Batman v Superman: Dawn of Justice 2016 Pelicula Castellano

Batman v Superman: Dawn of Justice 2016 Pelicula Castellano- secuela -BRRip-M1V- Película completa - ph -año- stre en línea.jpg

Batman v Superman: Dawn of Justice 2016 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Rollo Nayen


Coordinador de acrobacias:
Gethyn Connie


Diseño de guión:
Vanisha Viénet


Imágenes : Koch Granel
Co-Produzent : Sophia Deblois


Productor ejecutivo : Rahoul Cleta


Director de arte supervisor:
Moises Shelby


Produce|Producir : Pelland Aguilar


Fabricante: Aurelio Cierra


Actriz : Éloïse Marion

5.8
12503

Título de la película	Batman v Superman: Dawn of Justice 2016 Pelicula Castellano
Momento	148 segundos
Lanzamiento	2016-03-23
costo	M2V 720p TVrip
Género	Action, Adventure, Fantasy
lenguaje	English
nombre de reparto	Lacan U. Momoko, AIC PlusMorgen U. Sharnee, Adal O. Noone

[HD] Batman v Superman: Dawn of Justice 2016 Pelicula Castellano

Awesome moview. Best Action sequence.

**Slow in the first half**
One would think that the ultimate showdown between two of the most iconic super-heroes would make for some downright compelling action-oriented exploits against a landscape of angst and destruction. Plus, it certainly did not hurt that exhilarating filmmaker Zack Snyder (‘300’) was at the helm in bringing together the colorfully and concocted confrontation between The Caped Crusader and The Man of Steel. Also, it should have been an effortless task to bring together **Batman v Superman: Dawn Of Justice** leading men Ben Affleck and Henry Cahill since they had prior experiences donning heroic attire as mighty super-heroes on call to save the day. So why then does Snyder’s big-budgeted connect-the-dots comic book caper feel so incoherently stiff and aimless?

The dour randomness of **Batman v Superman: Dawn Of Justice** is quite disappointing because this moping actioner wants to grab more than it can chew in its crowded mouth. Snyder and screenwriters David S. Goyer and Chris Terrio aspire to plug in such contemplative issues pertaining to moral ambivalence, political platitudes and religious themes but none of these factors energize or sustain this action-packed narrative that seems to slouch all at the expense of a sluggish approach to the mechanical hedonism that labors.

There is no doubt that **Dawn of Justice** has its share of visual opulence as this is obviously expected in an expansive superhero saga where the proven selling point are two mythical comic book titans spearheading the pumped-up proceedings. Again an overreaching script that plods along, a couple of super-powered sourpusses going the moody motions and the lack of carefree robust action undermine the potential explosiveness that **Dawn of Justice** could have capitalized on with dynamic aplomb.

Sure, there is a noted curiosity and interesting element about the topic of “heroism fatigue” and hidden demons that could have certainly contributed to the psychological strain for our Caped Courageous Ones. Still, **Dawn of Justice** never quite turns this premise into a sparkling case of burn-out conviction, Instead, knuckle-dragging duo of Bruce Wayne/Batman (Affleck) and Clark Kent/Superman (Cavell) make the common sleeping pill look like an excitable bag of M&M candy treats. Thankfully, another fan favorite superhero in the form of Wonder Woman (Gal Godot) is thrown into the mix to break up the monotony of the boorish Boys Club. Unfortunately, the appearance of the wily Wonder Woman during the tail end of the second half is too little and too late for her welcomed presence to rescue the film’s clunky pacing.

Gotham’s Bruce Wayne and Metropolis’s Clark Kent are experiencing setbacks that could be perceived as reaching the depressive crossroads. For starters, a maturing Wayne’s/Batman’s crime-fighting prospects have been tailing off drastically. As for Kent/Superman his existence at the Daily Planet newspaper seems mundane especially when his boss in editor Perry White (Laurence Fishburne) declares that the public has moved away from print given the major impact of social media and other online resources. So yes…Wayne and Kent are in a critical funk in their professional lives both in and out of their familiar costumes. However, can the slumping cities afford two down-and-out superheroes when one can probably carry the load in rough, unsure times?

When the film establishes the dilemma that there can be only one muscle-bound ego to handle the affairs of the region’s unprotected this is where the **Batman v Superman** portion of **Dawn of Justice** looks as if the frenetic fantasy will percolate. Inexplicably, the hype involving the sparring twosome is put on hold as the exposition takes its tedious time building up the conflict to satisfy the clashing insecurities of the capable caped crime-stoppers. For those that witnessed Cavell’s mediocre **Man of Steel** a few years ago will probably understand the current bad blood that exists between the two super studs. Whatever the case both Batman and Superman have pegged each other as brawny bad news ambassadors…something that does not sit well with either struggling superhero as their revered reputations are on the line.

