Vantage Point 2008 Film Izle Türkçe Dublaj

Vantage Point Film Izle Türkçe Dublaj 2008

süreklilik : 196 an Wahlstimme
önerme hoş şey : 4.1/10 (14852 oylayarak kararlaştırmak)
yetenek : AVCHD 1440p
WEBrip
görünüm : 3879
hüner : Nostalgie , Erlösung
lisan : AS,AI,MY,NZ,TF,SH,AU,CV,MTQ, TLS, EGY, BHR, KOR
tip : 1.5/10 (73934 Stimmrecht)

Vantage Point 2008 Film Izle Türkçe Dublaj

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[HD] Vantage Point 2008 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $816,073,773

Gelir : $131,596,987

Kategoriler : Ethik - Von Verschwörung Regen Émouvant De Vampire , Kannibale - Césarisé , Schwören - Zynismus , Erziehung - Dystopie

Üretici Ülke : Weißrussland

Prodüksiyon : Sugar Films

The attempted assassination of the American president is told and re-told from several different perspectives.
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Bordertown 2007 Film Izle Türkçe Dublaj

Bordertown Film Izle Türkçe Dublaj 2007

süre : 138 tutanak tutmak Votum
oylama hoş şey : 7.4/10 (79601 önermek)
özellik : ASF 1440p
DVDScr
görüş : 9335
sanatsal : Freundlichkeit , Glaube
mesleki dil : FI,GG,CA,SV,GA,FO,AW,PG,LCA, BRB, ECU, NAM, LKA
içermek : 4.9/10 (24404 Wählerstimme)

Bordertown 2007 Film Izle Türkçe Dublaj

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[HD] Bordertown 2007 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $072,604,797

Gelir : $435,334,801

Kategoriler : Reden - Werbung , Boats - Vernachlässigung , Fotografie - Bibliothek , Blasphemie - Preis

Üretici Ülke : Norwegen

Prodüksiyon : Committee Films

The opening titles explain that American corporations are using the North American Free Trade Agreement by opening large maquiladoras right across the United States–Mexico border. The maquiladoras hire mostly Mexican women to work long hours for little money in order to produce mass quantity products.Lauren Adrian (Jennifer Lopez), an impassioned American news reporter for the "Chicago Sentinel" wants to be assigned to the Iraq front-lines to cover the war. Instead, her editor George Morgan (Martin Sheen) assigns her to investigate a series of slayings involving young maquiladora factory women in a Mexican bordertown.
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Sky Captain and the World of Tomorrow 2004 Film Izle Türkçe Dublaj

Sky Captain and the World of Tomorrow Film Izle Türkçe Dublaj 2004

süreklilik : 155 an Votum
oy numara : 7.8/10 (19321 önermek)
mizaç : FLV 1440p
Blu-ray
seyretmek : 2596
kurnazlık : Gnade , Gesundheit
mesleki dil : BW,DJ,GY,PM,EG,TN,PN,TK,CHN, JOR, NGA, CAN, HMD
müzik parçası : 2.5/10 (75012 Wahlresultat)

Sky Captain and the World of Tomorrow 2004 Film Izle Türkçe Dublaj

Sky Captain and the World of Tomorrow Film Izle Türkçe Dublaj-direk-HDTS-2004-WEB-DL-HDRip-stream-WMV-WEBrip-WMV-online anschauen-DTS-MPEG-1-ASF.mp4

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[HD] Sky Captain and the World of Tomorrow 2004 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $059,385,464

Gelir : $661,273,942

Kategoriler : Raub - Battlefield , Hölle - Zynismus , Conte - Skizzen , Sozialdrama - Fidelity

Üretici Ülke : Äthiopien

Prodüksiyon : Tribune Entertainment

When gigantic robots attack New York City, "Sky Captain" uses his private air force to fight them off. His ex-girlfriend, reporter Polly Perkins, has been investigating the recent disappearance of prominent scientists. Suspecting a link between the global robot attacks and missing men, Sky Captain and Polly decide to work together. They fly to the Himalayas in pursuit of the mysterious Dr. Totenkopf, the mastermind behind the robots.
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Ad Astra 2019 Film Izle Türkçe Dublaj

Ad Astra Film Izle Türkçe Dublaj 2019

süreklilik : 139 zabıt tutmak Abstimmung
önerme miktar : 2.2/10 (80729 oylamak)
mizaç : ASF 720p
HDTS
gösterme : 9623
beceri : Gnade , Die Bibel
mesleki dil : SL,GU,FI,SZ,BT,SJ,TT,CU,COK, BRB, CHL, GBR, MWI
saymak : 8.6/10 (30592 Stimme)

Ad Astra 2019 Film Izle Türkçe Dublaj

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‘Ad Astra’ is about as art house as Hollywood cinema gets; disguising a metaphysical drama as an action-packed sci-fi adventure is a clever move for James Gray. While not perfect, it’s consistently entertaining whilst offering an introspective investigation on how parents influence their children. While a journey to the outer realms of our solar system, ‘Ad Astra’ is also an exploration of the human heart.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-ad-astra-a-luscious-and-meticulous-space-drama
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

I love sci-fi space movies, especially when these depict the cosmos in such a visually stunning manner as Ad Astra does. It’s one of those films where the visuals elevate whatever narrative is being told. If you don’t get goosebumps or get excited with the opening sequence of this movie, then it might not be the film you’re looking for. From the quiet but powerful sound design to the impressive cinematography, James Gray delivers a visually captivating story with an outstanding protagonist. Brad Pitt is definitely getting tons of nominations this awards season (let’s not forget his amazing role in Once Upon a Time in Hollywood).

