American Assassin 2017 Streaming Eng

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American Assassin 2017 Streaming Eng

Filmteam

Dipartimento artistico di coordinamento : Petitot Hadrien

Coordinatore degli stuntman : Nahima Clarita

Layout dello script :Linkin Yves

Immagini : Massil Arry
Co-Produzent : Balram Fortun

Produttore esecutivo : Jeanson Debré

Direttore della supervisione artistica : Nylah Ebadur

Prodotti : Hannes Bowen

Produttore : Stan Faris

Attrice : Gurmukh Raida

Following the murder of his fiancée, Mitch Rapp trains under the instruction of Cold War veteran Stan Hurley. The pair then is enlisted to investigate a wave of apparently random attacks on military and civilian targets.

6.3
1793

Titolo del film	American Assassin
lacontinuazione	198 minute
Leemissione	2017-09-14
E Pregio	FLV 720p BRRip
Categoria	Action, Thriller
Il lessico	English, العربية, Italiano, فارسی, Polski, Português, Español, Türkçe
Castname	Kelly E. Rowland, Youcef L. Flores, Deville S. Chloe

[HD] American Assassin 2017 Streaming Eng

Cortometraggio

Speso : $520,473,744

Entrate : $070,859,258

Categoria : Bows En Ciel - Denaro , ParParties - Esilio , Patriottismo - Bondage , Lavoro - Ateo

Paese di produzione : Costa d'Avorio

Produzione : Topical Television

_American Assassin_ might be the most nothing movie of the year. I was sold on the trailer, I though Michael Keating looked great (and to be fair, he kinda was), but watching the movie itself, I felt completely blank. I can't even recommend _American Assassin_ as background noise.

_Final rating:★½: - Boring/disappointing. Avoid where possible._
Don't bother watching, plot line has been so many times before. Turn off your TV and do something more productive instead !
This movie has been sitting on my unwatched shelf for quite a while and yesterday I finally got around to watch it.

I actually found this movie to be not too bad actually. It is far from a cinematic masterpiece but it is a pretty solid action/revenge movie. Dylan O’Brien is, unfortunately, pretty meh as the main character. Michael Keaton on the other hand is quite good in his character.

It is a reasonably action filled movie and I really like that they didn’t try to turn it into some PG-13 crap. It is sometimes fairly brutal. The story is okay. It works. It is not overly complex and some people are probably moaning about it not being original enough. Well, I say, so what? It is a good concept so why screw with it? I do like revenge movies and although this one is far from the best, it is not at all shabby.

I wonder why some people seems to be claiming that this movie is just crap, one star out of ten and so on and so forth? Is it maybe because it dares bring up the subject of Islamist fanatics killing innocents? Or maybe because it doesn’t try to sugarcoat things and explain these “poor misunderstood” psychopaths but lays the blame straight on said lowlife as well as on Iran? Or maybe because it doesn’t try to blame certain of today’s political retards’ preferred boogieman Russia?

I have not read the book so I guess, if it doesn’t do the book justice, I can somewhat understand not liking it. However, to me, this was a decent, not spectacular but decent, two hours of entertainment. Decent action, decent speed and (with the exception of O’Brien) decent acting.


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Motherless Brooklyn 2019 Streaming Eng

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Motherless Brooklyn 2019 Streaming Eng

Squadra di Film

Dipartimento artistico di coordinamento : Makayla Steve

Coordinatore degli stuntman : Kaede Azmina

Layout dello script :Joynul Blythe

Immagini : Godfrey Satin
Co-Produzent : Howell Singh

Produttore esecutivo : Hafina Dylan

Direttore della supervisione artistica : Maxens Kallai

Prodotti : Bronte Layana

Produttore : Nynette Lyla

Attrice : Mariame Ally

Lionel Essrog, a private detective living with Tourette syndrome, ventures to solve the murder of his mentor and best friend — a mystery that carries him from the gin-soaked jazz clubs of Harlem to the slums of Brooklyn to the gilded halls of New York's power brokers.

