Predestination 2014 Online Indavideo

Posted by quen on Desember 28, 2018 in

Predestination 2014 Online Indavideo

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könyv címe	Predestination 2014
időtartam	125 stopperel
árammegszakító	2014-08-28
tulajdonság	M4V 1440p BRRip
zsáner	Science Fiction, Thriller
nyelv	English
castname	Ayhan W. Oceane, Hazel E. Holland, Mélina P. Beri

Predestination 2014 Online Indavideo

Movieteam

Coordination art Department : Cléa Calumn

Stunt coordinator : Irenee Bilel

Script layout :York Mayra

Pictures : Devyn Jules
Co-Produzent : Dalil Harison

Executive producer : Aleyna Rory

Director of supervisory art : Ureeba Retif

Produce : Jama Cooke

Manufacturer : Ahmed Fiona

Actress : Chace Feige

Predestination chronicles the life of a Temporal Agent sent on an intricate series of time-travel journeys designed to prevent future killers from committing their crimes. Now, on his final assignment, the Agent must stop the one criminal that has eluded him throughout time and prevent a devastating attack in which thousands of lives will be lost.

7.4
3758



Film kurz

Spent : $116,964,664

Income : $926,578,221

Group : Hochzeit - Universum , Guru - nostalgisch , Kannibale - Fidelity , Maritimes Drama - nostalgisch

Production Country : San Marino

Production : TvBastards

Predestination 2014 Online Indavideo

"

Robert Heinlein’s classic short story ‘All You Zombies’ gets the big screen treatment as the basis for the Science Fiction time travel thriller ‘Predestination’, a notably imaginative film noir that craftily elevates the genre into an alluring confection. Australian cinematic siblings the Spierig Brothers (as in Michael and Peter) dutifully direct and adapt Heinlein’s Science Fiction material into a twisty tale of search and suspense. It was reported that Heinlein wrote his intriguing narrative in one single day back in the late 1950s. Well, whatever the case is behind such speculation, it is clear that ‘Predestination’ is a competent and compelling time travel vehicle that deserves its inevitable comparison to the likes of Rian Johnon’s solid and involving 2012 inventive spectacle ‘Looper’.

The Spierig Brothers and ‘Predestination’ lead Ethan Hawke (Oscar-nominated for ‘Training Day’ and ‘Boyhood’) collaborate once again as they bring together a surreal movie experience detailing with the agenda of a Temporal Agent going undercover as a barkeep known as The Bartender (Hawke) in an attempt to thwart criminal activities before they turn into actual crimes. It is worth noting that the Spierigs have coveted the zombies/vampires sensationalism in their earlier films (‘Undead’ and ‘Daybreakers’) but curiously side-swipe any references to these creatures in ‘Predestination’ despite the aforementioned ‘All You Zombies’ blueprint for inspiration. Perhaps this is a wise revelation as the Spierigs are allowed to concentrate on the ponderous SF aspects of human adventure within the varied dimensions of time, place and space.

The daring exposition gels both creatively and caustically because of the macabre mission being undertaken by the Bartender and feminine targeted scriber ‘The Unmarried Mother’ (as portrayed by Aussie actress Sarah Snook, ‘Jessabelle’). The agent Bartender is represented by a shadowy and roguish governmental outfit blessed with the ability to fight crime through time-traveling tactics. Unfortunately, the rough edges in preventing crime-ridden hedonism through time travel accessibility has not always been a smooth transition for the Agency. Also, it does not help that the constant policing corruption has spiraled out of control thus adding more pressure to the Agency to perform its watchdog duties tackling sinister plots.

There are revolving elements that shape ‘Predestination’ to become this enigmatic, head-scratching puzzle where the sense of encountering warped worlds are wondrous yet unsettling and weird. The Bartender (already a victimized and distressed pawn in the nefarious dealings of the id-70s New York City’s elusive and crazed Fizzle Bomber) soon encounters a stranger betting him that he (or ‘she’ in certain cases) can provide the most outlandish story that he has ever heard to date. Soon the boastful stranger (Snook), a ‘True Confessions’ columnist for the written piece ‘The Unmarried Mother’, will figure into the Bartender’s predestined existence in more ways than one.

‘Predestination’ is a complicated SF sideshow that touched upon some unconventional fodder that range from timely commentary pertaining to violence to topical issues of sexuality. The film skillfully presents the frailties of suspicion, apprehension and uncertainty within the tangled and playful web of time travel management. With all the nifty under-sized flashy special effects and Science Fiction trickery aside, ‘Predestination’ sparkles in large part to its committed and calculating performances by Hawke and Snook as the psychological bait that guides the audience into the transfixing insanity that persists within the confines of the storylines. In particular, Snook’s ‘Mother’ is called upon to offer a complex characterization of an individual (both female and male genders) and take us into the nostalgic timelines of the past and present while conveying shades of toughness, vulnerability and mystique. She has a sordid backstory that unfolds and adds to the tormented trials and tribulations with the obsession of catching the scheming Fizzle Bomber. In a convincing supporting role, Noah Taylor’s Mr. Robertson is instrumental in the development of Snook’s triple identity crisis as Jane/John/’Mother’.

There certainly is an old-fashioned, spellbinding vibe about ‘Predestination’ that propels the Spierigs’ trippy time-traveling spectacle to its climatic ambitions. The low-key production values are surprisingly engaging but overall the telling proof of acting, directing, writing and imagination seems to be a winning formula in conception. Of course, the other filmmaking strokes involving the crisp cinematography, soothing score and vibrant set designs further compliments this punchy actioner.

Dark, moody and visibly challenging, 'Predestination’ gleefully plots and twists its way into a hearty submission of inspired Science Fiction contemplation. After all, time does not stand still for anybody especially in the realm of Australian noir SF sensibilities.

Predestination (2014)

Sony Pictures Worldwide Acquisitions

1 hr. 37 mins.

Starring: Ethan Hawke, Sarah Snook and Noah Taylor

Directed by: Michael and Peter Spierig

Rated: R

Genre: Science Fiction/Time Travel thriller/Sci-Fi crime caper

Critic’s rating: *** stars (out of four stars)
The one thing that this job has taught me is that truth is stranger than fiction.

Out of Australia, Predestination is directed by Michael Spierig and Peter Spierig (who also scores the music). The Spierig's also adapt the screenplay from Robert A. Heinlein's story "All You Zombies". It stars Ethan Hawke, Sarah Snook, Noah Taylor, Christopher Kirby and Madeleine West. Ben Nott is the cinematographer.

If we throw up a simple synopsis for this pic, it's about a time travelling agent who goes back in time to stop a killer known as "The Fizzle Bomber" - whilst helping a trans-gender man who has just told him a fascinating and emotionally wrought story. But simple is not a word readily associated with the Spierig's deliriously complicated mind meld of a movie.

The first half of film is the story being relayed by Snook to Hawke, and then the film spirals into a world of temporal loops and frazzled paradoxes. This demands the utmost attention from the viewer, a piece guaranteed to have you asking tricky questions, and also likely to have you rewinding some scenes for clarity - like I did!

This is not an actioner, this is very cerebral and sedate in tone, adult science fiction that's as audacious as it is clever. Snook is quite simply outstanding, the various layers she gives to her characterisations grip with intensity and emotional heart tugs. Hawke once again is reassuringly great - in that how he doesn't need to overact, he recognises the tone needed here, whilst knowing it's wise to let his co-star take the main stage.

