Wednesday, September 12, 2018

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The Matrix"





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tissus écossais

The Matrix 1999

durée

144 inscrire au procès-verbal

libération

1999-03-30

caractéristique

AVCHD 1440p
WEBrip

Gattung

Action, Science Fiction

langage

English

castname

Ailish
D.
Fortier, Henlee S. Armarni, Alisa K. Teoman





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The Martix is a great example of a movie that will live for ever or a very log time. The story and concept are out of this world. Keanu Reeves plays his role with utter brilliance, the cast was very well put together and the graphics are still to this day amazing. All in all one of the best movies of all time.
Get this: what if all we know as reality was, in fact, virtual reality? Reality itself is a ravaged dystopia run by technocrat Artificial Intelligence where humankind vegetates in billions of gloop-filled tanks - mere battery packs for the machineworld - being fed this late '90s VR (known as The Matrix - you with us here?) through an ugly great cable stuck in the back of our heads. And what if there was a group of quasi-spiritual rebels infiltrating The Matrix with the sole purpose of crashing the ruddy great mainframe and rescuing humans from their unknown purgatory? And, hey, what if Keanu Reeves was their Messiah?

What sounds like some web freak's wet dream is, in fact, a dazzlingly nifty slice of sci-fi cool. The Wachowski Brothers (Andy and Larry - last seen dabbling in kinky lesbian noir with the excellent Bound) pulling off something like a million masterstrokes all at once. Taking the imprimatur of the video game, they meld the grungy noir of Blade Runner, the hyperkinetic energies of chopsocky, John Woo hardware and grandiose spiritual overtones into William Gibson's cyberpunk ethos to produce a new aesthetic for the millennium powered to the thudding beat of techno. And it is just incredible fun. The key is the technique of "flo-mo", a process born from Japanese animation, whereby an object in motion is seemingly frozen while the camera miraculously spins around it as if time and gravity are on hold. It grants the action (including some killer kung fu which Reeves and crew spent months perfecting) liberty to take on surreal visual highs. Superhuman feats permissible, of course, in the context of VR as the rebels download Herculean "talents" to fuel their subterfuge. Meanwhile, the audience can only gawp longingly, with its jaws thunking to the cinema floor in unison, as the heroes wrapped in skintight leather, sleek shades and designer cheekbones, spin up walls, leap from high rises and slip through streams of bullets in silken slo-mo. Tron this ain't.

Immediately reigniting the moribund cyberpunk genre (the kids can't get enough Stateside), this has thrust Reeves from his imploding career back to Speed highs (and laying to rest the hideous ghost of Johnny Mnemonic) and stolen much more of Star Wars' thunder than was thought humanly possible. For all its loony plot, The Matrix is fabulous.

Sure, the expert Fishburne is depended upon to expound the lion's share of the script as seer-like rebel leader Morpheus. Reeves, stunning in his newcast slenderness, as Thomas "Neo" Anderson, the hacker turned hope for all mankind (care of some ill-defined mystical calling) is asked little more than perpetual befuddlement. Like Speed, though, this movie plays on his iconic looks rather than his oak-like emoting. There's a major find, too, in the irresistible Carrie-Anne Moss, a majestically wrought combination of steely no-shit intelligence and rock-chick vivaciousness as fellow tripper Trinity. And Weaving, cast against type, neutralises his Aussie tones to a freaky deadpan, the head of the MiB-styled defence system set against the Goth invaders.

And sure, three minutes of post-movie deliberation and all this state-of-the-art cyberdevilry is reduced to the purest gobbledygook. That, though, is not the point. The Matrix is about pure experience; it's been many a moon since the Empire crew have spilled out of a cinema literally buzzing with the sensation of a movie, babbling frenetically with the sheer excitement of discovery.

From head to tail, the deliciously inventive Wachowskis (watch them skyrocket) have delivered the syntax for a new kind of movie: technically mind-blowing, style merged perfectly with content and just so damn cool, the usher will have to drag you kicking and screaming back into reality. You can bet your bottom dollar George never saw this phantom menace coming.


Verdict - The deliciously inventive Wachowskis have delivered the syntax for a new kind of movie: technically mind-blowing, style merged perfectly with content and just so damn cool.