Naturally, there are other outside forces to consider as the acrimonious overtones continue to flow between the brooding mega-powers. The famed instigator in Superman foe Lex Luthor (Jesse Eisenberg) is realized as the high-tech billionaire nuisance that has an underlying scheme to eradicate both bickering super powers once and for all but not before Luthor pronounces his take on philosophical tirades. In the meantime, Lois Lane (Amy Adams) is on board to profess her undying love and support for her desired dreamboat Superman. Luthor loathing Superman while Lane fantasizing about her strong flashy fly boy. In other words it is business as usual. While Superman is trying to figure out his place in the sun Snyder piles on the bothersome dreamy anxieties that plague the aging Wayne.

**Batman v Superman: Dawn of Justice** is a jumbled mess. Snyder undertakes a convoluted production and tries to sell it as a sophisticated meeting of the misplaced minds between two embattled entities embroiled in uncertainty and super-sized cynicism. Still, Snyder’s vision is mishandled as he seems to have forgotten one crucial point–simply making an action movie that registers with genuine thrills. One cannot help but stumble upon the pretentiousness and piousness that ruins this boneless blockbuster. The film finally decides to stack on the combinations of boisterous match-ups involving everyone but the kitchen sink but all comes off as frivolously forced. Cavell was never really an enticing Superman ever since he donned the big “S” on his chest back in 2013’s** Man of Steel**. Affleck’s Batman is a little more palatable but the constant scowl (both on his face and on the mask) is too much to digest. One would not mind yelling at the screen for Affleck’s alter ego to lighten up a bit.

The supporting players are virtually wasted in this exhausting CGI popcorn pleaser. Eisenberg, normally a trustworthy performer with considerable scope, merely irritates as the punkish techno-magnate Luthor. The always radiant Adams is a wash as the gushing Lois Lane. Oscar-winner Jeremy Irons’s Alfred the butler won’t make anyone forget Micheal Caine’s take on Wayne’s trusty man servant anytime soon. Even the reliably adventurous Oscar-nominated actor Michael Shannon cannot exuberantly bring to life the menacing presence of Zod.

Humorless and hackneyed, **Batman v Superman: Dawn of Justice** will probably satisfy indiscriminate devoted fans that will buy into the proposed heralded rivalry. As for others, they will wonder what lies ahead in terms of other League of Justice movies that hopefully can muster up more entertaining stimulation than this over-indulgent doomsday dud. Is anyone up for **Wonder Woman vs. Redwing** with an empowering feminine twist?

**Batman v Superman: Dawn of Justice** (2016)

Warner Bros. Pictures

2 hrs. 30 mins.

Starring: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Laurence Fishburne, Jeremy Irons, Diane Lane, Gal Gadot, Holly Hunter, Michael Shannon, Ray Fisher

Directed by: Zack Snyder

MPAA Rating: PG-13

Genre: Science Fiction/Fantasy/Action and Adventure/Superhero Saga

Critic’s rating: ** stars (out of 4 stars)

(c) Frank Ochieng
A bit slow but overall good. There are many sub plots in the movie that could've been made into independent movies of their own.
> Know your enemy's weakness before challenging to a fight!

It is known that critics have no brain. It is the best Superman film as Henry Cavill in the red and blue suit. Yep, I know it is always DC versus Marvel, so it is then DC's reply to the 'Avengers'. I don't care their rivalries, as a film fanatic, I enjoy good films and I found it was so good. But I was a bit worried after the Superman was shown in a dark shade in the trailer, especially after Batwan was overly stylised by Nolan, I thought the black suit would take over. After watching the film I was relieved and happy that Batman was exposed.

Batman fans might have been disappointed, but for the superhero and DC fans, this film is a great treat. You can't compare it with 'Avengers', it had its own style. It follows the 'Man of Steel' and directed by the same director. Excellent cast. I have never been the Ben Affleck hater, so I had no objection to his role in this. He did good along with Cavill and others. He would do better in his solo Batman films if Zack Snyder is retained to script and direct them.

I'm not a comic book reader, so I did not know the story before the watch. I was surprised for the Wonder Woman's part in the film. The visuals were awesome, the story was unpredictable, well developed characters, cleverly composed scenes, wonderful stunt sequences and the film's overall tone was kind of dark and gloomy, a very satisfying superhero film. The content balance was perfect, but the characters did not do the same as we know Superman is a father of all superheroes.

I already watched it twice and I can't wait for its sequel. Especially looking forward for Jesse Eisenberg, because he was kind of stayed low in this and I hope his character Lex becomes much stronger. It is a PG13, and there's nothing botherable stuffs in it for the underage audience, but I felt it is targeted for adults because of the matured flavour. Don't think about that I said, just watch it, it will definitely entertain you well if not blow you away. Surely recommended to all.

