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                  Antebellum movie synopsis


Successful author Veronica Henley completes her book tour before returning home to her husband and daughter. But the dramatic change of events is about to increase Veronica's presence, placing her in a shocking reality that forces her to deal with her past, present and future - before it is too late.


                  Antebellum movie images


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                     Antebellum movie review


With an open-air atmosphere, a slo-mo shot that looks like a one-off take, director duo Gerard Bush and Christopher Renz set the stage for some amazing horror stories. We were transferred to a grassy area of ​​Louisiana, where white American Confederate soldiers enslaved a large black population. Dressed in colonial attire, black slaves are named, are not allowed to speak without permission, beaten mercilessly and even killed, if they do not. Eden (Janelle Monáe), a dark-skinned woman, has a rebellious heart, but she knows full well that she needs to wait for the right opportunity to escape. He witnessed the brutal murder of his family at the hands of cruel white soldiers. But as increasing violence against them grows, more black slaves are brought to football. Here Captain Jasper (Jack Huston), Elizabeth (Jena Malone), and the Army Blake Denton (Eric Lange) captured them and made them monsters.
The colonial atmosphere and the conspiracy formed at the outset are the most prominent elements of history. When it transforms the modern era, more surprises are thrown in, taking on the appeal of a few more notes. While past racist acts have been portrayed as destructive to the guts, it is the subtle print and discrimination that emerges as the most repetitive. Those pieces are handled professionally with a fun design and a non-linear story, which leaves the audience confused and invested, all at the same time. Text is an easy way, but it tries to achieve in-depth text with leading characters and their situations in the past and present.

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Veronica is the author of a book entitled ‘Shedding the Coping Persona’ on the inclusion of gender, class, and race, but despite being a successful black woman, she is extremely discriminated against in her daily life. The description of this new era of racial atrocities in the past is intriguingly presented in terms of skepticism and drama.

Singer-turned-actress Janelle Monáe is the lead actress on both occasions. He expresses strong fear and determination to the woman, who was wronged, broken, and ridiculed for the color of her skin only. Gabourey Sidibe has risen a little higher as Veronica's best-known and empathetic friend. Among the villains, only Jack Huston as Captain Jasper leaves the mark. Rest is associated with the strong beliefs of white racists who are full of unexplained hatred for people of color.
‘Antebellum’ follows the simple idea made popular by American Nobel Prize-winning author William Faulkner, ‘The past never dies. Not long ago. ‘While doing so, it plays smartly as a sensual public talk that marries the horrors of the past and the modern context of black people’s lives.

 

The Secret Garden movie poster

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             The Secret Garden movie synopsis


When a little girl is sent to live with her uncle after the death of her parents, her grief and sadness leave her feeling alone. Ignored again, he begins to explore the estate and finds a hidden garden and, with the help of one of the slave boys, begins to restore it to its former glory.

             The Secret Garden movie images


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                The Secret Garden movie Review


It is the night of the Indian-Pakistani split in 1947 and ten-year-old Mary Lennox (Dixie Egerickx) recently lost both her parents. But he did not lose his will or his way of ruling. He does not eat food that is less than his taste and expects to be dressed by the staff. She is placed in the care of her uncle Archibald Craven (Colin Firth) in a lonely and secluded place called Misselthwaite Manor in Yorkshire. Surrounded by anything other than the invading moors of acres, this manor is as cold as its inhabitants. While the bereaved widow Craven is left alone, the caretaker of the house, Mrs. Medlock (Julie Walters), is harsh and unstable. He warns Mary not to go ‘checking or investigating’ the house, but curiosity overwhelms Mary, when she keeps hearing long cries at night. Soon, he finds his cousin Colin (Edan Hayhurst) - Craven's son, motionless, unwell for years. Mary also finds a secret garden, by the side of the road, where she makes friends with a dog she named Jemima. The attractive pull of the garden reassures Mary that it is magical with healing power.

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As Mary's vivid imagination, director Marc Munden and his team presented us with a fascinating fantasyland filled with colorful flowers and animals, flowing streams, morning mist, and evergreen trees. The mystery of what the garden really stands for keeps the viewer investing in a slow-moving Munden family game. From Mary's point of view, we see the revelation of the curiosity of various aspects of the field and of the less active family. There is a strange feeling of unexpectedness and discord due to house tones, especially, if you haven’t read a 1911 novel with the same name or caught a previous screen variation. The remodeling of the garden vibrations and the deadly darkness of the estate, lends itself to an immersive film game, a sense of suspicion. In addition to that extensive cinematography (by Lol Crawley) makes it a visual spectacle. Also, immersed backs, costumes and production design, all translate successfully into the costume drama of the time.