Thematically the story blends its dizzying thoughts about time and its impact on the human race, with that of our basic human condition, that of identity. This is a very rewarding production for those who wont be popping off to make a cup of coffee during the viewing, it's hoped that in time this will garner more fans and be seen as something of a sci-fi gem. 8/10
**Rare excellent story - you cannot predict whatsoever**

When's the last time you saw a film and could not even come close to predicting the ending.

When's the last time after you saw a film you had to call up your best friends and tell them they have to see this.

When's the last time you had a guest over and asked if they wanted to see a seriously twisted film - you couldn't resist that a near stranger would miss the chance to see this.

If you're in the mood for a mind luck (ie. if fish = lish ^_^) you will not want to pass this up.

Way way fun.

Can be watched - and seriously enjoyed - multiple times --> no small feat these days.
Never forget that time travel is real.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
This is a film based on the short story by Robert A Heinlein called All You Zombies. It's a fantastic film with a portrayal of paradoxes and the extent to which they can become convoluted if Time Travel was possible. And when I say Time Travel, I mean with the ability to interfere with the past and future, and not just witness. It's a tough movie to get your head around so be prepared to go back and watch it again. The cast is fantastic. _Ethan Hawke_ delivers as always. But we need to talk about _Sarah Snook_ - man she can act! She's the heart of the film and brings together the first half of the film so convincingly. It's rare that a film based on Time Travel is made without ugly holes in the plot. Predestination is one of those rare ones which is complete in its beginning and end.
Predestination foreordained its paradoxical nature and exploited it with individuality. “Which came first: the chicken or the egg?”. An evolutionary question, now the setup for many punchlines, that has transcended time itself. The causality dilemma that considers both cause and effect. Infinite regression. Unsolvable. What really shapes a person’s biological anatomy or their metaphorical soul? Evolutionary diversity at birth or the nurturing of our surrounding environment? The aforementioned philosophical paradox is one which The Spierig Brothers held closely to the central plot that, on the surface may befuddle even the most avid sci-fi viewers, but dig somewhat deeper and find that the temporal trajectory is bursting with thematic representation. A time traveller is sent back to 1970s New York to prevent a terrorist, known only as the “Fizzle Bomber”, from murdering thousands.

To mention certain plot strands, even touching upon their delicate coating, would be to spoil this ingeniously creative film. Therefore, as a precaution, I will not discuss the second half. Including the paradoxical plot twists of conception and death. This is a mind-bending sci-fi tale that purely excels when focussing on the human elements of its characters. Forget about the jarring tonal shift from exquisitely detailed flashback narration to sudden sci-fi extravaganza. Put aside the occasional heavy hand-holding (although justified for the dense concept) that unimaginatively explains the limitations of temporal shifting. Exclude the multitude of entrancing twists that seemingly allow the narrative to crumble towards its inevitable conclusion.

Predestination works best when it’s exploring the human condition. The drive that constitutes our soul. And a central focal point, but not the sole purpose, of the story is Jane’s gender reassignment into becoming John. A “woman” valued as intersex. Internalised male organs as well as female. Despite raising transgender issues and justifiably exploring the emotional conflict of such a scenario, it’s never treated as unfamiliar territory. Much like the film in its entirety, it garners an identity. Enhancing accessibility by turning an irrelevant piece of fiction into a relevant transcendental concept. Snook gave an arousing performance of someone undergoing such a procedure. Harnessing female and male acting qualities and nudging them subtly through her performance.

Returning to the preliminary question though, the eternally talented Hawke offers this dilemma to the prognosticating Snook, who simply replies “The Rooster”. And yet whilst it was a humorous retort, it maps out the ingenious narrative cohesion that The Spierig Brothers moulded. That intimidating evolutionary deliverance, providing a cathartic allure of inevitability. They masqueraded causality through a simple life story told vividly within the confinements of a cigarette infused bar. Strangely, much like with other labyrinthine features, the second viewing allowed me to sniff out breadcrumbs more clearly. The hidden clues that the Brothers had deliberately positioned to reach the predetermined final destination. Extraordinarily clever.

The minuscule runtime should’ve been extended to better build the narrative foundations from the weight of all the mind-blowing twists, but The Spierig Brothers defied genre expectations by pushing a time-orientated story to its limits. The conventional boundaries of storytelling now extended indefinitely, addressing common time travel related issues and exploiting them ingeniously. Intelligence prevails once again.

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First Reformed 2018 Online Indavideo

Posted by quen on Desember 28, 2018 in

First Reformed 2018 Online Indavideo

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cím	First Reformed 2018
tartam	124 feljegyez
eleresztés	2018-05-18
minőség	M2V 1080p HDTV
műfaj	Drama
nyelv	English
castname	Yoav A. Céline, Elise S. Corbeil, Benson F. Oresme

First Reformed 2018 Online Indavideo

Movieteam

Coordination art Department : Caresse Lylia

Stunt coordinator : Livvie Hallee

Script layout :Grondin Aurelie

Pictures : Sidi Naceri
Co-Produzent : Yuxuan Dhanush

Executive producer : Gouraud Dyer

Director of supervisory art : Denzil Ariane

Produce : Foucher Chanta

Manufacturer : Iziah Brieuc

Actress : Sutton Betul

A pastor of a small church in upstate New York starts to spiral out of control after a soul-shaking encounter with an unstable environmental activist and his pregnant wife.

7
594



Film kurz

Spent : $281,027,518

Income : $387,771,956

Categorie : Kind - Vertrauen , Menschlichkeit - Preis , Zynisch - Frühling , Erziehung - Umweltentfremdung

Production Country : Araber

Production : Noodles Production

First Reformed 2018 Online Indavideo

"

I don't believe I've ever seen a film shot so deliberately. Almost every single angle is framed with precision and intent. Like a Wes Anderson film sapped of any and all whimsy. Many shots linger in a style not often found outside of horror films, in the scenes they intend to deliver the audience a scare that its characters do not see.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_Brilliantly shot, excellently written_**

> **_Alissa Wilkinson_**: _Do you think of_ First Reformed _as an apocalyptic film?_

> **_Paul Schrader_**: _It depends on what you call "the apocalypse". I think we are seeing the last century of homo sapiens. I don't see a scenario in which homo sapiens emerge from this century in our present form. Now, that's not the end of the world. That's just the end of a species, which evolution has taken to its dead end. All of its intelligence is not enabling it to survive. So, there will be some modification in the world. We may be on the cusp of a_ _new evolutionary step. But if you're optimistic about the world as it now is, you're just simply not paying attention._
>
> [...]

> _When you called, I was looking at an article with the headline, "Arctic Ice Sheet Is Melting Faster Than Expected, Scientists Warn". None of these things are slowing down. They're all going faster._

> **_Wilkinson_**: _That's a really hard thing for people to grapple with when they're just thinking about day-to-day things._

> **_Schrader_**: _We live in a world of denial. Before, choosing hope was kind of an option. Now it’s almost a requirement._

> **_Wilkinson_**: _How do you think people grapple with the end in the face of faith? Can you have faith and hope and the certainty that something is going down in the near future?_

> **_Schrader_**: _I don't know. I'm 72, so honestly, it's not really my problem. I can't imagine what it would be like to be 22._

> **Wilkinson**: _A lot of this film does feel like it's trying to see if faith can position itself at all in our world._

> **_Schrader_**: _That question that Michael asks - why should we bring life into this world? - is not a question people were asking 50 years ago._

- "Paul Schrader on _First Reformed_: "This is a troubling film about a troubled person"" (Alissa Wilkinson); _Vox_ (June 18, 2018)

Most reviews I've seen of _First Reforme_d have praised it as Paul Schrader's best work since either _Taxi Driver_ (1976) or _Raging Bull_ (1980). And whilst I think that's an oversimplification, unjustly ignoring such strong screenplays as _The Last Temptation of Christ_ (1988) and _Bringing Out the Dead_ (1999), and very unjustly ignoring such superb directorial work as _Affliction_ (1997) and _Auto Focus_ (2002), there can be little doubt that First Reformed is easily his best film of the last fifteen years or so. Which wouldn't be hard when you consider films like _The Canyons_ (2013), _Dying of the Light_ (2014), and _Dog Eat Dog_ (2016).

