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Synopsis, Movie and Critics' Review:

Castname:Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong'o, Benedict Cumberbatch, Paul Dano, Sarah Paulson, Adepero Oduye, Scoot McNairy, Paul Giamatti, Brad Pitt

Crewname :Hans Zimmer, Brad Pitt, Arnon Milchan, Tessa Ross, Francine Maisler, Patricia Norris, Ellen Heuer, Dede Gardner, Leslie Shatz, Bill Pohlad

Release :2013-10-18

Overview: In the pre-Civil War United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty as well as unexpected kindnesses Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon’s chance meeting with a Canadian abolitionist will forever alter his life.

Reviews :Sometimes, I just have to stop my brain in the middle of a film and just admire its exceptional craftsmanship. I found myself doing that time and time again during this film. Perhaps I was more open to admiring the shot compositions and acting choices because, as I cynically told myself before the film, it's not like I needed much convincing that slavery was bad. Or perhaps it was because I was shielding myself from the honest brutalities the film convincingly portrayed. Nonetheless, I was reminded of the film "Children of Men," because when I watched that, I was struck by how easily I could imagine a less engaging, more dumbed-down version of the same film. I haven't seen enough films about slavery to know this for certain, but I suspect that because many of this film's principals are British, telling a story about a free man who was forced into slavery, as opposed to one born into it, they were able to be gain some valuable distance from the subject and craft something that's both beautiful and feels true to life. And even though I thought I could not have been made to feel worse than I already did about slavery, the post-scripts on the lack of justice Solomon received for his kidnapping and the unknown causes of his death, helped keep the film from lapsing into a kind of "triumph of the spirit" happy ending others might have imposed.
This movie is very, very well done. Well, edited and with the proper long shots at the proper moments bringing you to the life of Solomon without remedy.

All the cast performs exceptionally well and Ejiofor is to be remembered for this film.

A must to be seen.
Not in a long time have I seen a movie that brings out real emotions from my cold hearted soul. This movie brought them out in floods of tears.

the acting was superb, especially from the lead Chiwetel Ejiofor, he acted from his little toe right up to his eyes.

The style was also filmed beautifully with some (extremely) painful long shots which pulled you into Solomons nightmare.

Im not sure if its a film I could watch again, purely for the emotion but I would recommend this film to everyone.
**Dreaded at the thought that human kind ACTUALLY had this kind of livelihood at some point of time..**

Could not gather my thoughts to write this review at the end of the movie.Feeling really bogged down by some heaviness on my chest. Thinking about the times in history when we actually used to do these atrocities on other human beings makes me cringe.To imagine waking up one day and find me in chains just because I'm a colored man and living my life like an unwanted child of god makes me question humanity altogether. Just sitting through a little over than 2 hours and watching this movie made my heart bleed, I can't even begin to think of the people who lived their entire lives as SLAVES... 12 years a slave heart breakingly makes you feel the pain and suffering of almost the entire human kind at one point of time or other. Direction by Steve McQueen is brilliant.Chiwetel Ejiofor plays a helpless slave in Solomon Northup to the hilt and also the small but impactive role played by Brad Pitt as a man with conscience is superb.Lupita Nyong'o's Patsey too was depicted heart warmingly. You can't help but question yourself that how could MAN stoop such low and do these cruel acts and that too over such a prolonged period of time without even a single ounce of doubt in his mind for what he would have to pay for his actions.. All in all a GEM of a movie showing one of the lowest point in human history !

Genre : Drama, History

Runtime: 134 Minutes





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123GoStream Ford v Ferrari (2019) Movies Online

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Synopsis, Movie and Critics' Review:

Castname:Christian Bale, Matt Damon, Caitriona Balfe, Josh Lucas, Noah Jupe, Jon Bernthal, Tracy Letts, Remo Girone, Ray McKinnon, J.J. Feild

Crewname :Ronna Kress, James Mangold, James Mangold, Phedon Papamichael, Michael McCusker, Michael Mann, Marco Beltrami, Daniel Orlandi, Mark Peterson, Lucas Foster

Release :2019-11-13

Overview: American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

Reviews :A biography on American underdogs from a blue-collar industry with notable actors, an impressive production team, and an inspiring story; did someone say Oscars? Whatever its intent, ‘Ford v Ferrari’ is an impressive biopic that rarely strays from its path. A melding of entertainment and creativity, this should be considered both a commercial and critical success. Fire up your engine and race to the cinema to catch this film that everyone’s sure to be talking about.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-ford-v-ferrari-a-racing-biopic-thats-right-on-track
_**I'd have preferred to see Michael Mann's version, but this is an impressive and heartfelt study of friendship and triumph**_

>_Next year, Ferrari's ass is mine._

- Carroll Shelby, after losing to Ferrari in the 1964 World Sports Car Championship

>_To take control of this materialised energy, to draw the reins over this monster with its steel muscles and fiery heart - there is something in the idea which appeals to an almost universal sense, the love of power._

- A.J. Baime; _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_ (2009)