Little Dixie is the life of the film, starring Mary in aplomb. From where he opens, where he seeks food to fearlessly follow his guts and take on a very hostile family, Dixie presents a promising career. Two young boys, Edan Hayhurst and Amir Wilson, who play Colin and Dickon in succession, used their limited resources. By comparison, experienced actors like Firth and Walters have a valuable asset.
But in the end, everything and everything is backed up by a very powerful text that tries hard to make us believe in the magic of the field - something that should come naturally, anyway. In doing so, writing is only partially successful in translating the magic of a book into a film

 

The Last One's movie poster

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                  The Last One's movie synopsis


John and Michael are surrounded to escape an epidemic in that slaves have destroyed the vast majority of the world's population

                  The Last One's movie images


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                The Last One's movie Review


The place may be frozen but the mood is very hot for The Last Ones, Estonia's official Estonian-based presentation in the category of Best International Film. Located around a remote mining community in Finland Lapland, deep in the Arctic Circle, author-curricular author Veiko Ounpuu portrays a glimpse of the lives of the dead and desperate choices including critical intentions, captivating views, and magical acts from many Finnish actors. Despite the melting of certain tones in its latest stages, it paints a very compelling picture of the presence of a blue-collar in the green in the latter part of Europe. This is Ounpuu's third Academy Awards competition, following the Temptation of St. Tony (2009) and Free Range (2013).

The world that first showed up at home turf at the Black Nights movie festival in Tallinn last November, The Last Ones has been widely called "Nordic Western." It clearly borrows some of the more than a kind of thing: the basic location, the city of the illegal border, the last chance salon where the archetypal characters play the high stakes. But Ounpuu is keenly interested in dismantling the traditional practice of the Old West with his destructive criticism of toxic manhood and vain pioneer myths. Here in the Wild North, these modern cattle are becoming victims of self-destructive dreams of money, love, alcohol, sex and other unknown products of foolish gold.

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The Last Ones opens in an underground tunnel, a deep mine under the Lapland ice sheet, where workers revolt against their bosses as huge cracks and floods threaten imminent disaster. Playing a man in the middle who is uncomfortable in this bad game is Rupi (Paaru Oja), his loyalty is broken between hard-working mine boss Kari (Tommy Korpela) and his father Oula (Sulevi Peltola), a traditional deer herdsman who clings to his small hole while large mining companies plunder the desert. clean all around. If Rupi is the epitome of a flawed film, Kari is a talented villain, a violent capitalist who wears out every fatal accident by shooting his employees with alcohol, drugs and false intelligence.

Above the world, a happy mining community is a kind of purgatorial one-town town where life is centered on overdrinking, noisy parties and boozy karaoke at the local saloon. Longing for a better life, ice-blonde beauty Riitta (Laura Birn) is trapped in a dying and aging, needy, amateur rock singer Lievonen (Elmer Back). He is interested in flirting with Rupi but also catches the eye of Machiavellian Kari, who lures him into his career by giving him a job. As sexual tensions begin to escalate, Kari sets a trap to seduce Riitta by sending Rupi and Lievonen to a devastated task of collecting new drug paraphernalia at the Norwegian border. But all of this betrayal goes back in time, to the point of bloodshed.

Ounpuu describes The Last Ones as a "simple metaphor" covered by a "smokescreen" of natural detail. At first, it was sharp and morally confusing, the plot slipped deep into melodrama in its final act with extreme evil on stage, violent arguments, and unprovoked suicides. In these gambling dens, Ounpuu seems to have lost control of the film's tone, or at least fallen victim to his bizarre desires, leaving his colleagues to continue punishing rather than leading them to cathartic closures. This feeling of unresolved disagreement may be intentional, but it sounds like an escape from a satisfactory statement.

However, with most of its running time, The Last Ones acts as a compelling psychodrama and a great sensory experience. Movie star Sten-Johan Lill paints large Arctic vistas with beautiful autumn colors, with the unmistakable use of a frame that lends itself to the beauty of film art on a vibrant retro edge. Sven Grunberg's electro-orchestral veers ranged from broody angst to flaming dissonance while the eclectic soundtrack jukebox absorbed a great emotional impact from Roxette's kitsch Europop stomper "It Must Be Been Love," rock -Bob Dylan's classic rock ballad "Lay Lady Lady" and John Lennon's bitter political song "Working Class Hero".

 

  The Marksman movie poster

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                 The Marksman movie synopsis


Jim was a Marine who lived his life alone as a businessman on the Arizona-Mexico border. But her peaceful life soon comes as she tries to protect the boy from a vicious circle of fugitives.

                 The Marksman movie images


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                 The Marksman movie Review

Liam Neeson continued the Charles Bronsen stage of his long career with the lively acting of Robert Lawrence, representing the actor's second fight in three months. The honest thief's heel came briefly, and Marksman was constantly bombarded in the '70s and' 80s by solid, hopeless programmer Bronson. In 1974, think of something like Mr. Majestic, the compelling hero who in this case has to deal with the bad guys, is a farmer in Arizona rather than a watermelon farmer in Colorado. In both cases, the star - and the film - get the job done.

