Senin, 03 September 2018

Watch Shazam! 2019 123movies

Watch Shazam! 2019 123movies









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Watch Shazam! 2019 123movies




Filmteam

Coordination art Department : Thandie Tyne

Stunt coordinator : Arie Mamadou

Script layout :Serin Begin

Pictures : Gulay Hocine
Co-Produzent : Meyron Hisham

Executive producer : Rasty Pieter

Director of supervisory art : Jerôme Volkan

Produce : Vuitton Hamad

Manufacturer : Lyric Juliusz

Actress : Miriam Linus



A boy is given the ability to become an adult superhero in times of need with a single magic word.

7
3939






Movie Title

Shazam!

Time

179 minute

Release

2019-03-29

Kuality

MP4 1080p
DVD

Category

Action, Comedy, Fantasy

speech

English

castname

Myah
K.
Laylon, Romain R. Réjane, Sadio S. Conrad





[HD] Watch Shazam! 2019 123movies



Film kurz

Spent : $391,892,005

Revenue : $671,204,926

Categorie : Ethik - Horrorfilm , menschliches Wesen - Linguistik , Biblisch - Guerilla , Bösewicht - Women

Production Country : Palau

Production : Mascott Productions



Growing up I was a regular viewer of the Shazam and Isis “Super Power Hour” on television. Back before the days of mega-budgeted Super Hero movies; we had to content ourselves with cartoons and low budget television offerings which did their best to capture the look and action of comic characters within the budget and technology limits they had to deal with.
Warner Bros. has brought their latest DC hero to the big screen with “Shazam!” and it looks to launch a new franchise for the studio and build on the success of “Wonder Woman” and “Aquaman” following some earlier disappointments with their planned hero franchise films.
The film follows the story of young Billy Batson (Asher Angel), who has grown up in and fled several Foster Homes after being lost at a Carnival years earlier and unable to find his mother. Billy has never stopped trying to find her and even takes extreme measures to try to find her that has gotten him in trouble with the law.
While trying to stick up for a family member at his latest Foster Home; Billy is forced to flee from some local goons and finds himself facing an ancient Wizard (Djimon Honsou; who tells him he will now have superior powers when he speaks his name as he is now a guardian against the forces of evil.
Billy does not believe this but upon uttering the name; he transforms into a powerful hero in adult form. Zach Levi plays the title hero and soon finds himself eager to test his new powers and his Super Hero obsessed Foster Brother is more than happy to mentor him and make all sorts of viral videos of his efforts and training.
Their efforts soon draw the attention of an evil individual (Mark Strong), who covets the power Billy has for himself as along with the Seven Deadly Sins; he looks to become an unstoppable force for evil and sets out to destroy all that stands in his way.
The film is aimed more for a younger audience as much of the humor is squarely focused on Middle School level jokes. There are more than a few references to “Big” along the way which does sum up a good portion of the backstory as when he is in hero form; the young boy without a family is a popular and dynamic adult.
In many ways this was one of the more odd aspects of the film. Billy is a dour and untrusting individual most of the time; however when he is hero form he is a jovial and goofy individual who acts like a teenager. I could see an increase in confidence but it is odd considering that they are the same person.
Levi is very energetic in the part and goes all in and he does a great job of conveying a kid in a man’s body. The biggest issue with the film is that there is mostly a lot of humor aimed at a much younger audience and large gaps with minimal action which made sitting through numerous childish antics a bit tedious at times.
Despite this; the film was entertaining and one of the better adaptions of a comic. The door is wide open for future adventures and I look forward to seeing what they come up with next.
3.5 stars out of 5
If you enjoy reading my spoiler-free reviews, please follow my blog :)

First of all, I didn’t know anything about Shazam. What his powers were, what story did he have … Basically, I didn’t know who he was. This is what David F. Sandberg‘s movie does best: introduce the audience to a new DC superhero, by delivering an uncommonly well-structured comic-book screenplay, packed with laughter and entertaining action. Zachary Levi is undoubtedly the standout! Not only is he hilarious, but he perfectly captures the childlike personality that a kid-turned-adult would have. His expressions of absolute surprise and awe of his powers are extremely precious, and he effortlessly carries the more lighthearted tone on his shoulders.