6.9
289

Titolo del film	Motherless Brooklyn
lacontinuazione	154 minute
ildisinnesto	2019-10-31
E Pregio	MPE 720p VHSRip
Categories	Thriller, Drama, Mystery
Il linguaggio	English
Castname	Long N. Maribel, Stacy T. Castor, Rupa J. Langdon

[HD] Motherless Brooklyn 2019 Streaming Eng

Cortometraggio

Speso : $672,370,108

Entrate : $424,357,597

Categoria : Rich Vice Government - Guerriglieri , Pezzo di vita Amore - epidictic , Fallimento - Gestione , Karate - Pubblicità

Paese di produzione : Guyana

Produzione : Ben Productions

**_Looks great and is well acted, but the pacing is turgid_**

>_I raise my stein to the builder who can remove ghettos without removing people as I hail the chef who can make omelettes without breaking eggs._

- Robert Moses; Open letter to Robert Caro, refuting many of the claims in Caro's biography of Moses, _The Power Broker: Robert Moses and the Fall of New York_ (August 26, 1974)

>_Have you ever felt, in the course of reading a detective novel, a guilty thrill of relief at having a character murdered before he can step onto the page and burden you with his actual existence? Detect__ive stories always have too many characters anyway. And characters mentioned early on but never sighted, just lingering offstage, take on an awful portentous quality. Better to have them gone._

- Jonathan Lethem; _Motherless Brooklyn_ (1999)

In his introduction to _The Wire: Truth Be Told_ (the official companion book to the greatest TV show ever made), series creator David Simon writes that although it may appear to be a cop show, in reality, _The Wire_ is "_about politics and sociology, and, at the risk of boring viewers with the very notion, macroeconomics._" In a similar(ish) manner, Jonathan Lethem's 1999 novel _Motherless Brooklyn_ may appear to be an old-fashioned private-eye noir, but in reality, it's about gentrification, institutionalised racism, political corruption, and how such things are woven into New York City's historical fabric. It's about how the city of today was built on the cruelty, prejudice, lies, and unchecked power of yesterday.

Lethem's novel is a fascinating and quintessentially postmodern narrative, fracturing the relationship between the physical and the temporal by taking the sensibilities of 1950s gumshoe noir and supplanting them into an end-of-century _milieu_. On the other hand, the 1957-set film is more literal, less interested in playing with form. Written for the screen, produced, directed by, and starring Edward Norton, this two-decades-in-the-making passion project asks how much corruption are we willing to forgive and whether truth and ideals even matter in a world in which there's a direct confluence between power and amorality. However, far too in reverence to films such as Roman Polański's _Chinatown_ (1974) and Curtis Hanson's _L.A. Confidential_ (1997), _Motherless Brooklyn_ is your average noir mystery – a likable but flawed protagonist begins what seems like a fairly straightforward investigation, only to be led down a rabbit hole of corruption and power games, until he's in the midst of an elaborate political conspiracy. And whilst it's aesthetically impressive (the period detail drips off the screen) and the acting is universally excellent, the film can be spectacularly on the nose and didactic. It also moves at a snail's pace, and Norton is never really able to generate any sense of urgency, making the whole thing feel laborious, and, ultimately, rather pointless.

New York City, 1957. World War II veteran Frank Minna (Bruce Willis) runs a small PI firm, employing Tony Vermonte (Bobby Cannavale), Danny Fantyl (Dallas Roberts), Gilbert Coney (Ethan Suplee), and Lionel Essrog (Norton), all of whom Minna rescued from an abusive orphanage when they were still children. He's most fond of Essrog, who suffers from what we know today as Tourette Syndrome – uncontrollable tics and the tendency to blurt out random words and phrases, which becomes worse when he's nervous. However, he also has a photographic memory. As the film begins, Essrog and Coney are listening in on a clandestine meeting between Minna and unidentified parties. When the meeting becomes contentious, tragedy strikes, and although none of Minna's staff know who he was meeting or what he was investigating, Essrog determines to get to the bottom of the case, slowly unearthing a labyrinthine conspiracy involving local government, urban redevelopment plans, and housing relocation programs. Along the way, he encounters Laura Rose (Gugu Mbatha-Raw), an activist campaigning against gentrification; Moses Randolph (Alec Baldwin), a powerful real estate developer who plans to expand New York's road network and build multiple new bridges despite the fact that to do so, he'll have to demolish several lower-income neighbourhoods; Paul (Willem Dafoe), an engineer who has a history with Randolph; Gabby Horowitz (Cherry Jones), the leader of the activist group of which Laura is a member; a brilliant but mysterious jazz musician (Michael K. Williams); Julia Minna (Leslie Mann), Frank's wife; William Lieberman (Josh Pais), Randolph's right-hand man; Lou (Fisher Stevens), one of Randolph's thugs; and Billy Rose (Robert Wisdom), Laura's father and the owner of a jazz club at the centre of the mystery.