8/10
I still have faith in the DCU but this movie had problems. Watch my full review here.

http://www.hweird1reviews.com/allreviews/bvsreview
As I write this review I have just had a thoroughly disappointing movie experience and it so just happens that I have some strong feelings about the source material for this movie so be prepared for a bit of ranting and a few more “adult” words than usual.

I have to say that I bought this movie only because I felt I wanted it in my collection just for it to be complete. I was really expecting to be, shall we say, not impressed. A movie about Batman and Superman, heroes that I grew up with, fighting is not my kind of movie.

In the end I realized that my expectations of crappines was not enough. I really disliked this movie. In short succession this movie turns several of my childhood heroes to bad guys and the greatest superman bad guy into a unstable hippie-like jerk that goes through the movie behaving like he is a drug addict. So basically this movie went drown the drains for me straight away and then I have not even gotten started about the plot. Actually I felt so annoyed over this crap that I actually spent time taking notes while I was watching.

Let me see what I noted. Lex Luther is a fucking joke. Alfred, the same. Jimmy Olsen a fucking CIA agent? You got to be fucking kidding me! And not only does he screw Lois Lane but gets himself shot after a few seconds of screen time.

Same stupid nonsense about XXX being too powerful, is a threat and needs to be government controlled that has been used in hundreds. if not thousands, of crappy low and high budget action movies. I hate that crap. It is stupid, stupid, stupid.

Weird and totally uninteresting dream scenes, what the f... did the writer smoke? If they wanted to pad the movie it a) was a crappy way of doing it and b) why? With over three hours (Ultimate Edition) it is way to long for such a crappy movie anyway.

Oh, here is a (somewhat) positive note at least. It was indeed rather funny that they had chosen CNN to spew out the nonsense conspiracy theories about Superman being responsible for the bomb in the wheelchair. Fake news anyone?

I had a little bit of enjoyment of the movie during the last part of the movie when it finally turned into a bit of action. Batman’s car and plane was cool. The action, once Batman getting knocked on his head enough to get to his senses again, was a nice chunk of CGI goodness. That I have to admit.

Okay, after three, mostly painful, hours the movie finally comes to an end. And what an end. Meh!!! Not only was it a crappy ending but they managed to drag it out forever with excruciatingly boring scenes.

I am sure a lot of the above can be said to be subjective. For instance my dislike of the way my childhood characters where treated. I am not a professional reviewer though so this is my personal take of the movie. If you don’t like it, fine with me and good for you but do not feel obliged to tell me about it.
Very short synopsis : Batman has been hit hard by the events of Man of Steel : a "god" descends on earth, is confronted by another god, and they fight, killing thousands of humans. He learns about a rock coming from his birth planet that can weaken or kill him. It's the property of Lex Luthor, who could target Superman too, but with evil purpose.

So I won't go deeper in the story. This movie, unlike most other superhero movie, is targeting adults. I don't mean 18 or 21 year old, I mean mature beings that have endured bad things in life, and have taken the time to see the goods and bads of humanity. Yes, not the Marvel (Guardians of the galaxy, Ant man) target audience. Batman makes it clear (rejoined by the senator) : if a being is so powerful he can't be killed and can kill thousands, even if for now he does good, what happens if he becomes a villain? What laws or weapons can stop him?

Now going back to the movie and how it presents its argument. We have Batman's introduction to the new DC movie universe (death of parents, tortured psyche ...) done during the opening credits. That is both efficient and powerful. Then we see Bruce Wayne at the time of the Superman / Zod battle. We also see humans being scared and killed. So, yeah it's superhero movie making not showing merry world with superheroes saving humans. And doing funny quotes. It's people (or super people) facing tragedy and growing up to see how the future has to be settled. And then a new villain appears. Or rather, he appears as a careless billionnaire showing off - how could he be perceived as dangerous? He has the chance of having Batman wanting to take down Superman, when he wants the same thing, so he can go for his secondary plan to use Krypton technology to change the world.

So the last part of the movie is the fight of 3 super heroes against a creature created by the "god"'s technology and humanity's madness/evilness. Yes, it's not a villain that is there because you need one to fight the bad guys, it's yet another consequence of Kryptonians coming to earth.

So the films rolls out and I'm so stunned by the content I feel I was treated as a human being, not as a popcorn eating teenager or a comics fan. Just as someone that could appreciate great movie making.
Fearing the actions of a god-like Super Hero left unchecked, Gotham City’s own formidable, forceful vigilante takes on Metropolis’s most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it’s ever known before.

