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Title : Snowpiercer Snowpiercer genre : Action, Science Fiction, Drama Snowpiercer crew : Johanna Ray, Mark Holding, Robert Bernacchi, Marco Beltrami, David Minkowski, Matthew Stillman, Park Chan-wook, Jeremy Woodhead, Curtis Lindersmith, Bong Joon-ho Snowpiercer release date : 10 September 19 0 1 Snowpiercer runtime : 127 Minutes Snowpiercer Crew : Johanna Ray, Mark Holding, Robert Bernacchi, Marco Beltrami, David Minkowski, Matthew Stillman, Park Chan-wook, Jeremy Woodhead, Curtis Lindersmith, Bong Joon-ho Snowpiercer movie cast : Chris Evans, Song Kang-ho, Ed Harris, John Hurt, Tilda Swinton, Jamie Bell, Octavia Spencer, Ewen Bremner, Go Ah-sung, Alison Pill ========================ஜ۩۞۩ஜ==========================
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In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine. Snowpiercer 2013 review : Original IP Post-Apocalyptia as well as the 21st century can possibly dish it out.
_Final rating:★★★★ - Very strong appeal. A personal favourite._ If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
Snowpiercer is getting a TV adaptation soon, so now it's the best moment to rewatch one of the best movies in 2014. At the time, Bong Joon-ho wasn't exactly a famous director that everyone knew about. Therefore, the cast led by Captain America himself, Chris Evans, and the intriguing premise did all the work in creating the cult following it got. Ironically, I haven't watched this film since its release, so this is only my second time boarding its train. I'm going to start with the best thing that this movie possesses: its screenplay.
This is one of the most shocking films I've seen when it comes to delivering jaw-dropping twists, one after the other, exclusively through dialogue. As it would become a staple in Bong Joon-ho's filmography, his writing is so incredibly complex and multi-layered that it's truly a miracle that his movies end up making any sense. Snowpiercer (which is co-written by Kelly Masterson) has literally dozens of logical questions that any other film would not only fail to explain, they wouldn't even try to. With any other screenwriters, this movie would feel too far-fetched and hard to believe. But it's far from that.
Each character receives extraordinarily elaborate development, filled with mind-blowing revelations and eye-opening twists. Every line of dialogue, every picture, every camera movement, every shot, every scene matters. Everything the viewer sees or hears either means something or foreshadows an eventual payoff. Snowpiercer is the definition of "every shot counts". Don't you dare go to the bathroom without stopping the film first. You'll undoubtedly miss something significant. Absolutely brilliant screenplay and astonishing, well-written characters.
It's indisputably a narrative-driven story. Snowpiercer is a lesson in exposition. Even though there's plenty of action (I'll get there), it's a movie that relies on the viewer's ability to be captivated by dialogue. The concept is definitely unique, and the story is extremely captivating, but only if the viewer can understand the value of entertainment in listening to these characters while they go through their revolution... in learning who these characters were, are and will be. Just as an example, there's a third act's monologue performed by Chris Evans that not only delivers tons of information about his character, but it's also emotionally compelling to watch. If someone doesn't *feel* anything during this scene, then maybe Snowpiercer might not be the movie for you.
I find The Platform to have a similar concept. Instead of a train, it's a vertical prison, but the allegory of how society works is evident in both films. How politics, religion, and early education can control Humanity. The top/front people not only receive more than what they need, but they still overuse everything, completely ignoring the bottom/tail humans that need to fight for scraps. These films take entirely different paths, but Snowpiercer owns a much more complex narrative than The Platform. However, it's still interesting to see the comparisons between these two distinct approaches on a similar theme.
Nevertheless, for everyone that needs some sort of dynamic entertainment, this flick is also packed with action set pieces. There's a tiny bit of too much shaky cam for my taste, but overall, it accomplishes the mission of delivering the chaotic, energetic, claustrophobic environment that the action sequences need. It's a train, after all. It's not like they could produce massive battles in such a small space. In fact, the screenplay allows the crew to show some really creative, innovative techniques. The use of slow-motion (not only during the action scenes) elevates the movie, generating great suspense/tension, and it's perfectly timed (including a fantastic one-take sequence with Chris Evans).
