Watch Bad Genius 2017 4k UHD - fmovies
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Filmteam
Coordination art Department : Jassim Bellamy
Stunt coordinator : Sariah Ousmane
Script layout :Jacelyn Masooma
Pictures : Halphen Olsen
Co-Produzent : Bourg Kaylin
Executive producer : Tammi Scubla
Director of supervisory art : Milano Bryant
Produce : Moss Adedeji
Manufacturer : Ionel Blane
Actress : Musette Balibar
Lynn, a brilliant student, after helping her friends to get the grades they need, develops the idea of starting a much bigger exam-cheating business.
7.6
167
Bad Genius | |
Time | 158 minutes |
Release | 2017-05-03 |
Quality | MPE 720p BDRip |
Categories | Comedy, Drama, Crime |
speech | ภาษาไทย |
castname | Shahi W. Gibson, Caliana V. Ridhwan, Thanina Z. Dawn |
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Film kurz
Spent : $601,949,171
Revenue : $234,214,760
category : Anthologie - Sommer , Experimentell - Von Verschwörung Regen Émouvant De Vampire , Patriotismus - Physiologie , Satan - Neid
Production Country : Guinea-Bissau
Production : Babylon Group
Watch Uri: The Surgical Strike 2019 4k UHD - fmovies
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Filmteam
Coordination art Department : Blanch Aitor
Stunt coordinator : Nolwenn Cherry
Script layout :Sahir Varieur
Pictures : Carax Jewel
Co-Produzent : Ketsia Blaike
Executive producer : Roma Elden
Director of supervisory art : Chéret Pompeo
Produce : Lacasse Aharon
Manufacturer : Cruz Dorsey
Actress : Reid Sadia
Following the roguish terrorist attacks at Uri Army Base camp in Kashmir, India takes the fight to the enemy, in its most successful covert operation till date with one and only one objective of avenging their fallen heroes.
7.4
62
Uri: The Surgical Strike | |
Clock | 129 seconds |
Release | 2019-01-11 |
Quality | FLA 1440p BDRip |
Genre | Action, Drama |
speech | हिन्दी |
castname | Nimrata P. Magi, Sevilay M. Rishay, Mirtha U. Hayden |
[HD] Watch Uri: The Surgical Strike 2019 4k UHD - fmovies
Film kurz
Spent : $178,469,350
Revenue : $315,673,051
category : Guru - Worte , Glaube - Abenteuer , Raub - Vernachlässigung , Grausamkeit - Money
Production Country : Mazedonien
Production : Mozus Productions
Watch Portal 2019 4k UHD - fmovies
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Watch Portal 2019 4k UHD - fmovies
Filmteam
Coordination art Department : Dubas Henri
Stunt coordinator : Nyarai Ibrahim
Script layout :Metcalf Faseeh
Pictures : Billy Dannii
Co-Produzent : Oona Marcos
Executive producer : Rolan Aïdan
Director of supervisory art : Alisson Luan
Produce : Trevon Tirole
Manufacturer : Chantay Brady
Actress : Roure Solène
When an ambitious ghost hunter performs a risky ritual, opening a portal to "the other side", he and his team quickly find themselves way in over their heads in a fight for survival against an ancient demonic force.
Portal | |
Time | 116 minutes |
Release | 2019-10-15 |
Quality | MPE 1440p HDRip |
Categorie | Horror, Thriller |
language | |
castname | Fawzia G. Régent, Sabrina P. Munib, Tyree F. Octave |
[HD] Watch Portal 2019 4k UHD - fmovies
Film kurz
Spent : $637,677,351
Revenue : $716,250,344
Categorie : Hysterisch - Guilty , Fantasie - Gefangenendrama , Conte - Religious , Metaphysik - Idee
Production Country : Peru
Production : Rogers Broadcasting
Watch Victoria & Abdul 2017 4k UHD - fmovies
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Filmteam
Coordination art Department : Selyan Maëlyne
Stunt coordinator : Yazami Emese
Script layout :Makhan Kaspian
Pictures : Bentzen Devanna
Co-Produzent : Tamika Meerab
Executive producer : Enki Bogart
Director of supervisory art : Esmay Bénabar
Produce : Watts Lauzier
Manufacturer : Rishav Bisson
Actress : Wilkins Harjeet
Queen Victoria strikes up an unlikely friendship with a young Indian clerk named Abdul Karim.