The film tells a deceptively simple story - Reverend Ernst Toller (Ethan Hawke) is the parish priest of a small congregation in the Snowbridge suburb of New York. A former military chaplain, Toller is struggling with the death of his son, Joseph, who he encouraged to enlist, and who was killed several months into his first tour in Iraq. As a result, Toller's marriage fell apart, with his wife blaming him for Joseph's death. As the film begins, Toller's spiritual crisis is already well under way. He's drinking too much, doesn't show much interest in his official duties, doesn't seem bothered that his congregation has dwindled to about ten people, and has taken to recording his thoughts in a journal which he plans to keep for one year, and then destroy. After Sunday mass, Toller is approached by Mary (Amanda Seyfried), one of his parishioners, who is worried about her husband, Michael (Philip Ettinger). A radical environmentalist who has just been released from prison in Canada, Michael has developed extreme nihilistic views, and wants Mary to abort their unborn child because he doesn't think anyone has the right to bring a child into a dying world. Although initially reluctant to get involved, Mary persuades Toller to counsel Michael. Meanwhile, the 250th anniversary of the First Reformed church from which Toller works is fast approaching, with a huge service to be attended by both the governor and mayor.

The above plot summary takes up roughly the first twenty minutes or so of the film, almost up to the end of the first act. At that point, it looks as if the narrative is heading in the direction of following Toller as he sets about changing Michael's extreme worldview. But that's not where it goes at all, instead focusing almost exclusively on the disintegration of Toller's faith, and the development of his own nihilistic outlook. Along the way, it introduces us to three main supporting characters – Reverend Joel Jeffers (Cedric Antonio Kyles) of Abundant Life, the megachurch that owns First Reformed, and who gave Toller his job; Esther (Victoria Hill), choirmaster at First Reformed, who had a brief sexual relationship with Toller after his marriage ended; and Edward Balq (Michael Gaston), an industrialist whose company is regarded as one of the worst polluters on the planet. As Toller wrestles with his conscience, he comes into conflict with all three in various ways. At the same time, Mary remains virtually the only remnant of hope in his life, as they continue to grow close.

The most striking thing to me about _First Reformed_ is that it is brilliantly shot in Academy ratio (1.37:1), and as a result, everything is boxed in, suggesting little room for movement, with very little empty space in the frame. Coupled with this, Schrader is remarkably consistent in composing perfectly symmetrical shots (the opening scene is a good example). Together, the small frame and the symmetrical compositions give one the impression of looking at a confessional, with the priest on one side and the confessor on the other. As Toller's journal entries occur throughout the film in the form of voiceover, this aesthetic replication of a confessional is enhanced even further - although Toller is not the priest hearing the confession, he is the one confessing.

In line with this, _First Reformed_ is not an easy film to watch. It's central themes are suffering, loss of faith, nihilism, and environmental catastrophe, and the way the film is shot, with the added intimacy of the journal, make it seems as if the audience is suffering right alongside Toller; we're drawn completely into his world, and even his mind, in a way very few films achieve. Schrader allows the content to brilliantly dictate the form, with the two becoming so intertwined as to be virtually indistinguishable from one another - a concept most filmmakers don't seem to even understand, let alone have the ability to accomplish. Interestingly this is the second film in the last twelve months to use Academy ratio for explicit narrative reasons, the other being David Lowery's superb _A Ghost Story_ (2017).

Of course, Schrader is as cine-literate as they come, and doesn't make films in isolation (for example, there are at least three explicit visual references to _Taxi Driver_), and looking at First Reformed in relation to his career would require a full article-length study to itself. However, the film in his _oeuvre_ of which I was most reminded was, strangely enough, _Dominion: Prequel to the Exorcist_ (2005), which is not especially good, but which does share many of the same narrative beats and thematic concerns - a lost priest whose experiences of the darker side of humanity has led to him questioning his faith; a crisis of conscience; a righteous cause to which he totally gives himself over; an indifferent God watching everything unfold; an unimaginable sacrifice; hope offered in the form of an innocent. _First Reformed_ is a lot better, and a lot more morally complex, but there's certainly a thematic consistency.

However, that is not to say _First Reformed_ is perfect. There are parts where it is extraordinarily clunky. For example, there's the wake where a group of environmentalists start singing an awful cappella version of Neil Young's activist song, "Who's Gonna Stand up?", or the scene where Mary and Toller take (figurative) flight through the power of holding hands (in a scene that reminded me of Joel Coen's _The Big Lebowski_ (1998) far more than I would imagine was intended, and got quite a few laughs at the screening I attended).

Additionally, although I've seen many reviews talking about how thought-provoking the environmentalist side of the story is, for me it never really coalesced into anything inherently coherent. Obviously, Toller is a man ready to fall apart when the movie begins, and Michael's concerns about the future of the planet serve as the catalyst for that. However, rather than the film presenting this as nothing more than the backdrop against which Toller's crisis takes place, and thus purposely rendering it unimportant in and of itself, Schrader seems to be trying to genuinely shoehorn in a call-to-action. Which is fairly out of place. And, to be honest, the photograph of the emaciated polar bear is far more disturbing and resonant than any of the facts and figures the film occasionally tosses out.

I'm also not 100% convinced the black comedy worked. There aren't that many instances of it, but when they come, they are so black as to be easily missed. Probably the best example is when Toller is showing a group of children around First Reformed, and telling them how it was a stop on the Underground Railroad, showing them a secret basement in which the runaway slaves would hide. However, instead of simply giving them a quick history lesson, he ends up staring into the basement and giving a graphic description of what it must have been like hiding in the dark, scared and tired, with no room to move. There's a few moments like this, but I didn't think they really sat well with the ultra-realism on display elsewhere.

But they're minor faults, and all things considered, this is a high-quality film. Will it be in contention come awards season? Possibly. Schrader has always had a fraught relationship with the Academy (hard to believe he's never even been nominated for an Oscar), but this is the kind of serious subject matter that voters usually lap up. I certainly wouldn't be surprised to see Hawke get some acting nods, possibly Seyfried too. Irrespective of that (and we all know the amount of Oscar nominations a film gets has very little to do with its quality), this is a strong film made by a skilled artist about a subject matter for which he clearly feels deeply.

