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Synopsis, Movie and Critics' Review:

Castname:Robert Downey Jr., Chris Hemsworth, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Tom Holland, Chadwick Boseman, Don Cheadle, Zoe Saldana, Karen Gillan

Crewname :Alan Silvestri, David Farmer, Tom Johnson, Sarah Halley Finn, Beat Frutiger, Christopher Markus, Stephen McFeely, Stan Lee, Kevin Feige, Leslie A. Pope

Release :2018-04-25

Overview: As the Avengers and their allies have continued to protect the world from threats too large for any one hero to handle, a new danger has emerged from the cosmic shadows: Thanos. A despot of intergalactic infamy, his goal is to collect all six Infinity Stones, artifacts of unimaginable power, and use them to inflict his twisted will on all of reality. Everything the Avengers have fought for has led up to this moment - the fate of Earth and existence itself has never been more uncertain.

Reviews :"It is a bold undertaking, to readjust what is expected of the MCU/Avengers formula, and there are moments when the sheer scale and momentum match the narrative ambition..."

Read the full review here: http://screen-space.squarespace.com/reviews/2018/4/25/avengers-infinity-war.html
Amazing. Visually stunning. So much going on, but somehow also clear and easy to understand. A little flabby in the middle third, but given the huge cast and story to cover it is very understandable. The highlight was the parings of characters from different stories and their interactions.

If you aren't a Marvel fan this film won't convert you, but if you have liked any of the previous films you will like this too.

10/10
Just a very short, NO SPOILERS review I wanted to get down while it's still fresh.

For a movie with this much riding it, to come out not feeling disappointed, is a **massive** achievement. While I absolutely do love it I had some things that I felt were maybe imperfect about _Infinity War_, but my biggest concern was that it seemed like it would be absolutely meaningless to somebody who didn't put in the effort of watching the 18 movies leading up to it. You can probably assuage that fear though, because I went to see it with two people who had only seen _Black Panther_ at this point, and they both loved it, with minimal confusion.

Personally? I can't wait to see it again. This is probably the most excited I've been about the second watch of an MCU film since the first _Avengers_.

_Final rating:★★★★ - Very strong appeal. A personal favourite._
The third act turns on a character being an idiot. That story beat renders all that the heroes do before and after it immaterial. That moment so preoccupied me that I couldn't enjoy the rest of the story, and made it impossible to ignore the flick's other glaring flaws anymore: the villain's motive makes no sense, the glove exists only to produce plot contrivances, the score is so obvious it might as well be cue cards on screen ("Feel sad now") ...

The first half is some of the best action in a Disney Marvel entry yet, and the other half is so stupid that it sours the whole MCU experience.
Best MCU movie, more than that.... BEST SUPERHERO MOVIE EVER. Hands Down
Nice Movie.
Massive, epic movie. I'm so happy that Marvel is stepping up their game with their villains. For too long, MCU villains have been too bland and generic. But lately, the villains have improved with Michael Keaton's Vulture, Michael B. Jordan's Killmonger, and now James Brolin's Thanos. Thanos has appeared in several other MCU films, but he seemed rather flat in those movies. Here, he's allowed to be fully developed as a character. Especially touching is his relationship with his adoptive daughter, Gamora. It's actually surprisingly tender and moving. Thanos is the actual main focus of the film, and if he failed as a character, the entire movie wouldn't have worked. So bravo, Marvel!
Best Movie Ever...
***Moving ending, but the least of the Avengers movies IMHO***

RELEASED IN 2018 and directed by Anthony & Joe Russo, "Avengers: Infinity War" chronicles events when the Avengers team-up with several allies to defeat the cosmic despot Thanos, whose goal is to collect all six Infinity Stones to attain unimaginable power and radically solve one of the Universe's most challenging problems.

The story focuses on Thanos, Thor and the Guardians of the Galaxy, especially Gamora, as well as Iron Man, Doctor Strange and Spider-Man. The rest of the cast members are more peripheral, e.g. Black Widow, Captain America, Black Panther, Vision and Scarlet Witch.

This is easily the least of the Avengers trilogy. Not to mention "Captain America: Civil War" (2016) and "Thor: Ragnarok" (2017) are significantly more compelling and all-around entertaining. Actually, all three Thor flicks are palpably superior, as is "Iron Man 2" (2010). If you haven't already, I encourage you to watch these movies prior to viewing "Infinity War," as well as "Black Panther" (2018) and the two "Guardians of the Galaxy" flicks (2014/2017); otherwise you'll likely be lost because all these movies lead up to this one.

