Mary Magdalene, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

In the first century, free-spirited Mary Magdalene flees the marriage her family has arranged for her, finding refuge and a sense of purpose in a radical new movement led by the charismatic, rabble-rousing preacher named Jesus. The sole woman among his band of disciples, Mary defies the prejudices of a patriarchal society as she undergoes a profound spiritual awakening and finds herself at the center of an Earth-shaking historical moment.


Initial release: april 15, 2019 (Germany)
Director: Garth Davis
Box office: 11.6 million USD
Production companies: See-Saw Films, Porchlight Films, Film4 Productions, FilmNation Entertainment
Distributed by: Focus Features, IFC Films

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Critic reviews

Mary Magdalene’s place in Christian biblical canon has seen a progressive revision in recent years. Falsely branded a prostitute by Pope Gregory I during the Middle Ages, the Vatican elevated Mary to “Apostle of the Apostles” in 2016 to affirm her stature. Her story is told with reverence by director Garth Davis. He portrays Mary Magdalene with the utmost respect, but never establishes a personal connection to the character. Her journey with Jesus is documented, as well as her faith. But there is a paucity of substance to her internal feelings. The result is a somber tale that fails to be compelling.

Rooney Mara stars as Mary. The film opens on the shores of the fishing village Magdala in Judea. The year is 33 CE. Mary is troubled by her place in the world. Her father (Tchéky Karyo) and brothers believe that she must be possessed by a demon. Why else would she not be satisfied with a marriage proposal by a respected widower? Her questioning nature is an affront that embarasses her family.

Mary is captivated by the message of a travelling rabbi. She watches in astonishment as Jesus of Nazareth (Joaquin Phoenix) preaches forgiveness, then performs miracles that heal the sick. Mary leaves her family to join Jesus and his apostles; who are concerned about her presence. Peter (Chiwetel Ejiofor) is wary of the young woman, but Judas (Tahar Rahim) accepts her. As the preachings and incredible feats of the messiah spread, Mary is a stalwart supporter of Jesus’ divine gospel. His followers grow, but Jesus confides to Mary that his time will soon come. Their path to Jerusalem will have tremendous consequences.

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Mary Magdalene puzzled me on several other fronts. On one hand, Garth Davis and his production team do well with the settings. The villages, earthen towns in Judea, all look historically accurate for the time. I also appreciated the diverse racial casting of the apostles. Where the film goes south is Mary’s pristine cleanliness. Rooney Mara is swathed in white cotton and linen throughout the film. Mary sleeps in the dirt, walks miles on dusty roads, but looks like she just stepped out of a salon. Her teeth are sparkling white. Mary is almost ethereal in her flawlessness. She sticks out noticeably from the unwashed, matted masses of extras and supporting cast members. Was this done on purpose as a nod to her virtues? I honestly can’t tell if Garth Davis had an artistic intent in portraying Mary Magdalene as physically immaculate. It struck me as odd and felt out of place.

I do appreciate the film’s intentions. The story of Jesus has been told umpteen times from a male point of view. Mary Magdalene, regardless of your religious beliefs, is a fresh perspective. She is a vital part in Christian lore and deserves a sensible portrayal. Mary Magdalene is a good effort, just not ultimately successful. The film was completed three years ago, but languished because of The Weinstein Company’s collapse. Mary Magdalene will be finally distributed in U.S. theaters by IFC Films on April 12th.

The retelling of the last days of Jesus Christ has been a staple in the American film industry dating back to the silent picture era. With great restraint, director Garth Davis (Lion) and producers Iain Canning and Emile Sherman recount this spiritual story with a very modern focus on Mary Magdalene. They give it a feminist interpretation.

Putting Mary center stage dates back to the 1927 silent film King of Kings, when director Cecil B. DeMille gave actress Jacqueline Logan the role of Mary Magdalene and Jeanie Macpherson’s script supplied her with ample screen time in the film’s final moments. The difference with this 2019 rendering is that the woman in Jesus’s life is the focus from the onset. Once branded no more than a prostitute by patriarchal religions, Mary is now the Messiah’s most steadfast apprentice.

Mary (Rooney Mara, The Girl with the Dragon Tattoo) and her family live in the village of Magdala, on the shores of the Sea of Galilee, a lake in Israel that the Jordan River flows into. Her nearly uncontrollable devotion to praying scares her father Elisha (Tchéky Karyo). He is so desperate to rid her of this obsession that her brother Daniel (Denis Ménochet) and he attempt an exorcism, dunking her in the lake, like a baptism, so many times that she almost drowns.

As she eschews the advances of a potential husband (Tsahi Halevi, Bethlehem), her interests turn to a man named Jesus (Joaquin Phoenix) who performs miracles in the region. He preaches peace and love as he builds a following.

A group of disciples faithfully observes Jesus’ teachings: Peter aka Simon (Chiwetel Ejiofor, 12 Years a Slave) is his righthand man; Judas Iscariot (Tahar Rahim, A Prophet) is close to him too. Andrew (Charles Babalola, The Legend of Tarzan) is the brother of Peter; there’s James (Tawfeek Barhom, Dancing Arabs); the elderly Phillip (Uri Gavriel, The Dark Night Rises); Matthew the tax collector (Michael Moshonov, Dancing Arabs); and others.

Mary joins the preacher and his apostles. They roam from town to town like a cult, sleeping on streets and spreading the word. Jesus heals the sick and raises the dead. As his miracles grow so do the crowds who gather, worship him and make him an icon. That reverence and admiration comes under the watchful eye of the Roman prefect Pontius Pilatus of Judaea. For reasons that Mary cannot understand, Judas points out Jesus to the enemy’s men in the Garden of Gethsemane. Soldiers take him away. It is Mary who witnesses his capture, crucifixion and resurrection. It is she who insists that his message of forgiveness must continue.

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Through the lens of cinematographer Greig Fraser, the scorched, often barren landscapes capture the essence of the location and the times, even though the footage was shot in Italy. The towns are simple. Interiors of homes nearly bare. This is the stripped-down version of ancient events. Filmmakers like Mel Gibson brutalized the period with graphic, bloody violence in The Passion of the Christ. Martin Scorsese chose a more artistic rendition with The Last Temptation of Christ. Christians may have images in their own minds that differ.

Davis charts his own path by abstaining from graphic violence, being artful but not overly inventive. The camera lingers on images like Mary’s face swathed in a linen scarf, or Jesus’s head framed by a scraggly beard or Peter and James in conversation. The closeups are thoughtfully mixed with long shots of the Messiah and his troop walking down hills, through villages and preaching to the masses. An embracing holy spirit slowly emerges. Never crass, never insufferable.

Considering the drama of the story, the emotions on view are kept pretty sedate. People cry silently. Accusations are leveled without histrionics. Even the moments leading up to Jesus being put on the cross seem restrained, especially compared to Gibson’s ghoulish sea of blood. This non-hysterical approach may seem tepid initially, but in the end, in its own way, it leaves a lasting impression

Master Z: The Ip Man Legacy, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Defeated by Master Ip, martial arts expert Cheung Tin Chi tries to lead a normal life in Hong Kong until triad leaders draw him back into fighting.
Initial release: 12 April,2019.
Director: Yuen Woo-ping
Film series: Ip Man
Languages: Chinese, Cantonese, Standard Mandarin
Nominations: Hong Kong Film Award for Best Action Choreography,

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Critic reviews

First introduced in 2008, Ip Man has become a celebrated martial arts film franchise that is popular among both audiences and critics, as well as garnering Best Film and Best Action Choreography awards, among other accolades.

