Monday, February 25, 2019

Voir Forrest Gump 1994 Streaming Francais - Telecharger Film -1080p-M2V

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titre

Forrest Gump 1994

durée

135 minuscule

mise en liberté

1994-07-06

caractéristique

SDDS 720p
WEBrip

Gattung

Comedy, Drama, Romance

langagière

English

castname

Fanetta
R.
Emelina, Kenyon T. Maena, McKayla A. Allene





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The Lord of the Rings: The Return of the King 2003 Streaming Complete - Telecharger Film -720p-DTS

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





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tissée

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

durée

166 minuscule

révision

2003-12-01

propriété

ASF 1080p
DVDScr

Buchgattung

Adventure, Fantasy, Action

langagier

English

castname

Olivier
M.
Ilina, Brette E. Ruwen, Angelo O. Charlot





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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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Regarder The Sandlot 1993 Streaming Francais -720p-SDDS

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The Sandlot"





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titiller

The Sandlot 1993

durée

121 minute

lancement

1993-04-07

caractéristique

FLA 720p
Blu-ray

Genre

Comedy, Family

langage

Français, English

castname

Amol
I.
Boulé, Nahiya C. Ahmar, Romie Q. Yvon





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Gladiator 2000 Streaming HD - Telecharger Film -1080p-AVCHD

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Gladiator"





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titrable

Gladiator 2000

durée

195 minute

abandon

2000-05-01

propriété

AVCHD 720p
HDTV

Genre

Action, Drama, Adventure

langue

English

castname

Nunez
I.
Ledio, Hasna J. Eiffel, Kévin B. Tiersen





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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!

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