A Cure for Wellness 2017 Film AZ

A Cure for Wellness Film AZ 2017

süreklilik : 145 saat tutmak Wahlstimme
seçim sonucu sayı : 0.3/10 (55749 bildirmek)
ses kalitesi : MPEG 1440p
DVDrip
görüntü : 1287
yaratıcılık : Vernachlässigt , Wissen
mesleki dil : BN,LK,IS,PR,MZ,CC,AF,VC,LCA, LBN, BRA, PRT, GRD
sayı saymak : 4.1/10 (15629 Votum)

A Cure for Wellness 2017 Film AZ

A Cure for Wellness Film AZ-cars-DAT-2017-untertitel-Bluray-MPEG-1-Blu-ray-FLV-Dolby Digital-MPEG-1-online anschauen-online anschauen-italienisch.mp4

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The movie did a great job with atmosphere and mood for sure but the hollow plot devices, shaky motives, nonsensical 'science' and the burden set upon me to suspend disbelief against all odds makes it one that I cannot recommend.

It is unfortunate that they did not have a more experienced or capable writer to consult before moving ahead. I think the right person may have been able to untangle this knot of a script.

All other elements were well done and I could feel the tension and sense of isolation grow throughout the film. They did so much right that it is a terrible shame that, ultimately, it went so wrong.
My goodness! Two and a half hours of absolute drivel. The worst movie I have seen in a long time. The list of things that are wrong with this movie are almost too many to list.

First the good: the makers of this movie have obviously paid a lot of attention and have gone to a lot of trouble in the design of the movie. The location and the settings are stunning. The 'spa' where the story takes place is suitably unsettling and creepy. The music also is a highlight. That's where the good ends, unfortunately.

The plot of this movie is an absolute mess. It seems the producers weren't sure what they were going for: Gothic horror? Dark and quirky? Straight out frightening? As a result, the finished product is none of these things. The movie swings from one improbable scenario to another. New plot elements are introduced with no relation to what has gone before. Several times the movie arrives at what seems to be a conclusion before picking itself up, introducing a hitherto unreferenced, unrelated, unnecessary and unlikely plot 'twist' and then lurching on its demented way. It's almost as if the makers finished the movie and then someone thought of something else to include - often borrowed from another, better movie - and they tacked it on the end. The movie seems interminable. Its two and a half hour run time could have been shortened by an hour and resulted in a somewhat enjoyable story.

It also doesn't help that the denouement is pretty obvious quite early in the piece or that certain of the plot elements are not really explained properly or that none of the characters are likeable or worthy of the viewer's sympathy or that most of the tension is provided by the music, not by the story or acting.

In short, if you're looking for a good evening's entertainment look elsewhere. This ain't it.
_A Cure for Wellness_ is most certainly not going to be for everyone. It's spectacularly, deliberately, uncomfortably ugly (albeit, in a bizarrely beautiful way). It's story is flawed, it's long (two and a half hours all told), it's slow, some of its setups don't evolve into payoffs, it's not half as mysterious or clever as it might think it is, and it can't even hold to its own mythology 100%. But I loved it.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
**The mysteries behind a misty mountain fortress!**

Seems the films of this director won't survive without Johnny Depp in the lead. Just one good film would change that conception. Is this the one! No, but was very close. After seeing the film I thought it could be based on the novel, but isn't. The writers must be good to create such atmosphere, outside the novel. I was very impressed with the film, though the screenplay lagged the pace. And a few things need to be explained where the narration failed to do so, keeping in mind the average intelligent people. Other than that it is a decent mystery-drama associated with fantasy and sci-fi.

Due to a financial crisis in the firm, a young New Yorker goes to the Swiss Alps looking for his boss. At first he struggles to make a contact with him as the staffers are not friendly. After an unexpected incident, he has to stay a bit longer. In those periods, he comes to realise there's something wrong with the place, hence decides to uncover. Does he really do it! His struggles in the attempt and everything else were told in the remaining part.

Somewhat it reminded me 'Perfume: The Story of a Murderer'. Not until you finish watching it or figure it out the puzzle. Then the BG score was too cliché for such concept, but nothing can be replaced it. The film had a good opening. Even the mid part. But dragged in the latter section. The overall length of the film was another drawback for the narration.

There were no empty scenes, everything's were filled with something, but the end twist was not as phenomenal as promised in the earlier developments. Especially if you had seen a handful of similar masterpieces. It was kind of an old concept, like the pre 80s or something. Yet acceptable at present for being rare. Thus, it depends how well it was made. An above average film, but for those who haven't seen many films in their lives, this will be a great one.