The last time fans got to see the Wing Chun grandmaster Ip Man, portrayed consistently by Donnie Yen, in action was in Ip Man 3, released in 2015. Set in 1959 in Hong Kong, China, among the highlights of the film is a duel between Ip and fellow Wing Chun expert, Cheung Tin-chi (Zhang Jin, also known as Max Zhang), which saw Tin-chi admitting defeat and receiving advice from Ip that “there’s nothing more important than the love of those by your side.”

Despite previous news that Ip Man 3 would be the last in the series, it has been confirmed that Yen will reprise his role in a fourth installment, set to be released sometime in 2019.

However fans who cannot wait that long may rejoice as a spin-off that focuses on Ip’s last challenger, Cheung Tin-chi, is slated to grace Indonesian cinemas much sooner in January.

Unlike the three Ip Man films that were all directed by Wilson Yip, Master Z: The Ip Man Legacy was helmed by legendary martial arts choreographer Yuen Woo-ping, who served as action director in Ip Man 3 (as well as the upcoming Ip Man 4). The script was penned by the franchise’s writers, namely Edmund Wong and Chan Tai-lee, who this time delivered the story at a faster pace to put the spotlight more on the numerous fight scenes. Donnie Yen is involved in this spin-off but only as a producer.

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The plot itself is a familiar one: following his duel with Ip, Tin-chi (Max Zhang) now leads a humble life in 1960s Hong Kong. Running a grocery store, his daily life revolves around making deliveries and taking care of his son, Fung. However their life is peaceful no longer when he gets involved in a fight with hot-headed drug dealer Kit (Kevin Cheng) to rescue Julia (Liu Yan) and her drug addict friend Nana (Chrissie Chau). A son of the Cheung Lok triad founder, Kit takes revenge on Tin-chi by burning down his shop and house in an attempt to kill him. As Tin-chi and Fung escape, Julia who happens to be in the area helps them out and offers them a place to stay. Tin-chi later works at the Gold Bar owned by Julia’s brother, Fu (Naason).

The plot thickens when Kit gets involved in a heroin business in a bid to outdo her older sister Kwan (Michelle Yeoh), who leads the family business and wants to go legit, and the American businessman Owen Davidson (Dave Bautista) who befriends Tin-chi reveals his true skin.

Packed with no-nonsense street-style fight scenes throughout the movie, Master Z: The Ip Man Legacy delivers an entertaining watch for all martial arts film fans. In Ip Man 3, Tin-chi has already shown his mad Wing Chun skills. Now in this spin-off, he is the star and hence deserves to be the “unbeatable hero” just like Ip. His fight scene with the 1.9-meter-tall Davidson is both amusing and terrifying to watch.

Acting-wise, former wushu athlete Max Zhang came across rather flat as a quiet guy with a bad boy manner. However his high cheekbones and background as a skilled martial artist who kicked off his career as a stunt actor, notably as the stunt double for Zhang Ziyi in Crouching Tiger, Hidden Dragon, offer a good enough combination for a compelling main actor.

The fast-paced plot leaves less room for heartwarming scenes. Fortunately the story is well-developed and features just enough characters so audiences can easily relate with each of them.

Another thing to note is the existence of female characters skilled in martial arts, Julia and Kwan (of course, portrayed gracefully by Yeoh) — which is quite refreshing to see since no women have yet been given such a role in the Ip Man franchise.

Everything considered, those who have never watched the Ip Man series before can also expect to enjoy this film as it is: a thrilling martial arts roller coaster.

Given Dave Bautista’s background as a wrestler, you might think that making the martial arts extravaganza Master Z: Ip Man Legacy (out April 12) would be within the Guardian of the Galaxy star’s comfort zone. But Bautista found himself all at sea while shooting the film, which is directed by legendary action choreographer Yuen Woo-Ping and costars Max Zhang, Liu Yan, Michelle Yeoh, and Tony Jaa.

“This is the first Chinese production that I had ever done, and they do things a bit differently,” Bautista tells EW. “I was struggling at first, and they wanted to kind of adjust things and I said, ‘Don’t! I will adjust to you, because I want to learn this. I’m here to work with Woo-Ping, and watch him, and study him, and see how he works.’

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“It was hard, hard days,” he continues. “It was a hard film to make, but he’s just incredible, man. I just love him. It’s weird the way he works, because it’s almost like guerrilla filmmaking. It has rhyme and reason, but it’s hard to figure out. But I was lost, completely lost, with what they were doing, and his English is very broken. But he would come out, he’s like 80 years old, and he’s still very physical, and he’d demonstrate what he wanted. He kept saying, ‘You trust me, you trust me, you trust me.’ Then, every once in a while, he would show me clips that he had put together, and it was amazing. It was beautiful, and stylish, and very well done. So it seems chaotic while we were filming, but he had chaos with rhyme and reason. I really have a lot of respect for him. It’s really an honor just to say I worked with him.”

In this spin-off of the Ip Man film series, Zhang plays Cheung Tin Chi, who tries to make a life with his young son in Hong Kong, waiting tables at a bar. But it’s not long before the mix of foreigners, money, and Triad leaders draws him once again to the fight.

Game of Thrones trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

The eighth and final season of the fantasy drama television series Game of Thrones, produced by HBO, is scheduled to premiere on April 14, 2019. Filming officially began on October 23, 2017 and concluded in July 2018. Wikipedia

Air date: April 14, 2019 Trending
Country of origin: United States
Original network: HBO

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On the many Reddit threads and comment sections dedicated to Game of Thrones, rumors flutter from peer to peer like whispers from little birds. Several theories panned out — we got the return of The Hound and the resurrection of Jon Snow at the hands of the Red Woman, Melisandre — but as we approach season 8, murkier what-ifs look like they could make or break in either direction. One has particularly high stakes for the overall drama of the series: that Tyrion Lannister is half-Targaryen.

There’s an abundance of Reddit posts such as this one devoted to backing the theory, which is founded upon a few core tenets: Tyrion’s hair is white blonde, not golden; Tyrion’s mother died during childbirth, like Jon’s and Daenaerys’; Daenerys’ dragons allowed Tyrion to approach them without attacking him; and the rumor that on Tywin’s wedding night, it was the Mad King who consummated his marriage for him.

While all of these facts are intriguing, they’re not enough to make this theory stronger than the counterfactual, that Tyrion is still a Lannister. The whole point of Tywin’s hatred for his son is based on the ironic fact that they’re so alike. The iconic scene in which Tyrion shoots his father with a crossbow while Tywin sits on the toilet serves as the crux for most theoretical Targaryen claims, because Tywin says, “You’re no son of mine.” Some people think he meant this literally, that Tyrion’s parents were Joanna Lannister and the Mad King, Aerys Targaryen.

But Tyrion’s character is far less interesting when you consider it this way. If this is a true statement, then Tyrion’s patricidal act of rebellion doesn’t return the irony it’s intended to deliver. The fact is, Tyrion is emphatically Tywin’s son. Of all his children, Tyrion is the one who takes after his father most. Cersei has the brains, but is far too remorseless and quick-to-act to truly be like Tywin. Jaime has the brawn, but he was little more than Tywin’s poster-child, a Kingsguard that was supposed to eventually settle down in Casterly Rock to start a family.

Tyrion is a tactician, a person who knows his strengths and weaknesses inside out. As he tells Jon Snow in the series’ pilot, “Let me give you some advice, bastard. Never forget what you are. The rest of the world will not. Wear it like armor, and it can never be used to hurt you.” Finding strength by acknowledging weakness is a measured, Tywinesque approach to life. Ironically, Tywin was ultimately killed because he didn’t recognize the disparity between his weakness and Tyrion’s strength. As he stared Tyrion down in that bathroom, spouting claims that he’d never let a Lannister be killed on his watch, his son called his bluff. Tyrion channelled his own weakness — even as he wrestled with killing his own father — and empowered himself with it. He thought of Shae, who had betrayed him and was in cahoots with Tywin. He thought of his life as “dwarf,” “imp,” “monster,” realizing that he never got to experience what it was like to be truly called “son.”