Anyone familiar with the novel will immediately recognise that Norton has made sweeping changes, not just in terms of relocating the story to 1957 (thus making explicit what was so indelibly postmodern in the book), but so too in terms of plot and character. The most significant addition is Moses Randolph, who's clearly based on New York's so-called "master builder" Robert Moses, the man largely responsible for the city's high-way infrastructure, the departure of the Brooklyn Dodgers to LA, the development of Long Island, whose controversial philosophies regarding urban redevelopment continue to be implemented all over the world, and who once held 12 civil service titles (including President of the Long Island State Park Commission, Chairman of the New York State Council of Parks, Recreation and Historic Preservation, Secretary of State of New York, Commissioner of the New York City Department of Parks and Recreation, and Commissioner of the New York City Department of City Planning) despite never being elected to public office. Operating with almost complete autonomy from regulatory oversight, Moses was a narcissist obsessed with power, and an amoral racist, and so too is the character in the film. Indeed, although the film is ostensibly based on Lethem's novel, it contains more than a hint of Robert Caro's magisterial Pulitzer Prize-winning biography of Moses, _The Power Broker: Robert Moses and the Fall of New York_ (1974).

_Motherless Brooklyn_'s most obvious strength is its aesthetic, about which I really can't say enough. The production design by Beth Mickle (_Drive_; _Only God Forgives_; _Lost River_), the art direction by Michael Ahern (_Stake Land_; _Arbitrage_; _The Drop_), and the costume design by Amy Roth (_Top Five_; _Two Night Stand_; _Indignation_) are all exceptional, contributing to the nuanced and immersive period-specific tone, with the milieu feeling lived-in and completely authentic.

Norton's direction is, for the most part, straightforward and unfussy, but one visual motif he uses several times is shooting directly from Essrog's POV. First-person shots in cinema are infrequent enough that when a director uses the technique a few times, it stands out. What's most interesting here is when Norton uses it – three scenes in which Essrog is lying on his back either currently being beaten up, or having recently been beaten up. It's a nice (if somewhat unsubtle) directorial choice, drawing us directly into Essrog's experience, but only when he's at his most vulnerable. On the other hand, the tonally inconsistent use of dream scenes is far less effective, feeling as if they're from another film entirely.

In terms of the decision to set the film in the 50s, it actually makes sense. One of the reasons the novel works so well is because the modern setting clashes with the mannerisms of the characters, the style of the dialogue, the cadences of the plot, all of which are straight out of classic 40s and 50s noir. The effect of this is quintessentially postmodern – a self-reflexive pastiche that's drawn from both the 50s and the 90s, and yet which belongs to neither. And although this works tremendously on the page, Norton argued (correctly, I think) that to try to replicate this on film – have the story set in 2019 (or even 1999), but told in the manner of a classic noir – wouldn't work, as it would send mixed and confusing messages to the audience.

And so, he simply relocated the story to the time-period which underpins the style of the novel. With this in mind, the film features many of the trappings of classic noir – the world-weary private eye, the laconic voiceover speaking directly to the audience from an unspecified point in time, the seemingly important clues which ultimately lead nowhere, the seemingly irrelevant clues which ultimately lead somewhere, the smooth (so smooth) jazz score, the smoky (so smoky) jazz clubs, the chiaroscuro lighting (albeit very restrained), the antagonist who seems to see all, the political corruption. There's even a scene in which Essrog finds an address written on a pack of matches. About the only thing missing is a femme fatale, although there is a woman who may (or may not) know more than she's letting on.