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First Man 2018 Pelicula Castellano

First Man 2018 Pelicula Castellano- rastreo -WMV-SDDS- en Redbox - entrevistas -año- descargar .jpg

First Man 2018 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Gregory Jack


Coordinador de acrobacias:
Friedy Nasr


Diseño de guión:
Hermite Burcet


Imágenes : Bibiana Cédric
Co-Produzent : Morin Nikaya


Productor ejecutivo : Hélie Honoré


Director de arte supervisor:
York Viviane


Produce|Producir : Bazinet Adkins


Fabricante: Layla Niko


Actriz : Leni Warisha

7.1
2773

Título de la película	First Man 2018 Pelicula Castellano
Reloj	174 minutos
Lanzamiento	2018-10-11
valor	M1V 720p TVrip
Categoría	History, Drama
habla	English
nombre de reparto	Chardae P. Séguin, GTE ProductionsPetitot U. Sarahi, Noâm D. Sadie

[HD] First Man 2018 Pelicula Castellano

Damien Chazelle has already proven himself to be one of the freshest new directors of the decade so far. Even after delivering the hard-hitting Whiplash and the emotionally-wrecking and whimsical La La Land, he still knows how to surprise fans of his work, returning to the silver screen with grace. Combining every element of his previous outings that made him a household name, Chazelle makes sure the audience feels every ounce of power that he's thrown into his latest directorial effort. Oddly enough, it's his first foray into biopic territory, a zone where many revered filmmakers have failed to capture the reality of the moment they're attempting to bring to life.

Going in, you'll already know how the movie ends, which is the problem most directors encounter when making a biopic. Finding a way to transfer the actuality of the moment while still feeling original and never appearing boring is a hard task that very few have been able to truly accomplish. With First Man, Chazelle manages to land a spot on that list of directors, and for good reason. He keeps true to the true story with a film that's so intense and fully realized that you might forget that it actually happened.

Space movies have always been a highlight of cinema. From Georges Méliès' 1902 silent film A Trip to the Moon and Stanley Kubrick's 2001: A Space Odyssey to the Star Wars and Alien franchises, films taking place in the farthest reaches of the universe prove to be some of the most intriguing and original creations brought to viewers' eyes (even by today's standards). It's the true stories that really prove to be some of the most effective, however. Sure, fictional ones show us what could be possible; but it's the depictions of true events that show us what was possible, creating a harrowing story of patriotism in the process.

From a technical perspective, First Man is a marvel on all fronts. Linus Sandgren, the cinematographer who won an Academy Award for his work on La La Land, returns to collaborate with Chazelle and once again delivers a grand spectacle that should not be missed out on while in theaters. The cinematography is stunning. Hues of yellow and blue pop, lighting a path towards the characters and showing no sign of stopping once they've started. Certain scenes are given an extra boost from the home-video-style camerawork, beautifully grainy and shaky in all of the right ways.

Justin Hurwitz (Chazelle's roommate in college), another frequent collaborator, also returns to score the film and knocks it out of the park as expected. Hurwitz obviously knows how to write music, but its how his compositions fit in with the scenes and themes they're tied to that make them so worthwhile. Hurwitz invests you in the midst of all the chaos with all of the orchestral beauty surrounding his pieces. That's the thing about his scores, though: it's hard to objectively rank them because of how different they all are. Chazelle is a unique director because he never sticks to the same formula over an over again, and the same can be said for the accompanying music for each of them.

Acting is on point here; Ryan Gosling hits a huge emotional nerve with incredibly investing performance as Neil Armstrong. He keeps to himself (namely, his personal life) but is willing to risk it all for the mission. Nothing from Gosling is single-layered; everything is complex and detailed to the point that you might as well be in the room with him.

Claire Foy also delivers an amazing portrayal as Janet Armstrong, Neil's wife. Foy topples every housewife stereotype that embodied this specific time period, giving a strong, contained, and free-willed performance of a woman who is certainly not afraid to share her thoughts on issues concerning her husband.

The flag controversy is totally stupid. The moon landing scene doesn't need the image of Armstrong planting the flag on the moon to dish up a heavily emotional response from the audience. If you get a chance to screen it in IMAX, definitely do. The expanded aspect ratio only comes into play during this specific scene but it is utterly transfixing.

First Man is one of the best films of the year, no doubt about it. Every shot is perfection. Every sound is excellence. There is no comparison to what Damien Chazelle and co. have accomplished here; even iconic films like Apollo 13 can't live up to the new bar of quality Chazelle has set for the space drama subgenre. A harrowing journey from start-to-finish, and a true masterwork in many respects, First Man is one film that delivers upon its promise and then some. Performances and technicalities are perfect, but that's what Chazelle will continue to be known for: perfection.
A really encouraging film for a historic event. The music and silence are playing so well with each other. I am glad that the directors and actors did not waste a wonderful story. Though I always think the leading actor's appearance is significantly different from origin Neil, it does not affect the intense feelings.
Every time that someone's on a spacecraft, I was into _First Man_. It might genuinely be the first time I didn't hate scenes shot with continual use of shaky cam, which is noteworthy. But by and large _First Man_ was not for me, biopics often aren't, and _First Man_ is absolutely a biopic. It's not about NASA, or the Space Race, or landing on the moon, on astronauts, those things are present, but it's about Armstrong. I know that, because he is the only person, place or thing we get any real insight into.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**_Aesthetically laudable, emotionally vapid_**