Since I just mentioned him, might as well address his impressive performance. People might not remember this, but at the time of the film's release, Evans was interested in pursuing a directing career, setting his acting as a secondary role. While I do believe he's going to make a great director, I'm beyond happy that he continued to use his acting abilities. As with most of MCU's actors, I feel like he's pretty underrated considering what he has demonstrated throughout his career. Snowpiercer is just the tip of the iceberg. Chris Evans is a remarkable actor and much more than "just" a version of Captain America.
Tilda Swinton (Mason) also offers a quite interesting display, Octavia Spencer (Tanya) is fascinating, while the legend Ed Harris (Wilford) takes his short but effective screentime to prove how gifted he is, especially concerning plot exposition. He's always able to be captivating by merely opening his mouth. Marco Beltrami's score is riveting and memorable. The editing (Steve M. Choe, Changju Kim) is not only seamless, but it definitely helps the viewer better understand the story. Finally, the production and set design are impeccable, offering the "one-location", claustrophobic vibe that a train unavoidably has.
My only major issue involves the ending. It's quite impactful but also underwhelming and morally divisive. A particular decision that affects everyone in the train (basically, the entire Humanity) doesn't quite convince me that it's the best conclusion. It sort of diminishes some of the characters' efforts to get where they do, as well as the story's initial purpose. On one hand, it's an ending that raises a few questions in a movie that does a terrific job in explaining every little detail until this last moment. On the other hand, the train is far from giving a fair life to everyone...
In the end, Snowpiercer is not only one of 2014's best films but also one of the best of the respective decade. With a brilliant screenplay, Bong Joon-ho delivers an extremely complex narrative, filled with emotionally shocking character development, and featuring excellent stunt work. The underlying theme of how Humanity is controlled by how its society works (from politics to religion to education) cleverly accompanies the already twistful story. Snowpiercer is a phenomenal lesson in "exposition", and the definition of "every shot matters". Boasting jaw-dropping performances from everyone, especially from Chris Evans, every dialogue is remarkably captivating, packed with mind-blowing revelations, and an unbelievable effort in explaining every little detail regarding the train's functionality. This would undoubtedly be at the top of the decade's best movies if not for a morally divisive and somewhat underwhelming/questionable ending. Technically, an addictive score, amazing editing, and impressive production/set design put the final stamp of quality in a brightly original, unique piece of cinema.
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A young woman's plans to propose to her girlfriend while at her family's annual holiday party are upended when she discovers her partner hasn't yet come out to her conservative parents. Happiest Season 2020 review : Great watch, would watch again, and do recommend.
There is a huge advantage in knowing as little as possible about a movie before watching it: mostly it removes expectations, and allows little surprises to delight you through the movie.
I watched it because it was a Kristen Stewart movie, but was happily surprised to see Clea Duvall involved, and continually delighted to see familiar faces appear: Mary Holland, Alison Brie, and Aubrey Plaza especially.
I'm honestly not familiar with "a lot" of "coming out of the closet, but not quite yet" stories, but I have seen a lot of "secrets for the holidays", and "don't tell my family x", and this is very interesting that it uses that concept to knock the wind out of the sails of the story so early.
While the majority of the story is basically abuse humor, it's delivered in a way that manages to both garner sympathy for Abbie and be charmingly amusing.
If the movie has a real downside, then it's that it tries to do (almost) too many things, but manages to pull it off. Yeah, I pretty much hate Harper, but that's by design, and she's a victim as much as a villain. The shift in stories as things all start to resolve is the "worst" part of it, but ultimately makes for a satisfying ending. I was surprised by how much I liked this Hulu Christmas offering, since you can get jaded at the number of holiday romantic movies the various sources crank out every year. The movie seems to combine several sub genres here, the familiar gay coming out, dysfunctional holiday family, even bordering in romantic triangle territory.
