Friday, August 31, 2018

[Watch] Avengers: Endgame On Netflix 2019


[Watch] Avengers: Endgame On Netflix 2019









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[Watch] Avengers: Endgame On Netflix 2019




Filmteam

Coordination art Department : Marisa Kerenza

Stunt coordinator : Yacouba Beenish

Script layout :Rosalyn Laurel

Pictures : Kylie Roussel
Co-Produzent : Mann Tamjid

Executive producer : Dagron Locard

Director of supervisory art : Charles Vergely

Produce : Meunier Mccarty

Manufacturer : Laly Soldini

Actress : Kilyan Houle



After the devastating events of Avengers: Infinity War, the universe is in ruins due to the efforts of the Mad Titan, Thanos. With the help of remaining allies, the Avengers must assemble once more in order to undo Thanos' actions and restore order to the universe once and for all, no matter what consequences may be in store.

8.3
12689






Movie Title

Avengers: Endgame

Moment

171 minute

Release

2019-04-24

Kuality

FLA 1080p
TVrip

Categorie

Adventure, Science Fiction, Action

language

English, 日本語, Array

castname

Sherin
V.
Klavs, Nachman D. Ashton, Labrie B. Baur





[HD] [Watch] Avengers: Endgame On Netflix 2019



Film kurz

Spent : $653,498,003

Revenue : $542,286,169

categories : Schwert - Polizei , Abstrakt - Super Heroes gesunder Menschenverstand , Ethik Legende - einfallsreich , Hölle - Zynismus

Production Country : Burundi

Production : The Bridge



The epic Marvel Saga that started over ten years ago has been building up to the inevitable clash with the powerful tyrant Thanos (Josh Brolin). Last year’s “Avengers: Infinity War” set the stage for the highly-anticipated conclusion; “Avengers: End Game” and at long last it has arrived.

Picking up shortly after the events of the last film, the Avengers must deal with the aftermath of what Thanos has done. The team is naturally divided between wanting revenge, wanting to set things right, and just wanting to take what they have and go on.

As time passes and they struggle to accept the reality of their situation; an unexpected individual returns and with them comes the seeds of a new plan to make things right. Naturally Tony Stark (Robert Downey Jr.) is skeptical but eventually warms to the possibilities of the idea thanks to a new scientific breakthrough that makes it possible.

Inspired, Tony sets out to put an elaborate plan in motion that will allow the team to try to fix things and to stop Thanos once and for all.

What follows is an extended and at times nostalgic heist where various members of the team work to assemble the pieces needed for the plan as they believe they only have one chance to make things right.

The film is essentially three acts in one. The first deals with the recap and expansion of their situation and the planning. The second act is basically a heist where action and comedy are blended with some touching moments.

This all leads to the final act which is the FX laden set piece where the ensemble cast gathers to fight the forces of evil in a battle to save the Universe.
The film is epic in scale and length as it clocks in at over three hours but the movie is filled with so much content that the time goes by quickly and you have a hard time believing three hours have elapsed.

It is also a difficult film to review as you cannot recap elements of the film in any great detail without giving away elements that are sure to delight the fans. Suffice it to say that my only real issue with the fil and it was minor; was that it took a while to get to the action but at least there was plenty to keep you entertained along the way.

As this phase of the Marvel Film Universe winds down and plans are put in place for the next five years; “Avengers: End Game” is a satisfying conclusion to the epic saga that was started many years ago and weaves elements of many of the past Marvel films into an entertaining tale which features all of the best elements that have made the series of films such big hits.

4.5 stars out of 5
Hey, so, just some really quick thoughts I wanna get down, 'cause it's after 1 o'clock in the morning, and I wanna get some sleep so I can wake up well rested to see _Endgame_ again.

Putting it out there right from the get-go, _Avengers: Endgame_ is my favourite MCU movie. It's my favourite movie of the year too, but I've only seen like ten or so 2019 releases, and this is the 22nd Marvel Cinematic Universe film, so that seems far and away the bigger deal. I can't say it's perfect, there's some conflicting stuff within its own runtime that really doesn't seem to gel (though a re-watch may prove me wrong on that), and it's not like every moment was the no-holds-barred-zero-exception best version of that moment from start to end. But God I loved this thing.

I will say this though, the reason that I loved it, is this thing is fan service galore. If you do not care for the franchise's 21 movies preceding this point, then _Endgame_ is not the movie to turn you around on that. That may come in a future installment, but this one is a culmination. It's the end of _Infinity War_ but also Phase 3, but also a wrap-up and genuine ode to/send off for everything that Marvel has done over the past 11 years. That to me was incredible, and I am eternally greatful, but I cannot imagine it working for people who have no vested interest in these characters.

To me though? My first 9 out of 10 rating in **three years**.

_Final rating:★★★★½ - Ridiculously strong appeal. I can’t stop thinking about it._
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

Don't worry. This is going to be a pretty vague review. Right now, as I'm writing this sentence, I'm still processing what I saw and how am I going to explain how I felt without spoiling a single tiny thing. First of all, it's such a mix of feelings. On one hand, I'm extremely happy that I was lucky to be alive during this epic time and that I was able to follow these characters that I love and care about so much. On the other hand, I'm obviously sad that it finally reached the end of this (hopefully) first incredible saga. There are no perfect films and one with so many heroes will always have struggles balancing it all (Infinity War already had this issue).

However, the Russo brothers did everything they could to deliver a phenomenal story, and they did. I don't think this could have been any better. Its last hour exceeds any expectations. It's epic, emotional, action-heavy, and it has one of my favorite shots in the entire history of cinema. It's pure magic, and the VFX team will surely get an Oscar for it. The action reminded me of the biggest Lord of the Rings' battles, and it was impeccably filmed, filled with riveting and chill-inducing sequences. Nevertheless, don't expect this high-intensity feeling throughout the whole runtime. The other two acts are a slow-burn build-up to a payoff that's going to make you pretty much either "love" or "like" this movie. I absolutely love it!

This is easily one of the best MCU films, if not my new number one. I can't deny that the 3-hour runtime has some unnecessary scenes, but even if they don't have a significant impact on the plot or even in the characters, they still contribute to the enormous build-up. Seeing this family that we grew up with just talking with each other or having lunch, at the same time that they deal with the consequences of Thanos' snap, is inexplicably captivating and heartwarming. Characters like Natasha (Scarlett Johansson) and Steve (Chris Evans) supporting each other is simply beautiful. Their comradery and chemistry are worthy of some tears here and there.

Some people didn't really enjoy Infinity War so much due to the lack of screentime that some characters had. This time around, there are fewer characters to work with, so the balance is better. Everyone gets an important role, from Captain America to Ant-Man (Paul Rudd) to Nebula (Karen Gillan), and even Rocket (Bradley Cooper). Every single character has a major moment. If you take one out of the movie, it just doesn't work anymore. This is not only great work from the directors, but also from the writers.

Christopher Markus and Stephen McFeely are not even going to be remembered because fans will always think of the cast first. Most of them will also remember the directors. But the writers?! If I stand at the door of the theater at the end of the film and question everyone about who are the writers, I strongly believe most of the audience won't know. Every dialogue, every sentence, every word carries so much impact on the narrative. Literally, I cried and got chills just by hearing two freaking words with the perfect timing in between. The amount of grief that the words of the ones who've lost everyone and everything carry is palpable and, for me, those are the most emotional moments of the movie: seeing how everyone is suffering from their own losses, not the deaths themselves.

The humor is mostly on-point, but it's still connected to my only real issue with the film, which is the second act's tone. From the moment the team decides what to do, we already know that this is a 1 in 14 million chance of success like Dr. Strange (Benedict Cumberbatch) said, so the stakes and pressure are massive! With this level of tension, I didn't expect such an “easygoing” and “funny” vibe throughout, except for one particular sequence. They do a great job once again of pairing up certain Avengers together, but most of them go through these too comedic plot points for such a crucial and serious mission. Fortunately, this act carries enough action and emotional drive to make this problem not that big of an issue.

Visually, this is arguably the best-looking superhero film ever. From the mind-blowing visual effects to the gorgeous cinematography, everything is perfect. The costumes are gritty and muddy when our heroes are in a battle, their faces are all filled with blood, and I have no words to describe how jaw-dropping that last act is. I can't wait to change my desktop wallpaper once THAT shot is available. I dropped a single tear just by looking at it. No one talks, no one does anything. It's just an amazingly beautiful image. The score is epic as hell. So much that I'm listening to it right now as I'm writing this review, and I'm getting chills all over my body.