"Infinity War" is certainly an ambitious comic book movie in that it notably juggles so many super-beings, but this lack of focus isn't conducive to suspense or great drama. It's merely decent with overkill CGI. The big battle in the closing act with the easily slaughtered four-armed dog-creatures is curiously dull; moreover, the attempts at humor sometimes feel forced and fall flat, but several jokes are laugh-out-loud funny, e.g. "Rabbit." Thankfully, the film adds moving drama and gets extra points for a bold, poignant climax, which sets up the 2019 sequel "Endgame."

THE MOVIE RUNS 2 hours, 29 minute and was shot in New York City, Scotland and Philippines with studio work done in Pinewood Atlanta Studios in Fayetteville, Georgia. WRITERS: Christopher Markus and Stephen McFeely.

GRADE: B-
I Love this movie.
It's the epitome of superhero trash and the franchise of manchildren. The ultimate smashing your toys together to battle only this time it's for the world to see.
In 2012, Marvel Studios changed the cinematic landscape with a payoff that was five films in the making, proving a linked universe of movies could work.
In 2014, they proved to be one of the finest purveyors of entertainment by releasing two of the best genre films of all time back to back.
In 2018, Avengers: Infinity War is the culmination of ten years of narrative buildup. All the pieces were patiently put in place. The payoff? Never did my inner 8 year old think he would ever be watching a movie with Iron Man and Spider-Man sharing the same screen together, but here we are. Avengers: Infinity War is a very fine piece of 'turn your brain off' storytelling, except it actually goes the extra mile to have some intelligence.

We all know the film isn't the Endgame, but we're primed and ready for Part 2. Shut up and take my 💰 Marvel!
One of the best Marvel Movies!
Josh Brolin portrayed Thanos really beautiful. He was an amazing villain that kept all the Avengers on their edge and made them think it was a bit hopeless to really go against him.
This is a blast of a Marvel movie and I can't wait to see what will happen next. You are clueless and you don’t know what will happen, keeping us all on the edge of our seats. Fascinating!
Here we are 10 years later with one of the most anticipated movies of all time! The CGI was much better, the story was better...everything about the Infinity War was great!
It is unlike anything ever done in the history of cinema. This one is masterfully woven from the culmination of Marvel movies throughout the years. Truly amazing!
The character development for Thanos was so good that it made me think that maybe he was right. He was the villain that surpassed all the other villains from the past Marvel movies. Trust me, this is the movie that might have changed the MCU.
GOOSEBUMPS! Infinity War is worth watching. The usual comedic banter between the casts, the awesome CGI, amazing plotline, the results did not disappoint.
Avengers: Infinity War was clearly much better than Avengers: Endgame in the sense that 1) it was better in terms of writing, 2) it is the true culmination of an entire decade of MCU films, and 3) Endgame gave me more questions than answers.

Genre : Adventure, Action, Science Fiction

Runtime: 149 Minutes





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123watchmoviesfree The Lives of Others (2006) Movies Full HD

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Synopsis, Movie and Critics' Review:

Castname:Martina Gedeck, Ulrich Mühe, Sebastian Koch, Ulrich Tukur, Thomas Thieme, Hans-Uwe Bauer, Volkmar Kleinert, Matthias Brenner, Bastian Trost, Charly Hübner

Crewname :Andreas Schreitmüller, Simone Bär, Frank Noack, Patricia Rommel, Gabriel Yared, Florian Henckel von Donnersmarck, Florian Henckel von Donnersmarck, Florian Henckel von Donnersmarck, Hagen Bogdanski, Stéphane Moucha

Release :2006-03-15

Overview: A tragic love story set in East Berlin with the backdrop of an undercover Stasi controlled culture. Stasi captain Wieler is ordered to follow author Dreyman and plunges deeper and deeper into his life until he reaches the threshold of doubting the system.

Reviews :

Genre : Drama, Thriller

Runtime: 137 Minutes





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123watchmoviesfree The Elephant Man (1980) Free Full Movie Online

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Synopsis, Movie and Critics' Review:

Castname:Anthony Hopkins, John Hurt, Anne Bancroft, John Gielgud, Wendy Hiller, Freddie Jones, Michael Elphick, Hannah Gordon, Helen Ryan, John Standing

Crewname :John Morris, Maggie Cartier, David Lynch, David Lynch, David Lynch, Freddie Francis, Patricia Norris, Stuart Craig, Neil Corbould, Anne V. Coates

Release :1980-10-02

Overview: A Victorian surgeon rescues a heavily disfigured man being mistreated by his "owner" as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London.