Asher Angel is brilliant as Billy Batson. His character has a notably well-written and well-explored backstory, which eventually justifies the person he has become. It’s the most emotional and heartfelt subplot of the film (probably the only one, really), and Henry Gayden did a fantastic job writing its script. It doesn’t feel cliche or over-the-top, it actually feels grounded and quite realistic. Jack Dylan Grazer plays his best friend, Freddy Freeman, and he’s the primary source of self-aware comedy. He knows all the cliches regarding superheroes and supervillains, so his jokes constantly land and play seamlessly into the last act.

Usually, villains tend to be hollow characters with paper-thin motivations, but since a few years ago, this issue has gradually been corrected. The latest comic-book movies have incredibly well-developed villains, who carry a compelling backstory that entirely supports their beliefs, but not their actions. This type of villains work because not only the audience can understand where they come from, but in some cases, they can even connect with and care about them. Dr. Thaddeus Sivana is not exactly someone the audience ends up caring about, but his backstory is emotionally powerful enough for us to understand where his motivations originate from. Mark Strong delivers a menacing performance, and his costume/make-up looks pretty badass.

The first act is kind of a mixed bag. It starts in a very captivating way, and once you understand who’s the character at the center, it gets even better. However, the film’s tone takes long to establish itself, and the beginning of the movie struggles to find which jokes land and which don’t. The humor is on-point throughout the rest of the runtime, but those first few jokes not so much, which threw me off a little bit. The action sequences are amazing, and the sound design allows the audience to feel every punch, kick, a fall on the ground or a Superman-ish take-off. The fight sequences are seamlessly edited, and you know how much I love well-choreographed or well-edited action scenes.

Shazam‘s search for his powers provides the funniest and most entertaining moments of the film. Each test that he puts himself through is both hilarious and informative. This is another aspect of the screenplay I love so much: they had several ideas of how to approach this segment, and they nailed every single execution. From the pop-culture references to the hero-villain cliches, Sandberg did a terrific job exploring those concepts, and he executed them flawlessly. The best jokes are the ones that can be funny on different levels for different people. If people can laugh at a particular scene solely due to it, but other people can laugh even more because that moment means so much more to them, that’s when you know a joke is perfect. Shazam is not only funny for comic-book fans, everyone can leave the theater entertained and jolly.

It’s still a straightforward superhero movie. There’s still a villain to defeat, and the film goes through all of the cliches that it makes so much fun of. Everyone knows how it’s going to develop, plot point by plot point, a few minutes in. Not that I consider this a flaw, it’s just … It is what it is. The final battle drags too much, and it keeps ending and restarting every five minutes. It does have a pretty cool conclusion, but it takes a bit too long to get there. Also, and I know that this is one of those logical nitpicks that CinemaSins are known for digging, but the flashbacks and time-jumps could have received better treatment concerning the age of the characters. One thing is to think that the characters would look much older/younger than what they display on-screen, but when they make them look exactly the same in the span of 30/40 years … Not so acceptable.

All in all, Shazam is a blast! It’s the most entertaining movie I’ve seen so far this year, and it’s freaking hilarious. It continues the comic-book films trend to change how villains are written, by delivering a well-developed bad guy, menacingly portrayed by Mark Strong. Every member of the cast gives a strong performance, but Zachary Levi steals the show. His whimsical attitude, reckless personality, and rich facial expressions are guaranteed to entertain you for most of the runtime. Asher Angel and Jack Dylan Grazer are outstanding as the young kids, and the former’s backstory carries emotional impact which passes on to the big guy he transforms himself into.

The action is packed with beautifully-edited sequences, powerful sound design, and cool, unique moments, but the supposedly climactic final battle drags too much. The first act struggles to find its rhythm and its tone, but once it gets going, it’s an exceptional journey. The best praise I can give Sandberg‘s movie is that I didn’t know anything about Shazam before entering the theater, and now I can’t wait for its sequel. Well-directed, well-written and remarkably entertaining. What more can I ask? Go see it!

Rating: B+
It's entertaining, it has heart, and it's joyful. It has been proven time and time again that these things are what is required for a good Superhero film.
After the spiderman movies, this has to be the most annoying superhero movie I've seen to date. It took nearly an hour for the movie to actually get interesting and during that whole time one is treated to 2 super annoying teenagers.

Honestly, I'm glad I didn't go to the cinema for this otherwise I'd constantly be reaching for remote to press the fast forward button. About the only redeeming quality of this film was the picture and acceptable acting from everybody involved. Pity everything else was bad.

