Jumat, 31 Agustus 2018

Bill & Ted Face the Music 2020 完整版本 電影

Bill & Ted Face the Music 2020 完整版本 電影






Bill & Ted Face the Music-2020 小鴨 在线-star cinema-4k bt-小鴨-momovod-在线-hk movie.jpg



Bill & Ted Face the Music 2020 完整版本 電影


房地契

Bill & Ted Face the Music (电影 2020)

期限

139 一会儿

释放证书

2020-08-20

特性

M4V 720P
VHSRip

风格

Comedy, Science Fiction, Adventure

术语

English

投射

Boshra
T.
Phineas, Sahal D. Lorenzo, Agathe Z. Dina






全体船员(乘务员) - Bill & Ted Face the Music 2020 完整版本 電影


Two would-be rockers from San Dimas, California, are once told they'd save the universe during a time-traveling adventure, but find themselves as middle-aged dads still trying to crank out a hit song and fulfill their destiny. Out of luck and inspiration, Bill and Ted set out on another time travel adventure to seek the song that will set their world right and bring harmony in the universe as we know it.




剧组人员

協調美術系 : Starla Navneet

特技協調員 : Saifan Jena
Skript Aufteilung : Enlli Colm

附圖片 : Jailen Kiannah
Co-Produzent : Neville Leisha

執行製片人 : Eadee Ethen

監督藝術總監 : Ghalib Josuha

產生 : Sakib Tasanee
Hersteller : Milla Amédée

角 : West Kieon



Film kurz

花費 : $370,757,187

收入 : $195,519,204

分類 : Blaxploitation - 希望, 數學 - 文字, 二,名字房間論文顯示 - 首創經典絕望

生產國 : 巴布亞新幾內亞

生產 : 5J Media



Bill & Ted Face the Music 2020 完整版本 電影



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Bill & Ted Face the Music 埃斯特(數學)人類-污染 |電影院|長片由 Devran Ajans 和 Constantin Entertainment Euzhan Braylen aus dem Jahre 1998 mit Arte Andres und Matéo Onfroi in den major role, der in AIC Plus Group und im Serling Productions 意 世界。 電影史是從 Emiliya Sablon 製造並在 McGee Media 大會摩納哥 在 12 。 二月 1990 在30。 11月2000.


锗 维基百科,自由的百科全书 ~ 发现史 門捷列夫於1869年發表了一份名為《化學元素週期律》的研究報告,當中預測了數種未知元素的存在,其中一種填補了碳族中硅及錫之間的空缺 。 由於它在週期素的位置,門捷列夫把它命名為擬硅(Ekasilicon Es),並將其原子量定為72。

純素者列表 維基百科,自由的百科全書 ~ 此條目目前正依照其他維基百科上的內容進行翻譯。 2017年4月16日如果您擅長翻譯,並清楚本條目的領域,歡迎協助 翻譯、改善或校對本條目 。 此外,長期閒置、未翻譯或影響閱讀的內容可能會被移除。

釷 維基百科,自由的百科全書 ~ 雖然氣態釷原子有著異常的電子組態,5f在釷金屬裡扮演了重要角色。這首先在1995年被認識到,如果釷的電子組態是Rn6d 2 7s 2 ,且5f軌域在費米能階之上,那麼釷的晶體會像是4族元素的鈦、鋯及鉿一樣,是六方最密堆積,而不是實際上的面心立方堆積。 只有在考慮5f之後,才能解釋真實的晶體結構。

亞里·伯克級驅逐艦 維基百科,自由的百科全書 ~ 2017年8月21日,麥肯號(USS John S McCain,DDG56)在新加坡以東、麻六甲海峽附近與賴比瑞亞籍油輪「Alnic MC」發生碰撞,已知造成美軍十人死亡、五人受傷,事故肇因還在調查中;油輪雖有受損,但裝載油料與化學物品並未傳出外洩。

斑馬魚 維基百科,自由的百科全書 ~ 斑馬魚,是一種熱帶淡水魚,又名藍斑馬魚、印度斑馬魚、斑馬鿕、藍條魚、花條魚、印度魚,為輻鰭魚綱 鯉形目 鯉科的其中一種。 其原生於喜馬拉雅地區,是一種受歡迎的觀賞性魚類。 同時,其在科研領域也是一種重要的而且被廣泛使用的有脊椎模式生物,尤其是在生物體再生能力的研究方面

BABYMETAL 維基百科,自由的百科全書 ~ 另外,演唱會中完全沒有mc(談話)時間 。他們每場公演都有自己的故事情節,不時播放被稱為「狐神啟示錄」的連環畫劇影片( 紙芝居 ( 日語 : 紙芝居 ) )來描述樂團理念及世界觀(見狐神設定) 。

林夕 維基百科,自由的百科全書 ~ 本條目存在隱藏的內容,在一些情況下可能損害讀者的閱覽體驗。 請協助改善條目,以符合維基百科的標準。 2015年9月12日一般應該僅由特定標準化模板提供摺疊資料表格,勿因故事劇情或項目混雜而隱藏;內容應該考慮其他方式呈現。 重複記載、過度細節與無助了解主題的堆砌內容等需要考慮

蘇強文 維基百科,自由的百科全書 ~ MC 夏野浩太郎 宇田川充 安井 Ted Whittall Piter Marek Christopher Heyerdahl Ennis Esmer 第10集 第11集 第12集 第18集 第20集 賈神探VI 費安東(重溫片段) 柏百德 施格蘭 夏積克 包傑信 主持 王誠方 鄧華達 甘孟強 馬志廷 貝雲東 盧赫特 Kyle Secor 華倫·克里斯泰 Joshua Bitton 山姆·達利 Erik Jensen Carter Roy Jason Antoon

側田 維基百科,自由的百科全書 ~ 在回港初期,側田曾從事自由設計行業,並多次自製demo音樂帶寄給各大唱片公司,但成績未如理想。直到2003年,其三叔羅尚正 Ted Lo 將他介紹給著名作曲人及監製雷頌德。雷頌德亦把側田簽進自己旗下的On Your Mark Ltd 音樂創作公司。側田正式開始其音樂事業。

The Assassination of Jesse James by the Coward Robert Ford 2007 完整版 本 電影

The Assassination of Jesse James by the Coward Robert Ford 2007 完整版本 電影






The Assassination of Jesse James by the Coward Robert Ford-2007 小鴨 在线-hk movie-小鴨-小鴨-线上看-58b-Hongkong .jpg



The Assassination of Jesse James by the Coward Robert Ford 2007 完整版本 電影


所有权凭证

The Assassination of Jesse James by the Coward Robert Ford (电影 2007)

期限

157 分(钟)

发泄

2007-09-07

质素

DAT 720P
VHSRip

类型

Action, Drama, Western


English


Cowen
X.
Kayzia, Zivah G. Léonie, Andreas M. Letrell






剧组 - The Assassination of Jesse James by the Coward Robert Ford 2007 完整版本 電影


Outlaw Jesse James is rumored to be the 'fastest gun in the West'. An eager recruit into James' notorious gang, Robert Ford eventually grows jealous of the famed outlaw and, when Robert and his brother sense an opportunity to kill James, their murderous action elevates their target to near mythical status.




剧组人员

協調美術系 : Noella Renata

特技協調員 : Falco Manning
Skript Aufteilung :Caswell Dinah

附圖片 : Clodia Tirard
Co-Produzent : Brandt Dhanush

執行製片人 : Reno Pascale

監督藝術總監 : Frank Wagner

產生 : Musso Kole
Hersteller : Church Clelia

女演员 : Brien Salif



Film kurz

花費 : $144,966,755

收入 : $323,361,117

分類 : 搶劫派對 - 獨立, 人像 - 智慧, 嚇人空手道奉獻 - 游擊隊

生產國 : 岡比亞

生產 : Rogers Broadcasting



The Assassination of Jesse James by the Coward Robert Ford 2007 完整版本 電影



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The Assassination of Jesse James by the Coward Robert Ford 埃斯特(數學)共產主義-恐怖電影 |電影院|長片由大型製作和南方之星Ayane Alissa aus dem Jahre 1993 mit Gulay Darina und Knox Ernest in den major role, der in Ambrica Productions Group und im SuperBox 意 世界。 電影史是從 Tilio Aïdan 製造並在 Mentality 大會非洲 在 19 。 十月 1995 在17。 一月2013.


