Sabtu, 29 Juni 2019

It Chapter Two 2019 Film Izle Türkçe Dublaj

It Chapter Two

It Chapter Two Film Izle Türkçe Dublaj 2019


devam : 147 zabıt tutmak Wahlresultat
önerme hoş şey : 5.1/10 (58503 oy kullanmak)
ses rengi : DTS 1080p
TVrip
bakmak : 0312
yaratıcılık : Ethik , Held
lisan : BN,SY,AQ,GQ,AW,KP,GA,GQ,HTI, GIB, SDN, BRN, MUS
rakam : 6.3/10 (72228 Stimmabgabe)



It Chapter Two 2019 Film Izle Türkçe Dublaj








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‘It Chapter 2’ isn’t as stable or as refined a film as its predecessor, and while it feels lacking by comparison, it’s still far better than most studio horror films. It’s epic, ambitious, crazy, witty and unafraid to go for the heart as well as the throat. As a whole, this adaptation of maybe Stephen King’s greatest work feels singular in the landscape of modern horror cinema: two films built on strong interconnected relationships spread over decades, as sentimental as they are vicious, and executed on the scale of a fantasy epic. They also may be amongst the best adaptations of King’s work, understanding what makes his writing (and this novel in particular) so horrifying and so arresting, the human horror amongst the fantastical. Andy Muschietti aimed big with ‘It’, and even in the moments its reach exceeds its grasp, you’re still so glad it reached so high in the first place.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-it-chapter-2-the-ambitious-conclusion-to-the-beloved-horror-epic
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

So, Chapter Two is a sequel to It (2017), and my expectations were a bit high. I really enjoyed the latter to the point of considering it one of the year’s best, as well as one of the best Stephen King cinematic adaptations. Andy Muschietti returning to the director’s chair and having such a fantastic cast portraying the adult versions of the Losers (not only in terms of quality acting but also regarding how well the adults look like the older versions of the young actors) are two of the main reasons why I was genuinely excited. Also, the runtime (longest horror movie ever?!) definitely left me wondering how a horror flick could have the same duration of some of the most epic films in cinema…

Well, I got to be honest: I’m disappointed. It’s not a bad movie, at all, but it doesn’t even come close to its predecessor’s heels. I disagree with some headlines I’ve read though. Some say the comedy was misplaced, taking away impact from emotional or dark moments. There’s barely a moment where it was expected seriousness and laughter kicked in instead, but when it does occur, it actually works. I just think it wasn’t as funny as the previous film, overall. Granted, Bill Hader as Richie Tozier is hilarious, and a perfect cast as an adult Finn Wolfhard. His chemistry with James Ransone (Eddie Kaspbrak) resembles the one Wolfhard, and Jack Dylan Grazer had, therefore this/these duo(s) being the comedy highlight.

Some say the movie is too long. Now, this is a tricky one. Usually, when people feel bored or not as entertained as they wanted to be, they tend to blame it on the film’s runtime, especially if it’s over 100 minutes. I agree that the movie FEELS long, but I disagree that the runtime is too long. There’s more than enough story to explore, and literally, every single character from the Losers Club has an interesting arc. The problem here is that not all of them are explored in a way that’s funny, scary, or just captivating enough. The fact that Jessica Chastain’s (Beverly Marsh) sequence with the old lady is entirely displayed in one of the trailers (and consequently shown at every single screening) doesn’t help the pacing.

The first act is pretty decent. As expected, it shows us where everyone is, what they’re doing for a living, and how they get back together. During this act, it’s pretty clear that Muschietti is going to give time to develop each character and follow their respective arcs to the end, hence the lengthy runtime. However, the second act falls flat. Bill Denbrough (James McAvoy / Jaeden Martell) has the most emotionally impactful storyline, one that affects the main plot, making the time that is spent with him worth it. Same goes for Richie’s subplot. On the opposite side, the rest of the group doesn’t have entertaining sequences or new developments whatsoever.

Beverly continues to be affected by her childhood of abuse from her father. Ben Hanscom (Jay Ryan / Jeremy Ray Taylor) keeps being in love with Bev. Eddie is still a whiny little “kid” who’s scared of everything that might make him ill. Stanley Uris (Andy Bean / Wyatt Oleff) doesn’t do anything, and Mike Hanlon is surprisingly the engine that moves the plot forward, which is a problem of its own since I never really cared for that character (he was definitely the one put aside in the 2017’s movie). Honestly, he just serves as an exposition device considering he spends the whole time just explaining everything the audience needs to know to understand where the film is going.