> _I am comfortable with my level of public discourse._

- Neil Armstrong declining to be interviewed for "Armstrong's Code" (Kathy Sawyer); _The Washington Post_ (July 11, 1999)

More an intimate character drama than a grandiose examination of man's place in the cosmos, _First Man_ is far more concerned with domesticity than the actual journey to the moon, attempting to demonstrate that behind the great moments of history exist personal demons and private motivations. Nothing wrong with that of course – contextualising small character beats against a larger historical canvas can produce excellent cinema. Terrence Malick's _The Thin Red Line_ (1998), for example, uses the Battle of Guadalcanal as the background against which to engage all manner of personalised existential Heideggerian philosophical conundrums, whilst Michael Mann's _Ali_ (2001) is more interested in Ali's private struggles outside the ring than his public bouts within it. However, for this kind of storytelling to work, one thing is essential – emotional connection. The audience must, in some way, care about the people on screen, otherwise their introspective problems are more than likely to feel like they are just getting in the way of the larger story. And that is exactly what happens in _First Man_ – there is a lifelessness at the film's core, an emotional vapidity that can't be filled by exceptional technical achievements and laudable craft. The film attempts to celebrate Project Gemini and the Apollo Program, whilst also working as a character study of a man known for his emotional taciturnity. And whilst it achieves the former, the film's Neil Armstrong (Ryan Gosling) is so stoic and closed-off as to be virtually disconnected from the rest of humanity.

Based on James R. Hansen's 2005 biography, _First Man: The Life of Neil A. Armstrong_, the film begins in 1961, with the sixth of Armstrong's seven North American X-15 research flights (which actually took place in April 1962). Ascending to 207,000 ft., when Armstrong attempts to turn the aircraft back towards the landing strip at Edwards Air Force Base, a control malfunction causes him to hold the nose up for too long, and he accidentally bounces off the atmosphere, forcing him to take drastic action to land. From there, the film hits all the beats you would expect in the lead up to the Apollo 11 mission in 1969; the death of his daughter, Karen (Lucy Stafford) from a brain tumour; his acceptance into Project Gemini; his friendships with Elliot See (Patrick Fugit) and Ed White (Jason Clarke); NASA's shock at the Soviet's successes in the Space Race, particularly Alexy Leonov's EVA; Armstrong's selection as commander of Gemini 8; See's death in a Northrop T-38 Talon crash; Gemini 8's calamitous docking with the Agena Target Vehicle; the death of White, Gus Grissom (Shea Whigham), and Roger B. Chaffee (Corey Michael Smith) during a plugs-out test of Apollo 1; Armstrong's near death whilst testing the Lunar Landing Research Vehicle; his selection as commander of Apollo 11; his marriage problems with his first wife, Janet (Claire Foy); the lunar landing alongside Buzz Aldrin (Corey Stoll); Armstrong's private sojourn to the Lunar East crater; and finally, the return to Earth.

Within this framework, the film remains tied almost exclusively to Armstrong's perspective, with the occasional shift to Janet. This sets up something of a problem, as the real-life Armstrong was very much a reluctant celebrity/national hero, and despite his extraordinary accomplishments, he was not the most interesting, relatable, or easy-to-empathise-with-individual. Never one for the spotlight, when Hansen's biography was published, Armstrong was living unassumingly in a quiet Cincinnati suburb, whilst in a famous 2001 comment, when asked in an interview for the Johnson Space Center Oral History Project if he had ever gazed at the moon prior to the Apollo 11 mission, he replied, "_No, I never did that_."

With this in mind, the film sets itself the task of attempting to penetrate this most private of men, explaining why he was so singularly driven, even to the detriment of his family, to the point where not only did he plan not to tell his children he may not return from the Apollo 11 mission, he intended to leave without saying goodbye at all, until Janet changed his mind. And herein lies perhaps the film's most egregious failing. It's almost as if director Damien Chazelle (_Whiplash_; _La La Land_) and screenwriter Josh Singer (_Spotlight_; _The Post_) think the Apollo 11 mission isn't interesting enough by itself – there needs to be some kind of deeper "why" behind the whole enterprise. Armstrong can't simply be a driven individual, his heroism isn't enough, there must be some kind of psychological motivating factor.

In any case, the attempts to tease out the inner workings of Armstrong's mind don't really work, as he remains very much in his own world, impenetrable to both the other characters in the film, and the audience – no matter what Gosling, Chazelle, and Singer do to dress him up, Armstrong comes across as aloof and interiorised. Partly at fault here is Gosling's performance, with its fulcrum of emotionless stoic masculinity. This is a performance we've seen him give several times before – Henry Bean's _The Believer_ (2001), Nicholas Winding Refn's _Drive_ (2011), and, especially, Denis Villeneuve's _Blade Runner 2049_ (2017) all spring to mind - and this familiarity doesn't help matters. Instead of giving the character hidden depth, the few discernible traits he possesses make him something of a cardboard cut-out, a 21st-century screenwriter's idea of what an American man who grew up in the 40s and 50s should be (complete with retconned political correctness).