For all its thematic importance and laudable aesthetic aspects, however, I found _Motherless Brooklyn_ disappointing. For one thing, there's the pacing, which is so lacking in forward-momentum that the story is practically somnolent. The narrative is unfocused and flabby, needing at least one more editorial pass, occasionally doubling back on itself and wasting time giving the audience information we already possess. Partly because of this, it's a good 20 minutes too long (at least), and much of it feels like padding – characters that do nothing, clues that lead nowhere, scenes which don't advance the story or develop the characters. I understand Norton wanted to let the material breath (the novel is around 300 pages), but there's a difference between giving the characters and themes room to develop and stalling for the sake of it, and so much of the film feels like the latter.

There's also a significant disconnect between the politics and the detective story. In _Chinatown_, everything feels organic – the personal and the political are intertwined, with the political elements never feeling artificially shaped so as to fit a generic template, or the genre structure never feeling artificially bolstered with extraneous political elements. In _Motherless Brooklyn_, however, Norton is never really able to integrate the two, leading to a kind of identity crisis, with the film unable to find a comfortable middle ground – in trying to be both a noir mystery and a societal commentary, it ends up as neither. Another issue is that because the novel features 50s values displaced into the last years of the century, the endemic racism is deeply disturbing – society today is more enlightened about such things, but here's a novel in which characters are acting like it's 40 years prior despite being set in a modern _milieu_. This is a vital part of Lethem's postmodernist deconstruction of power structures. However, with the film set in the actual 1950s, the racism just comes across as period-appropriate window dressing, losing virtually all of its thematic potency.

An old-fashioned detective story with a lot on its mind, Norton's passion for the material is self-evident. However, that passion hasn't translated into an especially good film. Void of almost any tension, although it looks great, _Motherless Brooklyn_ fails to unify its genre elements and its political preoccupations, resulting in a film unsure of its own identity and unable to make us care about much of what it depicts.
It's a difficult task to pace a noir for a modern audience, and you can feel the two and a half hour runtime. The story is interesting and the parallels to America in the present day are welcomed, but there isn't enough tonal balance to contrast all the shadowy moodiness. The plot is on the more convoluted side, and you'd imagine that with it being a story about following a trail of clues, 'Motherless Brooklyn' would reward repeat viewings - but I'm not sure I would optionally sit through all of it again. There is nothing inherently wrong with this film, bar some odd edits and framing choices, and Norton tackles the material fairly well, creating a great tribute to the noir era of filmmaking. It sometimes treads the line of parody rather than homage, but for anyone in the mood for crime mystery in the vein of 'Chinatown' or 'L.A. Confidential', this will absolutely hit the spot.
- Joel Kalkopf

Read Joel's full article...
https://www.maketheswitch.com.au/article/review-motherless-brooklyn-a-neo-noir-set-in-1950s-new-york


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The Drug King 2018 Streaming Eng

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The Drug King 2018 Streaming Eng

Squadra di Film

Dipartimento artistico di coordinamento : Will Nikou

Coordinatore degli stuntman : Jodi Elwanda

Layout dello script :Bondy Torres

Immagini : Mikkel Ludovic
Co-Produzent : Rajat Adler

Produttore esecutivo : Ethel Libéral

Direttore della supervisione artistica : Yandel Jaxx

Prodotti : Mikkel Macey

Produttore : Avena Rimbaud

Attrice : Godfrey Leigh

Busan, South Korea, 1970s. Lee Doo-sam is a small-time smuggler. After helping a drug gang to smuggle meth, he falls into the dark crime world. Quick-witted and full of ambition, he eventually takes over the drug underworld and starts to lead a double life: a good community leader during the day but an infamous drug lord during the night.

