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Synopsis, Movie and Critics' Review:

Castname:Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Laurence Fishburne, Albert Hall, Sam Bottoms, Dennis Hopper, G. D. Spradlin, Harrison Ford

Crewname :Walter Murch, Walter Murch, Francis Ford Coppola, Francis Ford Coppola, Francis Ford Coppola, Francis Ford Coppola, Joseph Conrad, John Milius, Gray Frederickson, Fred Roos

Release :1979-08-15

Overview: At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, "does not exist, nor will it ever exist." His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.

Reviews :**Ponderous, meandering epic with a few bright spots.**

This film is about a soldiers quest to find a renegade and insane Colonel (a bald Brando in an extended cameo) who has hidden himself away in the depths of the jungle and is causing all manner of commotion. Quite what it was - I can't remember, but it _was_ important enough to go down stream in search of him.

Sheen's character decides to head down river with his fellow soldiers and seek out the bald lunatic before its too late. Robert Duvall is hilarious as a war immune soldier - especially when a shell explodes near him and he merely gives it a disinterested glance. Amusing!

On the whole, though, this is a ponderous trip - the film seems to meander aimlessly with little to keep this viewer interested.


- Ian Beale
I think a lot of people who think this film is a classic are deranged, the only memorable scene in the film is when they drop exploding napalm and the guy in the hat says "I love the smell of napalm in the morning", the rest of the film is a completely boring bombshell and it's like the film was high on drugs as there's this one part where people are butchering a cow in the most grotesque way possible... poor cow, now I'm offended by this film.

This film is just weird, the characters are not memorable at all not even Marlon Brando's character, the story is non-existent and the ending just sucks. Overall this film is absolutely terrible and I don't care what others think, I did not enjoy this film at all.
***The greatest film ever made, but not "Redux"***

The original "Apocalypse Now" is an awe-inspiring masterpiece and is my all-time favorite film. Memorable scenes abound, starting with the mind-blowing opening with Willard (Martin Sheen) having a mental breakdown in his sweltering Saigon hotel room to the tune of The Doors' "The End."

Speaking of Sheen, people overlook the fact that he expertly carries the film. His haunting narration is one of the most effective narrations in cinematic history and hooks the viewer into the nightmare-adventure.

I could go on and on about the noteworthy scenes, but I'll resist, except to comment on Col. Kurtz: Was he really insane or actually an unrecognized genius? General Corman informs Willard: "He's out there operating without any decent restraint, totally beyond the pale of any acceptable human conduct. And he is still in the field commanding troops." And, yet, Kurtz was accomplishing what the US military couldn't or wouldn't do because of political complications and niceties. I bring this up because, as I've aged, I've come to see that I'M Col. Kurtz in some ways -- operating "out there" beyond the parameters and restrictions typically linked to my work.

The script was written by John Milius with alterations by Coppola as he shot the film whilst the narration was written by Michael Herr. The meaning of the story is obvious: The trip up the river led by Capt. Willard exposes him to two extreme viewpoints of war represented by the two colonels he encounters on his long journey, both of whose names start with 'K,' which is no accident:

COL. KILGORE (Duvall) is a romantic who embraces war as a lifestyle and even feeds off it, i.e. glorifies it. The fact that he's a romantic can be observed in the air-raid on the village where he literally plays Wagner as a prologue. He feeds off the war to the extent that he "loves the smell of napalm in the morning." War is just another day to him so why not go surfing? Since he lives off of the war there's no way it can kill him or even give him a scratch. Kilgore naturally has the support of the top brass because he's part of the system and plays the game of war.

COL. KURTZ (Brando), by contrast, sees through this hypocrisy. He realizes that being in a state of war is humanity gone mad. It's horror itself and therefore must be ended through the quickest means possible at whatever cost. He refuses to play the game of war as he expertly takes out double agents, etc. Of course the brass can't have this so they put out a hit on Kurtz via Willard. The existential Kurtz becomes increasingly disillusioned -- even crazy -- after jumping ship from the system and now has no sanctuary. Death is the only way out. His consolation is that Willard will tell his son the truth.

The "Redux" version was put together by Coppola and released in 2001 with the addition of 53 minutes of material that he originally cut. Very little of the added footage improves the film. Most of it simply drags it down; the rest is either boring and unnecessary or adds a dimension of silliness, not to mention being dubiously scripted and acted.

The first let down of "Redux" is revealed when Captain Willard hooks up with the boat & crew who are to escort him up the river to find Colonel Kurtz. In the original there's a water-skiing scene on the river which dynamically introduces us to the absurdities of every-day life in the field in Nam (with the Rolling Stone's "Satisfaction" blaring). In "Redux" this part is cut-and-pasted to an hour LATER in the film, horribly muting the original's introduction to life-in-the-field. (I realize WHY Coppola did this -- because the scene was originally intended to be shown AFTER the boat crew steal Kilgore's surfboard -- but he made the right decision to omit the board-theft scene and place the water-skiing scene near the beginning).

The introduction of Colonel Kilgore (Robert Duvall) in "Redux" is good. The charisma of this air cavalry colonel in all his swaggering glory is perfectly showcased in this brief snippet; but the scene's so brief it's unessential.

Four main new sequences definitely DON'T work: The scenes involving the theft of Kilgore's surfboard are silly, badly scripted and unnecessary. In fact, they ruin Kilgore's perfect swan song in the original. Moreover these scenes reveal a goofy side to Willard that mar his grim mystique in the original.