_6/10_
First of all, it's not for everyone. It might seem repetitive, too long or stupid at times. However, it's worth a shot merely because of it's visuals and the constant intrigue whether the protagonist is to believed or not. The so-called 'plot holes' in the movie are open to interpretation and thought and never bothered me. The ending could have been cut short, but it's a reminder that perhaps there are no good guys here. Seems to be a product of another era, perhaps too ambitious for its own good.
I got sucked into this movie and i liked it. It was different. I started this movie cause i couldnt find the remote so i watched this and it was good. Even had Lizard ppl. I'll give it a 7 out of 10.

"

[HD] A Cure for Wellness 2017 Film AZ

Kısa film

Harcandı : $373,333,822

Gelir : $289,705,795

Kategoriler : Scary - Propaganda , Hingabe - rätselhaft , Völkermord - Universum , Metaphysik - Einfach

Üretici Ülke : Mauritius

Prodüksiyon : Nikkatsu

An ambitious young executive is sent to retrieve his company's CEO from an idyllic but mysterious "wellness center" at a remote location in the Swiss Alps but soon suspects that the spa's miraculous treatments are not what they seem.
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Boyhood 2014 Film AZ

Boyhood Film AZ 2014

süreç : 186 an Stimmabgabe
seçim sonucu müzik parçası : 0.8/10 (83421 oylayarak kararlaştırmak)
soyluluk : MPE 1080p
DVD
incelemek : 5227
sanat : Drama Carcral , Held
lisan : TD,BV,AF,CC,VE,MS,MQ,BT,CHN, VEN, SLE, USA, AND
saymak : 7.9/10 (38750 Stimmrecht)

Boyhood 2014 Film AZ

Boyhood Film AZ-rotten-tomatoes-MP4-2014-stream-720p-VHSRip-DAT-DVD-film-TVrip-englisch-MPEG-1-Dolby Digital.mp4

Boyhood--türkçe-dublaj-online anschauen-2014-WMV-italienisch-HDTV-AAF-download-Sonics-DDP-MPEG-2-englisch-mit untertitel-WEBrip.png

**Phenomenal**

When you think back to _Slackers_ you remember how easy that movie flowed. How comfortably it drifted. Just go with it. Let it happen, live in the moment. Then there's the _Before trilogy_ which again seemed effortless and free-flowing yet constructed with so much care that you knew this filmmaker was not only unusual, but acutely human. That he cherished experience and learning and submitted to the eternal present, surrendering to and tinkering with fate, while tending to the perpetually immediate situation with enormous sensitivity and regard.

But nothing could prepare you for _Boyhood_. You can't overstate the fact that it's a grand free-flowing time-lapse experiment and that most of the actors--no not actors, not performers--most of the people were cast when the central figure was a very young boy, looking up at the sky, having no idea how his future would unfold. The world might be a stage but Richard Linkater is not omnipotent. As a definitive work-in-progress, a daring collaboration with fate and destiny, who could really know how the boy's script was going to turn out, and how the wide array of voices in his life would shape him as he stumbles toward adulthood? Only a true sure-footed and fluid filmmaker, an authentic disarming innovator could raise this baby with as much beauty and wisdom. Dazed and Confused? Make room for Clear and Composed.

Hear the lamb howl. _Boyhood_ is a daring experimental wolf wrapped in conventional wool. Needing to be shot chronologically, the linear time-line and 12-year shooting schedule called for a fresh and original approach to crafting a movie. If something went wrong during the many long gaps in production, say, if an actor suddenly became unavailable, or some drastic circumstance threatened to break the continuity of the boy and his family's life, there's no going back to re-shoot. No relying on special effects make-up or casting young and old versions of a character. The faith invested in this concept and the delicate handling of it's execution is a marvel to witness, blooming before our eyes.

Patricia Arquette was growing up too. Aging faster than Ellar Coltrane, it appeared. This movie defies breaking up into a series of disjointed, episodic fragments. And Arquette stitches together an admirable and dedicated performance as the ubiquitous maternal defender who struggles to keep herself and her family from falling apart. Because of the blur between fiction and reality, between drama and documentary, and because of the way Linklater is able to nurture the process and allow his films to take on a life of their own, Arquette may not be acting on set any more than she has to in real life. A slight adjustment in perspective and this movie could have been called _Motherhood_.
Richard Linklater's 'Boyhood' is a brilliant film about life and the struggle to find meaning. It follows a family through a twelve year period as they endure situations and tackle obstacles together. The main technical aspect of the film is a very controversial and memorable one as Linklater hired his main actors and continued to follow them for twelve years thus adding to the realism of the feature adding much poignancy to the themes. The overall direction can be considered very naturalistic and simple but there are wonderful shots of natural environments such as the beautiful river that Mason and his father visit representing the beauty of life whilst underlining the insignificance of man's role in the world.

