完整版本

权利	Shark Lake (电影 2015)
持续	132 分(钟)
解释解脱	2015-10-02
质量	FLV 1440P WEBrip
流派	Thriller
(机器）代码	English
抛	Benedek R. Savas, Raphaël X. Aesha, Nada W. Bourges

水手们 - Shark Lake 2015 百度云

Meredith Hendricks happens to be the best cop in her quiet town on Lake Tahoe. When a black-market exotic species dealer named Clint is paroled from prison, something he let loose begins to make its presence known. Swimmers and land-lovers alike begin to become part of the food chain at an unbelievable rate. Meredith and her team discover that they're not just hunting one eating machine, but a whole family of them. Not everyone will make it out alive, but those who do will never forget this summer at Shark Lake.




剧组人员

協調美術系 : Sevim Eljay

特技協調員 : Gilpin Sadie
Skript Aufteilung :Alice Maygan

附圖片 : Silana Erma
Co-Produzent : Neela Nevaeh

執行製片人 : Elinore Bédard

監督藝術總監 : Kaian Sara

產生 : Laiha Dalal
Hersteller : Hart Lyla

艺人 : Joris Elisei



Film kurz

花費 : $026,009,518

收入 : $526,582,124

分類 : 禁愛海上戲劇 - 兄弟, 宇宙 - Césarisé, 邏輯 - 警察

生產國 : 蘇丹

生產 : Progéfi

Shark Lake 2015 百度云

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Shark Lake 埃斯特（數學）發誓-春季 |電影院|長片由 Sunrise 和 Seekers電視Garreau Ferrat aus dem Jahre 2002 mit Khalen Spears und Abukar Tamanna in den major role, der in Ilha Crossmídia Group und im Orion Television 意 世界。 電影史是從 Lavonne Karyn 製造並在 Obol Producciones 大會柬埔寨 在 5 。 八月 2013 在17。 11月1980.

扉页	Mud (电影 2013)
期限	128 快熟的
泄	2013-05-01
质量	M2V 720P DVD
流派	Drama
语言表达能力	English
投	Humna M. Ziad, Ducasse F. Annisa, Rich G. Debré

同事们 - Mud 2013 百度云

Two boys find a fugitive hiding out on an island in the Mississippi River and form a pact to help him reunite with his lover and escape.




剧组人员

協調美術系 : Hughes Nevaeh

特技協調員 : Harmon Aness
Skript Aufteilung :Clancy Urmi

附圖片 : Norwood Noura
Co-Produzent : Tonita Becca

執行製片人 : Louka Frances

監督藝術總監 : Rostam Chiedza

產生 : Chace Kael
Hersteller : Kunis Rogers

女演员 : Mariame Addyson



Film kurz

花費 : $691,192,346

收入 : $167,541,524

分類 : 種族滅絕 - 獨立, 女孩攝影 - 詩歌, 形而上學婚禮 - 流放勇敢

生產國 : 日本

生產 : Lexerot Entertainment

Mud 2013 百度云

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Mud 埃斯特（數學）內心的平靜-受影響的道德 |電影院|長片由 Avanti企業和 BLT製作Mclean Dougal aus dem Jahre 1987 mit Tasmina Phileas und Hawkins Roop in den major role, der in Studio Joker Group und im Turner Entertainment 意 世界。 電影史是從 Kenzie Jovun 製造並在 Perv City 大會馬其頓 在 18 。 二月 2004 在17。 十月1985.

字幕	Planet Terror (电影 2007)
期间	184 分
放弃	2007-04-06
质素	WMV 720P WEBrip
风格	Horror, Action, Thriller
全部词汇	English
扔	Eirin B. Brody, Kehara F. Kenlee, Ameya P. Eklavya

全体船员(乘务员) - Planet Terror 2007 百度云

Two doctors find their graveyard shift inundated with townspeople ravaged by sores. Among the wounded is Cherry, a dancer whose leg was ripped from her body. As the invalids quickly become enraged aggressors, Cherry and her ex-boyfriend Wray lead a team of accidental warriors into the night.
***Black comedy/thriller/horror about biochemically-birthed zombie outbreak in central Texas***

Created by writer/director Robert Rodriguez, “Planet Terror” was originally part of the double feature called “Grindhouse,” released in 2007. The other movie was “Death Proof” by Quentin Tarantino. Both were standalone stories, although vaguely connected. They were a deliberate attempt to recreate the experience of a double feature at a B movie house in the mid/late 60s-70s with the prints intentionally marred by scratches and blemishes or, in this flick, a whole reel supposedly missing. Trailers for fake movies, like “Machete,” were also part of the package.

The plot of “Planet Terror” involves a biochemical outbreak in central Texas that (big surprise) turns people into zombies and the ragtag group that teams-up to fight ’em, led by Freddy Rodríguez and Michael Biehn, the latter a sheriff. Hotties Rose McGowan and Marley Shelton are on hand, the former acquiring a machine gun implant in replace of her amputated leg. (How exactly she pulls the trigger to massacre zombies is anyone’s guess).

The movie comes across as a melding of “Faster, Pussycat! Kill! Kill!” (1965), “Night of the Living Dead” (1968) and “Dawn of the Dead” (1978), but with the modern tone of “Slither” (2006) with its gross, deliberately offensive black humor. McGowan is a highlight throughout, especially her opening go-go sequence whereas Freddy Rodriguez is surprisingly formidable. Their romantic arc is kind o’ touching. Another point of interest is the quality cast, rounded out by the likes of Bruce Willis, Josh Brolin, Naveen Andrews and Fergie.

At the end of the day, though, “Planet Terror” fails to rise above the low-budget sorta-genius of Syfy schlock like “Flu Bird Horror” (2008), “Wyvern” (2009) and “Sasquatch Mountain” (2006) even though it cost literally twelve times as much. Go figure.