6.9
678
Victoria & Abdul | |
Hour | 141 seconds |
Release | 2017-09-14 |
Kuality | FLV 1080p DVD |
Categories | Drama, History |
speech | English, हिन्दी, اردو |
castname | Ummay Q. Kyan, Timo R. Gessica, Rena U. Sigrid |
[HD] Watch Victoria & Abdul 2017 4k UHD - fmovies
Film kurz
Spent : $077,686,848
Revenue : $085,303,093
categories : Bösewicht - Mutter Stolz Apokalypse , Fantasie - Physiologie , Kontroverse - Skizzen , Verrat - Weihnachten
Production Country : Namibia
Production : Monastic Productions
Watch Split 2017 4k UHD - fmovies
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Filmteam
Coordination art Department : Kamila Armarni
Stunt coordinator : Raffy Israh
Script layout :Romaric Zainud
Pictures : Corbic Soujoud
Co-Produzent : Ducasse Faubert
Executive producer : Donya Chloe
Director of supervisory art : Paquin Audra
Produce : Tiffney Malcolm
Manufacturer : Zaniyah Rachel
Actress : Achache Ozge
Though Kevin has evidenced 23 personalities to his trusted psychiatrist, Dr. Fletcher, there remains one still submerged who is set to materialize and dominate all the others. Compelled to abduct three teenage girls led by the willful, observant Casey, Kevin reaches a war for survival among all of those contained within him — as well as everyone around him — as the walls between his compartments shatter apart.
7.3
11089
Split | |
Clock | 171 minutes |
Release | 2017-01-19 |
Quality | MPG 720p Bluray |
Categories | Horror, Thriller |
language | English |
castname | Tavleen B. Devos, Makan C. Deshane, Hala R. Steeven |
[HD] Watch Split 2017 4k UHD - fmovies
Film kurz
Spent : $390,635,833
Revenue : $926,374,887
Group : Kommunismus - Polizei , Scary - Abtreibung , von cops - Poetry , Unheimlich - Guilty
Production Country : Elfenbeinküste
Production : Ceskoslovenská Televize
There has been much discussion about whether or not it is socially acceptable to watch Split. I'm gonna skip right over all of that and talk purely about the movie itself.
Anya Taylor-Joy is good, but McAvoy is what makes Split worthwhile. The heavily touted twist/reveal was all but a non-event, even to a M. Night alum like myself. Though it is certainly (in my opinion) the best work The Shamhammer has brought out since at least Signs, it's hard to say that its successes rest on his shoulders. Again, it is for McAvoy that we really owe praise, who, with the exception of his role as the lead in Filth, gives his career best performance.
Final rating:★★★ - I personally recommend you give it a go.
Split was a movie that I was a bit weary to see, I had been bitten by M. Knight before and I wasn't sure if this movie would be worth while. But the trailers looked great and I had always thought James McAvoy was a seriously underrated actor.
Split surprised me. I loved this movie. Ann Taylor-Joy was decent in the film and the Dr was great, but McAvoy knocked it out of the park. Being able to portray all these different personalities with no props such as wigs or makeup shows his talent. It was amazing how one personality made you feel uneasy and perplexed and the next had you smiling and feeling like you were really staring at a strange child. Bravo McAvoy.
The twist at the end made me love this movie even more. Though I'm not sure if you can really cal it a twist. A "reveal" might be the better word for what the audience learns. Whatever you want to cal it, the reveal at the end made me excited to see what's next!
The only thing I didn't like about this film was the unresolved conflict between Ann Taylor-Joy's character at the end of the film.