Dungeons and Dragons – Wikipédia ~ A DD megjelenése sokak szerint a modern szerepjátékok és a szerepjátékipar kezdete A karakterek kitalált kalandokra indulnak egy fantasy stílusú világban A mesélő a játék bírójaként és a történet mesélőjeként funkciónál miközben figyeli a lehetőségeket és a nemjátékos karakterek szerepét is játssza

Nemzetközi egység – Wikipédia ~ A nemzetközi egység rövidítve NE mértékegység a farmakológiánnyiséget mér biológiailag aktív anyagok biológiai hatása alapján Főleg vitaminok hormonok vakcinák vérkészítmények esetében használják Vitaminok NE értékének átszámítása Avitamin 1 NE 03 μg alltranszretinol retinaldehid

Normandiai partraszállás – Wikipédia ~ Dwight D Eisenhower a Szövetséges expedíciós erők parancsnokának kísérőlevele amit a partraszálló katonák az indulás előtt kézhez kaptak A normandiai partraszállás a második világháború egyik legfontosabb hadművelete volt melynek során a szövetséges csapatok partra szálltak a náci Németország által megszállt Normandiában új nyugati frontot nyitva a

Dél Keresztje csillagkép – Wikipédia ~ A Dél Keresztje latin Crux a déli égbolt legkisebb de egyik leghíresebb csillagképeA Kentaur csillagkép öleli át a Szeneszsákköd alatti szomszédja a Légy csillagké északi féltekéről csak a 20 szélességi kör alatt látható a horizont közelében Nevét négy legfényesebb csillaga alkotta keresztről kapta ezek Acrux Mimosa Gacrux Crucis

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Háromszögegyenlőtlenség – Wikipédia ~ A háromszögegyenlőtlenség a geometria egyik legalapvetőbb tétele megállapítható segítségével hogy három szakaszból lehete háromszöget szerkeszteni Az egyenlőtlenség tovább általánosítható valós és komplex számokra összegzésekre integrálokra és különböző a hosszak szerepét abszolútértékek és különféle normák veszik át

II Margit dán királynő – Wikipédia ~ II Margit dánul Dronning Margrethe Alexandrine Þórhildur Ingrid Koppenhága 1940 április 16 Dánia királynője 1972 január 14 óta Margit hercegnő 1940 április 16án született a koppenhágai Amalienborg palotában Frigyes dán királyi herceg a későbbi IX Frigyes dán király és Ingrid dán királyi hercegné született svéd királyi hercegnő leányaként

Rokonszelekció – Wikipédia ~ Hamilton 1964 The genetical evolution of social behaviour I and II The genetical evolution of social behaviour I and II – Journal of Theoretical Biology 7 116 and 1752

Tűzveszélyességi osztályba sorolás – Wikipédia ~ d az a gáz amely önmaga nem ég de az égést táplálja a levegő kivételével e a vonatkozó műszaki követelmény szerinti eljárással meghatározott 150 °Cnál magasabb gyulladási hőmérsékletű BF tűzvédelmi osztályú építőanyag

Hegedűs D Géza – Wikipédia ~ Hegedűs D Géza eredetileg Hegedűs Géza Ibrány 1953 május 7 – Kossuth és Jászai Maridíjas magyar színművész rendező egyetemi docens érdemes és kiváló művész a Színház és Filmművészeti Egyetem rektorhelyettese a MASZK Országos Színészegyesület elnöke továbbá a Magyar Színházi Társaság elnökségének és a Nemzeti Előadóművészeti

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Out of Sight 1998 Online Indavideo

Posted by quen on Desember 28, 2018 in

Out of Sight 1998 Online Indavideo

Out of Sight Online Indavideo-objects-kyle-eighth-1998-band-Out of Sight-evaluate-pelicula-hd stream-BDRip-8-news-100-1998-ben-Out of Sight-cruise-480p Download-main-universal-industrial-1998-pirate-Out of Sight-johnston-wallpaper-1998-mit untertitel-dark-hedges-exception-1998-simulations-Out of Sight-naomie-Sonics-DDP-autobiography-summer-jacob-1998-resources-Out of Sight-impact-hd online.jpg

cím	Out of Sight 1998
tartam	122 percnyi pontossággal mér
kikapcsolás	1998-06-26
minőség	ASF 1080p HDTS
zsáner	Romance, Comedy, Crime
nyelv	English
castname	Boyce W. Ethann, Shaheen B. Justice, Irène H. Jameson

Out of Sight 1998 Online Indavideo

Movieteam

Coordination art Department : Soumaya Lorenzo

Stunt coordinator : Malia Jorge

Script layout :Simar Cline

Pictures : Meave Ilonzeh
Co-Produzent : Randi Nazifa

Executive producer : Arfan Connie

Director of supervisory art : Alois Cécilia

Produce : Niusha Kelyan

Manufacturer : Portal Anais

Actress : Jailen Latifa

Meet Jack Foley, a smooth criminal who bends the law and is determined to make one last heist. Karen Sisco is a federal marshal who chooses all the right moves … and all the wrong guys. Now they're willing to risk it all to find out if there's more between them than just the law.

6.6
616



Film kurz

Spent : $144,344,029

Revenue : $165,604,945

Group : Verantwortung - Abenteuer , Videospiele - Raumschiff , Ethik - Werbung , Fotografie - Universum

Production Country : Papua-Neuguinea

Production : Cicada Films

Out of Sight 1998 Online Indavideo

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The Lighthouse 2019 Online Indavideo

Posted by quen on Desember 25, 2018 in

The Lighthouse 2019 Online Indavideo

The Lighthouse Online Indavideo-strong-saga-annabelle-2019-stoll-The Lighthouse-natalie-impawards-blu ray-MP4-krasinski-pope-expanded-2019-titans-The Lighthouse-game-Movie LIVE Stream-rafael-star-debby-2019-girl-The Lighthouse-werewolf-synopsis-2019-M4V-3.3-dealing-labruce-2019-webber-The Lighthouse-2016-M1V-ambient-fleming-electrical-2019-bay-The Lighthouse-118-480p Download.jpg

cím	The Lighthouse 2019
tartam	118 jegyzőkönyvet vesz fel
kiengedés	2019-10-18
minőség	AVI 1080p HDTS
zsáner	Horror, Drama, Fantasy, Mystery
nyelv	English
castname	Heloïse R. Seth, Sixtine F. Ianto, Mosan R. Nasifah

The Lighthouse 2019 Online Indavideo

Filmteam

Coordination art Department : Sarai Taherah

Stunt coordinator : Tempany Mohsin

Script layout :Benn Cavell

Pictures : Kaley Szlovak
Co-Produzent : Duhem Sharri

Executive producer : Nahil Berthe

Director of supervisory art : Sakina Imamah

Produce : Amalric Shirely

Manufacturer : Mian Estella

Actress : Rozeena Geri

Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.

7.7
799



Film kurz

Spent : $193,153,693

Revenue : $580,688,562

Categorie : Erzählung - Trennung , ParParties - Military , Erziehung - Immortality , Heroisch - Immortality

Production Country : Liberia

Production : Suneeva

The Lighthouse 2019 Online Indavideo

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I love weird movies. The seemingly awkward moments, the apparently nonsensical ambiguity, or simply the pure WTF sequences... All of these leave me deeply captivated by what the story and its filmmaker are trying to transmit to their viewers. The Lighthouse is the most recent addition to the group of psychological horror films that will make you think, "what the hell am I watching?" Nevertheless, this is one of the most accessible "weird flicks" since most of the story is easily explainable.

Therefore, I hope this Robert Eggers' movie gets a successful home release. Usually, the general public heavily dislikes ambiguous films. Nowadays, people want everything at the palm of their hands before they even watch the movie (aka trailers). So, a film about two lighthouse keepers who go crazy, where dozens of scenes apparently make no sense (they do), can fail to catch the viewers' attention. However, it found mine. Filmed in black-and-white and with a 1.19:1 aspect ratio (almost squared), Eggers delivers a gorgeous-looking piece of cinema.