The additional bunny sequence during the rain storm is also silly and unnecessary; it's a huge letdown even if your sole desire is to see some more skin.

The longest added sequence involves the French plantation mentioned in the 1991 documentary "Hearts of Darkness - A Filmmaker's Apocalypse." Small bits of this piece work and enrich the film (like the ghostly discovery of the plantation), but on a whole it's too long & talky (where it's impossible to understand the heavily-accented dialogue without subtitles) and simply bogs the film down.

The final added scene that is unnecessary and arguably reduces the potency of the original film is the sequence involving Kurtz reading a couple of underwhelming Time magazine articles to the caged Willard. While it could be argued that this sequence destroys the great mystique of Kurtz since it's the FIRST and ONLY time we get to see him CLEARLY in broad daylight, it could also be argued that it's the key scene showing that Kurtz ISN'T insane at all, just trapped in the remote jungle with no place to go because he "got off the boat."

So Coppola made the right decisions with his original 1979 edit of the film. The new footage of "Redux" should've simply been relegated to the "deleted scenes" section of the DVD. Not every idea that is birthed during the creative process is worthy of the final product and "Redux" proves it.

GRADE: Original version: A+ , Redux: A-
It wasn't just insanity and murder, there was enough of that to go around for everyone.

Apocalypse Now is directed by Francis Ford Coppola who also co-adapts the screenplay with John Milius from Heart of Darkness written by Joseph Conrad. It stars Martin Sheen, Marlon Brando, Robert Duvall, Laurence Fishburne, Dennis Hopper, Harrison Ford, Frederic Forrest, Sam Bottoms and Albert Hall. Cinematography is by Vittorio Storaro and the music is primarily arranged by Carmine Coppola.

The Vietnam War and Captain Benjamin L. Willard (Sheen) is approached by American intelligence to go on a secret assignment: he's to follow the Nung River into the remote Cambodian jungle to find and assassinate Colonel Walter E. Kurtz (Marlon Brando), a member of the US Army Special Forces who has gone insane.

One of the most talked and written about films of all time, Apocalypse Now remains to this day a harrowing and haunting experience to first time viewers. With a production shoot that has in itself become legendary, Coppola's flawed masterpiece has been dissected and argued over to within an inch of its magnificent life. People will continue to write about it for ever more it seems, perhaps there might even be the odd new confrontational spin on what resides within? But ultimately it's what the individual takes away from the film that matters, our own interpretations key to the enjoyment of such a disturbing vision of war and violence.

Many of the set-pieces, dialogue and characters have long since passed into folklore, and rightly so. The Ride of the Valkyries helicopter assault, Kurtz's surreal death camp, the boat people massacre, purple haze, the playmates, Kilgore, and of course the horror, the horror..indeed. The performances match the quality of Storaro's sumptuous Philippines photography, Sheen is fiercely committed and Duvall and Hopper in turn are powerhouse and edgy. While Brando, doing his own bizzaro thing in the last third, brings a little chaos unintentionally in keeping with the madness at the heart of this particular darkness.

Personally that last draggy third does stop it from being a complete genius type whole, but everything up to it is so damn good it's arguably churlish to expect perfection? But as near perfection movies go, Apocalypse Now proudly sits with the best of them, sitting there with a harrowed look upon its face. 9/10

Genre : Drama, War

Runtime: 147 Minutes





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123GoStream Grave of the Fireflies (1988) Full Download Blu Ray Movies

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Synopsis, Movie and Critics' Review:

Castname:Tsutomu Tatsumi, Ayano Shiraishi, Yoshiko Shinohara, Akemi Yamaguchi

Crewname :Isao Takahata, Isao Takahata, Takeshi Seyama, Tooru Hara, Akiyuki Nosaka, Michio Mamiya, Nobuo Koyama, Yasuo Uragami, Yoshifumi Kondou, Yoshifumi Kondou

Release :1988-04-16

Overview: In the final months of World War II, 14-year-old Seita and his sister Setsuko are orphaned when their mother is killed during an air raid in Kobe, Japan. After a falling out with their aunt, they move into an abandoned bomb shelter. With no surviving relatives and their emergency rations depleted, Seita and Setsuko struggle to survive.

Reviews :The terrible story of two orphaned Japanese kids during the ending of WWII.

Incredibly well told and totally moving, without using clichés. A must seen in the anime arena.
This was the first animated movie that made me cry as an adult.
It still does.

Two children are left as orphans in World War 2 and have to survive. Such a basic premise, but this shows intimately what the effects of war are on children (a topic not covered by other movies). And as it's about children, it has more of an emotional impact.
Described as one of the greatest war movies of all time by Roger Ebert, the work of art will impact you like no other anime.

Its interesting to note that this was released originally with My Neighbour Totoro. Both are films about childhood. But where Totoro is about innocence maintained and the joy of childhood, **Fireflies is innocence lost**, a light dimmed after a short period.