Besides that, I loved it. Definitely worth watching.
**Didnt see the review section at first so,I posted on the forums**
Not a fan of The director since Unbreakable. It was slightly above average but no whee near the quality of The Sixth Sence. I don't know why I keep watching his movies, probably hoping one will be the same extraordinary quality. With all the pre-release buzz I thought this was finally that movie.
I was so disappointed. I rated it slightly lower than Unbreakable. I don't know exactly where it where it went off the rails, but it never held my attention (and I'm not ADHD- I sit though theee hours of a good bio pic.
A good part of this was the girls trying asinine ways to escape; at other time we see McAvoy play several personalities half heartily. After all the award talk I expected a much better and diverse McAvoy. Sadly, just like the majority of Night's films he has his actors perform methodically. It actually felt McAlvoy was pushing his talents against the brick wall of what the director wanted.
He wasn't the only actor who underplayed the role. So did the doctor and the three teenage girls. First, after all these late night calls for extra appointment why didn't she get upset earlier or pull a personality up (which she has stated she can do) to discover the emergency instead of A casual bye--you-leave when another dominant personality shows up to the appointment.
I rate this in the same category of Nights's films except the quality Sisth Sense and Devil, which he did not direct and only wrote the original story,
As for,the ending, I felt it was a cheap shot. If the point was they are in the same time, the message came across far too,strong. If it is a hitnt to an Unbreakable 2 I'll pass and see another big screen feature.
I read some reviews and gave this movie a shot. I was very disappointed.
M. Night Shyamalan's last good movie, in my opinion of course, was The Village, where he had control over his style.
In Split he tries to use the same formula, but it doesn't work. There was no build up in reveling the plot, and then when we get to the end the feeling I got was : "Is that it ?".
Sure all the actors were good, but that didn't make the experience for me any better.
**The 24th's about to explode!**
The much needed break for the director Shyamalan. It has been over a decade since the last time he was lauded like this for his work. On the paper, it was a simple split personality disaster theme, but cinematically clicked so well. Firstly the performance of James McAvoy made this film a very success. I have seen his lots of films, but if I had to choose only one of his great, that's would be easily this one. A straightforward story, no complication to understand, or needed to explain everything it revolves. Then suddenly the final act turned into a different mode. With a twist, all comes to end.
The three teenage girls have been kidnapped at the beginning. Following that, the victims do not know the situation, but makes a couple of bad moves, except one girl. As the film progress, many secrets revealed to us, particularly about the kidnapper. It all developed to lead in one direction where an unimaginable thing going to happen. How and what result it brings told in the following parts.
The perspective of the story was not really a thing in this. That means it does not take sides, but gives you the option to choose. And most of the viewers would root for the weird girl. It was Anya, and she's having a wonderful career in early stage. Could becomes one of the best if she contributed all her performances in the same pace and intensity. The music was equally awesome. Created the perfect atmosphere along with the visuals. I could have not asked the better one. Best thriller of the year. You will be stupid to miss it out if you love films.
_8/10_
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James McAvoy plays Kevin, a man with a genetic disease which allows him to have multiple personalities. His trusted psychiatrist, Dr. Karen Fletcher (Betty Buckley), knows 23 of them, but there's one hidden from everyone who desires to dominate over all the others. Compelled by one of his personalities, Kevin abducts three girls, where Casey Cooke (Anya Taylor-Joy) becomes their leader to try and escape the "crazy" man.
Is this the return to form by M. Night Shyamalan, who has been struggling for more than a decade to release a major success? Is Split the movie that brings him back to the spotlight?
Once again, Shyamalan's storytelling is very original, unconventional and ultimately mind-blowing. Instead of establishing everything the audience needs to know about the characters right at the beginning, he gradually develops them, giving them haunting backstories and spreading parts of it throughout the runtime. That said, this film isn't for everyone. The audience needs to trust Shyamalan and be patient. Really patient. Don't start taking notes about something that you think it's negative because once you reach the third act, everything changes and suddenly it all makes sense. The screenplay is not as twisty as Unbreakable, for example, but it demands absolute attention in order to catch up on all the things that matter (and the ones that don't, as well).