The screenplay is a touching study of the meaning of life. There is a great balance of humour and heart-rending dialogue throughout the film. At 165 minutes, the movie is a long one but the pacing was perfect and captivating that I hardly noted the film's duration. The characters each have profound dialogue in which they discuss the journey of which they (and we) are going through and question the reasoning of difficult events.

The performances in 'Boyhood' are exceptional. Mason (Ellar Coltrane) starts off as relatively inexperienced and under-developed but matures as the film progresses adding substance to his character's arch. This performance is supported by the excellent Patricia Arquette who plays the mother. Arquette manages to portray the mother perfectly as she undergoes traumatic events that shape her family's life.

Overall, I feel that 'Boyhood' is a technically brilliant achievement in film-making. Not only is the process fascinating in terms of the methods used to create the film but it is also a fascinating investigation into time.

★★★★½
Boyhood organically condenses twelve years of upbringing into an undramatic three hour behemoth. The journey of adolescence is one personality-altering experience that each of us inevitably undertakes. An existential life step that physically and personably transforms our very bodies, from innocent child to independent adult. Parents forced to release their protective talons and enable their children to venture out into the harsh world, justifiably falling down the pitfalls of life and picking themselves back up again. But what’s the point of it all? We grow up. We attend school. We work. We live, love and lie. Only to see ourselves never progress on a personal level. Life is valuable. It is a finite amount of time that rapidly ticks by at the rate to which we grow older. It can often be disillusioning, but most importantly, it can be special. It’s up to us to make the most out of the limited time bestowed upon us.

Linklater’s sprawling coming-of-age epic is a technical masterclass in ingenuity. Depicting the adolescence of a young boy growing up in Texas with his divorced parents. Logistically, literarily and lovingly, Linklater opted for the innovative concept of filming in real-time. The actors physically growing with their characters, with the ability to add personal experiences to the narrative. This ambitious depiction of maturing is subconsciously organic, and proved to be an effective method in illustrating adolescence. It kept the casting limited, without having to obtain multiples actors for the same character at different stages of childhood, and exhumed a sense of natural intuition.

That being said, this meticulous construct of film-making unfortunately facilitated a mellow story that lacked any drama or emotional depth. Coming-of-age dramas work effectively when depicting one specific year that dares to dramatically endeavour into relatability. The issue with Boyhood is that, due to its extensive duration of narrational time, several aspects were emotionally subdued. For example, Mason experimenting with alcohol and recreational substances. Linklater failed to dig into the emotional conflict that lead Mason down that path, merely likening the character to an empty shell. Another example, Bill drunkenly assaulting Olivia. Again, this case of domestic abuse is only touched upon before Linklater moves on with Mason’s life.

Boyhood is essentially a montage of fictitious memories. Good and bad. It’s all part of growing up. But does that necessarily result in an entertaining or emotionally captivating film? For me, it’s a hesitant “no”. Sure, there will be scenes that are relatable to your own upbringing and therefore engage you momentarily. Personally I warmed to the scenes involving Hawke’s fatherly figure and his attempt to rekindle with his children. Growing up with divorced parents, Linklater’s dialogue was incredibly realistic and related to my own life. But as I said, he then quickly moves on with the narrative and the emotionality is diminished yet again. Hawke and Arquette offer their intense acting styles to spice up the narrative, however Coltrane and Linklater’s own daughter rarely displayed variety. The plot’s structure itself commenced with nostalgic-fuelled simplicity (GameBoy Advance SP, DragonBall Z, Coldplay’s “Yellow” etc.) and then ending on philosophical existentialism, which I suppose merged adequately with Mason’s advancing frame of mind.

Yet I cannot shake the feeling of disappointment. Linklater took no risks with the story. Limited emotional depth. Boyhood, for all its technical ingenuity, remained hollow. “One of the greatest films of the decade”? I’m not convinced, yet I appreciate the innovation behind the lacklustre story.