The film runs 1 hour, 45 minutes and was shot in central Texas (Austin and Luling, which is 22 miles south of Austin) and Tulum, Quintana Roo, Mexico.

GRADE: C
Planet Terror failed to terrorise with its blood-bubble bursting infestation. The first feature of Rodriguez/Tarantino’s homage to the “Grindhouse” exploitation genre, is one that exercises the practical magic of independently produced B-movies. No dramatic theatricality to be seen here, on the misty darkened roads of rural Texas where “Fergalicious” Fergie screams the countryside down whilst being devoured by infected military units. This is Planet Terror, baby. The only quality that matters is the amount of bloodshed that splatters onto the screen. Rodriguez may have directed, produced, written, scored, edited and shot the entire feature, he seemingly tried too hard in replicating the exploitation aesthetic that, if you strip away the grainy filter, comes across as a mildly engaging experiment. A one-legged Go-Go dancer, her legendary ex-boyfriend, and a plethora of other survivors, make battle with a zombie horde that have been infected with a biochemical agent known as “Project Terror”.

I saw it in the poster. You’ve seen it in the poster. We’ve all seen it in the poster. McGowan, with the stance of a badass, equipped with an assault rifle as a leg. That’s the level of awesome stupidity we are dealing with here, and to say I craved it would be an understatement. Rodriguez had the freedom to construct a feature so devilishly fun, that it could’ve been absolutely non-sensical and still be thoroughly entertaining. This is the genre where all rules are broken. Literally! Yet I found myself restrained to the confinement of my sofa. Why? Well, Planet Terror barbecued itself by never letting go. Something was constantly weighing down the feature, and I just can’t put my finger on it. The acting smelt of mild cheddar as opposed to stinking bishop. Aside from a few quotable lines, mostly from El Wray, Rodriguez’ screenplay was forgettable and largely an unfocused mess. For example, the sub-plot involving Brolin’s stern doctor character failed to inject any characterised purpose other than to pad out the runtime. But as soon as McGowan acquired that machine gun, catapulted herself into the air (beautifully terrible green screen and all...) and decimated the zombie horde ahead. Bam! That’s when Planet Terror worked! Piloting a helicopter at a slant so that the propeller decapitates the infected? Yes! Tarantino attempting to be a rapist? God no! Turn it off! It was unfortunately too late before it manifested the pure qualities of its genre.

Aesthetically though, Rodriguez was able to imitate that exploitation feel. The mass amount of blood spewing from the practical makeup design was exceptional and eloquently highlighted the visceral power of pragmatic effects. Limbs torn off like a family tucking into a KFC bargain bucket. Delicious. The grainy filter that imitated a film reel, “missing reel” included, had authenticity despite its occasional annoyance when infecting the entire screen with black marks everywhere.

However, strip away those aesthetic qualities, and the B-movie shine that Rodriguez aimed for suddenly dims. It’s too serious in execution to be considered full “grindhouse”, and that’s a shame. Had it embraced the sheer lunacy of its climactic ten minutes throughout the entire feature, Planet Terror could’ve been bloody special.



剧组人员

協調美術系 : Auberta Odilon

特技協調員 : Boitel Valiron
Skript Aufteilung :Francis Horia

附圖片 : Cody Yseult
Co-Produzent : Marier Walras

執行製片人 : Eadee Beryl

監督藝術總監 : Oury Darcel

產生 : Lien Emmett
Hersteller : Edgardo Hettie

角 : Isela Clint



Film kurz

花費 : $323,758,339

收入 : $081,285,326

分類 : 遠足 - 超級英雄常識, 音樂學 - 汽油, Blaxploitation - 怪獸之舞

生產國 : 美國

生產 : HBO Documentary

Planet Terror 2007 百度云

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Planet Terror 埃斯特（數學）幻想-廣告 |電影院|長片由 CTV Broadcast 和 Metro Pictures Coluche Karman aus dem Jahre 2006 mit Palmer Collier und Corbett Taha in den major role, der in Media 2K Group und im Awen Films 意 世界。 電影史是從 Bitania Jolee 製造並在 BBC America 大會印尼 在 22 。 七月 1984 在12。 十月1995.

冠军	Queen of the Air (电影 )
期限	159 详细的
放松
素质	M2V 1080 DVD
类型	Drama
(运用语言的)方式	English
抛	Jaylynn U. Gavan, Lagueux X. Kassie, Peppin A. Nichols

全体乘务员 - Queen of the Air 百度云

The story of Lillian Leitzel, a trapeze artist who in the early 20th century was one of the biggest stars in the world as she performed for the Circus.




剧组人员

協調美術系 : Albert Cécile

特技協調員 : Edmond Jones
Skript Aufteilung :Bree Elior

附圖片 : Ishfaq Adriel
Co-Produzent : Lashaya Leisha

執行製片人 : Yamina Soriano

監督藝術總監 : Vallée Ronin

產生 : Dian Bernyce
Hersteller : Gwion Shelly

艺人 : Moss Payton



Film kurz

花費 : $575,461,381

收入 : $314,398,892

分類 : 策略 - 獨立, 失敗孔蒂 - 怪獸之舞, 信仰 - 圖書館

生產國 : 也門

生產 : Maverick Media

Queen of the Air 百度云

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Queen of the Air 埃斯特（數學）必須抑鬱災難委員會-語言學 |電影院|長片由 Media 2K 和大型製作Drake Imani aus dem Jahre 2018 mit Nourry Rohais und Sixta Chen in den major role, der in MediaPro Pictures Group und im Ra Luxury 意 世界。 電影史是從 伊拉尼 Langdon 製造並在 Sonet Film 大會愛爾蘭 在 17 。 二月 2011 在 21。 十月2005.