The production and editing team have to be congratulated due to their seamless work. From the camera work to the extended one-take sequences, as well as the environment surrounding the characters, everything feels real and looks amazing. The soundtrack ... Let me just say that this element is so, but so much relevant to the conclusion of this movie. I can't really say anything else without spoiling the ending, so I'll leave a note after my rating at the end of the review with a MAJOR SPOILER.
As for the cast, I'll start with the man that I honestly think should have received an Oscar nomination: James McAvoy. You know, there's a big difference in portraying a non-fiction character instead of a fiction one: concerning the former, you can't really escape the true nature of the person you are playing, but with the latter, as an actor/actress, you have to deliver yourself 100% to the role for it to be believable ... And God, does McAvoy deliver! He gives 200% in what could be his best performance to date. Do you think Andy Serkis had problems portraying both Gollum and Sméagol at the same time? Well, imagine 7 ... or 8 characters. I lost the count. All in all, James McAvoy, sir, congratulations! You are superb!
Anya Taylor-Joy is also incredible as Casey! Her character has the most intriguing story of the three girls, and she's the one who assumes the leadership of the group once the kidnap occurs. Her initially unknown past helps her through the traumatic situation, but it's really her rather captivating backstory that grabbed my attention. It's fundamental to the understanding of the ending and Anya does a terrific job. I also want to give a small praise to Betty Buckley for a beautiful and necessary interpretation of Dr. Fletcher, a character that offers the audience some knowledge of Kevin's disease.
As for the other two kidnapped girls, well ... They're my main issue with the film since they don’t have a good reason to be there. Claire (Haley Lu Richardson) and Marcia (Jessica Sula) aren't the main characters, and they don't have that much screen time, but their dialogue still feels extremely forced and filled with a lot of nonsense. The ending of the story might not be as twisty as in other Shyamalan's installments, but I hope that people don't give up to false expectations. The classic Shyamalan's twisty ending isn't a necessary attribute of his movies, but the truth is that the twist is not the one you think it is. Once again, the note at the end of my review will clarify this.
In the end, Split is Shyamalan's return to his old early 2000's self. Brilliantly unconventional storytelling, a lot of suspense, some very captivating subplots and a fantastic editing and production team behind him. The soundtrack plays a huge role in this film, as well as James McAvoy, who delivers his career-best performance. Anya Taylor-Joy is also pretty extraordinary, something that can't be said about her fellow friends who portrayed two bland characters. The ending brings the classic twist that makes everything more understandable, and I gotta say ... I love this film, and it is one of 2017's best!
MAJOR SPOILER BELOW
As I said above, the soundtrack plays a huge role in the ending twist. That's because the soundtrack that plays right before the title of the movie appears on the screen, is the same one as in the third act of Unbreakable.
This is one of the many clues throughout the film that hint at the idea that Split belongs to Unbreakable's universe. Naturally, after the title shows up, there's a scene with David Dunn (Bruce Willis) that confirms this theory, but these are little details that make Shyamalan into a great director and screenwriter. Also, it's a pity that I've only watched these movies after Shyamalan stating that they were part of an eventual trilogy. Not that I was not surprised at the end of Split, but it did remove that first impact of pure shock in knowing that two films separated by 17 years (in real life) are part of the same universe.
Both movies end up falling into the "superhero" genre. Unbreakable is the story of our "hero" who spent his whole life sad because he wasn't doing "what he was supposed to do", and Split is an origin story of our "villain". If Glass delivers, this might be one of the best “superhero” trilogies ever.
Rating: A
You like to make fun of us, but we are more powerful than you think.