The real reason Tywin was resentful of his son was that he was embarrassed by him. Ostensibly, this seems to be based on the fact that Tyrion was a dwarf, a half-man — a son to be ashamed of in Westeros. In reality, Tywin was disappointed because he saw shades of himself in Tyrion. Here was the intellectual pride and joy of the Lannisters who doesn’t share the Lannister-first mindset of the rest of the family. Tyrion is a voracious reader who’d sooner talk to a drunkard than an uncle, who’d drink himself to sleep and stumble into family events smelling of wine. Mostly, Tyrion cares deeply about people. When he made perhaps the greatest play in Game of Thrones history — blowing up Stannis’ armada with wildfire at the Blackwater in Season 2 — he outsmarted the most revered general in all of Westeros. However, rather than celebrate his victory, Tyrion felt sorrowful for the irreparable damage he had dealt. Tyrion and Tywin may have different outlooks on life, but in terms of strategic prowess, Tyrion was his father’s son at the Battle of Blackwater Bay. And that’s what crystallizes the reasons as to why Tywin looked down on him — because the day he was his father’s son was the day he did something he’d regret for the rest of his life.

Tywin is only concerned with the success and longevity of the Lannister name. He would change sides in a war in a heartbeat if it meant wealth and prosperity for his family. Such was the case when he stormed King’s Landing at the end of Robert’s Rebellion, fighting on the same side as Ned Stark, who he’d come to betray in later years. Tywin even had Tyrion imprisoned for his dissident behavior in defense of Lannister heritage. It was during this time that Tyrion made his illustrious “I demand a trial by combat” performance. which moved audiences all over the world. When Tywin denied him justice, he stood up and sought his own. Tywin, a truly Machiavellian character, chose The Mountain as his champion. Tyrion, on the other hand, understood when his usual champion, Bronn, announced that this time he couldn’t defend him. He didn’t attempt to manipulate him, because he recognized that his life wasn’t more valuable than his friend’s, to the extent that he would have taken on The Mountain himself had Oberyn Martell not offered to be his champion at the last second.

Ultimately, Tyrion changed sides in the war too. However, Tyrion’s allegiance was never so much to his father’s cause as it was to his brother, Jaime. While most of the Lannisters despise Tyrion, he and his brother were always connected. While other Lannisters may have dismissed Tyrion’s good heart for weakness, Jaime saw it for what it was. Jaime saw his brother as vulnerable, yes, but recognized the power in that vulnerability. As we approach Season 8 of Game of Thrones, it seems likely that Jaime, too, will choose to fight on the side of the living instead of playing political games with his sister Cersei. Perhaps the Tywinesque aspects of Tyrion’s character have inspired Jaime — after all, Tyrion is an isolation of all his father’s best qualities, having refrained from retaining the ones that made him sour..

While it’s certainly interesting to make cases for characters being secret Targaryens after the revelation about Jon’s true parentage at the Tower of Joy last season, in this case the theory doesn’t supersede the seemingly ordinary reality: that Tyrion, son of Tywin, is a Lannister through and through. He’s just more concerned with fighting for what’s right than holding up his family’s legacy.

Welcome to Final Path, a regular feature leading up to the final season of HBO’s Game of Thrones. In every Final Path, The Hollywood Reporter’s resident Westeros expert, Josh Wigler, will offer a character-by-character deep dive of their journey through seven seasons, as well as what can be expected in the upcoming eighth and final season. Up next: the dragons — Drogon, Rhaegal and Viserion.

Before it was Game of Thrones it was A Song of Ice and Fire, author George R.R. Martin’s name for the epic novel series about Westeros. Jon Snow (Kit Harington) and his side of the story in the North brings the ice. The fire? We know where that comes from, too.

Daenerys Targaryen (Emilia Clarke) and her dragon-riding conquest through Essos was the major parallel storyline throughout the first six seasons of Thrones, until the day came that she and her fire-breathing children finally arrived in Westeros proper. The winged creatures have soared high above the Seven Kingdoms ever since — and one of them now flies for a new master.

Among the single most iconic aspects of Game of Thrones, the dragons are bound to have as massive an impact on the endgame as any of the human characters — more so, in many cases. It’s only fair to give them a final look back and forward, then, as we enter the last remaining days before Game of Thrones’ return. With that said, fly with us on the Final Path for Drogon, Rhaegal and Viserion.

The epic fantasy drama returns to screens next week for its eighth and final season.

Christie and her co-star Emilia Clarke have promised that viewers will enjoy the “bigger” than ever before episodes.

Speaking of the show’s ending, Christie, who plays Brienne Of Tarth, said: “You’re going to need therapy.”

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Christie also said that she feels her character – a formidable warrior standing at more than six feet tall – has been involved in a movement about women being perceived in a different way.

The actress said: “I do feel emotional about it – it’s everything that the character has said to me and meant to me.

“I feel like she has been a part of a cultural movement that’s demanded that women are seen in a different way.”

Clarke said she can see similarities between the TV series, based on George R R Martin’s fantasy novels, and the current political landscape.

She said: “The overarching theme in the entire show, but especially in season eight, is power.

“It’s about what it does to people, what it actually is, who deserves it, what are the decisions that you have to make when you have it, what are the sacrifices that you have to make?

“I find it fascinating in the real world, too, looking at politicians.

“The amount of times that I read newspapers or shout at the TV, and then I think, ‘I wonder… behind those closed doors, I wonder what deals you had to cut to get where you are?”‘

Game of Thrones season eight will see regular cast members including Kit Harington, Maisie Williams, Lena Headey, Sophie Turner and Peter Dinklage return for the final time.

It will contain six episodes and will finally bring an end to the saga of who will rule Westeros. It airs on Sky Atlantic in the UK beginning on April 15 

Her Smell, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Becky Something is a talented but self-destructive musician who seems determined to alienate everyone around her — even at the cost of her own band’s success.
Initial release: April 12, 2019 (USA)
Director: Alex Ross Perry
Music composed by: Keegan DeWitt
Screenplay: Alex Ross Perry
Producers: Elisabeth Moss, Michael Sherman, Matthew Perniciaro, Adam Piotrowicz

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Critic reviews

In “Her Smell,” Elisabeth Moss tears into the role of Becky Something, a strung-out hellion indie rock star of the early ’90s, like an angry lioness ripping through a slab of raw meat. Just taking on the part of a rock ‘n’ roller represents a major change of pace for Moss, who has tended to play cautious and pensive characters. But in “Her Smell,” Moss doesn’t just “let loose” (the way that, say, Meryl Streep did in a fake rock ‘n’ roll bauble like “Ricki and the Flash”). She dives headfirst into crazy, abandoned, fuck-it-all grunge narcissism. She plays Becky as a walking train wreck of borderline personality disorder who has elevated herself into a theatrically self-destructive druggie dominatrix. Becky may be an unholy terror, but that doesn’t mean she’s not a star. The stardom and the rancid solipsism are two sides of the same spectacularly damaged coin, and Moss herself has the star quality, and the fearlessness, to pull that off.
As it turns out, “Her Smell” isn’t the only movie this season in which a celebrated actress pulls out all the stops — including some you never knew she had — to play a fictional but close-to-the-bone rock-world figure dancing on the edge of self-destruction. Natalie Portman does a version of the same thing in “Vox Lux.” That’s surely a coincidence, but what’s remarkable to consider is that the two films have more in common than the eruptive she-demon star turns at their center. In different ways, both are structured less as movies than as exploding chunks of narrative shrapnel. They seem not so much vehicles for their ferocious lead performances as awed reactions to them. It’s almost as if the films were channeling the wild forces at their center, astounded at the spectacle of these divas from hell seizing the spotlight. And it’s as if the filmmakers — Brady Corbet in “Vox Lux,” and Alex Ross Perry in “Her Smell” — felt as if it was mostly their job to stand back and gawk.