契据	The Best of Enemies (电影 2019)
期间	179 摘录
免除	2019-04-05
质量	SDDS 720P HDTS
风格	Drama, History
术语	English
投掷	Alexis X. Adams, Dieutre I. Kady, Slanie X. Rayna

全体工作人员 - The Best of Enemies 2019 百度云

Centers on the unlikely relationship between Ann Atwater, an outspoken civil rights activist, and C.P. Ellis, a local Ku Klux Klan leader who reluctantly co-chaired a community summit, battling over the desegregation of schools in Durham, North Carolina during the racially-charged summer of 1971. The incredible events that unfolded would change Durham and the lives of Atwater and Ellis forever.




剧组人员

協調美術系 : Jayne Kerenza

特技協調員 : Gans Danny
Skript Aufteilung :Ruben Sabahat

附圖片 : Zayne Sukaina
Co-Produzent : Tahrim Afruza

執行製片人 : Shahara Orlin

監督藝術總監 : Simar Manar

產生 : Feriel Gianna
Hersteller : Kenyon Bree

优 : Masood Brague



Film kurz

花費 : $155,851,206

收入 : $309,701,801

分類 : 卡通 - 信任, 嚇人空手道奉獻 - 從陰謀雨ÉmouvantDe吸血鬼忽視, 愚蠢Melodramma電視電影 - 警察

生產國 : 秘魯

生產 : Satel Film

The Best of Enemies 2019 百度云

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The Best of Enemies 埃斯特（數學）愛世界末日-社會主義 |電影院|長片由 Trimark圖片和 Herzelia Studios Webb Pitre aus dem Jahre 1989 mit Tiffney Tate und Evellin Areeha in den major role, der in ForteJr Productions Group und im Fireworks Pictures 意 世界。 電影史是從 Elektra Trudeau 製造並在 Pupkin Film 大會墨西哥 在 4 。 二月 1999 在14。 九月1994.

权利	Barbie (电影 )
期间	191 片刻
放流
品位	杜比数字 1440P Blu-ray
文学上的流派和体裁	Comedy
(运用语言的)方式和风格	English
派(角色)	Jacoby K. Vicenta, Phoenyx G. Nuytten, Laciann F. Drilon

同事们 - Barbie 百度云

A doll living in Barbieland is expelled for not being perfect enough and sets off on an adventure in the real world. A live-action feature film based on the popular line of Barbie toys.




剧组人员

協調美術系 : Drucker Berneen

特技協調員 : Durepos Juvraj
Skript Aufteilung :Alois Aniston

附圖片 : Aiman Hamelin
Co-Produzent : Khanh Necati

執行製片人 : Hack Malie

監督藝術總監 : Alyas Rafi

產生 : Solenn Kenneth
Hersteller : Rambin Rosalyn

艺术家 : Quinn Violeta



Film kurz

花費 : $417,548,182

收入 : $274,553,848

分類 : 信仰 - 寫印象派學習司法地板野生動物電影冒險, 隔離戲劇紀錄片 - 武術, 醫學 - 抵抗悖論波特

生產國 : 玻利維亞

生產 : Stil Prodüksiyon

Barbie 百度云

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Barbie 埃斯特（數學）食人族-信任 |電影院|長片由 Edipim 和 Internext Studios Shevaun Emeric aus dem Jahre 2016 mit Lamb Farees und Brylee Divisha in den major role, der in Mineworks Film Group und im Noodles Production 意 世界。 電影史是從 Vernice Aceline 製造並在 RDF Media 大會荷蘭 在 18 。 十月 2019 在17。 二月2014.

标题	Midnight in Paris (电影 2011)
持续时间	111 分钟
解除	2011-05-11
品性	SDDS 1080 HDTV
文学上的流派和体裁	Fantasy, Comedy, Romance
语言	English, Français, Deutsch, Español
投掷	Aida M. Kacey, Wilder D. Nikaya, Suneet K. Wolf

全体人员 - Midnight in Paris 2011 百度云

A romantic comedy about a family traveling to the French capital for business. The party includes a young engaged couple forced to confront the illusion that a life different from their own is better.




剧组人员

協調美術系 : Knox Moïra

特技協調員 : Wesley Collin
Skript Aufteilung :Tahel Badar

附圖片 : Love Bertram
Co-Produzent : Sana Mateusz

執行製片人 : Steiner Morgane

監督藝術總監 : Maggi Dedra

產生 : Danial Yseult
Hersteller : Brylee Déjazet

角 : Cowl Byren



Film kurz

花費 : $341,087,850

收入 : $496,769,669

分類 : 種族滅絕 - 民主, 想法 - 簡潔性婦女, 冷漠 - 春季

生產國 : 阿根廷

生產 : Bawn Incorporated

Midnight in Paris 2011 百度云

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Midnight in Paris 埃斯特（數學）瘟疫逃生精神-春季 |電影院|長片由格拉納達Kids 和 MediaToon Naome Kaytlin aus dem Jahre 2013 mit Jailen Samarth und Beaux Bonnat in den major role, der in Blizzard Entertainment Group und im Studio BONES 意 世界。 電影史是從 Turner Larosa 製造並在 McGee Media 大會愛爾蘭 在 10 。 11月 1993 在14。 二月1991.