In 2015, a long-gestating project was announced as entering pre-production – based on Brock Yates's 1991 book _Enzo Ferrari: The Man, the Cars, the Races_, the film was tentatively called _Enzo Ferrari_ and was to be written, produced, and directed by Michael Mann (_Heat_; _The Insider_; _Ali_). A long-time racing fan, Mann had been trying to bring Ferrari's story to the screen since the book was published (in 1992 it was reported that Robert De Niro was circling the role and Mann would begin shooting right after he completed work on _The Last of the Mohicans_), but in 2015, things seemed to finally be moving ahead. Christian Bale was cast as Ferrari and Noomi Rapace as his mistress, Lina Lardi. And then, nothing. Time passed and no more was heard until 2017, when it was announced that Bale had dropped out and been replaced by Hugh Jackman. And again, nothing. In the meantime, a different film was greenlighted – an adaptation of A.J. Baime's 2009 book, _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_. Set to star Tom Cruise and Brad Pitt, it was to be written by Jason Keller (_Machine Gun Preacher_; _Mirror Mirror_; _Escape Plan_) and directed by Joseph Kosinski (_Tron: Legacy_; _Oblivion_; _Only the Brave_). That version of the project never got off the ground, but in 2018, it was announced that James Mangold (_Cop Land_; _Girl, Interrupted_; _Logan_) had signed on as director, working from a new version of Keller's script, written by Jez Butterworth and John-Henry Butterworth (_Fair Game_; _Edge of Tomorrow_; _Get On Up_). Rather confusingly, none other than Christian Bale is in the cast, although not as Ferrari, whilst Mann himself is credited as an executive producer. Is this (at least in part) the remnants of his own film? Is his credit related to nothing more than rights, or was he actively involved in making the movie? Will we still see his _Enzo Ferrari_ at some point?

_Le Mans '66_ (released in North American with the equally generic title of _Ford v Ferrari_) is an excellently made but unadventurous movie. Mangold is a fine director, but he's no Mann, nowhere near, and the film did, to a certain extent, just leave me pondering what kind of kinetic brilliance Mann would have brought to bear on similar material. In contrast, to Mann's body of work, _Le Mans '66_ could never be accused of breaking any new ground or trying anything especially original – it hits all the beats, it hits them well, but it never strays from the formula. Much as Mann's _Ali_ (2001) was a boxing movie on the surface only, being far more interested in politics and institutional racism, Mangold's film isn't really about motor cars – it's about friendship, male pride, personal integrity, sticking it to the Man, art v commerce, individuals v corporations; it is, in essence, a thematically broad and aesthetically anonymous pre-_auteur_ theory audience-pleaser made with the technology and aesthetic sensibilities of modernity. And whilst the individual parts may be unsatisfactorily safe and familiar, the whole is unexpectedly accomplished and immensely enjoyable.

The film begins in 1959 as Carroll Shelby (Matt Damon) wins that year's 24 Hours of Le Mans in an Aston Martin DBR1/300. However, shortly after the victory, he's told he has a heart condition and must stop racing. The film then jumps to 1963, as Ken Miles (Christian Bale), a brilliant but volatile and unpredictable driver, is running a sports car repair garage in LA, but the venture is failing (mainly because he continuously berates his customers for one thing or another). The British-born Miles has a reputation as one of the best drivers in the world, and is renowned for his almost supernatural ability to identify problems in test cars after only one or two laps. However, because of his personality, no one will hire him. Meanwhile, Ford Motor Company Vice President and General Manager Lee Iacocca (Jon Bernthal) suggests that Henry Ford II (a superb Tracy Letts, who steals every scene he's in) buy the cash-strapped Ferrari N.V., speculating that Ford's involvement in international racing may go some way to countering the company's reputation for making boring and unattractive family cars (in essence, he hopes the purchase will give the company more street cred). Enzo Ferrari (Remo Girone), however, turns down the deal in favour of a counter-offer by Fiat Automobiles, which is more lucrative and allows him to retain ownership of Scuderia Ferrari (Ferrari's racing division). He also calls Ford II fat. Enraged, Ford II determines to build a car capable of winning Le Mans, a race which has been dominated by Ferrari for years, winning in 1958, 1960, 1961, 1962, and 1963. Iacocca reaches out to Shelby, the last non-Ferrari driver to have won the event, and asks him to design a car which can beat any Ferrari. Shelby and his engineering partner Phil Remington (Ray McKinnon) get to work but soon Shelby explains to Iacocca and Ford II that they will need a great driver as well as a well-designed car. And so he reaches out to Miles, who comes on board, but immediately clashes with the Ford executives, particularly Senior Executive Vice President Leo Beebe (Josh Lucas). Nevertheless, Shelby, Remington, and Miles press on developing the GT40, a car capable of reaching speeds of 135 mph, if only it didn't keep breaking down.

_Le Mans '66_ is somewhat similar to Damien Chazelle's _First Man_ (2018), insofar as it uses the grandiose moments of history to tell an intimate story. Whereas Chazelle used the Apollo Program as the background against which to examine a failing marriage, Mangold uses the determination to win Le Mans '66 as the background against which to examine issues such as friendship and the clash between gifted individuals for whom success is its own reward and corporations who don't see value in anything unless it's monetarily successful. Indeed, the argument could be made that the film is actually a commentary on the Hollywood studio system, with Shelby and Miles representing independent filmmakers who love the craft and see the medium as an art-form, whilst the Ford executives represent the studio, always more concerned with the bottom dollar than artistic integrity, always getting in the way of the people who, if left alone to work, could produce something spectacular.

The film is also extremely funny in places, especially in a scene where Shelby shows up at Miles's house, and the two get into a fight on the street. Miles's wife Mollie (an underused Caitriona Balfe) emerges from the house, looks at the two men fighting, goes back inside, and remerges with a garden chair, a drink, and a copy of _Better Living_. She then sits down to watch the action. It's a hilarious moment, but it's one with great thematic importance – this is very much an androcentric world (Mollie is virtually the only female in the entire film), but for this brief moment, the audience is allowed to pull back and laugh at the utter ridiculousness of competitive maleness – boys will be clichéd boys, always trying to outdo each other, and getting all worked up over something as pointless as a fast car.