The former Marine sharpshooter (Notch) is not Nissan's character and Jim Hanson doesn't want any problems. He still mourns his wife's recent death, his farm is already threatened, and he asks his old pig "who is the best dog in the world?" But when he sees a migrant boy, Rosa (Theresa Ruiz), and his 11-year-old son Miguel (Jacob Perez) fleeing the drug killer gang, he is forced to take action. Hanson manages to stop them, but Rosa is not killed in the shooting. At the time of his death, he begged him to bring his son to care for his relatives in Chicago.

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When Miguel was arrested by the border officers, Hanson allowed his conscience to take hold, and he was able to free the boy to the surprise of his daughter, the Border Patrol Sarah (Catherine Winick, Vikings). Thus began a nationwide chase between Henson and the murderers, with the bloodless Mauricio (Juan Pablo Raba of Narcos, who understood the danger) worrying about the child claiming that he had a large amount of drug money.

It is as predictable as you might expect. Lawrence, who co-authored the script, revolves around promoting Hanson, a type of soft karmist who rejects modern technology such as cell phones, co-authored by Chris Charles and Danny Gravitz. "You don't need to call me, I want this," he said in disbelief. Of course, his interest in Lloyd leads to problems, including trying to buy a street atlas, when the young shop expert didn't know what it was. On the other hand, he certainly did not lose the sharp skills that he had during the Vietnam War.


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The film is very useful - not in relatively short order - although a climatic shoot-out is well organized - but depicts the growing bond between Hanson and the boy for whom he risked his life. To protect. Even so often Nissan does not use the same sensibilities as the actor (Kick these days, anyway), which turns out to be a reliable and organic formula. This allows the young actor, Perez, to coincide with Pulse, reflecting a natural character that is even more interesting, given that it represents his special debt.

Director Lawrence is a long-time partner of Clint Eastwood, who has produced Best Picture Oscar nominations such as Letter from Mystic River, Iwo Jima and Trouble with the American Sniper and Curb; If this film were made ten or 20 years ago, it would be easy to imagine that Eastwood would be a star. The film illustrates the measured walk and consistency that many of Eastwood's films represent, and Nissan delivers a performance similar to Eastwood's, while at the same time highlighting an emotional weakness that proves to be fully integrated. It is easy to see that the unique combination of mature rugged manhood and Irish soul made him an ideal hero in these extended times.

I Blame Society movie poster

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                 I Blame Society movie synopsis


The lines between art and real-life begin to fade when a prominent filmmaker realizes he is ready to kill.

                 I Blame Society movie images


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              I Blame Society movie Review


The tragic follow-up of his kissing 2015 Kiss Kiss Fingerbang, Gillian Wallace Horvat’s The Blame Society is the first feature that reveals so many flaws as we go, as if we are passing ourselves through the jungle of something uncertain. While its title points to a broader purpose and the script is based on narrowing down to biz paternalism, a number of independent voices suggest that it criticizes its own existence - the result of a filmmaker eager to make a movie embrace any concept, no matter how baked.

While the previous short film set its place in the comedy with the help of two talented guides, Anton Yelchin and Kate Lyn Sheil, the feature relies heavily on Horvat’s unstable imitations. It goes on 

Horvat plays "Gillian," and his filming dreams come true. His "busy" shorts have received attention, but his boss rejects him after deciding the proposed (Israeli-related) text is not for sale. Eager to make a movie, she returns to the dumb memory of her boyfriend Keith (Keith Poulson) hating her: Having been told once she would make a good killer (she took it as a compliment), she wants to make a docket about how that other career path can go. Unfortunately, his bizarre project “if I were to do it” will soon look as thoughtful as O.J. Simpson If I Did It.

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Gillian’s skepticism about the industry is confirmed by a humorous meeting with two “producers” - indie filmmakers who amplify the empire by combining talent around them. Obviously, everyone is talking about inclusion, empowerment and sexual communication — I'm sorry, it made that reunion. (Some of the main characters have the names of real people, but Horvat allows viewers to draw their own resemblance, if any, here.) The brothers give Gillian a definite "opportunity" to benefit himself more than himself. So instead, ignoring the possibility that his failure is related to a lack of good ideas, he puts himself in a murderous project.

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Armed with cheap digital cameras to record her work, Gillian is a one-woman band, roaming LA and trying to imagine what a killer's birth looks like. She was stealing some cough syrup from the store, hoping to start an adrenaline rush; you enter the home of a stranger simply because of a kick. The latest episode shows that Horvat doesn’t care if viewers will believe the act: Gillian holds a meeting at noon, holding a selfie stick all the time; here and there, he might have an invisible garment around him.