Genre : Animation, Drama, War

Runtime: 89 Minutes





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Castname:Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Chadwick Boseman, Benedict Cumberbatch

Crewname :Alan Silvestri, David Farmer, Sarah Halley Finn, Christopher Markus, Christopher Markus, Stephen McFeely, Stephen McFeely, Stan Lee, Stan Lee, Stan Lee

Release :2019-04-24

Overview: After the devastating events of Avengers: Infinity War, the universe is in ruins due to the efforts of the Mad Titan, Thanos. With the help of remaining allies, the Avengers must assemble once more in order to undo Thanos' actions and restore order to the universe once and for all, no matter what consequences may be in store.

Reviews :The epic Marvel Saga that started over ten years ago has been building up to the inevitable clash with the powerful tyrant Thanos (Josh Brolin). Last year’s “Avengers: Infinity War” set the stage for the highly-anticipated conclusion; “Avengers: End Game” and at long last it has arrived.

Picking up shortly after the events of the last film, the Avengers must deal with the aftermath of what Thanos has done. The team is naturally divided between wanting revenge, wanting to set things right, and just wanting to take what they have and go on.

As time passes and they struggle to accept the reality of their situation; an unexpected individual returns and with them comes the seeds of a new plan to make things right. Naturally Tony Stark (Robert Downey Jr.) is skeptical but eventually warms to the possibilities of the idea thanks to a new scientific breakthrough that makes it possible.

Inspired, Tony sets out to put an elaborate plan in motion that will allow the team to try to fix things and to stop Thanos once and for all.

What follows is an extended and at times nostalgic heist where various members of the team work to assemble the pieces needed for the plan as they believe they only have one chance to make things right.

The film is essentially three acts in one. The first deals with the recap and expansion of their situation and the planning. The second act is basically a heist where action and comedy are blended with some touching moments.

This all leads to the final act which is the FX laden set piece where the ensemble cast gathers to fight the forces of evil in a battle to save the Universe.
The film is epic in scale and length as it clocks in at over three hours but the movie is filled with so much content that the time goes by quickly and you have a hard time believing three hours have elapsed.

It is also a difficult film to review as you cannot recap elements of the film in any great detail without giving away elements that are sure to delight the fans. Suffice it to say that my only real issue with the fil and it was minor; was that it took a while to get to the action but at least there was plenty to keep you entertained along the way.

As this phase of the Marvel Film Universe winds down and plans are put in place for the next five years; “Avengers: End Game” is a satisfying conclusion to the epic saga that was started many years ago and weaves elements of many of the past Marvel films into an entertaining tale which features all of the best elements that have made the series of films such big hits.

4.5 stars out of 5
Hey, so, just some really quick thoughts I wanna get down, 'cause it's after 1 o'clock in the morning, and I wanna get some sleep so I can wake up well rested to see _Endgame_ again.

Putting it out there right from the get-go, _Avengers: Endgame_ is my favourite MCU movie. It's my favourite movie of the year too, but I've only seen like ten or so 2019 releases, and this is the 22nd Marvel Cinematic Universe film, so that seems far and away the bigger deal. I can't say it's perfect, there's some conflicting stuff within its own runtime that really doesn't seem to gel (though a re-watch may prove me wrong on that), and it's not like every moment was the no-holds-barred-zero-exception best version of that moment from start to end. But God I loved this thing.

I will say this though, the reason that I loved it, is this thing is fan service galore. If you do not care for the franchise's 21 movies preceding this point, then _Endgame_ is not the movie to turn you around on that. That may come in a future installment, but this one is a culmination. It's the end of _Infinity War_ but also Phase 3, but also a wrap-up and genuine ode to/send off for everything that Marvel has done over the past 11 years. That to me was incredible, and I am eternally greatful, but I cannot imagine it working for people who have no vested interest in these characters.

To me though? My first 9 out of 10 rating in **three years**.

_Final rating:★★★★½ - Ridiculously strong appeal. I can’t stop thinking about it._
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Don't worry. This is going to be a pretty vague review. Right now, as I'm writing this sentence, I'm still processing what I saw and how am I going to explain how I felt without spoiling a single tiny thing. First of all, it's such a mix of feelings. On one hand, I'm extremely happy that I was lucky to be alive during this epic time and that I was able to follow these characters that I love and care about so much. On the other hand, I'm obviously sad that it finally reached the end of this (hopefully) first incredible saga. There are no perfect films and one with so many heroes will always have struggles balancing it all (Infinity War already had this issue).

However, the Russo brothers did everything they could to deliver a phenomenal story, and they did. I don't think this could have been any better. Its last hour exceeds any expectations. It's epic, emotional, action-heavy, and it has one of my favorite shots in the entire history of cinema. It's pure magic, and the VFX team will surely get an Oscar for it. The action reminded me of the biggest Lord of the Rings' battles, and it was impeccably filmed, filled with riveting and chill-inducing sequences. Nevertheless, don't expect this high-intensity feeling throughout the whole runtime. The other two acts are a slow-burn build-up to a payoff that's going to make you pretty much either "love" or "like" this movie. I absolutely love it!

This is easily one of the best MCU films, if not my new number one. I can't deny that the 3-hour runtime has some unnecessary scenes, but even if they don't have a significant impact on the plot or even in the characters, they still contribute to the enormous build-up. Seeing this family that we grew up with just talking with each other or having lunch, at the same time that they deal with the consequences of Thanos' snap, is inexplicably captivating and heartwarming. Characters like Natasha (Scarlett Johansson) and Steve (Chris Evans) supporting each other is simply beautiful. Their comradery and chemistry are worthy of some tears here and there.