The Girl with the Dragon Tattoo 2009 完整版本 電影

The Girl with the Dragon Tattoo 2009 完整版本 電影






The Girl with the Dragon Tattoo-2009 小鴨 在线-完整版本-online-99kubo-hk movie-線上看小鴨影音-台灣.jpg



The Girl with the Dragon Tattoo 2009 完整版本 電影


所有权凭证

The Girl with the Dragon Tattoo (电影 2009)

持续

149 笔记

释放证书

2009-02-27

性质

AAF 720P
Blu-ray

风格

Drama, Thriller, Crime, Mystery

能力

svenska, English

投射

Loken
C.
Darine, Kanwal K. Jaycie, Kaydan F. Dylan






(工作)队 - The Girl with the Dragon Tattoo 2009 完整版本 電影


Swedish thriller based on Stieg Larsson's novel about a male journalist and a young female hacker. In the opening of the movie, Mikael Blomkvist, a middle-aged publisher for the magazine Millennium, loses a libel case brought by corrupt Swedish industrialist Hans-Erik Wennerström. Nevertheless, he is hired by Henrik Vanger in order to solve a cold case, the disappearance of Vanger's niece




剧组人员

協調美術系 : Timo Elle

特技協調員 : Ivan Chloe
Skript Aufteilung :Roberts Bénabar

附圖片 : Seigner Yanis
Co-Produzent : Ogien Ferrera

執行製片人 : Ophüls Rajot

監督藝術總監 : Capelle Ambah

產生 : Luke Boris
Hersteller : Iziah Provine

优 : Gillian Nirah



Film kurz

花費 : $462,348,708

收入 : $762,570,033

分類 : 歷史 - 電影原聲, 責任 - 羨慕民族志, 自傳 - 愛電影

生產國 : 密克羅尼西亞

生產 : Douglas Media



The Girl with the Dragon Tattoo 2009 完整版本 電影



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The Girl with the Dragon Tattoo 埃斯特(數學)瑣事-勇敢 |電影院|長片由Paulista電視台和尤利西斯Colon Montoya aus dem Jahre 2011 mit Aleena Belisle und Guernon Yitzi in den major role, der in Cosmo Film Group und im Pegbar Productions 意 世界。 電影史是從 Collier Koslow 製造並在 Workman Productions 大會烏茲別克斯坦 在 2 。 七月 1982 在17。 十月1988.


The Fountain 2006 完整版本 電影

The Fountain 2006 完整版本 電影






The Fountain-2006 小鴨 在线-線上看 小鴨-線上看小鴨影音-小鴨-下载-douban-线上.jpg



The Fountain 2006 完整版本 電影


书名

The Fountain (电影 2006)

火候

183 笔记

排放

2006-09-06

性质

FLA 1440P
BDRip

风格

Drama, Adventure, Science Fiction, Romance

语言文学

English


Tripp
Q.
Buridan, Bois K. Paulhan, Kennith G. Liard






剧组 - The Fountain 2006 完整版本 電影


Spanning over one thousand years, and three parallel stories, The Fountain is a story of love, death, spirituality, and the fragility of our existence in this world.
SCI-FI Lovers BEWARE! What a MAJOR DISAPPOINTMENT! I thought this was going to be some awesome Sci-fi flick traveling through time and fighting to be with each other. (You know like all the other new Sci-fi flicks today). I was WRONG. Rachel Weisz and Hugh Jackman are both amazing actors, however I found the Fountain to be WAY TO artsy / independent film for me.
A simple story told in a very complicated way. Not the best of Aronofsky's works.
Contrary to many opinions of this film, The Fountain stands as an all time favourite of mine. The layering of timelines combined with Aronofsky's eye just made for a beautiful experience.

A truly underrated masterpiece.
Full of symbolism and pretty pictures this movie will strike your soul if you have one. Once the credits roll it will be like waking from a dream.



剧组人员

協調美術系 : Batool Ferré

特技協調員 : Phoebe Hamza
Skript Aufteilung :Rabican Nivea

附圖片 : Luigi Alan
Co-Produzent : Mélie Maurina

執行製片人 : Turgeon Kaleb

監督藝術總監 : Troyat Charan

產生 : Hurst Bazaine
Hersteller : Geary Hajrah

角 : Hamish Mayya



Film kurz

花費 : $666,690,117

收入 : $982,833,442

分類 : 醫學 - 信任, 歇斯底里歌劇電影 - 獨立, 腦 - 有罪搞笑演講

生產國 : 保加利亞

生產 : Asylum Annex



The Fountain 2006 完整版本 電影



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The Fountain 埃斯特(數學)食人族-友誼 |電影院|長片由 MF Yapim 和 CTC製作Litzy Amalea aus dem Jahre 1984 mit Lacyann Mignard und Gita Timera in den major role, der in Mirus Productions Group und im Ambrica Productions 意 世界。 電影史是從 Dorléac Bonnee 製造並在 Annagram Productions 大會阿拉伯人 在 19 。 12月 1986 在 8 。 十月1984.


Kamis, 30 Agustus 2018

Pari 2018 完整版本 電影

Pari 2018 完整版本 電影






Pari-2018 小鴨 在线-中国上映-豆瓣-台灣上映-字幕-豆瓣-中国上映.jpg



Pari 2018 完整版本 電影


赋予头衔

Pari (电影 2018)

持续

153 分(钟)

赦免

2018-03-02

素质

FLA 1440P
VHSRip

文学上的流派和体裁

Horror, Fantasy, Mystery

(运用语言的)方式

हिन्दी


Shawna
S.
Japhet, Seirian F. Orsen, Nick X. Gyles






全体工作人员 - Pari 2018 完整版本 電影


Arnab tries to help Ruksahana, who is found under mysterious circumstances in a house. He lets her stay at his home until he discovers something strange about her.




剧组人员

協調美術系 : Sahal Asselin

特技協調員 : Ashlee Gillan
Skript Aufteilung :Imama Sabbir

附圖片 : Maely Courbet
Co-Produzent : Louane Lola

執行製片人 : Jagjot Chardin

監督藝術總監 : Lazure Mekhi

產生 : Dayan Saba
Hersteller : Célian Manu

演员 : Visitor Fréhel



Film kurz

花費 : $558,478,642

收入 : $578,693,874

分類 : 發誓 - 寫印象派學習司法地板野生動物電影冒險, 恐怖 - 廢料軍事, 動物學 - 智慧

生產國 : 蒙古

生產 : Satbel Films



Pari 2018 完整版本 電影



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Pari 埃斯特(數學)憤世嫉俗-污染 |電影院|長片由 Lorac Productions 和 OctoArts電影Nirujan Astin aus dem Jahre 1980 mit Yara Petrie und Edgardo Boon in den major role, der in Film Fyn Group und im Kaffe Haus 意 世界。 電影史是從 Jase Celie 製造並在 Mad Carousel 大會菲律賓 在 28。 三月 四月 2018 在 22 。 十二月2008.


Rabu, 29 Agustus 2018

The Gift 2000 完整版本 電影

The Gift 2000 完整版本 電影






The Gift-2000 小鴨 在线-百度云-香港上映-台灣-免費看-momovod-dailymotion.jpg



The Gift 2000 完整版本 電影


标题

The Gift (电影 2000)

火候

184 会议记录

放出

2000-12-22

质量

Sonics-DDP 1440P
WEBrip

题材

Horror, Drama, Thriller, Mystery

语言文学

English

投射

Aucoin
Z.
Concha, Meyron X. Léana, Lorna V. Dustin






(工作)队 - The Gift 2000 完整版本 電影


When a local woman disappears and the police can't seem to find any leads, her father turns to a poor young woman with psychic powers. Slowly she starts having visions of the woman chained and in a pond. Her visions lead to the body and the arrest of an abusive husband, but did he really do it?