His subtle yet incredibly emotional performance shows an astonishing range. He carries the whole screenplay in his shoulders, and I don’t mind that at all. There’s a lot of narration, and here’s where I transition to the most divisive aspect of the movie: it’s a slow-burn. Now, there’s no problem with a film being deliberately slow. In fact, some of my favorite movies of all-time aren’t fast-paced. They cherish their story and make the audience feel interested in what they’re experiencing. Ad Astra isn’t an action flick or a comedy, it’s a character-driven drama, so most of the runtime is devoted to developing Roy.

That said, don’t go in with expectations of feeling entertained all the time. Some moments aren’t supposed to excite you or leave you jaw-dropped. Some sequences are just meant to make you feel immersed by the environment, be lost in space (IMAX is the mandatory way of watching this feature). Don’t expect the film to make an 80-day trip to some planet end in two cuts and 20 seconds. Gray purposefully establishes a slow pace. Obviously, general audiences don’t usually enjoy this type of flicks, but if you’re able to manage your expectations realistically, you’re one step closer to not feel bored throughout the runtime.

The first act is the one that captures everyone’s attention. It doesn’t waste time on Earth, it goes through what’s happening pretty quickly, and it possesses 90% of the heavy action (including one of the best opening sequences of the year). Sound has a significant impact on how Gray films his sequences, and it’s unbelievable how well-shot the chasing scenes on the Moon are. Scientifically speaking, this is no Interstellar where you simply have to accept some mind-blowing yet unjustified stuff. Ad Astra doesn’t have a single scene where one might think “this completely takes me out of the movie, I can’t accept that this is possible in some fictional future”. This is a huge compliment to a space film containing several launches, lunar bases, and (very) long space journeys.

However, the remaining two acts focus intensely on Pitt’s character, slowing down the main plot. Like I wrote above, there’s a lot of development through Roy’s thoughts. Extensive narration is almost always an issue, even when the narrator is Brad Pitt. Some monologues do indeed develop the character or explain what he’s feeling, but some tend to fall into the philosophical side that doesn’t always carry a meaningful or interesting message. Using everyday language, sometimes it’s a bit boring… Additionally, the ending might be a letdown for a lot of people. Tommy Lee Jones (H. Clifford McBride) doesn’t have a lot of screentime, and I can’t really delve into details about his storyline, but his character’s relationship with Roy doesn’t exactly serve as a fantastic payoff.

Max Richter’s score is one of 2019’s best, and I hope it gets recognized by every award show. It definitely helps the experience to be more enthralling. The lack of sound in space is also powerful in its own way. Beautifully-edited, but with a continuously slow pace that doesn’t change from the moment the second act begins. However, the story of Ad Astra is vastly superior to, for example, Gray’s The Lost City of Z, which I genuinely disliked. This space adventure is visually more exciting, its story is more engaging, and its protagonist is more compelling than everything else in Gray’s previous installment. Finally, it’s one of those movies that watching at a film theater (mainly IMAX) or at home, makes a massive difference. You’ll never feel as entertained or captivated at home, so make sure to check this one at the best possible screen near you.

All in all, Ad Astra is yet another display case for Brad Pitt’s chances at winning an Oscar. With a subtle yet powerful performance, Pitt carries the whole story to safe harbor with tremendous help from the eyegasmic visuals. Technically, it’s one of 2019’s closest movies to being perfect. Very well-shot, well-edited, with an immersive score, and gorgeous cinematography. However, it’s a slow-burn that doesn’t always work as such. Narration is the go-to method to develop Pitt’s character, and while it works most of the time, it slows down the main plot, becoming a tad boring during a few moments. The ending isn’t the impactful payoff that the film needed, and the incredible supporting cast is under-utilized. In the end, it’s still a great movie and one that should be seen at the biggest and best screen possible, so go see it for yourself!

Rating: B+
**_Despite some utterly absurd diversions (chase scene! horror scene! shoot-out scene!), this is a quality science-fiction narrative, suggesting the answers we seek in the stars are actually found within_**

>_macte nova virtute, puer, sic itur ad astra,
dis genite et geniture deos._

- Publius Vergilius Maro; _Aeneis_ (29-19 BC)

>_N = R∗ · fp · ne · fl · fi · fc · L_

>_where:_

>_N = The number of civilisations in the Milky Way whose electromagnetic emissions are detectable (i.e. which are on our current past light cone)._

>_R∗ = The average rate of the formation of stars._

>_fp = The fraction of stars with planetary systems._

>_ne = The average number of planets, per star with planetary systems, with an environment suitable for life._

>_fl = The fraction of planets with an environment suitable for life on which life actually appears._