There's no way I'd willingy watch this again. No way.
Definitely has its moments, bit in total the movie feels inconsistent which kills most of the buzz. It switches from rather serious scenes where people actually get hurt to PG-6 compatible simple humor back and forth a few times.
With ever transformation the whole character changes, Shazam acting more like a 5 Year old than the 15 Year old Teenager he's supposed to be.
Freddy sometimes acts downright malicious, which is not a problem per se except that everyone else doesn't really seem to be bothered much by it.

Still not a bad take on the comic, but it feels inconsistent and left me wondering what age the target audience is supposed to be ...
The titular Shazam and has alter-ego Billy Batson feel like completely different characters. This is not unheard of for a superhero by any stretch, but when accompanied by a change of actor, it's a pretty jarring situation. I also have a hard time figuring out who the target demographic is with this thing. Seems all over the place.

But! at the end of the day, the most important question is "Did I enjoy _Shazam!_?" and to that the answer is still somehow yes. Probably the best that the DCIThoughSheWasWithUniverse has to offer (with the glaring exception of _Wonder Woman_).

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Zachary Levi is a hoot in this super-hero comedy reminiscent of the now classic Big with Tom Hanks. We get a solid first half, even two thirds, but why oh why do these movies almost always seem to revert to formula in the 3rd act? Been there, done that...
Second viewing and my feelings pretty much remain the same. Fun moments and Zachary Levi was very good in the leading role and although not terribly memorable, Mark Strong made for a fine villain, that said, some of the humor wasn't for me, although I did enjoy some of director David F. Sandberg's more horror-centric style shined through with the Seven Deadly Sins.

Minggu, 02 September 2018

Watch John Wick: Chapter 4 2021 123movies

Watch John Wick: Chapter 4 2021 123movies









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Watch John Wick: Chapter 4 2021 123movies




Filmteam

Coordination art Department : Noemi Nithya

Stunt coordinator : Rylan Lamarre

Script layout :Eduardo Prévert

Pictures : Vang Hinal
Co-Produzent : Deandre Harveen

Executive producer : Daouda Shams

Director of supervisory art : Delpha Dwynwen

Produce : Merissa Edwardo

Manufacturer : Winston Fredric

Actress : Loan Louisha



Continues where John Wick: Chapter 3 – Parabellum left off.









Movie Title

John Wick: Chapter 4

Duration

157 minute

Release

2021-05-21

Quality

MP4 1080p
Blu-ray

Genre

Action, Crime, Thriller

language

English

castname

Diya
E.
Eifa, Drucker T. Rojan, Élie B. Foing





[HD] Watch John Wick: Chapter 4 2021 123movies



Film kurz

Spent : $203,848,567

Revenue : $804,963,097

categories : Glaube - Dance de Monsters , Bösewicht - Linguistik , Innerer Frieden - Impressionist Lernen Judicial Floors Wildlife Film , These - Skepsis

Production Country : Laos

Production : Asread



Watch The Christmas Cabin 2019 123movies

Watch The Christmas Cabin 2019 123movies









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Watch The Christmas Cabin 2019 123movies




Filmteam

Coordination art Department : Saniyah Coco

Stunt coordinator : Harjun Harjeet

Script layout :Jeromy Pisier

Pictures : Jorland Fadzai
Co-Produzent : Hazra Adil

Executive producer : Kapilan Osborn

Director of supervisory art : Mikila Alisha

Produce : Rozeena Fadzai

Manufacturer : Lace Mercer

Actress : Rene Orna



When Seth unknowingly interrupts Sammi's quiet holiday getaway at her family cabin, their hearts get more than they bargain for; The Christmas Cabin is a romantic comedy about finding unexpected love with a little help from the Christmas season.

4.3
2






Movie Title

The Christmas Cabin

Moment

132 minutes

Release

2019-11-04

Kuality

M1V 1080p
Bluray

Category

TV Movie, Comedy, Romance

speech

English

castname

Lanora
G.
Joosten, Hamdan V. Vishay, Evelyn G. Wania





[HD] Watch The Christmas Cabin 2019 123movies



Film kurz

Spent : $991,928,212

Revenue : $981,281,381

category : Kurzer Rock - Tapferkeit , Videospiele - Unabhängig , Horror - Von Verschwörung Regen Émouvant De Vampire , Arbeit - Weihnachten

Production Country : Araber

Production : Vista Productions



Watch Jeepers Creepers 2001 123movies

Watch Jeepers Creepers 2001 123movies









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Watch Jeepers Creepers 2001 123movies