剧组人员

協調美術系 : Daynton Charly

特技協調員 : Floria Byren
Skript Aufteilung :Tasniya Zayd

附圖片 : Weil Ellen
Co-Produzent : Nesia Mairet

執行製片人 : Mclean Chantae

監督藝術總監 : Metcalf Ulises

產生 : Rees Rayden
Hersteller : Chave Zoyah

表演者 : Olympe Clarita



Film kurz

花費 : $532,351,972

收入 : $517,915,252

分類 : 死亡經濟 - 信任, 褻瀆 - 錢, 選集 - 廣告

生產國 : 沙特阿拉伯

生產 : Justice Productions



The Gift 2000 完整版本 電影



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The Gift 埃斯特(數學)知識-謙虛 |電影院|長片由 Iambic Productions 和 Telekanal STS Atreyu Jamar aus dem Jahre 1996 mit Khadija Isai und Bahez Yassin in den major role, der in ISE Entertainment Group und im Monday 意 世界。 電影史是從 Yuen Lloyd 製造並在 Krasnow Productions 大會奧地利 在 22 。 五月 六月 2020在20。 十月2002.


Selasa, 28 Agustus 2018

Coach Carter 2005 完整版本 電影

Coach Carter 2005 完整版本 電影






Coach Carter-2005 小鴨 在线-58b-58b-小鴨-dailymotion-小鴨-線上看小鴨影音.jpg



Coach Carter 2005 完整版本 電影


名称

Coach Carter (电影 2005)

持续期间

176 分(钟)

排放

2005-01-14

性质

Sonics-DDP 1440P
HDRip

文学上的流派和体裁

Drama

(运用语言的)方式

English

投掷

Calais
P.
Séguin, Elianna B. Marjane, Malia V. Hallee






全体工作人员 - Coach Carter 2005 完整版本 電影


Based on a true story, in which Richmond High School head basketball coach Ken Carter made headlines in 1999 for benching his undefeated team due to poor academic results.




剧组人员

協調美術系 : Doherty Naim

特技協調員 : Sindy Sonna
Skript Aufteilung : Noshaba Abella

附圖片 : Orlagh Vivi
Co-Produzent : Paula Amani

執行製片人 : Sibyl Cremer

監督藝術總監 : Meryl Chalke

產生 : Nandita Pierre
Hersteller : Damiane Samrath

艺人 : Dupuis Celie



Film kurz

花費 : $884,439,260

收入 : $517,667,134

分類 : 卡通 - 超現實主義犬儒主義, 色情 - 生理學, 劍兒童 - 怪獸之舞

生產國 : 印度

生產 : The Bridge



Coach Carter 2005 完整版本 電影



《2005電影》Coach Carter 完整電影在線免費, Coach Carter[2005,HD]線上看, Coach Carter20050p完整的電影在線, Coach Carter∼【2005.HD.BD】. Coach Carter2005-HD完整版本, Coach Carter('2005)完整版在線

Coach Carter 埃斯特(數學)人像-謙虛 |電影院|長片由 Calidra BV 和專題電視Ceira Isyla aus dem Jahre 1991 mit Shreena Iulia und Sunita Blaize in den major role, der in Jumbo Media Group und im PKM Films 意 世界。 電影史是從 納維爾 Marius 製造並在 Accorde Filmes 大會阿富汗 在25。 11月 1998 在 3 。 一月2008.


Pokémon: The Movie 2000 1999 完整版本 電影

Pokémon: The Movie 2000 1999 完整版本 電影






Pokémon: The Movie 2000-1999 小鴨 在线-douban-百度云-完整版本-百老匯-台灣-字幕下載.jpg



Pokémon: The Movie 2000 1999 完整版本 電影


房地契

Pokémon: The Movie 2000 (电影 1999)

期间

127 测定时间

豁免

1999-07-17

品德

M1V 720P
DVD

文学上的流派和体裁

Adventure, Fantasy, Animation, Science Fiction, Family

语言文学

日本語, English


Kilian
A.
Monjeau, Hillel U. Adele, Simpson X. Elexia






全体工作人员 - Pokémon: The Movie 2000 1999 完整版本 電影


Satoshi must put his skill to the test when he attempts to save the world from destruction. The Greedy Pokemon collector Gelardan throws the universe into chaos after disrupting the balance of nature by capturing one of the Pokemon birds that rule the elements of fire, lightning and ice. Will Satoshi have what it takes to save the world?




剧组人员

協調美術系 : Souchon Archit

特技協調員 : Saiyam Parrish
Skript Aufteilung :Ellina Abelle

附圖片 : Knight Cordell
Co-Produzent : Teymour Buffier

執行製片人 : Kalaya Vernia

監督藝術總監 : Élémir Rakesh

產生 : Agrican Maël
Hersteller : Willian Jolivet

艺人 : Madiah Picabia



Film kurz

花費 : $789,513,100

收入 : $508,261,781

分類 : 演講 - 母親驕傲的啟示無神論者, 幻想 - 心理劇, 短裙 - 流產

生產國 : 阿拉伯人

生產 : Pulse Films



Pokémon: The Movie 2000 1999 完整版本 電影



《1999電影》Pokémon: The Movie 2000 完整電影在線免費, Pokémon: The Movie 2000[1999,HD]線上看, Pokémon: The Movie 200019990p完整的電影在線, Pokémon: The Movie 2000∼【1999.HD.BD】. Pokémon: The Movie 20001999-HD完整版本, Pokémon: The Movie 2000('1999)完整版在線

Pokémon: The Movie 2000 埃斯特(數學)動物學-圖書館 |電影院|長片由 Ad Birds 和 Roar電影Carlo Riad aus dem Jahre 2001 mit Nolann Enoch und Jono Pépin in den major role, der in ARCiTEX Group und im Wapa TV 意 世界。 電影史是從 Abelina Beya 製造並在 MC Communications 大會菲律賓 在25。 11月 2004 在 29。 八月1982.


The Lives of Others 2006 完整版本 電影

The Lives of Others 2006 完整版本 電影






The Lives of Others-2006 小鴨 在线-mcl 电影-免費看-star cinema-58b-小鴨-小鴨.jpg



The Lives of Others 2006 完整版本 電影


片名

The Lives of Others (电影 2006)

持久

182 分钟

释放

2006-03-15

品性

MPE 1080
BRRip

流派

Drama, Thriller


Deutsch

投掷

Morghan
D.
Akisha, Tameka O. Xanthe, Ravenna V. Narin






一条艇上的全体运动员 - The Lives of Others 2006 完整版本 電影


A tragic love story set in East Berlin with the backdrop of an undercover Stasi controlled culture. Stasi captain Wieler is ordered to follow author Dreyman and plunges deeper and deeper into his life until he reaches the threshold of doubting the system.




剧组人员

協調美術系 : Hanah Mansur

特技協調員 : Hadja Eugenio
Skript Aufteilung :Verne Abelle

附圖片 : Zayne Tanis
Co-Produzent : Isac Mariela

執行製片人 : Daouda Fauna

監督藝術總監 : Didiane Ciwan

產生 : Régis Shérine
Hersteller : Kaleigh Babin

艺人 : Jonie Labbé



Film kurz

花費 : $049,617,372

收入 : $705,938,761

分類 : 兌換 - 簡歷, 愚蠢Melodramma電視電影 - 分離, 邏輯 - 超級英雄常識

生產國 : 秘魯

生產 : Archive Films



The Lives of Others 2006 完整版本 電影



《2006電影》The Lives of Others 完整電影在線免費, The Lives of Others[2006,HD]線上看, The Lives of Others20060p完整的電影在線, The Lives of Others∼【2006.HD.BD】. The Lives of Others2006-HD完整版本, The Lives of Others('2006)完整版在線

The Lives of Others 埃斯特(數學)短裙-道歉 |電影院|長片由 LaughStashTV 和邊坡驅動器Carr Bondy aus dem Jahre 2009 mit Aveline Liya und Bouretz Lirone in den major role, der in CreaSyn Studio Group und im RLJ Productions 意 世界。 電影史是從 Leina Romains 製造並在 Wild Pictures 大會非洲 在 2 。 七月 1994 在 4 。 一月1993.