Reviews :_**The ultimate outcast**_

In 1884 London, a doctor (Anthony Hopkins) meets Joseph Merrick, aka The Elephant Man (wrongly called John Merrick in the film) who was being exploited as a freak show attraction. Treves (Hopkins) tries to help Merrick (John Hurt) for the last six years of the latter’s life wherein he becomes cultured, but he inevitably remains an object of curiosity, to high society as well as low society. Anne Bancroft plays a winsome entertainer who is warm toward Merrick.

Directed by David Lynch and shot in B&W, “The Elephant Man” (1980) is a melancholic biographical movie, and understandably so, but Merrick’s story is worth checking out despite the fact that it inspires pity. It calls into question the concept of beauty: Natural beauty is something one is born with and did nothing to acquire, but so is physical unattractiveness. Then there’s inner beauty. The charismatic actress (Bancroft) displays both. Of course there’s also inner ugliness, like the carnival huckster.

A myth developed about Merrick’s disfigurement that his mother was raped by an elephant, probably started by sideshow hawkers. The opening conveys this in an artistic manner, but it’s not to be taken literally, which is why it’s surreal. Meanwhile the factory scenes with the pipes and corresponding dangers exhibit the reality for workers in Victorian times.

The score by John Morris is noteworthy with one piece being ripped-off for the moving parts of “Platoon” (1986), e.g. Elias’ melodramatic death scene.

The film runs 2 hours, 4 minutes, and was shot entirely in London and nearby Shepperton Studios, just west of the city.

GRADE: B

Genre : Drama, History

Runtime: 124 Minutes





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Synopsis, Movie and Critics' Review:

Castname:Natalie Portman, Hugo Weaving, Stephen Rea, Stephen Fry, John Hurt, Tim Pigott-Smith, Natasha Wightman, Rupert Graves, Roger Allam, Ben Miles

Crewname :Lucinda Syson, Kevin Phipps, Joel Silver, Udo Kramer, Ben Waisbren, Adam Kirley, Lorne Orleans, Adrian Biddle, Adrian Biddle, Grant Hill

Release :2006-02-23

Overview: In a world in which Great Britain has become a fascist state, a masked vigilante known only as “V” conducts guerrilla warfare against the oppressive British government. When V rescues a young woman from the secret police, he finds in her an ally with whom he can continue his fight to free the people of Britain.

Reviews :With the litany of comic book films being made in 2017, it's hard to understand the role V for Vendetta has played in 'Comic Book Movie' culture. This was one of the early successes of the genre and it continues to shine today in ways other movies (I'm looking at you, Marvel) have not.

The grittiness of the story cannot be understated, this story is DARK. However, the message of the story is one of hope, and hope is a difficult thing to capture. This film captures both, with the help of excellent cinematography and slow-motion action cuts.

I get the sense when I watch this film that something bigger is happening around me, and honestly in 2017, this movie feels more relevant than ever. Themes of state-run media empires, government corruption of the highest order, and the suffocation of all that is 'other' permeates the fabric of this film, and everything is captured beautifully in a noir-esque nightmarescape of future, facist London.

I can honestly say that more than a decade later, this film still shines as one of the great comic book movies and its themes will continue to ring true as long as we have people in the world who exist to limit others. Let's just hope that someday this world does not feel any more real than it does now.

Genre : Action, Thriller, Fantasy

Runtime: 132 Minutes





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Synopsis, Movie and Critics' Review:

Castname:James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones, Raymond Bailey, Ellen Corby, Konstantin Shayne, Lee Patrick, Bess Flowers

Crewname :Bernard Herrmann, Henry Bumstead, Alfred Hitchcock, Alfred Hitchcock, Herbert Coleman, Robert Burks, George Tomasini, Edith Head, Hal Pereira, James C. Katz

Release :1958-05-09

Overview: A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.

Reviews :All I know, this film wasn’t so successful at first and this probably because the audience didn’t expect a film so dark and claustrophobic. Vertigo was so strange already from the beginning because of its surreal and nightmarish atmosphere. I bow to Hitchcock in his creativity in visualizing Jimmy Stewart’s acrophobia by implementing one of the oldest cinematography techniques, using zoom lens as it zooms in while the object moves away, emphasizing his terrified feeling and insecurity whenever he’s at a particular height due to a chronic vertigo he suffers. As always, the film director’s cameo appearance has always been fascinating since we know it’s his habit therefore we will usually let our eyes wander throughout the film, trying to spot him. In conclusion, this timeless thriller remains a classic gem despite the emergence of new modern films. The great visual effects also seem timeless when compared to digital effects. I hope my review doesn’t give you vertigo = )
I will never understand the universal adoration for Vertigo. Blindly inherited wisdom is the only explanation. How anyone could prefer this to North by Northwest or Rear Window is beyond me. An exceptionally made, exceptionally boring movie
A tense, dizzying thriller from the Master.