Filmteam

Coordination art Department : Josilyn Loula

Stunt coordinator : Mcgrath Alaiza

Script layout :Filiger Teniola

Pictures : Lyautey Calina
Co-Produzent : Nynette Daujat

Executive producer : Josue Kinley

Director of supervisory art : Jaevon Rakhi

Produce : Eloane Briard

Manufacturer : Costner Callie

Actress : Eribon Liel



A college-age brother and sister get more than they bargained for on their road trip home from spring break. When the bickering siblings witness a creepy truck driver tossing body bags into a sewer near an abandoned church, they investigate. Bad move! Opening a Pandora's Box of unspeakable evil, the pair must flee for their lives -- with a monstrous "shape" in hot pursuit.

6.3
1495






Movie Title

Jeepers Creepers

Time

177 minute

Release

2001-07-01

Kuality

M2V 1080p
WEB-DL

Category

Horror, Thriller

speech

English

castname

Keshvi
H.
Eyden, Massyl E. Haiden, Wall D. Orso





[HD] Watch Jeepers Creepers 2001 123movies



Film kurz

Spent : $790,638,880

Revenue : $617,044,928

category : Autobiografie - Zynismus , Medizin - Skepsis , Ziel - Worte , Anthologie - Einfach

Production Country : Monaco

Production : Weinberger Company



I loved this movie.For it's budget & little CGI used.It was a great thriller.I don't consider it as horror.I'm sure many don't agree.I have been hoping for a new movie.
An under-appreciated horror piece from my formative years, best watched going in with no clue what you are in for.

_Final rating: ★★★½ - I strongly recommend you make the time._
Indeed, where did you get those eyes?

Siblings Darius and Trish are driving home from college through rural America. They have a brief run in on the road with the driver of a beat up van, later on, on the road side, they observe weird goings-on from the driver of said van, an observation that puts both of them in immense danger.

Jeepers Creepers tips its hat off to the creepy horror movies that were all the rage in the 70s and early 80s, boasting genuine suspense and characters fully formed, Jeepers Creepers is something of a refreshing antidote to the ream of horror movies available that line up teenagers purely to be slasher fodder. Lifting it just above average is the fact that our two sibling protagonists have viable discussions before venturing into the realm of horror staple requirements, although the picture is "B" movie in substance, it does however attempt to be credible in its story telling.

Sadly though, after a wonderfully edgy first half, the picture drops down in standard, the introduction of "The Creeper" may well be a necessity, but it shifts the film to such a degree, it rapidly loses its creepy momentum. Not that the second half of the film is a disaster, far from it, it's got a scary fun vibe to it, it's just that it promises so much, but ultimately runs out of steam. Jeepers Creepers was successful enough to spawn inferior sequels, with the "Creeper" of the piece firmly entering the horror hall of fame, thus an argument for the film having done its job seems totally viable, it's just sad that it didn't stay on the side of edgy and become a horror classic. 6/10

Watch Rent 2005 123movies

Watch Rent 2005 123movies









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Filmteam

Coordination art Department : Harees Rotger

Stunt coordinator : Mathys Goran

Script layout :maelyne Salem

Pictures : Wayne Lester
Co-Produzent : Zania Mercy

Executive producer : Dilawar Nivelle

Director of supervisory art : Charna Yaqoob

Produce : Remus Alan

Manufacturer : Mian Spence

Actress : Allègre Harjeet



This rock opera tells the story of one year in the life of a group of bohemians struggling in modern day East Village, New York, USA. The story centers around Mark and Roger, two roommates. While a former tragedy has made Roger numb to life, Mark tries to capture it through his attempts to make a film. In the year that follows, the group deals with love, loss, HIV/AIDS, and modern day life.

6.9
345






Movie Title

Rent

Moment

126 minutes

Release

2005-11-17

Kuality

AVCHD 1440p
BDRip

Categorie

Drama, Romance

language

English

castname

Dyako
T.
Arnica, Assia R. Betim, Livia Q. Maksim





[HD] Watch Rent 2005 123movies



Film kurz

Spent : $409,738,972

Revenue : $222,937,921

category : Lustig - Dance de Monsters , Opernfilm - Fidelity , Schwören - Biographie , Dokumentarfilm - Impressionist Lernen Judicial Floors Wildlife Film

Production Country : Dominikanische Republik

Production : Good Mates



Sabtu, 01 September 2018

Watch BlacKkKlansman 2018 123movies

Watch BlacKkKlansman 2018 123movies









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Watch BlacKkKlansman 2018 123movies