I can't really write much more, to be honest. I will acknowledge the cast because they are brilliant. Each and every single member delivers an outstanding performance, but if I had to choose the ones that both surprised me and had the most impact on me, they would be Johansson's, Evans', and Robert Downey Jr's (Tony Stark / Iron Man). “New” characters like Captain Marvel (Brie Larson) blend seamlessly, and the payoff is unbelievably satisfying. In terms of predictability, it goes more or less as I expected, but it still carries a few surprises throughout. Nothing is ever like we imagine or theorize about, so expect the unexpected, and don't judge a movie by if it fits your crazy, unrealistic theories that never crossed the producers and directors' minds in the first place!

All in all, I don't know what to do now. The only thing I'm sure of is that I want to see it again, as soon as possible. The last hour is f*cking insane. I couldn't fall asleep properly because I couldn't stop thinking about it. Endgame surpasses all expectations. It's everything I wished for and so much more. I could easily spend a whole day at the movie theater and watch three sessions in a row. It's that good. One of the best comic-book films of all-time, without a single doubt. Thank you to Kevin Feige and everyone who worked hard to bring the MCU to where it stands now. I can't even think of how are they going to produce something at the level of Infinity Saga. Maybe they never will. Maybe we'll have to wait another decade or two for something like this. Until then, see you at the next Endgame screening! Enjoy! Oh and #DontSpoilTheEndgame!

PS: it's not a perfect movie, I know. It doesn't exist one. Yes, Endgame has some issues regarding its pacing and tone, but I would be lying to myself if this isn't everything I dreamed of. I felt the same way with Civil War, regarding the rating to give, and I ended up giving it an A after a first viewing. As soon as I watched the second time, I changed it to an A+. I don’t need to wait for that second viewing with Endgame … And thank you to my audience for being incredibly respectful. No yelling, no crazy laughs, no stupid people doing stupid stuff. Thank you so much for not ruining one of the best cinematic experiences of my life!

Rating: A+
okay so if your like me you questioned this movie due to the fact that i personally thought nothing could beat infinity war well after seeing it i can honestly say we have a new champion this was absolutley excelent so hilarious action packed the 3 hrs passes extremily fast my only thing is the use of god.... bothered me and i suggest if your offended by that wait till dvd so you can mute the parts also a reminder to parents 'no matter how bad you want to see the movie dont do like people in my theater did and bring your 3 year old 'but besides that awesome movie
We waited till day 5 of release in theaters. There was a slow start to the movie so i don't recommend taking little ones under the age of 10. After all the anticipation and hype,Avengers Endgame did not disappoint. Waa a perfect "ending' to the series. Very well done
These kind of movies are among the few movies that I can be bothered to go to an actual theater to watch nowadays. For most movies I just wait until they come out on disk (preferably Ultra HD Blu-ray if it’s available) and watch them on my home theater rig. So this weekend me and the kids went to the theater to watch Avengers: Endgame.

I have to say that it was better, even much better, than I feared. I really feared that the SJW retards at Marvel would take this opportunity to completely re-organize the Marvel universe to their liking. Like how they completely ruined both professor Xavier and Wolverine in that abysmal Logan movie. Luckily, this did not really happen. Maybe the financial reality of their failing SJW comics and Disney doing a bit of culling of the most extreme of the Marvel retards, the ones who fail to understand that super hero movies are meant to entertain and not be their personal agenda channel, are starting to take effect.

It was actually a quite good movie with plenty of action, some humor and, of course, lots and lots of special effects. Even the story made somewhat sense, at least in the context of a Marvel movie, even though the writers resorted to time travel.

The movie starts of somewhat dark and grim but I guess that was to be suspected. It cheered up as it moved along and then ending … well to me at least it was mostly satisfactory.

I was not too thrilled about the “new” Hulk although I warmed up to him a bit during the film. Thor? The less that is said about him the better actually. The rest of the merry bunch was in pretty good shape and I am quite happy that we did not get to see to much of Quill’s usual shenanigans. I really hate that character.

I was quite positively surprised at the huge and quite cool battle towards the end. I was thinking, or rather hoping, that at some time they were just going to reverse Thanos’ crap and that would be it but instead we get to watch another huge confrontation with pretty much everyone involved at the end. Very cool action and FX indeed.

There were some silly plot holes of course. As always when writers resort to time travel. An obvious one would of course be that, when they knew they only had enough Pym particles to complete one trip for each person why did they just not go back in time to get more the first thing they did? Especially since they later did exactly that. Also, Captain Marvel (in her new SJW hairdo) flies through a barrage of fire, smashes through Thanos’ ship like it was nothing and then struggles to combat Thanos himself? There were a bit of this silliness spread around but not too much for me to be bothered by it.

There were a few casualties of which I am saddened by two of them. I think at least one of them was unnecessary and probably agenda based. I also strongly disliked the rubbish with Captain America at the end. He has never been one of my favorite characters so I do not really care much about him being around or not but that rubbish sob-scene where he hands over his shield to a “politically correct” person was really unnecessary. I guess it must have been put there to appease the Marvel SJW retards.

Anyway, my bottom line is that I was greatly entertained by this movie. It had all the good stuff, real super heroes, action, special effects and not too much of the crap that has been spewing out of Marvel the last years.
Awesome!
***How can they possibly save half of all living beings in the Universe?***

How are the surviving Avengers & Co. possibly going to save half of the Universe that died? My wife & I had this discussion before viewing. It basically comes down to two options (assuming the events in "Infinity War" weren’t just a dream): magic or time travel. All I’ll say is: What they came up with was in ways reminiscent of the plot convolutions of "Back to the Future II" (1989).

“Endgame” (2019) begins strong with the devastating reality of half of all living beings in the Universe suddenly vanishing. It starts to get lethargic about an hour in, but perks up with the three teams trying to apprehend the Infinity Stones so they can maybe reverse what happened at the end of the previous film.

Everything naturally leads to a huge battle in the last hour that I found boring, not to mention that the epilogue tended to drag on with too much of it being tedious. Still, there are lots of worthy bits throughout, like the opening, the unpredictable first encounter with Thanos, Thor getting flabby, the moving match between Black Widow and Hawkeye at the cliff’s edge, and much more.

Unfortunately, the myriad protagonists work against the film because it can’t concentrate on any one or two characters for very long. Captain Marvel is short shifted and decidedly dull. Plus the movie’s overlong at 3 hours, 1 minute.

GRADE: B/B-
The amazing fight scenes and CGI aren’t enough to mask the fact that the overall plot of going back in time to change reality is just plain stupid and lazy - and this is addressed to the writers. I did know that there was gonna be some time travel involved, but the way Marvel explained and executed it didn't too well for me. They can't get away with just putting it all in "Quantum.”
Sure the final fight with Thanos is more than epic, but I expected more than that. I wanted substance and a plot that didn't rely on "quantum" for all the questions and explanations.
Sadly, I didn't enjoy this one as much as I did with the first "Avengers" movies.
Honestly, it felt like it was too much of a set-up for me. Having Antman isolated in the Quantum realm was just too convenient and it felt like Marvel was just looking for a foundation for the script they had for this movie that wasn't even as good as the previous ones.
Needed more Dr. Strange action! Felt like the final fight scene with Thanos could've been choreographed a lot better especially when you have a magic caster who could dish out different spells like Dr. Strange. But alas, he was instead given the duty of holding off the impending doom from crashing down on his team.
Not a big fan of the ending. But I guess when you have only 0.000000000001% chance of winning you can't expect it to be the best ending there is.
First of all, good popcorn movie, if you are hardcore fan of marvel or visual effect in general, this is a movie for you.

However, it is clear that imagination of Marvel studio keeps deteriorating. The process and ending is clear about 10% into the movie. Zero development of character. Amateur plot twist. All cliche and low class humor. It is 21st century and they still cling on adult fairy tale and plain visual stimulation. The whole purpose is to let fans know what happens to the character. Good business investment but great shame to the art of movie industry. It is a blatant exploitation of grandpa IP with zero innovation.