This thematic focus, however, is not to say the film ignores the intricacies of racing; on the contrary, there's a huge amount of techno-babble concerning vectors, aerodynamics, the mathematics of torque, the torsion of metal, and the ins and outs of physics. Additionally, although thematically, the focus isn't on the races themselves, there's no denying that the aesthetic design of these scenes is exemplary, albeit familiar. Mann would have done wonders here, but Mangold, cinematographer Phedon Papamichael (_The Ides of March_; _This Is 40_; _Nebraska_), and sound designers David Giammarco (_The Amazing Spider-Man 2_; _The Dark Tower_; _The Predator_) and Jay Wilkinson (_Furious 6_; _Man of Steel_; _Alpha_) have crafted some truly intense moments. For the most part, Mangold and Papamichael avoid any objective shots (for example, there are no overheads giving us a good vantage of the entire race), and there are very few shots showing us something that Miles is unable to see. The scenes aren't shot in the first-person, but our vision is anchored to his. This, of course, contributes to a subjective focalisation and creates the sense of being in the car with him, which brings a default level of intensity, as well as giving the viewer a perfect vantage point from which to see just how fast these guys are going and how difficult what they do actually is.

Is there a Mann influence on the racing scenes? Absolutely; if you're familiar with how Mann often shoots cars in motion (the camera affixed to the side of the car, with the screen virtually split in two – the side of the car taking up one half, the approaching road taking up the other), you simply can't help but notice the similar positioning of Papamichael's camera. Are they the best racing scenes ever put on film? No; you can find those in Lee H. Katzin's _Le Mans_ (1971), which intercuts footage shot during the real 1970 event with material staged for the film, lending the whole thing an unprecedented intensity that has yet to be topped. However, _Le Mans '66_ makes a hell of an effort, and that can only be commended.

In terms of problems, there are only two of any significance. The first concerns just how safe and rudimentary the film is. Aesthetically, although the race scenes are kinetic and exciting, there isn't anything new or inventive in them; thematically, the film doesn't say anything we haven't heard before; and structurally, it walks a very well-worn path – chances are that everything that you think might happen in _Le Mans '66_ does happen. This is your basic underdog story, and it adheres rigidly to that template. The character of Beebe is a good example of just how rigidly. In essence, he's a poorly written token villain because you can't have an underdog story without a token villain (usually in the form of bureaucratic interference). In this case, when Mangold feels the need to inject some conflict into proceedings, Beebe will pop up to throw a wrench into the works. His motivation? Apart from some brief references to how he doesn't think Miles is a "_Ford man_", his antipathy is never explained – the character is a Swiss army knife villain who can be used for multiple purposes, a one-size-fits-all token bad guy without an iota of nuance or interiority. The second problem concerns Shelby himself, who is disappointingly one-dimensional (at best), as we learn absolutely nothing about his personal life – for example, the film makes no reference to the fact that by 1963 he was on wife number three (of seven!). Who is the film's Carroll Shelby, and why should non-racing fans care about him? We never get an answer – he's Matt Damon wearing a Stetson and speaking with a Texas drawl. And that's about all the character development he gets.

Although these issues are significant in isolation, the thing about _Le Mans '66_ is that it's so well made, it rises above the clichéd and overly-familiar nature of many of the individual scenes, resulting in a whole that is very much more than the sum of its parts. A film about friendship and integrity rather than racing, it doesn't take any risks, nor does it bend any rules. Indeed it does nothing that could be labelled innovative. For all that, however, I couldn't help but enjoy it. It won't surprise you, it probably won't move you, it certainly won't change your life, but the storytelling is clear and refined, and the journey is one well worth taking.
I never expected a sports film, let alone one based on a true story, to impress me so damn much. James Mangold offers one of the best, if not the best sports movie ever. With award-worthy performances from both Christian Bale and Matt Damon, Ford v Ferrari (aka Le Mans ‘66) has characters so exceptionally-written and so emotionally compelling that I felt like crying by the end of the film. The races are riveting and entertaining, but it’s the beautiful screenplay that gets me. Definitely, one of the movies of the year!

Rating: A+
I think _Ford v Ferrari_ suffers from mismarketing. I don't mean that it was poorly marketed, and that the trailers made it look bad or anything. Just that it was marketed inaccurately. When I was keeping myself abreast of this project, it seemed very much that the insinuation was that the movie would be a battle between Bale's and Damon's respective characters. That this would essentially be the run-through of the whole film, and the climax would feature one emerging victorious over the other. In actual fact, the opposite is true. _Ford v Ferrari_ is largely about the friendship and partnership of those two characters. An occasionally rugged, and one occasion even violent friendship, but a friendship nonetheless. Even the title is misleading. I suppose Ford does v Ferrari at a couple of points over the movie's runtime, but it's not what _Ford v Ferrari_ is **about**. In fact, Ferrari barely features in the movie at all. Here's the kicker though: I actually liked what this thing ended up being, more than I think I would have enjoyed a movie that really did revolve around Bale actually versing Damon, or one about Ford actually versing Ferrari.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Well made sports-racing movie with excellent acting by Damon and Bale (no surprise there) and the racing sequences were great, not to mention the sound design. Kind of was concerned there wouldn't be enough story to fill the nearly 2.5 hour runtime, but this kept me engaged, though the ending was a bit anticlimactic. Still, good work from James Mangold. **4.5/5**
Click here for a video version of this review: https://youtu.be/IByQpyGV9Lg

Despite not being a big fan of track car racing - I’m more of a rally man - the chance to see Matt Damon and Christian Bale lead in a true life story attracted me to _Ford v Ferrari_. It’s a very good movie that tells the tale of the development of Ford’s race program to topple Ferrari as the champions of Le Mans.