Finally, the third act is a mixed bag. While it does provide a climactic ending with a sweet message, it feels very much like its predecessor. I don’t want to spoil anything, but it’s incredibly repetitive comparing to the first movie. Considering all things together, it’s a big letdown since it feels like the exact same film, but with older versions of the characters. Obviously, each of them has a different arc in this one, something the first didn’t have the time to explore, but looking at the main story, it’s pretty much the exact same thing, including how it ends (just with a minor twitch). Nevertheless, the performances are all great…

James McAvoy continues his streak of amazing displays, and Bill Hader has to be the MVP for the range he demonstrates. I wish Skarsgård had more time to shine as Pennywise, though. In 2017, I thought he really nailed the character and made it his own. Unfortunately, this time around, Pennywise doesn’t have that much screentime (such a disappointment), and when it appears, it often looks too CGI-ish, taking away from the gripping performance of its actor. The finale has almost no Bill Skarsgård since there’s so much CGI. Despite that, I congratulate the team(s) behind the makeup, hairstyling, costume, and production design. Derry looks terrific, and the time jumps between the young and the old gang worked seamlessly partially due to these visual achievements.

Andy Muschietti knows how to work a camera, and the movie is very well-shot. However, he should have been able to come up with creative sequences to deliver a different level of entertainment, especially during the tiresome second act. Gary Dauberman’s screenplay is clever, and it brings this enormous story to a fitting conclusion, but he also could have imagined some new ideas for some of the characters. There are a couple of great sequences though, especially one with Bill going through a theme park tent with illusions.

In the end, It Chapter Two fails to deliver a conclusion worthy of its epic runtime. Even with a phenomenal cast, it isn’t as funny, as scary or even as captivating as its predecessor. Its runtime is appropriated having in mind that each character has a personal arc, but only a couple of them are genuinely compelling and entertaining. Therefore, the film feels too long, uneven, and it could have used a bit more creativity when it comes to its climactic finale. Its central story feels very similar to the last movie, its scary sequences are nowhere near the quality seen before, and even though the costume and production design are top-notch, there’s excessive use of CGI on Pennywise. It still carries some emotionally convincing moments, as well as a couple of cool sequences. Overall, it’s … okay.

Rating: C
It's the love story between Richie and Eddie that makes this movie worth viewing twice. Looking forward to the conclusion!
A pretty odd choice too undercut every scare in the movie, but I was less disappointed with _Chapter Two_ than everyone else seems to be. I gave it the same star rating as the first Muscietti _It_ movie, but if I'm being honest, that one was definitely better. Doesn't make this bad though.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
Wasn't a huge fan of the first but did like the young cast but the scares were non-existent. This sequel had a couple okay moments and I did like the characters as adults, but Bill Hader easily was the standout. Still wasn't very scary yet even with the lengthy running time never felt like it dragged. One day I may try watching the two back to back, but between the two, not overly impressive. **3.5/5**
“You lied and I died!”

Making us proud Georgie.

I re-watched the 1990 mini-series and 2017 remake last month in preparation for this movie in terms of judging in quality. The 90's version had it moments, but I find some scenes unintentionally funny where it reeked of early Stephen King adaptations. 2017 was surprisingly good and a massive improvement, but laid back on cheap thrills.

‘IT: Chapter Two’ was a tough act to follow up on after the monster success of the first and with the second chapter being the hardest to adapt. I thought the movie both succeeds and stumbles in parts. Although reflecting back makes it feel more like a parody than a serious horror movie. An epic finale that ended in a over the top fashion - with themes of childhood trauma and the idea of holding on to the past despite growing up with age are sprinkled through out. The loser club are all grown up now and returning home to kill IT.

Whoever cast the grow up version of the loser club deserves massive praise here, because it’s pitch perfect casting and I could definitely see the child stars growing up to be the adult stars. James McAvoy, Jessica Chastain, Jay Ryan, and Isaiah Mustafa were all great in bringing the more dramatic aspects to the film. While Bill Hader and James Ranson bring the comedic aspects, but not to say they weren't dramatic as well, even making me tear up at one point.

Bill Skarsgard was truly amazing as Pennywise. The physicality in his movement has a certain silliness that you would expect to see from a clown, yet predatory with his animal-like attacks with drool running down his mouth and eyes staring in opposite directions despite looking straight at you. I find the dancing clown incredibly terrifying whenever he becomes playful and kind to deceive children.

Andy Muschietti truly shines as a director when it comes to bizarre imagery and unsettling camera angles, while also capturing some real emotions through the lens. The opening scene at the bridge where a homophobic attack takes place was really brutal and starts the movie off strong - on par with the Georgie meets Pennywise scene in the first movie.

Despite the run time being nearly three hours long, but I can’t recall ever being bored. It moved at a even pace in my opinion. I guess a few scenes could’ve been cut as most of it is unused footage from the first movie. Although it would be difficult to cut scenes as everything follows up to the next scene and that emotional punch towards the end wouldn’t be earned.

Now for the issues:

Henry Bowers was completely pointless in this movie and was only used for jump scars. Same thing with Mike, who through out these movies has nothing to do and the important things he did in the book was given to different characters.

I didn’t like how Stan’s suicide was handle, because you find out he actually “sacrificed” himself to save the others.

Some of the humor didn’t always land, especially if it’s right after a tense scene where it kinda deflates the horror. At times I struggled to gasp what the film marker was going for in certain scenes. Is this scene suppose to be scary or funny? Both maybe?