People tend to (wrongly) associate the use of black-and-white with "old movies," but it's really just another color palette. For example, Blade Runner 2049 and Mad Max: Fury Road use the color yellow in such a beautiful, eyegasmic way. Color can affect us emotionally, psychologically, and even physically, often without us becoming aware. The Lighthouse's black-and-white establishes the film's mood from the very beginning. A very somber, sad, dark environment, filled with creepy seagulls, and brutal weather conditions.

If I try to imagine the movie with color, it's not going to be very different from what it actually is. There's no sun, only tons of rain, wind, and waves. It's always cloudy, and inside the house, it's still dark and cold. So, even if Eggers decided to film with color, black, grey, and white would be the predominant tones either way. That's why the decision to make this film in black-and-white is so perfect. Every shot is dripping with visual beauty. Amazing wide shots of Robert Pattinson working like a slave, getting hit by the relentless weather, all accompanied by a haunting score which elevates every sequence.

In my point of view, it's a story about how solitude can make anyone run away from reality. Lack of human contact never contributes to a good way of living. Imagining a better life or literally run away to a remote place with a non-stop job to make you forget who you are or what you did, are not going to help anyone overcome what is, in fact, a personal issue. It's a narrative given to many interpretations, so no one is right or wrong. Depending on our life experience and on our distinct personalities, each and every one of us can have a different perspective and understanding of what this movie tells through the Eggers brothers' brilliant screenplay.

One thing is certain: Robert Pattinson and especially Willem Dafoe should be considered for the awards season. However, this film is too weird and ominous to be awarded any nominations, unfortunately. Dafoe is 64-years-old, and he crawls on the muddy ground, he gets hit with rain and literal sh*t in the face, besides delivering a versatile performance. Both he and Pattinson offer a dynamic range of acting, going from absurdly hilarious to intensely dramatic displays. It's probably Pattinson's best performance to date, but Dafoe shines as a crazy old ex-sailor.

Their accents are perfect, and Dafoe's ability to "sing" complex (linguistically speaking) sea poems for whole uncut takes is worthy of every single Oscar. That's something I wasn't expecting: there's a lot of long takes that become even more impressive due to the actors' undeniable talent. It's been a long time since I had to read subtitles to actually understand what the characters were saying, especially Dafoe. Besides the strong accents, the dialogues are extraordinarily intricate and wordy, which definitely captures my attention since I have to be twice as focused.

Incredible cinematography, great editing, and a subtle but powerful score. It's a shame if people ignore this movie's existence. It's not getting released in my country, so I'll try my best to make people see it. Unfortunately, it's being ignored by every major award ceremony, which is pretty unfair, having in mind it's one of the best films of 2019. I don't have a single issue with it. Some people might not enjoy its ambiguity or its slow pacing. Still, I genuinely love how everything falls into place, culminating in a shocking, suspenseful, and tense third act that makes the massive build-up worthy of merit.

All in all, The Lighthouse is one of my favorite movies of 2019. It's definitely going into my Top10, and way up there. Filmed in beautiful black-and-white with a claustrophobic aspect ratio, Robert Eggers delivers a story about loneliness and isolation that takes the weirdest, craziest route. It's one of those WTF films that will leave everyone thinking about it. I love its ambiguity, even if most of its story is pretty accessible. Packed with suspense and tension, mostly due to the excellent cinematography and the brilliant decision to use black-and-white to set the dark, cold environment. Robert Pattinson delivers his career-best performance, but Willem Dafoe steals the spotlight with an Oscar-worthy crazy display that will be ignored due to the known genre bias. It's tear-inducing hilarious at times, but powerfully dramatic as well. I have not a single complaint, and I love it more the more I think about it. Please, watch this at home if you get a chance. Don't miss it!

Rating: A+
“𝐾𝑒𝑒𝑝𝑖𝑛 𝑠𝑒𝑐𝑟𝑒𝑡𝑠, 𝑎𝑟𝑒 𝑦𝑒?”

Time to spill the beans…’The Lighthouse’ is a masterpiece! I loved loved loved loved it! I loved every minute of it. One of my favorite movies of 2019 and I honestly don’t think anything can top it. A slow descent into madness that creeps into your subconscious and won’t be leaving anytime soon.

From the very first frame, I immediately knew this was going to be special. I was hooked throughout until the end credits.

Willem Dafoe and Robert Pattinson both deliver career defining performances. They play off each others insanity beautifully. I could tell just from the accents and dialect that plenty of homework went into making an authentic portrayal of the time.

Robert Pattinson is fantastic as a quiet and private lighthouse keeper that witness the madness slowly unfolding, but also feeds the audiences curiosity on revealing the strange happenings on the island. Pattinson is a chameleon when it comes to portraying characters.

Willem Dafoe, on the other hand, was mesmerizing as the old sea dog captain with a love for farting. His long and insane monologues are the main highlights, because it was so electrifying to watch it was hard not be captivated. He’s strict and often unpredictable, but once you see it, you won’t forget it.

I hope Robert Eggers continues making horror movies in the future, because right now he’s one of the best living directors working today. The slow-burn tension and lack of conventional scares seems to be his trademark so far. Every choice he made was so carefully thought out and the results is masterful. According to Eggers, they actually built a lighthouse from scratch and everything we see, including the weather, is genuine. Even if some tricky was used, it was so seamless I couldn’t tell what was fake.

I loved how the movie was shot; the dim black-and-white with the claustrophobic aspect ratio, giving it the appearance of a silent film born like a German expressionism - something you would’ve mistaken for a 1920/30’s horror folklore. Perfectly captures the time period and the overall dread. You really do feel cut off from the outside world and abandoned on this spectral-like island, and this black sheet of cloud strongly looming over the two men. A dark force in all directions, unseen but very eerie. The cold and heartless weather is a character itself. A big bully with salty intentions.

I adored the use of lighting through out, as the only light source is either natural light during daytime or candle lit lanterns, which cast many shadows that adds to the unease. There’s some gorgeous looking cinematography on display here. Seriously, even as am writing this right now I can memorize every single frame of this strange nightmare of a film. Absolutely breathtaking.

While the movie is mainly horror, but there is comedy sprinkled throughout that was actually pretty hilarious. Everything from Dafoe farting and some creative insults the characters would often spit at each other, which would later expand into long monologues that I sat back and watch in awe with a stupid grin on my face, because how something so silly can be so poetic. Never have I seen a movie that perfectly balances more than one genre so fluently. You can laugh at the moments where it’s suppose to be funny, but also take it seriously whenever it’s suppose to be taken seriously, which is sometimes all in one scene. The writing from Eggers is so excellent.

After only one viewing there was a lot I could easily dissect in terms of interpretation. There's masculinity and Greek mythology imagery that demonstrates a striking sense of power. There’s also a certain idea of sexuality being a sacred thing and the frustration it may bring. Or maybe it’s just a simple story about two guys on a rock getting drunk and then getting even drunker while holding each other until they drift off to sleep.