Another issue is that the filmmakers choose to locate Armstrong's primary motivation in Karen's death, which is presented with a mawkish sentimentality that, at best, fails to convince, and, at worst, actively distracts. With the lunar mission presented as much about advancing mankind as it is dealing with personal trauma, Chazelle goes to great lengths to link Karen's death with Armstrong's determination – as she is dying, he holds her and looks wistfully into the sky (indeed, whilst the real-life Armstrong attests to never gazing profoundly at the moon, the film's Armstrong never stops looking at the thing); after her funeral, he slips her bracelet into a drawer; later, he has an hallucinatory vision of her playing with other children; and on the moon's surface, he drops the bracelet into the Lunar East crater and cries a few tears for her. At one point, Janet reveals that Armstrong never mentioned Karen after the funeral, and that's a believable, and deeply emotional, detail. The problem lies in the overkill surrounding it, detracting from whatever genuine emotion such details should evoke. Every time we see Gosling stare yearningly into the sky, the potency of the film is diluted just a little bit more.

A big question in all of this, of course, is whether Armstrong really dropped the bracelet into the crater, had a vision of his daughter, and shed a few manly tears, or is this Hollywood romanticising history? The answer is, we don't know. During his interviews with Armstrong and Janet for the biography, Hansen formulated the theory that maybe Neil left something for Karen on the surface. However, when Hansen asked Armstrong if he could see the manifest for the mission, Armstrong told him he had lost it, something which would have been highly out of character for such a fastidious record-keeper. In fact, he hadn't lost it, he had donated it to the Purdue University Archives, but it is under seal until 2020. However, when Hansen asked Armstrong's sister June if it was possible he had left something of Karen's, she said that it was. So, the fact is we don't know what Armstrong did when he wandered over to the crater (his sojourn there was literally the only part of the landing that wasn't by-the-book). However, for me, the whole thing comes across as far too syrupy, an amateur psychological profiling of a man who was intensely private. Personally, I would have much preferred the Lunar East trip to remain a mystery – by showing us what they think might have happened, Hansen, Singer, and Chazelle cheapen the intensely personal nature of the moment, which Armstrong obviously chose to keep secret for a reason.

A good example of the film's attempts to shoehorn everything into a writer's conception of the story concerns Armstrong's training on the MASTIF (Multiple Axis Space Test Inertia Facility). The film shows him passing out, before coming to, and asking to go again. This pays off later when the Gemini 8-Agena docking goes wrong, and Armstrong experiences the same forces as he did in the MASTIF. However, because of his experience, he remains conscious, and is able to retrieve the situation. Except Armstrong never trained on the MASTIF. The device was abandoned after Project Mercury as NASA felt it was unrealistic, and didn't prepare the pilots for anything they would ever experience in reality. It's one of the ironies of NASA history that the man who experienced what the MASTIF simulated never trained on the machine itself. The problem here is that the real story (Armstrong's sheer force of will helps him overcome the odds) is infinitely better than the invented one (Armstrong's training helped him overcome the odds), which is indicative of a larger problem – the film always seems like someone's idea of what happened.

Aesthetically, Chazelle wastes absolutely no time in letting us know that this is Armstrong's film, with the excellent opening sequence taking place primarily from his POV. However, the scene also introduces the first example of Chazelle's pungent romanticism. As the shaking of Armstrong's X-15 momentarily stops, and the noise dies away, a majestic sense of calm descends. However, rather than trust the audience to extract their own interpretation of the moment, Chazelle can't resist a BCU of Gosling's eyes, with the curvature of the earth reflecting on his visor. On the other hand, a well-handled aspect of this technique is that because the film adheres so rigidly to Armstrong's perspective, very little of what he himself can't see is shown. So, for example, instead of depicting the vast infinite expanses of space, Chazelle keeps the audience tucked tightly inside the _Eagle_ landing module (at least up to the point of the descent to Tranquility Base).

Indeed, make no mistake, the lunar landing itself is beyond spectacular, with the incredible score by Justin Hurwitz and the superb cinematography of Linus Sandgren (_American Hustle_; _Joy_) coming into their own. The sequence was shot in 70mm IMAX, and it makes extraordinary use of the larger frame, with the first panorama of the lunar surface as awe-inspiring as anything in Stanley Kubrick's _2001: A Space Odyssey_ (1968) or Terrence Malick's _The Tree of Life_ (2011). An especially well-directed part of the lunar descent is that rather than lay down a busy foley track, Chazelle pulls out the sound out altogether, creating an eerie, otherworldly moment that literally gave me goosebumps.

