aspect that negatively affects both. Their replay value is not as high as other films since their technical achievements don't work as well on a regular TV in the comfort of our own home. You will never feel or understand that "immersive experience" that everyone talks about. You won't know what made people to be blown away. You won't love it as much as everyone else. So, please, do NOT miss 1917 in theaters!
Sam Mendes, Roger Deakins, and Lee Smith. Director, director of photography, editor. Three key filmmaking roles in the creation of one of the best WWI movies of all-time. Edited to look like one continuous shot, 1917 is a mind-blowing technical achievement, elevated by Deakins' always jaw-dropping cinematography, Thomas Newman emotionally powerful score, Mendes impeccable directing, and Smith's seamless editing. George MacKay and Dean-Charles Chapman deliver outstanding (physical) performances, but it's the astonishing filmmaking that steals the spotlight. Production design, costume design, sound, you name it. Everything is absolutely perfect. It's meant to be seen at the biggest screen near you since this is an incredibly immersive experience that you won't get at home. It's going straight into my Top10: Best Movies of 2019, and I hope you'll love it as much as I do.
Rating: A "Director Sam Mendes employs distinctive but extraordinary shots in the first person during the two-hour footage, which makes the production work in many different ways. Although it sometimes results too shaky, it is thanks to George MacKay and Dean-Charles Chapman's performances that 1917 preserves both sombre but optimistic tones throughout the montage. In short, this is an exceptional approach to memorialise the hundredth anniversary of the end of the First World War".
We are somewhere in France during the Trench Warfare [1915 - 1917] with a depleted British Army; the atmosphere, alongside with the dialogues, can define by itself how was life at the front: scarce water and food, despair between soldiers to go home, endless weapons and corpses scattered on the floor, and so forth. Corporals Blake and Schofield are told to attain a severe/impossible mission despite not having any reinforcements. Before achieving this goal in sending General MacKenzie [Bennedict Cumberbatch] the infamous fallback letter, both privates must penetrate the frightful No Man's Land and experience horrendous life-and-death encounters in many places.
Regardless of the silent second half, the absence of preeminent performers and the woozy experience of watching the film in one sole perspective director Sam Mendes and executive producers deliver an eloquent portrayal about surprising facts of the four-year global conflict. For example, both soldiers are bewildered by the superiority of the German trenches in proportions and in quality considering that historically they were far better equipped than the Allied ones which allow the audience the opportunity of a lifetime to analyse the condition millions of innocent citizens were facing. The result improves with some accurate shots at landscapes, underground warfare channels, entire villages pulverised, etcetera. I must acknowledge the last fifteen minutes of the film; it has been a long time since I spotted such an imposing ending. Countless emotions appear regardless of having reached the climax. What a masterpiece ladies and gentlemen!
What amazes me the most is that despite being a World War film, 1917 does not give the impression in duplicating the ordinary details of previous same-genre releases such as Hacksaw Ridge [2017]. Once Mr Gibson introduced a brief biography of Desmond Doss [the main character] he began recording some ultraviolent scenes as though you were spotting the most savage state of humankind. As an alternative, 1917 delivers some innovative procedures in creating a war film without increasing the brutal strength of instant classics as Saving Private Ryan.
Congratulations!
[80/100] Very well made war-drama all in a one-shot like format. Performance from George MacKay who I guess if nothing else could follow in the footsteps of Tom Cruise for his all-out running ability. Joking aside, really enjoyed this film which manages to provide enough character development for me to care about his well being and task. Probably my favorite of 2019. **4.5/5** When it comes to impressive achievements in filmmaking, “1917” deserves to be near the top of the conversation. This war film, which unfolds in two hours of real time, is shot to appear as one continuous take. Thankfully, it is so much more than just a technical gimmick. The showiness eases up as the emotional weight of the story unfolds, but it’s still hard not to get stuck on the challenges and manner of the moviemaking rather than the characters that should be the focal point of the film.
Set during the First World War, the story follows Schofield (George MacKay) and Blake (Dean-Charles Chapman), two young British soldiers who are given a seemingly impossible mission: deliver a message across hostile territory to the front lines. In a race against time, these men must deliver the information within a couple of hours if they want to stop 1,600 men, and one of the soldiers’ brothers, from walking straight into a deadly trap.