Plot in a nutshell: A retired detective suffering from acrophobia takes the case of an old college chum's wife, who may be possessed by the spirit of her great-grandmother who committed suicide many years previous. But of course, a much darker, and more down-to-earth, secret lies beneath the surface.

Comments: James Stewart is the perfect anti-hero in this: clever and brave, but also disturbed, unhinged, and at times possessive. He does a stellar job with a difficult role.

In the supporting role of Stewart's faithful friend "Midge" is Barbara Bel Geddes, and she does a delightful job.

According to one source I've read, after Vertigo flopped upon release, Hitchcock blamed Stewart, claiming he (Stewart) was too old and people no longer wanted to see him, hence the film's lack of success. When Hitchcock went on to do North By Northwest, Stewart reportedly begged Hitchcock for the lead role, but Hitchcock refused, giving the lead to Cary Grant, who was actually four years older than Stewart.

But according to a biography of Cary Grant written by Pamela Trescott, the reason Hitchcock wanted Grant instead was simply because they worked well together and had wanted to do another collaboration after the success of To Catch a Thief. In short, that the lead role for North By Northwest had been intended for Cary Grant, and no one else, right from the beginning.

All that aside, Vertigo has established a high reputation as a masterpiece of film, and rightly so. It's also beautifully photographed, and the entire film has a soft, haunting, dreamy quality to it that's utterly captivating.
Not one of my favorites from Hitchcock, and certainly dower, but still visually striking and two amazing performances from James Stewart and Kim Novak. This is only the second time seeing this, guessing the last time was maybe 10 years ago or so, not entirely sure when I'll revisit it. **3.75/5**

Genre : Mystery, Romance, Thriller

Runtime: 128 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 / Vertigo (1958)) 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 Vertigo: (1958) Complete movies Free Online Full Strengthens Crusaders and mountan Moorish comders rebelled against the British crown. How long have you fallen asleep during Vertigo (1958) Movie? The music, the story, and the message are phenomenal in Vertigo. 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 Vertigo (1958) WEB-DL movies This is losing less lame files from streaming Vertigo (1958), like Netflix, Amazon Video. Hulu, Vertigo (1958) 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 / Vertigo) (1958) 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 Vertigo Miles Morales conjures his life between being a middle school student and becoming Vertigo (1958). 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 Vertigo (1958) 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 (1958), 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 (1958) 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:Zain Al Rafeea, Yordanos Shifera, Boluwatife Treasure Bankole, Kawsar Al Haddad, Fadi Kamel Yousef, Cedra Izzam, Alaa Chouchnieh, Elias Khoury, Nadine Labaki, Nour el Husseini

Crewname :Danny Glover, Jason Kliot, Joana Vicente, Nadine Labaki, Nadine Labaki, Anne-Dominique Toussaint, Jihad Hojeily, Laure Gardette, Chadi Roukoz, Chadi Roukoz

Release :2018-10-06

Overview: Zain, a 12-year-old boy scrambling to survive on the streets of Beirut, sues his parents for having brought him into such an unjust world, where being a refugee with no documents means that your rights can easily be denied.

Reviews :**_I wouldn't call it entertaining per se, but it's certainly provocative_**

>_I saw kids who are so neglected, so abused that there's nothing anymore in their eyes. These children don't laugh, don't cry, and don't play. If you put a toy in front of them, they don't touch it. They are just numb. There's no more childhood in their eyes. After seeing these kids many times, when they started to have a trusting relationship with me, I used to ask them, "are you happy to be alive?" Ninety-nine percent of the kids answered "no". They told me: "I'm not happy to be here." "Why am I here when there'__s no one to take care of me?" "Why am I here if I'm going to be hungry all the time?" They have the feeling that they're here because they are being punished for something._

- Nadine Labaki; _Capharnaüm_ Production Notes

Taking as its subject the horrific plight of guttersnipe children in the slums of Beirut, _Capharnaüm_ is the kind of film of which a superficial reading might suggest miserablism at best, and "poverty porn" at worst. Comparisons to film such as Danny Boyle's _Slumdog Millionaire_ (2008), Stephen Daldry's _Trash_ (2014), and Sean Baker's _The Florida Project_ (2017) are probably inevitable, albeit not very informative if one wishes to parse the film. Instead, it's much more useful to view _Capharnaüm_ in the tradition of classic Italian neorealist pictures such as Luchino Visconti's _Ossessione_ (1943) and _La Terra Trema_ (19548), Roberto Rossellini's _Roma città aperta_ (1945) and _Germania anno zero_ (1948), and Vittorio De Sica's _Ladri di biciclette_ (1948) and _Umberto D._ (1952), albeit far more pessimistic than any of them.