“Her Smell” opens with a backstage sequence that rambles on for half an hour, as the camera rushes around, catching what happens on the fly, much of it in extreme close-up, as if this were some debauched rock-underworld documentary. It’s experiential filmmaking at its most hypnotically assaultive. After Becky makes her usual two-hours-late appearance, she and her band, Something She, get up on stage at a club called Her Smell and deliver a scorcher of an anthem. But once they’re back in the dressing room, Becky doesn’t relax — she just turns up the volume.

Nothing is sacred and no one is safe. She bullies and abuses her bandmates, Marielle (Agyness Deyn) and Ali (Gayle Rankin), as well as her hangers-on and the strait-laced owner of her record label (Eric Stoltz), not to mention Danny (Dan Stevens), the cowed husband she walked out on seven months ago. You’d expect someone like Becky to have unkind words for her ex-, except that the whole reason he’s there is that he has brought along their infant daughter, and Becky can barely bring herself to pay attention to her.

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The filmmaker claims that the thrashing proto riot grrrl band L7 was one of his key inspirations, but it’s impossible not to look at Becky and think of Courtney Love (whom the filmmaker insists was not an inspiration), because Moss plays her with that kind of megalomaniacal pain-freak grandeur. The actress has a new facial expression here: a smile that curls like a snarl. It’s magnetic and scary. The actor it reminded me of was Divine.

The Becky we see is the rocker as monster, and though there’s a flagrant fascination to that, we can’t help but wonder if this is going to be the whole damn movie. It’s a major chuck of it. Yet Perry, the director of “Listen Up Philip” and “Golden Exits,” does have a strategy, a design. “Her Smell” is divided into five rambling acts, each introduced by a grainy home movie of the band in its heyday (toasting and mocking their Spin magazine cover, etc.), that catch Becky, over half a dozen years, at key points in her life and career.

Backstage, she’s at her most reckless and dissolute, and in the next episode, set at a recording studio during a session that goes nowhere, she’s at her most sadistic. A younger and greener band shows up, the Akergirls — Cassie (Cara Delevigne), Dottie (Dylan Gelula), and Roxie (Ashley Benson) — and it turns out that the label has booked the studio for them. The endlessly tinkering Becky has overstayed her welcome. She invites the Akergirls to collaborate, which bespeaks a sisterly impulse, but she treats Ali, her own drummer, with such arbitrary disdain that Ali, after what we presume is years of this, stalks out.

It’s during this section that you may begin to grow a little impatient with the movie. Bad behavior can be arresting, but if it’s not cut with anything else it becomes predictable. As “Her Smell” goes on, Becky will start to get better, but what Alex Ross Perry keeps at arm’s length is any abiding sense of her identity as an artist. He doesn’t want to make an uplifting down-and-dirty grunge musical. That would be too easy. (It also wouldn’t be hip.) But what “Her Smell” feels like is a grinding rock psychodrama that’s top-heavy with weary redemption. It doesn’t have incidents, it has characters and an overarching design. And that’s a bit much (or not enough). The movie is asking, on some level, to be congratulated for its purity, and at 2 hours and 15 minutes that’s a lot of purity.

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Yet once you’re in there, you go with it. Elisabeth Moss’s commitment, and the burnished bravura of her talent, pull you through. With her beautiful gaping eyes that seem to take everything in, she’s like a punk Bette Davis; she has that kind of lyrical fury. In the fourth episode, we see Becky back in her woodsy Victorian home in the Pacific Northwest, with close to a year of sobriety, but buried under a dozen lawsuits that have bled her dry. The ego still shines through, but she’s calm, and treats people better, and there’s a touching moment in which her daughter (now about five), who has come to visit, sits next to her at the piano as Becky sings and plays Bryan Adams’ “Heaven,” which she turns into a kind of lullaby. The fact that she sings that song is an acknowledgement that she has let go of the fatal desire to be cool. It also shows that she’s learned where heaven is: in the here and now. The whole scene has a surprise loveliness, and I felt, to be honest, as if the movie could have ended right there.

Hellboy trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

ased on the graphic novels by Mike Mignola, Hellboy, caught between the worlds of the supernatural and human, battles an ancient sorceress bent on revenge.

Initial release: April 10, 2019 (Indonesia)
Director: Neil Marshall
Based on: Hellboy; by Mike Mignola
Production companies: Lionsgate, Dark Horse Entertainment
Producers: Lloyd Levin, Lawrence Gordon, Mike Richardson

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When in doubt with a comic book franchise, you reboot the thing. Fourteen years after our hornless, crimson protagonist emerged from the fiery cauldrons of the underworld, we get… well, the same thing happening in this new movie. Hellboy is back to fight evil and navigate a world that doesn’t take too kindly to demons patrolling the streets.

The original movies in the franchise, Hellboy (81%) and II (86%) starred Ron Perlman and had Oscar winner Guillermo del Toro as the director. Neither are back for the reboot, which now has David Harbour as Big Red and Neil Marshall (Doomsday – 51%, The Descent – 85%) at the helm. It looks quite a lot like the original movies, right down to the costume. Hell (pun intended), it’s kind of tough to even tell Harbour and Perlman apart here. The new Hellboy looks every bit as fun as the original, but I’m not sure critics will take to it as warmly just because it looks so much like a carbon copy. More than anything else I think that keeps the Tomatometer score a little lower than the originals.

The body switch/body change comedy seems to have been around practically forever. We get multiple looks at this theme each year, and it’s coming back around again this time with Little. A hard-charging and rude corporate executive (Regina Hall) is transformed into a 12-year-old girl (Marsai Martin) overnight. She must then navigate a world in which she’s just a kid, with all of society treating her as such. These movies tend to fall flat in my opinion because the theme is over tread and the jokes remain sophomoric and easy. But I will say, Little does look like it has some laughs in it.

Issa Rae, the star of HBO’s Insecure,gets her first shot at starring in a movie with Little, and the trailer suggests that she’s part of a winner. Sure, the jokes aren’t groundbreaking, but the timing looks on, and the leads are all tremendously talented. Director Tina Gordon hasn’t had much critical success in the recent past, helming Peeples (37%) and penning What Men Want (46%), but I think this latest finishes better than both of them.

Missing Link comes from Laika, a stop-motion animation studio that’s brought us huge critical hits like Coraline (90%), ParaNorman (88%) The Boxtrolls (76%), and Kubo And The Two Strings (97%). That’s a heck of a run of success, and Missing Linki looks right in line with their other work. It’s sitting at 85% with 27 reviews posted on the Tomatometer, with critics praising both the visuals and the story.

Laika’s latest is mostly a monster-out-of-the-forest buddy comedy about an explorer (Hugh Jackman) who finds a Yeti named Susan (Zach Galifianakis) and tries to acclimate it to the human world while also finding it’s ancestors. It looks every bit of the heart-warming and hilarious story for which the animation studio is known. Considering Laika’s track record and the early buzz, I think it’s safe to say they have another hit on their hands with Missing Link.

News

“My job is: protect the world from boogie monsters!” With the movie opening in theaters later this week, Lionsgate has launched one final red band trailer for the new Hellboy movie, directed by Neil Marshall (of Dog Soldiers, The Descent, Doomsday, Centurion). This fresh reboot of the live-action Hellboy series re-casts the main role, with David Harbour playing the big red guy with horns and a stone arm. This final trailer really plays up the hard-R rating, with excessive violence and gore and language throughout. But is the movie any good? You’ll have to see it this weekend and find out. The full cast includes Milla Jovovich, Ian McShane, Daniel Dae Kim, Sasha Lane, Thomas Haden Church, Penelope Mitchell, Sophie Okonedo, Brian Gleeson, and Kristina Klebe. Who’s planning to go? Anyone? Likely Hellboy fans only.