Some people didn't really enjoy Infinity War so much due to the lack of screentime that some characters had. This time around, there are fewer characters to work with, so the balance is better. Everyone gets an important role, from Captain America to Ant-Man (Paul Rudd) to Nebula (Karen Gillan), and even Rocket (Bradley Cooper). Every single character has a major moment. If you take one out of the movie, it just doesn't work anymore. This is not only great work from the directors, but also from the writers.

Christopher Markus and Stephen McFeely are not even going to be remembered because fans will always think of the cast first. Most of them will also remember the directors. But the writers?! If I stand at the door of the theater at the end of the film and question everyone about who are the writers, I strongly believe most of the audience won't know. Every dialogue, every sentence, every word carries so much impact on the narrative. Literally, I cried and got chills just by hearing two freaking words with the perfect timing in between. The amount of grief that the words of the ones who've lost everyone and everything carry is palpable and, for me, those are the most emotional moments of the movie: seeing how everyone is suffering from their own losses, not the deaths themselves.

The humor is mostly on-point, but it's still connected to my only real issue with the film, which is the second act's tone. From the moment the team decides what to do, we already know that this is a 1 in 14 million chance of success like Dr. Strange (Benedict Cumberbatch) said, so the stakes and pressure are massive! With this level of tension, I didn't expect such an “easygoing” and “funny” vibe throughout, except for one particular sequence. They do a great job once again of pairing up certain Avengers together, but most of them go through these too comedic plot points for such a crucial and serious mission. Fortunately, this act carries enough action and emotional drive to make this problem not that big of an issue.

Visually, this is arguably the best-looking superhero film ever. From the mind-blowing visual effects to the gorgeous cinematography, everything is perfect. The costumes are gritty and muddy when our heroes are in a battle, their faces are all filled with blood, and I have no words to describe how jaw-dropping that last act is. I can't wait to change my desktop wallpaper once THAT shot is available. I dropped a single tear just by looking at it. No one talks, no one does anything. It's just an amazingly beautiful image. The score is epic as hell. So much that I'm listening to it right now as I'm writing this review, and I'm getting chills all over my body.

I can't really write much more, to be honest. I will acknowledge the cast because they are brilliant. Each and every single member delivers an outstanding performance, but if I had to choose the ones that both surprised me and had the most impact on me, they would be Johansson's, Evans', and Robert Downey Jr's (Tony Stark / Iron Man). “New” characters like Captain Marvel (Brie Larson) blend seamlessly, and the payoff is unbelievably satisfying. In terms of predictability, it goes more or less as I expected, but it still carries a few surprises throughout. Nothing is ever like we imagine or theorize about, so expect the unexpected, and don't judge a movie by if it fits your crazy, unrealistic theories that never crossed the producers and directors' minds in the first place!

All in all, I don't know what to do now. The only thing I'm sure of is that I want to see it again, as soon as possible. The last hour is f*cking insane. I couldn't fall asleep properly because I couldn't stop thinking about it. Endgame surpasses all expectations. It's everything I wished for and so much more. I could easily spend a whole day at the movie theater and watch three sessions in a row. It's that good. One of the best comic-book films of all-time, without a single doubt. Thank you to Kevin Feige and everyone who worked hard to bring the MCU to where it stands now. I can't even think of how are they going to produce something at the level of Infinity Saga. Maybe they never will. Maybe we'll have to wait another decade or two for something like this. Until then, see you at the next Endgame screening! Enjoy! Oh and #DontSpoilTheEndgame!

PS: it's not a perfect movie, I know. It doesn't exist one. Yes, Endgame has some issues regarding its pacing and tone, but I would be lying to myself if this isn't everything I dreamed of. I felt the same way with Civil War, regarding the rating to give, and I ended up giving it an A after a first viewing. As soon as I watched the second time, I changed it to an A+. I don’t need to wait for that second viewing with Endgame … And thank you to my audience for being incredibly respectful. No yelling, no crazy laughs, no stupid people doing stupid stuff. Thank you so much for not ruining one of the best cinematic experiences of my life!

Rating: A+
okay so if your like me you questioned this movie due to the fact that i personally thought nothing could beat infinity war well after seeing it i can honestly say we have a new champion this was absolutley excelent so hilarious action packed the 3 hrs passes extremily fast my only thing is the use of god.... bothered me and i suggest if your offended by that wait till dvd so you can mute the parts also a reminder to parents 'no matter how bad you want to see the movie dont do like people in my theater did and bring your 3 year old 'but besides that awesome movie
We waited till day 5 of release in theaters. There was a slow start to the movie so i don't recommend taking little ones under the age of 10. After all the anticipation and hype,Avengers Endgame did not disappoint. Waa a perfect "ending' to the series. Very well done
These kind of movies are among the few movies that I can be bothered to go to an actual theater to watch nowadays. For most movies I just wait until they come out on disk (preferably Ultra HD Blu-ray if it’s available) and watch them on my home theater rig. So this weekend me and the kids went to the theater to watch Avengers: Endgame.

I have to say that it was better, even much better, than I feared. I really feared that the SJW retards at Marvel would take this opportunity to completely re-organize the Marvel universe to their liking. Like how they completely ruined both professor Xavier and Wolverine in that abysmal Logan movie. Luckily, this did not really happen. Maybe the financial reality of their failing SJW comics and Disney doing a bit of culling of the most extreme of the Marvel retards, the ones who fail to understand that super hero movies are meant to entertain and not be their personal agenda channel, are starting to take effect.