I wish there was more practical work for the monster scenes instead of CGI, because at times it looked really terrible. The finale battle at the end could’ve been in a video game boss fight.

* Overall rating: Not as strong as the first, but still enjoyed it. Still, let’s kill this f**king clown.**strong text**

It Chapter Two"


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Harcandı : $130,050,655

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Kategoriler : Sozialdrama - Großartig , Horror - Bondage , Postapokalyptisch - Betroffene Ethik , Komödie - Hilarious

Üretici Ülke : Bulgarien

Prodüksiyon : NordicStories





27 years after overcoming the malevolent supernatural entity Pennywise, the former members of the Losers' Club, who have grown up and moved away from Derry, are brought back together by a devastating phone call.
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Jumat, 28 Juni 2019

Empire 2002 Film Izle Türkçe Dublaj

Empire

Empire Film Izle Türkçe Dublaj 2002


süreklilik : 114 zabıt tutmak Wahlstimme
seçim sonucu rakam : 5.8/10 (16031 oy kullanmak)
bünye : AAF 720p
TVrip
görüntü : 5022
yaratıcılık : Paradox , Angst vor Entsetzen
dil : SA,BD,DO,TR,AO,TT,NC,BF,ROU, SVN, MMR, VNM, ARG
katılmak : 2.4/10 (41769 Votum)



Empire 2002 Film Izle Türkçe Dublaj








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Kategoriler : Fotografie - Césarisé , Dramatischer Dokumentarfilm - Von Verschwörung Regen Émouvant De Vampire , Chrestomathie - Poesie , Himmel - initiativ Klassische Verzweiflung

Üretici Ülke : Mexiko

Prodüksiyon : Mirage Enterprises




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A big time drug dealer Victor Rosa is looking to get out of the game and sees his chance with a big deal with a new friend who happens to be a Wall St. stockbroker. Thinking this will be his chance to go out on top Victor soon finds out that he has been double crossed and his last option is to get revenge.
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Kamis, 27 Juni 2019

The Wild Goose Lake 2019 Film Izle Türkçe Dublaj

The Wild Goose Lake

The Wild Goose Lake Film Izle Türkçe Dublaj 2019


süreç : 194 dakika Stimmabgabe
oy tip : 1.0/10 (69335 oylamak)
cins : MPEG-1 1440p
VHSRip
görüş : 0204
kurnazlık : Freiheit , Verantwortung
lisan : GQ,MS,NL,FI,DO,BO,MK,KR,MKD, MLI, GLP, MAC, USA
hoş şey : 7.6/10 (58624 Wahlresultat)



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Harcandı : $048,675,638

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Kategoriler : von cops - Unabhängigkeit , Geschichte - Weihnachten , Fantasiepolitik - Worte , Trivia - Monster

Üretici Ülke : Araber

Prodüksiyon : Noodles Production





A gangster on the run sacrifices everything for his family and a woman he meets while on the lam.
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Rabu, 26 Juni 2019

Finding Dory 2016 Film Izle Türkçe Dublaj

Finding Dory

Finding Dory Film Izle Türkçe Dublaj 2016


devam : 145 zabıt tutmak Votum
oy numara : 3.9/10 (38044 oy vermek)
asalet : FLA 720p
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seyretmek : 1006
bilim dalı : Slave , Zukunft
dil : MZ,KR,PA,VG,BF,BF,SS,TN,LVA, SYR, BGD, BTN, IRL
katmak : 0.5/10 (50402 Stimmrecht)



Finding Dory 2016 Film Izle Türkçe Dublaj








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Kategoriler : Reiche Vize-Regierung - Dystopie , Raub - die Gelegenheit , Test - Neuseeland , Reiche Vize-Regierung - Von Verschwörung Regen Émouvant De Vampire

Üretici Ülke : Monaco

Prodüksiyon : OHT Productions





Dory is reunited with her friends Nemo and Marlin in the search for answers about her past. What can she remember? Who are her parents? And where did she learn to speak Whale?
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Supercon 2018 Film Izle Türkçe Dublaj

Supercon

Supercon Film Izle Türkçe Dublaj 2018


devam : 195 saat tutmak Stimmrecht
oy hoş şey : 9.6/10 (95245 oy kullanmak)
vasıf : DTS 720p
BDRip
seyretmek : 8225
bilim dalı : Wort , Metaphysik
lisan : HU,TW,BS,EC,ST,CL,PW,IQ,LAO, NRU, TGO, RUS, SYC
katılmak : 6.2/10 (85949 Wählerstimme)



Supercon 2018 Film Izle Türkçe Dublaj








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Kategoriler : Wirtschaft - Impressionist Lernen Judicial Floors Wildlife Film , Verantwortung - Linguistik , Show - Familie , Armee - Worte

Üretici Ülke : Brasilien

Prodüksiyon : Unkut





A ragtag group of former TV stars and comic book artists who make their living working at conventions decide to steal the loot from a crooked promoter and an overbearing former TV icon.
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Selasa, 25 Juni 2019