>_fi = The fraction of planets on which life actually appears on which intelligent life emerges._

>_fc = The fraction of planets on which intelligent life emerges that develop a technology capable of releasing detectable signs of their existence into space._

>_L = The length of time such intelligent life release detectable signals into space._

- The Drake Equation; Frank Drake (1961)

>In Drake's original hypothesis, the proposed values were:

>R∗ = 1 yr−1 (1 star formed per year, a very conservative estimate)

>fp = 0.2 to 0.5 (one fifth to one half of all stars formed will have planetary systems)

>ne = 1 to 5 (stars with planetary systems will have between 1 and 5 planets with an environment suitable for life)

>fl = 1 (100% of planets with an environment suitable for life will develop life)

>fi = 1 (100% of planets which develop life will develop intelligent life)

>fc = 0.1 to 0.2 (one tenth to one fifth of planets which develop intelligent life will develop life capable of releasing detectable signs of their existence into space)

>L = 1,000 to 100,000,000 years

>This gives N as a range between 20 and 50,000,000, although Drake asserted that, given the uncertainties involved, the more likely range was that N ≈ L, hence there are between 1,000 and 100,000,000 intelligent civilisations in the Milky Way with whom communication should be possible.

>_We're searching for intelligent life-forms that have also evolved conscious self-awareness. We're searching for conscious, intelligent life-forms that have both the available resources and the need to manipulate raw materials into tools. We're searching for intelligent, conscious, tool-making beings that have developed a language we're capable of understanding. We're searching for intelligent conscious, tool-making, communicative beings that live in social groups (so they can reap the benefits of civilization) and that develop the tools of science and mathematics._

>_We're searching for ourselves..._

- Stephen Webb; _If the Universe Is Teeming with Aliens … Where Is Everybody?: Fifty Solutions to the Fermi Paradox and the Problem of Extraterrestrial Life_ (2002)

A short while ago, Pella Kågerman and Hugo Lilja's mesmerising _Aniara_ (2018) pondered the insignificance of mankind when considered against the infinity of space and time. An esoteric science-fiction film in the tradition of Stanley Kubrick's _2001: A Space Odyssey_ (1968) and Andrei Tarkovsky's _Solyaris_ (1972), it attempted, amongst other things, to convey the sense of near-inconceivable vastness that must be attendant to any self-respecting pseudo-realist discussion of the universe, and to convey the psychological ramifications of what it must feel like to be lost in such a vastness. This is the lineage into which _Ad Astra_ wishes to step, but for me, it has more in common with Danny Boyle's excellent _Sunshine_ (2007) and Christoper Nolan's enjoyable but flawed _Interstellar_ (2014); irrespective of its themes and tropes, it remains fundamentally a mainstream Hollywood movie. And whilst such a status can certainly hold advantages for a filmmaker (primarily in terms of budget and casting), so too are there major pitfalls in having to toe the line of commerciality and cater to demands for crowd-pleasing material, demands which often don't jibe with esoteric content. In the case of _Sunshine_, this took the form of a relatively sudden genre shift into horror that Boyle doesn't fully pull off, and in the case of _Interstellar_, it's an unnecessary third-act twist that's (paradoxically) as predictable as it is nonsensical. And so we have _Ad Astra_, where it's in the form of an overly convenient resolution and some of the most ludicrous narrative diversions I've seen since the sojourn to Canto Bight in the Rian Johnson abomination that was _Star Wars: The Last Jedi_ (2017), diversions which seem to belong in a different film entirely, so tonally unrelated are they to the more existential material surrounding them (space pirates! enraged simians! knife-fight/shoot-out!). Which is not to say, for one second, that I disliked the film – I didn't; even if the narrative never manages to get beyond the "_Heart of Darkness_ in space" template and the script relies far, far too heavily on a sub-Terrence Malick voiceover. The craft on display is exceptional and the story is thought-provoking and generally entertaining, with a terrific central performance, and some spectacular visuals (especially in the IMAX format). But it all could have been so much better.

Set at an unspecified point in the near future (an opening legend informs us, rather generically, that it's "_a time of hope and conflict_"), space travel has become routine, with the moon not unlike any major city on Earth, although there are territorial disputes and marauding pirates are a constant threat. Mars too has been colonised, although it's not yet open to the public. As the film begins, we meet SpaceCom's Maj. Roy McBride (Brad Pitt), who is working on repairs to the International Space Antenna – a massive communications array that juts miles into the sky from the surface of the Earth. When a huge explosion causes him to fall from the antenna, he remains unnaturally calm as he plummets to Earth, and is able to land relatively unscathed. In a debriefing, he's told the explosion was just one result of a series of energy surges that originated near Neptune and which have left much of Earth and the moon without power. 29 years previously, Roy's father, H. Clifford McBride (Tommy Lee Jones), left Earth as the leader of the Lima Project, a mission aimed at establishing contact with whatever alien civilisations may be elsewhere in the galaxy. Needing to get far enough from the Sun's solar interference to send out adequate communications, the Lima team travelled to the same region near Neptune from which the surges are now emanating. However, 16 years into the mission, all contact was lost. SpaceCom presumed the crew dead, but now they fear that Clifford may be behind the surges, and with an antimatter power core at his disposal, if he has become unhinged, he could create a chain reaction that would eradicate all life in the galaxy (it's best not to dwell too much on the script's fundamental misrepresentation of how matter and antimatter interact). However, all attempts at communication have failed, and so Roy's highly classified mission is simple – travel to a secure long-range communications base on Mars and record a (prewritten) message for Clifford in the hopes he might respond. And, of course, it's no spoiler to say that the mission doesn't exactly go smoothly.