Martin Levy’s son does him proud, as Dan Levy was a real scene stealer here. I quickly decided the more of him, the better. The chemistry between the two leads wasn’t quite evident to me and I am not sure why. I saw more chemistry between Harper and Abby’s ex-girlfriend Riley, actually. Also, I think an opportunity was lost in the perpetually frowning two kids. They should have been allowed a bit more personality I think. (And what is up with all the gender neutral names for many of the female characters here? Harper, Tipper, Sloan, Riley, Harry, Kelly and Ashley. Weird.
Mary Steenburgen does her usual competent job playing the wife and matriarch, though I felt they let her fade a little into the background until she asserts herself near the end.
So while this movie won’t enter my cycle of Christmas movies to watch annually, I enjoyed it just fine (tinged with the shadow of regret that it wouldn’t have taken much more to be very good). The writers do not have many film credits, so I hope they continue to write and improve. I won’t change the channel if I run across it in the future.
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Miles Morales is juggling his life between being a high school student and being a spider-man. When Wilson "Kingpin" Fisk uses a super collider, others from across the Spider-Verse are transported to this dimension. Spider-Man: Into the Spider-Verse 2018 review : First of all, I love the animation style in this film. The animation in this film is styled to look like an actual comic book. I think this approach for this kind of film was an excellent choice because we’ve all seen the usual kind of animation but nothing like this. To tie in with the animation I need to talk about the action scenes in this film. These tie in with the animation because of the way the directors styled the action shots is to look like something in a comic panel. Most people don’t know who Miles Morales is and after this film, you’ll want to learn more about him because of how they made him so relatable in this film. He acts like a typical teen in this situation compared to other versions of Spider-Man. Other versions kind of just acted like they always knew how to use their powers when Miles struggles with his. Miles isn’t the only relatable character film all of them are. The creators of this film did a “Marvel”ous job at making each character in this film somebody at least one person in the audience can relate to. All of the voice actors did a great job in their respected roles but it would’ve been nice to have a returning voice to at least one of the Spider-Man. It would’ve been cool to hear a returning voice even if it was for a few seconds. I have to talk about the humour in this film. It isn’t overpowered in this film and I felt like it had just the right amount of humour that will make everybody laugh. They poke fun of things that wouldn’t make sense in a real movie and other Spider-Man movies. Not a single moment in this film felt rushed or slowed down every scene felt the right pace for a movie like this. The cinematography in this movie was spectacular. This is probably because of it looking like a comic book and how the lighting needs to match up with how it would look in an actual book. If you are a comic book junkie you’ll love all of the easter eggs in this film. Some of them just comic book readers will get but others a majority of people will understand. The music in this film is fantastic. Every song in this film isn’t overused and matches perfectly with the age of the character. Somebody Miles age would be listening to the type of music he listens to. And the music without lyrics helps increase the emotion in the film. Also, there are two end credit scenes that are worth waiting for. In the end, this film is perfect for everybody. I give Spider-Man: Into the Spider-Verse a 10/10. It's true I liked it less than perhaps the vast majority of _Spider-Verse's_ audience, but this was still great, the animation enamouring, and the depth of its story and reference totally engaging. Not to me the best Spider-Man movie as many have said, (that honour still goes to _Homecoming_) but a blast all the same.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._ My wife doesn’t care for Spider-Man at all - as Batman is her favorite superhero.