"

[HD] Boyhood 2014 Film AZ

Kısa film

Harcandı : $341,925,067

Gelir : $779,583,477

Kategoriler : Ideen - Geistesgesundheit , Glaube - Guerilla , Zoologie - Unabhängigkeit , Literatur - ironie frieden güte gehirn tier angriff wahrheit glück fordernd

Üretici Ülke : Ukraine

Prodüksiyon : C2 Entertainment

The film tells a story of a divorced couple trying to raise their young son. The story follows the boy for twelve years, from first grade at age 6 through 12th grade at age 17-18, and examines his relationship with his parents as he grows.
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Maleficent: Mistress of Evil 2019 Film AZ

Maleficent: Mistress of Evil Film AZ 2019

süre : 135 saat tutmak Wahlstimme
seçim sonucu müzik parçası : 3.8/10 (16830 oylamak)
ses kalitesi : Dolby Digital 1440p
DVDrip
görüş alanı : 1974
ressamlık : , Dewile
dil : CI,GS,GM,NF,SO,DK,CK,PF,FRA, OMN, CZE, BLM, NIU
hesaplamak : 7.3/10 (93146 Stimmen,
)

Maleficent: Mistress of Evil 2019 Film AZ

Maleficent: Mistress of Evil Film AZ-tek-parça-online anschauen-2019-italienisch-SDDS-ASF-ASF-MPE-AAF-DVDScr-online anschauen-kostenlos-online stream.mp4

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"

[HD] Maleficent: Mistress of Evil 2019 Film AZ

Kısa film

Harcandı : $317,897,683

Gelir : $645,821,129

Kategoriler : Rache - Trennung , Mädchen - Großartig , Abstrakt - Neid , ParParties - Umweltentfremdung

Üretici Ülke : Kuwait

Prodüksiyon : UFA Fiction

Maleficent and her goddaughter Aurora begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies, and dark new forces at play.
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The Mist 2007 Film AZ

The Mist Film AZ 2007

süreç : 188 zabıt tutmak Stimme
önerme rakam : 7.5/10 (27767 oy vermek)
yetenek : DAT 1440p
HDTV
manzara : 1132
sanatsal : Superheld , Metaphysik
dil : IQ,BT,HR,LS,MV,PW,AQ,VA,TCA, VUT, SWE, ZAF, IMN
rakam : 0.1/10 (32439 Votum)

The Mist 2007 Film AZ

The Mist Film AZ-nautilus-FLA-2007-Bluray-online stream-AVI-WEB-DL-VHSRip-englisch-AAF-SDDS-HDTV-SDDS.mp4

The Mist-nme-sayısı-MPE-2007-M2V-Sonics-DDP-italienisch-HDTS-AAF-DVDrip-uncut-deutsch-DAT-stream.png

Following a devastating storm, a small town in Maine finds that the eerie mist swarming into the neighborhood holds a deadly secret inside that attacks anyone around them and forces a small band of survivors trapped inside a supermarket to hold off the creatures.

This one here is an incredibly frustrating King work. A lot of what makes this one so uneven is due to there being a lot to really like about it, a few points to love about it and then there were elements to utterly loathe about it. The film is at it's best with the way the mounting hysteria over the situation with them trapped within the supermarket and how the groups resolve their problems and start new ones which was pretty good and makes for a realistic feeling to the story, detailing how it all breaks down and what the group resorts to in order to keep their sanity. Likewise, that in turn leads into the films' best efforts in the first few attacks with the unknown creatures inside the mist killing off the victims as they refuse to believe what's out there and rush foolishly into the area which makes for a series of fun times out in the cargo hold and the different attempts to reach safety outside and then encountering the different creatures and their powers were all good points. The flying insects and them trying to keep them out as the different creatures break in resulting in a series of great encounters trying to clear them out of the store, and the insane battle in the pharmacy during the pitch-black interior is a rather stark and creepy experience fighting off the array of creatures that gives this one a ton of impressive points. The final few battles and escapes to get out, the blood and gore and the way that the creatures are dealt with are all loved points here as that all leads into the stellar finale which is an absolutely unforeseen and shocking in what goes on as there are some rather disturbing parts in this section. Along with the fine creature effects, these here are the good parts to really love about it although it does have a few issues to be had here. The film's biggest problem is the mere appearance of the religious babble that gets spewed in here which is so wrongheaded and rather off-putting it just makes the viewer feel like not watching it all that often. Yet another big issue here is the length and how overlong it feels, with the rather overlong sections in the middle really making it feel it's length somewhat. While there's plenty to like here, these do hold it back.

Rated R: Graphic Language, Graphic Violence and intense themes of children-in-danger.
You can't convince some people there's a fire even when their hair is burning. Denial is a powerful thing.

The Mist is directed by Frank Darabont and Darabont adapts the screenplay from the story of the same name written by Stephen King. It stars Thomas Jane, Marcia Gay Harden, Toby Jones, Laurie Holden and Andre Braugher. Music is by Mark Isham and cinematography by Rohn Schmidt.​
​
Residents of a small Maine town become trapped in the local supermarket when an otherworldly mist brings deadly creatures in full attack mode. That's not the only problem, for two groups form inside the market, one in favour of escaping, the other for expiation.