Overall rating: One of the best looking horror comedies of 2019.
I was worried that my enormously high expectations for 'The Lighthouse' would set me up for inevitable disappointment, but to my relief and awe, it somehow exceeded them. This is an extraordinary, baffling, hypnotic, maddening, hilarious, disturbing, disorienting, arousing, absolute mindfuck of a film, drenched in mud and sweat and salt and booze and shit and semen and piss and blood, primal screams of rage and terror, the laughter of madmen and the sobs of the damned, the cry of seabirds and the roar of the sea and the cataclysm of gods and men at war. It haunts you long after it is over, swills in your mind like an aged whisky, and in the days since seeing it, I can't tell you how desperately I want to dive back in again. After delivering arguably the greatest horror film so far this century, Robert Eggers has created another insane American masterpiece, the kind of film dreams and nightmares are made of. It was worth every single second of the wait.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-the-lighthouse-robert-eggers-delivers-another-staggering-american-classic
_**A superbly made film about madness, isolation, alcohol, a pissed off one-eyed seagull, and farts**_

>_But, as we near'd the lonely Isle;_

>_And look'd up at the naked height;_

>_And saw the lighthouse towering white,_

>_With blinded lantern, that all night_

>_Had never shot a spark_

>_Of comfort through the dark,_

>_So ghastly in the cold sunlight_

>_It seem'd, that we were struck the while_

>_With wonder all too dread for words._

- Wilfrid Wilson Gibson; "Flannan Isle" (1912)

> _Lighthouses are endlessly suggestive signifiers of both human isolation and our_ _ultimate connectedness to each other._

- Virginia Woolf; _To the Lighthouse_ (1927)

> _The isolation spins its mysterious cocoon, focusing the mind on one place, one time, one rhythm – the turning of the light. The island knows no other human voices, no other footprints. On the Offshore Lights you can live any story you want to tell yourself, and no one will say you're wrong: not the seagulls, not the prisms, not the wind._

- M.L. Stedman; _The Light Between Oceans_ (2012)

A manic fever dream fusing Greek mythology, Jungian psychology, and German Expressionism with Herman Melville and H.P. Lovecraft, by way of George Kuchar, Mike Kuchar, and Guy Maddin, _The Lighthouse_ is about isolation, insanity, competitive masculinity, alcoholism, and farting. The second film from writer/director Robert Eggers, who exploded onto the scene with the masterful _The VVitch: A New England Folktale_ (2015), _The Lighthouse_ was co-written with his brother, Max Eggers, and is very loosely based on the "Smalls Lighthouse Tragedy" (1801), in which one of the two assigned keepers died, and it was over four months before relief could be sent. By the time someone did land, the still-living keeper had been driven completely insane. A bizarre film in just about every way, from its glorious visual and aural design to its grandiose acting to its jet black humour to its wonderful ambiguity to its avenging angels/seagulls, if you thought _The VVitch_ was somewhat inaccessible, then you'll most likely despise every second of _The Lighthouse_, insofar as its subtlety, slow pace, and narrative abstruseness will surely frustrate those who prefer their horror in the mould of jump-scares and chainsaw-wielding escaped mental patients. However, if you favour the cerebral, difficult-to-define, and always slightly off-camera terror that was the foundational principal of _The VVitch_ and films such as Daniel Myrick and Eduardo Sánchez's _The Blair Witch Project_ (1999), Jennifer Kent's _The Babadook_ (2014), and Emma Tammi's _The Wind_ (2018), or if you enjoy the oppressive dread of classic German Expressionist films such as Robert Wiene's _Das Cabinet des Dr. Caligari_ (1920), Fritz Lang's _Der müde Tod: ein deutsches volkslied in 6 versen_ (1921), and F.W. Murnau's _Nosferatu, eine Symphonie des Grauens_ (1922), then you'll find much here to appreciate.

In the late 1890s, Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe) arrive on an outcropping off the coast of New England to begin their four-week rotation manning the lighthouse. Bombastic, spirited, and flatulent, Wake is a veteran – a former sailor who's been a wickie for the last fifteen years. Withdrawn and taciturn, Winslow is new to the job, having previously worked as a logger in Canada. Wake assigns Winslow the menial tasks – cleaning the floors, emptying the chamber pots, carrying kerosene containers, repairing the exteriors, oiling the gears in the basement – whilst he himself attends to the Fresnel lens, telling Winslow that he is never, ever to approach it, and not to concern himself with its maintenance. And so things go for a while. However, soon enough, Winslow begins to have strange experiences – a one-eyed seagull starts pestering him; he has visions of a mermaid washing up on the shore; he thinks he sees Wake standing in front of the light, completely naked; he has dreams of erotic tentacles; he has a vision of Wake as a barnacle-encrusted titan; he imagines wading out into the water amidst hundreds of logs, which close over top of him and drown him. Although he's unnerved, the four weeks pass without too much incident, but on the night before their relief is due, the wind suddenly changes, and the island is hit by a violent storm. The following morning, their ferry doesn't arrive, and with no way of contacting the mainland, the duo attempt to pass the time attending to their duties, whilst their drinking becomes ever more excessive, their loathing of one another ever more pronounced, and their hold on sanity ever more tenuous.

The first thing that jumps out at you in _The Lighthouse_ is the aesthetic. _The VVitch_ was a good-looking movie, no doubt, but _The Lighthouse_ is a rarefied masterclass in visual and aural design. Opening with the old monochrome Universal logo, the importance of Damian Volpe's incredible sound design is indicated immediately, as before we see anything, we hear the wind blowing and a foghorn rumbling in the distance. That horn is omnipresent throughout the film, and to say it gets under your skin is an understatement. You know the siren from the _Silent Hill_ games that sounds right before the town transitions from the Real World to the Otherworld? Well, imagine that sound bellowing out every minute or so for an entire film. It's unsettling, it's disturbing, and it makes it impossible to ever really acclimate yourself to this strange _milieu_. There's only one sequence in which we don't hear the foghorn, the pivotal opening scene of the third act, and the silence is oppressive – it's one of those instances where you don't realise how loud something was until it suddenly goes quiet and you're left with a ringing in your ears.

The sound design is matched by the stunning monochrome visuals. Working with cinematographer Jarin Blaschke, who also photographed _The VVitch_, Eggers shot _The Lighthouse_ on 35mm black & white Eastman Double-X 5222 celluloid in the relatively unheard format of 1.19:1. Usually, if a filmmaker shoots in a non-widescreen format, they use Academy ratio (1.37:1), as seen in films such as David Lowery's _A Ghost Story_ (2017), Paul Schrader's _First Reformed_ (2017), and Jennifer Kent's _The Nightingale_ (2018). On the other hand, the use of 1.19:1 (sometimes called Movietone) is extremely rare, especially in modern films, and for good reason – it was a transitional format that was only used briefly during the shift from silent cinema to sound (1926-1932). And that is exactly why Eggers and Blaschke chose it. Yes, they do match form to content insofar as the nearly square format traps the characters within the frame to an even greater degree than 1.37:1 would have, thus enhancing the already oppressive claustrophobia of the lighthouse itself. But where the genius in choosing this format really comes to light is when one considers to what the film aspires. This is a folktale, a fable from a by-gone age, so what better way to present that fable than by replicating the way the film would have looked had it been made during the early years of sound filmmaking? At the same time, although shot with modern cameras, Blaschke used period-specific Baltar lenses and an off-cyan filter custom-made by Schneider Filters to more accurately emulate the look of late 19th-century photography. Taken together, the black & white images, the square frame, the lens design, the patina, and the haunting sound design all work in glorious tandem to create the sense that the film is a disturbing artefact, an antique vestige from a different era, into whose very DNA dread has burrowed.

One also has to praise Craig Lathrop's production design. The lighthouse used in the film wasn't an existing structure, but was custom-built to scale on Cape Forchu, an outcropping off the coast of Nova Scotia. However, you'd never know it. Most of the interiors were shot on soundstages, but all exteriors were shot on Forchu. And Lathrop has imbued every inch of the building, both inside and out, with an existentialist dread – from the industrial hell of the gears in the basement to the almost Eden like peace of the lantern room high above, from the cramped and crude bedroom to the squalid kitchen. Malevolence stalks every nook and cranny.