Suddenly, he is actually killing people, in an unfathomable square after another. The arrogance of the common man who kills for the sake of fame or self-promotion is nothing new, and from 1959 on A Bucket of Blood to Spree last year, most of the film's creators made sense of the methods and motives of the opponents - public criticism.

As Gillian moves from one random victim to another, the film gives the same impression that it was intended to have some kind of absurdity that Horvat accomplished in Kiss Kiss but can't successfully see it here: Whenever he lets a new stranger take him to a place to kill him, himself a dolly rig, ready to record an action. The gag may have received some ridicule, but it is just another indication that Horvat's text, courtesy of Chase Williamson, required much work before shooting.

Throughout that text, shamefully assures us that we know what the haters will say about this film. "I know, I risk my chances," Gillian admits jokingly at one point. Often, complaints come from characters with problematic personalities that can make their views stand out. But putting these complaints in the mouths of sacks does not mean that everything is wrong. In the midst of their subtle prejudices, for example, those producers offered a verdict on Gillian's magnum opus which was true and discriminatory, whether it was a heart-to-heart drama or a satire of loony meta-movie: "I never bought it."

 

             

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                 In Corpore movie synopsis


Examination of modern relationships on the affairs of the people of Melbourne, Malta, Berlin and New York, enters the gray areas of relationships.


                 In Corpore movie images 


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                     In Corpore movie Review


Anyone who has ever engaged in sexual misconduct in an attempt to heal a broken relationship will find something to apply to married filmmakers Sara Portelli and Ivan Malekin's anthology style film set in various parts of the world. It shows the emotional rift between the four lovers (well, at least three and a half), the small budget in Corpore sometimes suffers from its advanced dialogue (no famous screenwriter) and its clear sexual scenes that, while certainly pertaining to characters and stories, are the limit of exploitation. But the film, available in demand and digital formats, incorporates enough emotional reality to make you look at a broader audience.

Divided into four chapters preceded by titles on screen screens and key characters, the film begins in Melbourne, where Julia (Clara Francesca Pagone), a talented artist now living in New York City, visits her parents. During an evening reunion with her ex-girlfriend Henri (Frank Fazio), Julia informs them that she is married, with a very old man who is an art critic of the New York Times (if The Times actually had as many critics as there seem to be movies, there would be no problem of journalism). She also tells her shocked parents that they have an open marriage, and that she is polygamous. That philosophy was immediately apparent when he had sex with Henri in a hurry in his childhood bedroom.

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The next episode, set in Malta, deals with the marriage between Anna (Naomi Said, the actress of the film) and Manny (Christopher Dingli), who has been severely depressed by her unwillingness to have the child she so desperately wants. After a lengthy heartfelt conversation with her best friend in which she confesses her feelings of opposition and desire to achieve her goals, Anna begins to have sex with Manny. But instead of offering temporary treatment, it only makes matters worse when he repeats his desire to be a parent soon after and confesses his shocking sins.

We were then introduced to Rosalie (Sarah Timm) and Milana (Kelsey Gillis), a gay couple living together in Berlin whose relationship is threatened by Milana's thriving gig as a prostitute. Rosalie, who continues to be jealous, tries to be patient but eventually uses extreme methods to convey her frustration. Their spectacular sexual encounter in the shower is seen as an act of despair as love.

The final episode, based in New York City, brings to the forefront the reality of what happened when Julia admitted her sexual contact with her husband Patrick (Timothy McCown Reynolds), who responds with unexpected hostility. Expressing his anger at the endless jokes, he begins to make Julia wonder if their supposedly open relationship has been so stable.

Although certain parts, each lasting less than half an hour, are less powerful on their own, they come together to form a clear picture of how conflicting desires and philosophies can affect relationships. That is to say, the film, described in its publications as "sex-oriented," seems more plausible than a commentary on its usual sexual scenes. (Ensemble-member Sarah Timm has made her dissatisfaction known online, lamenting that "the treatment and the manner in which I and the directors spoke at Corpore was not as sexual as it was and I have no intention of this opinion.")

The result is that the viewer wakes up feeling more than a little voyeuristic - it seems that in art, and in life, sex does not come without problems.

 

Bloody Hell movie poster

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                 Bloody Hell movie synopsis


Trapped in a mysterious basement, a runaway man must find a way to escape from a violent and depressed family.

                 Bloody Hell movie images


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                   Bloody Hell movie Review


A captive story with its Finnish character used to remind us of the ancient myths of the world, Alister Grierson's Bloody Hell saves its trolls to the end but poses a great danger while waiting for him. Designed to work with the humor of Ben O'Toole, who can be prevented from breaking most of the film on handcuffs in the underwater room, this pic looks like a little bit strong enough to remember the first Sam Raimi - though they don't confuse camera work that helped make Evil Dead a classic.