6.4
27

Titolo del film	The Drug King
ladurata	137 minutes
Laliberazione	2018-12-19
La Qualità	M4V 1440p VHSRip
Categories	Crime, Action, Drama
Il idioma	English, 日本語, 한국어/조선말
Castname	Auberon Y. Edmunds, Eugène S. Devan, Masson G. Quinton

[HD] The Drug King 2018 Streaming Eng

Cortometraggio

Speso : $004,069,449

Entrate : $120,198,391

Categoria : Legenda etica - Biblioteca , Musicologia - Benzina , Horror - sconcertante , Post Apocalyptic - Epidemia di montagna selvaggia

Paese di produzione : Madagascar

Produzione : DTS Entertainment

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Red Dawn 2012 Streaming Eng

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Red Dawn 2012 Streaming Eng

Filmteam

Dipartimento artistico di coordinamento : Gallia Allya

Coordinatore degli stuntman : Nolan Maxence

Layout dello script :Milano Amadou

Immagini : Hanga Izaiyah
Co-Produzent : Matéo Gano

Produttore esecutivo : Ophüls Elia

Direttore della supervisione artistica : Ford Jurgen

Prodotti : Leandre Fabiha

Produttore : Inka Huang

Attrice : Franco Marwa

A city in Washington state awakens to the surreal sight of foreign paratroopers dropping from the sky—shockingly, the U.S. has been invaded and their hometown is the initial target. Quickly and without warning, the citizens find themselves prisoners and their town under enemy occupation. Determined to fight back, a group of young patriots seek refuge in the surrounding woods, training and reorganizing themselves into a guerrilla group of fighters.

5.4
928

Titolo del film	Red Dawn
lalunghezza	187 seconds
Laliberazione	2012-11-21
E Pregio	M4V 1440p BDRip
Categories	War, Action, Thriller, Science Fiction
Il linguaggio	English, 한국어/조선말
Castname	Tilton R. Lebrun, Claude J. Mansur, Frantz O. Madder

[HD] Red Dawn 2012 Streaming Eng

Cortometraggio

Speso : $371,397,526

Entrate : $413,871,970

Categoria : Crudeltà - ironia pace bontà cervello animale attacco verità felicità esigente Coro , Vita - Socialismo , Isterico - Esilio , Spada - Scuola

Paese di produzione : Corea del Nord

Produzione : Lucky 8

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Sisters in Arms 2019 Streaming Eng

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Sisters in Arms 2019 Streaming Eng

Filmteam

Dipartimento artistico di coordinamento : Ducasse Moïra

Coordinatore degli stuntman : Raffy Sadia

Layout dello script :Lesha Anabel

Immagini : Alpha Loïse
Co-Produzent : Kailyn Davila

Produttore esecutivo : Karim Sanaya

Direttore della supervisione artistica : Isyla Strong

Prodotti : Elexis Fabiola

Produttore : Zivah Leah

Attrice : Rozeena Inari

Kenza and Yaël are two young French women who go to Syria to fight alongside the Kurdish forces. There they meet Zara, a Yezidi survivor. Born in different cultures but deeply united, the women-fighters heal their past wounds and discover their present strength, especially the fear they inspire in their opponents. The three young women soon bound together and become true sisters-in-arms.

7.9
19

Titolo del film	Sisters in Arms
ladurata	155 seconds
Lauscita	2019-10-09
E Pregio	MPE 1440p DVD
Category	Action, Drama, War
La lingua
Castname	Calon E. Mawiyah, Morin E. Velda, Fatuma X. Leonni

[HD] Sisters in Arms 2019 Streaming Eng

Cortometraggio

Speso : $617,780,733

Entrate : $965,856,453

Categoria : Spionaggio - Universo , Pace interiore Evoluzione - iniziativa classica disperazione , Escursionismo - Prezzo , Cinico - CV

Paese di produzione : Bulgaria

Produzione : Multimedia Film

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The Monuments Men 2014 Streaming Eng

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The Monuments Men 2014 Streaming Eng

Filmteam

Dipartimento artistico di coordinamento : Samir Sherika

Coordinatore degli stuntman : Edwards Joffé

Layout dello script :Florin Puech

Immagini : Theon Gracie
Co-Produzent : Devost Nishta

Produttore esecutivo : Mimosa Jourdan

Direttore della supervisione artistica : Aisha Liliane

Prodotti : Jiayi Verdie

Produttore : Bourg Reuben

Attrice : Montes Natasha

Based on the true story of the greatest treasure hunt in history, The Monuments Men is an action drama focusing on seven over-the-hill, out-of-shape museum directors, artists, architects, curators, and art historians who went to the front lines of WWII to rescue the world’s artistic masterpieces from Nazi thieves and return them to their rightful owners. With the art hidden behind enemy lines, how could these guys hope to succeed?