The plot is thin, and the characters even more so. Instead of learning more about Schofield and Blake, the showy filmmaking technique commands the spotlight over learning more interesting aspects of these soldiers. It’s more of an experiment in “look what I can do!” rather than compelling storytelling. The camera becomes more of a character than the actual characters.
Does this matter? Not really. Roger Deakins is a master cinematographer, and his technique here creates a fully immersive experience. Paired with director Sam Mendes, the two capture the trench warfare of WWI with clever camerawork that not only gives a real sense of the distance these men had to travel, but makes you feel trapped alongside them as fellow soldiers sharing the same journey. The intimate style of camerawork makes you feel as if you are right there in the trenches, on the battlefield, with these two young men. Since the film is made to feel like it was shot in real time, it becomes a psychological wartime thriller as time begins to run out.
“1917” is a large scale spectacle that often overshadows its small scale story, but there’s no disputing that it is a grand achievement in filmmaking. I see that a lot is made of the technique they use to film this movie in one continuous shot, and it is very interesting, but I must confess I am not a student of film, merely a viewer. So you will find no critiques of the director or editor or that sort of technical detail. I like what I like.
Anyway, I enjoyed this movie more than I expected I would. I am not big on war movies. The scenery seemed great to me, and though there were visually stunning scenes, they didn't try to pile on explosion after explosion to cater to that crowd. The two leads were at the same time heroes and regular guys. I could almost picture myself in their position. Moments of extreme courage and bravery under fire were balanced by totally justified panic and fear. There were also quieter moments here and there, breaks from the sometimes hard to bear tension. Finally, there was a plot twist that seems normal looking back at it, but it shocked me at the time. I will leave it at that and not risk giving anything away.
So while I probably won't watch it again anytime soon, I do recommend it, even to viewers like me, who aren't big on war movies. As a side note, one viewer warned others NOT to compare this movie to Saving Private Ryan. I guess he thought it doesn't compare with it. Maybe I should give that movie a second look. I think this film with very great shot. also the actors was very good. But the story didn't appeal to me. haha Excellent original film. It truly sucks you in straight from the very first scene until the last. There's nothing predictable in this well thought out and very tense (soon to be) classic. An incredible journey that will keep you on the edge of your seat, albeit without many surprises. Beautifully shot. Music was superb. Premise interesting. Acting was good.
But I've never yelled at a characters complete incompetence as much as I did this one. The Schofield dolt just stumbles around in a stupor the whole time doing just about everything he can wrong and it's basically sheer luck more people didn't die because of this nitwit. Schofield is annoying at first and over time he grows to real irritation.
I can't express my true rage at this moron as the review would either be removed or filled with [explicative deleted] notations.
As beautiful as the camera work and music is in this film, it's not nearly good enough to bump this rating any higher for the rage that it caused in me for this character. Yet the cinematography and music were too good to let me give it the lowest rating.
It's a well done movie about a complete [explicative deleted].
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In the near future, a weary Logan cares for an ailing Professor X in a hideout on the Mexican border. But Logan's attempts to hide from the world and his legacy are upended when a young mutant arrives, pursued by dark forces. Logan 2017 review : **LOGAN REVIEW: THE WOLVERINE GETS A SUPER SEND-OFF**
"Owing to its agitated hero’s misfortunes through the ages, this is a film that’s acutely aware of the dangers of emotional exploitation, and it spares its audience a similar fate. With Logan, Mangold and co-writer Scott Frank tell the definitive story of the Wolverine, in an involving and deeply satisfying series finale. It shows the fate of mutants when age starts to weary them, with stakes that feel real, and empathy that’s earned."