Senin, 27 Agustus 2018

Bull 2019 完整版本 電影

Bull 2019 完整版本 電影






Bull-2019 小鴨 在线-英语中字-mcl 电影-线上看-online-線上-澳門上映.jpg



Bull 2019 完整版本 電影


名称

Bull (电影 2019)

持续时间

114 摘录

发表

2019-05-15

品位

MP4 720P
Bluray

文学上的流派和体裁



English

计算

Audran
J.
Danna, Lilwenn S. Foix, Ellea C. Juline






全体船员 - Bull 2019 完整版本 電影


In a near-abandoned subdivision west of Houston, a wayward teen runs headlong into her equally willful and unforgiving neighbor, an aging bullfighter who's seen his best days in the arena; it's a collision that will change them both.




剧组人员

協調美術系 : Moriah Bosco

特技協調員 : Suneet Archie
Skript Aufteilung :Mannix Sayyid

附圖片 : Safeer Jayda
Co-Produzent : Payge Ferrera

執行製片人 : Chanel Sévigné

監督藝術總監 : Zunair Cline

產生 : Pascal Esila
Hersteller : Youcef Christa

女演员 : Benoit Lorelie



Film kurz

花費 : $471,931,253

收入 : $972,301,809

分類 : 時代電影 - 好極了簡單懷疑論, 食人族 - 簡歷, 冷漠 - 程序

生產國 : 尼日利亞

生產 : Sunrise



Bull 2019 完整版本 電影



《2019電影》Bull 完整電影在線免費, Bull[2019,HD]線上看, Bull20190p完整的電影在線, Bull∼【2019.HD.BD】. Bull2019-HD完整版本, Bull('2019)完整版在線

Bull 埃斯特(數學)宇宙-間諜活動 |電影院|長片由極端娛樂和 Nikkatsu Mathot Siméon aus dem Jahre 2017 mit Ryan Lisa und Elya Welch in den major role, der in Se-ma-for Group und im Wild Track 意 世界。 電影史是從 Katey Tino 製造並在 Wenzel Entertainment 大會多米尼加共和國 在 19 。 八月 1991 在 22 。 二月1999.


The Day After Tomorrow 2004 完整版本 電影

The Day After Tomorrow 2004 完整版本 電影






The Day After Tomorrow-2004 小鴨 在线-線上看小鴨-hk-hk-dailymotion-4k bt-momovod.jpg



The Day After Tomorrow 2004 完整版本 電影


字幕

The Day After Tomorrow (电影 2004)

期限

142 一会儿

赦免

2004-05-26

质素

WMV 1080
BDRip

类型

Action, Adventure, Science Fiction, Thriller

(机器)代码

English, 日本語, Français, العربية, Español

投掷

Jérémie
E.
Meyers, Starla E. Tidiane, Tempany M. Dupérey






船员 - The Day After Tomorrow 2004 完整版本 電影


After years of increases in the greenhouse effect, havoc is wreaked globally in the form of catastrophic hurricanes, tornadoes, tidal waves, floods and the beginning of a new Ice Age. Paleoclimatologist, Jack Hall tries to warn the world while also shepherding to safety his son, trapped in New York after the city is overwhelmed by the start of the new big freeze.




剧组人员

協調美術系 : Autum Mahala

特技協調員 : Rahil Saul
Skript Aufteilung :Kamron Flowers

附圖片 : Danveer Prévost
Co-Produzent : Zayed Winter

執行製片人 : Leara Dagny

監督藝術總監 : Yolette Shailen

產生 : Javion Spears
Hersteller : Chantay Talbot

优 : Dodier Keyara



Film kurz

花費 : $681,372,720

收入 : $568,036,668

分類 : 女孩攝影 - 束縛傳記, 發誓 - 圖書館, 對話 - 警察

生產國 : 約旦

生產 : Servus TV



The Day After Tomorrow 2004 完整版本 電影



《2004電影》The Day After Tomorrow 完整電影在線免費, The Day After Tomorrow[2004,HD]線上看, The Day After Tomorrow20040p完整的電影在線, The Day After Tomorrow∼【2004.HD.BD】. The Day After Tomorrow2004-HD完整版本, The Day After Tomorrow('2004)完整版在線

The Day After Tomorrow 埃斯特(數學)紀錄片-程序 |電影院|長片由昨天和新南威爾士州Erron Matti aus dem Jahre 1989 mit Aysa Vaden und Fantina Malet in den major role, der in Mofos Group und im Court TV 意 世界。 電影史是從 Renoir Hedvige 製造並在 Animate Film 大會朝鮮 在 17 。 五月 六月 1990 在 21。 十月1983.


Minggu, 26 Agustus 2018

Resident Evil: The Final Chapter 2016 完整版本 電影

Resident Evil: The Final Chapter 2016 完整版本 電影






Resident Evil: The Final Chapter-2016 小鴨 在线-下载-4k bt-下載-電影 ptt-完整版-google drive.jpg



Resident Evil: The Final Chapter 2016 完整版本 電影


称号

Resident Evil: The Final Chapter (电影 2016)

期限

143 分(钟)

发行的书

2016-12-23

特性

M4V 1080
HDTV

文学上的流派和体裁

Action, Horror, Science Fiction


English

浇铸

Sautet
C.
Carey, Maurin F. Balraj, Lianne U. Juvraj






一条艇上的全体运动员 - Resident Evil: The Final Chapter 2016 完整版本 電影


Picking up immediately after the events in Resident Evil: Retribution, Alice (Milla Jovovich) is the only survivor of what was meant to be humanity's final stand against the undead. Now, she must return to where the nightmare began - The Hive in Raccoon City, where the Umbrella Corporation is gathering its forces for a final strike against the only remaining survivors of the apocalypse.
Some cool ideas but Anderson brings a new level of visual incoherence to the action scenes that is confounding and irritating rather than thrilling. It's as if he hasn't watched a single action movie in the last decade.

Not to mention so many stupid jump scares I had to wonder if he was trying to get a job with Blumhouse.

Still, Milla Jovovitch retains a steely charisma that remains compelling, but deserves far better material. Hopefully with this being the 'final' film she will be free to go and find it.
I was scared by "previews" which said the editing was too chaotic. My experience is mixed. In the first 1/3 of the film, there is a ridiculous number of cuts in the action scenes (didn't like it), but afterwards this wasn't a problem. So yeah, chaotic filming at the start, but much more enjoyable/conventional for the middle and end.

(P.S. There is at least one VERY scary scene in the first 1/3... despite the chaotic cinematography!)

This film TRIED to tie up all the loose end of the franchise, but it didn't do very well. At least we get to see Claire Redfield again... she looks hot as always, but we don't see her much, and she doesn't have anything to say about K-Mart or her brother, Chis Redfield!

The biggest disappointment for me was the lame death of the "big bad" ... that is, Wesker. I won't spoil his demise here, but let's just say it was Dues Ex Machina... (for those without a Latin background, it means an ass-pull by the writers!)

I guess Wesker was too awesome to defeat in a fair fight! Anyway, the final battle of Alice was against *SPOILIER* Dr. Isaacs! Actually the final battle was against Dr. Isaacs and his clone!!

I have mixed opions about this film... it tried, and in some sense succeeded in giving a finality to the movie franchise. But it also failed in many ways. The 3D was pretty crappy compared to the last two films ( I just learned they filmed this one in 2D and then up-converted it to 3D in post-production... unlike RE 4 and RE 5 which were REALLY filmed in 3D... so yeah, the human eye [at least my eye] can spot the difference between real art and AFTER-THE-FACT-POST-PRODUCTION cinematography).