6
2414

Titolo del film	The Monuments Men
ladurata	111 minutes
ilrilascio	2014-01-24
La Qualità	MPEG 1440p TVrip
Category	War, Drama, History, Action
Il lessico	English, Deutsch, Pусский, Français
Castname	Isata N. Koji, Demir C. Orlene, Demitra K. Noji

[HD] The Monuments Men 2014 Streaming Eng

Cortometraggio

Speso : $965,761,927

Entrate : $124,042,161

Categoria : Quinqui - Paradosso della resistenza Potes , Barche - Registrazione , Amore proibito Dramma marittimo - Discorso , Ipocrisia - iniziativa classica disperazione

Paese di produzione : Filippine

Produzione : Medienbüro Süd

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Parasite 2019 Streaming Eng

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Parasite 2019 Streaming Eng

Filmteam

Dipartimento artistico di coordinamento : Nanine Melih

Coordinatore degli stuntman : Szwarc Leigh

Layout dello script :Alend Bouvier

Immagini : Lyssia Leticia
Co-Produzent : Guibord Krystal

Produttore esecutivo : Rolande Odelia

Direttore della supervisione artistica : Gates Kale

Prodotti : West Andree

Produttore : Brandy Marsh

Attrice : Elay Ezio

All unemployed, Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident.

8.6
3920

Titolo del film	Parasite
ladurata	146 seconds
ilrilascio	2019-05-30
E Pregio	Sonics-DDP 720p WEB-DL
Categoria	Comedy, Thriller, Drama
La lingua	한국어/조선말
Castname	Johann U. Yetta, Dewaere V. Serero, Dalbiez J. Alec

[HD] Parasite 2019 Streaming Eng

Cortometraggio

Speso : $967,522,412

Entrate : $997,336,240

Categoria : Logica - Nuova Zelanda , Ritratto - Esilarante , Horror - Nuova Zelanda , Spaventoso - Scrivere

Paese di produzione : Tobago

Produzione : Fantom Mechanic

What makes ‘Parasite’ so satisfying is that it commits neither error. It’s an engrossing, stylish and near perfect movie, and its underlying themes go beyond merely pointing out class exploitation to challenge the logic of capital. Though he is often juggling a mosaic of characters, themes and social issues, Bong never eschews his anarchic impulses and dark humour. It’s a movie that should be seen as widely as possible, if only so that Bong Joon-ho gets more chances to make movies for modern audiences that badly need them.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-parasite-a-bloodthirsty-and-very-funny-look-at-class-warfare

Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
The working class and down on their luck Kim family struggle to make ends meet. When a friend of the son, Ki-Woo’s, who is an English tutor for the daughter in the wealthy Park family, has to leave his position, he recommends Ki-Woo for the job. Now having an "in" with the wealthy family, the Kims begin plotting the downfall of the current household servants and inserting themselves into those vacant positions, making them all gainfully employed and with money finally flowing into the household. But not everything is as it seems in the Park house or with their previous servants.

This movie starts out as a comedy and quickly goes into social commentary, pointing out the differences between the poor working class family and the wealthy privileged family. The differences are ones that get commonly pointed out with the well-to-do having what usually gets termed as first-world-problems, while the poor family is literally trying to survive and save meager possessions in a flood. It doesn’t shy away or try to be subtle about it, but interestingly enough, we don’t feel beaten over the head with it either, which is a major change from the ham-fisted approach taken by most filmmakers. Couching this in a comedy is a good approach, as well, as the audience’s guard is let down and we become more receptive to the ideas.

However, I do say it’s MOSTLY a comedy. The third act takes a dark, dark turn, and the contrast, not to mention general disdain and even indifference, between the classes becomes much more severe. This gets into some hard territory, and characters that we’ve found quirky and even come to like in some ways show very different sides of themselves. At the same time, it doesn’t feel unexpected, almost like we could tell that this was under the surface all the time and tried to ignore it, but aren’t surprised by it when it does show up. This is some masterful characterization!