O'Toole's Rex gets more backstory than your average stuck-in-the-bottom, but in the hands of original screenwriter Robert Benjamin, what feels like tangents ultimately seem meaningless. A former soldier, Rex once found himself robbed and robbed of a Boise bank with a chance to save the day. He did, but his heroism (captured in an interesting flashback sequence) also killed an innocent woman. Unexpectedly, this white guard was sentenced to eight years in prison for his negligence; in the slightest, he remains famous for his metal when he was released, followed by a host of paparazzi. But unnecessary fame is what drives Rex's trip to Finland, so let's not worry too much about what happened


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Sadly, her travels are disrupted before she even reaches the sauna. The naughty boys who pointed him out at the airport have partners waiting outside the minibus; they breathe air into him, and when he wakes up he hangs on his wrists in that basement. Missing the lower part of one leg. (In addition to not having the right legs, and he doesn't have a shirt, so let's be thankful for any of the most effective Rex medications stored in the main house.)

Rex has yet to meet with the authorities - Nordic's cousins ​​in the Americanwoodwoods-gothic archetype family, well-dressed but well-received and depressed - but fortunately, he is not alone. Long ago, he learned to cope with the stress of thinking that his second version would be out of place, and it would be wise for him to look to a quiet man for help. O'Toole obviously enjoys having both roles to play, and arrogance rekindles an unusual situation until the remaining problem: Alia (newcomer Meg Fraser), an elderly daughter of a higher family who doesn't want their crime at all.

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Alia's older brother, we read, is a crippled and fearsome giant who eats nothing but human flesh. So her parents and siblings (including twins who like to wear a folkloric mask) do little but find new people to feed her. Considering the large number of suitcases near Rex, the airport is their favorite hunting spot. Alia is a prisoner of some sort, and she is terrified of helping Rex directly. (She will throw a knife at his feet, but it will not help him to use it with a rope tied around his head.) But he is determined to leave his little brother innocent. It looks like Rex has found a new person to keep him.

While the whole story fits the genre well, Benjamin and Grierson are able to surprise us once or twice, and the expected action is set in a more general style than usual. O'Toole, a supporter of major brands such as Detroit and Hacksaw Ridge, carries a picture easily, or the film's response to the amputated leg - clever, but the cry from Evil Dead II's chainsaw-hand - invites us to see what he's not as funny as Bruce Campbell. Then again, given the unexpected closing clues that the story may not end, Rex and his cool team can have a lot of fun soon.

 

The Mauritanian movie poster

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                The Mauritanian movie synopsis


The defense attorney, his partner, and the military prosecutor uncovered a conspiracy during the investigation into the 9/11 terrorist case that was held in Guantanamo Bay, Cuba, for six years.

                The Mauritanian movie images


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               The Mauritanian movie Review


Kevin Macdonald has unspecified details in The Mauritanian, based on the best-selling memory of Mohamedou Ould Slahi's Guantánamo Diary, who spent 14 years in prison in the U.S. Naval Base in Cuba has not been charged. Macdonald is the author of a separate documentary (Empty Touch) with a more unequal record in narrative elements (The Last King of Scotland is probably the most powerful among them), and this legal process remains surprisingly flat, despite having stellar powers and moderate performance from Tahar Rahim as Interest. The indisputable good treatment of the black chapter in American justice, is a systematic approach and is a deep sense of error.

The release of STX Films is clear in accusing not only the George W. Bush government that authorized explicit human rights investigations - apparently the most shameful legacy of Defense Secretary Donald Rumsfeld - but also Obama's administration that followed and failed to close the institution's detention. The stain on both the Republican and Democrat governments is an important point, even if the film does not mention the convention limits that barred Obama's commitment to shut down Gitmo.

Edited by journalist Michael Bronner (under M.B. Traven) and Rory Haines and Sohrab Noshirvani, co-founders of the Amazon / BBC Informer crime series, the photo opens with a tent wedding ceremony at a beach in Mauritania. It was November 2001, just two months after the terrorist attacks on 9/11, and Mohamedou returned home after years of studying electrical engineering in Germany. When local police asked him to go with them for questioning by US authorities, Mohamedou's mother (Baya Belal) looked shocked. Although her son assures her that he will be back soon, she seems sure that he will never see her again.

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Aside from the suspicious act of removing contacts from cell phones, the evidence against Intala is overwhelming - especially the phone call and transfer of money to his cousin, who works extensively at al Qaeda. Staa's journey to Afghanistan to join the jihadists began at the beginning of the war, with the aim of overthrowing the communist government of Najibullah, a US-backed effort. (The final details are not specified in the text.)