Here’s the official description:

_American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966._

I’ll say up front that even though Ferrari is mentioned in the title, they don’t really play a huge part in the movie. I was expecting things to bounce between each camp as they tried to one up each other in the race for glory. While Ferrari are here and there throughout, the main battle of the movie is Shelby and Miles trying to get their work done amidst the interference from factions within Ford’s management.

It still makes for a great story though, and it’s a movie that takes you on a ride of many highs and lows. From technological failures and success, to corporate shenanigans, to father-son moments, this hits so many beats that it kept us entertained the whole way through. Not only does it hit them, it does them very very well. There were some moments where I was genuinely holding my breath. It’s great stuff.

Even from a technical point of view there is a lot to love about this. The cinematography was a stand out for me - some of the sunset shots were stunning, as were the very intense race sequences. I’m sure there’s CGI all through this but it was of such a good quality that it was barely noticeable.

Damon and Bale are outstanding and lead from the front, with Bale in particular seeming to inhabit the role and transform, as he so often does. Even all the side characters bring their A game and the end result is a pleasure to watch.

This is an excellent film, it’s the whole package and feels like a real film as opposed to much of the cookie cutter movies we get a lot of these days.

I thoroughly enjoyed this and highly recommend it.
Exactly what you'd expect from a movie featuring Led Zeplin in its trailer (+1 star for Christian Bale's compelling performance).

Genre : Drama, History

Runtime: 152 Minutes





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The quality is quite good because it is not re-encoded. Video streams (H.264 or H.265) and audio (AC3 / Ford v Ferrari (2019)) are usually extracted from iTunes or Amazon Video and then reinstalled into the MKV container without sacrificing quality. Download Euphoria Movie Season 1 Movie 6 One of the streaming movies. Watch Online Ford v Ferrari: (2019) Complete movies Free Online Full Strengthens Crusaders and mountan Moorish comders rebelled against the British crown. How long have you fallen asleep during Ford v Ferrari (2019) Movie? The music, the story, and the message are phenomenal in Ford v Ferrari. I have never been able to see another Movie five times like I did this. Come back and look for the second time and pay attention. Watch Ford v Ferrari (2019) WEB-DL movies This is losing less lame files from streaming Ford v Ferrari (2019), like Netflix, Amazon Video. Hulu, Ford v Ferrari (2019) chy roll, DiscoveryGO, BBC iPlayer, etc. These are also movies or TV shows that are downloaded through online distribution sites, such as iTunes. The quality is quite good because it is not re-encoded. Video streams (H.264 or H.265) and audio (AC3 / Ford v Ferrari) (2019) are usually extracted from iTunes or Amazon Video and then reinstalled into the MKV container without sacrificing quality. Download Euphoria Movie Season 1 Movie 6 One of the streaming movies. Watch Ford v Ferrari Miles Morales conjures his life between being a middle school student and becoming Ford v Ferrari (2019). However, when Wilson “Kingpin” Fiskuses as a super collider, another Captive State from another dimension, Peter Parker, accidentally ended up in the Miles dimension. When Peter trained the Miles to get better, Spider-, they soon joined four other Ford v Ferrari (2019) from across the “Spider-Verse”. Because all these conflicting dimensions begin to destroy Brooklyn, Miles must help others stop Fisk and return everyone to their own dimensions. the industry’s biggest impact is on the DVD industry, which effectively met its destruction by mass popularizing online content. The emergence of streaming media has caused the fall of y DVD rental companies such as Blockbuster. In July (2019), an article from the New York Times published an article about Netflix DVD, No ches Frida 2s. It was stated that Netflix was continuing their DVD No. No Frida 2s with 5.3 million customers, which was a significant decrease from the previous year. On the other hand, their streaming, No ches Frida 2s, has 65 million members. In a March (2019) study that assessed “The Impact of movies of Streaming on Traditional DVD Movie Rentals” it was found that respondents did not buy DVD movies nearly as much, if ever, because streaming had taken over the market. So we get more space adventures, more original story material and more about what will make this 21st MCU movie different from the previous 20 MCU films. Watch Final Space Season 2 — Movie 6, viewers don’t consider the quality of movies to differ significantly between DVDs and online streaming. Problems that according to respondents need to be improved by streaming movies including fast forwarding or rewinding functions, and search functions.





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Synopsis, Movie and Critics' Review:

Castname:Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, Wallace Shawn, John Ratzenberger, Estelle Harris, Blake Clark, Jeff Pidgeon, Ned Beatty

Crewname :Andrew Stanton, Lee Unkrich, Lee Unkrich, John Lasseter, John Lasseter, Hayao Miyazaki, Isao Takahata, Toshio Suzuki, Don Davis, Darla K. Anderson

Release :2010-06-16

Overview: Woody, Buzz, and the rest of Andy's toys haven't been played with in years. With Andy about to go to college, the gang find themselves accidentally left at a nefarious day care center. The toys must band together to escape and return home to Andy.

Reviews :Great for the kids!
Just like any other Pixar movies, Toy Story 3 was great. The story flowed really well with the two Toy Story movies. And just like the two other movies, it was funny, has a lot of action and adventure, and it was really touching.


I guess at some point, everyone was able to relate to the story. That's why it's so great. It's great for young children and really great for adults. It's a good ending for the Toy Story movies.