READ THE FULL REVIEW AT SBS MOVIES: http://www.sbs.com.au/movies/review/logan-review-wolverine-gets-super-send There may be some fine performances in this movie, but I honestly think the critics overrated this latest entry in the X-Men saga. The performances of Wolverine and Prof. X by Hugh Jackman and Patrick Stewart are extraordinary. They create a believable and loving father-son bond between their characters, with Logan caring for the ninety year old leader of the X-Men after a horrible event occurs at the Xavier school the year before. Stephen Merchant takes over the role of Caliban from Tómas Lemarquis, who played the character in X-Men Apocalypse, and transforms him into an ally to Logan and Charlies. Merchant is quite good in the role. But what really dragged down the movie is its nihilism. The other X-Men are completely missing from the film and mutants have been wiped out almost completely. A sense of doom and hopelessness looms over the film. This movie completely upends the warm and hopeful epilogue of Days of Future Past, where the X-Men were restored to life and glory and mutants weren't extinct after all. Death seems to stalk Logan and Charles wherever they go. There is also a conspicuous lack of significant female characters in this movie, too. The only female of note is Laura/ X-23, and she spends most of the film mute. There is also a complete lack of any strong or memorable villains. No one ever reaches the level of greatness like other X-Men villains such as Magneto or William Stryker. So, despite some good performances, this film is a bit overrated and also a little too bleak and depressing for my taste. One of the best and most mature Marvel movies to date.
The first half of this movie is a huge delight and a huge thrill. Hugh Jackman and Patrick Stewart are so entertaining to watch as characters they've known for 17 years. They've taken their characters a step further here in a script that allows them to explore themselves emotionally more than ever before. This movie is strictly part-drama. Yes, that's right. Finally, a Marvel superhero movie you can confidently stamp the drama genre tag on.
The effects, stunts and gore are really quite shocking. You can really feel the weight of each character's immense power, and more importantly, the struggles that come along with them. This further fleshes out each character.
The movie starts to lose the enjoyability of its ensemble halfway through, and what happens after is what you might expect from a typical X-Men film. Action, sci-fi and more action/sci-fi. The villains are as interesting as they can be I suppose. They lack much development but are there to fuel the real story. Anyway, I can't say much else without spoiling the plot. I'll just say that I wish the movie would have taken a different direction. If you don't like superhero movies, this is the superhero movie for you. And if you do like superhero movies? Watch _Logan_ anyway. It's bloody brilliant.
_Final rating:★★★★ - An all round good movie with a little something extra._ **** This review may contain spoilers ****
We finally get the Wolverine we have been asking for, for the past 15 years and it's his last time. Well, I guess he couldn't have ended it in any better way as a last farewell to the fans and his signature role. Not only that but it looks like this one blows all the other superhero movies out of the water. **A farewell and a welcome!**
A perfect farewell to the only mutant who had solo films in 'X-Men' franchise. I never understood 'X-Men', I thought it was the worst superhero film series I've ever seen. But 'Wolverine' was the only reason I watched them all and particular, Hugh Jackman. There won't be Logan now onwards, though a set of new generation welcomed in this film, while saying goodbye to the old guys. So now what happens in the future of this franchise is a very suspense. Yet Logan had been the precious gem in the crown of 'X-Men', that mean it won't be the same anymore.
After many years passed in the future, the last survivours of mutants hiding their identity and living among the humans. Logan and two others were attacked by the armed men when he decided to help a child mutant. Running away from them and looking for a place where they can be safe prioritised in the narration. More dramatised film in the franchise, but there are enough actions those who desire for that.
It's an emotional time for the hardcore fans of Logan/Hugh Jachman. One final great performance by him and the little kid was also good. A well shot film, with minimum graphics and more realistic stunt sequences. Well, not all were real, too strong fights, too bloody, despite having a child actor in it. Yeah, it is a good film, I liked it, but not a masterpiece as you might have heard of. But anyway, it is a must see for the 'Wolverine' fans.
_7/10_ I believe that I am about to disagree with quite a few people now. You see, I did not like this movie.
Not that this came as much of a surprise to me. What I got was pretty much what I expected. From a technical point of view the movie is quite well done. Hugh Jackman and Patrick Stewart are doing good jobs as always. The action scenes are good. The cinematography is not at all bad. If you are into tragic drama and do not mind the super hero twist of the movie then this is a movie for you. The technical qualities is why this movie gets any stars at all from me. If I would judge it by story only then it would have gotten zero, null, nada, nicths, rien, ingenting.
For me it was depressing, boring and not at all fun to watch. The only reason I watched it is because I, as a X-Men fan, simply had to watch it as well as having it in my collection but I would have been happier it this movie had never been made.