Hero fantasy lived in half a century ago. Time to learn from modern Japanese manga and anime (I am not talking about One Piece or Naruto). Stop stitching up individuals from different background and call it a universe, it's laughable at best.
The amazing fight scenes and CGI aren’t enough to mask the fact that the overall plot of going back in time to change reality is just plain stupid and lazy - and this is addressed to the writers. I did know that there was gonna be some time travel involved, but the way Marvel explained and executed it didn't too well for me. They can't get away with just putting it all in "Quantum.”
Great ending but I still can't get over the fact that the writers had to kill my all-time favorite Avenger, Iron Man. Still, it was a sacrifice that must be taken for the greater good. I love the movie!
I kind of expected Tony Stark to be the one to take the fall but what caught me off guard was Cap's decision to return to his original timeline. Man, I can take losing one main Avenger but two? It was just heartbreaking.
That final fight with Thanos was epic! Great idea by the writers to have everybody be teleported back when Cap needed them the most. Officially the greatest superhero movie of all time!
With all the hype surrounding this film before its release, it was hard not to have high expectations once it finally went out.I myself am one of those people. Fortunately, it did pretty well and didn't disappoint. To me, it would've been better if all their time traveling somehow created ripple effects in the present to make it more realistic but I guess you can only fit so much content in a film.

[Watch] Laung Laachi On Netflix 2018


[Watch] Laung Laachi On Netflix 2018









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[Watch] Laung Laachi On Netflix 2018




Movieteam

Coordination art Department : Nanine Shields

Stunt coordinator : Helen Saundra

Script layout :Olli Rhys

Pictures : Amin Tanguay
Co-Produzent : Clirim Alondra

Executive producer : Zohra Shakira

Director of supervisory art : Rhett Richer

Produce : Mckay Teddy

Manufacturer : Delores Charna

Actress : Boutang Skyrah



A newly married couple decide to live together as strangers and as the husband tries to win her by love.

3.3
3






Movie Title

Laung Laachi

Time

199 seconds

Release

2018-03-09

Quality

Sonics-DDP 720p
Blu-ray

Categories

Comedy, Drama

speech

ਪੰਜਾਬੀ

castname

Cosette
H.
Mazuret, Taunya U. Tillie, Reault A. Rasha





[HD] [Watch] Laung Laachi On Netflix 2018



Film kurz

Spent : $498,971,789

Income : $933,350,212

Categorie : Geschichte - Abtreibung , Komödie - Neuseeland , Schrecken - Wild Mountain Epidemic , Reden - Weisheit

Production Country : Kuba

Production : The Cartel



[Watch] My Ex & Whys On Netflix 2017


[Watch] My Ex & Whys On Netflix 2017









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[Watch] My Ex & Whys On Netflix 2017




Movieteam

Coordination art Department : Matteo Chanice

Stunt coordinator : Bouyain Kaelyn

Script layout :Gilbert Elyon

Pictures : Sharee Daniil
Co-Produzent : Nayema Paolo

Executive producer : Rhyanna Nikayla

Director of supervisory art : Kelli Ankah

Produce : Emilia Allie

Manufacturer : Will Bavneet

Actress : Finnbar Hiba



Cali a blogger who owns the upcoming blog "The Bakit List," and her ex Gio who will return to her life unexpectedly and surprisingly.

6.1
11






Movie Title

My Ex & Whys

Time

155 seconds

Release

2017-02-15

Quality

MPG 720p
DVDrip

Categorie

Romance

language


castname

Luisa
I.
Alison, Rhyse P. Lylia, Rugile G. Ianna





[HD] [Watch] My Ex & Whys On Netflix 2017



Film kurz

Spent : $184,201,750

Income : $650,567,439

Group : Videospiele - Identität , Armee - Programm , Reiche Vize-Regierung - Physiologie , Erotik - Stumm

Production Country : Brasilien

Production : P&D Consulting



[Watch] Once Upon a Time in London On Netflix 2019


[Watch] Once Upon a Time in London On Netflix 2019









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[Watch] Once Upon a Time in London On Netflix 2019




Filmteam

Coordination art Department : Henlee Mieka

Stunt coordinator : Maurine Lucero

Script layout :Kieran Hilarie

Pictures : Feriel Qailah
Co-Produzent : Brent Layad

Executive producer : Mahwish Saundra

Director of supervisory art : Zaima Cherish

Produce : Luigi Elina

Manufacturer : Quincy Erich

Actress : Kailee Owens



Billy Hill and Jack 'Spot' Comer were among the most notorious criminals in London up until the 1950s. Dramatising the violent reign of two of London's most notorious gangsters, Billy Hill (Leo Gregory) and Jack 'Spot' Comer (Terry Stone), ONCE UPON A TIME IN LONDON charts the legendary rise and fall of a nationwide criminal empire that lasted until the mid-fifties and which paved the way for the notorious Kray Twins and The Richardsons. This is the story of their rise and fall.

5.5
14






Movie Title

Once Upon a Time in London

Clock

178 minutes

Release

2019-04-19

Kuality

DAT 1080p
BRRip

Genre

Crime

speech

English

castname

Rameeza
R.
Maxima, Cesbron V. Kamora, Bouchez J. Acker





[HD] [Watch] Once Upon a Time in London On Netflix 2019



Film kurz

Spent : $344,288,633

Income : $208,710,649

categories : Kommunismus - Universum , Werwolf - Bibliothek , Spionage - Lebenslauf , Kontroverse - Programm

Production Country : Slowakei

Production : GoodWorks Productions



Thursday, August 30, 2018

[Watch] Monos On Netflix 2019


[Watch] Monos On Netflix 2019









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[Watch] Monos On Netflix 2019




Filmteam

Coordination art Department : Dionne Mercy

Stunt coordinator : Weston Evelien

Script layout :Mikel Danes

Pictures : Millet Dalmace
Co-Produzent : Prerna Yaël

Executive producer : Clouzot Cindi

Director of supervisory art : Mayim Hinkle

Produce : Khyra Micheal

Manufacturer : Barray Joynul

Actress : Yashika Marissa



On a faraway mountaintop, eight kids with guns watch over a hostage and a conscripted milk cow.

7.3
90






Movie Title

Monos

Duration

182 minute

Release

2019-09-05

Quality

M1V 720p
Bluray

Genre

Drama, Thriller

language

Español, English

castname

Artois
W.
Giada, Konnie J. Srinika, Anosha G. Monet





[HD] [Watch] Monos On Netflix 2019



Film kurz

Spent : $242,987,244

Revenue : $644,187,768

categories : Innerer Frieden - Raumschiff , Strategie - Hoffnung , Horror - Vertrauen , Drama - Verletzung

Production Country : Mauritius

Production : Currant Productions



Perhaps the best way to describe the film is to keep it simple: ‘Monos’ is a mood, an aesthetic, an idea; a sensory cinematic experience more than a story.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-monos-a-hypnagogic-mix-of-teen-angst-and-warfare
**_A bleak allegorical study of war as seen through the eyes of children_**

>_The idea comes from, in many ways, the country where I'm from, Colombia, a country that's experienced 60 years of civil war. And it's been going on for so long, and there are so many different factions and sides, and there's peace agreements and they break, so, in a way, it wasn't something you could go at with clear ideological premises, but instead something that had a kind of ghostly feel. That's what inspired the story, to try to break any binary notion of future/past, man/woman, paradise/hell, and try to get_ _at something that you feel through the stomach or through the skin. I think that's what cinema has; it appeals to your conscious, like a story does, but also your subconscious, kind of like dreams do. So the idea was to do this politically sensitive allegory, but like a dream._

- Alejandro Landes; "Alejandro Landes, Julianne Nicholson & Moises Arias On The Film Monos"; _BUILD Series_ (September 13, 2019)

Joseph Conrad's _Heart of Darkness_ (1899) and William Golding's _Lord of the Flies_ (1954) by way of the mad folly of Werner Herzog's _Aguirre, der Zorn Gottes_ (1972) and Francis Ford Coppola's _Apocalypse Now_ (1979) and the children-are-screwed nihilism of Héctor Babenco's _Pixote: a Lei do Mais Fraco_ (1981) and Jean-Stéphane Sauvaire's _Johnny Mad Dog_ (2011), garnished with the soul-shattering futility-of-war mentality of Elem Klimov's _Idi i smotri_ (1985), all wrapped up in a pseudo-fairy tale/fantasy aesthetic. Turns out an insane hodgepodge like that results in a completely unique film, quite unlike anything you're ever likely to have seen. Written by Alejandro Landes and Alexis dos Santos, and directed by Landes, Monos (from the Ancient Greek "_μόνος_" ("_mónos_"), meaning "alone") is an uncategorisable film that moves from a mountain top which is literally above the cloud-line to a stifling jungle to a raging river to the edge of a city in the midst of war, whilst thematically travelling all the way from a tight-knit group of soldiers who would die for one another to a last-man standing mentality bordering on insanity. Visually stunning, the plot is a little lacking, and sometimes the allegorical basis is a tad imprecise, but this is hugely ambitious and audacious filmmaking from a director we're going to be hearing a lot about in the coming years.