The third film from Lebanese writer/actress/director Nadine Labaki (_Caramel_; _Where Do We Go Now?_), _Capharnaüm_ is written by Labaki, Michelle Keserwany, and Labaki's regular writing partner Jihad Hojaily (Georges Khabbaz, Labaki's husband, and the film's producer and composer, Khaled Mouzanar are credited with "screenplay collaboration"). Presenting a _milieu_ in which people are utterly discardable, the film depicts children who are literally bought and sold for a few chickens; 11-year-old girls who are married off so their family can afford the rent; babies who are fed on ice cubes covered in sugar; refugees who roam the streets; mental illness which goes untreated; and people without a Lebanese identity card who don't officially exist. Uplifting it most certainly is not. In a similar tonal key to Héctor Babenco's _Pixote: a Lei do Mais Fraco_ (1981) and Walter Salles's _Central do Brasil_ (1998), the film works because it never feels like it's exploiting, patronising, or trivialising the poverty and misfortune it depicts, never attempting to manipulate the audience into feeling a preconceived emotion. On the contrary, it's matter-of-fact, and notable for just how unsentimental it is. However, it's also deeply humanist, with genuine compassion in its DNA and a quiet rage at its core, born partly from an inherent sense of authenticity; shot in the style of _cinéma vérité_, it uses non-professional actors whose lives are not dissimilar from the characters they play, with Labaki encouraging improvisation throughout. There are some problems, of course - the framing device of a trial is poorly conceived and distracts from the superior filmmaking surrounding it, the ending is disappointingly didactic, and the litany of hardships endured by the main character does get a little over-the-top. However, this is undeniably impressive filmmaking, as harrowing and angry, as it is solicitous and respectful.

Zain El Hajj (Zain Al Rafeea) is a young boy from the slums of Beirut serving a five-year prison sentence for, as he puts it, "_stabbing a son-of-a-bitch_." Neither he nor his parents, mother Souad (Kawsar Al Haddad) and father Selim (Fadi Youssef), know Zain's exact age, as he was never officially registered, and therefore has no birth cert. As the film begins, Zain is brought before a judge, as he has decided to sue his parents for bringing him into the world despite not being able to care for their already numerous children. The film then flashes back several months, with Zain working as a delivery boy for the family's landlord, Assad (Nour El Husseini). Life is harsh, but Zain and his sister, 11-year-old sister Sahar (Haita "Cedra" Izzam), look out for one another. When he sees bloodstains on her underwear, he helps her hide the fact that she has begun her period, believing their parents might try to marry her off. Making plans to escape with her, Zain returns home one day to find his parents in the process of handing Sahar over to Assad. A brutal struggle ensues, but Zain fails to save her, and that night, he runs away. Seeking refuge in a rundown amusement park, he meets Rahil (Yordanos Shiferaw), an Ethiopian refugee working as a cleaner. Taking pity on Zain, she agrees to let him stay with her in exchange for him looking after her one-year-old son Yonas (an absolutely astounding performance by Boluwatife Treasure Bankole) when she's at work. Her forged migrant documents are set to expire soon and as she doesn't have enough money to pay her forger, Aspro (Alaa Chouchnieh), for new papers, he is trying to persuade her to sell him Yonas. As time passes, Zain, Rahil, and Yonas form a tight bond, until one day, Rahil doesn't return home from work, leaving Zain and Yonas to fend for themselves.

Thoroughly uplifting stuff, am I right? Labaki first got the idea for the film when she saw a woman and a one-year-old baby on a traffic island in Beirut. In the film's production notes, Labaki writes,

> _the little boy couldn't sleep. Every time he would doze off, he would wake up again. And it hit me. The only place where this kid is going to experience life is this half a meter of concrete between two highways. It's all he knows._

When she got home, she drew a picture of a child shouting at a group of adults, with the caption,

> _I'm sorry! I quit! I don't want to be here! I don't belong in your world! I don't want to breathe, eat, play, learn, laugh or dream! I don't want to grow up to become like you! You have failed me!_

Brainstorming, she began to write down everything that bothered her about the situation;

> _where did the system fail these kids? Why do we as a society allow this sort of injustice to happen? The migrant workers' situation in Lebanon; the absurdity of the notion of frontiers; the absurdity that you need a paper to prove that you exist._

Looking at the list of topics, she thought of the French word, "_Capharnaüm_" (alternatively spelt Capernaum). The term was originally the name of a Biblical fishing village on the northern shore of the Sea of Galilee, which is mentioned multiple times across all four gospels, as a place where Jesus performed several miracles. However, it's best known from Matthew 11:23, when Jesus curses the village for its lack of faith in him ("_And you, Capernaum, will you be lifted to the heavens? No, you will go down to Hades. For if the miracles that were performed in you had been performed in Sodom, it would have remained to this day_"). Later on, however, the word came to be used in French literature to signify a state of chaos and disorder. The current dictionary definition is, "_a confused jumble; a place marked by a disorderly accumulation of objects_".