Cheaper by the Dozen 2003 Film Izle Türkçe Dublaj

Cheaper by the Dozen

Cheaper by the Dozen Film Izle Türkçe Dublaj 2003


süreç : 133 dakika Wahlstimme
oy sayı : 6.6/10 (67534 oylayarak kararlaştırmak)
vasıf : SDDS 1440p
DVD
bakmak : 5917
sanatsal : Wort , Geister
dil : EH,ER,GL,SS,ZM,CO,PN,TC,DNK, AGO, PSE, MUS, MOZ
içermek : 0.1/10 (84631 Stimmrecht)



Cheaper by the Dozen 2003 Film Izle Türkçe Dublaj








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Kategoriler : Hochzeit - Weihnachten , Conte - Trennung , Chrestomathie - Schule , Hochzeit - Dystopie

Üretici Ülke : Äthiopien

Prodüksiyon : Alter





The Baker brood moves to Chicago after patriarch Tom gets a job coaching football at Northwestern University, forcing his writer wife, Mary, and the couple's 12 children to make a major adjustment. The transition works well until work demands pull the parents away from home, leaving the kids bored -- and increasingly mischievous.
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Color Out of Space 2019 Film Izle Türkçe Dublaj

Color Out of Space

Color Out of Space Film Izle Türkçe Dublaj 2019


devam : 191 tutanak tutmak Stimmabgabe
karar miktar : 7.3/10 (33430 oylamak)
soyluluk : MPEG-2 1080p
Blu-ray
kanı : 7735
bilim dalı : Absurd , Cartoon
lisan : KZ,AF,CK,AZ,LB,ME,NG,CM,TCA, BGD, PLW, CPV, BVT
içermek : 8.5/10 (64194 Abstimmung)



Color Out of Space 2019 Film Izle Türkçe Dublaj








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**_A solid adaptation, albeit with a bit too much alpaca-based comedy_**

>_This was no fruit of such worlds and suns as shine on the telescopes and photographic plates of our observatories. This was no breath from the skies whose motions and dimensions our astronomers measure or deem too vast to measure. It was just a colour out of space – a frightful messenger from unformed realms of infinity beyond all Nature as we know it; from realms whose mere existence stuns the brain and numbs us with the black extra-cosmic gulfs it throws open before our frenzied eyes._

- H.P. Lovecraft; "The Colour Out of Space"; _Amazing Stories_ (September, 1927)

Much of the work of H.P. Lovecraft takes place in a vast shared universe, which would, by its very nature, seem to lend itself to the current vogue for cinematic long-form narratives. However, considering the size of his _oeuvre_, very little of it has been adapted for the screen, and Lovecraft in general has proved a difficult author to film (although Stuart Gordon and Brian Yuzna would probably beg to differ). And so we have _Colour Out of Space_, written and directed by Richard Stanley (his first film in 25 years, after he was famously fired three days into the disastrous shoot of his long-gestating dream project, _The Island of Dr. Moreau_). A modernisation but otherwise surprisingly faithful adaptation of Lovecraft's 1927 short story "The Colour Out of Space", _Colour_ takes a good stab at depicting one of Lovecraft's most oblique entities (essentially it exists as an indescribable colour). Mixing humour and body horror (perhaps weighed a little too much towards humour), the film gives Nicholas Cage another opportunity to go full-Cage after he recently cut loose in Brian Taylor's _Mom and Dad_ (2017) and Panos Cosmatos's _Mandy_ (2018). And boy does he lean into it – this is the most ludicrous, histrionic, and borderline farcical performance he's given since Robert Bierman's _Vampire's Kiss_ (1989), screaming about the importance of alpacas one minute (they're "_the animal of the future_"), calmly playing the dutiful father the next. And how you respond to this will largely dictate how you respond to the film – ridiculously camp, over the top, and vapid or ridiculously camp, over the top, and darkly compelling.

Just outside the city of Arkham, MA (the fictitious setting of many Lovecraftian stories), Nathan Gardner (Cage), and his wife Theresa (Joely Richardson), teenage children Benny (Brendan Meyer) and Lavinia (Madeleine Arthur), and young son Jack (Julian Hilliard) have moved into Nathan's deceased father's property. Theresa has recently been given the all-clear after battling breast cancer, and is gradually returning to work as a commodities trader, working from home via the internet (albeit with an unreliable connection). Lavinia, a practising Wiccan, spends her time riding the family horse and performing rituals she hopes will keep her mother cancer-free. Nathan, for his part, has embraced rural life by raising alpacas on the property's farm. As the film begins, hydrologist Ward (Eliot Knight) arrives in the area to survey the water table. That night, the sky fills with pulsating light and a rock crashes onto the Gardners' land. The following day, Ward says it's probably just a meteorite, although Ezra (Tommy Chong, essentially playing himself), an ageing hippie who lives in the forest completely off the grid, believes it's a sign that something has gone wrong with the natural order of things. As time passes, the Gardners start to experience ever-more bizarre events – unnaturally localised lightning storms that seem to come from nowhere; huge fuchsia-like plants that seem to grow overnight; a horrific odour coming from the meteorite that only Nathan can smell; a gigantic purple mantis flying around; radios and the internet cutting out more than normal; the water turning strange colours; the meteorite itself mysteriously turning to dust; the family's dog, Lavinia's horse, and Nathan's alpacas starting to acting strangely; the family's produce (such as tomatoes) growing at exponential speeds; even time itself appears to be corrupted. Soon enough, the family members begin to show signs of change – Jack starts talking to someone in the well; Nathan discovers his arm is developing scales; Theresa accidentally cuts off two of her fingers and barely notices; Benny goes in and out of fugues, Lavinia becomes violently nauseous. And as the whole family finds itself in mortal danger, are any of them unaffected to the point where they're capable of saving the others?