Based on the graphic novels by Mike Mignola, Hellboy (David Harbour), a demon caught between the worlds of the supernatural and human, battles an ancient sorceress bent on revenge. This new Hellboy is directed by English filmmaker Neil Marshall, director of the films Dog Soldiers, The Descent, Doomsday, and Centurion previously, as well as a segment of the anthology film Tales of Halloween, and a few episodes of the latest “Westworld” and “Lost in Space” TV shows. The screenplay is written by Andrew Cosby and Christopher Golden, based on the Dark Horse comic books first created by Mike Mignola in 1993. Featuring music composed by Benjamin Wallfisch. Summit + Lionsgate will release Marhsall’s R-rated Hellboy movie in theaters everywhere starting on April 12th this month. Who’s planning to go watch this one in theaters

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The tropes of the American Western have had a surprisingly wide influence. Its heady mix of self-sufficiency and violence, often presented as a necessary but natural manifestation of a hero’s morality, has spread like seeping blood into nearly every kind of popular modern storytelling. Even sci-fi stalwart Star Trek was initially pitched to network executives as “Wagon Train to the stars.” The bones of the western are just that: a skeleton, ready to be fleshed out with any number of new looks.

This week offers Valley filmgoers a chance to catch three films that chart part of the western’s history in American cinema. Along the way they touch on musical theater, kung-fu, and sci-fi movies. Catch all three and see the breadth of this tradition.

The newest film in the bunch is also the one that has arguably moved the farthest from Western tropes: the Neil Marshall (The Descent) reboot of Hellboy. A sci-fi fantasy that features a half-demon hero who fights the supernatural in defense of his adopted human world, it is brimming with giants, ancient sorceresses, and shape-shifters (Stranger Things’ David Harbour stars as the titular boy). But it also borrows imagery straight out of a shoot-em-up matinee, with Hellboy’s long duster and pistol making him into a gunslinger growing tired of the game, even if this particular sheriff has a giant stone forearm and brick red skin. Perhaps not coincidentally, his father figure in the new film is played by Ian McShane, who is perhaps best known of late for his work on the R-rated western series Deadwood.

If you’re after a more traditional Western, you won’t want to miss The Searchers, which screens at Amherst Cinema as part of the theater’s Print the Legend film series. The 1956 film, directed by John Ford and starring John Wayne as a Civil War veteran who has dedicated his life to searching for his abducted niece, has become one of cinema’s most influential films — even if you’ve never seen it, you will recognize some of its most iconic shots, which have been echoed in countless films across many genres (Tarantino fans will experience some deep déjà vu). In particular, look for the famous “Doorway Shot,” in which Ethan (Wayne) is framed by a cabin entrance as he contemplates the end of his long journey.

As with so much of American history, the story of The Searchers is a tangled one. Based on actual events — a young woman was indeed abducted by Comanche raiders — the truth of the story is not carried over to the film. That narrative evasion (and, more widely, the depiction of the Native Americans in the film) makes The Searchers more complicated for modern viewers; lecturer Nina Kleinberg will be on hand at the screening to introduce the film and lead a Q&A about its cultural and cinematic legacy.

 

Shazam trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

We all have a superhero inside of us — it just takes a bit of magic to bring it out. In 14-year-old Billy Batson’s case, all he needs to do is shout out one word to transform into the adult superhero Shazam. Still a kid at heart, Shazam revels in the new version of himself by doing what any other teen would do — have fun while testing out his newfound powers. But he’ll need to master them quickly before the evil Dr. Thaddeus Sivana can get his hands on Shazam’s magical abilities.

Initial release: April 4, 2019 (Russia)
Director: David Sandberg
Producer: Peter Safran
Screenplay: Henry Gayden
Production companies: Warner Bros., New Line Cinema, Seven Bucks Productions, The Safran Company, DC Films

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critic reviews

DC’s Shazam! has a genial sloppiness that might remind you of the days (if you can remember them) when the fates of studios didn’t rest on the ability of one or two B movies with men in goofy suits to generate billions in revenue. And it evokes something even further back: a time when superhero comics seemed genuinely liberating, a relief from a culture that relegated fantasies of magical transcendence to the realm of “kids’ stuff.” That was, of course, before fantasy became the ruling aesthetic and Marvel and DC began to suck up studio resources — before this crap became oppressive.

So Shazam! feels blessedly old-fashioned, which isn’t to say it’s perfect — or even very good. It’s certainly fun when the juvenile actors are front and center, before the CGI moves in for the last half-hour and change. The conflict at the center is one of our species’ great challenges: how to cope with lousy parenting. The hero, Billy Batson (Asher Angel), had an absent father and was separated from his mother at an early age, but even as a 14-year-old delinquent he clings to the hope of a reunion. He has a pure-ish heart, which means he’s at least half qualified to inherit the powers of the aged, hoary, histrionic Wizard Shazam (Djimon Hounsou, who’s like something out of Monty Python and the Holy Grail) — the last Shazam protecting the world from an invasion of the Seven Deadly Sins. (Silly me: I thought they’d been around for eons.) In contrast, the villain, Dr. Thaddeus Sivana (Mark Strong), was belittled by his smarmy dad (John Glover) and rejected by the Wizard. He has spent his life determined to find the portal back to the Wizard’s mystical realm, not to serve Shazam but to be a vessel for those deadly sins — a supervillain.

Shazam! is held together by the idea that a healthy family is possible, here in the form of two sunny foster parents who brightly welcome Billy and support a menagerie of adorable misfits of different ages, genders, and races. The little scene-stealer is Darla (Faithe Herman), who bonds instantly with Billy in a way that might — with a twist of emphasis — have seemed creepy. But the most powerful presence is Freddy Freeman (the dark-browed Jack Dylan Grazer), a kid with a bum leg and a drawer full of Superman and Batman memorabilia. (Shazam! makes a vigorous attempt to take our minds off the fates of Iron Man, Thor, Captain America, et al. — not easy with this crowd.) Hobbled and relentlessly bullied, Freddy can’t believe that Billy isn’t over the moon to acquire superpowers and the responsibility of saving the world. Not to mention that he can kick bully ass. Frankly, I couldn’t believe it either, but mostly because Billy suddenly isn’t Billy.

Angel Asher does not, as you might know, play the adult superhero who appears when he says, “Shazam!” It’s a stark disappointment when Zachary Levi and his muscles show up, not just because Levi is less magnetic than Angel but because he doesn’t seem to be playing the same character. Didn’t the director, David F. Sandberg, get the two actors together to work on some common moves? Angel’s Billy is wary, over-defended — he has had to grow up too fast. But Levi’s shtick is the schism between the adult super-body and childish emotions that Angel hasn’t ever displayed. It’s funny when Shazam discovers his range of powers (the best part of most superhero “origin” films) and when he gets giddy at the thought of buying beer or going into a strip club, but not when he pules and cringes and acts like a preteen.
He’s such a whiny pill that it’s a relief when Shazam says “Shazam!” and turns back into Billy. Angel is so much more grounded, especially when he finally finds his long-lost mother and comes up with a new definition of family. This kid has some acting chops.

Sandberg and screenwriter Henry Gayden know what they have and what they don’t have — i.e., the resources of a top-tier superhero movie. But the film’s summer-stock vibe often works for it. Superman lives in the towering Metropolis, Batman the Expressionistic Gotham City. Shazam! is set in Philadelphia, so one’s expectations are naturally lowered. The kid actors do a good job of suggesting that they like being in one another’s company, if not necessarily in Philadelphia.