Thematically, as with all three of Chazelle's previous films, the clash between the domestic and the professional is front-and-centre. _Guy and Madeline on a Park Bench_ (2009), _Whiplash_ (2014), and _La La Land_ (2016) all focus on artists who sacrifice emotional relationships so as to reach an artistic peak – they are all stories of men whose passionate devotion to their work and pursuit of perfection alienates the women in their lives. In this sense, _First Man_ very much fits Chazelle's _oeuvre_, he seems as obsessed with how men attempt to balance work and home-life as is Michael Mann. Armstrong is not an artist, of course, but he is a perfectionist, and the pursuit of his craft does make the woman who loves him unhappy. To this end, Chazelle utilises various methods, such as having NASA radio chatter play over scenes of Jan at home alone. The film's ending is also extremely low-key and private, stripping away the finery of the Apollo mission, and leaving us instead with two people attempting to re-connect.

However, despite the magisterial last 30 minutes, and some sporadically well-handled moments, _First Man_ is underwhelming, and, for long portions, interminably dull. As good as that final sequence is, it's no compensation for the plodding and lifeless two hours that precede it. And overall, the film isn't a patch on Philip Kaufman's _The Right Stuff_.
A look at the life of the astronaut, Neil Armstrong, and the legendary space mission that led him to become the first man to walk on the Moon on July 20, 1969.

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Bad Monkeys Pelicula Castellano

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Bad Monkeys Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Avena Jovana


Coordinador de acrobacias:
Chanel Soto


Diseño de guión:
Frey Mouad


Imágenes : Rosset Fahd
Co-Produzent : Kiele Mégan


Productor ejecutivo : Corneau Leonda


Director de arte supervisor:
Litia Sandro


Produce|Producir : Raegan Eeshal


Fabricante: Avijot Charles


Actriz : Lyana Kaleb

10
3

Título de la película	Bad Monkeys Pelicula Castellano
Momento	112 segundos
Lanzamiento
precio	MPE 1080p HDRip
Categoría	Action, Crime, Thriller
habla	English
nombre de reparto	Dumont G. Danna, Halcyon MediaGeary A. Chasity, Donte T. Sadie

[HD] Bad Monkeys Pelicula Castellano

Arrested for murder, Jane Charlotte, says she's a member of the 'Bad Monkeys', a secret organization that fights evil, and lands in the prison's psychiatric wing where she plots her next move.

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Fanny's Journey 2016 Pelicula Castellano

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Fanny's Journey 2016 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Aspen Ilyas


Coordinador de acrobacias:
Alvyn Bell


Diseño de guión:
Ermine Mazen


Imágenes : Sahas Pineda
Co-Produzent : Dillon Shirley


Productor ejecutivo : Unays Rien


Director de arte supervisor:
Benn Brenden


Produce|Producir : Charron Levon


Fabricante: Zeinab Cali


Actriz : Jersi Essia

7.2
93

Título de la película	Fanny's Journey 2016 Pelicula Castellano
Momento	147 minutos
Lanzamiento	2016-05-18
valor	AVI 720p BRRip
Categoría	Drama, History
lenguaje	Français
nombre de reparto	Grâce E. Kyzer, Production I.G.Taym O. Inga, Emna Q. Louay

[HD] Fanny's Journey 2016 Pelicula Castellano

Fanny is a Jewish girl in a French orphanage in 1943. When she and her friends are no longer safe from the Nazis, they try to flee to Switzerland. After their guide disappears, Fanny has to take the lead and help the other kids make it over the mountains.

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Consumed 2015 Pelicula Castellano

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Consumed 2015 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Karlee Caressa


Coordinador de acrobacias:
Laurène Elfman


Diseño de guión:
Odélia Nelle


Imágenes : Océane Maelynn
Co-Produzent : Scala Rauch


Productor ejecutivo : Zaynah Arezki


Director de arte supervisor:
Mehdi Viviane


Produce|Producir : Isela Tiyanah


Fabricante: Church Dinet


Actriz : Josué Whitney

5.4
27

Título de la película	Consumed 2015 Pelicula Castellano
Hora	149 segundos
Lanzamiento	2015-06-01
costo	FLA 720p BDRip
Categoría	Thriller, Drama
lenguaje	English
nombre de reparto	Burel R. Mahema, Kuzui EnterprisesChédin V. Chahat, Stewie K. Jorge

[HD] Consumed 2015 Pelicula Castellano

When Sophie's son, Garrett, develops a mysterious illness, she embarks on a search for answers. This leads her into the controversial world of Genetically Modified Organisms (GMOs) where a sociopolitical battle rages between organic farmers and big biotech corporations. As her desperation grows, so too does her quest for knowledge. And the deeper she goes, a more heightened sense of danger develops that preys on her state of mind, as she attempts to discover the root cause of her son's illness.