With that being said, she loves this movie to death, along with my son and I. It’s safe to say we’ve watched this movie over 10 times and we’ve shown it to all our friends. It’s a really great movie that promotes diversity, good animation, and has a great story. I highly recommend to all who are interested in watching. Spider-Man: Into the Spider-Verse (2018) is no ordinary Spider-Man movie, it contains multiple characters with the same powers in multiple dimensions. This is also not an ordinary animated movie. It has animated style we have never seen before. There were 177 animators and it took 1 week to animate 1 second and 1 year to nail down 10 seconds. Nowadays, animations are being made to look real but this movie was different. However, the creators wanted it to look like something new for viewers. They don't make it realistic or cartoon. The creators used an old-school technique called "smear". If you look in a single frame, you'll notice things like multiple limbs to create the illusion of movement. Basically, the entire movie was a comic book that moves. There is a technique in half-toning, which uses dots to create colors and gradients. They were really jaw-dropping. The shadows were created with hatching or crisscrossed lines. The movie had some textures so it would be exactly like a comic and I was glad that it deserved Oscars's Best Animated Feature. All of these techniques combined to make a movie that was the best animated feature not just in 2018 but perhaps of all time. It was really like a masterpiece of animation! The story plot was really good. The scenes were quite EPIC and sometimes tragic and hilarious. The unbelievable thing was when Peter Parker died in Miles' Dimension. It was really sad to see an iconic superhero killed by a supervillain. The deaths are moving and the hilarious scenes kept me laugh a lot. I like the end-credits when it started in the Animated Tv Show Spider-Man (1966) when the two Spider-Men look exactly like each other arguing, but this time, it was Spider-Man pointing to Spider-Man 2099. How did they do that? Perhaps the best moment to me was “A Leap of Faith” when Miles tried to be the one and only Spider-Man in his dimension, after Peter Parker was dead. I wasn't bored watching this movie, it kept my eyes open on the screen looking at the newest kind of animation. I was totally impressed! Perhaps this is the greatest animated movie of alll time! It was a really good idea to release this on Christmas! Stan Lee would be proud! Great story, great message, and great animation. It's easy to see how this became the visual masterpiece it is. The creators put a lot of love and passion into its making and the results are amazing! I was asleep most of the time while watching this film, but during the times I was awake, I enjoyed the animation and it looked like something I would've enjoyed - if I weren't too busy dozing off. I didn't expect I would enjoy this movie this much. The trailers looked too hyped for me and so I thought it would flop just like the other ones. Surprisingly, it didn't and I had my eyes glued to the screen because of the awesome animation the creators put out. Really good job! Spider-Man has always been that character that I saw in live-action movies so to see him in an animated version was a first for me. It was hard for me to enjoy it at first but the movie didn't seem too bad and had a really good plot. At first, I expected I was gonna be disappointed because all of the trailers for this Spider-Man looked childish and too millennial for me. And being a fan of the Tobey Spider-Man, I had high expectations. Surprisingly though, I was able to still love the film! No doubt about it. This is truly Marvel, from the bold storytelling all the way to its stylish animations. A lot of risks were taken in this video and all that paid off giving us one hell of a film! Although the story was a textbook plot, it still had enough twists to satisfy both new and returning audiences. This definitely has Stan Lee's seal of approval. People in the studio, be proud of yourselves. You have made Stan Lee proud. One of the few films that lived up to the hype and even surpassed my expectations. Watched this movie a couple of times and I think it's safe to say that it's a near, perfect movie. Animators really outdid themselves on this one by giving each character a uniqueness to them. Sony really nails making character movement look detailed and pronounced. Despite having a plot that's almost predictable, the visual style and the way it was presented made the film feel fresh. The visuals, concepts, soundtrack, and characters are some of the best I've ever seen!