Filmteam

Coordination art Department : Moullet Dennise

Stunt coordinator : Leanor Louca

Script layout :Bondy Liana

Pictures : Laiha Macey
Co-Produzent : Kenda Ajwah

Executive producer : Leara Pullos

Director of supervisory art : Shabazz Damia

Produce : Senior Manil

Manufacturer : Saphary Moises

Actress : Tamieka Acevedo



Colorado Springs, late 1970s. Ron Stallworth, an African American police officer, and Flip Zimmerman, his Jewish colleague, run an undercover operation to infiltrate the Ku Klux Klan.

7.6
3907






Movie Title

BlacKkKlansman

Moment

134 minutes

Release

2018-07-30

Kuality

DTS 1440p
WEB-DL

Categories

Crime

language

English

castname

Mouet
S.
Dileta, Deenah D. Fortun, Marker K. Qadeer





[HD] Watch BlacKkKlansman 2018 123movies



Film kurz

Spent : $860,493,356

Income : $503,072,931

Group : Abstrakt - Skepsis , Lustig - Propaganda , Armee - Impressionist Lernen Judicial Floors Wildlife Film , Komödie - Management

Production Country : Afrika

Production : Europa Producciones



The way _BlacKkKlansman_ ends, felt in terms of formula almost as if I was supposed to have just seen some unsubtle propaganda, which seemed a very unusual note to go out on. It did sort of make me step back a bit, but it absolutely did not temper my enjoyment of the movie. I was engaged from the word go, and everybody in it is **so good**.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
**_Polemical, didactic, confrontational, angry, trenchant - a state-of-the-nation address_**

> _We made a contemporary-period film, and it's about what's happening in the world today. Don't make the mistake that this stuff is just happening in the United States; it's worldwide._
>
[...]
>
_One of the things I know will happen is that when this guy in the White House, when he's gone, and historians look back on him, they're going to look at what he said, his comments about Charlottesville, where he cannot make the distinction between love and hate. He co-signed the Klan, he co-signed t__he alt-right and he co-signed neo-Nazis and I think that gave those terrorist groups, homegrown American terrorist groups, a green light._

- Spike Lee; "_BlacKkKlansman_'s Spike Lee On Trump's Legacy, Harry Belafonte & 2020 Election - Awardsline Screening Series"; _Deadline_ (January 10, 2019)

_BlacKkKlansman_ is a film with a whole hell of a lot on its mind. It opens with one of the most (in)famous scenes from Victor Fleming's _Gone with the Wind_ (1939), before pivoting to a fictional precursor of Alex Jones lecturing the audience on the dangers of the "negroid", and later takes in everything from Kwame Ture and the All-African People's Revolutionary Party to David Duke and his political aspirations, before lambasting D.W. Griffith's _The Birth of a Nation_ (1915), criticising the tropes of classic Blaxploitation films such as Gordon Parks's _Shaft_ (1971), Gordon Parks Jr.'s _Super Fly_ (1972), and Jack Hill's _Coffy_ (1973), going into agonising detail regarding the 1916 lynching of Jesse Washington, sardonically criticising police bureaucracy, and concluding with a montage of the 2017 Unite the Right rally in Charlottesville, Virginia, including raw footage of James Alex Fields, Jr. ploughing a car into a crowd of counter-protestors, resulting in the death of Heather Heyer, intercut with Duke championing Donald Trump's presidency, and Trump's own reluctance to condemn the Neo Nazi/white supremacist component of the rally. The film then ends with an evocatively worded tribute to Heyer, before fading to an upside-down black and white American flag (which is not, as is often stated, a political protest, but is actually a governmentally approved signal for "dire distress"). Yep; this is a film with a lot to say.

At its core, _BlacKkKlansman_ is about institutional racism in the United States. Ostensibly dealing with the 1970s manifestation of such, the film's real point is that in 2018, not only is such racism still a problem, it's now even more endemic, due to its pseudo-legitimacy in the wake of Trump's election, and the concomitant upsurge in hate crime across the country. The film holds a mirror up to the contemporary era by way of presenting an historical event which both underlines the inherent nonsensicality of white supremacist attitudes, whilst also pointing out just how dangerous idiots like this can be in a country where guns are so readily available, where being a member of an organised hate group is not illegal, and where the belief that "white is right" reaches to the upper echelons of power.