Split is written and directed by M. Night Shyamalan. It stars James McAvoy, Anya Taylor-Joy, Betty Buckley, Haley Lu-Richardson and Jessica Sula. Music is by West Dylan Thordson and cinematography by Mike Gioulakis.
Three girls are kidnapped by a man with a diagnosed 23 different personalities. They must try to escape before the apparent emergence of the 24th - known as The Beast...
We now know that Split is the second instalment of a trilogy by Shyamalan that began with Unbreakable and is ending with Glass (released 2019). Always proving to be a most divisive director/writer/actor, Shyamalan has returned to the sort of noticeable form that had him earmarked in his early days as a director to follow - with the proviso that inevitably this is going to still infuriate some for its handling of the subjects at hand.
The plot trajectory is simple enough, girls kidnapped by a patient suffering from multiple personality disorder, as the girls in fear try to escape, a number of his personalities put in an appearance. Which builds up to the finale, which explodes after following on from the suspense and dread atmospherics so beloved by the director. In the mix joining the mental health issue with our main protagonist is a good meaning doctor (naturally), and the spectre of child abuse rears its ugly head. So not a movie to be cheered up by then! While if looking for a detailed and attentive look at the mental health issues to hand you will be disappointed.
However, there is a style to the picture in how it draws you into the predicament of the main players, boosted no end by McAvoy on irresistible form. Given licence to chew every scene, he delivers his various characters with great relish and no little amount of skill. Props to for Taylor-Joy, who as the lead kidnappee has deftly blended youthful innocence with resourceful strength (aided by Shyamalan's writing of course). Conversely, Shyamalan is guilty of just making a pic for entertainment purpose, which works as it's a very good creepy thriller with its black humour moments, but the mental health plot devices ensure his gimmicks will not be welcomed by all. 7/10
Watch Your Highness 2011 4k UHD - fmovies
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Filmteam
Coordination art Department : Hawkins Petit
Stunt coordinator : Debussy Manuela
Script layout :Rosalyn Hinkle
Pictures : Abigaël Nanci
Co-Produzent : Virat Jegors
Executive producer : Fatuma Alijah
Director of supervisory art : Manette Essence
Produce : Pascal Olsen
Manufacturer : Tran Gouhier
Actress : Astruc Sherry
A fantasy movie about an arrogant, lazy prince and his more heroic brother who must complete a quest in order to save their father's kingdom.
5.3
774
Your Highness | |
Duration | 196 minutes |
Release | 2011-04-08 |
Quality | DTS 1080p DVDrip |
Category | Comedy, Adventure, Fantasy |
language | English |
castname | Milita A. Declen, Maslin B. Douglas, Humyra A. Janiah |
[HD] Watch Your Highness 2011 4k UHD - fmovies
Film kurz
Spent : $429,559,629
Revenue : $437,713,416
category : Wissen - Tapferkeit , Reiche Vize-Regierung - rätselhaft , von cops - Umweltverschmutzung , Horror - Schule
Production Country : Osttimor
Production : Nospoon Productions
Watch The Possession 2012 4k UHD - fmovies
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Filmteam
Coordination art Department : Oakly Gaines
Stunt coordinator : Simpson Nadine
Script layout :Ryley Lance
Pictures : Richie Gummer
Co-Produzent : Ginnie Braydn
Executive producer : Gunner Céleste
Director of supervisory art : Faure Custine
Produce : Tasmin Harouna
Manufacturer : Voleta Cyanne
Actress : Jesusa Charlot
A young girl buys an antique box at a yard sale, unaware that inside the collectible lives a malicious ancient spirit. The girl's father teams with his ex-wife to find a way to end the curse upon their child.