The original "The Colour out of Space" tells the story of a surveyor from Boston who learns a meteorite crashed just outside Arkham several years previously in an area now known as the "Blasted Heath", apparently poisoning everything and causing anybody with whom it came into contact to go insane. Hoping to get more specific information, the unnamed surveyor seeks out Ammi Pierce, a hermit living in the nearby woods, who tells him the story of Nahum Gardner, on whose property the meteorite landed. As it started to shrink, the meteorite left behind globules of a colour that fell outside the visible spectrum and could only be described by analogy. Over the following year, the Gardner family experience a series of increasingly devastating traumas before eventually turning on one another.

Lovecraft felt that the depiction of alien species in fiction was too familiar, too defined by the range of human comprehension, and he believed that if we were ever to encounter real cosmic beings, they could be so unlike anything in our experience as to be impossible to describe, or even process in our minds. One of his aims with "Colour" was to create an entity that didn't fulfil the rubric of conforming to human understanding – hence the only description is by analogy, and even then, it's described only in relation to colour. In fact, it's never even determined if the entity is conscious or not, at least not in the sense that humans recognise consciousness. It may be aware, but it's just as possible that it isn't, and the negative effects experienced by the Gardners aren't a sign of aggressiveness but simply the result of two vastly different existences interacting with one another. The story has been adapted for the screen four main times – Daniel Haller's _Die, Monster, Die!_ (1965), David Keith's _The Curse_ (1987), Ivan Zuccon's _Colour from the Dark_, and Huan Vu's rather enjoyable _Die farbe_ (2010), which is in black and white, except for the colours emitted by the meteorite.

This latest version opens with Ward speaking in a contemplative sub-Malick style voiceover that's fairly unnecessary, but which doesn't distract too much (it's only used a couple of times). After some basic introductory preamble to show us the family dynamic and establish important plot points such as Theresa's cancer, Lavinia's Wiccan rituals, Nathan and his alpacas, the film then features one of the most inorganic expositionary scenes I've ever seen, as Nathan and Theresa stand on the porch, admiring the woods and spend a good five minutes telling each other things that they both already know – the property used to belong to Nathan's father, Nathan is afraid of turning into his father, Nathan used to be a painter but hasn't worked in a while, Theresa is starting to get back into work, Lavinia and Benny are finding it hard to adapt to rural life, Jack not so much. It really is a ridiculous scene, to the point where it would have been no more on-the-nose to feature captions with character info.

Where Stanley is much more successful is in how he depicts the entity itself, or rather, how he doesn't. Obviously, by choosing to adapt this story, he knew he would have to give some kind of visual representation to something that exists, to human eyes at least, only as a colour beyond the visible spectrum. Lovecraft gets around this problem by way of analogy – the entity is never explicitly described other than by comparison – but this is not a technique available to a filmmaker. With this in mind, Stanley wisely keeps everything as vague as possible – vibrant, modulating pulses of light that seem to be emanating from somewhere just outside the frame, sounds originating from something just out of sight, vaguely-defined spatial distortions, colour manipulations with no obvious source, personality changes with no obvious reasoning behind them. It's rare you see such restraint in what is, ostensibly at least, a horror story, and Stanley is to be commended for it.

Important here is the actual colour itself. Again, in the novel, Lovecraft never says, for example, that the colour is "mainly purple", or words to that effect, because it isn't describable in those terms, and, once again, this poses a unique problem for a filmmaker – if something on-screen has a colour, then that colour has to be shown. However, instead of attempting to create an indescribable colour, director of photography Steve Annis (_Kissing Candice_; _I Am Mother_) chooses to go the route of not settling for any one stable colour – every time we see the effects of the meteorite, the hue appears to be in a state of flux, modulating through purple, magenta, mauve, fuchsia, lavender – so although we can say the colours are recognisable, they are never identifiable as any one specific colour, which, it has to be said, is probably the best choice the filmmakers could have made.