5/5

- Ian Nathan, Empire Magazine
It was around 2001 that I first watched this film and recently giving it another go, ever since, doesn't change the fact for me that this movie is an timeless piece of filmaking. From the characters to the striking and thought-provoking story, it basically has everything to make an action film a 10/10 in a book.
Finally got to see this on the big screen thanks to the TIFF Bell Lightbox in glorious 35mm. My reaction: whoa!

On top of that, I was able to participate in a round table discussion over the film's technical innovations, thematic philosophies, religious metaphors, undertones of gender politics, and absolute ass-kicking action. Can a movie be any more perfect?

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Regarder The Lord of the Rings: The Return of the King 2003 Film en Streaming -1080p-AAF

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The Lord of the Rings: The Return of the King"





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titanesque

The Lord of the Rings: The Return of the King 2003

durée

148 minuscule

mise en liberté

2003-12-01

qualité

AVI 720p
Blu-ray

Genre

Adventure, Fantasy, Action

langagière

English

castname

Myles
E.
Sidibe, Aymara R. Omolayo, Élodie L. Sistine





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And so all good things come to an end. For three years in a row, Peter Jackson has banished our winter blues with the individual instalments of his Tolkien trilogy, effectively shifting the focus of our cinematic excitement from the summer months to the end of the year. But now that his epic has been unveiled in its entirety, what will be the lasting effects of his achievement?

Well, grand-scale fantasy filmmaking is back on the menu, laying down the gauntlet to George Lucas and Star Wars Episode III. Jackson has also proved that notions of risk and ambition needn't be confined to the low-budget, indie end of the spectrum; nor does California have an exclusive stranglehold on groundbreaking special effects.

And then there's the DVD factor. Just as The Lord Of The Rings was upping the stakes in theatres, so too was its DVD release pattern defining what can (and should) be done on disc for major movies.

In particular, the four-disc extended editions seem to have affected the director's thinking as to what he can get away with in his theatrical final cut. Hence the public grumbles from Christopher Lee about the non-appearance of Saruman in this final instalment. While it might have been fair to grant Lee a curtain call, Jackson quite rightly realises that it is Sauron, not Saruman, whose fiery eye encompasses all the narrative strands of the climax.

The Return Of The King marks the first time in the series when Jackson's roots as a horror filmmaker creep through. As the orcs catapult severed Gondorian heads beyond the walls of Minas Tirith, flesh-rotted ghosts draw swords alongside Aragorn and giant spider Shelob stalks Frodo through dark, web-shrouded tunnels, the film pushes the boundaries of its 12A certificate.

And so it should, because the look and tone must necessarily grow darker as the Hobbits near Mount Doom and Mordor's evil hand grips Middle-earth ever tighter.

Character nuances have been crafted over an unprecedented ten hours-plus of cinematic storytelling: from Strider lurking in the shadowy corner to Aragorn rallying the troops; from Merry and Pippin as bumbling fools to stout-hearted, pint-sized warriors. Only Legolas and Gimli seem to have regressed (in screen time at least) to set-piece archer and comedy sidekick respectively. At least Andy Serkis is rewarded for his Gollum voice work with an early flashback that gets his face on screen, as well as warning us that, under the ring's power, Smeagol can be as murderous as Gollum.

Jackson has kept the momentum of the series rolling on and on though the traditionally 'difficult' middle part and 'weak' finale, delivering a climax to the story that's neater and more affecting than what Tolkien managed on the printed page. Some viewers might feel that the director sprinkles some cheese on his extended coda, adding at least one false ending too many (even if he does ignore the book's Scouring of The Shire).

But those who have walked beside these heroes every step of the way on such a long journey deserve the emotional pay-off as well as the action peaks, and they will be genuinely touched as the final credits roll. Yes, the Ring is dead. Long live King Kong.


Verdict - The resounding climax to a landmark in cinema history. But the King has now returned, the story is over and the ships are leaving Middle-earth. Ladies and gentlemen, Elvish has left the building.

5/5

- Alan Morrison, Empire Magazine
Too much CGI, redundancy, clichés and drawn out “looks of love” for my tastes.

RELEASED 2003 and directed by Peter Jackson, “The Lord of the Rings: The Return of the King” adapts the third part of JRR Tolkien’s popular fantasy trilogy about adventures on Middle-Earth: Frodo (Elijah Wood), Sam (Sean Astin) and Gollum (Andy Serkis) continue to try to make their way to Mount Doom to destroy the One Ring. Meanwhile Aragorn (Viggo Mortensen), Legolas the Elf (Orlando Bloom), Gimli the Dwarf (John Rhys-Davies), Gandalf the wizard (Ian McKellen), King Theoden (Bernard Hill) and Faramir (David Wenham) join forces to fight Sauron's army at the stone city of Minas Tirith and, later, draw the forces of Modor out as a distraction for Frodo to accomplish his goal. Billy Boyd and Dominic Monaghan are on hand as Hobbits Pippin and Merry.