But it’s a bummer when the bad guy shows up and Shazam becomes like every other superhero movie — worse, really, because the storyboarding is so poor that it’s hard to tell what’s going on. In the climax, Sandberg misses nearly every one of his marks. A wedgie joke that ought to kill goes by so fast it barely registers, and you can hardly tell the snarled, cartoonish deadly sins apart. I felt pain watching Mark Strong bellow the standard supervillain taunts at Shazam — I really thought he’d be a major film actor someday. The most disappointing thing is that the kids are replaced by grown-up actors we haven’t gotten to know and who are shot in a way that guarantees that we never will. It’s another disconnect. By then Shazam! has earned enough goodwill that audiences will probably be inclined to go with the flow — if only the flow flowed.

News

The lighthearted family DC comic book caper — a thing you can’t often say — is getting a second installment; no surprise, based off its generally good reviews.

Henry Gayden, who wrote the first film, is going to write the second. This is all according to an exclusive from The Wrap, which also mentions that director David F. Sandberg and producer Peter Safran are expected to return, but that isn’t confirmed.

Shazam was a tough story to bring to the screen, given the DC comic book character’s original name — Captain Marvel — was already taken. Also, the superhero’s powers are similar to Superman’s. The original idea for the film was to include antihero Black Adam, Shazam’s Lex Luthor who gets souped-up with the powers of ancient Egyptian gods. Dwayne Johnson was lined up to play him.

But instead of squeezing another major character in, Gayden split the original idea to focus on Shazam’s origins. Based on a Johnson Instagram video celebrating the film — which he co-produced — the sequel will involve Black Adam.

“Trying to tell both their origin stories in one script, I didn’t think it was working,” Johnson said in the video. He then went on to confirm, “I can’t wait to play Black Adam,” before saying he also couldn’t wait to enjoy that day’s cheat meal.

Gayden, it should be known, is currently also working with Spider-Man: Into the Spider-Verse writers Phil Lord and Chris Miller on a film called Last Human. Talent.

Shazam stars Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer and Djimon Hounsou and is in cinemas now.

“New Line’s approach always has been and continues to be not relying on scale and scope, i.e. production spending, to make the movie creatively successful and marketable,” Emmerich said.

“Shazam!” solidifies that audience’s immunity to superhero fatigue extends beyond Marvel’s arsenal of masked heroes. “Shazam!” arrived over a month after “Captain Marvel” and just three weeks out from “Avengers: Endgame,” the studio’s epic finale that’s expected to crush records. DC was banking on that window being enough time for “Shazam!” to entice comic-book enthusiasts. It seems to be paying off.

“It was a risky strategy to put it between ‘Captain Marvel’ and ‘Avengers: Endgame,” but the team felt it was counter-programming that could live and thrive between those two,” Emmerich said.

For DC, its next test will be “Joker,” a much darker origin story starring Joaquin Phoenix as the Clown Prince of Crime. It hits theaters in October and, like “Shazam!,’ is a fairly modestly budgeted affair, costing a reported $55 million. While little has been revealed about the movie, the trailer plays less like a superhero movie and more like a Scorsese film.

“From DC to go to these two extremes is very smart. They’re carving out their own identity in the superhero world,” said Paul Dergarabedian, a senior media analysts at Comscore. “Now Marvel and DC aren’t trying to be each other. They’re trying to be their own brands with distinct point-of-view. I think both will benefit from that.”

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“As amazing as the Marvel movies are, audiences have come to expect a scale and a scope and a spectacle. It works,” said Emmerich. “But there’s an opportunity, in that circumstance, to make a superhero movie that is smaller. ‘Shazam!’ relies on a certain kind of charm that makes it different by the nature in its size and tone.”

The success of “Shazam!” is also a sign that the studio is bullish on Walter Hamada, the veteran producer who replaced Jon Berg and Geoff Johns as head of DC Films. “Wonder Woman” aside, Berg and Johns didn’t have a strong track record when it came to overseeing scripts for the superhero movies under their purview. Under Hamada’s reign, the quality of movies have drastically improved. Since the shakeup at DC, the studio scored with James Wan’s “Aquaman,” the most financially successful DC movie ever, and the buzz is building for Todd Phillips’ gritty “Joker” and “Birds of Prey,” a look at female heroes and villains. For “Shazam!,” Warner Bros. turned director David F. Sandberg and New Line, the studio’s division that focuses on smaller-scale movies.

Mia and the White Lion, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Young Mia’s life gets turned upside down when her family decides to leave London to manage a farm in South Africa. When a beautiful white lion named Charlie is born, the 10-year-old finds happiness once again as she develops a special bond with the growing cub. When Mia uncovers a secret that puts Charlie in danger, she sets out on an incredible journey to her beloved friend.

Initial release: December 26, 2018 (France)
Director: Gilles de Maistre
Music composed by: Armand Amar
Producer: Jacques Perrin
Languages: French, English

Mia and the White Lion Full Movie Watch

Mia and the White Lion Full Movie Download

Critic reviews

“I’m going to get you to somewhere safe… and then you’ll be free.” A new official US trailer has debuted for the charming adventure Mia and the White Lion, which was first released last year in France under the title Mia et le lion blanc – since it’s made by a French filmmaker, though the dialogue is mostly in English. The story is about a young girl from London who moves to Africa with her parents where she befriends a white lion cub. After the lion grows up, she decides to set out on a journey across the South African savanna in search of another land where Charlie can live out his life in freedom. Daniah De Villiers stars as Mia, with a full cast including Mélanie Laurent, Langley Kirkwood, Ryan Mac Lennan, Lionel Newton, Lillian Dube, and Brandon Auret. This was shot at the Welgedacht Reserve in South Africa, and filming took place over three years to make the story feel even more authentic.

News

The film Mia and the White Lion made the atmosphere of the cinema look deserted, even though the audience seats were full, but all seemed serious to get a moment to enjoy the storyline.

Yes, more than just friendship shows between humans and animals. This film elevates the privilege of loyalty, sacrifice and sincerity. No matter how many animals can feel the sincerity of love from their employers. So that makes the audience carried away by emotion.

Actually this kind of story has been adapted a lot, like Hachi: A Dog’s Tale (2009), Dolphin Tale (2011), Air Bud (1997), and many more. However, the advantages of this film are not only raising the closeness of animals and their employers who become good friends are inseparable, but provide lessons about the protection of wild animals in the international.

The audience is made to think and repeat the scene in the head while watching this film, in order to be able to digest and understand the storyline and causes and effects that occur in this film.

Another uniqueness that deserves to be thumbs up is the film’s storyline that is shown on small main characters to teenagers using the same players and animals.

The film Mia and the White Lion was made 3 years and used the same animals throughout the film shooting process. For information, this film only has 7 core players, recorded from May 2015 to December 2017.

With the main character of a young girl from South Africa who is already familiar with lions, Daniah de Villiers, was deliberately chosen to compete with wild animals.
Not only that, Owen’s family chemistry consisted of Mélanie Laurent as mother, Langley Kirkwood as father, and Ryan Mac Lennan as Mick (Mia’s sister) felt warm because it was built for 3 years to get chemistry as a family.

The audience will also be brought to the color and background of the films Mia and the White Lion similar to the atmosphere of the film The Lion King (1994) or The Jungle Book (2016). So that it feels more real and takes part in adventuring through this film.

This French film can be an alternative for family time on weekends. While realizing that as wild as wild animals, will be subdued also by love. They also deserve to be treated like humans and deserve to live in the wild.