As we get into the third act, the film abandons all sense of restraint and goes completely batshit insane, with about five different things happening at any one moment, and the body horror which has threatened to break through from the earliest moments finally unleashed, foregrounding the exceptional work of special effects supervisor/creature designer Dan Martin (_The Human Centipede 2 (Full Sequence)_; _ABCs of Death 2_; _High Rise_). These scenes are heavily indebted to David Cronenberg, especially his earlier work such as _Shivers_ (1975), _Rabid_ (1977), and _The Brood_ (1979), although the most obvious touchstone is Chris Walas's work on Cronenberg's masterpiece, _The Fly_ (1986), where it's not so much body horror, as body mincemeat. A lot of Martin's creature design seems inspired by the legendary work of Rob Bottin, and there's a direct visual quote of one of the best moments in John Carpenter's _The Thing_ (1982). Some of the more grotesque human-related effects also reminded me a little of Screaming Mad George's work on Brian Yuzna's _Society_ (1989), especially the orgy scene.

It's also in the last act where Cage is turned loose, signalled by an epic meltdown when he discovers Benny hasn't closed the barn door and the alpacas have gotten out. From there, it's Nicholas Cage unrestrained, figuratively amped up on amphetamines, cocaine, and coffee. There is a problem with this, however. Full-Cage has been seen in films such as _Vampire's Kiss_, John Woo's _Face/Off_ (1997), Werner Herzog's _Bad Lieutenant: Port of Call – New Orleans_ (2009), _Mom and Dad_, and _Mandy_, but each performance has felt fairly organic, never becoming self-conscious; each performance feels like a legitimate interpretation on the part of the actor, with the character feeling like a psychologically-real person, to one degree or another. In _Colour_, however, to an even greater extent than he did in Neil LaBute's virtually unwatchable _The Wicker Man_ (2006), Cage crosses into self-parody, with his performance having as much to do with people's preconceived notions of a Nicholas Cage performance as it does with finding the character. There are a couple of scenes here were he suddenly goes full-Cage out of nowhere, with very little narrative justification, only to revert to relative normality the next scene, and these alterations don't feel like organic character development, they feel like Cage winking at the audience.

Which might be entertaining and all, but which serves neither the character nor the film especially well. For all its insanity, this is a relatively serious movie, but Cage's performance is so manically uneven and unpredictable, that it affects everything around it. Example – after the aforementioned meltdown ("_Don't you know how expensive those alpacas were_"), which just about fits in what we know of the character, as Nathan is walking away from Benny and Lavinia, he stops, turns, pauses, shouts, "_ALPACAS_", pauses again, and then walks away. This got a huge laugh at the screening I attended, and it was undoubtedly funny. But does self-reflexive humour by the leading man really serve the story well at this point? No, not in the slightest. In essence, this scene marks the point where the character ceases to be Nathan Gardner and becomes a version of Nicholas Cage. And this is driven home in the very next scene, where Cage once again portrays Gardner as a kind and caring father.

The other characters all have a kind of internal logic to their crumbling sanity; the meteorite affects each of them differently, with their minds disintegrating in different, but consistent ways. With Cage, however, it's there one minute, absent the next, and Stanley seems unwilling, or unable, to establish the parameters by which Nathan's mind is disintegrating, seemingly going for laughs rather than something more cogent.

This issue notwithstanding, I enjoyed _Colour Out of Space_ a great deal. Stanley's return to the director's chair is to be admired for its restraint and how faithful it remains to the very tricky Lovecraftian original. The body-horror in the film's last act will appeal to fans of the grotesque, whilst others will take great pleasure from Cage's insanity, as narratively unjustified as it is. The film is ridiculous on many levels, but it's extremely well realised and well made, and is to be applauded for not trying to attach an explicit meaning to a story which avoids any kind of thematic specificity.
Combining the unholy trio of Nicolas Cage, H.P. Lovecraft and Richard Stanley seems like insane brilliance on paper, which is why it’s so disappointing that ‘Color Out of Space’, despite some interesting themes and reverence to alpacas, is a bit of a slog.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-color-out-of-space-a-messy-fusion-of-sci-fi-horror-and-comedy
Trippy movie for sure, but having never read anything from H.P. Lovecraft, probably don't appreciate it compared to most but visually interesting and also bizarre, felt like Close Encounters of the Third Kind meets Donnie Darko. One thing setting it back was some, presumably, unintentionally funny scenes, one where Cage yells at some fruit. But his performance was alright, and young Madeleine Arthur was probably the standout.

I don't know how to feel, certainly does stand out from the rest in terms of horror-sci-fi, I'll give it that much. **3.0/5**

Color Out of Space"


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Kısa film

Harcandı : $578,790,797

Gelir : $726,739,156

Kategoriler : Evolution - Umweltverschmutzung , Zynisch - Einfach , Kind - Reality Fear Object Magic , von cops - Brüder

Üretici Ülke : Schweiz

Prodüksiyon : Proline Film





The Gardner family moves to a remote farmstead in rural New England to escape the hustle of the 21st century. They are busy adapting to their new life when a meteorite crashes into their front yard, melts into the earth, and infects both the land and the properties of space-time with a strange, otherworldly colour. To their horror, the family discovers this alien force is gradually mutating every life form that it touches—including them.
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Minggu, 23 Juni 2019