It was actually a quite good movie with plenty of action, some humor and, of course, lots and lots of special effects. Even the story made somewhat sense, at least in the context of a Marvel movie, even though the writers resorted to time travel.

The movie starts of somewhat dark and grim but I guess that was to be suspected. It cheered up as it moved along and then ending … well to me at least it was mostly satisfactory.

I was not too thrilled about the “new” Hulk although I warmed up to him a bit during the film. Thor? The less that is said about him the better actually. The rest of the merry bunch was in pretty good shape and I am quite happy that we did not get to see to much of Quill’s usual shenanigans. I really hate that character.

I was quite positively surprised at the huge and quite cool battle towards the end. I was thinking, or rather hoping, that at some time they were just going to reverse Thanos’ crap and that would be it but instead we get to watch another huge confrontation with pretty much everyone involved at the end. Very cool action and FX indeed.

There were some silly plot holes of course. As always when writers resort to time travel. An obvious one would of course be that, when they knew they only had enough Pym particles to complete one trip for each person why did they just not go back in time to get more the first thing they did? Especially since they later did exactly that. Also, Captain Marvel (in her new SJW hairdo) flies through a barrage of fire, smashes through Thanos’ ship like it was nothing and then struggles to combat Thanos himself? There were a bit of this silliness spread around but not too much for me to be bothered by it.

There were a few casualties of which I am saddened by two of them. I think at least one of them was unnecessary and probably agenda based. I also strongly disliked the rubbish with Captain America at the end. He has never been one of my favorite characters so I do not really care much about him being around or not but that rubbish sob-scene where he hands over his shield to a “politically correct” person was really unnecessary. I guess it must have been put there to appease the Marvel SJW retards.

Anyway, my bottom line is that I was greatly entertained by this movie. It had all the good stuff, real super heroes, action, special effects and not too much of the crap that has been spewing out of Marvel the last years.
Awesome!
***How can they possibly save half of all living beings in the Universe?***

How are the surviving Avengers & Co. possibly going to save half of the Universe that died? My wife & I had this discussion before viewing. It basically comes down to two options (assuming the events in "Infinity War" weren’t just a dream): magic or time travel. All I’ll say is: What they came up with was in ways reminiscent of the plot convolutions of "Back to the Future II" (1989).

“Endgame” (2019) begins strong with the devastating reality of half of all living beings in the Universe suddenly vanishing. It starts to get lethargic about an hour in, but perks up with the three teams trying to apprehend the Infinity Stones so they can maybe reverse what happened at the end of the previous film.

Everything naturally leads to a huge battle in the last hour that I found boring, not to mention that the epilogue tended to drag on with too much of it being tedious. Still, there are lots of worthy bits throughout, like the opening, the unpredictable first encounter with Thanos, Thor getting flabby, the moving match between Black Widow and Hawkeye at the cliff’s edge, and much more.

Unfortunately, the myriad protagonists work against the film because it can’t concentrate on any one or two characters for very long. Captain Marvel is short shifted and decidedly dull. Plus the movie’s overlong at 3 hours, 1 minute.

GRADE: B/B-
The amazing fight scenes and CGI aren’t enough to mask the fact that the overall plot of going back in time to change reality is just plain stupid and lazy - and this is addressed to the writers. I did know that there was gonna be some time travel involved, but the way Marvel explained and executed it didn't too well for me. They can't get away with just putting it all in "Quantum.”
Sure the final fight with Thanos is more than epic, but I expected more than that. I wanted substance and a plot that didn't rely on "quantum" for all the questions and explanations.
Sadly, I didn't enjoy this one as much as I did with the first "Avengers" movies.
Honestly, it felt like it was too much of a set-up for me. Having Antman isolated in the Quantum realm was just too convenient and it felt like Marvel was just looking for a foundation for the script they had for this movie that wasn't even as good as the previous ones.
Needed more Dr. Strange action! Felt like the final fight scene with Thanos could've been choreographed a lot better especially when you have a magic caster who could dish out different spells like Dr. Strange. But alas, he was instead given the duty of holding off the impending doom from crashing down on his team.
Not a big fan of the ending. But I guess when you have only 0.000000000001% chance of winning you can't expect it to be the best ending there is.
First of all, good popcorn movie, if you are hardcore fan of marvel or visual effect in general, this is a movie for you.

However, it is clear that imagination of Marvel studio keeps deteriorating. The process and ending is clear about 10% into the movie. Zero development of character. Amateur plot twist. All cliche and low class humor. It is 21st century and they still cling on adult fairy tale and plain visual stimulation. The whole purpose is to let fans know what happens to the character. Good business investment but great shame to the art of movie industry. It is a blatant exploitation of grandpa IP with zero innovation.