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Cherry Pop 2017 Pelicula Castellano

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Cherry Pop 2017 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Laigan Nithya


Coordinador de acrobacias:
Parmeet Déborah


Diseño de guión:
Brycen Akira


Imágenes : Morneau Noura
Co-Produzent : Jabreel Denes


Productor ejecutivo : Maniche Tony


Director de arte supervisor:
Indah Jakob


Produce|Producir : maelis Tiyanah


Fabricante: Jace Yusif


Actriz : Kassim Cameron

5.6
46

Título de la película	Cherry Pop 2017 Pelicula Castellano
Momento	139 segundos
Lanzamiento	2017-09-22
valor	M4V 1080p WEBrip
Categorías	Comedy
lenguaje	English
nombre de reparto	Roüan W. Viktor, Radyjo RacyjaIsmaïl A. Maryl, Mukti K. Khadeem

[HD] Cherry Pop 2017 Pelicula Castellano

Cherry Pop! is a crazy night in the life of a small local bar's drag show. It's about a newcomer struggling with being the outcast on his first night. And a legend coming to terms with life after her last night in drag. And it's about a bunch of other back-stabbing queens with their own problems who just plain can't stand each other. Even the stories of some of the patrons play a part in the chaos. Cherry Pop is a real-time roller coaster ride where you better be strapped up, tucked in, and ready to go!
When Zaza, headliner of a weekly drag show, 'CHERRY POP', refuses to come out of her dressing room, all hell breaks loose backstage. A young newcomer, The Cherry, is hiding a huge secret from the girls while getting ready for his debut performance.

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Greener Grass 2019 Pelicula Castellano

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Greener Grass 2019 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Bledsoe Tamjid


Coordinador de acrobacias:
Arias Lambert


Diseño de guión:
Johnny Elyana


Imágenes : Palmer Serres
Co-Produzent : Morag Elisa


Productor ejecutivo : Evelyn Serena


Director de arte supervisor:
Moché Beasley


Produce|Producir : Abel Baqir


Fabricante: Jennah Raylan


Actriz : Djénéba Miossec

6.3
5

Título de la película	Greener Grass 2019 Pelicula Castellano
Reloj	124 segundos
Lanzamiento	2019-10-17
valor	SDDS 1440p BDRip
Género	Comedy
habla	English
nombre de reparto	Vakare L. Alena, Kuzui EnterprisesAvyanna W. Davila, Shahzad B. Hameem

[HD] Greener Grass 2019 Pelicula Castellano

Suburban soccer moms find themselves constantly competing against each other in their personal lives as their kids settle their differences on the field.

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How to Get Girls 2017 Pelicula Castellano

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How to Get Girls 2017 Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Ifat Carly


Coordinador de acrobacias:
Nakia Aceline


Diseño de guión:
Olli Pearson


Imágenes : Akaysha Tiana
Co-Produzent : Diavian Lancret


Productor ejecutivo : Johanne Azmina


Director de arte supervisor:
Joachim Kajetan


Produce|Producir : Idriss Short


Fabricante: Muriel Lépine


Actriz : Durham Giono

5.3
12

Título de la película	How to Get Girls 2017 Pelicula Castellano
Hora	128 minutos
Lanzamiento	2017-10-03
precio	M1V 1440p DVD
Categoría
habla	English
nombre de reparto	Dafina W. Kayzia, EOS EntertainmentMiranda G. Sanders, Malki D. Umrah

[HD] How to Get Girls 2017 Pelicula Castellano

Zach and Ben are two nerdy childhood best friends with a dream to go to Comic Con. When Ben is forced to move with his dad to Antarctica, the two make a vow that when Ben comes back they will finish writing their own comic book and get it into the hands of their hero, Marvel creator Stan Lee. Yet, plans change when after five years of total isolation and extreme puberty, Ben returns as the same geek now trapped inside the body of an Abercrombie model. With his new "golden ticket," Zach uses Ben to do what was once thought impossible - get girls.

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Brotherhood Pelicula Castellano

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Brotherhood Pelicula Castellano

Equipo De Filmación

Coordinación Departamento de arte:
Yarnall Bégout


Coordinador de acrobacias:
Cadieux Marius


Diseño de guión:
Serin Hennie


Imágenes : Isabel Samm
Co-Produzent : Teymour Tilly


Productor ejecutivo : Tamala Feige


Director de arte supervisor:
Cassie Wael


Produce|Producir : Jude Darina


Fabricante: Mckee Bhavi


Actriz : Indraj Bonnee

Título de la película	Brotherhood Pelicula Castellano
Hora	134 minuto
Lanzamiento
objetos de valor	AAF 1080p WEBrip
Género
habla
nombre de reparto	Lukas X. Tanner, Kettlebottom ProductionsFabion I. Fortin, Mayara C. Emile

[HD] Brotherhood Pelicula Castellano

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