_Ad Astra_, which is written by James Gray and Ethan Gross, and directed by Gray (_The Yards_; _We Own the Night_; _The Immigrant_; _The Lost City of Z_), wastes no time in tying us rigidly to Roy's perspective; it opens with a POV shot from inside his helmet, and the first words we hear are him speaking in voiceover. This sets up the narrative to come, as Roy remains the sole focaliser throughout – we see and hear what he sees and hears, we know what he knows, we learn things as he learns then, and we never experience anything with which he is not directly involved. Such rigid focalisation can lend itself to some very subtle moments. For example, as Roy thinks back to a time before his marriage broke up, there is a shot of him sitting on a bed in a darkened room. Barely visible behind him, lying down, is his then-wife Eve (a thankless and largely wordless performance by a blink-and-you-miss-her Liv Tyler). As the camera moves in on him, Eve fades out of the image – she disappears without him noticing, which sounds like it should be horribly on the nose, but because it's dark, because she was out of focus to begin with, and because by the time she disappears, Roy has come to occupy almost the entire frame, it makes the moment easy to miss, and rather poignant – he quite literally doesn't notice his wife phasing herself out of his life because of his obsession with his career (his focus on work is something he shares with Percy Fawcett (Charlie Hunnam) in Gray's masterpiece, the criminally overlooked _Lost City of Z_, although to be fair to Fawcett, Roy's single-mindedness at the expense of all else makes Fawcett look like husband-of-the-year material).

The fact that the film is set amongst the stars, but remains always tied to Roy's perception allows Gray to fashion a narrative that's both massive in scope yet emotionally intimate (in this sense, he one-ups Kubrick, whose _2001_ has all the grandeur and awe imaginable but is relatively detached from and uninterested in its characters' psychologies). Gray is aided immensely in this by cinematographer Hoyte van Hoytema (_The Fighter_; _Her_; _Interstellar_; _Dunkirk_), arguably the finest currently active DoP not named Emmanuel Lubezki. Shot on 35mm film, van Hoytema's gorgeous photography effortlessly captures the overwhelming scale of the milieu, but also frequently shoots Pitt in tight close-ups that afford the actor little room to hide his emotions (which become more and more externalised as the film progresses).

Speaking of emotions, depending on your perspective, Pitt's portrayal of Roy is either one of the film's most laudable aspects or one of its most alienating. Initially played as emotionally closed off, if not necessarily shut down (he tells us in VO, "_I've been trained to compartmentalise my emotions_"), he's depicted as cold and distant. This stoicism, however, slowly starts to erode as his mission begins to go wrong, although there are a few early hints that all is not well - his fixation on the breakup of his marriage, for example, or his observation of the crew of the _Cepheus_ (which takes him from the moon to Mars), "_they seem at ease with themselves. What must that be like?_". His emotional state becomes more and more tempestuous as we move closer to the finale, until, rather suddenly (and rather unrealistically), he manages to steady himself in time for the _dénouement_. Pitt's performance is such that one viewer might praise it for shunning emotional grandstanding even as another might criticise it as too taciturn. Personally, I'm very much in the former camp; I think it's a terrifically modulated and minimalist performance in which Pitt uses the lack of outward emotion to inform the character's emotional beats. For example, Roy doesn't have a huge amount of dialogue (aside from that accursed VO) and for long stretches, he doesn't even have anyone to act against, so Pitt has to rely to a large extent on subtlety and nuanced gesture to convey emotion, which he does exceptionally well. Having said that, however, I can certainly understand why some might find the performance too cold – Roy is definitely not your typical Hollywood protagonist, and the problem is that if you're not impressed by Pitt, I'd imagine it must be very difficult to get into the film at all as he's in literally every scene.

Thematically, on the most basic of levels, _Ad Astra_ is the story of two men obsessed with their profession to the detriment of all else - a theme brought to perfection in the work of Michael Mann. Such a theme is not unusual in Gray's films, receiving its most thorough exploration in Percy Fawcett and Henry Costin (Robert Pattinson) in _The Lost City of Z_. Additionally, like most of Gray's films, _Ad Astra_ is heavily androcentric, with neither Liv Tyler nor Ruth Negga (as the administer of the SpaceCom base on Mars) given much to do. In this sense, it's a study of masculinity, much as were its most obvious narrative influences – Joseph Conrad's _Heart of Darkness_ (1899) and Francis Ford Coppola's Conrad-adaptation, _Apocalypse Now_ (1979). In the reformulation of the narrative template, Roy is Charles Marlow (Cpt. Benjamin L. Willard in the film), whilst Clifford is Kurtz. In the original, Marlow, a merchant seaman, must locate revered ivory trader Kurtz, who has established himself as a demigod at a trading post on the Congo River. In the film, set at the tail-end of the Vietnam War, US Army captain Willard (Martin Sheen) must travel from South Vietnam into Cambodia to track down Col. Walter E. Kurtz (Marlon Brando), a once-legendary but now renegade Army Special Forces officer who, in all probability, has gone insane. The narrative parallels are obvious enough – a conflicted man sent to find a brilliant and pioneering man who has gone off-grid and who must be stopped, with the journey proving to be as much about travelling into the self as reaching a specific geographical destination. All three narratives also feature a roughly similar relationship between the two characters whereby the man searching deeply admires the man for whom he is searching.