Interest is finally sent to Gitmo. More than three years later, word spread in German newspapers that he was accused of being among the top organizers of 9/11, mainly for hiring one of the pilots. Although no formal charges have been filed, the case is fueled by evidence from a Yemeni jihadist man who spent one night in the Interior apartment in Germany.

While the filmmakers were too early to take a definite role in Mohamedou's involvement in the 9/11 plot, the details are arranged in such a way as to support his chastity. That did not affect yet the decision of Nancy Hollander (Jodie Foster), a partner in a law firm in Albuquerque, New Mexico, to take up her habeas corpus case as a pro bono employee. His colleagues are opposed to it, but he points out that the U.S. government has detained more than 700 prisoners in Guantánamo without trial, taking his younger colleague Teri Duncan (Shailene Woodley) with him to negotiate with Intala.

At the same time, the US is concerned about the backlog of 9/11 investigations that need to be removed. In the first case of a death sentence, the authorities hired Lt Colonel Stuart Couch (Benedict Cumberbatch) to lead the prosecution of Interior. Photos and documents linking him to several terrorist suspects prompted another official to say: "The boy is an al Qaeda Forrest Gump." Couch's close friendship with his Marine Corps friend who was killed in United flight 175 made him eager to pursue the case.

The point is made that the American green response to the 9/11 catastrophe fosters a hunger for complex justice around the accepted standards of fairness. But all of this is set with enough light or narrative explosion. In the scenes showing both the security forces and prosecutors questioning Mohamedou, only the prisoner appears as a character in any real blur.

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Although the youth of Cumberbatch play Louisiana's brilliance, both he and Foster play hard, the legal mediators are very interchangeable - he's a man of faith, he's not, it's about the magnitude of their disagreement. And Woodley is not given much to do other than give a smiling and accessible interface to Nancy's complex technology, until the public collapse of their involvement in the case causes Teri to find jokes. As a source of strategy close to Couch, Zachary Levi's character has very little depth.

Much of the action goes on in the privacy of the US government surrounding the investigation, with files that have been archived for a long time or that have been released with redesigned and anonymous versions. Those stasis are not particularly noticeable.

Great interest arises from the flashback investigation scenes, first by human investigators who gambled Mohamedou using the tactics of good police officers, and later the soldiers, who removed children's gloves. Scenes of torture leave nothing in the imagination, they enter the horrible scene as they portray sleep and malnutrition, physical and mental abuse, sexual shame and obvious threats to the mother of the prisoner. As punishing by these scenes, it would not surprise anyone who followed the planned layout of the "special projects" methods removed by Rumsfeld. What is even more shocking is that Stala survived the uninterrupted 70 days of that information.

Unlike Camp X-Ray, a 2014 fictional drama that depicts the strained relationship between young Kristen Stewart of Guantánamo Bay and longtime prisoner played by Peyman Moaadi who won the Iranian Oscar A Separation, there is no middle ground to give the Mauritanian a compelling human focus. Surprisingly the presentation of the movie is usually about the army army of Rahim (best remembered for Jacques Audiard's A Prophet and Asghar Farhadi's The Past) creating a character of absolute greatness. There is a kind of sad poetry in this man, especially as he reaches out to contact another prisoner, a French nation that is not visible behind the obstacles in the gymnasium in a few squares.

But those are the closest moments when the script comes to form an emotional string after a full farewell from Mohamedou’s mother at the beginning of the film. And given the deception of justice he endured, his video appearance in court of law is erroneous, though it has a greater impact than the development of the characters played by Foster, Cumberbatch or Woodley after the details of Mohamed Mohamed's suffering are clear. Composer Tom Hodge's school is working hard to hear that there is no unfortunate writing.

Filmmaker Alwin H. Küchler takes the claustrophobic scene inside the detention center successfully, in contrast to the freedom of the Navy police searching the coastal waves. But the film’s most iconic moments come from the image of the real Interests beyond the final credits, which shows the spirit of resilience that most people would have crushed. Those passages suggest that Macdonald might have been better off if he had used his great talents as a rights activist in this regard.

 

outside the Wire movie poster

Note:- Due to the Indian Copyright Act, in this post, we have to write the wrong spelling of the name of the actor, producer, production, character, etc


               Outside the Wire movie synopsis


In the near future, a pilot sent to a military base finds himself paired with a highly secret android official on a nuclear deterrent.

               Outside the Wire movie images 


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                Outside the Wire movie Review


Going one step or two beyond the usual worries about what will happen when the military allows military robots to make their own decisions, Mikael Hafstrom's Outside the Wire introduces many types of robo-warrior but is still very concerned about this and the release of "collateral damage" in battle. Anthony Mackie's presence - as an android machine and a subordinate (Damson Idris) - will draw more attention to the Netflix film, proving to be a common portrait of military action despite times of Asimovian philosophy. It’s not really Mackie’s show that has been around for a long time, and yet, a young person with behavioral problems Idris is a real fan of the story; but few fans will be very disappointed as the credits continue.