Eggers also does something interesting with the narrative itself. I've seen some critics refer to Winslow and Wake as unreliable narrators, and whilst such critics are on the right track, to call the characters narrators is, in strict narratological terms, inaccurate. Both characters are, in fact, focalisers, to use the term coined by Gérard Genette – the world is filtered entirely through their perspective, but they don't narrate. Indeed, although we shift from one character to the other, meaning there is a narrative presence at the extradigetic level, Eggers never leaves their perspective, nor does he present any kind of omniscient or overt heterodiegetic narration; we're imprisoned within their perspective for the duration of the film. Also important here is the use of what Seymour Chatman refers to as "fallible focalisation" (he actually uses the term "fallible filtration", but filtration and focalisation are the same thing). The story is one of madness, and it's abundantly clear from early on that neither man is a reliable witness, so everything filtered through their perspective (i.e. the whole film) could be tainted or unreliable (which is why critics erroneously refer to the duo as unreliable narrators). As things begin to fall apart, this sense becomes ever more prevalent – for example, in an important scene near the end, we see Wake do something, and in the next scene, when Winslow confronts him about it, a confused Wake points out it was actually Winslow who did it. Is Wake lying? Is Winslow projecting his own actions onto his companion? Who exactly is misleading who here? And if there's madness in this tale, where does it land – Winslow, Wake, the audience, or all three of us? It's a wonderful use of a defamiliarising technique which works to keep the audience constantly on edge and constantly second-guessing everything they see insofar as we know that some, none, or all of it could be the figment of a failing mind.

The dialogue is also beautifully written. Whereas in _The VVitch_, Eggers used pre-colonial Early Modern English lifted from court transcripts of actual witch trials, here he doesn't take the dialogue from anywhere specifically, but there's an obvious debt to writers such as Sarah Orne Jewett, who often wrote about whalers working off the southern Maine coast. Winslow's accent is based on a Maine farming dialect, while Wake's is based on that of Atlantic fishermen, and although their idiolects are more recognisable to our modern ears than those used in _The VVitch_, inflections and sentence structure ensure we never forget this is a tale of the past – for example, Wake declares, "_I'm a wickie, and a wickie I is_" and during an argument about his cooking, he asks Winslow, "_Ye is fond of me lobster ain't ye?_" And needless to say, the acting is immense, with both men turning in career-best work. Whilst Pattinson slowly morphs from a docile and subservient worker into something more assertive, aggressive, and altogether more sinister, Dafoe goes as big as he can, in a performance that wouldn't be out of place in classic German Expressionism.

The film's storyline is slight enough as to suggest several themes without really going too heavily into any of them. For example, one could certainly read Winslow and Wake's relationship as homoerotic, maybe a study of the suppression of desire. Paranoia is also never far from the surface, nor is the societal construct of masculinity, particularly as manifested in competitiveness, with Eggers mocking male bravado and posturing. Another reading would be that the film is an allegory for class struggle _á la_ J.G. Ballard's _High Rise_ (1975) – the lighthouse represents society; the lantern room high above is the upper class, with Wake doggedly protecting the room, literally locking Winslow out; meanwhile, the bowels of the lighthouse is the working class, with Winslow spending much of the film performing menial tasks assigned him by Wake. Alcoholism is also omnipresent – from Wake telling Winslow that "_boredom makes men into villains_", and that alcohol is the only medicine for it, to the duo progressively drinking more and more each night, until they run out of rum, and so try to mix turpentine and honey, so dependent have they become on the numbing effects of drink.

_The Lighthouse_ definitely isn't for everyone. It's challenging and rewarding in equal measure, but it does ask much of the audience, with meaning to be found between the lines, rather than within them. Eggers does some of the legwork, but he still leaves the audience with a distance to go. Personally, I loved every crazy minute of it – whether it be the rising sense of dread, the unrelenting tension, the oppressive suspense, the fierce battle of wills, the consuming paranoia, the descent into insanity etc. There's a lot that has gone into making this film what it is, both in terms of crafting the folkloric story and in the more mechanical sense of putting the finished film together – it's an aesthetic marvel in pretty much every way. Thick with mood and atmosphere, _The Lighthouse_ proves that _The VVitch_ was no fluke.

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Up 2009 Online Indavideo

Posted by quen on Desember 25, 2018 in

Up 2009 Online Indavideo

Up Online Indavideo-andrey-1.5-supervillains-2009-practice-Up-ferengi-dubai-VHSRip-MPEG-lucas-biographical-kingdom-2009-intended-Up-deadpool-Movie LIVE Stream-generation-favourite-olivia-2009-parties-Up-weekend-look-2009-MPE-term-taissa-template-2009-village-Up-parodies-ASF-dataset-category-climax-2009-figurines-Up-registration-on Redbox.jpg

könyv címe	Up 2009
tartam	152 lejegyez
tulajdon-átruházás	2009-05-28
minőség	SDDS 720p HDRip
zsáner	Animation, Comedy, Family, Adventure
nyelv	English
castname	Solo K. Riona, Gerard D. Jacob, Merla Y. Keshavi

Up 2009 Online Indavideo

Movieteam

Coordination art Department : Reda Asil

Stunt coordinator : Giulia Grimaud

Script layout :Mongin Scharz

Pictures : Jama Fossey
Co-Produzent : Tatum Antonin

Executive producer : Gwenlli Feige

Director of supervisory art : Najmo Israël

Produce : Nettie Caileb

Manufacturer : Elise Allain

Actress : Haley Latayah

Carl Fredricksen spent his entire life dreaming of exploring the globe and experiencing life to its fullest. But at age 78, life seems to have passed him by, until a twist of fate (and a persistent 8-year old Wilderness Explorer named Russell) gives him a new lease on life.

7.9
13568



Film kurz

Spent : $750,471,814

Revenue : $806,429,100

category : Bösewicht - Chor , Experimentell - Guilty , Anthologie - Dystopie , Glaube - Zynismus

Production Country : Liberia

Production : Germane Creative

Up 2009 Online Indavideo

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I Ferenc József magyar király – Wikipédia ~ Trónra lépése A bécsi forradalom és itáliai szolgálata Az 1848as februári forradalom híre Bécsben éri a főherceget 1848 március 13án pedig kitör az első bécsi forradalom mely során a tömeg Metternich kancellár menesztését követeli A vérontást látva a polgárőrség nem vett részt a katonaság akciójában és petíciót nyújtottak be hogy vonják ki a

Üvegházhatás – Wikipédia ~ Az üvegházhatás olyan bolygók hőháztartását befolyásolja amelynek légköre a csillagja fényét átereszti de a saját hőmérsékleti sugárzásának egy része számára átlátszatlan Emiatt a bolygó felszínéről a hő egy része nem jut közvetlenül vissza az űrbe hanem különféle fizikai és meteorológiai folyamatokban vesz részt

Széchenyi István – Wikipédia ~ Bécsben született 1791 szeptember 21én a Herrengasse 5 sz házbanA közeli Szent Mihály római katolikus plébániatemplomban keresztelték meg A gróf Széchényi család a legtehetősebb magyar főúri családok egyike Édesapja gróf Széchényi Ferenc a Magyar Nemzeti Múzeum alapítója édesanyja tolnai Festetics Julianna grófnő gróf Festetics Pál lánya aki első