While I’m a casual fantasy/adventure fan and have read numerous books of the genre (e.g. Conan, Tarzan, Gor, etc.), I’ve never read Tokien, likely because I’m not into Hobbits, Elves and Dwarfs. After viewing the three movies, The Lord of the Rings strikes me as a mixture of Robin Hood, Conan and The Wizard of Oz, which all possibly influenced Tolkien’s writing of the Rings trilogy in 1937-1949. So, if you think a meshing of “Conan the Barbarian” (1982) and “Robin Hood: Prince of Thieves” (1991) with “The Wizard of Oz” (1939) sounds good, then you’ll probably like these movies more than me.

“The Return of the King” is just more of the same showcased in the first two movies, but even LONGER. Take the Battle of Minas Tirith, for example. It’s basically the same as The Battle at Helms Deep in the previous movie, except with colossal elephant-like creatures and the Army of the Dead. These two battles are similar enough that they could’ve been condensed into one conflict. Speaking of the Army of the Dead, this was an interesting new element, as was the horrifying spider-monster that Frodo & Sam face inside the caves.

Like the first two movies, the characters are diverse, the tale is creative, there’s a lot of dark action rounded out by softer scenes and everything LOOKS and SOUNDS magnificent. Unfortunately, as with “The Two Towers,” there’s excessive use of CGI (aka CGI porn). If cartoony CGI is your thang then you’ll likely appreciate this installment more than me.

There are other problems: While the characters are inspired, they’re also thin and rather uninteresting, at least for mature people who require more depth to hold their attention. Take Legolas (Bloom), for example; we never get to know him. Or consider Aragorn: Mortensen is perfect as the noble warrior, but in the ENTIRE trilogy he probably only has like two full pages of dialog, maybe three. Also, I found the story generally disengaging. I was never much enthralled by the characters and their pursuits, although devotees of Tolkien might be.

Then there are WAY too many “looks of love” between characters, particularly Frodo and Sam (I was so happy to see one character get married and have kids, if you catch my drift). There’s also a sense of redundancy, like the aforementioned battles (Helms Deep and Minas Tirith). Or consider the hokey dangling from a cliff by one’s fingers: This was already done with Gandalf at the end of the first part and beginning of the next. Did we really need the entire trilogy to come down to this type of eye-rolling cliché?

Another problem is the lack of feminine protagonists. There’s Miranda Otto as Éowyn, Théoden's niece, who becomes infatuated with Aragorn and masquerades as a warrior-ess. Other than that all we have are cameos by Liv Tyler (Arwen), Cate Blanchett (Galadriel) and a Hobbit’s wife. “Mythica: A Quest for Heroes” (2014) cost LESS THAN $100,000 to make, which is a mere fraction of the $94 million it cost to make this blockbuster and the creators knew enough to throw in a couple of prominent babes as heroines in the story. So did “Conan the Barbarian” and “Dungeons & Dragons: Wrath of the Dragon God” (2005). It’s not rocket science.

As noted above, the movie’s needlessly overlong and things could’ve been condensed in the trilogy or omitted altogether. When the main storyline ultimately ends at Mount Doom I was thinking there was maybe 12-15 minutes left with half of that time being credits. Nope, there was STILL 30 MINUTES LEFT wherein boring goodbyes and “looks of love” are tacked on.

Despite these honest quibbles, “The Return of the King,” and the trilogy in general, was an ultra-ambitious undertaking and is a must for fantasy/adventure aficionados, particularly those who favor Tolkien, Hobbits, Elves, Gnomes and the like.

THE MOVIE RUNS 3 hours 21 minutes and was shot in New Zealand.

GRADE: C

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Cast Away 2000 Film Gratuit -1440p-MPEG-1

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Cast Away"





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titane

Cast Away 2000

durée

143 minute

lancement

2000-12-22

vertu

MPEG 1440p
BRRip

Genre

Adventure, Drama

langagier

Pусский, English

castname

Sherin
K.
Avice, Jolie O. Mejia, Migel O. Linus





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