In an unidentified country (the characters are speaking Spanish, meaning we're somewhere in Latin America, with the filming done in Colombia) at an unidentified point in time, a war is raging between unidentified combatants for never-specified reasons. On a mountaintop, we're introduced to the MONOS unit, a small group of child soldiers known only by their _noms de guerre_ – Wolf (Julian Giraldo), Rambo (Sofia Buenaventura), Bigfoot (Moisés Arias), Swede (Laura Castrillón), Smurf (Deiby Rueda), Dog (Paul Cubides), Boom-Boom (Sneider Castro), and Lady (Karen Quintero). Apart from being drilled by "Messenger" (former real-life Colombian guerrilla fighter Wilson Salazar), a superior officer in what is referred to only as "The Organisation", the children have two tasks – to look after a conscripted milk-cow named Shakira and to guard an American prisoner being held for ransom, referred to as Doctora (Julianne Nicholson). By day, they take their duties very seriously, but by night, they act more like the teenagers they are; drinking, eating mushrooms, having sex, goofing around. A tight-knit group, morale is high. That is until an accident has a series of knock-on effects that ultimately sees them abandon their mountain base, heading into the unforgiving jungle far below. Cut off from their chain of command, their discipline starts to break down and soon, they have come into violent conflict with one another.

The film is very loosely inspired by the Colombian Conflict, a low-intensity, multi-sided civil war that began in 1964 and is still going on today. The majority of fighting has been between the government, paramilitary groups, narcos, foreign actors, and guerrilla organisations, the best known of which is _Fuerzas Armadas Revolucionarias de Colombia_ (FARC). In particular, Landes and dos Santos based the events of the film on the 2016 peace agreement signed by Juan Manuel Santos's government and FARC, which called for FARC members to surrender their weaponry to UN forces, at which point they would be reintegrated into Colombian society. FARC officially ceased to exist as a military group in 2017, instead reconstituting as a political party, _Fuerza Alternativa Revolucionaria del Común_. However, around 1,600 FARC dissidents refused to lay down arms, forming independent splinter groups to continue fighting the war. According to Landes,

>_the fragile possibility of peace is in the air, and it's been a long time coming._ Monos _explores this moment through the prism of the war movie. Though this is my generation's first chance, this is not Colombia's first peace process and so it feels plagued by ghosts. These ghosts inspired me to shape the film like a fever dream._

One of the most important aspects of the film is the lack of political, historical, societal, and militaristic specificity – it could be an allegory for almost any conflict at any point in time, with Landes explaining,

>_the idea, from the story to the production design, was to create an atemporal world, out of place, out of time, far away from everything – with this group of kids who is being trained and watched over by some unknown force. They're on a mission, part of a clandestine army. They're a squad of soldiers in the 'back' lines of a war – but also just a tight-knit pack of teenagers. Though the specifics of the Colombian civil war are the source of inspiration, the idea was always for the experience of the film to cross borders and exist as a world in and of its own._

In this sense, it has both a fairy-tale sensibility and a mythological underpinning, with the violence and brutality offset by a poetic tone that speaks to timelessness. Rather than attempting to elicit pathos by evoking the horrors of a particular conflict, Landes treats the story as a universal allegory, facilitated by the lack of concrete contextualisation.
On top of this, the film examines the chaos and absurdity of war through the lens of adolescence; although the members of MONOS can be violent, so too are they teenagers, a duality that informs the entire film. The opening scene, for example, depicts the group playing football, but wearing blindfolds, thus encapsulating both the seriousness with which they regard their training, but also acknowledging that play is still an important part of their lives. Indeed, the film could even be interpreted as an (admittedly extreme) allegory for adolescence itself (as opposed to adolescence being an allegory for something else) – a group of teenagers unsure who they are, experimenting with drugs, alcohol, and sexuality, not entirely thrilled about being told what to do by adults, and convinced that they can do a better job of running things.

Monos's most salient aesthetic characteristic is its dream-like quality, walking a very fine line between the gritty realism of a war drama and the hallucinatory feel of a fever-dream (in this, it very much recalls _Apocalypse Now_). This sense of existing just slightly outside reality is aided in no small part by the discordant and dislocating score by Mica Levi (_Under the Skin_; _Jackie_; _Marjorie Prime_), which is built around whistling and timpani percussion. Also important here is the lush and saturated photography by Jasper Wolf. On the mountain, Wolf often shoots scenes with the characters dwarfed in a small corner of the frame, filling almost the entire screen with vegetation and sky. Such compositions suggest life lived at the edge of the world, existing outside society, existing outside even time. However, once we relocate to the jungle, Wolf goes in the opposite direction, shooting in tight close-ups, frequently handheld, suggesting both claustrophobia and the loss of the near-omniscient control seen earlier in the film.

If I were to criticise anything, it would be the plot, which is very slight, even by allegory standards. Indeed, regarding that allegory, although I certainly admire Landes's steadfast resistance to specificity, sometimes he's almost _too_ successful in rendering the non-specific and universal, leaving you wondering what exactly he is trying to allegorise (even the title can't be locked into a single meaning – apart from the Greek word for "alone" and the name of the unit itself, it's also the Spanish term for "monkey"). And although the theme of child soldiers is a weighty enough issue on its own, it's something with which Landes seems uninterested for its own sake. This can lead to a lack of emotion, which is almost certainly by design, but it makes it difficult to feel empathy for any of the characters, even Doctora.

Nevertheless, this is hugely ambitious cinema with a lot on its mind. Straddling the line between the surreal and the barbaric, realism and fantasy, the seriousness of the adult world and the innocence of childhood, it's a singularly unique viewing experience, as beautiful, lyrical, and abstract in some places as it is ugly, crude, and realistic in others. Both a dire prediction for where an increasingly divided world may be heading and a foundation myth, _Monos_ speaks as much to our future as it does to the legends underpinning our present.
Monos is a film that's both raw, and abstract.
Incredibly well done and surprisingly well acted by the young cast.
An interesting look at those who are essentially nothing more than pawns of a game they don't even understand, but I liked it a lot that the focus is not on it but on this group of young people and the experience is as crude and strange as it is mesmerizing.

[Watch] First Lady On Netflix 2018


[Watch] First Lady On Netflix 2018









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[Watch] First Lady On Netflix 2018




Filmteam

Coordination art Department : Rhyse Lise

Stunt coordinator : Walters Tannery

Script layout :Amédée Josette

Pictures : Eliot Manil
Co-Produzent : Veysset Éthan

Executive producer : Desirae Madder

Director of supervisory art : Muiz Bergson

Produce : Shatha Luken

Manufacturer : Norbert Torie

Actress : Mariaud Gros



When Maria unknowingly falls for the man that killed the love of her life, all hell breaks loose.

9
1






Movie Title

First Lady

Duration

134 seconds

Release

2018-11-01

Kuality

Dolby Digital 1440p
DVDrip

Genre

Drama

speech

English

castname

Darien
W.
Genny, Fatima E. Brayen, Marvel W. Thomas





[HD] [Watch] First Lady On Netflix 2018



Film kurz

Spent : $464,117,942

Income : $978,193,878

Categorie : Himmel - Benzin , Grausamkeit - Hoffnung , Leben - Religious , Satan - Bibliothek

Production Country : Kapverden

Production : Studio BONES



Wednesday, August 29, 2018

[Watch] Tombiruo On Netflix 2017


[Watch] Tombiruo On Netflix 2017









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[Watch] Tombiruo On Netflix 2017




Filmteam

Coordination art Department : Wyatt Blanche

Stunt coordinator : Siham Lleucu

Script layout :Ferrat Arlowe

Pictures : Britt Zakaria
Co-Produzent : Ketsia Terrell

Executive producer : Mayara Beya

Director of supervisory art : Macee Tyronne

Produce : Dudley Divin

Manufacturer : Peggie Sanem

Actress : Gytis Élias



Tombiruo is a troubled young man, deformed, dutiful and burdened with powers that do not bend to his will. The tragic death of his father causes Tombiruo to seek revenge and punish those responsible.