My rate for this movie is A.
When I first watched this nearly a decade ago in the cinema, I believe it was (and still is) the only movie I've ever watched in 3D that I've enjoyed. I was worried that it was that great theatrical experience I'd had that coloured my opinion of _Toy Story 3_ so positively, and that it wouldn't hold up to any further scutiny. But I gotta say, on re-watch? It **absolutely** holds up. In my opinion, **strong** contender for best work Pixar's ever put out.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
Just an all around wonderful and poignant sequel that surpasses the others. Great seeing the gang working together and the voice casting was, once again, perfect. While Toy Story 4 was good, this served as a great finale. **5.0/5**
I don't love 'Toy Story 3' as much as its two predecessors. That doesn't mean that it isn't anything other than great though.

I enjoy the bountiful humour and intriguing plot, while the newly-introduced toys are very good. If I had to nitpick, I don't massively like Lotso, who kinda feels to me like a slight copy of The Prospector from the 1999 sequel - with the difference here being he's the ultimate antagonist, perhaps too villainous for my own personal taste. As I said though, just a tiny criticism in the grand scheme of these productions.

Tom Hanks remains on top form as Woody, as do all the others including Buzz Lightyear (Tim Allen) and Jessie (Joan Cusack). Ned Beatty does a terrific job as Lotso, while Barbie and Ken are brought to life well by Jodi Benson and Michael Keaton.

Once again there are some excellent scenes, with the ending also being entertaining just like in 'Toy Story 2'. There's also a lot of heart in the concluding scene. I'm surprised they did a fourth time, even if I do agree it's still a very good new instalment.

Pixar and Disney keep up a pretty remarkable high quality, even in the third film of the franchise. I will never tire watching these.

Genre : Animation, Family, Comedy

Runtime: 103 Minutes





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Synopsis, Movie and Critics' Review:

Castname:Jason Statham, Brad Pitt, Stephen Graham, Vinnie Jones, Benicio del Toro, Dennis Farina, Rade Šerbedžija, Alan Ford, Mike Reid, Robbie Gee

Crewname :Steve Tisch, Lucinda Syson, John Murphy, Guy Ritchie, Guy Ritchie, Matthew Vaughn, Tim Maurice-Jones, Hugo Luczyc-Wyhowski, Jon Harris, Verity Hawkes

Release :2000-09-01

Overview: Illegal boxing promoter Turkish convinces gangster Brick Top to offer bets on bare-knuckle boxer Mickey at his bookie business. When Mickey does not throw his first fight as agreed, an infuriated Brick Top demands another match. Meanwhile, gangster Frankie Four Fingers comes to place a bet for a friend with Brick Top's bookies, as multiple criminals converge on a stolen diamond that Frankie has come to London to sell.

Reviews :In the quiet words of the Virgin Mary... come again?

Snatch seems to be one of those spunky British gangster films that critics are divided on, yet it's loved by the target audience. Guy Ritchie has done a Sam Raimi, he has remade the first film that put him on the cinematic map. Where Raimi remade The Evil Dead, and just called it Evil Dead II, Ritchie cheekily tries to get away with remaking Lock, Stock and Two Smoking Barrels and calling it Snatch. Sure the circumstances in plotting are different, and there's a big American star brought in to beef things up for the global market, but it's the same movie and without doubt it's lazy film making. But it still - like Evil Dead II - Rocks!

Snatch in story terms is concerned with a big diamond that stitches together a number of threads involving the London underworld. Some rough and tough Romany types join in the fun, headed by a purposely illegible Brad Pitt, while Dennis Farina, Benicio Del Toro and Rade Serbedzija add more cosmopolitan meat to the crooks and gangster stew. The British cement holding the building up comes in the twin forms of Jason Statham and Stephen Graham, with Vinnie Jones once again turning up to frighten the masses. Everything from bare knuckle fighting to bumbled robberies - to dog fighting and shifty arcade empires - are here, with Ritchie writing characterisations that positively boom off of the screen.

As with "Lock-Stock", the beauty is in the way violence and humour are deftly blended. Scenes are often bloody but also bloody funny, a pearl of dialogue is never far away from a perilous situation. The comic tone is more close to the knuckle here, Ritchie having fun toying with ethnic and machismo stereotypes, while he brings his bag of visual tricks before it got boring. The narrative is deliciously complex, but much credit to Ritchie for the way he pulls all the threads neatly together in a whirl of scene splicing and cocky literary assuredness.

So it's "Lock-Stock 2" then! No bad thing if you happen to be a fan of that sort of wide boy malarkey. If you don't like it? Then jog on sunshine. 8/10

Genre : Crime, Comedy

Runtime: 103 Minutes





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123Movies North by Northwest (1959) Streaming Movies Online

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Synopsis, Movie and Critics' Review:

Castname:Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll, Josephine Hutchinson, Philip Ober, Martin Landau, Adam Williams, Edward Platt

Crewname :Bernard Herrmann, Alfred Hitchcock, Alfred Hitchcock, Ernest Lehman, Ernest Lehman, Herbert Coleman, Robert Burks, George Tomasini, Leonard Murphy, Robert F. Boyle

Release :1959-07-08

Overview: Advertising man Roger Thornhill is mistaken for a spy, triggering a deadly cross-country chase.

Reviews :North by Northwest is famous for its famous action sequences such as hanging on Mount Rushmore and the crop duster plane scene.

Essentially it is a film of mistaken identity as advertising executive Roger Thornhill (Cary Grant) is mistaken for George Kaplan by some bad guys in league with a foreign power presumably Russian.

The trouble is Kaplan is a made up operative created by the CIA to flush out the film's villain, the urbane but deadly Vandamm (James Mason) and his cronies such as the fey henchman Leonard (Martin Landau) who are out to get Thornhill.