Beginning to research what life is really like for children of poverty, Labaki went to prisons for minors, refugee camps, courtrooms, and the streets themselves. Shooting with as small a crew as possible, she elected to use a non-professional cast whose lives resembled those of the character they're playing (like Rahil, Shiferaw is an illegal Ethiopian immigrant who was working as a cleaner; like Sahar, Izzam was unable to attend school in Lebanon, and was selling gum on the street; like Souad, Haddad has children for whom she has been unable to get ID). In this sense, casting director Jennifer Haddad deserves a great deal of praise, as she's done an astounding job of pulling together an authentic ensemble. During the shoot, Labaki would give the performers the basic outline of a scene, but allow them to use their own words and mannerisms, and draw upon their own experiences, without worrying too much about where the scene is supposed to go. With the film being shot in sequence, this necessitated that the script was constantly being rewritten, so as to accommodate something which somebody had improvised.

From an aesthetic perspective, Labaki wisely keeps things simple and functional, eschewing any directorial gymnastics, with the aesthetic design perfectly chosen to convey the story she wishes to tell. Adopting a documentarian sense of realism, cinematographer Christopher Aoun sticks to handheld cameras and, for the most part, natural lighting. The scenes on the streets of Beirut are especially impressive, with Labaki shooting most of the material from roughly Zain's height, or slightly lower. This allows the scenes to adopt a heavily focalised and subjective view of the world, without having to resort to less elegant POV shots. Chadi Roukoz's sound design is also superb in these exterior scenes, with the soundtrack crammed with car horns, shouting, crying, laughter, dogs barking, airplanes flying overhead, traffic on the streets. It's an aural overload, conveying how the massive city is overwhelming Zain, and again, tying us to his subjectivity.

Laure Gardette (_Jeune & Jolie_; _Frantz_) and Konstantin Bock's editing is also laudable. Even apart from the fact that they had to cull the film from over 500 hours of footage (the first cut ran 12 hours), with the complete editing process taking over two years, the editing is extremely powerful in certain scenes, with the specific cuts tied closely to the theme and tone of the film. Probably the two best examples are the scene where Zain is trying to prevent his parents from giving Sahar to Assad, and a later scene when Zain leaves Yonas on the side of the road and tries to walk away. The fight for Sahar balances, on the one hand, combinations of shots focusing on Sahar and the parents, and on the other, an equal number of shots focused solely on Zain. This places him front-and-centre in the _mise en scène_, simply by virtue of the fact that we see more of him than any of the other characters. The result is that the scene, although ostensibly concerned with the parents' choice to give Sahar away, is actually more about Zain's reaction to that choice. Similarly, in the scene where he tries to leave Yonas, the editing focuses on him rather than the baby - the shots of Zain are longer, there are more of them, and there are a combination of different framings, whereas all of the shots of Yonas are uniform. This kind of editing is as shrewd as it is subtle, giving Zain a greater sense of agency and energy, and ensuring the audience knows that he, not Yonas, should be the focus of our attention.

Labaki sets the tone for the film to come in the very first shot, as we see Zain, filthy dirty, in only his vest and underwear. It is subsequently driven home multiple times that life is almost worthless in this place - Sahar is sold for some chickens, Aspro tries to get Rahil to sell Yonas in return for forged migrant documents, Assad tells Zain, "_I can buy a human for 500_". This is a world in which people think of children in the same way as they think of commodities, with the notion of adults protecting children subservient to that of adults looking at children in a cold transactional manner. In such a place, Zain somehow manages to retain his sense of empathy, although he too is infected with the concept that everything is transactional, as his pragmatism illustrates to him that materialism is the order of the day. However, although he suppresses his sense of compassion, he does not completely extinguish it, nor would he want to. In a world where adults are reprehensible, and children their innocent victims, Zain is the story's moral compass, exhibiting a humanity far in excess of any kindness than has ever been shown to him.