Idris plays Lt.Harp, a drone operator so far who has seen camera fights from a distance from the office chair. It is 2036, and his rhythm is Ukraine, which Russia still wanted to re-introduce; Harp drones flew over ordinary soldiers, dropping heavy explosives when the situation demanded it. For the future, those human warriors are joined by "gumps," robots armed with weapons that can slowly enter the line of fire. (These machines look like they could be fifteen years from now. The ones we'll meet, not so much.)

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Harp disobeyed orders during one battle, knowingly allowing two wounded Marines to die while hitting a hostile vehicle that would have killed them and a few of their comrades. Instead of dismissing him, the ethics board decided that he would benefit from seeing firsthand the facts of the war. They sent him to a battlefield he knew only in the sky, where he would report to Captain Leo Mackie: He was handcuffed to join Leo's hunt for Viktor Koval (Pilou Asbaek), a local military commander who wanted to control the long nuclear missiles that Russians had left in Ukraine.

Leo "is not like us," one police officer warned Harp. At first, we think that means he likes to listen to Louis Armstrong / Ella Fitzgerald's interviews while analyzing the intel in the office adorned with pure art rather than what military reality should allow. But no: Almost no one knows this, but Leo is a robot for a few generations more advanced than cones. He looks completely human, designed to feel pain as a way to develop empathy, and curses with enthusiasm like any great boss. Looking at him at work, you will never know that he was not human until the bullets started flying - when his thoughts and direct approach to violence are supernatural.

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Everything about him is a secret, and as the men go to work on delivering the drug defense that involves a meeting with a spy, Leo's impatience with his skeptical tendencies may remind me of the power between Denzel Washington and Ethan Hawke on Training Day. That is a comparison that will only lead to disappointment, however. Despite the strong performance of both men, there is no growing chemical problem between them, and the text of Rob Yescombe and Rowan Athale is not fleshy or arousing enough to allow Mackie to make a memorable character like Washington. Well, one might say: Leo's robot. But this robot is ready to test its limits.

The film follows the two of them in rallies against opponents (led by Emily Beecham's Sofiya) and a few firefighters before arriving at war over stolen nuclear codes. Here, Harp finds the tragedy of remote control airstrikes in person. It’s a natural setting, but filmmakers haven’t finished teaching Harp to think twice about the high-tech war.

In terms of editing, the film’s revelations are currently working well, elevating the clusters clearly and brightly illuminating Harp’s path. In fact, things are a little shakier: From the beginning, heavy-debate debates have left some convincing theories more than others, and the themes that develop over the course of command-line disruption are not well developed. We are left with the kind of race-to-bomb and terrorist behavior that will be common to any viewer, where the details of Leo's nature are far more important than the growing case Harp felt about innocent people his work of fighting the war of pleasure killed. It’s not the worst theme to impress an audience one would think would be young, masculine and attractive to military recruits. But surely there is no need for anything other than the sci-fi traps or the satisfying questions they raise.

The White Tiger movie poster image

Note:- Due to the Indian Copyright Act, in this post, we have to write the wrong spelling of the name of the actor, producer, production, character, etc

               The White Tiger movie synopsis


 A prominent Indian pilot uses his ingenuity and cunning to flee poverty and climb higher.

               The White Tiger movie  images


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               The White Tiger movie Review


The urban cultural integration that introduced the New York indies to the early Ramin Bahrani, Man Push Cart and Chop Shop, is in the process of being revised by Netflix's author and author of the 2008 Aravind Adiga's Booker Prize winner, The White Tiger. Dive into the abyss that separates the slave class from the rich in contemporary India, the drama focuses on corruption at the highest and lowest levels with its story of lost purity and twisted tables. When there is just too much art scene embedded in the film overlong’s Dickensian sprawl, the three best magnetic works and the amazing twist of the story keep you immersed.

The underclass payload does not contradict that, i.e., the Parasites, but the movie goes into the same fury of the infiltrators, released from a relentless system in a dangerously unequal world. It can be considered as an anti-Slumdog Millionaire. Dev Patel's leading actor in the 2009 Best Picture Oscar winner retains his ultimate beauty to the end, making his fortune in credible ways. In White Tiger, a low-profile narrator played with a violent charm by a young man, Adarsh ​​Gourav, responds to the derogatory call of experience by pressing aside his personality to embrace violence and criticism - with a critical eye.