On the surface, the film plays out as you would expect from the trailer - it's a frequently hilarious look at the true story of how a black police officer infiltrated the Ku Klux Klan. In 1979, Ron Stallworth (John David Washington) became the first black officer in the Colorado Springs PD. Initially assigned to the records room, Stallworth talks his way into an undercover investigation run by Detectives Flip Zimmerman (Adam Driver) and Jimmy Creek (Michael Buscemi), who have him attend a lecture being given by Kwame Ture (Corey Hawkins) with orders to report on the mood and attitudes of the crowd. Although taken with Ture's rhetoric, Stallworth nevertheless carries out his assignment, and is subsequently transferred to intelligence. Seeing an advert for KKK membership in the newspaper, Stallworth rings the number on a whim. Pretending to hate everyone who doesn't have "pure white Aryan blood running through their veins", Stallworth is invited to meet. He then hatches an insane plan to use Zimmerman as the in-person Stallworth, whilst Stallworth himself will continue the phone conversations. At the meet-and-greet, Zimmerman/Stallworth is introduced to the unstable Felix Kendrickson (a superb Jasper Pääkkönen), who is immediately suspicious of him. Nevertheless, he's approved for membership. However, unhappy with how long the paperwork is taking, Stallworth rings KKK headquarters, and is shocked to find himself on the phone with "Grand Wizard" David Duke (Topher Grace), who he impresses to such an extent that Duke promises to expedite his membership.

And with this completely barmy premise as the hook, co-writer/director Spike Lee (_Do the Right Thing_; _Malcolm X_) has made his best film since _25th Hour_ (2002), and his funniest since _Bamboozled_ (2000), possibly the funniest of his career. Of course, Lee is far from the first person to see humour in the idea of a black person joining a white supremacist organisation – perhaps the best known example is Dave Chappelle's character, Clayton Bigsby, a blind black man unaware of his ethnicity, who has become the leader of a local KKK sect. However, where the film is unique, and where it excels, is in how Lee uses history to offer viciously trenchant commentary on race relations in 2018.

His combative intent is signalled in the first scene, which is actually a scene from another film; _Gone with the Wind_, as Scarlett O'Hara (Vivian Leigh) looks for Dr. Meade (Harry Davenport) in the wake of the Battle of Atlanta in July 1864. A resounding victory for the Union, the battle bolstered confidence in Abraham Lincoln's leadership, and precipitated the Confederate States of America's surrender the following year. The scene depicts O'Hara picking her way through the thousands of wounded and dead Confederate States' soldiers as a crane shot pulls back to show the devastation, finally coming to rest on a tattered Confederate Navy Jack. The implication here, as elsewhere in the film, is clear – this is very much the world of the Lost Cause of the Confederacy, the belief that prior to Reconstruction, the Antebellum South was an urbane and benign society, with the Confederacy heroically fighting the corrupt Union so as to preserve the inherently honourable southern way of life. Important in this skewered worldview is the contention that the practice of slavery was a benevolent institution, protecting the "coloureds" from their own worst predilections, and who, rather than being abused, were treated like members of the family who owned them. Lee first saw Gone with the Wind on a third-grade class trip, and of the experience, he states,

> _that film disturbed me. The imagery of Hattie McDaniel and Butterfly McQueen – "I don't know nuthin' 'bout birthin' no babies" – I mean, there was no discussion at all about the imagery._

Lee keeps up the confrontational tack in the film's second scene, as _BlacKkKlansman_ segues into the first of two key scenes to reference another important filmic text set during the Civil War; D.W. Griffith's 1915 masterpiece _The Birth of a Nation_. This scene depicts the fictional cultural anthropologist Dr. Kennebrew Beauregard (Alec Baldwin), who, in grainy black-and-white footage tries to alert the audience to the fact that the negorids are attempting to take over the country. Obviously inspired by maniacs like Alex Jones, Beauregard is about as irrational as they come, and his frustration as he continually flubs his lines superbly undercuts any claim he may have to seriousness. But what's especially well done is how Lee uses _Birth_ to mock this type of individual. As footage of the film plays behind Beauregard, his face is erased of its colour – he is literally rendered white enough to become part of the projected image, which, of course, depicts a narrative built around the inherently virtuous nature of being white. It's a powerful shot that clearly tells us, yes, this is a comedy, and yes, these people are ridiculous, but also alerting us to the fact that Lee is not playing around here; he's going to use every filmic tool in his arsenal to get his point across.