Thematically, Zain's jaded disillusionment, which is far more pronounced than it should ever be in a child his age, echoes the line from _Ladri di biciclette_, when Antonio (Lamberto Maggiorani) decries, "_I curse the day I was born._" Zain himself is kind of an amalgamation of Antoine Doinel (Jean-Pierre Léaud) from François Truffaut's _Les quatre cents coups_ (1959), Huckleberry Finn, and any number of Charles Dickens youngsters (Oliver Twist, David Copperfield, Little Dorrit, Philip Pirrip, aka Pip), with his unique perspective on the world illuminating the horrors of that world in a way that would be impossible were he an adult. An important plot point in relation to Zain is his lack of an ID card. Without being registered when he was born, he can't get a state ID, meaning he is effectively a non-person; he cannot own a passport, he cannot legally work, and he is not entitled to an education or medical care, a situation that attains an almost Kafka-esque surrealism in its bureaucratic absurdity.

In terms of problems, there are a few. The framing device of the trial, for example, is awkwardly realised, and for the most part, serves only to interrupt the far more compelling story of Zain, Rahil, and Yonas. Additionally, not only do the scenes in court come across as more heavily scripted than everything else, but they also depict something that couldn't happen (as Labaki herself has acknowledged, children can't sue their parents for giving birth to them). Obviously intended as a means to dramatize how Zain wants a voice, it is nonetheless a narrative contrivance that gets in the way of the far more accomplished filmmaking seen elsewhere. Surrounded by the more naturalistic realism of the rest of the film, the court scenes stand out because they feel like a plot machination. The third act in particular, which focuses primarily on the trial, and which features the usual impassioned speeches you would get in any clichéd courtroom drama, strays into something Labaki has deftly avoid everywhere else; didacticism. Elsewhere, there is something of a sense that Labaki overloads the story, pushing just one too many hardships on Zain, as she attempts to cover a plethora of topics. For example, she touches on domestic violence, the migrant crisis, human trafficking, paedophilia, child labour, education, the justice system, and on occasion, the film feels like it's going to collapse under the weight of human suffering and thematic nihilism. This is a shame because some of the best scenes in the film are those involving Zain and Yonas just going about their day, and if Labaki had had the confidence in these quieter moments, she might have scaled back on the socio-political content.

In a strange way, _Capharnaüm_ has something of the same thematic DNA as Paul Schrader's _First Reformed_ (2017), with both films examining the morality of bringing children into a world of suffering (albeit from fundamentally different perspectives, with Schrader's examination far more existential than Labaki's practical workaday world). Never feeling exploitative, nor glorifying the poverty at its centre, the film isn't even especially sentimental, depicting scenes with a raw matter-of-factness, that were they featured in a Hollywood movie would be in slow-motion, with string music telling us to "Cry now". Zain is no saint; he's a rough, foul-mouthed thief, but he's also the most inherently honourable character in the film. Labaki could easily have used Zain to attempt to elicit unearned pity, but instead, she is far more interested in examining the day-to-day survival of children like him. One of his most salient characterises is his practical-minded solutions to the challenges he faces, and in this, we're encouraged to respect how he responds to his situation rather than pity him for being in such a situation in the first place. The film adopts something of the same manner; much like Zain, it's tough-minded and practical, and just as his hardened exterior is completely authentic, so too is the film's quiet anger. Placing us not just in Zain's world, but, crucially, in his subjective interpretation of that world, Labaki draws us to him, allowing us to view the world partly as outraged adults, but also as sharers in his experiences. The conclusion is disappointingly didactic, and the journey there harrowing and exhausting. However, in the last shot, Labaki dares to offer a very cautious bit of optimism, and ultimately, the takeaway is not despair, but compassion. Just as Zain finds a humanity within himself that should be long dead, the film finds a moment of optimism amidst the chaos, and encourages the audience to cling to it.

Genre : Drama

Runtime: 126 Minutes





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Synopsis, Movie and Critics' Review:

Castname:Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Richard Harris, Derek Jacobi, Djimon Hounsou, David Schofield, John Shrapnel, Tomas Arana

Crewname :Hans Zimmer, Ridley Scott, Ridley Scott, David Franzoni, David Franzoni, Branko Lustig, Douglas Wick, John Logan, William Nicholson, John Mathieson

Release :2000-05-01

Overview: In the year 180, the death of emperor Marcus Aurelius throws the Roman Empire into chaos. Maximus is one of the Roman army's most capable and trusted generals and a key advisor to the emperor. As Marcus' devious son Commodus ascends to the throne, Maximus is set to be executed. He escapes, but is captured by slave traders. Renamed Spaniard and forced to become a gladiator, Maximus must battle to the death with other men for the amusement of paying audiences.