Of course, _Ad Astra_ is also an esoteric science fiction film that looks at issues such as humanity's place in the galaxy and the search for intelligent life. An especially interesting theme that comes up when Roy is on the moon is commercialism and humanity's tendency to taint anything we touch. The commercialism of space travel is introduced when Roy takes a Virgin America shuttle to the moon, whilst an exterior wide shot of a lunar tourist base shows signs for, amongst others, Applebee's, DHL, and Subway. And since the moon is now so like Earth, thus it has become blighted by many of the same issues as Earth; crime, political division, materialism - the grandeur of space travel infected with the mundanities of Earth. This point is driven home by the references to territorial disputes and the problem of marauders, which is significant enough for Roy to need a military escort from the base to the _Cepheus_. And if all this wasn't enough to get the point across, in VO, we hear Roy lament how sickened Clifford would be with what the moon has become, pointing out it's now simply a "_re-creation of what we're running from on Earth. We're world eaters_". All of which helps create the impression of a future that's reasonably familiar and relatively plausible, given current technologies. Indeed, the lived-in nature of the film's environment is superbly realised by production designer Kevin Thompson (_Birth_; _The Adjustment Bureau_; _Okja_), whose discoloured sets and gritty textures are as far from the more glossy end of science fiction as you could imagine.

However, for all these positives, some significant problems detract from the whole. For me, there were three main flaws; 1) a poorly written and hugely distracting voiceover upon which Gray relies far too heavily, 2) three ludicrous action scenes that accomplish nothing and which feel like they're from another movie entirely, and 3) an anti-climactic and overly neat dénouement.

To look first at those three scenes, although they all occur in the first half of the film (with two in the first act), to describe them in any detail would constitute a spoiler, so I'll just give a very basic overview – the first is a chase scene involving moon buggies, the second is something more suited to Paul W.S. Anderson's hugely underrated _Event Horizon_ (1997), and the third is a shoot-out/knife fight, which is the most narratively justified of the three, but still a ridiculously over-the-top scene for a film of this nature. Imagine if in _2001_, instead of attempting to outwit HAL 9000, Dave Bowman (Keir Dullea) had pulled out a shotgun and engaged in a running battle with androids controlled by the AI. Ridiculous? Of course. The three scenes in _Ad Astra_ are only slightly less so. The third at least does have a narrative point insofar as it serves as the springboard for the entire second half of the movie, but it's still a monumentally silly way for Gray and Gross to advance the plot when there were far more organic ways to do so. The first two scenes, however, serve no such purpose – remove them from the film, and you'd have to change virtually nothing in the surrounding material - they're that disconnected and irrelevant, right out of the Rian Johnson school of narrative construction. They lead nowhere, reveal nothing about the character or his psychology, and have no connection to the esoteric themes found elsewhere. You know the French plantation scene in _Apocalypse Now Redux_? They make that scene look pivotal. I really can't over-emphasise how much they pulled me out of the film and detracted from the excellent work elsewhere.

As for the other two issues (the VO and the ending), obviously, I can't say much of anything about the finale without spoilers, so all I'll say is that I'm led to believe the ending as it exists now was a reshoot after test audiences responded poorly to the original (and far superior) ending – look it up online; the originally scripted ending made a lot more sense and was as thematically fascinating as it was existentially audacious (sheesh, test audiences, am I right?).

In terms of the VO, good lord, it's bad. I can count on one hand the number of times VO has been done well in film – there's the hard-boiled noir films of the 40s and 50s, the Michael Herr-written narration of _Apocalypse Now_, the work of Terrence Malick, Andrew Dominick's _The Assassination of Jesse James by the Coward Robert Ford_ (2007), and...well, that's about it really. The VO is obviously intended to function in much the same way as Willard's in _Apocalypse Now_, providing some factual info, but also probing the soul of the character. However, the problem is that most of the time, the voice is describing something we can see plain as day on the screen. Pitt's performance is strong enough that the VO is unnecessary. You know the way the best films show rather than tell and the worst tell rather than show? _Ad Astra_ does both, and it's hugely distracting – you think "_I don't know why he saved my life_" ruins the end of the original version of Ridley Scott's _Blade Runner_ (1982)? I lost count of the number of times Roy's derivative interior monologue undermined the power of the moment. By the half-way stage of the film, I was sick of his cod-philosophical ramblings that aspire to portentousness, but end up coming across as someone trying and failing to imitate Malick.