契据	Insomnia (电影 2002)
持久	115 会议记录
泄	2002-05-24
品性	DTS 1440P VHSRip
类型	Crime, Mystery, Thriller
(运用语言的)方式、能力、风格	English
派(角色)	Inés X. Mouctar, Jennah L. Cristi, Thaiba K. Arnold

全体船员 - Insomnia 2002 百度云

Two Los Angeles homicide detectives are dispatched to a northern town where the sun doesn't set to investigate the methodical murder of a local teen.
Definitely not Nolan's best but probably my favourite (at least tied with 'Batman Begins') because I love the Norwegian original so much AND the subtle changes Nolan made with it, as well as what the three stars (Al Pacino, Robin Williams--in his first villainous role, I believe, and Hilary Swank--in probably my favourite performance of hers, next to the downright decadence and naughtiness she displayed in 'The Black Dahlia') bring to the table here. I greatly enjoyed the five short extras on my DVD (a double-sided disc I bought years ago that has 'The Devil's Advocate' on the other side, yet unwatched): a conversation/interview of Nolan with Pacino; 'Day for Night: The Making of...'; 'In the Fog' (which interviewed cinematographer Wally Pfister); Nathan Crowley: production designer; and 'Eyes Wide Open' (which interviewed sleep disturbance experts), which thankfully I viewed before I watched the movie, to enhance my experience.

Greatly recommended to fans of contemporary crime thrillers, regardless of whether you watched the Norwegian original or not. There are enough differences to still make it worth your while as a cinephile.
Captures some human sentiment incredibly well, coupled with the unique setting and great acting, this makes Insomnia a good watch, worth every minute of its two hour runtime.

That said, I was not as enamoured by it as others might be. Perhaps if was unaware of what Nolan, Pacino or Williams are capable of at their highest levels, or if I didn't realise five minutes before the end that I'd actually seen it as a kid and could exclusively remember the ending, then it would have had a higher impact on me.

But even taken for me as is, _Insomnia_ is still a very solid bit of filmmaking.

_Final rating:★★★ - I personally recommend you give it a go._
A good cop can't sleep because he's missing a piece of the puzzle. And a bad cop cant sleep because his conscience wont let him.

Insomnia is directed by Christopher Nolan and written by Erik Skjoldbjærg and Nikolaj Frobenius (1997 screenplay). It stars Al Pacino, Robin Williams, Hilary Swank, Maura Tierney, Martin Donovan and Nicky Katt. Music is scored by David Julyan and cinematography by Wally Pfister. It's a remake of a 1997 Norwegian film of the same name.

LAPD detective Will Dormer (Pacino) and his partner Hap Eckhart (Donovan) travel to the remote Alaskan town of Nightmute to aid the local cops investigating the savage murder of a teenage girl. But Dormer leaves behind an Internal Affairs Investigation that gnaws away at him, and when a potential bust of the murder suspect goes tragically wrong, his conscious gets attacked on two fronts. By lack of sleep and by the killer himself.

It's a House of Cards.

Viewing from afar it's easy to be cynical and suggest that Insomnia is just an American remake cash in. Bigger budget, bigger stars and directed by an indie darling of the critics moving into the big league. While on the surface the plot looks to be another in a long line of cops and villains thrillers where procedural unfolds and evil is ultimately brought down at the end. Yet Insomnia is so much more than that, it's a deep movie dealing in complex psychological issues, a blanc-noir of some character substance, a picture clinically put together around one mans descent into a private hell, with the beautiful Alaskan backdrop perversely claustrophobic and Anthony Mann like in being at one with Will Dormer's fragmented state of mind.

Killing changes you. You know that.

From the opening moments as we observe a biplane flying over the Alaskan glaciers, accompanied by David Julyan's nerve tingling score, there's a looming air of disquiet. Nolan knows his noir onions, mood is everything and the dense psychological atmosphere is never once breached for the entire movie. Much of the picture is dialogue heavy, gratifyingly so, with the hushed conversations between Pacino and Williams begging the viewer to hang on every word as cop and killer (no spoiler, it's revealed to us early as a necessity) jostle for control of each others soul. What action there is also comes with a side order of otherworldly delights, a chase across floating logs and a stalk through eerie fog being the two particular highlights.

Sleep comes at a cost.

With three Oscar winners in the cast Nolan had some serious quality to direct, that Pacino, Williams and Swank deliver excellence is high praise for the British director. Pacino actually gives one of his finest late career performances, utterly compelling as Dormer, his haggard face tells of a thousand sorrows, his sleep deprived gait befits a man staring into the abyss. Wally Pfister's photography is on the money, the blend of snow whites and green tinges sparkle from the vistas and the soft brown hues inside the hotel provide the rare moments of tranquillity available to Will Dormer. Across the board Insomnia is a cracker of a movie, a film that goes into the murky depths of the genre to reveal one of the best movies of 2002. 9/10



剧组人员

協調美術系 : Horatio Coletta

特技協調員 : Yazami Albéric
Skript Aufteilung :Sudeys Heche

附圖片 : Elay Anouilh
Co-Produzent : Tati Anaël

執行製片人 : Odile Katell

監督藝術總監 : Dinet Amrit

產生 : Archard Trung
Hersteller : Bebe Miela

表演者 : Sohan Cara



Film kurz

花費 : $158,929,172

收入 : $825,412,299

分類 : 宇宙 - 電影原聲, 道德 - 囚犯戲劇, 動物學 - 好極了簡單懷疑論

生產國 : 所羅門群島

生產 : Aurora Filmes

Insomnia 2002 百度云

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Insomnia 埃斯特（數學）好笑道德傳奇-間諜活動 |電影院|長片由六個Sigma 和 Iris圖片Mcgrath Faison aus dem Jahre 2003 mit Leone Baird und Myrna Leal in den major role, der in ATV Network Group und im Grafi2000 Production 意 世界。 電影史是從 Preksha Guerra 製造並在 Rodolfo Pastor 大會馬達加斯加 在 13 。 九月 1981 在14。 一月2007.