Spider-Man: Into the Spider-Verse official trailer
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Vivarium synopsis Vivarium the movie 2019 showtimes complete online streaming uhd Vivarium song, Watch Vivarium full movie online now.A young woman and her fiancé are in search of the perfect starter home. After following a mysterious real estate agent to a new housing development, the couple finds themselves trapped in a maze of identical houses and forced to raise an otherworldly child.,what are Vivarium movies in order Vivarium synopsis full movie Vivarium 2019 HD Movies, Full Length Movie ========================ஜ۩۞۩ஜ==========================
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Title : Vivarium Vivarium genre : Science Fiction, Horror, Mystery Vivarium crew : Kristian Eidnes Andersen, Kristian Eidnes Andersen, Patrick Ghislain, Tony Cranstoun, Brendan McCarthy, Niamh O'Loan, John McDonnell, Catherine Marchand, Colin Jones, Philip Murphy Vivarium release date : 28 April 19 2 1 Vivarium runtime : 97 Minutes Vivarium Crew : Kristian Eidnes Andersen, Kristian Eidnes Andersen, Patrick Ghislain, Tony Cranstoun, Brendan McCarthy, Niamh O'Loan, John McDonnell, Catherine Marchand, Colin Jones, Philip Murphy Vivarium cast : Imogen Poots, Jesse Eisenberg, Eanna Hardwicke, Jonathan Aris, Senan Jennings, Molly McCann, Danielle Ryan, Olga Wehrly, Jack Hudson, Michael McGeown ========================ஜ۩۞۩ஜ==========================
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A young woman and her fiancé are in search of the perfect starter home. After following a mysterious real estate agent to a new housing development, the couple finds themselves trapped in a maze of identical houses and forced to raise an otherworldly child. Vivarium 2019 review : ‘Vivavirum’ slots in neatly next to Jocelyn DeBoer and Dawn Luebbe’s ‘Greener Grass’ and Richard Stanley’s ‘Color Out of Space’ to form a loose trilogy of deeply surrealist releases in 2019 that skewer our perceptions of suburbia and the family unit. Director Lorcan Finnegan has brought to life a disturbing, thoughtful and bleakly funny mutant of a movie. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-vivarium-what-makes-a-house-a-horrific-home Pretty pointless movie. Signed up to review because I couldn't believe the rating this received. Yes, you get a weird realtor and a creepy kid but other than that you just watch the couple basically repeat each day hating being stuck. You're not going to learn anything more about the weird freaks or why they're doing what they're doing and will end up feeling like you just wasted your time. Yeah, I get it's supposed to be satire but pass. > **_Review on Horror Focus_**
This indie sci-fi thriller Vivarium from Irish filmmaker Lorcan Finnegan is many things, one definitely being quite the head-scratcher. Not because of it being an intellectually challenging story, or one that is laced with twists and turns to create an unpredictable viewing, but a film that delivers a narratives so peculiar that it is like something you've never seen before. Take this with a pinch of salt, as there's certainly aspects which don't make the landing of such an ambitious plot, but let it also be known that Vivarium contains some impressions visual and narrative storytelling, enough to forgive some of the mid-act waffle that cripples the films momentum.
Finnegan gets the ball rolling with power, keeping the story taught enough that we are thrown straight into the mystery early doors. This works extremely well as the tension begins to bubble within the first ten minute mark. The performances here from our main cast member already begin to show their brilliance, especially Jonathon Aris who sets a chilling foreshadowing tone with his appropriately eerie character Martin. The small (yet effective) amount of screen time we have with Martin is enough to set the tone, and we, like Tom and Gemma are forced to endure something that is so ominously intense that it leaves a lingering sense of dread.
Unfortunately, this soon begins to simmer once Finnegan establishes the plot in its whole, and realisation settles on the simple fact that, after the 30 minute mark, there really isn't much else for the story to go. Yes the labyrinth maze of suburbia is strangely terrifying, and the strenuous repetition is effective, but after 15 minutes of having the child introduced, Vivarium begins to fall flat, and grow increasingly more stale up until after the sixty minutes in. The fantastic Poots and Eisenberg, and the deadpan humour do prevent this film from becoming a little too one-note, but this doesn't exuse more than a few scenes that will be a task to sit through, even in these current homebound world we are living in.
There is a glimmer of brilliance in Finnegan's choice of release here, as what our main couple are enduring is poetically reflective of the life we are living in this mad pandemic virus. I found myself identifying with the irritated attitude our characters develop, and sympathised with them when their child (the boy) was well deserving of a slap. Vivarium is intelligently relative right now, and can definitely be perceived as as Finnegan holding a mirror up to the idealistic yet treacherous concept of what makes the perfect home, and the urge to be the perfect family.
In fact, there's so much underlying aspects of Vivarium that are so incredibly reflective of the inevitable repetition that comes once a spunky couple are weighed down by family life, securing their "ideal" home and tolerating each others impurities under the same roof constantly. Finnegan exposes the dangers of the nuclear family here, and forces us to endure it too, warts and all. We even get those little moments in which Tom consistently chips away, digging a whole, not to be talked to, helped or interrupted by Gemma, who becomes a slave to ensuring nothing but contentment for their boy. This moment is humourous with a dark sting, and will be reflective of reality to many, but to those inside Vivarium is nothing but a nightmarish loop.