This film is suitable for watching for families, couples to work colleagues or school friends. Because not a few families and couples seem to feel the story happens a lot in real life and gives a good moral message.

Let’s watch Mia and the White Lion film, the story of human and animal friendship in the closest cinema in your city.

Touching human and animal friendship, beautifully illustrated in the film Mia and the White Lion . As the title suggests, the film tells the story of a daughter’s friendship with a white lion.

The story of Mia and the White Lion begins after the main character Mia (Daniah De Villiers), has to leave London, England, following her parents who manage a lion farm in South Africa. Mia, who was only 11 years old, was sad and often couldn’t control her emotions because she lived a different life. Mia became excited after her father brought a newborn white lion. This lion is named Charlie. Charlie makes Mia ‘ move on’from the sadness of leaving London. Mia’s days are spent playing with Charlie. Unfortunately this happiness does not last forever. Charlie is getting bigger and considered to be dangerous if still living in the home area. Three years later, Mia’s mistakes made her father intend to sell Charlie. Mia also committed deeds, she and Charlie ran away from the farm.
Watching Mia and the White Lion , you will be swept away in the warmth of the relationship between Charlie and Mia. The production team called the interaction between humans and lions in the film made without special effects or CGI. It takes three years for production, according to the time span in the film. A long production period made Daniah De Villiers and other players adapt to Charlie.

Mia and the White Lion Full Movie Watch

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Director Gilles De Maistre is good at choosing a shooting angle so he gets Charlie’s ‘expression’ that fits the film’s storyline needs. The wife of Gilles De Maistre, Prune De Maistre acted as scriptwriter. He was inspired to write stories after visiting a lion farm in South Africa.
A sense of amazement – sometimes horrified to remember lions including wild animals -, I endured feeling when I watched Mia and the White Lion . Although under professional supervision, there was a sense of tension when he saw Charlie, especially in conditions that were already large interacting with players. Daniah De Villiers gave rise to expressions that were both bold and sincere, which became the strength of this film. Moment of rebellion while still adapting to the new environment, also when refusing to be separated from Charlie, brought De Villiers neatly.

Mia and the White Lion , also have dominant family conflicts. Relations between parents and children, husband and wife, to brother and sister neatly divided. Unfortunately not all are explored neatly. If it is not explained through dialogue, you might not feel if there is a struggle that is being passed by Mick (Ryan Mac Lennan), Mia’s sister. Likewise Mia’s efforts to defend Charlie, which up to excessive to John (Langley Kirkwood), his father. Presumably Mia and the White Lion are more focused on campaigning for caring for animals, without being impressed like documentaries or patronizing.

Dumbo trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Dumbo

Dumbo

Struggling circus owner Max Medici enlists a former star and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction — bringing in huge audiences and revitalizing the run-down circus. The elephant’s magical ability also draws the attention of V.A. Vandevere, an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.

Initial release: March 27, 2019 (Indonesia, Nigeria)
Director: Tim Burton
Budget: 170 million USD
Producers: Ehren Kruger, Derek Frey, Justin Springer, Katterli Frauenfelder
Production companies: Walt Disney Pictures, Tim Burton Productions

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Critic reviews

Tim Burton’s remake of “Dumbo” — a live-action and CGI version of Disney’s 1941 classic about a flying baby elephant — is more an expansion of the original than simply a souped-up retread. For one thing, it’s nearly twice as long as the earlier, sweet-but-slight film, which was itself inspired by a mere handful of unpublished sketches made for a scrolling picture-book series called “roll-a-books.”

For another, the new story is decidedly, deliciously dark, veined with thin layers of Burton’s trademark macabre sensibility, which adds texture and tartness to the inherent charm of the story (at heart, one about the parent-child bond and the possibility of the impossible). Working from a new screenplay by Ehren Kruger, who wrote the first two American “Ring” films and other creepy tales, Burton has made a movie that does Disney proud, honoring the simple appeal of the source material while finding new emotional resonance in the narrative.

“Dumbo” doesn’t waste any time drawing our attention to the shadows, opening in 1919 in Sarasota, Fla., where the ragtag circus at the center of the film spends its winters. Holt Farrier (Colin Farrell) is a returning veteran who has not only just lost an arm (in the Great War) and his wife (to influenza), but his old job as well. No longer able to work as the circus’s trick Western rider, Holt is reassigned by the owner/ringmaster (Danny DeVito) to take care of the elephants, a demotion that involves shoveling, well, you know what. But soon, real trouble arrives: the female Indian elephant Jumbo, who has just given birth to a calf with comically oversize ears, accidentally kills — yes, kills — a sadistic animal trainer (Phil Zimmerman), and Mom is sold off as a “mad” animal, leaving Dumbo, as her son has been nicknamed, disconsolate.

Kudos to the team of digital animators. Dumbo is as expressively adorable as any human actor in the film, which includes many nearly wordless turns by supporting characters as circus performers (especially Sharon Rooney as the maternal “mermaid,” Miss Atlantis, who covers the classic tune “Baby Mine”). The digital pachyderm is a fully formed character, even though, as in the original film, he never speaks a single word of dialogue. None of the animals do, even the tiny, uniformed circus mouse who replaces the first film’s chatty sidekick Timothy Q. Mouse.

News

Disney’s live-action remakes have been a solid source of box office dollars for the studio. It’s the reason we’ve been seeing so many of them in recent years. However, it’s possible that we might be seeing the first crack in that armor, as Dumbo has certainly not been performing as expected, which could result in the film not making a profit for Disney, and certainly not making the sort of profit the studio is used to seeing.

Dumbo brought in less than $20 million over this past weekend, its second weekend in wide release. That’s over a 60% drop from its opening weekend numbers. While it’s fairly normal to see major blockbusters drop 60% or more from opening weekend, it’s less usual for Disney family films. Beauty and the Beast and Cinderella both dropped less than 50% in their second weekend, Maleficent fell on slightly more than 50%.

Dumbo’s domestic total is now at $76 million. With Laika’s Missing Link, another movie with family appeal, as well as other tent pole releases on the way, it seems Dumbo may struggle to break the $100 million mark domestically. Previously, that goal seemed to be much more likely.

Globally, Dumbo is doing a little better, but still below expectations. The movie currently sits at $213 million which isn’t the worst number in the world for a film with an estimated production budget of $170 million. That number doesn’t include marketing costs, so the total budget for the film is probably somewhere around $200 million or more.

Even if Dumbo is able to pull out a bit of profit over the next few weeks, it looks like Dumbo will likely end its run on the bleeding edge of breaking even. It might lose a bit of money, though probably not much. It might end up making money, though probably not much.

Financially struggling is not the standard state for a Disney remake. While they don’t always make $1 billion the way Beauty and Beast did, Disney’s remakes tend to have no problem making money. They do this despite the fact that they don’t all get glowing reviews, so the fact that Dumbo didn’t blow over the critics likely isn’t the reason it’s not doing well.

Perhaps Dumbo went a little too deep into the Disney back catalog. It’s the oldest of the animated features that Disney has remade and maybe the original story just didn’t resonate with fans the way some of the more recent Disney classics have done.

If that’s the case, it means things likely look brighter for the other two Disney remakes set for this year. Aladdin and The Lion King are both films from the 1990s and perhaps that means they’re more likely to do Beauty and the Beast numbers.

Ironically, the original animated Dumbo was one of the studio’s few success stories in an era of financial difficulties. The original movie was released during World War II when most overseas theatrical markets were closed to the studio. Pinocchio and Fantasia were both flops, but Dumbo somehow beat the odds and became a hit. Now, it looks like Dumbo might end up one of the low points on what will otherwise certainly be a huge box office year for Disney.