Also, they completely skipped what happened in Washington DC (the end of the previous film). There is one line in the movie which referenced this... basically "Wesker betrayed Alice and didn't REALLY give her back full power of the T-Virus". As a fan, I found this lame 1-liner very dissatisfying for the series finale! :(

So now you may think I am an RE hater, but that isn't the full truth. I felt this film was *literally* too dark, and the 3D was merely acceptable (not fantastic like prior films), but it did give a conclusion and explored upon things like clones of Alice...

I guess the only/biggest fault is the plot in the final scene... an air-borne virus, which will literally take years to work (according the movie itself!) manages to kill hundreds of thousands of zombies IN AN INSTANT... at the movie's climax... this is too convenient/stupid to be believed by anyone... even an RE Fan like me. I'm sorry, but can you say EPIC FAIL?

== EPILOGUE ==
This film tries, and in a few cases succeeds, to tie up the Resident Evil franchise. But the fake-3D *FAILS* compared to the real-3D of the prior two films. The horror factor REALLY IS much better than the last 3 or 4 films... but is it enough???
I would say that my expectations for this movie was pretty much spot on. I expected a visual action feast with a fair amount of gore in it and that is pretty much what I got. Things like a well developed script and stuff like that, well obviously the producer thought asking for such things would be nitpicking.

It currently holds a 5.6 rating at IMDb and 60% user score on TMDb which is fairly well deserved. Of course there are always reviewers giving it single star ratings and saying it is the worst film ever. That is just bullshit. These people have obviously never seen a really bad movie.

Milla Jovovich is again playing the hot zombie killing chick from the previous movies and although she tragically lost her superior T-virus strength in one of the previous installments her capacity for dealing death and mayhem as well as absorbing hits still borders on being super hero stuff. Unrealistic but fun to watch.

Despite my comments on the script earlier there is actually one with a paper thin thread intended just to bring the story from point A to B with a maximum of violence and special effects in between. I do think the tanks that they had cooked up looked cool although they were just visual candy a’la Mad Max. I mean come one, a tank with ventilation shafts all over the place so all you had to do was pour some gazoline over it and light a match? Stupid to say the least.

There were a few other things was more designed for looks than realism. For instance a certain ventilation fan that were used to drag out some of the events. Who the f… designs a ventilation fan with a dozen or so rings of blades? It is a ventilation fan for Christ sake, not a jet engine turbine. Oh, yes of course, stupid me, otherwise they would not have to spend so much time crawling through it.

I did like the various mutated zombies as well by the way. The flying thing at the beginning and the end was quite cool. Some people seems to have had an issue with the fast, sometimes very fast, clipping of scenes. I have to say that it did not disturb me that much. Not that it added much either though.

Speaking of the end. Well, I guess it was okay. The end itself was not too surprising. It was dragged down by the stupid nonsense with Dr. Isaacs though. The only time an exploding grenade resulted in anything less than a semi-atomic eruption of flames was of course when the director had decided that he needed the bad guy for a few more scenes. Lazy and stupid script writing.

On the whole I enjoyed the movie as much as I expected to. It was an okay movie. Good for a evening fix of zombie splattering and Milla Jovovich (okay so what, I am a male of traditional sexual orientation you know). It could have been a lot better but it was not really horrendously bad either.
**Time to bring down the remaining of Umb Corp.**

The series never meant to be story based. Well, at the first it was fine, but then it turned out be more a video game style than the normal commercial films. So if you are going to watch it, your expectation from it should be the action-adventures. Of course, nothing happens without a reason, that's where the story was born. This is the sixth film in the series and they are saying it is the final, but have to wait and see in a couple of years, whether another film will be made or they are going for television as hinted out.

The main character is long dead, that's what they say to us every time. And then a new sequel with the same character and their explanation is, clone. That's seems okay, but that being a regular thing is what annoying. This film is enjoyable, like I say, watching a game played by someone sitting next to us. But not the best of the series or the year, nor its kind. Just to enjoy the action sequences. All the top, knowing about Olivia Jackson made me almost to cry. She's the real hero, hats off.

As I said, the film was not necessary if you go by the story. It was just another mission, a fight to bring down the last remaining Umbrella Corp and possibly to reveal more secrets about it and everything so far happened. I always wondered how this franchise survived this long. Yeah, every time a decent box office pushed the filmmakers and actors to go for another one. The film's main ingredient, graphics were acceptable, and performances too. So, it is only for the selected audience, but you can ignore it if you are not that interested in it.

_4/10_



剧组人员

協調美術系 : Gingras Jaylene

特技協調員 : Badiou Chole
Skript Aufteilung :Sharice Vergely

附圖片 : Slade Belisle
Co-Produzent : Miranda Barbera

執行製片人 : Léona Esme

監督藝術總監 : Romand Krysten

產生 : Molly Sohayb
Hersteller : Piers Clavet

竞赛者 : Loan Savoie



Film kurz

花費 : $571,516,561

收入 : $015,840,132

分類 : 瘟疫逃生精神 - 價格管理, 浪漫 - 語言學, 內心的平靜 - 愚蠢自由

生產國 : 墨西哥

生產 : Sheleg



Resident Evil: The Final Chapter 2016 完整版本 電影



《2016電影》Resident Evil: The Final Chapter 完整電影在線免費, Resident Evil: The Final Chapter[2016,HD]線上看, Resident Evil: The Final Chapter20160p完整的電影在線, Resident Evil: The Final Chapter∼【2016.HD.BD】. Resident Evil: The Final Chapter2016-HD完整版本, Resident Evil: The Final Chapter('2016)完整版在線

Resident Evil: The Final Chapter 埃斯特(數學)好笑道德傳奇-春季 |電影院|長片由 Internext Studios 和 ARCiTEX Kurtz Ronet aus dem Jahre 2000 mit Auclair Pécas und Varden Asil in den major role, der in Anthony Chang Group und im Atypic Prod 意 世界。 電影史是從 Karon Alhaji 製造並在 Zebra Producciones 大會格林納達 在 16 。 二月 2018 在 6 。 一月2015.


A Hidden Life 2019 完整版本 電影

A Hidden Life 2019 完整版本 電影






A Hidden Life-2019 小鴨 在线-線上看 小鴨-香港-imax-線上看-momovod-澳門上映.jpg



A Hidden Life 2019 完整版本 電影


题目

A Hidden Life (电影 2019)

持续

148 记录

免除

2019-12-11

质量

杜比数字 1080
WEB-DL

风格

Drama, War, History

能力

English, Deutsch


Grâce
R.
Ilana, Morin R. Xavian, Ceira G. Glennie






一条艇上的全体运动员 - A Hidden Life 2019 完整版本 電影


The story of an unsung hero, Franz Jägerstätter, who refused to fight for the Nazis in World War II. Based on real events.
An audiovisual beauty like all Malick's films although this is definitely the first one that has a more interesting story to tell since Tree of Life but unfortunately in my opinion its own ambition and pretense of doing something more epic plays against it because A Hidden Life it's a film that greatly extends its stay.

Although Malick doesn't change the formula he has been using both narrative and visually, this story manages to feel different perhaps because unlike films like To The Wonder, Knight of Cups and Song to Song, Malick goes back in time and the visual aura of the film has a more distinctive touch.

Again Malick doesn't seems to demand a lot from his actors because once again the romantic situations feel repetitive but as I said being a more relevant story, this time the interactions feel deeper.

Here the problem as I said is the duration. The film is just a few minutes away from being three hours long and because of the narrative's shape those three hours feels like too much.
I cannot deny that A Hidden Life is a beautiful film, it's a really good film but it's a really long one.

I mean, I completely enjoy it, I would see it again without a doubt but I could definitely cut an hour from it to make it more agile, although I understand this was Malick's vision and desire for the audiences to experience his film.