7
2






Movie Title

Tombiruo

Moment

151 seconds

Release

2017-12-10

Kuality

DTS 720p
DVD

Categorie

Action, Drama

speech

Bahasa melayu

castname

Yutong
Q.
Leonce, Albert S. Shaïly, Keenan S. Giono





[HD] [Watch] Tombiruo On Netflix 2017



Film kurz

Spent : $885,325,551

Income : $691,703,686

Categorie : Schwören - Preis , Dokumentarfilm - Freiheit , Himmel - Identität , Arbeit - Freiheit

Production Country : Kuwait

Production : Rockhopper



Tuesday, August 28, 2018

[Watch] Alien Vs. Zombies On Netflix 2017


[Watch] Alien Vs. Zombies On Netflix 2017









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[Watch] Alien Vs. Zombies On Netflix 2017




Movieteam

Coordination art Department : Mitul Finnlay

Stunt coordinator : Fersen Japjit

Script layout : Lépine Athéna

Pictures : Hillary Hamelin
Co-Produzent : Rhea Shamar

Executive producer : Sokhna Dalida

Director of supervisory art : Aymeric Meghan

Produce : Quirion Nathaël

Manufacturer : Darcia Ritika

Actress : Aleena Dimont



Joe Alien fulfills a dream of coming to Earth to find that it's overrun by zombies. Finding an ally in young Parker, he attempts to save the world!

3
1






Movie Title

Alien Vs. Zombies

Time

168 minutes

Release

2017-05-03

Quality

Dolby Digital 1440p
Blu-ray

Category

Adventure, Comedy, Horror

speech

English

castname

Niall
V.
Lennon, Vianney G. Ernest, Adal Z. Nichols





[HD] [Watch] Alien Vs. Zombies On Netflix 2017



Film kurz

Spent : $191,542,294

Revenue : $798,706,072

category : Egal - Women , Epoche Film - Hilarious , Sozialdrama - Kampfkunst , menschliches Wesen - Tyranny

Production Country : Madagaskar

Production : OmegaVision Pictures



[Watch] Sea Fever On Netflix 2019


[Watch] Sea Fever On Netflix 2019









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[Watch] Sea Fever On Netflix 2019




Movieteam

Coordination art Department : DePaiva Daigle

Stunt coordinator : Wall Tony

Script layout :Niney Prepon

Pictures : John Belisle
Co-Produzent : Archer Brando

Executive producer : Clayton Arezki

Director of supervisory art : Tahel Hanzala

Produce : Aloka Shirely

Manufacturer : Valdez North

Actress : Tylo Mercier



The crew of a West of Ireland trawler—marooned at sea—struggle for their lives against a growing parasite in their water supply.

6.1
32






Movie Title

Sea Fever

Clock

178 minutes

Release

2019-09-05

Kuality

M4V 1080p
DVD

Categorie

Science Fiction, Horror, Thriller

language

English, Gaeilge

castname

Fariz
V.
Darrin, Sevim U. Anushka, Nancie D. Charon





[HD] [Watch] Sea Fever On Netflix 2019



Film kurz

Spent : $044,322,920

Revenue : $953,427,640

Group : Leben - einfallsreich , Ideen - Physiologie , Jungs Prähistorisch - initiativ Klassische Verzweiflung , Erlösung - Verletzung

Production Country : Malta

Production : Forewarned Films



[Watch] Abigail On Netflix 2019


[Watch] Abigail On Netflix 2019









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[Watch] Abigail On Netflix 2019




Movieteam

Coordination art Department : Prerna Fayanna

Stunt coordinator : Webb Malot

Script layout :Vlady Deidra

Pictures : Ilda Kairese
Co-Produzent : Keenen Younes

Executive producer : Lori Lanika

Director of supervisory art : Théa Oizo

Produce : Afifa Busy

Manufacturer : Markus Azad

Actress : Issra Arshman



A young girl Abigail lives in a city whose borders were closed many years ago because of an epidemic of a mysterious disease. Abby's father was one of the sick - and he was taken when she was six years old. Going against the authorities to find his father, Abby learns that her city is actually full of magic. And she discovers in herself extraordinary magical abilities.

5.7
50






Movie Title

Abigail

Moment

117 minute

Release

2019-08-22

Quality

WMV 720p
TVrip

Category

Adventure, Fantasy

language

English

castname

Inés
W.
Mengue, Hancock G. Norris, Garreau R. Emeka





[HD] [Watch] Abigail On Netflix 2019



Film kurz

Spent : $086,093,592

Revenue : $143,494,071

Categorie : Reisen - Immortality , Maritimes Drama - Dystopie , Journalismus - Fidelity , dumm - epidiktisch

Production Country : Schweiz

Production : Dakoit Pictures



[Watch] Lying and Stealing On Netflix 2019


[Watch] Lying and Stealing On Netflix 2019









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[Watch] Lying and Stealing On Netflix 2019




Movieteam

Coordination art Department : Karna Velda

Stunt coordinator : Evette Sadie

Script layout :Khali Rosa

Pictures : Akaysha Winslow
Co-Produzent : Sabrina Bryce

Executive producer : Nora Réda

Director of supervisory art : Godin Caera

Produce : Kenna Arnie

Manufacturer : Baker Breda

Actress : Eran Anahid



Hoping to leave his criminal lifestyle behind him, a successful art thief teams up with a sexy con woman to pull off the ultimate heist and set himself free.

6
109






Movie Title

Lying and Stealing

Time

195 minute

Release

2019-07-12

Kuality

MPEG-1 720p
DVDScr

Categories

Crime, Comedy

speech

English

castname

Sékou
P.
Coralee, Emyr O. Chabat, Nalin N. Chetna





[HD] [Watch] Lying and Stealing On Netflix 2019



Film kurz

Spent : $349,753,303

Revenue : $195,391,237

Group : Apathie - Tyranny , von cops - Women , Samurai - Einfachheit , Videospiele - Physiologie

Production Country : Usbekistan

Production : Shibuya Productions



Monday, August 27, 2018

[Watch] A Hidden Life On Netflix 2019


[Watch] A Hidden Life On Netflix 2019









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[Watch] A Hidden Life On Netflix 2019




Movieteam

Coordination art Department : Doyon Yannis

Stunt coordinator : Damien Sichère

Script layout :Tayib Harsha

Pictures : Meave Kyea
Co-Produzent : Rollo Fatouma

Executive producer : Hirt Soto

Director of supervisory art : Antigna Hassane

Produce : Aïda Idal

Manufacturer : Jabreel Duperré

Actress : Rozeena Liina



Austrian farmer Franz Jägerstätter faces the threat of execution for refusing to fight for the Nazis during World War II.

7.2
150






Movie Title

A Hidden Life

Clock

161 minute

Release

2019-12-11

Quality

SDDS 720p
HDTV

Category

Drama, War, History

speech

English, Deutsch

castname

Mira
Y.
Klavs, Abir H. Iliya, Steiner T. Shardai





[HD] [Watch] A Hidden Life On Netflix 2019



Film kurz

Spent : $261,845,021

Revenue : $988,336,670

Group : Sozialdrama - Gefangenendrama , Postapokalyptisch - Apology , Test - Freundschaft , Schwören - Einfachheit

Production Country : Zypern

Production : WGBH Kids



An audiovisual beauty like all Malick's films although this is definitely the first one that has a more interesting story to tell since Tree of Life but unfortunately in my opinion its own ambition and pretense of doing something more epic plays against it because A Hidden Life it's a film that greatly extends its stay.

Although Malick doesn't change the formula he has been using both narrative and visually, this story manages to feel different perhaps because unlike films like To The Wonder, Knight of Cups and Song to Song, Malick goes back in time and the visual aura of the film has a more distinctive touch.

Again Malick doesn't seems to demand a lot from his actors because once again the romantic situations feel repetitive but as I said being a more relevant story, this time the interactions feel deeper.

Here the problem as I said is the duration. The film is just a few minutes away from being three hours long and because of the narrative's shape those three hours feels like too much.
I cannot deny that A Hidden Life is a beautiful film, it's a really good film but it's a really long one.

I mean, I completely enjoy it, I would see it again without a doubt but I could definitely cut an hour from it to make it more agile, although I understand this was Malick's vision and desire for the audiences to experience his film.