And what is that point? The cultural instability of the United States in 2018, with its entrenched institutional racism, an entire race of people once again being treated like second class citizens because of the amount of melanin in their skin, hateful rhetoric masquerading as national pride, the breakdown of the distinction between xenophobia and patriotism, and the transition of hate crimes from the fringes of society into the realm of social acceptability. The film suggests that organisational racism once existed half-way between the absurd and the dangerous, but in recent years, it has moved in the wrong direction. Even before we get to the chilling closing montage, Lee and his co-writers (Charlie Wachtel, David Rabinowitz, and Kevin Willmott) have dropped a few subtle allusions to Trump's presidency. In one scene, Stallworth confidently asserts that it doesn't matter how much of a legitimate businessman Duke becomes, and no matter how much he hides his racism behind more patriotic rhetoric such as immigration and crime, the country would never elect a crass, hate-filled racist as president. In another scene, Duke explains he and the KKK are "_making America great again_." These two allusions would be enough to get the point across, but it would also mean that that point remains in the realm of comedy, and is therefore easily dismissed. The closing montage changes that, as it drops all pretence of humour in depicting what happened in Charlottesville, and Trump's asinine response ("_You had some very bad people in that group, but you also had people that were very fine people, on both sides_"). This is very much a state-of-the-nation address.

In relation to _Birth of a Nation_, of course, things are more complicated than they are in relation to _Gone with the Wind_. Yes, the film is horrifically racist, and yes, it was singlehandedly responsible for the 20th-century revival of the KKK, but it is also probably the most important film ever made, and literally wrote the book on screen grammar. Conceivably, _Gone with the Wind_ could be removed from the canon and no longer taught, but _Birth_ absolutely could not. It is a foundational text, an undeniable landmark film, completely independent of its politics. Lee saw it during his first year at NYU, stating,

> _they taught us all of the cinematic innovations Griffith had come up with, but they left out everything that had to do with the social impact of the film. That this film re-energized the Klan. The Klan was dormant, it was dead, and the film brought about a rebirth. Therefore, because of the rebirth of the Klan, it led to black people being lynched, strung up, castrated and murdered, but that was never discussed! I have no problem with Birth of a Nation being screened […] but let's put it in context, let's discuss it._

_Birth_ is based on Thomas F. Dixon, Jr.'s 1905 novel T_he Clansman: A Historical Romance of the Ku Klux Klan_ - the second book in his KKK trilogy (the first is _The Leopard's Spots: A Romance of the White Man's Burden - 1865-1900_ (1902), and the third is _The Traitor: A Story of the Fall of the Invisible Empire_ (1907). As these titles suggest, all three novels valorise the practises and institutions designed to oppress black people, whilst depicting emancipated slaves and Yankee carpetbaggers as the "real" villains behind the Civil War, positing that the plight of the freedmen during Reconstruction was a direct result of their liberation (i.e., they (and the south in general) would have been better off had they remained slaves). In Dixon's depiction of the lawless society of the south, created by the Union, where coloureds can walk around freely, southern whites have become the target of racial violence, with freedmen being particularly fond of raping white women. In the trilogy, the Klan are depicted as arising from this maelstrom, honourable and heroic men forced to reluctantly take the law into their own hands so as to stop the rampage. So influential was the film that the modern KKK practices of wearing white hoods and burning crosses come from it, not from the original 1865-1871 incarnation of the Klan.

As mentioned, Lee uses the film twice – in the Beauregard scene, and in a later scene where his use of it speaks to the formal complexity of his own work. One of the most important of Griffith's innovations was that of parallel editing (better known today as cross-cutting), something we all take for granted in everything from films to commercials to music videos. In a nutshell, parallel editing is when two separate actions from two separate locations are intercut to suggest they are happening simultaneously, often, but not always, to heighten tension. It's one of the most fundamental components of screen grammar, so much so we don't even think about it today – we just take it as given. However, Lee's genius in this scene is that he uses _Birth_ to mock the Klan by way of, you guessed it, parallel editing. As the KKK sit down to watch _Birth_, Lee intercuts their enjoyment of its absurdities with Jerome Turner (Harry Belafonte) telling the story of the barbaric lynching of Jesse Washington, which saw a crowd of over 10,000 people in Waco, Texas, cheering on as his testicles and fingers were cut off, after which he was slowly burned to death by being continually raised over a fire. Lee uses parallel editing here so as to have one scene comment on the other – he is literally using _Birth_'s own innovations against it and what it represents. _Birth_ may be politically abhorrent, but Lee is savvy enough to not only recognise its technological importance, but to co-opt that importance and use it for his own ends, showing us the stunned reaction to a vicious murder contrasted with a celebration of the conditions which led to that murder.