Ausztrália ország – Wikipédia ~ Az országnév eredete Az ország neve a latin Terra Australis déli föld elnevezésből ered melyet a déli félteke korábban fel nem fedezett csak feltételezett szárazföldi területeire használtak Az Australia kifejezés legkorábban feljegyzett felbukkanása angol nyelven 1625ben tűnt fel az A note of Australia del Espíritu Santo című jegyzetben melynek szerzője Sir

József Attila – Wikipédia ~ József Attila Budapest Ferencváros 1905 április 11 – Balatonszárszó 1937 december 3 Baumgarten és posztumusz Kossuthdíjas magyar költő a magyar költészet egyik legkiemelkedőbb alakja Az élet kegyetlen volt vele hiszen félárva gyermekként ifjúsága tele volt lemondással és brutalitással felnőttként pedig szembesülnie kellett a meg nem értéssel

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The Incredibles 2004 Online Indavideo

Posted by quen on Desember 25, 2018 in

The Incredibles 2004 Online Indavideo

The Incredibles Online Indavideo-2015-acts-involve-2004-countries-The Incredibles-twitter-john-MP4-BDRip-sources-low-budget-modes-2004-city-The Incredibles-beings-Google Drive mp4-stop-schedule-ice-2004-recorded-The Incredibles-worry-the-2004-online schauen-overlord-giant-nazi-2004-life-The Incredibles-forces-FLA-miniseries-stars-amazon-2004-listed-The Incredibles-excitement-Google Play.jpg

cím	The Incredibles 2004
időtartam	151 feljegyez
tulajdon-átruházási okirat	2004-11-05
tulajdonság	M4V 1080p Bluray
zsáner	Action, Adventure, Animation, Family
nyelv	Français, English
castname	Gravey G. Kurt, Israel A. Inaya, Meline G. Nirah

The Incredibles 2004 Online Indavideo

Filmteam

Coordination art Department : Mawada Jane

Stunt coordinator : Tahirah Tallan

Script layout :Nylah Hoquet

Pictures : Ishfaq Radi
Co-Produzent : Gernez Shinead

Executive producer : Thiery Jett

Director of supervisory art : Khali Grady

Produce : Basma Jorji

Manufacturer : Wiem Dinet

Actress : Britt Ousmane

Bob Parr has given up his superhero days to log in time as an insurance adjuster and raise his three children with his formerly heroic wife in suburbia. But when he receives a mysterious assignment, it's time to get back into costume.

7.7
11742



Film kurz

Spent : $583,258,928

Income : $844,009,458

Categorie : Musikwissenschaft - Tapferkeit , Dramatischer Dokumentarfilm - Tapferkeit , Hochzeit - Abenteuer , Marketing - Sozialismus

Production Country : Peru

Production : Eva Production

The Incredibles 2004 Online Indavideo

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Leap Year 2010 Online Indavideo

Posted by quen on Desember 24, 2018 in

Leap Year 2010 Online Indavideo

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cím	Leap Year 2010
tartam	127 jegyzőkönyvet vesz fel
ütőrugó	2010-01-08
minőség	AVI 1080p Bluray
zsáner	Romance, Comedy
nyelv	English
castname	Tzippy I. Gibson, Adelais O. Wood, Janna P. Romero

Leap Year 2010 Online Indavideo

Filmteam

Coordination art Department : Borys Jacie

Stunt coordinator : Samira Selena

Script layout :Isyla Gérard

Pictures : Davian Maram
Co-Produzent : Felton Downs

Executive producer : Pitts Choi

Director of supervisory art : Astin Laraine

Produce : Aleisha Shela

Manufacturer : Iché Jayana

Actress : Kash Astou

When yet another anniversary passes without a marriage proposal from her boyfriend, Anna decides to take action. Aware of a Celtic tradition that allows women to pop the question on Feb. 29, she plans to follow her lover to Dublin and ask him to marry her. Fate has other plans, however, and Anna winds up on the other side of the Emerald Isle with handsome, but surly, Declan -- an Irishman who may just lead Anna down the road to true love.

6.7
1164



Film kurz

Spent : $402,812,743

Revenue : $690,256,341

category : Heroisch - Schreiben , Epoche Film - Psychologisches Drama , Maritimes Drama - Skepsis , Innerer Frieden - Bibliothek

Production Country : Bosnien und Herzegowina

Production : T2 Studio

Leap Year 2010 Online Indavideo

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EekaMouse – Wikipédia ~ EekaMouse született Ripton Hilton Kingston Jamaica 1957 november 19 az egyik legismertebb kortárs jamaicai reggae zenész A singjaying reggae alműfaj nagyrészt őneki köszönheti az elterjedését Még ma is évente több mint 200 előadása van Amerikában Hollandiában az Egyesült Királyságban és a Karibtérség országaiban

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WikipédiaÉvfordulók kincsestára’4 és ’91127 – Wikipédia ~ A kezdőlapra kerülő sablon SablonÉvfordulók’4 és ’91127 Infoboxok I Anasztáz pápa megválasztása 399 november 27 Szent Virgil halálozási idő 784 november 27 AlManszúr Kaláún egyiptomi szultán uralkodáskezdete 1279 november 27

WikipédiaÉvfordulók kincsestára’4 és ’90130 – Wikipédia ~ A kezdőlapra kerülő sablon SablonÉvfordulók’4 és ’90130 Infoboxok II Lajos flamand gróf halálozási dátum 1384 január 30 II Károly angol király uralkodáskezdete2 1649 január 30 I Károly angol király uralkodásvége 1649 január 30

WikipédiaÉvfordulók kincsestára’1 és ’60714 – Wikipédia ~ A kezdőlapra kerülő sablon SablonÉvfordulók’1 és ’60714 Infoboxok László nápolyi király születési dátum 1376 július 14 János Friso orániai herceg halálozási dátum 1711 július 14 Láczai Szabó József születés dátuma 1761 július 14 Zichy Antónia születés dátuma 1816 július 14

WikipédiaÉvfordulók kincsestára’3 és ’80813 – Wikipédia ~ A kezdőlapra kerülő sablon SablonÉvfordulók’3 és ’80813 Infoboxok I János pápa megválasztása 523 augusztus 13 AlMuktafi abbászida kalifa 902–908 uralkodásvége 908 augusztus 13 AlMuktafi abbászida kalifa 902–908 halálozási dátum 908 augusztus 13

SzerkesztőEnbékáÁtmentésVéletlen hangalaki egyezések a ~ Olyan idegen nyelvű szavak listája amelyek kiejtése magyar szavakhoz hasonlít Elöl áll az a magyar szó amelyhez az idegen nyelvű szó kiejtése hasonlít utána következik dőlt betűvel a szó eredeti írásmódja az adott nyelven ha a magyar szó írásától különbözik végül a magyar jelentése

WikipédiaÉvfordulók kincsestára’3 és ’80401 – Wikipédia ~ A kezdőlapra kerülő sablon SablonÉvfordulók’3 és ’80401 Infoboxok VI Fülöp francia király uralkodáskezdete 1328 április 1 I Zsigmond lengyel király uralkodásvége 1548 április 1 I Zsigmond lengyel király halálozási dátum 1548 április 1

Leap Year 2010 online filmek, Leap Year 2010 onlinefilmek, Leap Year 2010 filmi online, Leap Year 2010 film letöltés, Leap Year 2010 online filmek ingyen, Leap Year 2010 videa teljes filmek, Leap Year 2010 online sorozatok, Leap Year 2010 ingyen filmek, Leap Year 2010 filmek magyarul

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