Hero fantasy lived in half a century ago. Time to learn from modern Japanese manga and anime (I am not talking about One Piece or Naruto). Stop stitching up individuals from different background and call it a universe, it's laughable at best.
The amazing fight scenes and CGI aren’t enough to mask the fact that the overall plot of going back in time to change reality is just plain stupid and lazy - and this is addressed to the writers. I did know that there was gonna be some time travel involved, but the way Marvel explained and executed it didn't too well for me. They can't get away with just putting it all in "Quantum.”
Great ending but I still can't get over the fact that the writers had to kill my all-time favorite Avenger, Iron Man. Still, it was a sacrifice that must be taken for the greater good. I love the movie!
I kind of expected Tony Stark to be the one to take the fall but what caught me off guard was Cap's decision to return to his original timeline. Man, I can take losing one main Avenger but two? It was just heartbreaking.
That final fight with Thanos was epic! Great idea by the writers to have everybody be teleported back when Cap needed them the most. Officially the greatest superhero movie of all time!
With all the hype surrounding this film before its release, it was hard not to have high expectations once it finally went out.I myself am one of those people. Fortunately, it did pretty well and didn't disappoint. To me, it would've been better if all their time traveling somehow created ripple effects in the present to make it more realistic but I guess you can only fit so much content in a film.

Genre : Adventure, Science Fiction, Action

Runtime: 181 Minutes





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Synopsis, Movie and Critics' Review:

Castname:Yōji Matsuda, Yuriko Ishida, Yūko Tanaka, Kaoru Kobayashi, Masahiko Nishimura, Tsunehiko Kamijô, Sumi Shimamoto, Tetsu Watanabe, Mitsuru Satô, Akira Nagoya

Crewname :Hayao Miyazaki, Hayao Miyazaki, Hayao Miyazaki, Joe Hisaishi, Toshio Suzuki, Atsushi Okui, Atsushi Okui, Takeshi Seyama, Yasuyoshi Tokuma, Yōji Takeshige

Release :1997-07-12

Overview: Ashitaka, a prince of the disappearing Emishi people, is cursed by a demonized boar god and must journey to the west to find a cure. Along the way, he encounters San, a young human woman fighting to protect the forest, and Lady Eboshi, who is trying to destroy it. Ashitaka must find a way to bring balance to this conflict.

Reviews :Probably the best movie from Miyazaki. A mixture of old Japanese traditions with the story about the conflict between the industrial human being and the preservation of the Nature.

Genre : Adventure, Fantasy, Animation

Runtime: 134 Minutes





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Castname:Charlton Heston, Jack Hawkins, Haya Harareet, Stephen Boyd, Hugh Griffith, Martha Scott, Cathy O'Donnell, Frank Thring, Sam Jaffe, Ady Berber

Crewname :Harold Michelson, Van Allen James, Irene Howard, Miklós Rózsa, Fredric Steinkamp, William A. Horning, Ken Adam, William Wyler, William Wyler, Lew Wallace

Release :1959-12-26

Overview: Judah Ben-Hur, a Palestinian Jew, is battling the Roman empire at the time of Christ. His actions send him and his family into slavery, but an inspirational encounter with Jesus changes everything. He finally meets his rival in a justly famous chariot race and rescues his suffering family.

Reviews :Majestic in scope and story telling.

The truth is, is that Ben-Hur deserved every award that was showered upon it. It's a titanic film both in structure and scope. It doesn't need me to go over old ground about how much the film cost to make, the number of extras, the number of sets and etc, it's now folklore that this film could have bankrupted MGM such was the investment, but they needn't have worried since the film went on to make 40 million and still counting.

Every cent spent was worth it because it's a magnificent film, the kind that you can get swept away with, the minute the overture starts you feel little tingles as the hairs on your arms stand up on end, you are aware that for over three hours director William Wyler and lead actor Charlton Heston are going to own you.

The story centres around Judah Ben-Hur (Heston) who through his staunch loyalty to the Jewish race falls out with his dear Roman friend Messala (Stephen Boyd). He is dispatched to be a slave in the galleys and swears revenge on Messala. After pirates attack the ship he is slaved on, he manages to escape and in the process he saves Roman Admiral Quintus Arrius (Jack Hawkins) and this sets Juda on his destiny to enact revenge on his old friend as Quintus makes him a citizen of Rome.

It sounds so simple yet it's a story of the highest order because crucial to the film's core strength is Judah's encounters with Christ, and it's only during the harsh and upsetting final reel that we realise the whole point of the film. There's also strong themes involving family love and loyalty, friendships formed or broken under race and creed banners, and of course religious beliefs and all that comes with that kettle of fish...

It's epic, it's simply beautiful, it's actually essential viewing for any serious cinema fan, the film's set pieces are still wondrous even today. You will marvel at the chariot race (a stunning 20 minutes long), you will hoist the flag during the pirate attack, and if you have the emotion in you? You will be hit with sombre silence as Christ is crucified. Come the closing music I personally feel like clapping such is the appreciation I have for this truly wonderful film, if you haven't seen it then make a point of doing so because everything that is great about cinema is right here. 10/10

Genre : Adventure, History, Drama

Runtime: 222 Minutes





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Castname:Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Beatrice Straight, Wesley Addy, Ned Beatty, Arthur Burghardt, Bill Burrows, John Carpenter

Crewname :Alan Heim, Juliet Taylor, Sidney Lumet, Owen Roizman, Jack Fitzstephens, Theoni V. Aldredge, Fred C. Caruso, James Sabat, Philip Rosenberg, Paddy Chayefsky

Release :1976-11-01

Overview: When veteran anchorman Howard Beale is forced to retire his 25-year post because of his age, he announces to viewers that he will kill himself during his farewell broadcast. Network executives rethink their decision when his fanatical tirade results in a spike in ratings.