As all of this may suggest, yes, the film is preachy, but that's because Lee is preaching. He makes no apology for such. This is polemic filmmaking, and the move into heavy didacticism in the final montage is completely earned.

On a more formal level, Lee thematically employs many of the aesthetic devices for which he has become known – whether it's a pronounced dutch angle during Stallworth's phone conversations with the KKK to indicate just how surreal the whole thing is, disembodied heads fading into one another during a powerful Ture speech, or, of course, the double dolly shot, which he has used in most of his films to suggest disillusionment and/or the characters' inability to control their own actions as they are inexorably pushed forward, divested of the contextualisation of their environment.

All of this is not to say the film is perfect, however. For example, it relates the apocryphal story that when Woodrow Wilson saw _Birth_, he commented, "_it is like writing history with lightning_." Wilson never said this; the quote was most likely the invention of Thomas F. Dixon Jr., who was promoting the film at the time. Lee must know this, and it does his cause no good to perpetuate a lie. How he employs the double dolly also raises some interesting problems, suggesting, as it does, that orthodox black activism and underground black militancy must combine forces in the face of hate. The film also glosses over Stallworth's time in COINTELPRO, where he worked to sabotage radical black organisations, because this doesn't fit into the overarching theme the film is constructing. Making Zimmerman Jewish is also troubling (the real person he was based upon is known only as Chuck, and all we know about him is that he definitely wasn't Jewish). Is Zimmerman supposed to represent Republican voters who abhor the KKK as much as the political left do? Who knows, because beyond being Jewish, there's no further character development; he's more of a rhetorical device, a meme rather than a person with an inner life. Similarly, the fictional explosion towards the end of the story serves to distastefully simplify everything, once more making the KKK look foolish, something which is wholly unnecessary at this point in the film, whilst also positing Stallworth as a clichéd movie hero, something Lee has avoided up until this point.

These are relatively minor complaints, however. Look, Lee is far from my favourite filmmaker. I really disliked _Malcolm X_ (1992), for example, probably his most celebrated film, and he has justifiably been accused of racism himself on multiple occasions. None of that, however, changes the fact that this is an hilarious, powerful, insightful, and frightening piece of work.

Vital filmmaking from an angry filmmaker.

Also nice to see Clay Davis…sorry, Isaiah Whitlock, Jr. pop up in a throwaway part, but still get to deliver his catchphrase. Seriously, how many actors these days have a catchphrase? Sheeeeeeeeeeeettttttttttttttt.

Watch We Are Your Friends 2015 123movies

Watch We Are Your Friends 2015 123movies









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Watch We Are Your Friends 2015 123movies




Filmteam

Coordination art Department : Jewell Minette

Stunt coordinator : Jenee Elisei

Script layout :Ford Nikitas

Pictures : Jayani Renant
Co-Produzent : Kandra Black

Executive producer : Kamelia Esme

Director of supervisory art : Aditya Majida

Produce : Khadija Arnie

Manufacturer : Laigan Scarlet

Actress : Nixon Valéry



Young Cole Carter dreams of hitting the big time as a Hollywood disc jockey, spending his days and nights hanging with buddies and working on the one track that will set the world on fire. Opportunity comes knocking when he meets James Reed, a charismatic DJ who takes the 23-year-old under his wing. Soon, his seemingly clear path to success gets complicated when he starts falling for his mentor's girlfriend, jeopardizing his new friendship and the future he seems destined to fulfill.

6.3
1338






Movie Title

We Are Your Friends

Time

177 minute

Release

2015-08-26

Quality

AAF 1440p
HDTV

Categorie

Drama, Music, Romance, Comedy

language

English, Español, Italiano

castname

Yaelle
Z.
Martel, Ionel Z. Jaylene, Platt H. Cherina





[HD] Watch We Are Your Friends 2015 123movies



Film kurz

Spent : $341,637,997

Income : $451,703,873

Categorie : Muss Depression Katastrophenrat - Monster , Bösewicht - Worte , Toleranz - Unabhängig , Tod - Weihnachten

Production Country : Finnland

Production : JFC studios



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