Wolverine is more or less an unpleasant drinking bum clad in filthy ragged clothes. Professor X is half insane and apparently dangerous to himself and the people around him. We get absolutely no explanation as to how this sad state of affairs.
The entire movie is dark in spirit with the X-Men all but died out and Wolverine and Professor X just waiting to die. Then in comes this female child who later turns out to be a female version of Wolverine. She pretty much lacks any form of charisma and she and Wolverine spends almost the entire time in a state of conflict, much due to Wolverine who seems to think everyone should go fuck themselves so that he can continue to self destruct.
The bad guys are the usual evil corporation doing experiments on X-Men, genetics etc. Supposedly they were behind the almost extermination of X-Men but of course they keep their own little army of “enhanced” humans that doggedly harasses Wolverine & Co. There are some nice action sequences but there is really no good overall boss. No one with enough Charisma to take the role of the main adversary unless you count X-24 who only took part in a few parts of the movie.
By the way, why the fuck do Wolverine, Laura as well as X-24 have to grunt like horny monkeys when they fight?
The story is rather predictable with no major surprises, little depth and low on logic. A typical Hollywood drama. Not really anything to write home about.
The movie is just so depressing from start to finish. As a last farewell to Wolverine and Professor X it is almost insulting. I know a lot of people seem to like it but I cannot understand why. At least not if you are a X-Men fan. The Last Cut Is The Deepest!
Did we need another X-Men movie? In fact did we need another Wolverine movie? Well the result is there for all to see, with Logan not only showing itself to be undoubtedly the best Wolverine venture by far, but arguably the best X-Men picture as well. If, as expected (and surely to god it's hoped so), this is the last we see of the grumpy metal clawed superhero, then what a fitting and triumphant bow out it is.
James Mangold, the director, has managed to create an adult superhero movie without it really being a superhero pic, for he has created a film noir Western that happens to be about a superhero. Mangold's love of noir and Westerns bursts from the screen, which for those who follow those wonderful stands of cinema, will come as no surprise having seen with notice his Copland and 3:10 To Yuma redux. There's a perpetual grimness to the narrative that belies the quite often stunning surrounding locales, heavy themes such as men out of time - with destinies written (cue a deft comic book movie within a comic book chunk of metaphysics) - surrogates, mental illness, human ignorance, and on it goes, the narrative strong on intelligence as much as it is in wrought emotion. Western fans will also be buoyed by the part that the 1953 classic Western Shane has to play in things, considerably so as its importance narratively, orally and visually is mightily strong.
Logan's Run!
Ah yes, well being "adult" is all well and good, but is Logan thrilling? Do we get pumped up Wolverine action, blood brains, splatter and mucho muscle flexing and pained roars of anger? Oh yes! Action from the off is never far away, and wonderfully staged and choreographed it is. Lots of memorable set-pieces, while also some cleverly constructed sequences such as Xavier's mind seizures hold court and enthral. Yet the kicker with all that is we are clued in to the emotional baggage that the side-burn sporting protag carries with him. With each fight we sense the bigger picture, even as we watch in awe the emergence of Laura (ironic film noir name right there as it happens) - and her part in this very "human" story - the thrills and spills are propelled by a meaningful but battered heart.
Tech credits are superb. Acting honours go to Jackman, who after giving 17 years of his life to the character, gives it his all and this multi faceted performance, in a perfect world, deserves Oscar recognition. Patrick Stewart, also, is immense, playing the nonagenarian Charles Xavier with such class, gracefulness and storming emotion that one can only admire. Film debutante Dafne Keen as Laura is utterly engrossing, quite a debut indeed, whilst Stephen Merchant as albino mutant tracker Caliban is effective to the point we hanker for more. Although the villains fronted by Boyd Holbrook (rote henchman leader) and Richard E. Grant (smarmy scientist git) just about pass muster, there's nothing to damage the piece. Cinematography (John Mathieson) is "A" grade, the filters set on neo-noir, with the splendid film noir black and white version a fillip for the heart of noir lovers. All that is left is for the sound mix to boom and the director to steer with heart, brain and soul, without doubt both come up trumps.
One of 2017s best films, a genre splicer that ticks all the boxes of great film making. 10/10