Thornhill in order to prove his innocence must evade capture from the bad guys and also the police as he is wanted by everyone. Only a beautiful blonde Eve (Eva-Marie Saint) aids him in this cross country chase but she is more than an innocent bystander as she might be in league with Vandamm.

This is an escapist action film that mixes tension with some comedy and Grant was always adept with light comedy. The film is overlong, it just feels 15 minutes too long and the villains motives seems to be rather cloudy.
I hate user/critic review websites strictly because of movies like this. People will go see like, Gran Torino, be entertained, admire a couple symmetrical shots and smooth camera pans or whatever, and rate the thing a 4.5/5, 9/10, 95%, etc. But then there are movies that have a ten minute chase scene with Cary Grant scaling down Mount Rushmore, every second of which you're screaming at the screen. Of course my most pompous entry is for an Alfred Hitchcock. But please, for progeny's sake, save the high ratings for ones that earn em
Sometimes the truth does taste like a mouthful of worms.

Roger O Thornhill is a harmless and amiable advertising executive who is absurdly mistaken for a government agent by a gang of ruthless spies. Forced to go out on the lam, Thornhill lurches from one perilous scenario to another. Can he survive to prove his innocence? Is the gorgeous blonde who is helping him really a friend? All will be revealed in Alfred Hitchcock's majestic thriller.

If deconstructing it you find that this isn't a perfect Hitchcock movie, for it under uses James Mason's coolly vile Phillip Vandamm (which is a crime), and it also doesn't have a female lead acting with any great urgency since Eva Marie Saint as Eve Kendall fails to fully fulfil the promise of Kendall's arrival in the movie. Yet this film rightly earns the right to be on any critics top 100 list, to be a favourite amongst the legion of Hitchcock fans (of which I'm one of that number), for it is escapist entertainment in its purest form, Hitchcock's most accessible popcorn entertainment piece.

From the moment at the film's opening when you hear Bernard Herrmann's wonderful music, it's enough to send goose pimples all over the body. For it is a musical portent that signifies we are about to get a fusion of thrills, mystery, and some cheeky Hitchcock humour, accompanied by heroes and villains all condensed purely for our enjoyment. Fronted by a diamond Cary Grant performance as the man wrongly mistaken for another that leads to him being pursued frighteningly across the states, the pic is never found wanting for genre high points. Coming as it did after the darkly brilliant and soul sapping Vertigo, Hitchcock clearly wanted to hang loose and enjoy himself.

Working from a fabulous script by Ernest Lehman, North By Northwest's very reason for being is purely to entertain those wanting to invest a frame of mind with it, with Hitchcock cunningly putting us on side with what is ultimately a shallow character in Grant's Roger O (the O doesn't stand for anything) Thornhill. It's a neat trick from the master of trickery and devilment. Some of the scenes on show are now almost folk lore such is the esteem in which they are held by movie fans and makers alike. A crop dusting aeroplane attack (the prelude to which has those goose pimples popping up in anticipation), a pursuit on Mount Rushmore and the often forgotten drunk car on a cliff sequence, these are all trade mark pieces of work from Hitchcock.

North By Northwest is in my humble opinion one of the true greats of cinema history, where as bleak and as unnervingly brilliant as Vertigo was the previous year, this is the polar opposite in structure and fable, but the result is most definitely equally as great. One of the reasons I fell in love with cinema in fact. 10/10
***It has its points of interest, but any 60’s Bond flick is a better choice***

When an ad executive in Manhattan (Gary Cooper) is mistaken for a government agent by a foreign spy & his cronies (James Mason, et al.) he finds himself a fugitive traveling by train to Chicago wherein he meets a woman that seems to have his favor (Eva Marie Saint). After a curious encounter with a crop dusting plane everything culminates at Mount Rushmore, South Dakota.

"North by Northwest" (1959) is an adventure/thriller by Hitchcock with a huge reputation. It obviously influenced the James Bond flicks of the 60s, which started three years later with “Dr. No” (1962), but it’s very toned down by comparison because the hero in this case is not a trained spy. It’s entertaining to a point, but also seriously overrated due to some glaring problems…

Jessie Royce Landis plays the protagonist’s mother when she was only a little over 7 years older than Cooper and it’s too obvious; the story drags too much at this point (when he’s hanging out with his mother); his chance meeting with a key character on the train (Saint) is too coincidental; their make-out sessions are premature, unconvincing and painfully dull; what happens to the plane is stupefying; the crop dusting encounter supposedly takes place in rural Indiana when it’s clear that it’s nowhere within a thousand miles of Indiana (actually it was shot at the southern end of Central Valley, California, outside of Bakersfield); speaking of which, the geography is too noticeably disingenuous: e.g. during the drunk driving episode there are no cliffs like that on Long Island (it was actually shot at Potrero Valley, Thousand Oaks, CA, and obviously so).

Still, there’s enough good here to enjoy if you favor Hitchcock & the cast and don’t mind quaint movies.

The film runs 2 hours, 15 minutes (unnecessarily overlong).