The association between Bahrani - which surveyed the US economic downturn in 2014 hitting 99 homes - and novelist Adiga goes back to the days when they were classmates in Colombia. In succession of being Iranian American and Indian, they communicated as outsiders before one of them found his rightful place and they were looking for a joint project for years. Adiga’s novel, with its themes of class struggle and unintelligible behavior, is ideal for a filmmaker, even if the details of the granular text confuse him in the middle.

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Bahraini begins in Delhi, with a life-changing accident in 2007 that opens the eyes of the beloved servant Balram (Gourav). At one point, he is not in the driver's seat but a passenger where Pinky (Priyanka Chopra Jonas), the wife of his educated American boss Ashok (Rajkummar Rao), grabs a wheel while happily intoxicated and hits a pedestrian in a bad neighborhood. The fall of that tragedy is slowly transforming Balram from a man who was raised to believe in the noble end of an uneducated slave into a self-made businessman who is packing his bags in India for sustainable economic growth.

Using control of the narrative of humorous speech, he cuts in Bangalore after three years, acknowledging at the same time that although there is a lot of power available to Muslims, Christians and Hindus in his country, he chooses to "play with both." Balram, who now has a shiny new wardrobe and a smooth ponytail, admits, "The Indian businessman must be straightforward and straightforward, funny and confident, strong and mature, all at the same time."

The clever jokes embedded in the Adiga story appear in the text of a letter written by Balram to a visiting Chinese prime minister asking for an investment, entertained by a donkey-kiss prelude saying the Chinese are "great lovers of freedom and individual liberty." Speaking about the opportunities shared in their countries, he writes: "I think we can agree that America is the same yesterday. India and China are the same tomorrow." He goes on to explain that "the future of the world lies in the yellow man and the black man," offering to share the story of his resurrection from slavery, free of charge. He also made it clear that he was wanted by the police, "for doing business."



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In what appears to be the extreme fidelity of the content, Bahrani overloads with colorful metaphors: But that title ("a rare animal that only comes once in a generation") is less important than that of a rooster ("They see and smell blood; they know they follow, but they do not rebel.") Still, although there is a lot of exposure, the back zips are very fast. There is a lot of visible texture, as well as drama recognition in Balram’s account of the mistake of being poor in free Democracy, and skepticism as a typical faithful Indian slave looks at the promise of liberation.

Telling the caption he introduces Stork (Mahesh Manrekar), a landlord who collects a third of all the local income; and his feared and disgusted older son, Mongoose (Vijay Maurya). But it is the handsome little boy Ashok, the very self-confident figure behind the aviator's sunglasses, who catches Balram's eye in a moment of diminished bromance: "I knew then, this was king to me." He talks about getting into the job of being a driver at Ashok, who seems much more enlightened than his self-aware family but who still submits to Balram in subtle and subtle ways. The class gap is largely covered by Pinky, who seems shocked at how much ambition to be a slave has centered on Balram.

The strength of these three heads is well drawn. Gourav silently silenced notes of pride and cunning under the endless smiles of Balram's smiles and bows. He learns the art of sliding slowly from the top of his fellow crew, living in the rat-lined parking lot of the ultramodern concrete buildings where their supervisors enter the air-conditioned rooms.

Cosmetic Bollywood star Rao moderates the desire from the West to claim to be a man with an undeniable sense of privilege, returning to typing as a father when in a stable situation. "I wish I could have lived a simpler life like Balram," he said in a moment of no regrets about alcohol. Chopra Jonas (also a great producer, like Ava DuVernay) brings emotional depth to a small role as a kind but aconflicting woman who can see in Balram a reflective mirror of her background in the Queens bodega suburb.

There is an understanding that affects Balram's efforts to improve himself, by encouraging encouragement from Ashok and Pinky, such as his pride in learning to brush his teeth for the first time in his life. But the car accident, and the persistent crowd of family members, fuel his hatred of building less. A fundraiser designed for "The Great Socialist" offers a rare opportunity to escape the rooster's nest. Pointing to Slumdog Millionaire, Balram says, "Don't think there's a million-dollar game you can win to get out of it."

By assuming that the story of rich clothes to wealth contains painful betrayal, embarrassment, abandonment of family responsibility, coercion and even murder, Bahrani keeps the tone simple. Italian filmmaker Paolo Carnera (Gomorrah series) brings a keen eye to color and has the ability to create distinctive distinctions between various locations, especially between a muddy town and city streets, where his camera work is being filmed. And even though the slow pace disappears here and there, the moving points of Danny Bensi and Saunder Jurriaans (who make Ozark music), keep things very common, sprinkled with Indian songs and hip-hop songs.

Gourav’s Armed Forces Balram offers an attractive, end-to-the-present instinct of the journalist as he shares his belief that there are only two ways to get out of poverty in India: crime and politics. With a smile that is no longer just fun, he asks the film's key question: "Do we hate our bosses behind the phone call of love, or do we love them behind the scenes of disgust?"