Reviews :**The Primal Forces of Network**

According to the Writers Guild of America the greatest screenplay of all time belongs to _Casablanca_. A sentimental favourite, no doubt, worthy for a handful of catchy one-liners capped off with a convincing dump-the-dame speech. While Bogie plays himself, Bergman, who may have been the most beautiful woman of all time, didn't have much to say. The best moments in Casablanca were, in fact, the silent ones, and without Bogie and Bergie's chemistry, it probably wouldn't have made the top 10.

Best screenplay suggests best story, best plot, best characters and dialogue; best combination of drama, comedy, intrigue, emotional engagement, suspense, social and political relevance; one peppered with casual everydayisms, baited with humour and simmering with intelligence, threatening to release an experiential payload of euphoric proportions; a work that can transcend genre and demographics, build up simultaneously on various levels, plumbed by the weight of it's essential voice, sending out intuitive signals, rippling with perplexing channels and insightful glimpses that are symbolically blended into plain words on paper; all with a properly superb balance of sex, wit, desire, comfort, fear, anger and wisdom in an accelerated narrative leading us to a magnificent crescendo and--fade out--leaving us to wonder. Furthermore, great screenplays serve the motion-picture medium's incomparable ability to effortlessly jump time and space. _Casablanca_ is static and contained, framed and nailed to the wall: a pretty photograph.

Despite the WGA's endorsement, there can only be one candidate good enough to qualify for the all-time best screenplay, and fittingly it goes to the all-time best screenplay writer. Paddy Chayefsy's _Network_ has dazzled us for four decades and counting. The scene where a mob of murderous bank-robbing terrorists who have their own reality TV show bicker over the wording of their contract alone demonstrates we are dealing with a higher grade of pertinent genius. The corporate cosmology of Arthur Jensen, a pivotal lesson in global economics, tops it off, leaving all Network's competitors in the dust, burying any climactic speech written before or since, Bogie's famous brush-off farewell included, thus slamming the lid down on anything _Casablanca_ can play. As for ill-fated romances, the doomed alliance between old-school journalism (Holden) seduced and corrupted into severing his ties with his compassionate spouse to hastily shack up with the opportunistic post-modern media wench (Dunaway) is fraught with more complications than anything _Casablanca_ can muster, and it's only one of the sub-plots.

Of course _Network_ is most famous for the "I'm mad as hell" rant, which swells from a nuanced and complex story arc demonstrating the rise and fall of an iconic media star. Hell-raising public mischief aside, Howard Beale's profound narrative leads off with a suicidally desperate, washed-up newsman who impulsively hits a nerve, rockets to stardom as a modern-day prophet, then is shaped and sensationalized as an overcooked parody by the media, stigmatized by maniacal Fox-news-like delusions that overtake him until he gets too big for his britches and needs a walloping corporate scolding, causing his starry streak to fizzle out, before getting gunned down by the greedy TV execs who made him, leaving hapless undiscriminating audiences to grasp for the next new thing.

_Network_ is inspired writing that doesn't require heart-throbbing movie stars to pull it off. It could have been directed by my illiterate grandmother, shot on VHS in a dingy church basement, performed by eager boy scouts and girl guides, and it would still be the greatest screenplay of all time, one not just for the spectacle of projecting on a giant screen, but for doubling as a giant mirror with just enough sugar-coated satire to swallow the shitty truth about ourselves. Though calling _Network _a satire is like calling Hamlet a murder mystery. Satire is either spineless and passive-aggressive, or specific and short-lived. Chayefsky's bombastic pronouncements become more exceptional and relevant each passing year.
Network broadcasts its televisional corruption through satirical poetry that beckons democratic madness. “I’m as mad as hell, and I’m not going to take it anymore”, screams Howard Beale from the confinement of his studio desk. Exerting his ornate insanity upon the entranced viewers who innocently stare at their cubic televisions, watching the news broadcast fuelled by media misrepresentation and propaganda. “Go to your nearest window and scream”, acting as the voice of the working class, benign to the American corporate fundamentals that masquerade the politics of democracy. In an age where leading actors can represent constituencies or states, and businessmen can be presidential candidates for a nation (and successfully winning...), Lumet’s timeless satire on conceptualised democracy is one that grows more appropriate with each passing decade.

A statement on the American financial system, where colossal stock markets rule the supposed freedom of the people. Broadcasting networks more focussed on combating against each other for monetary viewership, leading to exaggerated fabrications, rather than reporting the truth, the whole truth and nothing but the truth. Exploiting the frail mentality of humanity to feed the greed and lust of “humanoid” managers, capitalising on the naivety of man.

Network depicts the modern evolution of communicating false truths. As technology evolves, we grow more and more susceptible to the “truth” that is conveyed to us. We, much like sponges, absorb the information demonstrated through the porous pixels that we subject our eyes to. Televisions. And through hyperbolised satire, including planning an assassination attempt and coercing suicidal tendencies, Lumet offers a cutthroat insight into broadcasting institutions and the meticulous methods in which networks function. Motivated by stock shares and rating dominance. Pioneering the consumption of propagandist material. Lumet exploits the audacious power of televisions and its communicative abilities, turning an often comedic satire into a transcendental horror feature.