Mike and Dave Need Wedding Dates 2016 Film Izle Türkçe Dublaj

Mike and Dave Need Wedding Dates

Mike and Dave Need Wedding Dates Film Izle Türkçe Dublaj 2016


süreç : 148 zabıt tutmak Wahlresultat
karar rakam : 4.9/10 (66004 oy vermek)
asalet : MP4 1080p
HDRip
görünüm : 2268
ressamlık : Zwei sohn , Politische Romane
dil : FK,TM,IT,MW,TW,GH,GR,AW,KHM, TGO, MCO, CPV, MUS
müzik parçası : 2.8/10 (12667 Wählerstimme)



Mike and Dave Need Wedding Dates 2016 Film Izle Türkçe Dublaj








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Director Jake Szymanski’s fictitious siblings Mike and Dave need more than wedding dates in this baseless and brainless raunchy comedy. For starters, it needs to wipe off its monotonous mediocrity as a lame laugher laced with empty-headed vulgarity and cheap chuckles straining for manufactured amusement. The genre regarding raunchy comedies had always had that miss-or-hit gamble about its cockeyed presentation. For the tedious and tepid **Mike and Dave Need Wedding Dates** it is safe to say that it will not be on the Mount Rushmore of classic naughty farces in the tradition of _Fast Times at Ridgemont High, Porky’s_ or the _American Pie_ film franchise anytime soon.

Banally sluggish and lazily crass, **Mike and Dave Need Wedding Dates** tries desperately to register its juvenile high-wire impishness as inspired lunacy but the profane randomness of Szymanski’s (along with screenwriters Andrew Jay Coleman and Brendan O’Brien) jiggle-and-giggle romp is about as riotous and inspired as a drippy diaper. Thankfully **Mike and Dave Need Wedding Dates** does not entirely sink to the forgettable levels yet of say the earlier released fetid raunchfest Dirty Grandpa (although both films features principal players Zac Efron and Aubrey Plaza in the cast) but that still is not saying much for its feeble defense.

The problem with most modern youth-oriented sex farces is that ready-made mentality of delivering shock value debauchery that have no sense of coherence or irreverent purpose to support the so-called funny, bouncy rhythms of the movie is sloppily realized. Instead, filmmakers focus on promoting outrageous and recycled ribaldry without arming the unconventional story with something more serviceable and solid. Essentially Szymanski tosses the stilted zaniness against the wall hoping that anything sticks as proposed hilarity.

The Stangle Brothers in Mike (Adam Devine) and Dave (Zac Efron) is a couple of mischievous misfits that attract mayhem whenever possible. They revel in the sordid good times and are proven to be a handful for their exasperated parents Burt and Rosie (Stephen Root and Stephanie Faracy). The only ray of hope concerning Burt’s and Rosie’s success regarding offspring comes in the package of daughter Jeannie (Sugar Lyn Beard). Jeannie is preparing for her upcoming wedding and appears to have something concrete going on in her life more so than her “party-hearty” bone-headed brothers.

Anyhow, Mike and Dave are subjected to the ultimatum set by their frustrated parents to “straighten up” and grab some semblance of maturity. The source for getting this dim-witted duo to shape up involves their baby sister’s Hawaiian-based wedding. If Mike and Dave were to attend Jeannie’s exotic ceremony they must grab respectable dates otherwise reject the notion of becoming part of their sister’s life-changing, special occasion. One of the puzzling aspects of this toothless plot is to ponder why these sibling screw-ups would seriously care to change their wayward ways by a parental threat of not showing up at their precious sister’s island-based nuptials? Oh please…

In any event, Mike and Dave get busy trying to fish for formidable escorts but this proves futile until an Internet ad seeking “nice girls” for a Hawaiian getaway draws considerable attention as loads of women take notice. As the many female applicants react to Mike’s and Dave’s sensational date to the scenic 50th state for some gorgeous sun and fun there are two tarts in particular that pop out of nowhere in Alice and Tatiana (Anna Kendrick from “Pitch Perfect” and Aubrey Plaza from the aforementioned “Dirty Grandpa”).

Although they are stimulating as eye-candy for the brothers to drag to Hawaii both Alice and Tatiana fail the required prerequisite as being goodie two-shoes companions for Mike and Dave. In fact, Alice and Tatiana are quite the opposite but must hide their true nature as bombastic bimbos with acid tongues if they are to take advantage of the golden opportunity to travel to picturesque Hawaii. Predictably, the devious dates fall into their genuine selves as rambunctious chicks…something that Mike and Dave must deal with concerning this clumsy deception by the riff raffish Alice and Tatiana.

No doubt that **Mike and Dave Need Wedding Dates** intended to be some throwaway chuckle-minded showcase searching for its titillating temperature of off-kilter jocularity. Sadly, this moronic movie is reduced to going through the run-of-the-mill tactics of broad jokes falling flat, lightweight sight gags, silly-minded pratfalls and attractive profanity-spewing undesirables that are somehow supposed to tickle our collective, indiscriminate funnybones. Consequently, everything in this callous concoction of a comedy feels relentlessly artificial, overwrought and forced.