Reviews :Gladiator has been my most favorite film of all time. It is an epic masterpiece in many ways and it really explains why despite the numerous viewings, Gladiator still amuses me with its powerful imageries and many other crucial aspects so that it won five Academy Awards. This film is very well written, the well-ensemble casts, the A-class acting (especially Russell Crowe and Joaquin Phoenix), the stunning cinematography and definitely a strong character of Maximus (magnificently portrayed by Russell Crowe) whose life, struggle, disappointment and anger really move the audience, as if the world attention centers on him. Gladiator is not a historical film, because it only used the history of the ancient Roman Empire merely as the time setting.
All other aspects namely those gorgeous shots, the great storyline/plot, the fantastic cinematography, the vividly lavish colors, detailed production design and digital imaging (that successfully rebuilt the stunning beauty of the ancient Roman Empire) and all sell really well, making the 170 minute-long running time definitely worthwhile. The visual of great battle in the first 15 minutes really stole my heart. The gruesome pictures, the blood and violence just to beautiful to abandon. Everything in this movie seems perfectly balanced, Ridley Scott as the film director really did his homework well in redefining and revitalizing the big battle sequence once considered masterpiece from Spartacus and Ben Hur. In the end, once again, I would say that Gladiator perfectly combines some crucial elements such as good, moving story, dazzling visual, beautiful scenery, filming techniques, direction and touching music score into one harmonious, action-packed film about heroism and its true meaning.
They said you were a giant. They said you can crush a man's skull with one hand.

Ridley Scott's Gladiator is not a perfect film, I would think that the hardiest of fans, of which I'm firmly one, know this deep down. Yet just like Commodus in the film is keen to point out that he himself has other virtues that are worthy, so does Gladiator the film. Enough in fact to make it an everlasting favourite of genre fans and worthy of the Academy Award acknowledgements it received.

In narrative terms the plot and story arc is simplicity supreme, something Scott and Russell Crowe have never shied away from. There has to my knowledge as well, never been a denial of the debt Gladiator owes to Anthony Mann's 1964 Epic, The Fall of the Roman Empire. Some folk seem very irritated by this, which is strange because the makers of Gladiator were not standing up bold as brass to proclaim they were unique with their movie, what they did do was reinvigorate a stagnant genre of film for a new generational audience. And it bloody worked, the influence and interest in all things Roman or historically swashbuckling of film that followed post Gladiator's success is there for all to see.

What we do in life echoes in eternity.

So no originality in story, then. While some of the CGI is hardly "Grade A" stuff, and there's a little over - mugging acting in support ranks as some of the cast struggle to grasp the period setting required, yet the way Gladiator can make the emotionally committed feel, actually overrides film making irks. Crowe's Maximus is the man men want to be and the man women want to be with. As he runs through the gamut of life's pains and emotionally fortified trials and tribulations, we are with him every step of the way, urging him towards his day of revenge splattered destiny - with Crowe superb in every pained frame, winning the Academy Award for Best Actor that he should have won for The Insider the previous year.

Backing Crowe up is Joaquin Phoenix giving Commodus preening villainy and Connie Nielsen graceful as Lucilla (pitch Nielsen's turn here against that of Diane Kruger's in Troy to see the class difference for historical period playing). Oliver Reed, leaving the mortal coil but leaving behind a spicy two fold performance as Proximo the Gladiator task master. Olly superb in both body and CGI soul. Richard Harris tugging the heart strings, Derek Jacobi classy, David Hemmings also, while Djimon Hounso gives Juba - Maximus right hand man and confidante - a level of character gravitas that's inspiring.

I didn't know man could build such things.

Dialogue is literate and poetic, resplendent with iconic speeches. Action is never far away, but never at the expense of wrought human characterisations. The flaming arrows and blood letting of the Germania conflict kicks things off with pulse raising clarity, and Scott and his team never sag from this standard. The gladiator arena fights are edge of the seat inducing, the recreation for the Battle of Carthage a stunning piece of action sequence construction. And then the finale, the culmination of two men's destinies, no soft soaping from Scott and Crowe, it lands in the heart with a resounding thunderclap. A great swords and sandals movie that tipped its helmet to past masters whilst simultaneously bringing the genre alive again. Bravo Maximus Decimus Meridius. 10/10
Ridley Scott's Gladiator is a real masterpiece of its genre. With its unique battle scenes, cinematography, acting and directing. It's a real must-watch. Shame on you if you haven't watched this movie!

Genre : Action, Drama, Adventure

Runtime: 155 Minutes





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