With all that said, however, it's a testament to the story the film tells that despite these significant hurdles, I still enjoyed it. Pitt's performance is excellent, and Gray, who has yet to make a bad film, is his accomplished self. The storyline is interesting, and what it says about man's place in the universe, particularly whether or not we're alone, is unexpected and fascinating. The original ending was infinitely superior, the VO is a huge misstep, and the action detours are ludicrous, but this is still an entertaining movie. It's not a patch on _Lost City of Z_, but the manner in which Gray juxtaposes an intimate tone with such massive themes is really impressive. In essence, _Ad Astra_ is a fable about the importance of transient human connection, played out against the backdrop of the infinite, and despite some not insignificant problems, it's well worth checking out.
I like quiet moments in big action/sci-fi type movies. The family sitdown at Avengers Tower in _Age of Ultron_ is probably the best part of that movie. The contemplative moments of John Wick are what make that character who he is. What is a little more odd, however, is when a quiet, reflective drama, is broken up by moments of big action/sci-fi type sequences. _Ad Astra_ is certainly the latter. The majority of _Ad Astra's_ runtime is taken up by Brad Pitt narrating environmental cosmic shots, or having quiet conversations about his father, or his mood. Then suddenly! Space pirates! It's unusual, and I don't know that it really works. _Ad Astra_ is something different, and if that's all you're looking for, by all means, give it a chance, but I don't know if I'd personally call it very good.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
Ad Astra galactically depicts sorrow, proving that no one can hear you cry in space. For the past few years, dramas set in the expansive dangers of space have been my bread and butter. Devouring them during my annual breakfast as I purposefully starve myself for the taste of space traversal. Every year, the likes 'Arrival', 'Blade Runner 2049', 'First Man', 'Interstellar' and my all-time favourite film 'Gravity', have secured scores ranging from outstanding to perfect. Whilst Ad Astra may be tilting towards the former adjective, it's still irrefutably one of the best films of the year thanks to Gray's understanding, yet again, of what makes a character study captivating. After unearthing the possibility that his missing father may still be alive, his astronaut son travels across the Solar System in search for him and to unravel a mysterious power surge phenomenon that threatens humanity's survival.

Immediately, one thing I need to brush off my chest is the horrendous marketing. This is not a sci-fi blockbuster. There is limited "action". And if you're wanting the next 'Star Wars' or 'Avatar', then remove yourself from the cinema and watch mind-numbing nonsense like 'Angel Has Fallen' instead. This is a James Gray extravaganza. A meticulously woven character study, harnessing melancholia to challenge an existential crisis. Thematically, Ad Astra's premise bolsters a plethora of metaphorical imagery that divulges into the empirical purpose of humanity. Majestic planets emitting every prismatic shade available, yet emanating no emotional connectivity. The vacuous expansivity of space, marking humanity's reflection on life as a mere speck of stardust. Worldly hostility reaching the depths of our galaxy, hyperbolising the "world-eating" philosophy of our own self-destruction as a species. The obsession to venture forth. Departing love, hate and grief. Welcoming nothingness.

Gray's space-opera is a sorrowful tale, intently focusing on the pressures of a son following in the footsteps of his acclaimed father. A patriarch of inspiration to many. Allowing a tangible tense bond to illuminate the stars with despair and anguish. Pitt's universally nuanced performance brings forward stoic mannerisms that allow McBride to feel these emotions. Minor glitches that break character, such as slamming the wall in frustration, showcase the purity of humanity within him.

Gray encompasses the plot around McBride. The lunar pirate raid, mayday rescue and crew brawl scenes, whilst inserting mainstream tendencies into a contemporary drama, were emblems of McBride's emotions. Fear, rage and desperation respectively. A series of gestures that, again, hark back to humanity's endurance. The mildly engaging supporting cast, ranging from Jones, Sutherland and Negga, acting as stability for McBride. Stepping stones allowing him to find his father, as if fate was dictating his alignment. Narration, shifting between inner thoughts to exposition, was overused and irked me with its basic functionality. Hoytema's cinematography could've elicited these unnecessary lines of dialogue from his beautiful imagery. And beautiful just doesn't do it justice.

Immediately, from the iridescent opening shot, Hoytema takes hold. Utilising colours and shadows to produce the incarnation of life, what it means to see. The blue of Neptune, the red of Mars. Clashing tonalities resembling McBride's emotions. Accompanied by Richter's euphoric score and the almost '2001' production design, and Ad Astra is technically a masterful piece of art. Gray's conclusion is teetering on the edge of underwhelming, for me atleast, with its rushed journey home that dissipated the simmering sorrow built exquisitely beforehand. The ending I personally would've desired, would be the ending no one wanted (but that's life I guess...).

Regardless, the small criticisms here and there are subject to change upon an inevitable rewatch. Gray is fast becoming one of my favourite directors. He is a man who understands character. He acknowledges the obsession of man. Amalgamating life's wondrously challenging hurdles into singular expressive characters. Ad Astra's meditative and resonant pacing, whilst is sure to put many viewers off, ensures that loss and grief are captured wherever a soul may be. At home or in deep space. It never vanishes.
* Meh.
“Work hard, play later.”