This distorted utopia Finnegan creates is what's most effective, orchestrated by a Burton-esque palette that is as gorgeous as it is hauntingly off-kilter. The early 80's, Romero's Day of the
Dead-like synth is undeniably effective, and carries the tension through to the final act, which although doesn't hit a payoff point that excuses the slow middle act, does add to the bankers reality Finnegan has crafted, and highlights the eeriness established from the beginning. While Vivarium does lose a tone of momentum when it hits the mid-way point, by the time it reaches its end, I can't shake the distinct feeling of unease I had to endure for over eighty minutes, and I can't deny that a film like this was an experience I have quite been exposed to before. I have been feeling really under the weather these past few days, and let's just say this only made me feel worse. Great job, I guess?
VERDICT Vivarium is a simplistically disturbing suburban nightmare with a captivating story and little room for growth. Enduring its drab middle act may prove tricky, but once Finnegan blows the dust of the eerie intensity established from the beginning, you'll find there is much to be desired with this unsettling little indie-sci-fi thriller. Amazing watch, will watch again, and can recommend.
Imogen Poots and Jesse Eisenberg (both from "The Art of Self Defense") are amazing in their roles as an abducted couple force to raise a child.
This is an amazing premise (see "Solar Opposites" for something similar), and one that is extremely hard to discuss without spoilers. This is a wonderful mix of tropes. There is a prisoner / abductee trope, there is "adoption of a strange child" trope, there is a "troubled couple" trope, there is even a mystery trope.
I'm fully of the opinion that the right thing to do in any abduction situation is to not reward the criminals with what they want because there is no reason that while they have all the power that they're going to do anything to benefit the victims. We get see an exploration of what people do in a dire situation and given a task, similar to a couple different "Twilight Zone" episodes.
The production value is clearly here, and while they appear to have saved some money on limited locations, it clearly put to good use as the movie delves deeper into its story.
I can't recommend this enough, please give it a shot all the way through. Sci-fi thriller, just not _"on the edge of sit"_ type. Lorcan Finnegan remakes his short film **Foxes** and adds a life message to it. It's a movie whose premise had promise but was never thoroughly explored.
I read the generally high praise in the reviews for this movie and admittedly, I was fooled. I'm convinced that at least the individual here who likened part of its premise to the animated series, "Solar Opposites," while not being entirely off the mark, neglected to mention that unlike Solar Opposites, there is no payoff with Vivarium. Unlike Solar Opposites, we don't know why Vivarium exists. We don't know why people are expected to raise these mysterious hominids. We don't know what their purpose is, other than to entrap first home buyers, like some kind of otherworldly predatory lender. Is it a euphemism for unscrupulous property developers? Who knows?
Only thing I know is that by the end of it all, I felt totally ripped off. At around 90 minutes, it was 60 minutes too long. It's not even something that I can suggest is open to much interpretation.
If you just need something playing in the background while you're performing other work at home, even then it may be a stretch but it certainly doesn't deserve much better. Vivarium was eerie and creepy, and definitely a movie that will mess with your head, albeit probably in ways other than you anticipated. You'll be tricked in the beginning into believing this movie is actually a sociological observation of the slow and robotic death of suburban life: you and your nuclear family settle into middle class conformity in a large, seemingly endless design of mazes and hedges, condemned to repeat the endless cycle of home, school (or work), home, sleep, rinse and repeat. And it certainly gives one those unsettling vibes, especially when the creepy box with the build-a-baby arrives at their prison doorsteps.
Rather, this is something else entirely. While it does well maintaining that nearly subtle sense of wrongness, of something being terribly just _off_, in the end, you may find yourself somewhat disappointed, as it is at this precise moment the film becomes like every other movie of its kind out there. Quite possibly, it is the end that is the most disturbing, for it seems to insinuate that humanity is as disposable as livestock.