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The new live-action Dumbo refocused the classic narrative about the young elephant to include the humans with whom he interacts. While the movie focuses a lot on the one-armed, former horse performer Holt (Colin Farrell) and his attempts to reintegrate after returning from World War I, an arguably more important part of the plot looks at his children: Milly (Nico Parker) and Joe (Finley Hobbins).

However, there’s a big problem with that plot: neither Milly or Joe gets the depth they should. Joe in particular adds nothing to the plot, and there isn’t anything to his character that makes him stand out. In contrast, Milly is a fundamentally compelling character, and she deserved more exploration in the film. If the script had cut Joe and given his scenes to Milly, she would have been more fully fleshed out and an all-time great kid character.

 

Milly is, at her core, a fascinating character. As a little girl raised in the circus trying to educate herself so as to become a scientist, she’s a twist on the classic trope of a child running away to join the circus. Her father even comments on her wanting to go to school instead of becoming a circus performer.

There are a lot of interesting comparison points between the purposefully boisterous acts of the circus and her scientific inclinations. While ringmaster Max Medici (Danny DeVito) yells hyperbolically about almost everything, Milly is fascinated by the concept of using the scientific method to uncover more about the world around her. She frequently proves herself clever and a quick-thinker, although her own scientific ideals could have been explored in depth if the film had taken more time to focus on her and her experiments.

 

 

Dumbo, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Dumbo

Dumbo

Struggling circus owner Max Medici enlists a former star and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction — bringing in huge audiences and revitalizing the run-down circus. The elephant’s magical ability also draws the attention of V.A. Vandevere, an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.

Initial release: March 27, 2019 (Indonesia, Nigeria)
Director: Tim Burton
Budget: 170 million USD
Producers: Ehren Kruger, Derek Frey, Justin Springer, Katterli Frauenfelder
Production companies: Walt Disney Pictures, Tim Burton Productions

Dumbo Full Movie Watch

Dumbo Full Movie Download

Critic reviews

Tim Burton’s remake of “Dumbo” — a live-action and CGI version of Disney’s 1941 classic about a flying baby elephant — is more an expansion of the original than simply a souped-up retread. For one thing, it’s nearly twice as long as the earlier, sweet-but-slight film, which was itself inspired by a mere handful of unpublished sketches made for a scrolling picture-book series called “roll-a-books.”

For another, the new story is decidedly, deliciously dark, veined with thin layers of Burton’s trademark macabre sensibility, which adds texture and tartness to the inherent charm of the story (at heart, one about the parent-child bond and the possibility of the impossible). Working from a new screenplay by Ehren Kruger, who wrote the first two American “Ring” films and other creepy tales, Burton has made a movie that does Disney proud, honoring the simple appeal of the source material while finding new emotional resonance in the narrative.

“Dumbo” doesn’t waste any time drawing our attention to the shadows, opening in 1919 in Sarasota, Fla., where the ragtag circus at the center of the film spends its winters. Holt Farrier (Colin Farrell) is a returning veteran who has not only just lost an arm (in the Great War) and his wife (to influenza), but his old job as well. No longer able to work as the circus’s trick Western rider, Holt is reassigned by the owner/ringmaster (Danny DeVito) to take care of the elephants, a demotion that involves shoveling, well, you know what. But soon, real trouble arrives: the female Indian elephant Jumbo, who has just given birth to a calf with comically oversize ears, accidentally kills — yes, kills — a sadistic animal trainer (Phil Zimmerman), and Mom is sold off as a “mad” animal, leaving Dumbo, as her son has been nicknamed, disconsolate.

Kudos to the team of digital animators. Dumbo is as expressively adorable as any human actor in the film, which includes many nearly wordless turns by supporting characters as circus performers (especially Sharon Rooney as the maternal “mermaid,” Miss Atlantis, who covers the classic tune “Baby Mine”). The digital pachyderm is a fully formed character, even though, as in the original film, he never speaks a single word of dialogue. None of the animals do, even the tiny, uniformed circus mouse who replaces the first film’s chatty sidekick Timothy Q. Mouse.

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Disney’s live-action remakes have been a solid source of box office dollars for the studio. It’s the reason we’ve been seeing so many of them in recent years. However, it’s possible that we might be seeing the first crack in that armor, as Dumbo has certainly not been performing as expected, which could result in the film not making a profit for Disney, and certainly not making the sort of profit the studio is used to seeing.

Dumbo brought in less than $20 million over this past weekend, its second weekend in wide release. That’s over a 60% drop from its opening weekend numbers. While it’s fairly normal to see major blockbusters drop 60% or more from opening weekend, it’s less usual for Disney family films. Beauty and the Beast and Cinderella both dropped less than 50% in their second weekend, Maleficent fell on slightly more than 50%.

Dumbo’s domestic total is now at $76 million. With Laika’s Missing Link, another movie with family appeal, as well as other tent pole releases on the way, it seems Dumbo may struggle to break the $100 million mark domestically. Previously, that goal seemed to be much more likely.

Globally, Dumbo is doing a little better, but still below expectations. The movie currently sits at $213 million which isn’t the worst number in the world for a film with an estimated production budget of $170 million. That number doesn’t include marketing costs, so the total budget for the film is probably somewhere around $200 million or more.

Even if Dumbo is able to pull out a bit of profit over the next few weeks, it looks like Dumbo will likely end its run on the bleeding edge of breaking even. It might lose a bit of money, though probably not much. It might end up making money, though probably not much.

Financially struggling is not the standard state for a Disney remake. While they don’t always make $1 billion the way Beauty and Beast did, Disney’s remakes tend to have no problem making money. They do this despite the fact that they don’t all get glowing reviews, so the fact that Dumbo didn’t blow over the critics likely isn’t the reason it’s not doing well.

Perhaps Dumbo went a little too deep into the Disney back catalog. It’s the oldest of the animated features that Disney has remade and maybe the original story just didn’t resonate with fans the way some of the more recent Disney classics have done.

If that’s the case, it means things likely look brighter for the other two Disney remakes set for this year. Aladdin and The Lion King are both films from the 1990s and perhaps that means they’re more likely to do Beauty and the Beast numbers.

Ironically, the original animated Dumbo was one of the studio’s few success stories in an era of financial difficulties. The original movie was released during World War II when most overseas theatrical markets were closed to the studio. Pinocchio and Fantasia were both flops, but Dumbo somehow beat the odds and became a hit. Now, it looks like Dumbo might end up one of the low points on what will otherwise certainly be a huge box office year for Disney.

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The new live-action Dumbo refocused the classic narrative about the young elephant to include the humans with whom he interacts. While the movie focuses a lot on the one-armed, former horse performer Holt (Colin Farrell) and his attempts to reintegrate after returning from World War I, an arguably more important part of the plot looks at his children: Milly (Nico Parker) and Joe (Finley Hobbins).

However, there’s a big problem with that plot: neither Milly or Joe gets the depth they should. Joe in particular adds nothing to the plot, and there isn’t anything to his character that makes him stand out. In contrast, Milly is a fundamentally compelling character, and she deserved more exploration in the film. If the script had cut Joe and given his scenes to Milly, she would have been more fully fleshed out and an all-time great kid character.

Milly is, at her core, a fascinating character. As a little girl raised in the circus trying to educate herself so as to become a scientist, she’s a twist on the classic trope of a child running away to join the circus. Her father even comments on her wanting to go to school instead of becoming a circus performer.

There are a lot of interesting comparison points between the purposefully boisterous acts of the circus and her scientific inclinations. While ringmaster Max Medici (Danny DeVito) yells hyperbolically about almost everything, Milly is fascinated by the concept of using the scientific method to uncover more about the world around her. She frequently proves herself clever and a quick-thinker, although her own scientific ideals could have been explored in depth if the film had taken more time to focus on her and her experiments.