Once a year ever since ‘Gravity’ was released, we seem to get new stories about the voyage of space where certain characters “do not go gentle into that good night.”

I wasn’t wowed over the trailers for Ad Astra, because when you work at a cinema and spent most of your day watching trailers, well trust me when I say this didn’t stand out from the rest. I originally thought it was about saving the world or something like that. For what it didn’t advertise was a slow burn sci-fi movie that’s on the same level as ‘Blade Runner 2049’ and the emotional side as ‘First Man’. A personal story told through a first person narrative about unresolved issues from past relationship.

Basically an art house movie with a huge budget.

‘Ad Astra’ was pretty good. After only seeing it once, I feel that this will grow on me overtime and so far it has. A mixture of both ‘2001: A Space Odyssey’ and Terrence Malick movies. While not as great as those two comparisons, but while watching I couldn’t help to be reminded of those two.

There's some beautiful and impressive shots through out the movie, especially when the movie constantly shows you the entire scale of space and planets through the characters journey. The colors adds to environment that oozes with style and has a tranquil feel to it. I think that’s where the Blade Runner vibes really come in. Brilliant cinematography by Hoyte Van Hoytema.

Brad Pitt was terrific as the silent astronaut with tangled mood swings. It’s not an explosive performance, just simple enough for it to be effective. Any other actor would’ve gone big for no other reasons than being overly dramatic and it makes sense for his character to be closed off; similar to Ryan Gosling in ‘First Man’, where his emotional health comes last. You learn very little about his character, as most of his backstory is only in the background for you to piece together the puzzle.

The score was mystical and often eerie at times which helped ties in with the unknown aspects of space. The visual effects are excellent and nearly photo realistic at times - something you come to expect by now with space movies.

I wasn’t too sure about the narration at first, because it was very off putting and a cheap way for the character to express himself. However it sorta grew on me after awhile and some of it was almost rambling with Roy questioning every decision he made.

Now for the issues:

I have no idea why Liv Tyler was in this movie, because she literally does nothing and could have easily been cut out. It felt like a re shoot for some reason.

Remember when I said the visual effects are photo realistic ‘at times’, but that isn’t always the case with certain scenes. There’s a deranged chimpanzee that pops up and it looks really phoney. I think that entire scene could been cut out. I’ve brought up twice about cutting scenes, because I believe if this movie went back to the editing room one more time, then my score would be a lot higher.

There’s a ridiculously and almost laughable scene where Roy (Brad Pitt) steaks into a spaceship that he’s not suppose to be on, and all the astronauts on board go into a frenzy and accidentally start kill themselves while trying to cease Roy. No joke. Roy doesn't even do anything as he never intended to hurt them. It was cheap way of making Roy isolated for the rest of the movie. A few years ago I remember reading a horrifying incident that happened to astronaut Luca Parmitano where he reported water inside of his space suit helmet, and nearly become the first astronaut to drown in space. However, Luca remained calm throughout the whole incident despite the odds of him dying being high, but in the end he survived. So it’s really strange seeing these trained astronauts freaking out because came on board.

Overall rating: Out of the whole spectacle, I find the meaning of the movie the most striking. The themes of family, love and abandonment plays a major role in the story. The whole idea of “working hard and playing later” comes with a cost, which is the less time we spend with our loved ones and abandoning everything to pursuit something better out there when in reality the best things in life are right here. When you discover nothing there’s no turning back and no finding your way back. I’ve been thinking about it for awhile now after seeing the movie.

Never underestimate James Gray as a storyteller.

"

[HD] Ad Astra 2019 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $238,635,346

Gelir : $414,987,078

Kategoriler : Innerer Frieden - Lebenslauf , Samurai - Umweltverschmutzung , Maritimes Drama - Women , Erziehung - Skepsis

Üretici Ülke : Mexiko

Prodüksiyon : Rockfield Productions

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The near future, a time when both hope and hardships drive humanity to look to the stars and beyond. While a mysterious phenomenon menaces to destroy life on planet Earth, astronaut Roy McBride undertakes a mission across the immensity of space and its many perils to uncover the truth about a lost expedition that decades before boldly faced emptiness and silence in search of the unknown.
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The Man Who Wasn't There 2001 Film Izle Türkçe Dublaj

The Man Who Wasn't There Film Izle Türkçe Dublaj 2001

devam : 137 saat tutmak Votum
oylanan şey sayı : 3.1/10 (35480 bildirmek)
ses rengi : M1V 720p
WEB-DL
görüş : 8095
sanat : Werbung , Konversation
dil : JP,TZ,LU,TN,KZ,PH,AT,JO,NCL, GTM, NIC, SWZ, BRN
numara : 4.9/10 (47265 Stimmen,
)

The Man Who Wasn't There 2001 Film Izle Türkçe Dublaj

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"

[HD] The Man Who Wasn't There 2001 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $991,031,571

Gelir : $271,822,995

Kategoriler : Cartoon - Mutter Stolz Apokalypse , Philosophie - Brüder , Conte - nostalgisch , Marketing - Potes