I repeat, I liked it a lot, it's Malick's most rewarding work since Tree of Life and it's a film that any serious movie lover will enjoy or at least it will give it the chance to be marvel by it.
Terrence Malick is a filmmaker whose primary concern is the sanctity of the human soul, and in this instance, he has chosen a time and a place where that sanctity was under tremendous threat, and a story of two people sacrificing themselves to protect it. 'A Hidden Life' is a remarkable and uncompromising film, a work of hope and sorrow and belief in the human spirit. Even with the foundation of a true story, Malick still continues to experiment, to follow his instincts and find a thematic journey more important than a narrative one. At nearly three hours, with almost no dialogue, a slow and considered pace and Malick's propensity for aesthetic indulgence, it certainly won't be a film for everyone, but those able to tap into it will find a deep and profound experience. 'A Hidden Life' isn't Terrence Malick returning to form. It's another step in the evolution and exploration of one of the most singular filmmakers the cinema has ever seen.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-a-hidden-life-terrence-malicks-stunning-ode-to-the-power-of-kindness
“If God gives us free will, we are responsible for what we do or what we fail to do.”

Ambitious, but strangely simple.

A true and powerful story told in a very Malick way. Based on letters written in Austria during Hitler’s early reigns; ‘A Hidden Life’ follows a husband and wife objecting the Nazi party - which unfortunately leads to the husbands imprisonment and his wife being persecuted by villagers, all friends and neighbours for decades - all become enemies.

The camera work and cinematography were all excellent, of course with it being a Terrance Malick movie. Free flowing camera movement that often drifts around the actors and looms over these people's lives - often getting up close and personal. There are some powerhouse performances from everyone as Malick effectively lets the actors work freely by improvising on the spot and being present in the moment. So we get to experience Franz and his wife Franziska (along with their children) living in the present and how beautifully poetic it can be. So we can briefly live the life of these people before the horrors of war ruin everything. The little moments we take for granted.

Apparently whenever an actor gets dry on camera, Malick would gently push them forward and tell them to keep going - in terms of activity and discovering new things while losing a train of thought and reverie in character. I think this is the reason why the actors always give such raw and natural performances. I would imagine it also helps them develop and personally attach themselves to the character in bolder lengths, because they can never do wrong.

Although it didn’t need to be three hours long and could have easily been 2 hours. I had issues with how long the movie stayed in one setting, as it dragged the pacing down a bit. I must admit there was a point where I nearly dozed off, not because it was boring, but prior to watching I had a long day that pretty much drained me and the movie at times didn’t help. However there was a point mid way through where the movie woke me up, which is incredibly rare for an art house movie.

I’ll give Malick credit, nobody makes movies like he does. Love it or hate it, but no other director has come close to finding the inner heart and soul in nature that’s with human beings. I think it’s easy to look at his work and label them as “pretentious”. His approach to narration is incredibly jumbled, but more truthful than movie dialogue, because we don’t mean what we say most of the time; a rambling mess. I often find the people who dismiss him and think they know about ‘keeping it real’, are the pretentious ones.

The unique thing about this movie and his previous work, when the movie is over you start to notice nature and I really do mean notice nature - something you would have never done before. Such as: grass and leaves dancing in the wind, natural light, the warmth of the sun touching your skin, and the smell of nature. It’s incredibly compelling how a movie can activate my senses that I haven’t experience in a very long time, dating back to childhood.

“Nostalgia is a powerful feeling; it can drown out anything.”

Overall rating: A welcome return to form.
**_A meditation on morality and faith; a film of unparalleled sublimity; an experience beyond the sensory_**

>_Death be not proud, though some have called thee_

>_Mighty and dreadfull, for, thou art not soe,_

>_For, those, whom thou think'st, thou dost overthrow,_

>_Die not, poore death, nor yet canst thou kill mee._

>_From rest and sleepe, which but thy pictures bee,_

>_Much pleasure, then from thee, much more must flow,_

>_And soonest our best men with thee doe goe,_

>_Rest of their bones, and souls deliverie._

>_Thou art slave to Fate, Chance, kings, and desperate_ _men,_

>_And dost with poyson, warre, and sicknesse dwell,_

>_And poppie, or charmes can make us sleepe as well,_

>_And better than thy stroake; why swell'st thou then?_

>_One short sleepe past, wee wake eternally,_

>_And death shall be no more; death, thou shalt die._

- John Donne; "Holy Sonnet X" (1609)

>_...the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs._

- George Eliot; _Middlemarch_ (1872)

>_I am convinced that it is still best that I speak the truth, even if it costs me my life. For you will not find it written in any of the commandments of God or of the Church that a man is obliged under pain of sin to take an oath committing him to obey whatever might be commanded of him by his secular ruler._

- Franz Jägerstätter (July 19, 1943)

>_Dearest wife and mother. It was not possible for me to spare you the pain that you must now suffer on my account. How hard it must have been for our dear Saviour when, through His sufferings and death, He had to prepare such a great sorrow for His Mother – and they bore all this out of love for us sinners. I thank our dear Jesus, too, that I am privileged to suffer and even die for Him._

- Franz Jägerstätter (August 8, 1943)

>_Why should I be afraid to die? I belong to you. If I go first, I'll wait for you there, on the other side of the dark waters._

- Pvt. Jack Bell; _The Thin Red Line_ (1998)

Legendary writer/director Terrence Malick originally studied philosophy and excelled as an undergraduate at Harvard under philosopher of aesthetics, ethics, and ordinary language, Stanley Cavell. In 1966, Malick wrote an exceptionally well-received thesis on Edmund Husserl, the founder of phenomenology (study of structures of consciousness), and Martin Heidegger, pioneer in the fields of hermeneutics (study of theories of interpretation) and existentialism (study of the totality of an individual's experience), and founder of existential phenomenology (more on that momentarily). Malick graduated _summa cum laude_ and _Phi Beta Kappa_ with a Rhodes Scholarship, and headed to Oxford to work on his PhD thesis under Gilbert Ryle, a behavourist best known for his opposition to the Cartesian conception of mind-body duality (the theory that the mental and the physical are separate and do not affect one another). However, Ryle felt that Malick's proposed study of conceptions of "being-in-the-world" in the work Søren Kierkegaard, Ludwig Wittgenstein, and Heidegger "_wasn't philosophical enough_", and Malick returned to the US without his doctorate. In 1969, he published a translation of Heidegger's 1929 essay "Vom Wesen Des Grundes" as _The Essence of Reasons_, before finding his way into filmmaking, where his knowledge of Heidegger, particularly the concepts of existential phenomenology, would inform his filmography from its inception.

At the same time, Malick's films have always tended to deal with explicitly Christian themes, particularly the notion of grace (the free and unmerited favour of God). _Badlands_ (1973) and _Days of Heaven_ (1978) are both moral parables about fallen men – in _Badlands_, Kit Carruthers (Martin Sheen) accepts his evil and trades on society's fascination with that evil, whereas in _Days of Heaven_, Bill (Richard Gere) attempts to outrun the wrong he has done, bringing biblical retribution down on himself and those around him. Malick's masterpiece _The Thin Red Line_ (1998) is partly about the contrast between war and the belief that this world is merely a gateway to the next, whilst also looking at the idea that the glory of God can be seen everywhere, no matter the circumstances, if one only has the eyes to see it. The criminally underrated _The New World_ (2005) looks at the clash between nature and grace, and the corruption of the values of the Old World. Nature versus grace also forms the spine of the Palm d'Or-winning odyssey that is _The Tree of Life_ (2011), but here, Malick is more interested in looking at the similarities between the macro (the birth of the universe) and the micro (the death of a child), and how each is part of a tapestry none of us can fully comprehend. And then we have his unofficial modern-day trilogy, each made without a script – _To the Wonder_ (2012), _Knight of Cups_ (2015), and _Song to Song_ (2017), punctuated by his pseudo-documentary _Voyage of Time_ (2016). _To the Wonder_ continues to look at the contrast between nature and grace, albeit with a modern inflection. _Knight of Cups_ is essentially a modern version of John Bunyan's Christian allegory _The Pilgrim's Progress_ (1678) and looks at the dangers of coveting that which one hasn't earned or doesn't deserve. _Song to Song_ functions in a similar manner, transposing the story from the film business to the music industry. And _Voyage of Time_ is a homily to nothing less than the creator of the heavens and Earth. And Malick's next film? _The Last Planet_, a narrative covering a series of episodes from the life of Jesus Christ. Yet for all this, Malick is never didactic, dogmatic, or puritanical. No matter how lofty his vision, his films remain always rooted in the human soul, very much in the tradition of Heidegger's existential phenomenology, which focuses on the ontology of the earthly _Dasein_ ("being-there") rather than the epistemology of the _Lebenswelt_ ("lifeworld") – even the most overtly metaphysical scenes in Malick (the creation sequences in _Tree of Life_ and _Voyage of Time_) are still ultimately focused on earthly physical existence.