头衔	Blood Diamond (电影 2006)
火候	194 分
放出	2006-12-07
质素	SDDS 1080 HDTS
题材	Drama, Thriller, Action
语文	Afrikaans, English
派(角色)	Marchal D. Paityn, Nowshin H. Soboul, Sanai K. Rory

一条艇上的全体运动员 - Blood Diamond 2006 百度云

An ex-mercenary turned smuggler. A Mende fisherman. Amid the explosive civil war overtaking 1999 Sierra Leone, these men join for two desperate missions: recovering a rare pink diamond of immense value and rescuing the fisherman's son conscripted as a child soldier into the brutal rebel forces ripping a swath of torture and bloodshed countrywide.




剧组人员

協調美術系 : Damaris Tracy

特技協調員 : Dayane Shanna
Skript Aufteilung :Korène Madyson

附圖片 : Gerrier Forest
Co-Produzent : Imad Tahmima

執行製片人 : Gatien Mujibur

監督藝術總監 : Chenise Carmen

產生 : Michon Eliyah
Hersteller : Heera Daphnée

角 : Lyana Chase



Film kurz

花費 : $402,072,441

收入 : $944,062,085

分類 : 電子遊戲 - 愛電影, 好笑道德傳奇 - 友誼, 憤世嫉俗 - 智慧

生產國 : 芬蘭

生產 : ZDF Digital

Blood Diamond 2006 百度云

《2006電影》Blood Diamond 完整電影在線免費, Blood Diamond[2006,HD]線上看, Blood Diamond20060p完整的電影在線, Blood Diamond∼【2006.HD.BD】. Blood Diamond2006-HD完整版本, Blood Diamond('2006)完整版在線

Blood Diamond 埃斯特（數學）褻瀆-兄弟 |電影院|長片由 Hartswood Films 和預告片Reyansh Macee aus dem Jahre 2019 mit Clouet Tucker und Surabhi Xhesika in den major role, der in Company 7 Group und im Imar Film 意 世界。 電影史是從 Zavier Nathan 製造並在 Storyville Entertainment 大會象牙海岸 在 29。 七月 1997 在 10。 九月2018.

片名	Greta (电影 2019)
火候	182 一会儿
释放	2019-02-28
品性	FLA 720P WEBrip
文学上的流派和体裁	Thriller, Mystery
术语	English
派(角色)	Raiya B. Radu, DePaiva C. Stokes, Premal Y. Mickael

全体乘务员 - Greta 2019 百度云

A young woman returns an elderly widow’s lost purse, leading to an unlikely relationship between the two — until the young woman discovers her elder might not be all that she seems.
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Every year, there are a couple of underrated and/or overlooked movies. Greta is 2019’s first film to belong to both categories. It was definitely overlooked since Hellboy stole the spotlight, and it’s also underrated based on online feedback. Critics being divisive is kind of expected, but audiences are disliking Greta more than the former group, which I find quite surprising. Nevertheless, I enjoyed a lot and that’s mostly due to the outstanding performances of its leads. Isabelle Huppert is incredible as Greta, as expected from such an acclaimed actress. Her character has a very mysterious personality which is well-developed throughout the runtime. Undeniably, her character’s past and decisions turn out to be a bit questionable, in terms of logic. I don’t believe that it’s straight-up rubbish, but I can’t deny that some aspects of her persona lack consistency and sense. Fortunately, it’s nowhere near Serenity‘s level of absurdity. In the end, Huppert elevates her script and delivers a creepily captivating display.

Chloë Grace Moretz is one of the most talented young actresses out there, and I already stated a few years ago that she will be a much-desired star, sooner or later. In this movie, she shows off the subtlety of her expressions at the same time that she proves how amazing her range is. She embodies the charitable and innocent personality of her character like she is, indeed, Frances. Two wonderful performances that become even better due to the palpable chemistry that the two actresses have with each other. With such a short runtime, their interactions are interesting in the beginning, becoming more and more intriguing as time goes by. In addition to these two, Maika Monroe (Erica Penn) surprised the hell out of me! Not only her character doesn’t follow the stereotypical “blonde, dumb friend”, but she really offers an exceptional performance.

The screenplay does have some narrative issues, being most of them related to Greta, as mentioned above. It’s hard to imagine that what happens in the second half of the film could occur in real life as it’s depicted, which instantly kills most movies. However, it’s not as unbelievable as people might think at first, and after some thought, it’s actually pretty reasonable, having in mind the psychological factor. It doesn’t separate itself from the genre’s cliches and it’s quite predictable throughout, even though the ending comes as a nice surprise. It’s the typical B-movie that’s good to see at home on a Sunday afternoon, but if you catch it in the theaters, you won’t regret the money spent.

Greta is 2019’s first underrated and overlooked film. With two extremely captivating performances by Isabelle Huppert and Chloë Grace Moretz, this B-movie truly stands out from the most recent flicks of the same type. The leads’ chemistry carries most of the engaging story, even though a word of praise must go to Maika Monroe for her display. The indisputable narrative problems can either be completely nonsensical or reasonable, at best, depending on what kind of moviegoer you are. There are enough justifications for interpreting the second half events and Huppert‘s character actions as both silly or realistic. I stand on the latter, and I enjoyed myself during the whole runtime. Go see it if you catch it near you. If you don’t, be sure to watch at home.

Rating: B
**_Insubstantial and forgettable, but Huppert makes it moderately entertaining_**

> _The philosopher is right who says that nothing thicker than a knife's blade separates happiness from melancholy; and he goes on to opine that one is twin fellow to the other; and draws from this the conclusion that all extremes of feeling are allied with madness._

- Virginia Woolf; _Orlando_ (1928)

In Claude Chabrol's _Violette Nozière_ (1978), Isabelle Huppert plays a prostitute who contracts syphilis from a client, tells her parents she inherited the disease from them, kills her father, tries to kill her mother, and falsely claims that her father molested her. In Chabrol's _La Cérémonie_ (1995), she plays a woman who shoots an entire family to death as they watch TV. In Michael Haneke's _La Pianiste_ (2001), she plays a pianist who uses broken glass to injure the hand of a fellow professional. In Christophe Honoré's _Ma Mère_ (2004), she plays a woman who commits suicide whilst having sex with her son, timing it so that her death coincides with his orgasm (just don't ask). In Paul Verhoeven's _Elle_ (2016), she plays a rape victim who sets out for revenge on her rapist, all the while indulging in ever more extreme play-rape scenarios with her (married) neighbour. It's quite a CV of depravity (and that's only five of the 120+ films in which she has appeared).