GRADE: B-/C+

Genre : Mystery, Thriller

Runtime: 136 Minutes





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The quality is quite good because it is not re-encoded. Video streams (H.264 or H.265) and audio (AC3 / North by Northwest (1959)) are usually extracted from iTunes or Amazon Video and then reinstalled into the MKV container without sacrificing quality. Download Euphoria Movie Season 1 Movie 6 One of the streaming movies. Watch Online North by Northwest: (1959) Complete movies Free Online Full Strengthens Crusaders and mountan Moorish comders rebelled against the British crown. How long have you fallen asleep during North by Northwest (1959) Movie? The music, the story, and the message are phenomenal in North by Northwest. I have never been able to see another Movie five times like I did this. Come back and look for the second time and pay attention. Watch North by Northwest (1959) WEB-DL movies This is losing less lame files from streaming North by Northwest (1959), like Netflix, Amazon Video. Hulu, North by Northwest (1959) chy roll, DiscoveryGO, BBC iPlayer, etc. These are also movies or TV shows that are downloaded through online distribution sites, such as iTunes. The quality is quite good because it is not re-encoded. Video streams (H.264 or H.265) and audio (AC3 / North by Northwest) (1959) are usually extracted from iTunes or Amazon Video and then reinstalled into the MKV container without sacrificing quality. Download Euphoria Movie Season 1 Movie 6 One of the streaming movies. Watch North by Northwest Miles Morales conjures his life between being a middle school student and becoming North by Northwest (1959). However, when Wilson “Kingpin” Fiskuses as a super collider, another Captive State from another dimension, Peter Parker, accidentally ended up in the Miles dimension. When Peter trained the Miles to get better, Spider-, they soon joined four other North by Northwest (1959) from across the “Spider-Verse”. Because all these conflicting dimensions begin to destroy Brooklyn, Miles must help others stop Fisk and return everyone to their own dimensions. the industry’s biggest impact is on the DVD industry, which effectively met its destruction by mass popularizing online content. The emergence of streaming media has caused the fall of y DVD rental companies such as Blockbuster. In July (1959), an article from the New York Times published an article about Netflix DVD, No ches Frida 2s. It was stated that Netflix was continuing their DVD No. No Frida 2s with 5.3 million customers, which was a significant decrease from the previous year. On the other hand, their streaming, No ches Frida 2s, has 65 million members. In a March (1959) study that assessed “The Impact of movies of Streaming on Traditional DVD Movie Rentals” it was found that respondents did not buy DVD movies nearly as much, if ever, because streaming had taken over the market. So we get more space adventures, more original story material and more about what will make this 21st MCU movie different from the previous 20 MCU films. Watch Final Space Season 2 — Movie 6, viewers don’t consider the quality of movies to differ significantly between DVDs and online streaming. Problems that according to respondents need to be improved by streaming movies including fast forwarding or rewinding functions, and search functions.





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Synopsis, Movie and Critics' Review:

Castname:Matthew Modine, Adam Baldwin, Vincent D'Onofrio, R. Lee Ermey, Dorian Harewood, Arliss Howard, Kevyn Major Howard, Ed O'Ross, John Terry, Bruce Boa

Crewname :Stanley Kubrick, Stanley Kubrick, Stanley Kubrick, Jane Feinberg, Mike Fenton, Marion Dougherty, Anton Furst, Martin Hunter, Jan Harlan, Nigel Galt

Release :1987-06-26

Overview: A pragmatic U.S. Marine observes the dehumanizing effects the U.S.-Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue.

Reviews :**The second half is better than the first half.**

A film of two halves.

The first half of the fiim focuses on the training of raw recruits and features shenanigans we have seen countless times before - think _Stripes_ and _Police Academy_.

The persecution of the fat guy - a scenario we had already witnessed in Stripes and Police Academy ( "_I could show a movie on your butt, fatso_!"- Lt Harris, Police Academy) is here played out to maximum effect. The fat guy who freezes atop a climbing frame is the central plot here with Matthew Modine's character playing second fiddle to all of the _Leslie Barbara_ stuff.

The second half of the movie at least gives us something we were not expecting when a sniper's identity is revealed.


- Ian Beale
Released in 1986, Full Metal Jacket is Stanley Kubrick's film about Vietnam, adapted from a novel by the reclusive and bitter Vietnam veteran Gustav Harford, and then further expanded by acclaimed Vietnam journalist Michael Herr.

The film breaks down neatly into two very different parts, though both are seen through the eyes of young United States marine J. T. "Joker" Davis (Matthew Modine). In the first act, Davis makes his way through Marine basic training with a motley group of other recruits under the hellish command of gunnery sergeant Hartmann (R. Lee Ermey). Joker watches as Hartmann bullies an overweight and dim-witted recruit cruelly nicknamed Gomer Pyle (Vincent D'Onofrio), until Pyle explodes into murderous revenge. In the second act, now set in Vietnam where Joker is doing a tour of duty as a military journalist, the protagonist and his fellow Marines find themselves on the front line during the Tet Offensive and Joker witnesses firsthand the savagery of war.

Few films consist of such drastically opposed parts that differ in setting and tone and don’t have any overlapping characters besides the protagonist (and one minor character from the boot camp scenes). Full Metal Jacket has often disappointed viewers because the first half is so thrilling that it proves a hard act to follow. That's all down to R. Lee Ermey, who actually was a drill instructor during Vietnam and initially served only as a technical consultant before Kubrick decided to let him play the role and improvise. Ermey acts with a white-hot intensity, realism, and brilliantly worded insults and obscenities that no screenwriter could ever have come up with.

As a young man, I too felt that the film was a letdown once it moved past the witty quips and goofy camaraderie of the boot camp scenes. With time, however, my appreciation for the film as a whole has only grown. The two-part structure now seems to be a strong yin-yang structure: the first act is a vision of order, while the second is all chaos. Furthermore, the second half is a moving statement of how war is often senseless. Joker and his squad, while on patrol for an enemy they cannot even identify and whose ideology or culture they know hardly anything of, begin to be targeted by a sniper. Several men perish before the sniper is found and neutralized, and all that death is pointless: it doesn't contribute in any way to victory for either side. The brutality of World War I trench warfare, where dozens of men could perish for merely a foot of conquered ground, is shown to have persisted through the American quagmire in Southeast Asia.