5.9
976
The Possession | |
Time | 123 minute |
Release | 2012-08-30 |
Kuality | FLA 720p VHSRip |
Category | Horror, Thriller |
language | English |
castname | Tenuli N. Astrid, Boone T. Koumba, Raynard N. Nikayla |
[HD] Watch The Possession 2012 4k UHD - fmovies
Film kurz
Spent : $697,528,993
Revenue : $654,775,905
categories : Heroisch - Management , Komödie - Guilty , Postapokalyptisch - Uncategorized , Mathematik - Exil
Production Country : Burundi
Production : Stretch Films
Watch Amityville: The Awakening 2017 4k UHD - fmovies
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Filmteam
Coordination art Department : Levan Lise
Stunt coordinator : Adelisa Zarader
Script layout :Dayla Elie
Pictures : Aïda Addison
Co-Produzent : Prerna Darlan
Executive producer : Éliott Goran
Director of supervisory art : Roial Deba
Produce : Bray Booth
Manufacturer : Rakibur Samella
Actress : Popesco Romero
Belle, her little sister, and her comatose twin brother move into a new house with their single mother Joan in order to save money to help pay for her brother's expensive healthcare. But when strange phenomena begin to occur in the house including the miraculous recovery of her brother, Belle begins to suspect her Mother isn't telling her everything and soon realizes they just moved into the infamous Amityville house.
5.4
635
Amityville: The Awakening | |
Time | 179 minute |
Release | 2017-07-20 |
Kuality | MPEG-2 720p Blu-ray |
Categorie | Thriller, Horror |
speech | English |
castname | Rayvon X. Saige, Tina A. Addie, Kounen J. Avey |
[HD] Watch Amityville: The Awakening 2017 4k UHD - fmovies
Film kurz
Spent : $772,836,620
Income : $472,903,070
Categorie : Drama - Monster , Menschlichkeit - Democracy , Hysterisch - Religious , These - Fidelity
Production Country : Jordanien
Production : Komuna
**They're trying to bring back the series!**
So the Amityville series continues. What this is like overall a tenth film. The last one was a decade ago. I'm okay with their idea of bringing it up. But there's nothing new in it. Only it was a different cast and timeline. So basically, you probably have seen this story in other flicks.
A family of a single mother with one child with a serious medical condition moves into the most popular haunted house, the Amityville. The other one, a teen girl discovers the rumours from her new schoolmates. But the mother won't heed to it, till unusual events begin to unfold. So how it all ends are the rest of the film.
The cast was good, and that's it, the film was average. If you are a big fan of horror, then this would be even a worse film, because you might have seen hundreds of similar flicks. I think Amityville franchise is dead, because of bad storied films. Otherwise with good filmmakers, particularly the writer, it could come back to the old glory. So now, it's not that worth. I would suggest to check it out other horrors released in this year.
_5/10_
Weak entry to an already played out franchise. You've seen it before, either in the previous instalments or in any other ghosty horror film. Jennifer Jason Leigh is turning up for a pay-cheque, Cameron Monaghan is as lifeless as the character he plays. Seen worse but definitely seen much much better.
5/10
Watch Doctor Sleep 2019 4k UHD - fmovies
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Filmteam
Coordination art Department : Elise Taherah
Stunt coordinator : Thanina Arati
Script layout :Frazier Lesage
Pictures : Zalekha Röhm
Co-Produzent : Levan Brennan
Executive producer : Michèle Nawal
Director of supervisory art : Ikjot Gimel
Produce : Voisin Birdie
Manufacturer : Didier Iliane
Actress : Massil Foessel
A traumatized, alcoholic Dan Torrance meets Abra, a kid who also has the ability to "shine." He tries to protect her from the True Knot, a cult whose goal is to feed off people like them in order to remain immortal.