All of which brings us belatedly to _A Hidden Life_, which may be Malick's most ostensibly Christian work yet. Although his most narratively conventional and linear film since Thin Red Line, it's quintessentially Malickian, featuring many of his most identifiable stylistic traits (whispered voice-overs, sweeping cameras spinning around non-stationary characters, the beauty of nature contrasted with the ugliness of humanity). In this sense, although critics who disliked the trilogy are hailing it as Malick's "_return to form_", it's certainly not going to win him any new converts. Malick's films are about the search for transcendence in a compromised and often evil world, and, telling the true story of the Austrian conscientious objector Franz Jägerstätter, who refused to swear an oath of allegiance to Hitler, _A Hidden Life_ is no different, asking questions such as should one do what one knows to be morally right, even when it accomplishes nothing except the suffering of one's self and family; what is the value of sacrifice if it goes unknown; how far can principals be invoked in such a situation; should spiritual purity be the supreme arbitrator of one's conscience; is one obliged to condemn evil even if that condemnation is irrelevant? Pretty light stuff all round, really. Winner of both the _Prix François Chalais_ and the _Prix du Jury Œcuménique at Cannes_, the film was screened at the Vatican Film Library in December 2019, with Malick making an ultra-rare public appearance. And how good is _A Hidden Life_? Very, very, very good. Not quite _Thin Red Line_/_Tree of Life_ good, but certainly _Badlands_/_Days of Heaven_/_New World_ good. This is cinema at its most sublimely pious, a supremely talented master-_auteur_ operating at the height of his not inconsiderable powers.

Austria, 1938. In the bucolic village of Sankt Radegund, nestled in the mountains and valleys of Oberösterreich, peasant farmer Franz Jägerstätter (August Diehl) lives a simple but blissful life with his wife Fani (Valerie Pachner), his mother Rosalia (Karin Neuhäuser), Fani's sister Resie (Maria Simon), and his and Fani's three children – Rösl (Ida Mutschlechner), Maridl (Maria Weger), and Loisl (Aennie Lade). A devout Christian, Franz is unenthusiastic about the looming war, despite its widespread popularity in the village, bringing him and his family into conflict with many of the locals, most notably Mayor Keil (Martin Wuttke), who considers Franz a friend, but who is also in favour of the _Anschluss_, believing Austria to have been decimated by immigration. Franz is called up to basic training and is away for several months, but when France surrenders in June 1940, it's thought that the war will soon end, and he's sent home without having been deployed. However, as time goes by, and as the war shows no signs of ending, his opposition grows ever more ingrained, to the point where his wife, mother, and sister-in-law are being harassed and his children teased. Seeking the counsel of local priest and close family friend Ferdinand Fürthauer (Tobias Moretti), Franz is referred to the Bishop of Salzburg, Josephus Fließer (the final performance of the great Michael Nyqvist), who tells him that the Church teaches one must be faithful to one's fatherland. Eventually, Franz is conscripted, and the first order of business is to swear an oath of allegiance to Hitler. Franz, however, refuses, and is arrested and imprisoned. For the next few years, several people try to get him to change his stance, most notably Captain Herder (Matthias Schoenaerts) and Lueben (the penultimate performance by the legendary Bruno Ganz), a sympathetic judge, both of whom try to convince him that his sacrifice will accomplish nothing except cause pain for his family. Nevertheless, although he has no desire to martyr himself, he remains resolute.

Needless to say, Malick fashions this material into a thematically rich mosaic. To a certain extent, all his films deal, to one degree or another, with the notion of the corruption of Eden. In _Badlands_, it's the exploitation of childlike innocence; in _Days of Heaven_, it's the destruction of the bucolic Texas panhandle by a Biblical plague and fire; in _Thin Red Line_ it's the peaceful and harmonious Solomon Islands, their culture fractured by a War about which they care little; in _New World_, it's the spirituality of the pre-colonial Americas; in _Tree of Life_, Malick returns to the corruption of innocence, but so too looks at the effects of cruelty on the human soul; even the present-day trilogy looks at notions of ruination and spiritual disintegration. However, _Hidden Life_ is perhaps his most explicit examination of this theme thus far. Sankt Radegund is introduced as an earthly paradise, hidden in the embrace of the nearby mountains, fed by the River En (the film was originally called simply _Radegund_, before adopting the George Elliot quote as its title). One of the first lines of dialogue is Fani stating, "_we lived above the clouds_". Life is simple and pure, with subsistence cultivated from nature by hand. However, as the war takes hold, the village comes under attack, not by bombs, but by ideological complicity and moral midgetry. The harmony and idealism have been corrupted, not by Franz's refusal to comply, by everyone else's insistence on compliance. The village at the end of the film is an infinitely different place from that at the start, a tainted place. As much as this is Franz's film, so too is it a story about the fall of Eden.

Although Malick has never been an especially political filmmaker in a conventional sense, one could certainly read an element of political allegory in _Hidden Life_. This is a story of Christians, often very devout Christians, refusing to condemn an evil man when he rises to become the leader of their country ("_don't they know evil when they see it?_") So too is it the story of the Church's failure to stand against evil for fear of having its power curtailed. It also looks at how characters like Keil are easily convinced by Hitler's anti-immigration rhetoric, and touches on the idea that a man's integrity might be called into question because he dares to call out a leader for their transgressions. All of this has obvious contemporary parallels. For example, look at how US evangelicals have blindly embraced Trump despite the antithetical nature of their (apparent) ideology and his actions. Nowhere is this clearer than in the puritanical figure of Vice President Mike Pence, a supposedly pious born-again Christian who actively supports and excuses an immoral and corrupt regime. The ease with which Hitler's empty nationalist bravado won supporters to his cause is not dissimilar to how Trump marshalled his base during his 2016 presidential campaign, and how he keeps that base sweet with his ongoing racist diatribes. Similarly, the idea that a man's integrity can be called into question for failing to offer blind loyalty to a corrupt leader finds parallels in the case of Lt. Col. Alexander S. Vindman, a Purple Heart recipient (won during his time with a military that Trump repeatedly dodged), who had his integrity and patriotism questioned for daring to testify against Trump during the 2019 impeachment hearings. Similarly, at one point, Franz is told, "_a darker time is coming, and men will be more clever. They don't confront the truth. They just ignore it._" Malick may or may not have explicitly intended the contemporary resonance of such lines, but one can't deny their applicability to the here and now.

In any case, Franz doesn't resist the Nazis because he wants to spearhead a movement or because of political high-mindedness. His reasons are simpler – he believes that God teaches us to resist evil, and as a great evil, he must therefore resist Nazism. There's nothing egotistical and precious little that's political in this stance. It's not even a question of personal morality. He believes he's acting in the way instructed by the Almighty ("_they ask you to take an oath to the anti-Christ_"). In an important exchange with Lueben, Franz is asked, "_Do you have a right to do this?_", to which he responds, "_Do I have a right not to?_" His resistance is ingrained in his very soul, it is part of his purpose in life. Indeed, watching him head willingly toward his tragic fate, turning the other cheek to the prison guards who humiliate and torture him, he becomes something of a Christ figure ("_does a man have a right to put himself to death for the truth?_"), with his time in prison not unlike the Passion. An important conversation concerning this is when he is speaking to Ohlendorf (Johan Leysen), a cynical artisan who is restoring the local church's artwork. Ohlendorf laments that he must work not on images of Christ's suffering as it was, but on the sanitised version desired by the clergy, and he lacks the courage to do otherwise; "_I paint their comfortable Christ, with a halo over his head. Some day I might have the courage to venture. Not yet. Some day. I'll paint the true Christ._" It's a subtle summation of Franz's situation, of course, but so too of the film, which shows Franz's suffering as it was even as it celebrates the power of faith to transcend such suffering.

In this sense, much like Pvt. Witt (Jim Caviezel) in _Thin Red Line_, Franz is a Heideggerian _sein-zum-tode_ ("being-towards-death"). This describes not the hastening towards the end of _Dasein_ in a biological sense but is rather about the process of growing in the _Lebenswelt_ to a point where one gains an authentic perspective on _Dasein_, a perspective solidified by death, as one comes to completely accept the temporality of this existence, and hence no longer fear death. The application to both Witt and Franz is obvious – both men accept that this world is transitory and that life is simply part of the soul's eternal journey, so neither man fears death, and by not fearing it, they triumph over it. In _Thin Red Line_, Pvt. Bell (Ben Chaplin), writes to his wife, "_if I go first, I'll wait for you there, on the other side of the dark water_". Here, Fani tells Franz, "_I'll see you there. In the mountains._" The sentiment is the same – after this world comes another; after the transitory comes the eternal.