That said, the film does have its flaws. One is the unrealistic depiction of the Vietnamese landscape. Kubrick had a great fear or dislike of foreign travel, and he insisted on shooting the whole film in East London. Having merely a few palm trees shipped in is a poor replacement for a real Southeast Asian shooting location with its humidity and insects, and in the scene that is meant to show a lively Vietnamese town square Kubrick obviously had the same few cars driving around in circles. It's strange how a director who was generally so perfectionist, could be so careless about locales (this only got worse with his next and last film, Eyes Wide Shut, with its inauthentic stage set New York City). There are also some anachronisms that this director and his technical advisors should have noticed.

Still, even a flawed Kubrick film is classic cinema.
The Marine's don't want robots - they want killers.

This is the journey undertaken by Private "Joker" J.T. Davis, from brutal training camp to Vietnam itself.

As most people know by now, Full Metal Jacket is divided very much into two different halves, halves that to me show the best and worst of the talented director, Stanley Kubrick. For the first part we are subjected to the training regime inflicted on wet behind the ears boys, boys soon to become Marines out in the harshness of the Vietnam War. This is real dehumanising stuff, frighteningly essayed by the brilliance of drill instructor R Lee Ermey's performance. We know, see and feel that the boys are primed to be killing machines, unemotional killing machines at that, with Kubrick astutely weaving the brutality of camp into the moral quandary that was the war itself. One particular recruit, Private Gomer (a heartfelt and unnervingly great Vincent D'Onofrio) is the film, and Gustav Hasford's (writer of the novel and co screenwriter here) point of reference in this incredible first half. It's with this strand that "Jacket" burns itself into the soul of the viewer, to hopefully set us up for what will be Private "Joker's" (Matthew Modine) preparation for the Vietnam conflict.

Then it's that second half...

Where do we go from here? We already know that "Joker" and his mentally brutalised colleagues have been stripped of their basic humanity. Soldiers primed to kill, it's harsh, but true. But Kubrick has already chilled our blood and bludgeoned us repeatedly courtesy of the "Boot Camp" set up. Modine's (who isn't strong enough to carry the picture) "Joker" is now the film's axis, a clever, most definitely articulate character, who is thrust into the murky and muddled battle of the Tet Offensive, yeah and so? All it amounts to is a prolonged series of rationale and philosophical musings on the false war. Kubrick even shifting to safe mode with a clumsy narration segment spouted by "Joker".

Full Metal Jacket is a truly fine film, but it's not the brilliant one it really should have been. If one can take the time to venture deeper with the second half, then it doesn't deliver on the already made point promise of the first part. Technically it's flawless, incredibly designed, with Douglas Milsome's cinematography stunningly effective. But I'll maintain to my final day that Full Metal Jacket finished up as being bloody and pretty instead of being a poignant and horrifying masterpiece. 7/10

Genre : Drama, War

Runtime: 116 Minutes





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Synopsis, Movie and Critics' Review:

Castname:Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor, Ana Ofelia Murguía, Edward James Olmos, Antonio Sol, Alfonso Aráu, Selene Luna

Crewname :Lee Unkrich, Lee Unkrich, Lee Unkrich, John Lasseter, Christopher Boyes, Christopher Boyes, Darla K. Anderson, Harley Jessup, Carter Goodrich, Gini Cruz Santos

Release :2017-10-27

Overview: Despite his family’s baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector, and together, they set off on an extraordinary journey to unlock the real story behind Miguel's family history.

Reviews :Spectacularly colourful with a sweet, (albeit predictable) path. Certainly not a misfire from Pixar, but also did not appeal to me personally in the way that many of their other films have.

_Final rating:★★½ - Not quite for me, but I definitely get the appeal._
**Beautiful, colourful and sweet**

This film has real heart, with great messages about what family can and should do for each other. Great voice acting, great songs without having the burden of exposition via song that you find in the more musical ventures by Disney. I loved that you could see genuine guitar chords being played, so often in live action films the playing of musical instruments, especially guitar are poorly faked. None of that in this animated gem.

One thing I personally loved was the depiction of Mexican culture. Although I really enjoyed _Moana_, I thought it was a little bit too much of a pastiche of multiple Pacific cultures when it should have just picked one (Maori) and stuck with it. _Coco_ celebrates Mexican culture, and depicts it well. The only thing missing for me was more Mexican cuisine.

It can get a little dark in places, so maybe be careful when watching it with the little ones, but should appeal to most of the family.

9/10
I loved the movie starting from the characters, animation, colors, emotions, story everything. A good way to tell how important a family is. Happy it had a happy ending.
Sensational! 'Coco' is straight into my top five of Disney animations.

The whole 105 minutes are a joy to watch, thanks to its rich and highly meaningful story alongside the wonderful animation and sharp humour. Safe to say, I was not expecting this film to smash it out the park - which it totally does. This is why I don't, personally, look up about films before watching them, I love being surprised.

Big credit also goes to the cast, who play some awesome characters. From Miguel (Anthony Gonzalez) to Héctor (Gael García Bernal) to Ernesto (Benjamin Bratt), among others, they are all very, very good.

It isn't just the characters that make this memorable, it is also the excellent plot which is told beautifully. It's filled with not just comedy but also a load of heart - there's a few nicely done twists too. The world that they create around the Day of the Dead is fantastic, while the music fits perfectly.

If you haven't already, you must watch this! It's brilliant!

Genre : Animation, Family, Comedy, Adventure, Fantasy

Runtime: 105 Minutes





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