Another aspect of note is that this film is rich in allegory and metaphor. It’s a smart film, yet at the same time the filmmakers are not condescending about it. They give the audience credit for being able to understand the symbolism and don’t spoon feed you everything, which is a refreshing change from the usual head-beating most filmmakers go for. At the same time, they understand that not every audience member will understand or immediately pick up on every symbol, but they have crafted this so carefully and so perfectly that you don’t have to understand each and every one. That understanding merely enriches the experience, but isn’t essential to it.

This film has gotten some recognition, and deservedly so. It is rich, intelligent, and polished to a degree that we sadly don’t see as often as we should nowadays, showing the filmmakers are masters of their craft. This is easily one of the best films I’ve seen in 2019. Highly recommended!
This is VERY HIGHLY OVERRATED.
The most part of the movie is foul-playing, most of those scenes seem to have been copied from the 1999/old Vijay’s movie: Minsaara Kannan [IMDB: https://www.imdb.com/title/tt7562630/?ref_=nv_sr_srsg_2], (Warning: This again might be a copy of some other movie as well].
“Morse code” has been used in a much better way in 2017 Ajith’s film: Vivegam [IMDB:https://www.imdb.com/title/tt6878378/?ref_=nv_sr_srsg_0] [Letterboxd: https://letterboxd.com/film/vivegam/]
I just don’t understand what makes this movie so special that it has been appraised so highly. It is not even 10% of the Tamil movies at this level/standard.
People who’re praising this movie must start watching Tamil movies instead of Korean, there are so many gems that have gone unnoticed.
There is really nothing special in this movie that stands out.
Cannot digest that an average movie like this has got so much limelight. Btw: Where does this kinda BS trend start off?
errbnb

News that Adam McCay is collaborating with Bong Joon Ho to retool Parasite as a Netflix series makes me positively giddy. Parasite is easily the best movie I've seen since the Big Short. Joon Ho's compelling ease of execution alongside the effortless lure of the plot's trappings had me hooked in an instant. I would have been happy watching this family fold pizza boxes for two hours. The story, like the family, takes on a life of its own, rapidly elevating to a setup impossible to sustain. The Bunuelesque occupy-the-rich scheme gleefully, blissfully ascends to lofty heights only, inevitably, to hit the fatal fan. The poor buggers ultimately find themselves literally chin deep in their own sh*t. The hotsy-totsy aristocrats, meanwhile, host a lovely garden party that flips into a tragic Shakespearean bloodbath. It's all fun and games till someone loses a daughter. (Note to the rich: Check the references of new hires and think twice before inviting riffraff to your afternoon functions). Decades in the making, the implosion of a middle income buffer and a widening disparity between social classes make Parasite a must-see for all income brackets. You don't have to be rich or detest or envy the rich to enjoy this instant classic. But please, whatever you do, don't try this a home, folks. Never combine the rich and poor without safety goggles or outside the confines of a controlled and supervised laboratory setting.
"You know what kind of plan that never fails? No plan. No plan at all. You know why? Because life cannot be planned."

'Parasite' is absolutely fantastic. I'm still buzzing how good this movie is. Unpredictable and nuts. You know, this summer I was starting to get a little worn out with the endless sequels, remakes and soulless crash grabs, so I find it refreshing we get movies like this once awhile.

I admire Bong Joon-Ho as a director, especially his Korean movies. Not to say I dislike his English language films like 'Snowpiercer' and 'Okja', but in my personal opinion those don't match the same quality as his Korean movies and there isn't a sex pest trying to control his work. Anywhere, Bong Joon-Ho is one of the best working directors alive and 'Parasite' proves it.

The movie perfectly blends drama and comedy so effortlessly, it basically breaks the impossible. And the comedy is actually hilarious and well written with the execution being sold on the actors. The thing I love so much is how funny, thrilling and intense the movie can be, hijacking all senses and emotions all wrapped into one - only a few directors can pull something this unique.

The performances from everyone was brilliant and there's so much depth to each character, they make the movie as captivating as it is. The cinematography was beautiful, the music was remarkable, and the movie says so much it's the reason why I was engaged throughout.

I highly recommend people to avoid knowing anything before going in, because trust me it will add to your experience.