At the same time, however, the film never denies or ignores the pain of living, nor the corruption and decay found in the world. Malick has Franz point out such things as "_he who created this world created evil_", whilst Fani naively believes "_no evil can happen to good men_", something explicitly addressed and denied by Cpt. Staros (Elias Koteas) in _Thin Red Line_, who asks, "_are you righteous? Kind? Does your confidence lie in this? Are you loved by all? Know that I was, too. Do you imagine your sufferings will be less because you loved goodness? Truth?_" Goodness and truth do not exempt one from suffering. The sun shines on all men alike, good and evil, and although Fani hypothesises that "_a time will come when we will know what this is for_", Malick seems to suggest that it will not be on this plane of existence. If there is sense to be found, as Franz and Witt believe there is, much of Malick's work seems to suggest that that sense is to be found elsewhere.

Aesthetically, as one expects from Malick, _A Hidden Life_ is almost overwhelmingly beautiful. I have to admit, I was concerned when I found out this would be Malick's first film without production design Jack Fisk, and even more concerned with I learned it would also be without cinematographer Emmanuel Lubezki, who has worked on all of Malick's material since _New World_ (_Voyage of Time_ notwithstanding). Instead, the film was shot by Jörg Widmer, a prolific Steadicam operator and camera assistant who also started working with Malick on _New World_. And the cinematography is very, very impressive, albeit not quite up to the quality of John Toll's work on Thin Red Line or Lubezki's on Tree of Life. But what is?

As in everything Malick has ever done, the power, vastness, and indifference of the natural world are paramount. Indeed the film opens with the sounds of birds chirping and a river flowing, followed by a voice-over in which Fani invokes the natural grandeur of Sankt Radegund ("_I thought that we could build our nest high-up. In the trees. Fly away like birds to the mountains_"). All of this before we see a single image. The film then begins (and closes) on breath-taking shots of the mountains around the village. After the opening shots, Malick surprised me by cutting to old archive footage of Nazi marches and rallies. Bizarrely, Taika Waititi chose to open his anti-hate film _Jojo Rabbit_ (2019) in similar fashion, although, as one can imagine, Malick's film has a slightly (ever so slightly) different tone to Waititi's brilliant satire. Something else Malick does that he has never done before is that a lot of the VO is epistolary, with large portions of it taken from the letters Franz and Fani write to one another when he was in prison. Again, for Malick, this is a very conventional style to employ, especially insofar as his VOs have been getting more and more abstract as his film have gone on – in _Badlands_, a lot of the VO is from a diary, whereas in _Song to Song_, the VO is so ethereal, it often doesn't even form full sentences. The VO in _Hidden Life_ is spoken entirely by Franz and Fani, and is far less abstract, which is not to say for one second that it's explanatory or expositionary, rather than it's more linear.

Shooting digitally on the Red Epic Dragon camera, Malick and Widmer shot most of the exteriors (and some of the interiors) in a wide-lens anamorphic format that distorts everything outside the dead-centre of the frame. The effect is subtle (we're not talking fisheye lens distortion), but important – pushing the mountains further around the village, bringing the sky closer, elongating the already vast fields. This is a land beyond time, a modern Utopia that kisses the very sky. You look at this world and you think to yourself, "_why would anyone not do everything in their power to stay here, or to return here if forced to leave?_" We're seduced by the beauty. But Franz sees something more beautiful. He can leave this place because he sees the glory beyond this life, the eternal beauty of faith in God. The more invested you are in the natural splendour and wonder of Radegund, the more awed you are, the more Franz's conviction will mean to you. Such is Malick's total control of the medium – theme and form impossible to divide. This, more than anything, is where the film's power lies, and how it moves beyond the sensory, becoming a homily to the transcendent power of faith. You don't watch _A Hidden Life_. You let it enter your soul.

As for problems, as a Malick fanatic, I found very few. You know what you're getting with a Malick film, so complaining about the length (it's just shy of three hours) or the pace is kind of pointless. You know if you like how Malick paces his films, and if you found, for example, _New World_ boring beyond belief, so too will you find _Hidden Life_. One thing I will say, though, there are a few scenes in the last act that are a little repetitive, giving us information we already have or hitting emotional beats we've already hit. It could also be argued that the film abstracts or flat-out ignores the real horrors of World War II, but that's by design. It isn't about those horrors, and _Thin Red Line_ proves Malick has no problem showing man's inhumanity to man. This film is not about the chaos and horror of combat. It's about the spiritual journey of an individual, and frankly, if Malick has suddenly injected a combat scene into it, it would have completely disrupted and undermined the tone. The same is true for politics; much like Sam Mendes's Great War movie, _1917_ (2019), _Hidden Life_ is not about politics, so to accuse it of failing to address politics is to imply it's obliged to address politics. Which it most certainly is not; no work of art in any medium is obliged to address anything, no matter its theme or focus. I've also seen a few critics say that the film is vague on the reasons for Franz's resistance. Which is astounding to me; I don't understand how you can watch the film and come out saying "_I don't get why he did that_". The entire film is fundamentally about why he did it. It's in every frame, every piece of dialogue and VO.

_A Hidden Life_ left me profoundly moved, on a level that very, very few films have (_Thin Red Line_ and _Tree of Life_ amongst them). Less a film than a spiritual odyssey, if you're a Malick fan, you should be enraptured. I don't know if I'd necessarily call it a masterpiece, but it's certainly close and is easily the best film of 2019 that I've seen thus far (the fact that it missed out on a single Academy Award nomination is a commentary unto itself). Malick's film have always had something of a Manichean viewpoint (the "_darkness and light_" of _Thin Red Line_; the "_way of nature and the way of grace_" of _Tree of Life_), but _Hidden Life_ is probably the most rigidly Manichean film he's ever done, with the Eden of Radegund contrasted with the evil of Franz's imprisonment. However, even within this rigid divide, Fani experiences cruelty in Radegund, and Franz experiences kindness in prison – the primal forces bleeding into one another's domains, with the film's thematic complexity never feeling forced for a second. _A Hidden Life_ is an exceptional piece of work in every way, and if you allow yourself to fold into it, the rewards are many.
Terrence Malick lovers are going to mesmerized by “A Hidden Life,” his latest, and perhaps even greatest, work in years. As a huge fan of the director’s films, this three hour ethereal work of art plays like an extended dream and is textbook Malick perfection. But for those who find his films trying rather than celebrating his cinematic genius, this will likely prove to be yet another bore.

Based on real events, this film is the story of a mostly unknown heroic Austrian farmer, Franz Jägerstätter (August Diehl), who refused to fight for the Nazis during World War II. This conscientious objector is ostracized by his village and eventually is threatened with execution for treason. Franz eventually is thrown into jail, but he never falters with his brave stance. Instead, he stands for what he feels is morally right, clinging to his faith and the love for his wife Fanni (Valerie Pachner) and children to keep his spirit afloat.

Admittedly, the film is much longer than it should be. There isn’t much more than 30 minutes of story, but it’s told with a philosophical beauty that eases the passage of time. That’s what makes the film an experience instead of a literal, traditional tale. Jörg Widmer’s cinematography is masterful with a lyrical, visual poetry. Wide-angle shots of waving wheat fields and snow-capped peaks of the Austrian Alps shrouded in the clouds are jaw-dropping. The film is a collection of sensory visuals that will make viewers feel as if they’re right there, reaching out to touch the just-rained-on grass or struggling with the animals on the farm. I could smell the thunderstorm. I could feel the crisp mountain air.

Malick is a complicated director who isn’t easy to endure much less like, but his storytelling is grandiose yet takes pause at the simplest aspects of life and survival. This is not a film for the impatient, as there is a lot of plowing, whispering, and slow-moving, indulgent visuals. It’s best to think of “A Hidden Life” as a meditation on morality, conviction, and existence, or a timely theme of spiritual struggles that arise from fighting for your beliefs and doing what you know is right.

Perhaps this is what the devout refer to as a “religious experience.” I am not a spiritual person, but the beauty of this film moved me.