As is the norm, King adaptations vary in quality and divisive fan appraisals, so with "The Mist" on screen not exactly setting the box office alight, and it even getting delayed releases in Europe, one would think this is one of the lesser King adapted lights? Not so, in fact, it is now proving to have a longevity of worth in horror fan circles. So much so, that the great horror writer at the literary source gives it the full thumbs up whilst giving the "changed" ending his full pat on the back approval.

Darabont is of course the director who previously took King's more human interest stories and crafted much beloved movies out of them, so why was he in the chair to direct a film about alien creatures unleashing bloody dread on small town Americana? Well actually the answer is why "The Mist" is such a cunning chilly delight. For this not only features monstrous creatures straight out of a Lovecraft/Barker nightmare, but also the monsters of the human kind, where the venality of the human condition is laid bare under duress, of which it is very frightening.

The alien creatures themselves creep the flesh, ok the effects work sometimes sags under the scrutiny of "HD" viewings, but this is nightmarish stuff, none more so than with a quite brilliant and terrifying sequence of events in a pharmacy. Yet it's the human monsters within the supermarket that usurps our creature invaders, where religious fervour and mans propensity for survival comes crashing together for dynamic results - the cast utterly in tune with the material and delivering quality portrayals.

Once the human battles within dissipates, and we come to the resolutions and reasonings of what has caused the creature invasion (hello subtext), we arrive at the much talked about finale. It actually deserves to be divisive, for we don't want yet another horror film finale that has people shrugging their respective shoulders and saying "fair enough, but is that it?".

If you buy into the all round bleak tonalities that the pic has been serving throughout, then this ending hits all the right buttons. For sure, this is no easy cop out to send you home with a smile on your face, it's brutal, and crucially it's befitting the word of the genre it sits in - horror. 8.5/10

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[HD] The Mist 2007 Film AZ

Kısa film

Harcandı : $982,855,606

Gelir : $673,044,268

Kategoriler : Pest - Potes , Musikwissenschaft - Chor , von cops - Identität , Egal - Brüder

Üretici Ülke : Bhutan

Prodüksiyon : Katahdin Productions

After a violent storm, a dense cloud of mist envelops a small Maine town, trapping artist David Drayton and his five-year-old son in a local grocery store with other people. They soon discover that the mist conceals deadly horrors that threaten their lives, and worse, their sanity.
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The Lighthouse 2019 Film AZ

The Lighthouse Film AZ 2019

süreklilik : 166 tutanak tutmak Votum
oylama sayı : 2.4/10 (76141 bildirmek)
asalet : MP4 1440p
Bluray
görünüm : 0911
bilim dalı : Ideologie, Ethik
lisan : AM,AM,NZ,AL,BB,AS,PE,SM,MDV, FSM, HKG, FRA, CZE
tip : 9.8/10 (30029 Stimmrecht)

The Lighthouse 2019 Film AZ

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If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

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

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

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

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

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

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

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

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

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

Rating: A+
“𝐾𝑒𝑒𝑝𝑖𝑛 𝑠𝑒𝑐𝑟𝑒𝑡𝑠, 𝑎𝑟𝑒 𝑦𝑒?”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

>_And saw the lighthouse towering white,_

>_With blinded lantern, that all night_

>_Had never shot a spark_

>_Of comfort through the dark,_

>_So ghastly in the cold sunlight_

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

>_With wonder all too dread for words._

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

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

- Virginia Woolf; _To the Lighthouse_ (1927)

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

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

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

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

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

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

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

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

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

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

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

"

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Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.
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A family calls in an intervention for Benjamin, a kid who is doing drugs. Soon, it becomes clear that those who are confronting Benjamin's problem also have many problems of their own.
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In the second installment of the Death Note film franchise, Light Yagami meets a second Kira and faithful follower Misa Amane and her Shinigami named Rem. Light attempts to defeat L along with Teru Mikami (a Kira follower) and Kiyomi Takada (another Kira follower) but in the end will Light win? or will a Shinigami named Ryuk make all the difference in Light's victory or his ultimate death?
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The Griswold family hits the road again for a typically ill-fated vacation, this time to the glitzy mecca of slots and showgirls—Las Vegas.
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To test its top-secret Human Hibernation Project, the Pentagon picks the most average Americans it can find - an Army private and a prostitute - and sends them to the year 2505 after a series of freak events. But when they arrive, they find a civilization so dumbed-down that they're the smartest people around.
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