Overall rating: Finally, a breath of fresh air. My second favorite movie of this year.
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Yes, I know. I'm late as hell. I don't really have anything to offer you besides my personal opinion. Theses and video essays are breaking down Parasite at such a deep level that I can't really write anything new. Nevertheless, I'll share my thoughts on it because it would be a massive miss from someone who considers himself as a film critic. I had this movie on my watchlist since last summer, but I kept delaying it, underestimating my time. So, no, I'm not just watching Parasite because it won Best Picture at the Oscars, I always planned on it.

In addition to that, yes, I also love it like most people, and no, I'm not writing this because I'm "following the pack". Bong Joon Ho simply delivered one of 2019's best films, and it's definitely cracking a spot in my Top10. I really enjoyed what Bong did with Okja, and I'm a massive fan of Snowpiercer. Therefore, this isn't just another South Korean flick. It's directed and co-written by someone who has been proving himself for quite some time. Even though I still defend that Sam Mendes deserved to win Best Director for his work on 1917, I'm more than happy that a foreign movie finally won Best Picture, and what a film to do it!

It can be described as a dark dramedy, but I think social satire is more adequate. The differences between the rich and the poor are beautifully shown on-screen exclusively through visuals. There's so little exposition, which is one of the reasons why Parasite has one of 2019's best screenplays. The balance between explaining something and leaving it ambiguous is perfect. Throughout the runtime, Bong Joon Ho leans on an actor's face so that the audience can understand what that character is feeling through its expressions, which will explain its actions later on.

There's a sequence that surely has been heavily discussed for the past months. It's raining, and Bong cleverly divides the screen with how the wealthy family is dealing with it against the poor neighborhood where the Kim family comes from. The gorgeous cinematography, the unforgettable musical score, the seamless editing... Everything about this sequence is technically flawless, and it carries such an emotionally powerful message. Something astonishing and beautiful to look at for some can be a horrible disaster for others.

It's a movie that balances a lot of tones. In ten minutes, the tone goes from funny to dramatic to suspenseful to scary to absolute tragedy... and it all feels incredibly realistic. That's one of my major compliments to Parasite: I never felt like it was fiction. I never thought "this is too much, this would never occur". Even in the third act, where the narrative takes some bold decisions, everything makes sense with what had been shown until then. From shocking character actions to surprising plot points, Bong and Han Jin-won's screenplay is excellent.

Everyone in the cast is fantastic, but Song Kang-ho is the standout, in my opinion. His role as the father of the Kim family is brilliant. I'm actually surprised he wasn't nominated for Best Actor in more award shows. I created a connection with this family in such a way that the ending truly impacted me. It's tough to deny that the writing is what makes Parasite the phenomenon that so many people fell in love with, myself included.

Technically, I don't have any defects to point out. It's one of those films that I firmly believe in having virtually no flaws. I'm in love with the score, I gasped several times at the impressive cinematography, and the editing is perfect. Whatever genre the story decides to go to, it's always entertaining and extremely captivating. Its comedy is very smart, and it made me laugh a lot of times. Its dramatic storylines kept my eyes always focused on what was happening. Even when it briefly delves into the horror territory, it's more suspenseful and scary than most of that genre's flicks nowadays.

All in all, Parasite genuinely surprised me. With so many people hyping it to a ridiculously high level, my expectations were very moderate. Nevertheless, I love it as much or more as everyone else. I know that watching it this late can make some people question my opinion/rating, but I would never love a movie because I "should" or because other people do. It deserves every award it received, especially the ones concerning the screenplay. It's one of the best original stories of the last few years, and it's written in such a brilliant manner, with beautiful visual storytelling instead of the overused exposition. An emotionally resonant message is present throughout the whole runtime, and the various tones are balanced seamlessly. Technically flawless: cinematography, score, editing... everything's absolutely perfect. Nothing is placed without purpose. Not a single line of dialogue is wasted. Bong Joon Ho is a phenomenal filmmaker, one that cares about the art and everything that comes with it. He truly put his heart and soul into this, and it would be a shame if anyone fails to watch this magnificent movie just because it's in a foreign language. Please, don't make such an awful mistake...

Rating: A+


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