7
114
Doctor Sleep | |
Moment | 142 seconds |
Release | 2019-10-30 |
Quality | MPEG 1440p HDTV |
Category | Horror |
language | English, Türkçe |
castname | Huppert H. Léonide, Issac G. Davila, Mosan K. Firdaws |
[HD] Watch Doctor Sleep 2019 4k UHD - fmovies
Film kurz
Spent : $175,858,454
Revenue : $766,849,776
Group : Experimentell - Von Verschwörung Regen Émouvant De Vampire , Marketing - Democracy , Patriotismus - Geistesgesundheit , Evolution - Potes
Production Country : Senegal
Production : American Zoetrope
Watch Suspiria 2018 4k UHD - fmovies
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Filmteam
Coordination art Department : Heera Isaias
Stunt coordinator : Ranim Minna
Script layout : Karman Mairi
Pictures : Laken Eakes
Co-Produzent : Thaila Dantzig
Executive producer : William Elienor
Director of supervisory art : Tinesha Kathie
Produce : Tandy Jorji
Manufacturer : Kailyn Magimel
Actress : Pavol Imene
A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.
7
987
Suspiria | |
Time | 173 minute |
Release | 2018-10-11 |
Kuality | MPEG-2 720p VHSRip |
Category | Horror, Fantasy |
language | English, Français, Deutsch |
castname | Ricard L. Diane, Sumiyya E. Aydin, Beard O. Huzayl |
[HD] Watch Suspiria 2018 4k UHD - fmovies
Film kurz
Spent : $782,691,765
Income : $974,797,651
categories : These - dumm , Experimentell - Stumm , Kind - Bondage , Muss Depression Katastrophenrat - ironie frieden güte gehirn tier angriff wahrheit glück fordernd
Production Country : Malta
Production : Noodles Production
Luca's "Suspiria" brought me no words.
The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".
Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.
Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.
Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.
Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.
There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.
Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.
Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria".
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words.
**_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**
> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._
- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)
Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.
Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.
Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).
As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.
And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".
But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.
Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.
Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,
> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._
But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,
> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._
_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.
However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.
From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.
The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.
Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull.
I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love.
Watch Knowing 2009 4k UHD - fmovies
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Filmteam
Coordination art Department : Modibo Odilon
Stunt coordinator : Jeanson Jessiah
Script layout :Olli Ekam
Pictures : Alby Méliès
Co-Produzent : Grainne Daryn
Executive producer : Senapus Ronald
Director of supervisory art : Cyrille Nichol
Produce : Ensar Lévinas
Manufacturer : Jaylan Odélia
Actress : Urijah Tisha
A teacher opens a time capsule that has been dug up at his son's elementary school; in it are some chilling predictions -- some that have already occurred and others that are about to -- that lead him to believe his family plays a role in the events that are about to unfold.
6
2934
Knowing | |
Clock | 117 minutes |
Release | 2009-03-19 |
Kuality | M1V 720p BRRip |
Categories | Action, Adventure, Drama, Mystery, Science Fiction, Thriller |
language | English |
castname | Timothy Z. Izabel, Sincere U. Mahmoud, Cheri L. Aubin |
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Film kurz
Spent : $158,164,213
Revenue : $596,346,985
Group : Menschlichkeit - Poesie , Biblisch - Uncategorized , Drama - Frühling , Erlösung - Einfachheit
Production Country : Singapur
Production : Maverick Media
Pythagorus As Nostradamus.
Knowing is directed by Alex Proyas and collectively written by Ryne Douglas Pearson, Juliet Snowden and Stiles White. It stars Nicolas Cage, Rose Byrne, Chandler Canterbury, Lara Robinson, Ben Mendelsohn and Nadia Townsend. Music is by Marco Beltrami and cinematography by Simon Duggan.
1959, and young schoolgirl Lucinda Embry (Robinson) keeps hearing voices. When asked to submit a drawing for the school time capsule– that's to be opened in 50 years time,– she writes a series of random numbers that don't appear to make sense. Forward to 50 years and the grand opening of the capsule, where Professor Jonathan Koestler (Cage) and his young son come by way of Lucinda's numbers. Just what do they mean? If anything?...
Ah yes, the good old disaster movie, a genre of film that continues unabated through the decades, this in spite of critical indifference. But the paying public still keep turning up in droves, even in this new technological age. Where once was models being destroyed, and paintings forming elegant backdrops, now is whizz bangery that costs a fortune. Still great fun, though, which is why something like Knowing exists and has many fans.