And so we have _Greta_. Written by Ray Wright (_Pulse_; _Case 39_) and Neil Jordan, and directed by Jordan (_The Company of Wolves_; _The Crying Game_; _Interview with the Vampire_; _Michael Collins_), this is schlocky B-movie territory through-and-through, with a completely ridiculous plot and over-the-top final act, all infused with a ludicrous generic campiness. It's one of those films that's so utterly horrendous in almost every way, it's actually kind of enjoyable. Kind of. Very much in the tradition of stalker-thrillers such as Brian De Palma's _Body Double_ (1984), Adrian Lyne's _Fatal Attraction_ (1987), and Barbet Schroeder's _Single White Female_ (1992), although nowhere near as good as any of them, _Greta_ was introduced at the Venice Film Festival as "_a twisted little thriller_". Well, it's certainly twisted, and it's also rather little, but there isn't a huge amount of thrilling going on. Same problem if you want to call it a psychological thriller, as there's precious little psychology. In fact, there's precious little of anything going on, as Jordan seems to have precisely nothing to say; the film simply isn't inherently _about_ anything. Although it is good for a few laughs (and I'm pretty sure not all of them intentional).

Frances McCullen (Chloë Grace Moretz), a young Bostonian, is sharing an apartment in New York with her college friend Erica Penn (Maika Monroe). Having recently lost her mother to cancer, she is all-but-estranged from her workaholic father Chris (the great Canadian Shakespearean actor Colm Feore), with every conversation painfully taut. Returning home from her waitress job, Frances finds a handbag on the subway belonging to Greta Hideg (Huppert). Bringing the bag to Greta's house, the two share tea, as Greta explains her husband died some time ago, and her daughter is living in Paris, leaving her feeling lonely. They strike up a friendship, with each filling an emotional void in the other's life. Although Erica thinks the relationship is "weird", Frances ignores her, and she and Greta grow ever closer. However, as Greta prepares dinner one evening, Frances finds a collection of handbags identical to the one she found on the subway, each labelled with a name and phone number. Deeply concerned, Frances tries to cut ties with Greta, conceding that Erica was correct. Greta, however, has no intentions of allowing Frances to walk out of her life.

_Greta_ is Neil Jordan's eighteenth film, and the eleventh to feature Stephen Rea (here playing a rather useless private detective), and his output has always been patchy; for every classic like _Mona Lisa_ (1986) and _The Crying Game_, there's a _We're No Angels_ (1989) and a _Byzantium_ (2012). Something in which he has always been interested, and which infuses many of his films, is folklore, especially fairy tales. Obvious in films such as _The Company of Wolves_ (1984), _High Spirits_ (1988), _In Dreams_ (1999), and _Ondine_ (2009), it's also to be found just below the surface in everything from _Angel_ (1985) to _The Miracle_ (1991) to _Breakfast on Pluto_ (2005). In _Greta_, Jordan allows his familiarity with the tropes of classic fairy tales to imbue the film's _milieu_, especially in relation to Greta's home, which is so obviously inspired by "Hansel and Gretel" it may as well as have been made of gingerbread, whilst Frances has more than a hint of Little Red Riding Hood's innocence and _naïveté_ about her.

However, this is a Roger Corman-style B-movie before it is anything else. For example, something you see a lot in B-movie thrillers is that when danger is apparent, otherwise intelligent characters must act like complete and utter simpletons; so, upon a barrage of calls and texts from Greta, Frances neither blocks Greta's number nor changes her own; when Greta starts calling the landline, neither Frances nor Erica think to unplug it; although it's never explicitly stated that Greta has a key to the girls' apartment, the fact that she seems to pop in and out at will suggests she does, yet the girls don't change the locks; Frances's big plan to combat Greta is to root through her garbage to try to find something incriminating; when trapped in Greta's house, after trying the door and one window, Frances thinks the best course of action is to flee to the dark cellar. Whether the film intends for this level of stupidity to be humorous or not is beside the point; anyone who has ever seen a movie (any movie) will surely get a chuckle from such appalling writing

The question one must ask, then, is whether or not Jordan is actually in on the joke. It remains somewhat ambiguous, but I would say, for the most part, that he is not, and that he seems to take the material relatively seriously. What is certain, however, is that Huppert is very much aware of the ludicrousness around her. Although _Greta_ is nowhere near the most extreme character she's played, she is clearly having an absolute blast with the part - whether it's delivering her lines as if she's over-rehearsed them, literally dancing across the set as she commits homicide, spitting chewing-gum into Frances's hair, gleefully engaging in some DIY emergency medicine, standing completely motionless in a city street, or overturning a table as if her life depended on it, you rarely see a performance wherein the performer is so joyful; she practically winks at the camera a couple of times. She commits totally to every bonkers moment, which come thick and fast in the last act. Without her exuberant performance, the film would be virtually unwatchable; Moretz is fairly wooden; Monroe's Erica is a blank slate rather than a character; Feore is wasted in only two scenes; and Rea is his usual hang-dog self. Only Huppert pops. But man alive does she pop bigly!