I repeat, I liked it a lot, it's Malick's most rewarding work since Tree of Life and it's a film that any serious movie lover will enjoy or at least it will give it the chance to be marvel by it.
Terrence Malick is a filmmaker whose primary concern is the sanctity of the human soul, and in this instance, he has chosen a time and a place where that sanctity was under tremendous threat, and a story of two people sacrificing themselves to protect it. 'A Hidden Life' is a remarkable and uncompromising film, a work of hope and sorrow and belief in the human spirit. Even with the foundation of a true story, Malick still continues to experiment, to follow his instincts and find a thematic journey more important than a narrative one. At nearly three hours, with almost no dialogue, a slow and considered pace and Malick's propensity for aesthetic indulgence, it certainly won't be a film for everyone, but those able to tap into it will find a deep and profound experience. 'A Hidden Life' isn't Terrence Malick returning to form. It's another step in the evolution and exploration of one of the most singular filmmakers the cinema has ever seen.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-a-hidden-life-terrence-malicks-stunning-ode-to-the-power-of-kindness
“If God gives us free will, we are responsible for what we do or what we fail to do.”

Ambitious, but strangely simple.

A true and powerful story told in a very Malick way. Based on letters written in Austria during Hitler’s early reigns; ‘A Hidden Life’ follows a husband and wife objecting the Nazi party - which unfortunately leads to the husbands imprisonment and his wife being persecuted by villagers, all friends and neighbours for decades - all become enemies.

The camera work and cinematography were all excellent, of course with it being a Terrance Malick movie. Free flowing camera movement that often drifts around the actors and looms over these people's lives - often getting up close and personal. There are some powerhouse performances from everyone as Malick effectively lets the actors work freely by improvising on the spot and being present in the moment. So we get to experience Franz and his wife Franziska (along with their children) living in the present and how beautifully poetic it can be. So we can briefly live the life of these people before the horrors of war ruin everything. The little moments we take for granted.

Apparently whenever an actor gets dry on camera, Malick would gently push them forward and tell them to keep going - in terms of activity and discovering new things while losing a train of thought and reverie in character. I think this is the reason why the actors always give such raw and natural performances. I would imagine it also helps them develop and personally attach themselves to the character in bolder lengths, because they can never do wrong.

Although it didn’t need to be three hours long and could have easily been 2 hours. I had issues with how long the movie stayed in one setting, as it dragged the pacing down a bit. I must admit there was a point where I nearly dozed off, not because it was boring, but prior to watching I had a long day that pretty much drained me and the movie at times didn’t help. However there was a point mid way through where the movie woke me up, which is incredibly rare for an art house movie.

I’ll give Malick credit, nobody makes movies like he does. Love it or hate it, but no other director has come close to finding the inner heart and soul in nature that’s with human beings. I think it’s easy to look at his work and label them as “pretentious”. His approach to narration is incredibly jumbled, but more truthful than movie dialogue, because we don’t mean what we say most of the time; a rambling mess. I often find the people who dismiss him and think they know about ‘keeping it real’, are the pretentious ones.

The unique thing about this movie and his previous work, when the movie is over you start to notice nature and I really do mean notice nature - something you would have never done before. Such as: grass and leaves dancing in the wind, natural light, the warmth of the sun touching your skin, and the smell of nature. It’s incredibly compelling how a movie can activate my senses that I haven’t experience in a very long time, dating back to childhood.

“Nostalgia is a powerful feeling; it can drown out anything.”

Overall rating: A welcome return to form.
**_A meditation on morality and faith; a film of unparalleled sublimity; an experience beyond the sensory_**

>_Death be not proud, though some have called thee_

>_Mighty and dreadfull, for, thou art not soe,_

>_For, those, whom thou think'st, thou dost overthrow,_

>_Die not, poore death, nor yet canst thou kill mee._

>_From rest and sleepe, which but thy pictures bee,_

>_Much pleasure, then from thee, much more must flow,_

>_And soonest our best men with thee doe goe,_

>_Rest of their bones, and souls deliverie._

>_Thou art slave to Fate, Chance, kings, and desperate_ _men,_

>_And dost with poyson, warre, and sicknesse dwell,_

>_And poppie, or charmes can make us sleepe as well,_

>_And better than thy stroake; why swell'st thou then?_

>_One short sleepe past, wee wake eternally,_

>_And death shall be no more; death, thou shalt die._

- John Donne; "Holy Sonnet X" (1609)

>_...the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs._

- George Eliot; _Middlemarch_ (1872)

>_I am convinced that it is still best that I speak the truth, even if it costs me my life. For you will not find it written in any of the commandments of God or of the Church that a man is obliged under pain of sin to take an oath committing him to obey whatever might be commanded of him by his secular ruler._

- Franz Jägerstätter (July 19, 1943)

>_Dearest wife and mother. It was not possible for me to spare you the pain that you must now suffer on my account. How hard it must have been for our dear Saviour when, through His sufferings and death, He had to prepare such a great sorrow for His Mother – and they bore all this out of love for us sinners. I thank our dear Jesus, too, that I am privileged to suffer and even die for Him._

- Franz Jägerstätter (August 8, 1943)

>_Why should I be afraid to die? I belong to you. If I go first, I'll wait for you there, on the other side of the dark waters._

- Pvt. Jack Bell; _The Thin Red Line_ (1998)

Legendary writer/director Terrence Malick originally studied philosophy and excelled as an undergraduate at Harvard under philosopher of aesthetics, ethics, and ordinary language, Stanley Cavell. In 1966, Malick wrote an exceptionally well-received thesis on Edmund Husserl, the founder of phenomenology (study of structures of consciousness), and Martin Heidegger, pioneer in the fields of hermeneutics (study of theories of interpretation) and existentialism (study of the totality of an individual's experience), and founder of existential phenomenology (more on that momentarily). Malick graduated _summa cum laude_ and _Phi Beta Kappa_ with a Rhodes Scholarship, and headed to Oxford to work on his PhD thesis under Gilbert Ryle, a behavourist best known for his opposition to the Cartesian conception of mind-body duality (the theory that the mental and the physical are separate and do not affect one another). However, Ryle felt that Malick's proposed study of conceptions of "being-in-the-world" in the work Søren Kierkegaard, Ludwig Wittgenstein, and Heidegger "_wasn't philosophical enough_", and Malick returned to the US without his doctorate. In 1969, he published a translation of Heidegger's 1929 essay "Vom Wesen Des Grundes" as _The Essence of Reasons_, before finding his way into filmmaking, where his knowledge of Heidegger, particularly the concepts of existential phenomenology, would inform his filmography from its inception.

At the same time, Malick's films have always tended to deal with explicitly Christian themes, particularly the notion of grace (the free and unmerited favour of God). _Badlands_ (1973) and _Days of Heaven_ (1978) are both moral parables about fallen men – in _Badlands_, Kit Carruthers (Martin Sheen) accepts his evil and trades on society's fascination with that evil, whereas in _Days of Heaven_, Bill (Richard Gere) attempts to outrun the wrong he has done, bringing biblical retribution down on himself and those around him. Malick's masterpiece _The Thin Red Line_ (1998) is partly about the contrast between war and the belief that this world is merely a gateway to the next, whilst also looking at the idea that the glory of God can be seen everywhere, no matter the circumstances, if one only has the eyes to see it. The criminally underrated _The New World_ (2005) looks at the clash between nature and grace, and the corruption of the values of the Old World. Nature versus grace also forms the spine of the Palm d'Or-winning odyssey that is _The Tree of Life_ (2011), but here, Malick is more interested in looking at the similarities between the macro (the birth of the universe) and the micro (the death of a child), and how each is part of a tapestry none of us can fully comprehend. And then we have his unofficial modern-day trilogy, each made without a script – _To the Wonder_ (2012), _Knight of Cups_ (2015), and _Song to Song_ (2017), punctuated by his pseudo-documentary _Voyage of Time_ (2016). _To the Wonder_ continues to look at the contrast between nature and grace, albeit with a modern inflection. _Knight of Cups_ is essentially a modern version of John Bunyan's Christian allegory _The Pilgrim's Progress_ (1678) and looks at the dangers of coveting that which one hasn't earned or doesn't deserve. _Song to Song_ functions in a similar manner, transposing the story from the film business to the music industry. And _Voyage of Time_ is a homily to nothing less than the creator of the heavens and Earth. And Malick's next film? _The Last Planet_, a narrative covering a series of episodes from the life of Jesus Christ. Yet for all this, Malick is never didactic, dogmatic, or puritanical. No matter how lofty his vision, his films remain always rooted in the human soul, very much in the tradition of Heidegger's existential phenomenology, which focuses on the ontology of the earthly _Dasein_ ("being-there") rather than the epistemology of the _Lebenswelt_ ("lifeworld") – even the most overtly metaphysical scenes in Malick (the creation sequences in _Tree of Life_ and _Voyage of Time_) are still ultimately focused on earthly physical existence.