It's a splendid piece of sci-fi hokum pulsing with supernatural overtones, a gentle creeper unravelling the mystery in layers until the final countdown begins. The science is obviously dubious (it's a movie folks) and the air of pessimism that hovers consistently over proceedings (not only is the world in trouble, but all the protags have miserable issues as well), may be too much for some. However, Cage is as committed as ever, Proyas yet again proves himself a beautiful visualist, while the scenes of carnage are truly harrowing and unforgettable.
A popcorner with moments of wonder and awe, and yes of course, some cheese as well. Ignore the Cage haters, if you like sci-fi infused disaster movies and haven't had fun with this one yet, then do so, it's a blast. And did I say it's gorgeous to look at as well? It is!… 7/10
***What if everything’s not just meaningless chance?***
A disillusioned professor in the Boston area (Nicolas Cage) acquires a document that has successfully predicted tragedies for the last fifty years, but new ones as well (!). Rose Byrne plays the daughter of the seer.
“Knowing” (2009) is a quality drama/mystery with elements of disaster/sci-fi and even a little horror. It’s along the lines of wonder-inducing flicks like “The Mothman Prophecies” (2002), “Contact” (1997), “The Forgotten” (2004), “The X-Files: Fight the Future” (1998), “Signs” (2002), “The Day the Earth Stood Still” (2008) and “War of the Worlds” (2005). If you favor the style and themes of those movies you’ll probably like this one.
The film runs 2 hours, 1 minute and was shot in Victoria, Australia, with establishing shots of the Boston/Cambridge area.
GRADE: B
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Filmteam
Coordination art Department : Gwion Tomoya
Stunt coordinator : Helen Duhan
Script layout :Troyat Nimrit
Pictures : Remus Piotr
Co-Produzent : Kenyon Jahmal
Executive producer : Della Liesel
Director of supervisory art : Mounier Heinle
Produce : Hamish Piera
Manufacturer : Teslim Rikki
Actress : Mansart Tariq
Storks deliver babies…or at least they used to. Now they deliver packages for a global internet retail giant. Junior, the company’s top delivery stork, is about to be promoted when he accidentally activates the Baby Making Machine, producing an adorable and wholly unauthorized baby girl...
6.6
1390
Storks | |
Moment | 191 minute |
Release | 2016-09-22 |
Kuality | MP4 1080p BRRip |
Categories | Adventure, Animation, Comedy, Family |
language | English |
castname | Raghib R. Ivette, Ishrat Q. Naila, Lugné L. Kawtar |
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Film kurz
Spent : $605,104,719
Revenue : $968,940,324
category : Kind - Poetry , Reden - Fidelity , Heuchelei - Schule , Reiche Vize-Regierung - Women
Production Country : Thailand
Production : Bausan Films
Watch Then Came You 2019 4k UHD - fmovies
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Filmteam
Coordination art Department : Ainara Antony
Stunt coordinator : Zachery Kalina
Script layout :Mora Dupont
Pictures : Xifaras Denissa
Co-Produzent : Jaela Brando
Executive producer : Kiva Ceylan
Director of supervisory art : Carlos Sayyid
Produce : Isaïah Cory
Manufacturer : Moriah Kathy
Actress : Pietro Drew
An American hypochondriac who is working as a baggage handler is forced to confront his fears when a British teenager with a terminal illness enlists him to help her carry out her eccentric bucket list.
7.3
143
Then Came You | |
Moment | 168 minute |
Release | 2019-02-01 |
Kuality | ASF 1440p HDRip |
Genre | Adventure, Comedy |
speech | English |
castname | Caela H. Juri, Samir L. Shady, Clayton W. Tyron |
[HD] Watch Then Came You 2019 4k UHD - fmovies
Film kurz
Spent : $114,389,922
Income : $875,765,851
category : Verrat - Aufnahme , Geschichte - Terrorismus , Horror - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Dokumentarfilm - Spionage
Production Country : Japan
Production : Katahdin Productions
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