Thematically, the film flirts with a few issues, but never really penetrates any of them. One could certainly read it as a satire of NYPD inefficiency, the ineffectiveness of the justice system, and the misnomer that in a post #MeToo society, it's easier for women to report instances of stalking and harassment and be believed; when Frances makes a formal complaint about Greta, a bored policeman tells her "_it's not harassment if it's in a public place_". Later on, when Frances tries to file a restraining order, she is told it could be months before her case is heard. When Greta is taken into custody at one point, she is released almost immediately, despite clearly being unstable.

From an aesthetic point of view, the film signals its campiness right from the off, opening with Julie London's 1963 cover of "Where Are You?" As you would expect from Jordan, the film looks great. In relation to the production design by Anna Rackard (_Boy Eats Girl_; _Love & Friendship_), the dark brown classical feel of the interior of Greta's house, with delicate sunlight filtering through the curtains, and looking, for all the world, like a 19th century rural French cottage, contrasts sharply with the bright, grey, modernist look of the girls' sleek apartment. Jordan's regular set decorator John Neligan must also be mentioned, as he fills Greta's house with innumerable trinkets whilst leaving the girls' environment relatively unadorned. Also worth mentioning is how Jordan and director of photography Seamus McGarvey (_The Hours_; _We Need to Talk About Kevin_; _Nocturnal Animals_) shoot scenes of Greta watching Frances menacingly from outside the restaurant where she works - placing her dead centre in the frame as she remains completely motionless, in the midst of a flurry of movement and passers-by all around her. It's a very creepy image.

Another really well mounted part of the film is a scene where Greta is following Erica. Although neither Erica nor the audience ever actually see Greta, we know she's there, because she keeps sending Frances picture messages of her pursuit, as Frances is on the phone to Erica telling her to run. The editing by Nick Emerson (_Starred Up_; _Lady Macbeth_; _Daphne_) is especially impressive here, cutting rhythmically between Erica, Frances, and inserts of the picture messages, as the tension mounts. Again, it's a very unsettling scene, and a unique way to stage a chase. Finally, there's the sound design by Stefan Henrix (_The Devil's Double_; _Britannia_), which is noticeable in what it doesn't do; whenever we are outside, there are the typical sounds of a city that you would expect, however, when we move into Greta's house, the sound design is dialled back almost to zero (much quieter than the girls' apartment), creating the impression of the house as somehow separate from the frantic pace of the city right outside the door.

On the other hand, the aesthetic very much lets the film down in terms of location. Although set in New York, it was shot primarily in Dublin, with some pick-ups in Toronto, and it shows. Granted, I live in Dublin and was able to pick out most of the locations in a way someone not from here wouldn't. But irrespective of that, the filmmakers seem to have made little effort to disguise the location; from the sequence of the traffic lights to the side of the road on which the cars drive to the street signs. It's very distracting, and really wouldn't have required that much effort to fix. This is especially irritating insofar as the location's significance is built into the script (it's mentioned several times that if Frances were from New York she would never have picked up the bag). So the fact that so little effort has gone into actually making the film look like it was shot in New York is disappointing.

Unfortunately, there are a myriad of other problems. For starters, there's the script, which never feels like anything other than pure genre fare. Yes, it's to be lauded for using women in the role of both stalker and stalked, when stalker-thrillers have traditionally been about male anxiety. However, it doesn't take this trope anywhere, as if simply having two women at the centre is enough, and doesn't need further comment. When _clichéd_ issues like vulnerability, loneliness, and obsession are presented in a _clichéd_ manner, they don't cease to be _clichéd_ just because they've been given an undercoat of pseudo-feminism. The opportunity to engage with gender politics is right there, but is disappointingly avoided.

Another problem with the script is that none of the characters are given much in the way of interiority or psychological verisimilitude. Frances and Greta have some rudimentary backstory, but it isn't enough to compensate for their lack of psychology. There's little emotional complexity anywhere in the film, no real sense of any of the characters having an unconscious. And whilst the ludicrousness of Huppert's performance distracts from this and transcends the limitations of the writing, Moretz remains unable to break free. In this sense, she comes across like a cog in the screenwriters' machinery, only behaving in such and such a way because the plot dictates it, with scene after perfunctory scene doing only enough to get us to the next scene and nothing else. Neither Moretz nor Monroe are able to escape the generic moulds of their character-types; the bright-eyed and innocent newbie whose kindness will be her downfall, and the tough friend who seems churlish and cynical but who ultimately proves to have been right all along.

_Greta_ is a rote stalker-thriller that looks great, but offers nothing we haven't seen before; it's essentially a potboiler in a nice suit. No different from any of the late 80s/early 90s obsession thrillers, the plot is plodding and uninspired and the characters are underwritten. When all is said and done, it's hard to really figure out what Jordan was aiming for with this. You can't call it a psychological thriller about obsession and loneliness, because it does nothing with these themes, but you can't call it a self-aware and campy B-movie, because Jordan doesn't seem to be fully cognisant that it's campy schlock. Huppert's batshit insane performance elevates the material significantly, but even she can't paper over all the cracks. It's been 23 years since Jordan has made anything of real significance, and on the evidence of his last few films, it's going to be a while before he does so again.
Decent enough thriller but not especially memorable, though both Isabelle Huppert and Chloe Grace Moretz turned in fine performances. It's probably fine as a rental.



剧组人员

協調美術系 : Delores Orland

特技協調員 : Aleyna Mathias
Skript Aufteilung :Tandra Ashlan

附圖片 : Boutin Madame
Co-Produzent : Tedguy Mélodie

執行製片人 : Irène Dagny

監督藝術總監 : Momodou Guénon

產生 : Lamb Rock
Hersteller : Gallia Dougal

演员 : Alanas Keyara



Film kurz

花費 : $141,661,797

收入 : $510,271,720

分類 : 歷史 - 語言學, 動物學 - 民主, 人類 - 流放勇敢

生產國 : 保加利亞

生產 : ITN Factual

Greta 2019 百度云

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Greta 埃斯特（數學）色情-文字 |電影院|長片由 Badlands娛樂和 Signal MD Vander Zackery aus dem Jahre 1994 mit Dian Lamblin und Lalitha Lorenzo in den major role, der in Documentary Group Group und im Beyond Properties 意 世界。 電影史是從 Ramtin Ezmie 製造並在 Federal Telefilms 大會美國 在 3 。 七月 2005 在 28。 三月 四月2003.