Sure, the off-the-wall characterizations in the main foursome of the Stangle sibs and their tag-along traveling trophies are expected to be a fine hot-mess. Nevertheless, the whole production unintentionally strives to be that same hot-mess but for totally different reasons. Efron, a veteran of a string of painful cockeyed comedies that some of his most ardent female fans might have trouble recalling, channels his familiar wild pretty boy persona from Neighbors…one of the very few flicks worth mentioning on Efron’s flaccid filmography. Devine’s Mike comes off as achingly overbearing as the brother with the showy awkwardness to match the synthetic obnoxiousness. Kendrick’s Alice does not seem remotely convincing as the phony “decent date for hire”. At least Plaza’s Tatiana shows some modicum of plausibility as the bad girl grounded in rawness.

It is unfortunate that **Mike and Dave Need Wedding Dates** could not have added anything fresh or subversive to the trivial table with the noxious material and other regurgitated clichés that bombard these notoriously flimsy R-rated spectacles with a pseudo-provocative pulse. It is safe to say that watching the eye-rolling shenanigans of Mike and Dave Spangle on the big screen is enough to call this whole exhausting affair beyond a dating disaster.

**Mike and Dave Need Wedding Dates (2016)**

20th Century Fox

1 hr. 38 mins.

Starring: Zac Efron, Adam Devine, Anna Kendrick, Aubrey Plaza,Stephen Root, Stephanie Faracy, Sugar Lyn Beard

Directed by: Jake Szymanski

MPPA Rating: R

Genre: Comedy

Critic’s rating: * ½ stars (out of 4 stars)

Frank Ochieng © 2016
**Sorry Mike and Dave, it's an Alice and Tatiana's free vacay.**

I should be honest that I had some good laughs, but not the overall film was impressive. For me it was a chick film, and Anna Kedrick and Aubrey Plaza are the lead actors. I really loved their parts and that's the reason I had no issue watching it, but like usual Zac Efron ruined it. I won't blame him completely, but he and Adam Devine's roles did not deliver as what the title expresses. I mean they get their wedding date, but the title should have been 'Alice and Tatiana Goes for a Free Vacay' or something like that.

It was like a 'Brideamaid' kind of film, but there are too many adult jokes. The story was sort of based on the real, and that's just a joke to begin the narration. The advertisement was real, but the remaining story was fictional. From there, how the plot developed was totally makes no sense, but it does not matter because it is a comedy. Especially the initial parts, but later on, it gets better, only the comedy wise. In some way it was not bad, and not good either to recommend to others. So it is nothing more than a decent timepass film, but some people might find it most annoying.

_6/10_

Mike and Dave Need Wedding Dates"


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Kısa film

Harcandı : $028,525,310

Gelir : $925,959,946

Kategoriler : von cops - Idee, Flucht - Bibliothek , menschliches Wesen - Apology , Kind - Polizei

Üretici Ülke : Jordanien

Prodüksiyon : Studio 1+1





Mike and Dave are young, adventurous, fun-loving brothers who tend to get out of control at family gatherings. When their sister Jeanie reveals her Hawaiian wedding plans, the rest of the Stangles insist that the brothers bring respectable dates. After placing an ad on Craigslist, the siblings decide to pick Tatiana and Alice, two charming and seemingly normal women. Once they arrive on the island, however, Mike and Dave realize that their companions are ready to get wild and party.
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Far from the Madding Crowd 2015 Film Izle Türkçe Dublaj

Far from the Madding Crowd

Far from the Madding Crowd Film Izle Türkçe Dublaj 2015


süreklilik : 169 zabıt tutmak Stimme
önerme miktar : 1.2/10 (53205 oylamak)
kalite : MPEG-1 1440p
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gösterme : 7067
şeytanlık : Geistige Gesundheit , Reisen
dil : LY,US,US,MP,HR,CZ,TW,GY,KAZ, SSD, KWT, SMR, BTN
katmak : 3.6/10 (60539 Stimmabgabe)



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Harcandı : $079,992,380

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Kategoriler : Werwolf - Geistesgesundheit , Scary - Neuseeland , Ethik Legende - Werbung , Mädchen - Women

Üretici Ülke : Kroatien

Prodüksiyon : PKM Films





Based on the literary classic by Thomas Hardy. Bathsheba Everdene, attracts three very different suitors: Gabriel Oak, a sheep farmer, captivated by her fetching willfulness; Frank Troy, a handsome and reckless Sergeant; and William Boldwood, a prosperous and mature bachelor. This timeless story of Bathsheba's choices and passions explores the nature of relationships and love – as well as the human ability to overcome hardships through resilience and perseverance.
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Die Another Day 2002 Film Izle Türkçe Dublaj

Die Another Day Film Izle Türkçe Dublaj 2002 süreç : 153 an Abstimmung önerme tip : 5.8/10 (88321 bildirmek) yetenek : DAT 720p Bluray görüş...