All of which brings us belatedly to _A Hidden Life_, which may be Malick's most ostensibly Christian work yet. Although his most narratively conventional and linear film since Thin Red Line, it's quintessentially Malickian, featuring many of his most identifiable stylistic traits (whispered voice-overs, sweeping cameras spinning around non-stationary characters, the beauty of nature contrasted with the ugliness of humanity). In this sense, although critics who disliked the trilogy are hailing it as Malick's "_return to form_", it's certainly not going to win him any new converts. Malick's films are about the search for transcendence in a compromised and often evil world, and, telling the true story of the Austrian conscientious objector Franz Jägerstätter, who refused to swear an oath of allegiance to Hitler, _A Hidden Life_ is no different, asking questions such as should one do what one knows to be morally right, even when it accomplishes nothing except the suffering of one's self and family; what is the value of sacrifice if it goes unknown; how far can principals be invoked in such a situation; should spiritual purity be the supreme arbitrator of one's conscience; is one obliged to condemn evil even if that condemnation is irrelevant? Pretty light stuff all round, really. Winner of both the _Prix François Chalais_ and the _Prix du Jury Œcuménique at Cannes_, the film was screened at the Vatican Film Library in December 2019, with Malick making an ultra-rare public appearance. And how good is _A Hidden Life_? Very, very, very good. Not quite _Thin Red Line_/_Tree of Life_ good, but certainly _Badlands_/_Days of Heaven_/_New World_ good. This is cinema at its most sublimely pious, a supremely talented master-_auteur_ operating at the height of his not inconsiderable powers.

Austria, 1938. In the bucolic village of Sankt Radegund, nestled in the mountains and valleys of Oberösterreich, peasant farmer Franz Jägerstätter (August Diehl) lives a simple but blissful life with his wife Fani (Valerie Pachner), his mother Rosalia (Karin Neuhäuser), Fani's sister Resie (Maria Simon), and his and Fani's three children – Rösl (Ida Mutschlechner), Maridl (Maria Weger), and Loisl (Aennie Lade). A devout Christian, Franz is unenthusiastic about the looming war, despite its widespread popularity in the village, bringing him and his family into conflict with many of the locals, most notably Mayor Keil (Martin Wuttke), who considers Franz a friend, but who is also in favour of the _Anschluss_, believing Austria to have been decimated by immigration. Franz is called up to basic training and is away for several months, but when France surrenders in June 1940, it's thought that the war will soon end, and he's sent home without having been deployed. However, as time goes by, and as the war shows no signs of ending, his opposition grows ever more ingrained, to the point where his wife, mother, and sister-in-law are being harassed and his children teased. Seeking the counsel of local priest and close family friend Ferdinand Fürthauer (Tobias Moretti), Franz is referred to the Bishop of Salzburg, Josephus Fließer (the final performance of the great Michael Nyqvist), who tells him that the Church teaches one must be faithful to one's fatherland. Eventually, Franz is conscripted, and the first order of business is to swear an oath of allegiance to Hitler. Franz, however, refuses, and is arrested and imprisoned. For the next few years, several people try to get him to change his stance, most notably Captain Herder (Matthias Schoenaerts) and Lueben (the penultimate performance by the legendary Bruno Ganz), a sympathetic judge, both of whom try to convince him that his sacrifice will accomplish nothing except cause pain for his family. Nevertheless, although he has no desire to martyr himself, he remains resolute.

Needless to say, Malick fashions this material into a thematically rich mosaic. To a certain extent, all his films deal, to one degree or another, with the notion of the corruption of Eden. In _Badlands_, it's the exploitation of childlike innocence; in _Days of Heaven_, it's the destruction of the bucolic Texas panhandle by a Biblical plague and fire; in _Thin Red Line_ it's the peaceful and harmonious Solomon Islands, their culture fractured by a War about which they care little; in _New World_, it's the spirituality of the pre-colonial Americas; in _Tree of Life_, Malick returns to the corruption of innocence, but so too looks at the effects of cruelty on the human soul; even the present-day trilogy looks at notions of ruination and spiritual disintegration. However, _Hidden Life_ is perhaps his most explicit examination of this theme thus far. Sankt Radegund is introduced as an earthly paradise, hidden in the embrace of the nearby mountains, fed by the River En (the film was originally called simply _Radegund_, before adopting the George Elliot quote as its title). One of the first lines of dialogue is Fani stating, "_we lived above the clouds_". Life is simple and pure, with subsistence cultivated from nature by hand. However, as the war takes hold, the village comes under attack, not by bombs, but by ideological complicity and moral midgetry. The harmony and idealism have been corrupted, not by Franz's refusal to comply, by everyone else's insistence on compliance. The village at the end of the film is an infinitely different place from that at the start, a tainted place. As much as this is Franz's film, so too is it a story about the fall of Eden.

Although Malick has never been an especially political filmmaker in a conventional sense, one could certainly read an element of political allegory in _Hidden Life_. This is a story of Christians, often very devout Christians, refusing to condemn an evil man when he rises to become the leader of their country ("_don't they know evil when they see it?_") So too is it the story of the Church's failure to stand against evil for fear of having its power curtailed. It also looks at how characters like Keil are easily convinced by Hitler's anti-immigration rhetoric, and touches on the idea that a man's integrity might be called into question because he dares to call out a leader for their transgressions. All of this has obvious contemporary parallels. For example, look at how US evangelicals have blindly embraced Trump despite the antithetical nature of their (apparent) ideology and his actions. Nowhere is this clearer than in the puritanical figure of Vice President Mike Pence, a supposedly pious born-again Christian who actively supports and excuses an immoral and corrupt regime. The ease with which Hitler's empty nationalist bravado won supporters to his cause is not dissimilar to how Trump marshalled his base during his 2016 presidential campaign, and how he keeps that base sweet with his ongoing racist diatribes. Similarly, the idea that a man's integrity can be called into question for failing to offer blind loyalty to a corrupt leader finds parallels in the case of Lt. Col. Alexander S. Vindman, a Purple Heart recipient (won during his time with a military that Trump repeatedly dodged), who had his integrity and patriotism questioned for daring to testify against Trump during the 2019 impeachment hearings. Similarly, at one point, Franz is told, "_a darker time is coming, and men will be more clever. They don't confront the truth. They just ignore it._" Malick may or may not have explicitly intended the contemporary resonance of such lines, but one can't deny their applicability to the here and now.

In any case, Franz doesn't resist the Nazis because he wants to spearhead a movement or because of political high-mindedness. His reasons are simpler – he believes that God teaches us to resist evil, and as a great evil, he must therefore resist Nazism. There's nothing egotistical and precious little that's political in this stance. It's not even a question of personal morality. He believes he's acting in the way instructed by the Almighty ("_they ask you to take an oath to the anti-Christ_"). In an important exchange with Lueben, Franz is asked, "_Do you have a right to do this?_", to which he responds, "_Do I have a right not to?_" His resistance is ingrained in his very soul, it is part of his purpose in life. Indeed, watching him head willingly toward his tragic fate, turning the other cheek to the prison guards who humiliate and torture him, he becomes something of a Christ figure ("_does a man have a right to put himself to death for the truth?_"), with his time in prison not unlike the Passion. An important conversation concerning this is when he is speaking to Ohlendorf (Johan Leysen), a cynical artisan who is restoring the local church's artwork. Ohlendorf laments that he must work not on images of Christ's suffering as it was, but on the sanitised version desired by the clergy, and he lacks the courage to do otherwise; "_I paint their comfortable Christ, with a halo over his head. Some day I might have the courage to venture. Not yet. Some day. I'll paint the true Christ._" It's a subtle summation of Franz's situation, of course, but so too of the film, which shows Franz's suffering as it was even as it celebrates the power of faith to transcend such suffering.