Powered by sterling performances all-round, including the elusively commanding Dunaway, the maddening lunacy of Finch and the smoothly suave Holden, the poetic dialogue immediately captures the attention of its audience. Concisely elaborate with a hint of existential analysis, an ornate lexicon that refrains viewers from tuning out. Lumet’s long sumptuous takes, allowing the performances to ironically hypnotise, further extend the reach of its material. Superlative direction that, whilst suddenly throws you into the immediate chaos of Beale’s mentality, eases the hectic pace with its scathing power.

The offscreen affair between Dunaway and Holden was the only underdeveloped sub-plot, reinforcing her workaholic agenda that likened her to a corporate machine than to a human with emotive capabilities.

Aside from that, Network absolutely deserves its near-perfect acclaim. A considerably profound illustration of the American system that tantalisingly exposes the fraudulence of promised conceptualised democracy, whilst also enforcing the relinquishment of humanity through television sets. Harrowing times we live in...

Genre : Drama

Runtime: 122 Minutes





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Synopsis, Movie and Critics' Review:

Castname:Toshirō Mifune, Machiko Kyō, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijirô Ueda, Noriko Honma, Daisuke Katō

Crewname :Akira Kurosawa, Akira Kurosawa, Akira Kurosawa, Shinobu Hashimoto, Ryūnosuke Akutagawa, Jingo Minoura, Masaichi Nagata, Fumio Hayasaka, Kazuo Miyagawa, H. Motsumoto

Release :1950-08-26

Overview: Brimming with action while incisively examining the nature of truth, "Rashomon" is perhaps the finest film ever to investigate the philosophy of justice. Through an ingenious use of camera and flashbacks, Kurosawa reveals the complexities of human nature as four people recount different versions of the story of a man's murder and the rape of his wife.

Reviews :Rashomon beguiles through the torrential downpour of fabrication. “It’s human to lie. Most of the time we can’t even be honest with ourselves”. Honesty. Deceit. Contradiction. A crucial part of human preservation is the requirement to lie. Intentional or accidental, it’s within our ancestral blood. The unprejudiced can succumb to the immoral values of deceit, either through meticulous storytelling or scattershot deception. Even the truth can be distorted by one’s self-absorbed ego. The mutually contradictory stories of a bandit, Samurai and his wife, during a police questioning of an ambush, rape and murder, provides Kurosawa with the leverage to thematically explore the depths of human duplicity. A narrative conveyed through the perspective of four individuals, each telling a variation of the same event and asserting it as the truth. Yet who is moral? Who is verifiable?

The answer lies within the embellishments of mankind. The egotistical residue enveloping the desires for personal gain. The bandit, openly admitting to the events in question, proud of his barbaric conquest. The wife, subjecting herself to sorrow and helplessness, innocently scarred from the visceral crime. The Samurai, communicating through a spiritual medium, self-gratifying his noble demise. And the distant woodcutter, examining the various preceding stories, acting as the fragile bystander solidifying his story as the whole truth. But when characters reside in a downbeat world where “you just can’t live unless you’re what you call selfish”, is anyone’s depiction correct? Is lying for personal gain and visibly stealing an abandoned baby’s clothing the same selfish endeavour? Variational stories so similar yet so different in tone. It all comes down to the genius that is Kurosawa.

Depicting egoism through embellishment, not just through the verbal tales of the living, but also beyond the grave. Signifying the requirement for flattering falsehood, even when life has been fully exerted. It is the impossibility of human nature that provokes us into fabricating the most obvious details. Never has such an influential film, shrouded in its own classicism, infiltrated my soul through its thematic examination of human psychology as much as this did. Every word. Every detail. Every deadpan look into the camera. Every tracking shot that showcases the glistening sun of truth through the obscurities of darkened natural foliage. It’s perfect.

The imperfect gender politics of feudal Japan (“women are naturally weak”) delicately inverted to portray the weakness of humanity, regardless of gender. Utilising the subjectivity of the woodcutter’s perspective, and regarding it as the most truthful conclusive narrative, mankind is objectively weak. And it’s only through our own digressions that we manufacture the strength of the soul. Kurosawa’s symbolic attentiveness never deviated from this examination. His rampart artistry poetically manifesting the beauty of mystery. Invoking the investigative mind of human psychology. And once that overcast storm dissipates, revealing the warm beating rays of honesty, the overwhelming sensation of enlightenment will seep through.

A synergistic vitality equalling that of Mifune’s energetic quadruple performance. Each tale altering the personality of his bandit blood. Hysterically laughing at the face of adversity, to unbearably breathing from profuse fear and sin. The nuances are not exhumed just from the enigmatic cast. Kurosawa himself orchestrated a tantalising, influential and innovative mystery that combats the perception of regressive culture. It’s never retrograde nor unprogressive. It is however, and I can utter this with adorned confidence, perfect.

Short, sharp and sensational. Relatable on a thematic and personal level that transcends the discourse of time. Apt now as it was back then, only proving that humanity is cemented in deceit and acts of selfishness. As with any Kurosawa feature, the mind must be prepared for allegorical beauty. Rashomon is no different. Rashomon is painted with silky smooth brushes, illustrating an unconventional technique of storytelling through visceral imagery. Rashomon quite simply acquires the perfect rating. An undisputed classic that justifiably conceived, what is now commonly known as, “The Rashomon Effect”.

Genre : Crime, Drama, Mystery

Runtime: 88 Minutes





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