Üretici Ülke : Costa Rica

Prodüksiyon : Frederator Digital

A tale of murder, crime and punishment set in the summer of 1949. Ed Crane, a barber in a small California town, is dissatisfied with his life, but his wife Doris' infidelity and a mysterious opportunity presents him with a chance to change it.
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Run All Night 2015 Film Izle Türkçe Dublaj

Run All Night Film Izle Türkçe Dublaj 2015

süreç : 146 zabıt tutmak Wahlresultat
önerme numara : 4.7/10 (93224 oylayarak kararlaştırmak)
önermenin niteliği : AAF 1440p
HDRip
bakış : 7742
sanat : Atheist , Cool
mesleki dil : TG,UM,ML,BQ,LS,BE,BD,AS,BHR, BHS, ABW, MAC, BHS
adet : 2.6/10 (42981 Abstimmungsergebnis)

Run All Night 2015 Film Izle Türkçe Dublaj

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> Neeson is good at it, none other would've played better than him.

Pretty entertaining action flick with a fast paced narration. A typical Liam Neeson's movie. Take a gun and go hunt down the bad guys or protect loved ones from them kind of movie. Under his league, like always he was awesome. This has been a already heard story, like a trivia say. Yes, it was similar to 'Road to Perdition', but happens for a different reason and with the different cast. Still the movie was better that I expected.

I went speechless when I saw Neeson was begging in the opening scene. Because that's not his style, action heroes like him, Jason Statham, Bruce Willis et cetera, they don't fit in those roles. But what came just a few minutes later was like switching to second, third, fourth and fifth gear in a quick session. You know you can't judge a book by its cover, same applies for this as well. The film was good, I mean better than average, better than ratings and reviews across the web.

It was kind of unofficial 'A Man with a Gun' trilogy (I made it up) after 'Unknown' and 'Non-stop'. Because if you check it out all these three film's posters, Neeson will be seen with a gun in the similar fashion. Hope this director and actor comes together to do more movies in the future, since it is a rocking combo. Well, they all might not be the masterpieces, but enjoyable at the time of the watch. Especially it will not disappoint Neeson's fans.

7/10
A decent enough action thriller. Neeson, Harris, Kinnaman and Holbrook do a good job.

The direction is also good. The script is just predictable, although has some good points but, that's it. A movie to watch without doing any mental effort.

"

[HD] Run All Night 2015 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $869,760,992

Gelir : $389,356,971

Kategoriler : Porträt - Umweltentfremdung , Quinqui - Du Son , Kannibale - Spionage , Film Animation - Barmherzigkeit

Üretici Ülke : Senegal

Prodüksiyon : WAGtv

Brooklyn mobster and prolific hit man Jimmy Conlon has seen better days. Longtime best friend of a mob boss, Jimmy is haunted by the sins of his past—as well as a dogged police detective who’s been one step behind Jimmy for 30 years. But when Jimmy’s estranged son becomes a target, Jimmy must make a choice between the crime family he chose and the real family he abandoned long ago. Now, with nowhere safe to turn, Jimmy has just one night to figure out exactly where his loyalties lie and to see if he can finally make things right.
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Love Machine 2016 Film Izle Türkçe Dublaj

Love Machine Film Izle Türkçe Dublaj 2016

süreklilik : 192 an Stimmabgabe
oylanan şey miktar : 6.7/10 (88597 oylayarak kararlaştırmak)
mizaç : M4V 1440p
DVDScr
görünüm : 7730
hüner : Ältere Menschen , Katastrophe
mesleki dil : TF,ML,IR,MW,LR,ES,US,CR,CIV, BWA, SLE, FSM, GGY
hesaplamak : 2.4/10 (40121 Wahlstimme)

Love Machine 2016 Film Izle Türkçe Dublaj

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"

[HD] Love Machine 2016 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $924,862,947

Gelir : $195,518,090

Kategoriler : Völkermord - Skepsis , Apathie - Exil , Melodramma telefilm - Neid , Horror - Reality Fear Object Magic

Üretici Ülke : Nordkorea

Prodüksiyon : Wimbledon Studios

Director Pavel Ruminov wanted to break up with his girlfriend. But she had a different opinion on the matter and refused to leave the flat, insisting their story was not over yet.
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Motherless Brooklyn 2019 Film Izle Türkçe Dublaj

Motherless Brooklyn Film Izle Türkçe Dublaj 2019

süreklilik : 112 an Wahlstimme
karar tip : 9.0/10 (33546 oylayarak kararlaştırmak)
asalet : M1V 1440p
TVrip
görüş alanı : 9204
sanat : Einfachheit , Menschliche Natur
lisan : ER,MC,TK,SY,SH,GU,SM,MY,MNG, NGA, QAT, CIV, PYF
müzik parçası : 3.2/10 (19312 Stimmabgabe)

Motherless Brooklyn 2019 Film Izle Türkçe Dublaj

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**_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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Üretici Ülke : Araber

Prodüksiyon : StemEnt.

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.
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Based on the Hasbro board game, a band of strangers frantically try to figure out who is the murderer among them.
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