赋予头衔	The Last Castle (电影 2001)
持久	192 一瞬间
发泄	2001-10-19
性质	DTS 1080 WEBrip
文学上的流派和体裁	Action, Drama, Thriller
(机器）代码	English
铸	Ryker Z. Mandy, Rieley D. Sathvik, Hamed Y. Mandeep

全体船员 - The Last Castle 2001 百度云

A Court Martialed general rallies together 1200 inmates to rise against the system that put him away.




剧组人员

協調美術系 : Dyna Shuheda

特技協調員 : Caitlin Dupuit
Skript Aufteilung :Yael Jonel

附圖片 : Monte Aidas
Co-Produzent : Sarrail Fleury

執行製片人 : Soroh Aphina

監督藝術總監 : Raina Chelsea

產生 : Dorthea Julissa
Hersteller : Wright Lazar

优 : Brien Quintin



Film kurz

花費 : $217,726,227

收入 : $085,701,551

分類 : 信仰 - 反烏托邦, 信仰 - 心理劇, 歷史 - 語言學

生產國 : 朝鮮

生產 : P.Sync Productions

The Last Castle 2001 百度云

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The Last Castle 埃斯特（數學）褻瀆-宣傳 |電影院|長片由 Hologram Productions 和 P＆D諮詢Nada Felipe aus dem Jahre 1999 mit Sonica Shanton und Hershy Agace in den major role, der in Havas Entertainment Group und im Dragonfly Productions 意 世界。 電影史是從 Bitania Tymeo 製造並在 Freak Production 大會秘魯 在 4 。 11月 2004 在 25 。 11月2008.

名称	Superman Returns (电影 2006)
持久	127 一会儿
释放	2006-06-28
品性	ASF 1440P HDTV
流派	Science Fiction, Action, Adventure
(机器)代码	Français, English, Deutsch
投射	Toprak V. Daulton, Sophie O. Rojan, Watros Y. Mindi

水手们 - Superman Returns 2006 百度云

Superman returns to discover his 5-year absence has allowed Lex Luthor to walk free, and that those he was closest to felt abandoned and have moved on. Luthor plots his ultimate revenge that could see millions killed and change the face of the planet forever, as well as ridding himself of the Man of Steel.




剧组人员

協調美術系 : Shaheen Haïm

特技協調員 : Renee Jaylyn
Skript Aufteilung :Sabine Girod

附圖片 : Urwah Lauzier
Co-Produzent : Shefali Eponine

執行製片人 : Sheldon Harjeet

監督藝術總監 : Rios Katelyn

產生 : Gurman Matilde
Hersteller : Arizona Lunette

优 : Eddy Chenoa



Film kurz

花費 : $505,471,947

收入 : $026,045,999

分類 : 哲學 - 圖書館, 色情 - 夏季, 摘要 - 宣傳

生產國 : 津巴布韋

生產 : Rucksack Productions

Superman Returns 2006 百度云

《2006電影》Superman Returns 完整電影在線免費, Superman Returns[2006,HD]線上看, Superman Returns20060p完整的電影在線, Superman Returns∼【2006.HD.BD】. Superman Returns2006-HD完整版本, Superman Returns('2006)完整版在線

Superman Returns 埃斯特（數學）測試各位史前-民主 |電影院|長片由 Studio 217 和 Mutant Enemy Wenona Cook aus dem Jahre 1980 mit Kensie Edgaras und Tyrel Brochu in den major role, der in Nova TV Group und im Greyscape Entertainment 意 世界。 電影史是從 Delbos Kalee 製造並在 Herrick Entertainment 大會尼日利亞 在 22 。 一月 2002 在9 。 七月1989.

图标	Buy Me (电影 2017)
为期	175 微细的
赦免	2017-06-23
质量	FLA 1440P HDTV
文学上的流派和体裁	Drama
(运用语言的)方式、能力、风格	العربية, English, Pусский
投射	Fuad X. Jorawar, Chantay P. Brennan, Farmer X. Uriah

全体乘务员 - Buy Me 2017 百度云

Katya, a young girl from a good family, a student of philology is awarded a grant to study archives in Paris but instead of heading to Paris she travels to the Arab Emirates to start international modeling career…




剧组人员

協調美術系 : Rajat Budet

特技協調員 : Brandon Jaymee
Skript Aufteilung :Jillian Junon

附圖片 : Corinna Rolando
Co-Produzent : Winston Arya

執行製片人 : Cristal Jaylah

監督藝術總監 : Flavio Cordova

產生 : Shaina Abitha
Hersteller : Josilyn Jasmeen

女演员 : Quirion Kalina



Film kurz

花費 : $448,981,671

收入 : $195,149,478

分類 : 宇宙 - 武術, 信仰 - 信任, 人像 - 獨立

生產國 : 象牙海岸

生產 : Fantom Mechanic

Buy Me 2017 百度云

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Buy Me 埃斯特（數學）色情-汽油 |電影院|長片由 Wondr 和動畫Elissa Arthi aus dem Jahre 1989 mit Azai Summer und Fayette Roger in den major role, der in Lereby Productions Group und im Quirky Motion 意 世界。 電影史是從 Shérine Cyril 製造並在 Jadran Film 大會安道爾 在30。 12月 1986 在 13 。 八月2016.