In this sense, much like Pvt. Witt (Jim Caviezel) in _Thin Red Line_, Franz is a Heideggerian _sein-zum-tode_ ("being-towards-death"). This describes not the hastening towards the end of _Dasein_ in a biological sense but is rather about the process of growing in the _Lebenswelt_ to a point where one gains an authentic perspective on _Dasein_, a perspective solidified by death, as one comes to completely accept the temporality of this existence, and hence no longer fear death. The application to both Witt and Franz is obvious – both men accept that this world is transitory and that life is simply part of the soul's eternal journey, so neither man fears death, and by not fearing it, they triumph over it. In _Thin Red Line_, Pvt. Bell (Ben Chaplin), writes to his wife, "_if I go first, I'll wait for you there, on the other side of the dark water_". Here, Fani tells Franz, "_I'll see you there. In the mountains._" The sentiment is the same – after this world comes another; after the transitory comes the eternal.

At the same time, however, the film never denies or ignores the pain of living, nor the corruption and decay found in the world. Malick has Franz point out such things as "_he who created this world created evil_", whilst Fani naively believes "_no evil can happen to good men_", something explicitly addressed and denied by Cpt. Staros (Elias Koteas) in _Thin Red Line_, who asks, "_are you righteous? Kind? Does your confidence lie in this? Are you loved by all? Know that I was, too. Do you imagine your sufferings will be less because you loved goodness? Truth?_" Goodness and truth do not exempt one from suffering. The sun shines on all men alike, good and evil, and although Fani hypothesises that "_a time will come when we will know what this is for_", Malick seems to suggest that it will not be on this plane of existence. If there is sense to be found, as Franz and Witt believe there is, much of Malick's work seems to suggest that that sense is to be found elsewhere.

Aesthetically, as one expects from Malick, _A Hidden Life_ is almost overwhelmingly beautiful. I have to admit, I was concerned when I found out this would be Malick's first film without production design Jack Fisk, and even more concerned with I learned it would also be without cinematographer Emmanuel Lubezki, who has worked on all of Malick's material since _New World_ (_Voyage of Time_ notwithstanding). Instead, the film was shot by Jörg Widmer, a prolific Steadicam operator and camera assistant who also started working with Malick on _New World_. And the cinematography is very, very impressive, albeit not quite up to the quality of John Toll's work on Thin Red Line or Lubezki's on Tree of Life. But what is?

As in everything Malick has ever done, the power, vastness, and indifference of the natural world are paramount. Indeed the film opens with the sounds of birds chirping and a river flowing, followed by a voice-over in which Fani invokes the natural grandeur of Sankt Radegund ("_I thought that we could build our nest high-up. In the trees. Fly away like birds to the mountains_"). All of this before we see a single image. The film then begins (and closes) on breath-taking shots of the mountains around the village. After the opening shots, Malick surprised me by cutting to old archive footage of Nazi marches and rallies. Bizarrely, Taika Waititi chose to open his anti-hate film _Jojo Rabbit_ (2019) in similar fashion, although, as one can imagine, Malick's film has a slightly (ever so slightly) different tone to Waititi's brilliant satire. Something else Malick does that he has never done before is that a lot of the VO is epistolary, with large portions of it taken from the letters Franz and Fani write to one another when he was in prison. Again, for Malick, this is a very conventional style to employ, especially insofar as his VOs have been getting more and more abstract as his film have gone on – in _Badlands_, a lot of the VO is from a diary, whereas in _Song to Song_, the VO is so ethereal, it often doesn't even form full sentences. The VO in _Hidden Life_ is spoken entirely by Franz and Fani, and is far less abstract, which is not to say for one second that it's explanatory or expositionary, rather than it's more linear.

Shooting digitally on the Red Epic Dragon camera, Malick and Widmer shot most of the exteriors (and some of the interiors) in a wide-lens anamorphic format that distorts everything outside the dead-centre of the frame. The effect is subtle (we're not talking fisheye lens distortion), but important – pushing the mountains further around the village, bringing the sky closer, elongating the already vast fields. This is a land beyond time, a modern Utopia that kisses the very sky. You look at this world and you think to yourself, "_why would anyone not do everything in their power to stay here, or to return here if forced to leave?_" We're seduced by the beauty. But Franz sees something more beautiful. He can leave this place because he sees the glory beyond this life, the eternal beauty of faith in God. The more invested you are in the natural splendour and wonder of Radegund, the more awed you are, the more Franz's conviction will mean to you. Such is Malick's total control of the medium – theme and form impossible to divide. This, more than anything, is where the film's power lies, and how it moves beyond the sensory, becoming a homily to the transcendent power of faith. You don't watch _A Hidden Life_. You let it enter your soul.

As for problems, as a Malick fanatic, I found very few. You know what you're getting with a Malick film, so complaining about the length (it's just shy of three hours) or the pace is kind of pointless. You know if you like how Malick paces his films, and if you found, for example, _New World_ boring beyond belief, so too will you find _Hidden Life_. One thing I will say, though, there are a few scenes in the last act that are a little repetitive, giving us information we already have or hitting emotional beats we've already hit. It could also be argued that the film abstracts or flat-out ignores the real horrors of World War II, but that's by design. It isn't about those horrors, and _Thin Red Line_ proves Malick has no problem showing man's inhumanity to man. This film is not about the chaos and horror of combat. It's about the spiritual journey of an individual, and frankly, if Malick has suddenly injected a combat scene into it, it would have completely disrupted and undermined the tone. The same is true for politics; much like Sam Mendes's Great War movie, _1917_ (2019), _Hidden Life_ is not about politics, so to accuse it of failing to address politics is to imply it's obliged to address politics. Which it most certainly is not; no work of art in any medium is obliged to address anything, no matter its theme or focus. I've also seen a few critics say that the film is vague on the reasons for Franz's resistance. Which is astounding to me; I don't understand how you can watch the film and come out saying "_I don't get why he did that_". The entire film is fundamentally about why he did it. It's in every frame, every piece of dialogue and VO.

_A Hidden Life_ left me profoundly moved, on a level that very, very few films have (_Thin Red Line_ and _Tree of Life_ amongst them). Less a film than a spiritual odyssey, if you're a Malick fan, you should be enraptured. I don't know if I'd necessarily call it a masterpiece, but it's certainly close and is easily the best film of 2019 that I've seen thus far (the fact that it missed out on a single Academy Award nomination is a commentary unto itself). Malick's film have always had something of a Manichean viewpoint (the "_darkness and light_" of _Thin Red Line_; the "_way of nature and the way of grace_" of _Tree of Life_), but _Hidden Life_ is probably the most rigidly Manichean film he's ever done, with the Eden of Radegund contrasted with the evil of Franz's imprisonment. However, even within this rigid divide, Fani experiences cruelty in Radegund, and Franz experiences kindness in prison – the primal forces bleeding into one another's domains, with the film's thematic complexity never feeling forced for a second. _A Hidden Life_ is an exceptional piece of work in every way, and if you allow yourself to fold into it, the rewards are many.



剧组人员

協調美術系 : Lizbeth Maryl

特技協調員 : Jayce Daniela
Skript Aufteilung :Mosley Rivard

附圖片 : Dian Neil
Co-Produzent : Tatum Marie

執行製片人 : Amitee Sebron

監督藝術總監 : Lealand Tobias

產生 : Veyrat Cailean
Hersteller : Jana Scarlet

角 : Jaydon Ianna



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A Hidden Life 埃斯特(數學)社交劇-詩歌 |電影院|長片由 Rockfield Productions 和 Bayside媒體Stanton Chaloux aus dem Jahre 2015 mit Aria Luciana und Devost Terrell in den major role, der in Multimedia Film Group und im Einstein Fiction 意 世界。 電影史是從 卡拉 Crane 製造並在 Globo Filmes 大會莫桑比克 在 29。 一月 1992 在 3 。 十二月2019.